DOCSLIB.ORG

Funny Games and the History of Hostage Noir

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Funny Games and the History of Hostage Noir ANN NO STOCKS SAVAGE NO SPORTS TRIBUTE ™ ALL NOIR www.noircity.com www.filmnoirfoundation.org VOL. 4 NO. 1 CCCC**** A PUBLICATION OF THE FILM NOIR FOUNDATION BIMONTHLY 2 CENTS MARCH / APRIL 2009 BLACK AND WHITE AND READ ALL OVER IN MEMORIAM DAHL, DEADLINES ANN SAVAGE DOMINATE NC7 By Haggai Elitzur Special to the Sentinel n e l or January, San Francisco’s weather was l A . unusually warm and sunny, but the atmos- M d phere was dark and desperate indoors at the i v F a Castro Theatre, as it always is for the NOIR CITY D film festival. On this, the festival’s seventh outing, Eddie Muller and Arlene Dahl onstage at the Castro most of the selections fell into the theme of news- paper noir. tive MGM when Warner Bros. was tardy in re- upping her contract. Arlene Dahl: Down-to-Earth Diva Dahl described meeting a large group of This year’s special guest was the still-beauti- friendly stars, including Gary Cooper, on her very ful redhead Arlene Dahl, whose two 1956 features first day on the Warner Bros. lot. She also offered screened as a double bill. Wicked as They Come some brief details about her two-year involvement By Eddie Muller was a British production featuring Dahl as a social with JFK, which was set up by Joe Kennedy him- Special to the Sentinel climber seducing her way across Europe. Slightly self. It was a spellbinding interview with a great Scarlet, a Technicolor noir filmed by John Alton, star; Dahl made it clear that she loved the huge ANN SAVAGE CHANGED MY LIFE . TWICE. paired Dahl with Rhonda Fleming as bad-girl / crowd that turned out that night, and the feeling The first time was in the dead of night more than 35 good-girl sisters, a tantalizing twosome of flame- was definitely mutual. years ago, when she snuck into my room via a small haired stunners who were surely born to costar in portable black-and-white TV and scared the living day- exactly this kind of a movie. Newspaper Noir: Reactions from the Audience lights out of me. In her onstage interview with festival host NOIR CITY 7’s media theme covered nearly I was in high school, in the early stages of film geek- Eddie Muller, following a compilation of her film two-thirds of the films shown, and proved very dom. A wise old cinema sage—he was maybe 30—told me clips from the 1940s through the 1960s, Dahl popular. “We couldn’t find everything that should that I’d seen nothing until I’d watched a little B picture entertained everyone with her sharp memories and have been shown,” noted Muller. “Even though the from 1945 called Detour. “Wait’ll you get a load of Vera,” warm recollections of the film business. While Film Noir Foundation has made great strides, he said. “The meanest woman in the history of movies, bar appearing in a musical in New York, on her first there’s still a lot of work to be done.” He cited two none.” trip east from her home state of Minnesota, she films—Joseph Losey’s The Lawless (1950) and Cy Vera did not disappoint. She was unlike anything I’d was discovered by Jack Warner. He threw her right Endfield’s The Underworld Story (1950)—as ever seen before, and I fell instantly in love. For me (and into the spotlight, costarring her with Dennis Mor- examples of films still needing rescue. “If we’d for many others, as I’d come to learn), she was the Circe of gan in Technicolor for her first appearance in front been able to screen those in this festival, it would (continued on pg. 12) of the camera. She switched to the more apprecia- (continued on pg. 11) FUNNY GAMES AND THE HISTORY OF HOSTAGE NOIR By Marc Svetov same title. It is not clear why he remade it, Sentinel Contributing Editor since it is shot-for-shot identical aside from the different, English-speaking actors and erman writer-director Michael the American setting. Perhaps the reason Haneke’s Funny Games (2007) had something to do with Ms. Watts, whom G follows a simple plot: Two prep Haneke admires and who returned the school–aged louts in short pants and white compliment by acting as his producer. gloves (Michael Pitt, Brady Corbet) invade There are two models for Haneke’s a middle-class family sanctum inhabited by film. The 1924 murders perpetrated by a father (Tim Roth), mother (Naomi Watts), Leopold and Loeb provide the ur-model and son vacationing in upstate New York. for the “inexplicable” killers. Alfred Hitch- They proceed to humiliate and torment the cock’s dissection of vaguely brilliant family. No reason is shown. The violence preppy killers in Rope (1948) is, of course, occurs off-screen throughout the film, but also a benchmark. In addition, Richard the special effects