The Big Knife Tcm

Total Page:16

File Type:pdf, Size:1020Kb

The Big Knife Tcm The big knife tcm click here to download Overview of The Big Knife, , directed by Robert Aldrich, with Jack Palance, Ida Lupino, Wendell Corey, at Turner Classic Movies. Hollywood, the mythical land of dreams. Though it's often glamorized on the screen, occasionally an industry insider dares to bite the hand that feeds him by. Rod Steiger (as Hoff) makes the thug studio boss the smartest guy in the room, with hack Smiley (Wendell Corey. TCM Directed By Robert Aldrich 2of3 The Big Knife (Intro). SonOfASpaceApe. Loading Unsubscribe from. The Big Knife is a film noir directed and produced by Robert Aldrich from a screenplay by . Catalog · The Big Knife on IMDb · The Big Knife at AllMovie · The Big Knife at the TCM Movie Database · The Big Knife film trailer on YouTube Production company​: ​The Associates; Aldrich. Entry #9: The Big Knife. By Nathan Rabin. The Fractured Mirror is an ongoing column about movies about making movies. The posh modern. Nathan Rabin explores The Big Knife, Clifford Odets' show- business morality tale which depicts stardom as a torment of the damned. THE BIG KNIFE () – on an excoriation of the Hollywood studio system, and a eulogy . Stafford, Jeff. www.doorway.ru online article The Big Knife. To view The Big Knife click here. In The Big Knife () Jack Palance is a blunt instrument, barreling his way around a Bel Air living room set. We're here to share your love of classic film, @TCMUnderground, . Cinematographer Ernest Laszlo also shot THE BIG KNIFE ('55) and KISS. Need to access completely for Ebook PDF the big knife? . blackmails an unhappy star into signing a new www.doorway.ru big knife () - overview - tcm -. In The Big Knife () Jack Palance is a blunt instrument, barreling his way 6 of The Story of Film: An Odyssey airs tonight and tomorrow night on TCM. Titled. TCM Classic Film Festival: Peter Fonda remembers his father, Henry He got a fright wig from someone from props and got a big old knife.”. THE Hollywood actor who is the hero in Robert Aldrich's "The Big Knife," a film about Hollywood people which came to the Victoria yesterday, has a fanatical. "The Big Knife" is worth the price of admission just to see how and if director . I watched it last night on TCM, and Robert Osborne remarked in the opening that. And acupuncture points identified centuries ago by TCM have been found to I have to acknowledge that these large, knife-like needles look. THE BIG KNIFE UPSTAGE GUIDE. UPSTAGE . production of The Big Knife and I was knocked out. It had me case, it was on TCM, and I. TCM: Volume 3 (pg 18) by LivingAliveCreator · Watch It's more cozy than big and magnificent. A certain girl with a big knife is coming in In this film version of Clifford Odets' play, Jack Palance plays big-time movie star Charlie Castle, who refuses to sign a binding, $ per week. "Moonstruck" is on TCM tonight at 10 eastern "Dying, but I can still her her big mouth." .. Ronny Cammareri: Chrissy, over on the wall, bring me the big knife. The Big Knife (sh. Veliki nož) je američki crno-bijeli film snimljen u režiji Roberta Aldricha. Temelji se na istoimenom teatarskom komadu Clifforda Odetsa. Having scored with Hollywood exposés in the past, particularly The Big Knife () and the gothic horror What Ever Happened to Baby Jane?, Aldrich. “On Dangerous Ground,” “While the City Sleeps,” and “The Big Knife”), it was broadcast on TCM last Thursday and can be viewed, until this. TCM's Spotlight on the Trailblazing Women of Hollywood continues on October of later noirs, including The Big Knife () and While the City Sleeps (). There are 29 pulses in Chinese Medicine pulase diagnosis. This is distinguished from other floating pulses, which tend to be large(i.e. wide) . If wiry, Thready and forceful-like feeling the edge of a knife is indicative of Stomach Qi exhaustion. Inside the Dream Factory (8/8; 9 to 10 P.M.;TCM) is a scrapbook and a caution. So, after The Big Knife and before Inside Daisy Clover, we get Faye Dunaway. It's hardly 9 AM in Hollywood when a young man from TCM taps the Allen, simply listed as “Continuity” in the credits, who at 88 was sharp as a knife. treat to see on the big screen, in a packed house with fellow film lovers. TCM is running John Garfield movies all day on March 4, what would and it's supposed to be a pip); The Big Knife at pm (want to see. On TCM's website, one viewer review colorfully described the movie as Kiss Me Deadly, The Big Knife, While the City Sleeps) is top-notch. The Big Knife () is equally cynical, based on a play by Clifford Odets about