Lee Van Cleef: Best of the Bad by Michael G
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CARPET CLEANING SPECIAL K N O W ? Throughout History, I Dogs Have Been the on OU> 211 Most Obvious Agents in 5 MILES SO
remain young and beautiful only by bathing in and in the story of Lauren Elder’s grueling 36-hour or S a t u r d a y drinking the blood of young innocent girls — includ deal following the crash of a light aiplane that killed ing her daughter’s. 12:30 a.m. on WQAD. her two companions. The two-hour drama is based "Tarzan’s New Adventure” —- Bruce Bennett and "Sweet, Sweet Rachel” — An ESP expert is pit on the book by Lauren Elder and Shirley Ula Holt star in the 1936 release. 1 p.m. on WMT. ted against an unseen presence that is trying to drive Streshinsky. 8 p.m. on NBC. "Harlow” — The sultry screen star of the 1930s is a beautiful woman crazy. The 1971 TV movie stars "Walk, Don’t Run” — A young woman (Saman the subject of the 1965 film biography with- Carroll Alex Dreier, Stefanie Powers, Pat Hingle and Steve tha Eggar) unwittingly agrees to share her apart Baker, Peter Lawford, Red Buttons, Michael Con Ihnat. 12:30 a.m. on KCRG. ment with a businessman (Cary Grant) and an athe- nors and Raf Vallone 1 p.m. on WOC lete (Jim Hutton) during the Tokyo Olympics (1966). "The Left-Handed Gun” — Paul Newman, Lita 11 p.m. on WMT Milan and Hurd Hatfield are the stars of the 1958 S u n d a y western detailing Billy the Kid’s career 1 p.m. on "The Flying Deuces” — Stan Laurel and Oliver KWWL. Hardy join the Foreign Legion so Ollie can forget an T u e s d a y "The Swimmer” — John Cheever’s story about unhappy romance (1939). -
Eat the Film
EATEAT AT HOME THETHE FILMFILM WESTERNS AVAILABLE AT PARTICIPATING HOMES FOR A FEW HOURS MORE Slow-cooked B.B.Q beef brisket with desert dry rub BLAZIN' RIGHT THROUGH THE SADDLE Campfire beans and griddled corn bread TRUE GRITS Grits 'n' molasses pie with vanilla cream WAY PAST HIGH NOON Orange, lemon, lime and housemade grenadine with raspberry shrub Enjoy a Mexican sunset ROXY CINEMA STAFF PICKS HELL OR HIGH WATER (USA 2016) One of the most enthralling and tightly plotted films of the last decade. A brilliant neo-western that takes risks aplenty and gets its rewards. Strong performances all round, although particular mention must go to Ben Foster who de- livers a career best. This film also firmly established writer Taylor Sheridan (Sicario, Wind River), as one of the best scriptwriters of his generation. If you are looking for an insight into the new west, look no further than here folks! – Liam UNFORGIVEN (USA 1992) Directed by and starring CLINT! One of my favorite Westerns with my favorite actor. The line “It’s a hell of a thing, killing a man “ensures Eastwood delivers a raw well-constructed western that is a daring and provocative vision of the old west. Great performances also from Gene Hackman and Morgan Freeman. The violence feels remarkably realistic and the extraordinarily thrilling climatic shootout is worth the wait! – Jamie THE GRAND DUEL (Italy 1972) Ex-Sheriff (Lee Van Cleef) tracks down and begrudgingly helps a man framed for murder in this fantastic Spaghetti Western. Opening with a very 'flippy' gunfight and escape, things just get better as these two trade barbs while beinchased across country. -
Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U. -
American Movie Classics a Festival of Award Winning Films
International Centre for Ethnic Studies Presents American Movie Classics A Festival of Award Winning Films May 26 -30, 2014 – Daily 3:00 and 5:30pm at the ICES Auditorium, 2, Kynsey Terrace, Colombo 8 Monday, May 26, 3:00 pm Guess Who’s Coming to Dinner (1967) Spencer Tracy, Katharine Hepburn, Sidney Poitier A film by Stanley Kramer Spencer Tracy and Katharine Hepburn (who won the Academy Award as Best Actress for her performance) are unforgettable as perplexed parents in this landmark 1967 movie about mixed marriage. Sidney Poitier plays the distinguished black doctor. Stanley Kramer has created a masterful study of society’s prejudices. The film was a success in the racially volatile year of 1967 and was nominated for 10 Academy Awards, including