are acoustically Fleischer (Compulsion [1959]) and Tom omnipresent and unambiguous as the vio- Kalin (Swoon [1992]) provide contrasting lence is perpetrated. but equally iconic versions of real-life Funny Games is a Hollywood re- botched kidnappings. Naomi Watts in Funny Games make of Haneke’s 1997 German film of the (continued on pg. 10) 10 Noir City Sentinel March / April 2009 bus driver, kill him, and take five peo- What is interesting, however, is who went right. Bogart also embodies HOSTAGE (cont’d from pg. 1) ple hostage in a bar. that the family is usually shown to be March’s selflessness. But while But there is also a choice list of The finest of all hostage noirs is capable of defending itself, often March’s extends to his entire family, noirs dealing with families taken The Desperate Hours (1955), directed resorting to violence to escape its cap- Bogart’s extends only to his kid hostage. by William Wyler, with Fredric March tors and save the lives of loved ones. brother. Ultimately, each man displays Storm Fear (1955), produced and and Humphrey Bogart as its two duel- This can culminate in rather gruesome a mirrored appetite for destruction. directed by Cornel Wilde, starred Wilde ing protagonists. and sadistic scenes, as in Suddenly, Jack Kelly in The Night Holds alongside Dan Duryea and Jean Wal- Why were so many hostage noirs when one of the criminals is literally Terror intends to do as much harm as lace (Wilde’s real-life wife). It portrays released in the 1950s, the decade of fried to death via a massive electric he can to his family’s tormenters, hold- a not-very-wholesome family disinte- middle-class dreams of suburban peace shock contrived by granddad with the ing back only to spare his wife and two grating rapidly under the duress of an and harmony? Recovering from the assistance of the TV repairman. children, since at least two of the three invasion by a bank-robbing brother not-too-distant national traumas of In The Desperate Hours, Fredric criminals are homicidally unpre- (Wilde), wounded during a robbery. He World War II and the Depression, March is Bogart’s doppelgänger. Bog- dictable. But the bad blood between arrives at his brother’s mountain cabin America took to heart a triad of whole- art even acknowledges it, remarking on Kelly and Vince Edwards threatens to home with his two accomplices to hide some, moralistic received beliefs: rais- how he sees the wheels whirring in unhinge things, and Kelly is barely from the police during a seemingly ing a family, being a decent neighbor, March’s mind as the family father pulled back from primal vigilantism. endless winter snowstorm. The “good” respecting the law. Yet filmmakers in schemes against him. The escaped con- There is a deep ambiguity in brother (Duryea) is actually the bad those years were obsessed with night- vict sees his own ruthlessness reflected these hostage noirs. While the family’s brother, however: a bitter, sickly, failed marish portrayals of the violent inva- in March, but this mirror image is also right to defend itself is not questioned, writer. The strange twist [spoiler alert!] sion of this world by criminals. the man Bogart never became, the man there is an ever-present knowledge that is that the wife is Wilde’s former lover its wealthy idyll has been gained at the and still in love with him, and that expense of those cast out by society. Wilde is the real father of the couple’s The narratives hold up a mirror to son. America, showing that the American The Night Holds Terror (1955), dream is not created equal and leaves written and directed by Andrew L. many out in the cold. Stone with Jack Kelly as the husband Our feelings toward the hostage and father and Hildy Parks as the wife, takers consistently veer toward empa- deals with a family at the mercy of thy. Bogart in The Desperate Hours is invading criminals John Cassavetes, ultimately a truly pathetic man, while Vince Edwards, and David Cross. kid brother Dewey Martin becomes an In Suddenly (1954), directed by inadvertent victim—the true victim in Lewis Allen, Sterling Hayden is a cop the film, in fact. The pitiable loneliness in a small California town, and Frank of a loser hovers about Sinatra’s char- Sinatra is an ex-Army sharpshooter acter in Suddenly, while Cornel Wilde’s who passes through and holds a family portrayal of the criminal in Storm Fear hostage in order to assassinate the Pres- is outright sympathetic. While Mar- ident. shall Thompson in Dial 1119 and Cry Terror! (1958), also written Neville Brand in Cry Terror! are and directed by Stone and starring Rod clearly psychopaths, they are also lam- Steiger, James Mason, Neville Brand, entable persons for whom one feels and Inger Stevens, is a strange blend of pity.
