DOCSLIB.ORG

The Scarlet Kimono Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FREE THE SCARLET KIMONO PDF Christina Courtenay | 352 pages | 01 Sep 2012 | Choc Lit | 9781906931292 | English | Harpenden, United Kingdom The Crimson Kimono () - IMDb In Murder on the Orient Expressthe scarlet kimono symbolizes the malicious struggle between the mysterious criminal and the detective, Hercule Poirot. When Ratchett is stabbed in his train compartment in the early hours of the morning, Poirot peers into the hallway to see a woman rushing by in a scarlet silk kimono. Over the course of the subsequent investigation, the The Scarlet Kimono kimono remains a persistent mystery. Poirot asks each female witness whether she owns one, and each one The Scarlet Kimono it. When Poirot finally discovers the kimono in his luggage he says, "It is like that. A defiance. Very well, I take it up. The scarlet kimono also serves as a red herring, which is a detail or fact that seems crucial to the mystery but is later revealed to be unimportant, to distract readers and keep them in suspense. He was just dropping off when something again woke him. This time it was as though something heavy had fallen with a thud against the door. He sprang up, opened it and looked out. But to his right, some distance down the corridor, a woman wrapped in a scarlet kimono The Scarlet Kimono retreating from him. At The Scarlet Kimono other end, sitting on his little seat, the conductor was entering up The Scarlet Kimono on large sheets of paper. Everything was deathly quiet. He got it down and snapped back the lock. Then he sat back on his heels and stared. Neatly folded on the top of the case was a thin scarlet silk kimono embroidered with dragons. Murder on the Orient Express. Plot Summary. All Characters Hercule Poirot M. Bouc Mr. The Scarlet Kimono Daisy Armstrong. All Symbols Scarlet Kimono. LitCharts Teacher Editions. Teach your students to analyze literature like LitCharts does. Detailed explanations, analysis, and citation info for every important quote on LitCharts. The original text plus a side-by-side modern translation of every Shakespeare play. Sign Up. Already have an account? Sign in. From the creators of SparkNotes, something better. Sign In Sign Up. Literature Poetry Lit Terms Shakescleare. Download this LitChart! Teachers and parents! Struggling with distance learning? Themes All Themes. Symbols All Symbols. Theme Wheel. For each quote, you can also see the other characters and themes related to it each theme is indicated The Scarlet Kimono its own dot and icon, like this one:. Part 1 Chapter 5 Quotes. Related Characters: The Scarlet Kimono Poirot. Related Symbols: Scarlet Kimono. Related Themes: Deception and Genre Expectations. Page Number and Citation : 54 Cite this Quote. Explanation and Analysis:. Part 2 Chapter The Scarlet Kimono Quotes. Related Characters: Hercule Poirot speaker. Page Number and Citation : Cite this Quote. The colored dots and icons indicate which themes are associated with that appearance. Part 1 Chapter 5. Looking into the hallway, he sees a woman wearing a scarlet kimono walking by. Poirot is touched by the appeal Part 2 Chapter 1. He also remembers a woman in a scarlet kimono walking down the hallway. Part 2 Chapter 4. He follows up on the scarlet kimonobut she denies owning one. Hubbard rises to leave and Poirot suggests she Part 2 Chapter 5. Greta also reports that neither she nor Ms. Debenham owns a scarlet silk kimono. Part 2 Chapter She replies that hers is dark blue. According to Hildegarde, after massaging the Princess, The same question attaches to the woman in the scarlet kimono. Part 3 Chapter 2. The scarlet kimono is still an open question, as every female passenger has denied ownership of it. Poirot leads them through several other questions. The scarlet kimono is unique in that none of them can even propose a solution to who wore Part 3 Chapter 9. He speculates that it may have belonged to Cite This Page. Home About Story Contact Help. LitCharts uses cookies to personalize our services. By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand The Scarlet Kimono of Service. Previous Symbols. Scarlet Kimono Symbol Analysis. Next Theme Wheel. The Scarlet Kimono (Kumashiro Saga #1) by Christina Courtenay Looking for a movie the entire family can enjoy? Check out our picks for family friendly movies movies that transcend all ages. For even more, visit our Family Entertainment Guide. See the full list. Title: The Crimson Kimono Classic, hard-to-find Sam Fuller pic is intriguing noir about two detective partners, one caucasian and one