Best Picture. (108 minutes) Monday, May 26, 5:30 pm Casablanca (1942) Humphrey Bogart, Ingrid Bergman A Film by Michael Curtiz One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. It is the story of Rick Blaine a world-weary ex-freedom fighter who runs a nightclub in Casabalanca during the early part of WWII. A timeless classic filled with laughter, suspense, drama and romance. (102 minutes) Tuesday, May 27, 3:00 pm Witness for the Prosecution (1957) Charles Laughton, Tyronne Power, Marlene Dietrich A Film by Billy Wilder Billy Wilder co wrote and directed this brilliant 1957 mystery based on Agatha Christie’s celebrated play about an aging London barrister who’s preparing to retire when he takes defense in the most vexing murder case of his distinguished career. -
The Man Who Shot Liberty Valance 1962, Donovan’S Reef 1963, and Cheyenne Autumn 1964
March 12, 2002 (V:8) Conversations about great films with Diane Christian and Bruce Jackson JOHN FORD (Sean Aloysius O’Fearna, 1 February 1894, Cape Elizabeth, Maine – 31 August 1973, Palm Desert, California, cancer) directed 146 films, 54 of them westerns. He won four Academy Awards for Best Director (*), two more for best documentary (#), five new York Film Critics Best Director awards (+), the Directors’ Guild of America Life Achievement Award (1954), and the first American Film Institute Life Achievement Award (1973). Some of his films are: The Informer*+ 1935, The Prisoner of Shark Island 1936, Stagecoach 1939+, Drums Along the Mohawk 1939, The Long Voyage Home +1940, The Grapes of Wrath* + 1940, Tobacco Road 1941, How Green Was My Valley+ 1941,* The Battle of Midway # 1942 (which he also photographed and edited), December 7th # 1943, They Were Expendable 1945, My Darling Clementine 1946, Fort Apache 1948, She Wore a Yellow Ribbon 1949, Rio Grande 1950, What Price Glory? 1952, The Quiet Man* 1952, Mogambo 1953, Mister Roberts 1955, The Searchers 1956, The Rising of the Moon 1957, The Last Hurrah 1958, Sergeant Rutledge 1960, The Man Who Shot Liberty Valance 1962, Donovan’s Reef 1963, and Cheyenne Autumn 1964. His older brother Francis started in movies in 1907 and changed his name to Ford. Jack joined him in Hollywood in 1914, acted in a dozen serials T HE MAN WHO SHOT LIBERTY and features, and began directing in 1917. He did three films in 1939, all of them classics: Drums VALANCE (1962)123 minutes Along the Mohawk (starring Henry Fonda and Claudette Colbert), Young Mr. -
Cinema's Darkest Vision: Looking Into the Void in John Carpenter's the Thing (1982)
Journal of Popular Film and Television ISSN: 0195-6051 (Print) 1930-6458 (Online) Journal homepage: https://www.tandfonline.com/loi/vjpf20 Cinema's Darkest Vision: Looking into the Void in John Carpenter's The Thing (1982) Heather Addison To cite this article: Heather Addison (2013) Cinema's Darkest Vision: Looking into the Void in John Carpenter's TheThing (1982), Journal of Popular Film and Television, 41:3, 154-166, DOI: 10.1080/01956051.2012.755488 To link to this article: https://doi.org/10.1080/01956051.2012.755488 Published online: 02 Sep 2013. Submit your article to this journal Article views: 837 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=vjpf20 Figure 1. Blair confronts the horror of the Thing as he performs an autopsy on its apparently dead remains. (Color figure available online.) N ALL OF CINEMA of laboratory-concocted special effects, a short volume on The Thing published with the actors used merely as props to by the British Film Institute, praised HISTORY, perhaps there has be hacked, slashed, disemboweled, and the film for preserving her “faith in the Inever been a more unfortunate decapitated,” and Desmond Ryan of The movies” and referred to it as “one of the release date than the one suffered by Philadelphia Inquirer sneered, “This is greatest horror movies of all time” (12– director John Carpenter’s The Thing, a monster movie of incredible ferocity 13). She glibly attributed The Thing’s an apocalyptic horror film about a hos- and graphic gore that asks no more than poor reception among 1982 critics to a tile alien with the ability to absorb and utter passivity and a strong stomach. -