The Big Knife check out Jeff Stafford's piece for TCM. and the. Posts about TCM Monthly Highlights written by nowvoyaging. The big news is that the TCM Spotlight for October is on Trail-Blazing Women; Finally, TCM Imports will be showing CHILDREN OF PARADISE, KNIFE IN THE WATER, THE. A term in the field of traditional Chinese medicine that causes considerable over a dozen needles in the body, and ingestion of large combinations of herbs. like cutting with a knife, an electric shock, the pricking of a needle, or burning. "The Big Knife" (Robert Aldrich, ) at p.m. on TCM. One of the darkest and most savage of all the anti-Hollywood movies, based on. The doctors of TCM identify three main types ofQi Gong. work, the weapons forms and practices, of which Tai Chi Do or sabre (Big Knife) is the most dynamic. Blotto ('30). La Vida Nocturna ('30). Be Big!('31). Laughing Gravy ('31). Les-Carottiers ('31). 19 STARRING SHELLEY WINTERS. Lolita ('62). The Big Knife ('55). A mythology has grown up around traditional Chinese medicine (TCM). into large blood vessels and important organs, and immediate death has .. part, or the standard forces if you're using something like a gamma knife. TCM. Posted by: Joe Yanick in May 15, 0. Joe Yanick Sound and Fury: Impotent Violence in Robert Aldrich's The Big Knife (). Turner Classic Movies has unveiled its annual “TCM Remembers“ THE BIG KNIFE Available on Blu-ray September 5th From Arrow Video. Get a sheath with big shiny rivets that has "BUCK" stamped on it. Find a big Rambo knife with a sawblade on the back and fishhooks and line stored under the. Tangential Cutting Module TCM-4 | DamenCNC B.V.. Tangential Knife Modules. > NEW and improved version of the TCM-3; Pressing force can be adjusted. The Big Knife - Official Trailer. —. Watch See all». Sat Jun 10 am. Invisible Invaders TCM. Unseen enemies Destination Tokyo TCM. During World. The Big Sleep and Horse Feathers are among the treasured story pitting two knife-wielding nutjobs (Oates and an extraordinary Corey Allen). On Sunday Night, TCM is showing a variety of these films through the decades nuclear war (The Big Snit) to mid-life crisis (Bob's Birthday which would become TCM's animation block starts at 8p EDT on Sunday, April 9. Linoleum Knife will occasionally note when somebody (usually an actress) is. Dixie Evans: I don't care if I do see a snake. I'm sure I'd much rather see a snake than a Hollywood producer. Students from the College of Engineering celebratedUTEP's longest running tradition Friday morning, TCM (Texas College of Mines) Day. The tradition which. To Chinese Medicine, the whole world, including the human body, is viewed through the lens Water Features: Dark hair and coloration, deep set, large eyes, a strong Having no desire to inject anything into my skin or to undergo the knife. Based on a novel by A.R. Guthrie, The Big Sky is a large scale frontier In the course of the film, shot and knife wounds have time to heal; we witness . Apparently, TCM (US) now shows the "restored" minute cut. At least. Sorry there are no showtimes for E.T. the Extra-Terrestrial () Presented by TCM on Friday, September The next date E.T. the Extra-Terrestrial (). Journée spéciale Hollywood par Hollywood le 29 juin sur TCM Cinéma @TCM "Le Grand couteau" () (The Big knife), de Robert. And to commemorate the Hollywood icon's passing, TCM (Turner Movie time: TCM is showing some of Debbie Reynolds' best movies in .. Little Couple, big house: TLC reality stars put their $million . Why lupus sufferers may need kidney transplants: As Selena Gomez reveals going under the knife. The boy, found to have a serious liver problem about six years ago, had taken traditional Chinese medicine (TCM) given by his grandmother to. There's also a big risk that the shares could be suspended, if the benefit of the doubt, and caught the falling knife (buying some more shares). In Traditional Chinese Medicine, the horn, which is shaved or ground found that large doses of rhino horn extract could slightly lower fever in. Rock Island Armory full-size, double-stack, TCM tactical pistol with a 9mm barrel Benchmade Nimravus: The knife Rambo should have carried . It is a natural pointer, even in spite of its obvious “big bertha” grip. A viable diagnosis is totally dependent on competent knowledge of TCM theory. .. Classically defined as a knife scraping bamboo. reflects excess Yang heat in the blood, wind phlegm, or internal heat in the Stomach or Large Intestines. The whole scene is so overdone ("Bring me the big knife!" "Maybe I should come back another time"), it's hilarious, and the stunted reactions of.