Japanese, who try to solve a complicated murder case. Unfortunately, trouble arises when along the way, both of them fall in love with the key witness! When stripper Sugar Torch disturbs a murder in her dressing room she is chased into the street and gunned down by an unknown assailant. Bancroft goes after artist "Chris" who had painted Sugar in full kimono while Kojaku goes after the men who were to be involved in her act. A strange film this one. It opens in the sordid world of striptease, continues with the murder of a young woman and leads straight into a police investigation. This suggested it would be a gritty and tough thriller which at times it is, but at The Scarlet Kimono times it plays up the love triangle aspect and then at others seems interested in just showing us a little bit of Asian-American culture. This individual sections do bump up against one another uncomfortably at times but mostly they sit reasonably well as part of the film. The effect is to produce a really interesting film, partly because the mix is unusual and well delivered. The mystery aspect of the plot keeps the narrative flowing along well enough and engaged me even if the ending was a bit convenient and easy. The love triangle part works better than I expected mainly because it uses it to compliment the male characters rather than being about the love part. This allows the two actors Corbett and Shigeta to deliver solid characters and play off one another really well. The Scarlet Kimono writer Fuller mixes the various aspects really well while also producing a bit of cultural significance in The Scarlet Kimono way that the Asian-American thing is merely a trimming and not the whole show. Overall then a solid film that The Scarlet Kimono mystery, love, grit and conflict into one story. It doesn't flow perfectly but it is engaging for what it does well and not bad for The Scarlet Kimono aspects it does less well. Looking for something to watch? Choose an adventure below and discover The Scarlet Kimono next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Two detectives seek a stripper's killer in the Japanese quarter of Los Angeles, but a love triangle threatens their friendship. Director: Samuel Fuller. Writer: Samuel Fuller. Available on Amazon. Added to Watchlist. Favorite Film-Noir. Samuel Fuller. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Golden Globe. Edit Cast Cast overview, first billed only: Victoria Shaw Christine Downs Glenn The Scarlet Kimono Charlie Bancroft James Shigeta Joe Kojaku Anna Lee Mac Paul Dubov Casale Jaclynne Greene The Scarlet Kimono Neyle Morrow Hansel Gloria Pall Sugar Torch Pat Silver Mother as The Scarlet Kimono Hayden George Yoshinaga Willy Hidaka The Scarlet Kimono Elhardt Nun Aya Oyama Sister Gertrude George Okamura Charlie Ryosho S. Priest as Reverend Ryosho S. Sogabe Bob Okazaki Edit Storyline Classic, hard-to-find Sam Fuller pic is intriguing noir about two detective partners, one caucasian and one Japanese, who try to solve a complicated murder case. Taglines: What was his strange appeal for American girls? Edit Did You Know? Trivia Car hit was filmed on a real Los Angeles street. The Scarlet Kimono filming permits were acquired for this shot, which is a violation of filming in Los Angeles. Goofs The final aerial shot pulling back from The Scarlet Kimono streets of Los Angeles is running backwards, evidenced by the vehicle headlights all running backwards. Quotes [ first lines ] Det. Joe Kojaku : [ continuing the interrogation in the police's murder investigation ] Did she have a Japanese boyfriend? Casale : I told you, I never mixed The Scarlet Kimono her personal business. Charlie Bancroft : What did you have against her? Casale : The Scarlet Kimono said I had anything against her? She was shifty as smoke, but I liked her. Charlie Bancroft : [ about the shooter ] Then why didn't you try and stop him when he went for her with a gun? Casale : Ahhh, I didn't like her that much! Crazy Credits During the main titles, the painting begins The Scarlet Kimono a simple pencil outline. As the credits progress, more details are subtly added via dissolves until it The Scarlet Kimono finally completed at the end of the sequence. User Reviews Solid film that delivers an engaging mystery and love triangle 16 November by bob the moo — See all my reviews. Was this review helpful to you? Yes No Report this. Add the first question. Runtime: 82 min. Color: Black and White. Edit page. October Streaming Picks. Back to School Picks. Clear your history. Christine Downs. Charlie Bancroft. Joe Kojaku.
Recommended publications
  • 9782873404178 01.Pdf