Pioneer Film Director Honored / HENRY KING
The Museum of Modern Art 'iWest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 57 FOR IMMEDIATE RELEASE PIONEER FILM DIRECTOR HONORED SEVEN WEEK RETROSPECTIVE FOR HENRY KING CO-SPONSORED BY MUSEUM AND DIRECTORS GUILD OF AMERICA "...the most underpublicized filmmaker in Hollywood. This tall, lean, handsome, urbane, but unflamboyant model of a corporation president makes film hits so easily, so efficiently, and so calmly that he is not news in a community of blaring trumpets, crashing cymbals and screaming egos." -Frank Capra Henry King, one of the founding fathers of American film, who began his career early in the century, remains today one of the legendary figures in Hollywood, and though he preserves his privacy, his films such as "The Song of Bernadette," "Twelve O'clock High" and "The Gunfighter" speak for themselves, and these and other major works will be part of a seven week retrospective given in King's honor by New York's Museum of Modern Art in association with the Directors Guild of America. The Virginia-born director, who has specialized, like D.W. Griffith and John Ford, in Americana themes since his first classic, "Tol'able David," and later with "State Fair", "In Old Chicago," "Jesse James" and "Alexander's Ragtime Band," will make a trip from the West Coast to New York to participate in the opening of this program. On June 29 and 30, he will address the Museum audiences, although he seldom makes public appearances. While he contributed to Hollywood's worldwide reputation, King, who recognized such early superstars as Richard Barthelmess, Ronald Colman and Gary Cooper and gave them their first leading roles on the screen, has managed to retain his relative anonymity in an ostentatious environment. -
GUNSMOKE TV CAST and DETAILS Premiered
GUNSMOKE TV CAST AND DETAILS Premiered: September 10, 1955, on CBS Rating: TV-PG Premise: This landmark adult Western centered on Marshal Matt Dillon of Dodge City. John Wayne turned down the lead, suggesting James Arness (who remained for its entire run). Originating on radio (with William Conrad as Dillon), it moved to TV in September 1955. Its popularity spawned a number of copycats, but none would enjoy the longevity (and few the consistent quality) of this classic. Airing for 20 years, it's TV's longest running prime-time drama (a record that `Law & Order' is currently chasing). Gunsmoke Cast • James Arness : Marshal Matt Dillon • Milburn Stone : Dr. Galen `Doc' Adams • Amanda Blake : Kitty Russell • Dennis Weaver : Chester Goode • Ken Curtis : Festus Haggen • Burt Reynolds : Quint Asper • James Nusser : Louie Pheeters • Charles Seel : Barney Danches • Howard Culver : Howie Culver • Tom Brown : Ed O'Connor • John Harper : Percy Crump • Dabbs Greer : Mr. Jonus • George Selk : Moss Grimmick • Hank Patterson : Hank Miller • Glenn Strange : Sam • Sarah Selby : Ma Smalley • Ted Jordan : Nathan Burke • Roger Ewing : Clayton Thaddeus `Thad' Greenwood • Roy Roberts : Mr. Bodkin • Woody Chamblis : Mr. Lathrop • Buck Taylor : Newly O'Brien • Charles Wagenheim : Halligan • Pat Hingle : Dr. John Chapman • Fran Ryan : Miss Hannah Gunsmoke Credits • Sam Peckinpah : Screenwriter Gunsmoke Directors • Harry Horner : Director Gunsmoke Guest Cast • Aaron Saxon : Basset • Aaron Spelling : Weed Pindle • Abraham Sofaer : Harvey Easter • Adam West : Hall -
University of Oklahoma Libraries Western History Collections Bob
University of Oklahoma Libraries Western History Collections Bob Burke Autographs of Western Stars Collection Autographed Images and Ephemera Box 1 Folder: 1. Roy Acuff Black-and-white photograph of singer Roy Acuff with his separate autograph. 2. Claude Akins Signed black-and-white photograph of actor Claude Akins. 3. Alabama Signed color photograph of musical group Alabama. 4. Gary Allan Signed color photograph of musician Gary Allan. 5. Rex Allen Signed black-and-white photograph of singer, actor, and songwriter Rex Allen. 6. June Allyson Signed black-and-white photograph of actor June Allyson. 7. Michael Ansara Black-and-white photograph of actor Michael Ansara, matted with his autograph. 