Recommended publications
  • Film Noir - Danger, Darkness and Dames
    Online Course: Film Noir - Danger, Darkness and Dames WRITTEN BY CHRIS GARCIA Welcome to Film Noir: Danger, Darkness and Dames! This online course was written by Chris Garcia, an Austin American-Statesman Film Critic. The course was originally offered through Barnes & Noble's online education program and is now available on The Midnight Palace with permission. There are a few ways to get the most out of this class. We certainly recommend registering on our message boards if you aren't currently a member. This will allow you to discuss Film Noir with the other members; we have a category specifically dedicated to noir. Secondly, we also recommend that you purchase the following books. They will serve as a companion to the knowledge offered in this course. You can click each cover to purchase directly. Both of these books are very well written and provide incredible insight in to Film Noir, its many faces, themes and undertones. This course is structured in a way that makes it easy for students to follow along and pick up where they leave off. There are a total of FIVE lessons. Each lesson contains lectures, summaries and an assignment. Note: this course is not graded. The sole purpose is to give students a greater understanding of Dark City, or, Film Noir to the novice gumshoe. Having said that, the assignments are optional but highly recommended. The most important thing is to have fun! Enjoy the course! Jump to a Lesson: Lesson 1, Lesson 2, Lesson 3, Lesson 4, Lesson 5 Lesson 1: The Seeds of Film Noir, and What Noir Means Social and artistic developments forged a new genre.
    [Show full text]
  • Descargar Documento Asociado
    Filmoteca de Andalucía Sala Val Del Omar Programación JUN 2019 ciclo MIÉ VIE RObERT ALDRICH 05 20:30 07 18:00 El gran cuchillo Robert Aldrich. EEUU. 1955. 111 min. byN. v.o.s.e. El beso mortal (Kiss Me Deadly, 1955), el film-noir definitivo de la paranoia atómica y de la era McCarthy. Cineasta de «una disciplina y una autoridad extraordinarias» y con una fuerte vocación independiente, su sexto largome - traje significó la primera producción de su compañía, Associates & Aldrich — Attack! (1956), ¿Qué fue de Baby Jane? (What Ever Happened to Baby Jane, 1962), Canción de cuna para un cadáver (Hush, Hush, Sweet Charlotte, 1964), La banda de los Grissom (The Grissom Gang, 1971)…—. Para ello el realizador no pudo elegir un material más comprometido: The Big Knife, una obra escrita en 1949 por el dramaturgo Clifford Odets, que le había servido a su autor para reponerse comercialmente de los fracasos de sus dos piezas anteriores: Night Music (1940) y Clash by Night (1941), por un lado, y, por el otro, para saldar cuentas con la industria del cine tras una experiencia traumática como guionista.[2] No resulta difícil imaginar los motivos por los que el cineasta, alguien al que «le son hasta tal punto propios tanto sus temas como su puesta en escena FICHA TÉCNICA pasional»[3], eligió adaptar la obra de Odets. Su afán discursivo, su mirada Título original: The Big Knife. crítica sobre la sociedad y las instituciones norteamericanas, entroncan a la Título español: El gran cuchillo. perfección con la dramaturgia del autor de Waiting for Lefty (1935) y Awake Nacionalidad: EEUU.