    9782873404178 01.Pdf

    SOMMAIRE Jean-François Rauger : La douceur Fuller L’ŒUVRE Thanatos Pierre Gabaston. La fureur Fuller Serge Chauvin. Crever l’écran. Une esthétique du surgissement Sarah Ohana. Faire face. À propos du style de Samuel Fuller Laurent Le Forestier. Samuel Fuller, cinéaste responsable Jean-Marie Samocki. Le chaos comme le chant. Samuel Fuller metteur en son Éros Murielle Joudet. La violence en partage Patrice Rollet. L’autre visage de la fureur. Érotique de Fuller Figures humaines Sergio Toffetti. Le jaune, le rouge, le noir et le blanc Chris Fujiwara. Les visages asiatiques de Samuel Fuller Jean-Marie Samocki. Le vieillissement de Lee Marvin. It Tolls for Thee / The Big Red One Simon Laperrière. Une grande mêlée. Les romans de Samuel Fuller LES FILMS Gilles Esposito. L’enfer du développement. Samuel Fuller scénariste Marcos Uzal. La Passion du traître. I Shot Jesse James / J’ai tué Jesse James Laura Laufer. L’Amour, vaste territoire The Baron of Arizona / Le Baron de l’Ari- zona Mathieu Macheret. Le Théâtre des opérations. The Steel Hemlet / J’ai vécu l’en- fer de Corée et Fixed Bayonets !/Baïonnette au canon Bernard Eisenschitz. Park Row / Violence à Park Row Murielle Joudet. Pickpocket. Pickup on South Street / Le Port de la drogue Samuel Bréan. Anatomie d’un mensonge. Le doublage de Pickup on South Street Jean-François Rauger. Le Sous-marin et les Rouges. Hell and High Water / Le Démon des eaux troubles The Steel Helmet. Egdardo Cozarinsky. House of Bamboo / La Maison de Bambou Bernard Benoliel. Fuller, l’attendrisseur. Run of the Arrow / Le Jugement des Jean-François Rauger flèches Jean-François Rauger.
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)

    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)

    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3

    Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3

    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm 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. No part of this book may 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 written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
  • The Edinburgh Film Guild