Load more

Recommended publications
  • The Functional Music of Gail Kubik: Catalyst for the Concert Hall
    The Functional Music of Gail Kubik: Catalyst for the Concert Hall Alfred W. Cochran From the late 1930s through the mid-1960s, three composers for the concert hall profoundly influenced American music and exerted a strong influence upon music in the cinema-Virgil Thomson (1896-1989), Aaron Copland (1900-90), and Gail Kubik (1914-84). Each won the Pulitzer prize in music, and two of those awards, Thomson's and Kubik's, were derived from their film scores. 1 Moreover, both Thomson and Copland earned Academy Awards for their film work. 2 All three men drew concert works from their film scores, but only Kubik used functional music as a significant progenitor for other pieces destined for the concert hall. An examination of his oeuvre shows an affinity for such transformations. More common, perhaps, was the practice of composers using ideas derived from previously composed works when writing a film score. In Kubik's case, the opposite was true; his work for radio, films, and television provided the impetus for a significant amount of his nonfunctional music, including chamber pieces and orchestral works of large and small dimension. This earned well-deserved praise, including that of Nadia Boulanger, who was Kubik's teacher and steadfast friend. Kubik was a prodigy-the youngest person to earn a full scholarship to the Eastman School of Music, its youngest graduate (completing requirements in both violin and composition), a college teacher at nineteen, the MacDowell Colony'S youngest Fellow, and the youngest student admitted to Harvard University'S doctoral program in music. In 1940, he left the faculty of Teachers College, Columbia University and became staff composer and music program advisor for NBC.
    [Show full text]
  • 744 101St Chase and Sandborn Show Anniversary Show
    744 101ST CHASE AND SANDBORN SHOW ANNIVERSARY SHOW NBC 60 EX COM 5008 10-2-4 RANCH #153 1ST SONG HOME ON THE RANGE CBS 15 EX COM 5009 10-2-4 RANCH #154 1ST SONG UNTITLED SONG CBS 15 EX COM 5010 10-2-4 RANCH #155 1ST SONG BY THE SONS OF THE PIONEERS CBS 15 EX COM 5011 10-2-4 RANCH #156 1ST SONG KEEP AN EYE ON YOUR HEART CBS 15 EX COM 2951 15 MINUTES WITH BING CROSBY #1 1ST SONG JUST ONE MORE CHANCE 9/2/1931 8 VG SYN 4068 1949 HEART FUND THE PHIL HARRIS-ALICE FAYE SHOW 00/00/1949 15 VG COM 6868 1ST NATIONAL DEFENSE TEST DAY PART 1 OF 2 9/12/2024 60 VG+ SYN 6869 1ST NATIONAL DEFENSE TEST DAY PART 2 OF 2 9/12/2024 45 VG+ SYN 588 20 QUESTIONS 4/6/1946 30 VG- 246 20 QUESTIONS #135 12/1/48 AFRS 30 VG AFRS 247 20 QUESTIONS #137 1/8/1949 AFRS 30 VG AFRS 592 20 QUESTIONS WET HEN MUT. 30 VG- 2307 2000 PLUS THE ROCKET AND THE SKULL 30 VG- SYN 2308 2000 PLUS A VETRAN COMES HOME 30 VG- SYN 4069 A & P GYPSIES 1ST SONG IT'S JUST A MEMORY 00/00/1933 NBC 37 VG+ 7169 A CHRISTMAS CAROL WITH LIONEL BARRYMOORE, 15TH YEAR BROADCAST 12/25/1945 MUT 30 VG+ NET 1017 A CHRISTMAS PLAY #325 THESE THE HUMBLE (SCRATCHY) 30 G-VG SYN 2003 A DATE WITH JUDY WITH JOSEPH COTTON 2/6/1945 NBC 30 VG COM 938 A DATE WITH JUDY #86 WITH CHARLES BOYER AFRS 30 VG AFRS 6089 A TRIBUTE TO AL JOLSON A STAR STUDDED SHOW HONORING AL JOLSON 10/1/1946 MUT 52 EX NET 6867 A TRIBUTE TO GEORGE GERSHWIN REMEMEBERED 00/00/61 60 EX SYN 6228 A TRIBUTE TO IRVING BERLIN ALEXANDER'S RAGTIME BAND 8/3/1938 CBS 75 VG/EX NET 2488 ABBOTT AND COSTELLO WITH MARLENA DETRICH 10/15/1942 NBC 30 VG+ COM 2489 ABBOTT
    [Show full text]
  • The Broken Ideals of Love and Family in Film Noir
    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
    [Show full text]
  • 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