    [Show full text]
  • Unsung Heroes of Noir, Clifford Odets
    LATEST NO STOCKS DVD NO SPORTS NEWS ™ ALL NOIR www.noircity.com www.filmnoirfoundation.org VOL. I NUMBER 7 CCCC**** A PUBLICATION OF THE FILM NOIR FOUNDATION MONTHLY 2 CENTS OCTOBER, 2006 SPOTLIGHT ON Film Noir Featured at UNSUNG HEROES OF NOIR SUNSET BLVD. CLIFFORD ODETS Hollywood 3-D Expo By Marc Svetov By Don Malcolm By Alan Rode lifford Odets (1906-1963) was the Sentinel Managing Editor Sentinel Senior Editor American dramatist with the greatest he recent deluxe DVD edition of Cinfluence on film noir. In terms of Double Indemnity got me thinking THE WORLD 3-D EXPO FILM FESTIVAL II, dialogue and character portrayal he was at about Billy Wilder and his contribu- after a three-year hiatus, returned to the least the equal of the pre-eminent hard- T Egyptian Theatre in Hollywood September boiled American crime writers of that era tion to film noir. And that got me thinking about Sunset 8-17, featuring a collection of classics and (Hammett and Chandler) who created a Blvd. oddities that, in some cases, hadn’t been tough, urban, uniquely American language. No, not the thoroughfare itself, though screened in half a century. Odets listened to the streets—but he some of my fondest memories from youth Fortunately for pop culture enthusiasts invented a language; he had to pull it out of revolve around that legendary, serpentine and 3-D film buffs, Jeff Joseph, producer of a hat. At the point he arrives on the scene, journey from the Pacific Coast Highway to the 3-D Expo, reneged on the vow of 3-D there were no clichés to lean on—only an downtown LA, a drive more tortuous today abstinence he took immediately after the pre- inner voice.
    [Show full text]
  • Kiss Me Deadly Nephew of John D
    March 13, 2001 (III:8) ROBERT ALDRICH (9 August 1918, Cranston, Rhode Island – 5 December 1983, Los Angeles, kidney failure), a Kiss Me Deadly nephew of John D. Rockefeller, Jr., and cousin of New 1955, 106 minutes, York’s quondam governor, worked as an assistant director Parklane Pictures to Chaplin and Renoir before becoming a director himself. He is one of those directors whose films are more likely to Director Robert Aldrich turn up on critics’ Secret Pleasures lists than their Grand Script by A.I Bezzerides, based on = Films lists. He directed 31 films, among them All the Marbles Mickey Spillane s novel 1981, The Choirboys 1977, Twilight's Last Gleaming 1977, Producer Robert Aldrich Hustle 1975, The Longest Yard 1974, The Killing of Sister Original music Frank De Vol George 1968, The Dirty Dozen 1967, Hush... Hush, Sweet Cinematographer Ernest Laszlo Charlotte 1964, What Ever Happened to Baby Jane? 1962, The Film Editor Michael Luciano Big Knife 1955, Apache 1954, and Vera Cruz 1954. Art Director William Glasgow Ralph Meeker Mike Hammer ERNEST LASZLO (23 April 1898 – 6 January 1984, Hollywood) was a cinematographer for 50 years, beginning with The Pace that Kills 1928 and ending Albert Dekker Dr. G.E. Soberin with The Domino Principle 1977. He shot 66 other films, among them Logan's Run Paul Stewart Carl Evello 1976, Airport 1970, Star! 1968, Luv 1967, Fantastic Voyage 1966, Baby the Rain Must Juano Hernandez Eddie Yeager Fall 1965, Ship of Fools 1965, It's a Mad Mad Mad Mad World 1963, Judgment at Wesley Addy Pat Chambers Nuremberg 1961, Inherit the Wind 1960, The Big Knife 1955, The Kentuckian 1955, Gaby Rogers Lily Carver Apache 1954, The Naked Jungle 1954, Vera Cruz 1954, Stalag 17 1953, The Moon Is Blue Marian Carr Friday 1953, D.O.A.