    The Edinburgh Film Guild

    filmedinburgh guild PROGRAMME 2016/2017 filmedinburgh guild The Edinburgh Film Guild, established in 1930, is The Guild has its own cinema and clubrooms How to join: the oldest continuously running film society in within the Filmhouse building, which are Becoming a member is easy. You must be aged 18 the world. located next to Screen 3. or over, and you can join in person before any of our screenings or online at: The Guild is run and managed by volunteers. Our 30 seat cinema has a state-of-the-art www.edinburghfilmguild.com digital projector and a 5.1 sound system. Membership: You can enjoy a drink and a chat in the Guild Full Membership...........£60 Clubrooms before a screening. (complete 2016/17 season of films) Basic Membership.........£20 (admission to any 5 films) Top-Up Subscription......£20 (admission to any 5 films). Members can purchase additional ‘top-ups’ until they reach a total of £60, when they automatically become Full Members with access to the full 2016/17 season of films. THE GUILD ROOMS, FILMHOUSE, 88 LOTHIAN ROAD, EDINBURGH EH3 9BZ www.edinburghfilmguild.org.uk The Edinburgh Film Guild is a Company Limited by Guarantee. Registered in Scotland. Scottish Charity Number SC041851. PROGRAMME OCTOBER — NOVEMBER 2016 The Samurai Trilogy 04 2016/2017 The Emigrants & The New Land 05 Costa-Gavras 06 Larisa Shepitko 07 Alien-Ation 08 Heroic Bloodshed: Ringo Lam & Chow Yun-Fat 09 Special Screening: Hallowe’en 30 NOVEMBER — DECEMBER 2016 Antonio Pietrangeli 10 Court Martial 11 Screwball Comedy 12 Nasties II / II Nasties 14 Sci-Fi: Time Travel 15 Special Screening: Christmas 30 Film Calendar: 16 JANUARY — FEBRUARY 2017 World Cinema 18 Samuel Fuller 20 Alejandro Jodorowsky 22 Pinky Violence with Meiko Kaji 23 FEBRUARY — MARCH 2017 The Gamblers 24 Matarazzo Melodramas 25 Imagining 18th Century Europe 26 Going Underground 28 Sergio Corbucci’s West 29 THE Samurai I: Musashi Miyamoto The Samurai Trilogy is “a rousing, emotionally SAMURAI gripping tale of combat and self-discovery.
  • John Ford Bag Facaden

    John Ford Bag Facaden

    derinde. Og da han omsider finder den rigtige DEN BARSKE ELITE Gable og Ford havde meget til fælles, de var ovn, og tyskerens riffel klikker, skyder han - The Big Red One. USA 1980. P-selskab: Lorimar. Ex-P: Merv Adelson, Lee Rich. P: Gene Corman. begge udendørsfolk og satte i lige høj grad og bliver ved med at skyde og skyde og P-leder: Peter Cornberg, Rony Yacov. P-ass: Craig pris på en hivert eller to. Men dybest set var skyde. Sergenten kommer til, hidkaldt af Corman. Instr: Sam Fuller. 2nd unit-instr: Lewis de helt forskellige. Gable var omhyggelig og skuddene, og da Griffs riffel er tom, klapper Teague. Instr-ass: Arne L. Schmidt. Manus: Sam metodisk, en langsom arbejder samtidig med han ham på skulderen og siger: »You got Fuller. Kommentar: James McBride. Speaker: Ro­ bert Carradine. Foto: Adam Greenberg. Farve: Met- at han ikke var sen til at forsvinde på jagt i him«, samtidig med at han rækker Griff et rocolor. Kopier: Technicolor. Klip: David Bretherton savannaen under pauserne. Altsammen irri­ fyldt magasin. (sup), Morton Tubor. Ark: Peter Jamison. Rekvis: terende den hurtige, improvisatoriske og Fullers grumme pointe er naturligvis, at William Hankins. Sp-E: Kit West, Peter Dawson, Jeff Clifford. Musik: Dana Kaproff Musik-sup: Bodie spontane Ford, der tillige var arbejdsnarko­ netop den forråelse, der følger af at acceptere Chandler. Tone: Jack A. Finlay, Cyril Collick, Wil­ man. En location var et filmanliggende og ikke krigens spilleregler og slå ihjel, er den barske, liam L. McCaughey, Robert L. Harman, David Doc- en mulighed for at komme på jagt.
  • Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista de cine (Donostia Kultura) Título: Las películas de Sam Fuller Autor/es: Aguilar Ricardo Aldarondo, Carlos Citar como: Aguilar Ricardo Aldarondo, C. (1993). Las películas de Sam Fuller. Nosferatu. Revista de cine. (12):78-113. Documento descargado de: http://hdl.handle.net/10251/40865 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: Uno Rojo, división de choque (The Big Red One, 1980) : ) r:r 1 e:=::.r:r:, ~ e__:)~ 1 --, r:r=l C" Esa pareja feliz, Lo sceicco bianco, Koibumi, The Burglar, Poema o morie, La tete contre Balas vengadoras les murs, Classe tous risques, Le signe du lion, París nous appartient, One-Eyed Jacks, Jazz On A Summer's Day, Adieu Philippine, (1 Shot Jes se James, 1949) La commare secca, Pour la suite du monde, Rysopis, La vie a l'envers, Nicht versóhnt, De Man die zijn haar kort liet knippen, Shakes­ l famoso bandido Jesse James, tras un peare Wallah, Covek nije tica, L'enfance Eatraco, vive retirado en una casa de nue, Rachel, Rachel, Tres tristes tigres, campo con su amigo y cómplice Bob Ford.
  • Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista De Cine (Donostia Kultura)