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Monday 25 July 2016, London. Ahead of Kirk Douglas' 100Th Birthday This
    Monday 25 July 2016, London. Ahead of Kirk Douglas’ 100th birthday this December, BFI Southbank pay tribute to this major Hollywood star with a season of 20 of his greatest films, running from 1 September – 4 October 2016. Over the course of his sixty year career, Douglas became known for playing iconic action heroes, and worked with the some of the greatest Hollywood directors of the 1940s and 1950s including Billy Wilder, Howard Hawks, Vincente Minnelli and Stanley Kubrick. Films being screened during the season will include musical drama Young Man with a Horn (Michael Curtiz, 1949) alongside Lauren Bacall and Doris Day, Stanley Kubrick’s epic Spartacus (1960), Champion (Mark Robson, 1949) for which he received the first of three Oscar® nominations for Best Actor, and the sci- fi family favourite 20,000 Leagues Under the Sea (Richard Fleischer, 1954). The season will kick off with a special discussion event Kirk Douglas: The Movies, The Muscles, The Dimple; this event will see a panel of film scholars examine Douglas’ performances and star persona, and explore his particular brand of Hollywood masculinity. Also included in the season will be a screening of Seven Days in May (John Frankenheimer, 1964) which Douglas starred in opposite Ava Gardner; the screening will be introduced by English Heritage who will unveil a new blue plaque in honour of Ava Gardner at her former Knightsbridge home later this year. Born Issur Danielovich into a poor immigrant family in New York State, Kirk Douglas began his path to acting success on a special scholarship at the American Academy of Dramatic Arts in New York City, where he met Betty Joan Perske (later to become better known as Lauren Bacall), who would play an important role in helping to launch his film career.
    [Show full text]
  • (XXXVIII:10) Michael Cimino: the DEER HUNTER (1978, 183 Min.) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    April 9, 2019 (XXXVIII:10) Michael Cimino: THE DEER HUNTER (1978, 183 min.) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. DIRECTOR Michael Cimino WRITING Michael Cimino, Deric Washburn, Louis Garfinkle, and Quinn K. Redeker developed the story, and Deric Washburn wrote the screenplay. PRODUCED BY Michael Cimino, Michael Deeley, John Peverall, and Barry Spikings CINEMATOGRAPHY Vilmos Zsigmond MUSIC Stanley Myers EDITING Peter Zinner At the 1979 Academy Awards, the film won Oscars for Best Picture, Best Director, Best Film Editing, Best Actor in a Supporting Role, and Best Sound, and it was nominated for Oscars for Best Actor in a Leading Role, Best Actress in a Supporting Role, Best Writing, and Best Cinematography. CAST Robert De Niro...Michael John Cazale...Stan John Savage...Steven Christopher Walken...Nick was the first of a “spate of pictures. .articulat[ing] the effect on Meryl Streep...Linda the American psyche of the Vietnam war” (The Guardian). George Dzundza...John Cimino won Oscars for Best Picture and Best Directing and was Chuck Aspegren...Axel nominated for Best Writing for The Deer Hunter. The film was Shirley Stoler...Steven's Mother such an artistic and critical accomplishment that he was given Rutanya Alda...Angela carte blanche from United Artists to make his next film, the Pierre Segui...Julien western Heaven’s Gate* (1980). This decision was a serious Mady Kaplan...Axel's Girl blow to Cimino’s directorial career, and it brought about the Amy Wright... Bridesmaid downfall of United Artists, forcing its sale to MGM in 1981 (The Mary Ann Haenel...Stan's Girl Guardian).
    [Show full text]
  • UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
    UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr.