    [Show full text]
  • David Lean: DR. ZHIVAGO (1965, 197 Min.)
    March 12, 2019 (XXXVIII:7) David Lean: DR. ZHIVAGO (1965, 197 min.) DIRECTOR David Lean WRITING Robert Bolt screenplay adapted from the Boris Pasternak novel PRODUCER Carlo Ponti MUSIC Maurice Jarre CINEMATOGRAPHY Freddie Young EDITING Norman Savage PRODUCTION DESIGN John Box ART DIRECTION Terence Marsh SET DECORATION Dario Simoni COSTUME DESIGN Phyllis Dalton The film permeated the 1966 Academy Awards, winning Oscars for Best Writing, Screenplay Based on Material from Another Medium (Robert Bolt), Best Cinematography, Color (Freddie Young), Best Art Direction-Set Decoration, Color (John Box, Terence Marsh, and Dario Simoni), Best Costume Design, Color (Phyllis Dalton), and Best Music, Score (Maurice Jarre). The Mark Eden...Engineer at Dam film also received Oscar nominations for Best Picture (Carlo Erik Chitty...Old Soldier Ponti), Best Actor in a Supporting Role (Tom Courtenay), Best Roger Maxwell...Beef-Faced Colonel Director (David Lean), Best Sound (A.W. Watkins, Franklin Wolf Frees...Delegate Milton), and Best Film Editing (Norman Savage). The film was Gwen Nelson...Female Janitor also nominated for the Cannes Palm d’Or. Lucy Westmore...Katya Lili Muráti...The Train Jumper (as Lili Murati) CAST Peter Madden...Political Officer Omar Sharif...Yuri Julie Christie...Lara DAVID LEAN (b. March 25, 1908 in Croydon, Surrey, England, Geraldine Chaplin...Tonya UK—d. April 16, 1991 (age 83) in London, England, UK) was Rod Steiger...Komarovsky an English film director (19 credits), producer, screenwriter (10 Alec Guinness...Yevgraf credits)
    [Show full text]
  • Attack (Fiche Filmographique) / Attaque]
    Document generated on 10/01/2021 8:19 a.m. Séquences La revue de cinéma Attack (Fiche filmographique) Attaque Number 19, December 1959 URI: https://id.erudit.org/iderudit/52155ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review (1959). Review of [Attack (Fiche filmographique) / Attaque]. Séquences, (19), 20–23. Tous droits réservés © La revue Séquences Inc., 1959 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Robert Aldrich Jack Palance dans Attack cAttack (c4ttaq-ue) (Fiche tilmographique) 1. Généralités et Générique Pays d'origine: Etats-Unis. Musique: Frank de Vol. Date: 1956. Décors: Glen L. Daniels. Genre: Drame (de guerre). Montage: Michel Luciano. Prix: de la critique italienne (Venise 1956). Directeur de production: Jack R. Berne. Réalisation: Robert Aldrich. Interprétation: Jack Palance (Lieutenant Costa), Production: The Associates and Aldrich. Eddie Albert (Capitaine Cooney), Scénario: James Poe d'après la pièce Lee Marvin (Colonel Bartlett), de Norman Brooks "Fragile Fox' William Smithers (Lieut. Woodruff). Photographie: Joseph Biroch. 2. Le réalisateur: dats est fortement atteint. Bartlett ne se laisse pas convaincre pour une raison très personnel­ Robert Aldrich, cf.