    Nosferatu. Revista de cine (Donostia Kultura) Título: La América sombría de Samuel Fuller Autor/es: Marías, Miguel Citar como: Marías, M. (1993). La América sombría de Samuel Fuller. Nosferatu. Revista de cine. (12):19-33. Documento descargado de: http://hdl.handle.net/10251/40858 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: La casa de bambú (HouseofBamboo, ~¡,.,...¡..---....¡r- 1955) La América sombría de Samuel Fuller Miguel Marías asta recordar sus pelícu• zabeth Scott, A va Gardner, 1964)-, o Kristy McNichol -en las, o echar un vistazo Joan Bennett, Rita Hayworth, Perro blanco (White Dog, Ba una filmografía: ni Yvonne De Cario o (salvo en 1981)-, por poner algunos Humphrey Bogart, Fred Mc- un western que su intervención ejemplos ilustrativos. 11 Murray o Edward G. Robin­ ayuda a teñir de "negr0 ) Bar­ son, ni John Garfield, Sterling bara Stanwyck honran con su Más que claramente adscribi­ Hayden o Paul Muni, ni Dana presencia el cine de Sam Fu­ bles al
  • THE HOUSE of BAMBOO / 1955 (O Mistério Da Casa De Bambu)

    THE HOUSE of BAMBOO / 1955 (O Mistério Da Casa De Bambu)

    CINEMATECA PORTUGUESA-MUSEU DO CINEMA REVISITAR OS GRANDES GÉNEROS: FILM NOIR - NO CORAÇÃO DO NOIR 24 e 26 de junho de 2021 THE HOUSE OF BAMBOO / 1955 (O Mistério da Casa de Bambu) um filme de Samuel Fuller Realização: Samuel Fuller / Argumento: Samuel Fuller, baseado numa história e num “script” original de Harry Kleiner / Fotografia: Joe MacDonald / Direcção Artística: Lyle Wheeler e Addison Hehr / Décors: Walter M. Scott e Stuart Reiss / Guarda-Roupa: Charles Le Maire / Efeitos Especiais: Ray Kellog / Música: Leigh Harline / Canção: “House of Bamboo”, música de Leigh Harline e Jack Brooks / Direcção Musical: Lionel Newman / Orquestração: Edward B. Powell / Som: John D. Stack e Harry M. Leonard / Montagem: James B. Clark / Interpretação: Robert Stack (Eddie Spanier/Sargento Kenner), Shirley Yamaguchi (Mariko), Robert Ryan (Sandy Dawson), Cameron Mitchell (Griff), Brad Dexter (Capitão Hanson), Sessue Hayakawa (Inspector Kite), Biff Elliott (Webber), Sandro Giglio (Ceran), Harry Carey (John), Peter Gray (Willy), Robert Quarry (Phil), etc. Produção: Buddy Adler para a 20th Century Fox / Distribuição: 20th Century Fox / Cópia: em 35mm, Technicolor, legendada em castelhano e eletronicamente em português, 102 minutos / Estreia Mundial: 21 de Julho de 1955 / Estreado em Portugal, no Cinema Politeama, a 29 de Dezembro de 1955. _____________________________ Em 1988, este filme passou na Cinemateca numa cópia que, à última hora, descobrimos ser remontada em “normal”. Na “folha” respectiva disse da minha enorme raiva, já que House of Bamboo (mesmo pensando em Forty Guns) me parece ser o supremo exemplar da utilização do scope por Fuller. Por que, filmando no Japão (a obra foi rodada “on location” em Tóquio e Yokohama, entre Fevereiro e Março de 1955), Fuller tirou o máximo partido da dialéctica vertical-horizontal da arquitectura nipónica: as casas que se estendem em largura e não em altura (essas casas do “olhar do cão” de Ozu) e os enormes templos, a grande estátua do Buda, o Fujyama que domina Tóquio e, por fim, a torre esférica do grande confronto Ryan-Stack.
  • 20 Luc Moullet: 'Sam Fuller: in Marlowe's Footsteps'