    [Show full text]
  • {PDF EPUB} the Desperate Hours by Joseph Hayes the Desperate Hours by Joseph Hayes
    Read Ebook {PDF EPUB} The Desperate Hours by Joseph Hayes The Desperate Hours by Joseph Hayes. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658cbb545c3df14e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Plays similar to or like The Desperate Hours (play) 1990 American neo-noir suspense action thriller film, and a remake of the 1955 William Wyler crime drama of the same title. Both films are based on the 1954 novel by Joseph Hayes, who also co-wrote the script for this film with Lawrence Konner and Mark Rosenthal. Wikipedia. American playwright, novelist and screenwriter born in Indianapolis, Indiana, the son of Harold Joseph, a furniture dealer, and Pearl M. Arnold Hayes. Hayes entered a Benedictine monastery at the age of thirteen, attending St. Meinrad Seminary High School in southern Indiana for two years, but graduated from Arsenal Technical High School in Indianapolis in 1936. Wikipedia. 1955 film noir starring Humphrey Bogart and Fredric March.
    [Show full text]
  • Cazador Cazado
    CAZADOR CAZADO Michael Cimino. El año del dragón, 1985. on estudios en arquitectura y pintura, Mi- brece, sin llegar a eclipsar, los méritos de un en su versión original logró seducir a la crítica, Cchael Cimino (Nueva York, 1943), graduado fi lme clásico. en mucho debido a la elegante fotografía de Vil- de la Universidad de Yale, se inició fi lmando a- Con el estatus que confi ere la distinción de mos Zsigmond que incluye atractivos virados en nuncios publicitarios y posteriormente colaboró obtener el Oscar a mejor película y mejor direc- sepia. en la elaboración del guión de Naves misteriosas tor, Cimino persuadió a la casa productora Uni- Señalado por la industria del cine, Cimino (Silent Running, 1971), del creador de los efectos ted Artist para que le cumplieran todas sus exi- que en cuatro años tocó el cielo con sus manos especiales de 2001: Odisea del espacio (2001: gencias de producción para rodar el sofi sticado y se despeñó en el infi erno del fracaso, se man- A Space Odyssey, 1968), Douglas Trumbull. En western histórico La puerta del cielo (Heaven’s tuvo fi rme en sus convicciones y continuó de 1973 escribió junto a John Milius el guión de Mag- Gate, 1980), cinta subestimada por el gran pú- manera discreta ofreciendo muestras de su ca- num 44 (Magnum Force) segunda parte de la blico y vapuleada por la crítica, que tuvo que ser pacidad en cintas como El año del dragón (Year saga de Harry el sucio (Dirty Harry, 1971). sometida a un recorte obligado de 149 minutos, of the Dragon, 1985), Horas de angustia (Despe- Cimino convence a Clint Estwood para que pero ni aún así fue comercialmente atractiva.
    [Show full text]
  • Janfeb03 (Page 2)
    January - February, 2003 50 Years Ago... by Carla Whalen The lot was humming with activity in Allen, Slim Pickens, Eddy Waller, Roy the years 1952 and 1953. Republic Pictures Barcroft, Rod Cameron, Forrest Tucker, owned the facility, continued to produce Harry Carey, Jr., John Agar and Jim Davis; feature films, and was beginning to enter with cowgirls Mary Ellen Kay, Penny into television production. Republic made Edwards, Marjorie Lord, Estelita Rodriguez forty-six features in ’52 and ’53, of which and Gale Storm. The most famous feature twenty six were westerns starring big B- of this two-year period was The Quiet Man movie cowboys Allan "Rocky" Lane, Rex starring John Wayne, Maureen O’Hara, Barry Fitzgerald and Ward Bond. This was shot mostly on distant location in a very rainy Ireland, with the interiors done back here on the lot on what are now Stages #9 and #10. Republic also continued producing the "cliffhanger" serials it was famous for and Bill Williams, Kit Carson produced four 12-episode Chapterplays during 1952-53; Canadian Mounties vs. over three-hundred fifty B-westerns, Atomic Invaders, Radar Men from the Moon, including fifty-six Gene Autry and eighty- Zombies of the Stratosphere and Jungle Drums two Roy Rogers singing cowboy oaters. By of Africa starring Clayton Moore, who was the early 50’s Republic’s production schedule taking a break from his role as "The Lone was the lowest it had been since 1935, and Ranger." Republic produced Commando Cody most shows were shot on location leaving the – Sky Marshal of the Universe as a television stages available to independent producers.
    [Show full text]