    [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]
  • Joe Levine, European Cinema and the Culture Clash of Le Mépris A
    Guilty By Association: Joe Levine, European Cinema and the Culture Clash of Le Mépris A. T. McKenna, Shanghai International Studies University, China In the late 1950s, Joseph E. Levine achieved national prominence in the US due to the phenomenal success of Hercules (1958) and its sequel, Hercules Unchained (1959), two low- budget peplum films he had imported from Italy. The Italian cinema also provided Levine with his first nationwide arthouse success, Two Women (1960), for which Sophia Loren won the 1961 Academy Award for Best Actress. The early 1960s saw Levine develop close relationships with Italian filmmakers, not only as an importer and promoter, but also as a producer, helping to spearhead a significant movement in both Italian and American film production; as Mira Liehm tells us, "Italo- American collaboration became an important part of the Italian cinematic scene in the early sixties. The thoroughly organized and prearranged Hollywood way of filmmaking merged with Italian craftsmanship, improvisation, and reliance on chance" (Liehm, 1984: 182). But the relationship was not always a cosy one, being often fraught with difficulties and resentments. The first part of this essay will contextualise Levine and his emerging role as a powerful figure in European cinema in the 1960s, whilst also examining the increasingly troubled relationship between Italian and American filmmakers; the disenchantment of Italian filmmakers with their American collaborators is what provides the context to, and the basis of the subject of, Le Mépris (aka Contempt, 1963), which is discussed in the second section. Critically derided on its initial release, Le Mépris has since been reclaimed as a forgotten masterpiece, thanks to a 1997 re-mastering job and re-release.
    [Show full text]
  • Stella Adler and Harold Clurman
    Stella Adler and Harold Clurman: An Inventory of their Papers in the Performing Arts Collection at the Harry Ransom Center Descriptive Summary Creator: Adler, Stella, 1902-1992 Creator: Clurman, Harold, 1901-1980 Title: Stella Adler and Harold Clurman Papers Dates: 1898-2003 (bulk 1950-1990) Extent: 56 document boxes, 5 oversize boxes, 1 oversize folder (26.5 linear feet) Abstract: Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, and Harold Clurman (1901-1980), director, producer, drama critic, and co-founder of the Group Theatre, were married from 1943-1960. The Stella Adler and Harold Clurman papers consist of typescript and handwritten manuscripts, notes, lecture transcripts, annotated texts of plays, class schedules, clippings, proofs, photographs, slides, negatives, correspondence, legal and financial papers, datebooks, certificates, brochures, and theater programs, all ranging in date from 1898 to 2003. Adler’s teaching material makes up a large portion of the archive. Language: English and Yiddish Access: Open for research Administrative Information Acquisition: Purchase (R 15221), 2003 Processed by: Katherine Mosley, 2006 Repository: The University of Texas at Austin, Harry Ransom Center Adler, Stella, 1902-1992 Biographical Sketches Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, is best known as a teacher of the principles of acting and character and script analysis. As a child, she began acting in the New York Yiddish Theater with her parents, Jacob and Sara Adler. She joined the American Laboratory Theatre of Russian actor and teacher Richard Boleslavsky in the mid-1920s and in 1931 became part of the Group Theatre through Harold Clurman, whom she married in 1943.
    [Show full text]
  • Descargar Adjunto
    La noticia de la primera sesión del Cineclub de Granada Periódico “Ideal”, miércoles 2 de febrero de 1949. El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2019-2020, cumplimos 66 (70) años. 3 MARZO 2020 MARCH 2020 MASTERS OF MAESTROS DEL MODERN FILMMAKING (VII): CINE MODERNO (VII): ROBERT ALDRICH (part 1: the 50´s) ROBERT ALDRICH (1ª parte: los años 50) Martes 3 / Tuesday 3rd 21 h. APACHE (1954) [ 91 min. ] ( APACHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 6 / Friday 6th 21 h. VERACRUZ (1954) [ 94 min. ] ( VERA CRUZ ) v.o.s.e. / OV film with Spanish subtitles Martes 10 / Tuesday 10th 21 h. EL BESO MORTAL (1955) [ 106 min. ] ( KISS ME DEADLY ) v.o.s.e. / OV film with Spanish subtitles Viernes 13 / Friday 13th 21 h. EL GRAN CUCHILLO (1955) [ 111 min. ] ( THE BIG KNIFE ) v.o.s.e. / OV film with Spanish subtitles Martes 17 / Tuesday 17th 21 h. ¡ATAQUE! (1956) [ 107 min. ] ( ATTACK! ) v.o.s.e. / OV film with Spanish subtitles Viernes 20 / Friday 20th 21 h. HOJAS DE OTOÑO (1956) [ 107 min. ] ( AUTUMN LEAVES ) v.o.s.e. / OV film with Spanish subtitles 4 Martes 24 / Tuesday 24th 21 h. BESTIAS DE LA CIUDAD (1957) [ 88 min. ] co-dirigida por Vincent Sherman ( THE GARMENT JUNGLE ) v.o.s.e. / OV film with Spanish subtitles Viernes 27 / Friday 27th 21 h. A DIEZ SEGUNDOS DEL INFIERNO (1959) [ 93 min.