    20 Luc Moullet: 'Sam Fuller: in Marlowe's Footsteps'

    20 Luc Moullet: 'Sam Fuller: In Marlowe's Footsteps' (,Sam Fuller - sur les brisees de Marlowe', Cahiers du Cinema 93, March 1959) Young American film directors have nothing at all to say, and Sam Fuller even less than the others. There is something he wants to do, and he does it naturally and effortlessly. That is not a shallow compliment: we have a strong aversion to would-be philosophers who get into making films in spite of what film is, and who just repeat in cinema the discoveries of the other arts, people who want to express interesting subjects with a certain artistic style. If you have something to say, say it, write it, preach it if you like, but don't come bothering us with it. Such an a priori judgment may seem surprising in an article on a director who admits to having very high ambitions, and who is the complete auteur of almost all his films. But it is precisely those who classify him among the intelligent screenwriters who do not like The Steel Helmet or reject Run of the Arrow on his behalf or, just as possibly, defend it for quite gratuitous reasons. Machiavelli and the cuckoo-clock On coherence. Of fourteen films, Fuller, a former journalist, devotes one to journalism; a former crime reporter, he devotes four to melodramatic thrillers; a former soldier, five to war. His four Westerns are related to the war films, since the perpetual struggle against the elements in the course of which man recognizes his dignity, which is the definition of pioneer life in the last century I is extended into our time only in the life of the soldier: that is why 'civilian life doesn't interest me' (Fixed Bayonets).

  • White Dog / 1982

    CINEMATECA PORTUGUESA-MUSEU DO CINEMA IN MEMORIAM ENNIO MORRICONE 12 e 19 de setembro de 2020 WHITE DOG / 1982 um filme de Samuel Fuller Realização: Samuel Fuller / Argumento: Samuel Fuller e Curtis Hanson, baseado num conto de Romain Gary, publicado na revista “Life” / Fotografia: Bruce Surtees / Direcção Artística: Brian Eatwell / Décors: Geoff Hubbard e Barbara Krieger / Efeitos Especiais: John Frazier / Treinadores dos cães: Karl Lewis Miller e “Animal Action” / Música: Ennio Morricone / Som: Bob Gravener / Maquilhagem: Dave Allen / Montagem: Bernard Gribble / Interpretação: Kristy McNichol (Julie Sawyer), Paul Winfield (Keys), Burl Ives (Carruthers), Jameson Parker (Roland Gray), Lynne Moody (Molly, a colega mulata de Julie), Karl Lewis Miller (o assaltante), Marshall Thompson (o realizador dos filmes publicitários), Bob Minor (Joe), Vernon Weddle (Vet), Sam Lewis (Charlie), Samantha Fuller (Helen, a neta de Charlie), Samuel Fuller (Charlie Felton), Alex A. Brown (o homem atacado na igreja), atc. Produção: Joan Davison, Edgar J. Sherick e Nick Vanoff para a Paramount / Cópia: em 35mm, cor, com legendado em espanhol e eletronicamente em português, 89 minutos / Estreia Mundial: Hollywood, 18 de Junho de 1982 / Inédito comercialmente em Portugal / Apresentado, pela primeira vez no nosso País, pela Cinemateca Portuguesa, na Sala Dr. Félix Ribeiro, a 18 de Março de 1988. A sessão de dia 19 tem lugar na Esplanada e decorre com intervalo. _____________________________ The White Dog que se segue cronologicamente o The Big Red One (80) constituiu à época grande surpresa. Quando Fuller começava a ser aceite, este filme desconcertou. Porquê? Vou começar pelo começo, após um genérico de cores suaves, acompanhado por bonita música.
  • Rétrospective Samuel Fuller 3 Janvier - 15 Février 2018