8. Apple Dumpling Gang Black-and-white signed photograph of Tim Conway, Don Knotts, and Harry Morgan in The Apple Dumpling Gang, 1975. 9. James Arness Black-and-white signed photograph of actor James Arness. 10. Eddy Arnold Signed black-and-white photograph of singer Eddy Arnold. 11. Gene Autry Movie Mirror, Vol. 17, No. 5, October 1940. Cover signed by Gene Autry. Includes an article on the Autry movie Carolina Moon. 12. Lauren Bacall Black-and-white signed photograph of Lauren Bacall from Bright Leaf, 1950. 13. Ken Berry Black-and-white photograph of actor Ken Berry, matted with his autograph. 14. Clint Black Signed black-and-white photograph of singer Clint Black. 15. Amanda Blake Signed black-and-white photograph of actor Amanda Blake. 16. Claire Bloom Black-and-white promotional photograph for A Doll’s House, 1973. Signed by Claire Bloom. 17. Ann Blyth Signed black-and-white photograph of actor and singer Ann Blyth. -
Western (Genre)
Western (genre) http://en.academic.ru/dic.nsf/enwiki/41275 The Western is a fiction genre seen in film, television, radio, literature, painting and other visual arts. Westerns are devoted to telling stories set primarily in the later half of the 19th century in what became the Western United States (known as the American Old West or Wild West), but also in Western Canada, Mexico ("The Wild Bunch", "Vera Cruz"), Alaska ("The Far Country", "North to Alaska") and even Australia ("Quigley Down Under", "The Proposition"). Some Westerns are set as early as the Battle of the Alamo in 1836 but most are set between the end of the American Civil War and the massacre at Wounded Knee in 1890, though there are several "late Westerns" (e.g., "The Wild Bunch" and "100 Rifles") set as late as the Mexican Revolution in 1913. There are also a number of films about Western- type characters in contemporary settings where they don't fit in, such as "Junior Bonner" set in the 1970s, and "Down in the Valley" and "The Three Burials of Melquiades Estrada" in the 21st Century. Westerns often portray how primitive and obsolete ways of life confronted modern technological or social changes. This may be depicted by showing conflict between natives and settlers or U.S. Cavalry, or by showing ranchers being threatened by the onset of the Industrial Revolution. American Westerns of the 1940s and 1950s emphasise the values of honor and sacrifice. Westerns from the 1960s and 1970s often have more pessimistic view, glorifying a rebellious anti-hero and highlighting the cynicism, brutality and inequality of the American West. -
Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959). -
Émigrés and the Film Noir: Expressionism and the Dispossessed
LATEST NO STOCKS DVD NO SPORTS NEWS ™ ALL NOIR www.noircity.com www.filmnoirfoundation.org VOL. I NUMBER 11 CCCC**** A PUBLICATION OF THE FILM NOIR FOUNDATION MONTHLY 2 CENTS FEBRUARY, 2007 Noir’s Not-So-Nice Guys Universal buys Chandler novels for Brit Star NEVILLE CLIVE OWEN BRINGS BRAND By Eric Beetner MARLOWE BACK TO Special to the Sentinel MOVIE SCREENS eville Brand came out of WWII as a highly decorated hero, and with the It’s been nearly thirty years since Philip The plan is to keep the spirit of the money he had saved from his G.I. Marlowe has been a movie headliner (Robert Chandler books, and (best of all) keep the bill he took acting classes with Stella Adler. N Mitchum’s valiant but slightly tired rendition mysteries set in 1940s Los Angeles, with Working in several films for the Army Signal of Chandler’s knight-errant in a disappoint- Marlowe remaining in character as a hard- Corps, Brand had become comfortable in ing remake of The Big Sleep.) drinking, wisecracking gumshoe. front of the camera. In no time at all, But all that is about to change, thanks Owen is exactly the right age (42), Hollywood beckoned. The face of the new Philip Marlowe. to British actor Clive Owen, Universal and, for our money at least, possesses both When your film debut has you brutal- Pictures and Strike Entertainment. the looks and acting chops to pull off a satis- izing an already-dying Edmond O’Brien in Strike made a deal with Phil Clymer at fying portrayal of noir’s most potent icon.