    [Show full text]
  • IDA LUPINO, FILMMAKER and ACTRESS February 1 - March 9, 1991
    The Museum of Modern Art For Immediate Release January 1991 HARD, FAST, AND BEAUTIFUL--IDA LUPINO, FILMMAKER AND ACTRESS February 1 - March 9, 1991 A retrospective of films tracing the achievements of Ida Lupino, one of the more distinctive actresses of the American screen during the 1940s and 1950s, opens at The Museum of Modern Art on February 1, 1991. Although primarily known as an actress, Ida Lupino has also had a singular career behind the cameras. At a time when filmmaking in Hollywood was not open to women, Lupino wrote, directed, and produced a series of low-budget films and later became a prolific television director. HARD, FAST, AND BEAUTIFUL — IDA LUPINO, FILMMAKER AND ACTRESS, continuing through March 9, presents twelve features in which Lupino starred, six films she directed, and a selection of her television work. This exhibition highlights some of Lupino's finest performances, with such memorable films as Raoul Walsh's psychological portrait of a gangster High Sierra (1941), and Jean Negulesco's melodrama Road House (1948). Also included are Vincent Sherman's The Hard Hay (1942), about a bitterly ambitious woman who pushes her sister to stardom, and Walsh's The Man I Love (1946), the story of a nightclub singer who is pursued by a mobster. Born in London in 1918 to a British theatrical family, Lupino began to play young sophisticates at age fourteen. After moving to Hollywood in the early 1930s, she matured into an actress of rare feeling and intensity during the 1940s. In 1948 Lupino and her then husband, Collier Young, founded Emerald Films, which was later known as The Filmakers.
    [Show full text]
  • Queer Aesthetics of Cinematic Decadence in Grande Dame Guignol Cinema
    What Ever Happened to Babylon? Queer Aesthetics of Cinematic Decadence in Grande Dame Guignol Cinema Patrick Woodstock A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada June 2020 © Patrick Woodstock, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Patrick Woodstock Entitled: What Ever Happened to Babylon? Queer Aesthetics of Cinematic Decadence in Grande Dame Guignol Cinema and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ____________________________ Examiner (Internal) Dr. Catherine Russell ____________________________ Examiner (External) Dr. Erin Harrington ____________________________ Supervisor Dr. Rosanna Maule Approved by: ___________________________ Dr. Marc Steinberg, Graduate Program Director August 2020 ___________________________ Dr. Rebecca Duclos, Dean of Fine Arts iii ABSTRACT What Ever Happened to Babylon? Queer Aesthetics of Cinematic Decadence in Grande Dame Guignol Cinema Patrick Woodstock Appearing amidst the decline of the Hollywood studio system in the 1960s, the Grande Dame Guignol cycle of horror films reimagine the history and aesthetics of classical Hollywood through the lens of decadence. Casting some of the most iconic stars of the studio system in roles that self-reflexively engage with their star personae to reimagine their glamor in terms of the grotesque, these works recall similar combinations of beauty, decay, and queer eroticism found throughout the canon of fin-de-siècle decadent literature.
    [Show full text]