    Rétrospective Samuel Fuller 3 Janvier - 15 Février 2018

    Rétrospective Samuel Fuller 3 janvier - 15 février 2018 En présence de Samantha Fuller Un des grands maîtres du cinéma hollywoodien d’après-guerre. L’œuvre de Samuel Fuller fait exploser toutes les catégories existantes, qu’elles relèvent du western (I Shot Jesse James), du film de guerre (Au-delà de la gloire) ou du film noir (Le Port de la drogue), en se mettant aussi au service d’histoires paradoxales (Shock Corridor) gorgées de violence et d’émotion. Jeudi 04 janvier 19h CONFÉRENCE « Qui êtes-vous…Samuel Fuller » par Frank Lafond Une première approche de l’œuvre pour mieux entrer dans la rétrospective qui commence. Directeur de collection aux éditions Vendemiaire et d’ouvrages collectifs sur George A. Romero et Georges Franju, Frank Lafond est l’auteur de Joe Dante, l’art du je(u), de Jacques Tourneur, les figures de la peur et du Dictionnaire du cinéma fantastique et de science-fiction. Il a publié récemment : Samuel Fuller, jusqu’à l’épuisement (Rouge profond, 2017). Projection, à 21h30, d’un film choisi par le conférencier : Violences à Park Row (1952). ACTUALITÉS Parution le 16 janvier 2018. Disponible à la Librairie de La Cinémathèque française dès le début de la rétrospective. SAMUEL FULLER Le choc et la caresse Sous la direction de Jacques Déniel et Jean-François Rauger. Éditions Yellow Now 38€ / 352 pages Contact : Guy Jungblut [email protected] / Tél. + 32 19 67 77 35 Plus d’infos p12 En librairie le 7 décembre 2017 SAMUEL FULLER Un homme à fables de Jean Narboni Editions Capricci 18€ / 160 pages.
  • The Magic Hour: Film at Fin De Siècle

    The Magic Hour: Film at Fin De Siècle

    ALL AS IT HAD BEEN Originally published in somewhat different form in the Village Voice (September 25 and December 11,2001). “He who imagines disasters in some ways desires them,” Theodor Adorno noted a half century ago. Imagining this disaster is what the movies are all about. It was as though a message had bounced back from outer space. The giant dinosaurs, rogue meteors, and implacable insect-aliens who have destroyed movie-set Manhattans over the past few years were now revealed as occult attempts to represent the logic of inevitable catastrophe. The big-budget recreation of Pearl Harbor in particular seemed to have emerged from some parallel time-space continuum to provide an explanation for what was even now occurring.l SO IT SEEMED TO THIS RESIDENT OF LOWER MANHATTAN, SEPTEMBER 12, 2001, the day after the volcano erupted, the asteroid crashed, the Martians landed, the Pacific fleet was destroyed, the big ship went down. Movies offered the only possible analogy for this “live” televised phantasmagoria of urban disaster, mind- boggling cartoon explosions, digicam special effects, and world-obliterating mayhem. Blockbusters are what bring audiences together, all at once, around the world. Their lingua franca is violent action, and since the collapse of the Soviet empire, those sounds and images have belonged overwhelmingly to the American- run multinational force conveniently designated “Hollywood:’ Hence, the familiar sense of a scenario directed by Roland Emmerich for the benefit of Rupert Murdoch, the déjà vu of crowds fleeing Godzilla through Manhattan canyons, the bellicose rhetoric of Independence Day, the cosmic insanity of Deep Impact, the romantic pathos of Titanic, the national trauma of Pearl Harbor.