DON SIEGEL'S THEATRICAL 'THE LINEUP' STARRING ELI WALLACH

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-zxVl891ZbsA/X5c-mUlPnaI/AAAAAAABZFc/qh01zNxBm9UGadoeUtxDENnoWFeoaUp7wCLcBGAsYHQ/s866/0.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="866" height="251" src="https://1.bp.blogspot.com/-zxVl891ZbsA/X5c-mUlPnaI/AAAAAAABZFc/qh01zNxBm9UGadoeUtxDENnoWFeoaUp7wCLcBGAsYHQ/w400-h251/0.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Eli Wallach and Robert Baily Year: 1958 Rating: ****1/2</u><br></td></tr></tbody></table><p>Brazen and bizarre crime flick beginning with a police investigation of what turns out being heroin smuggled through antiques from a cruise ship, and then focusing on the criminals who collect the stuff: the first fifteen minutes a police procedural based on the television series its named after, also known as SAN FRANCISCO BEAT, a Bay Area DRAGNET from the early part of the sparse Eisenhower decade, in which this edgy theatrical adaptation came out in the hipper/jazzier crest of.</p><p></p><p>Eli Wallach, as the crazy, insecure and sometimes charming lead thug named Dancer, shipped in from Florida with a tan intact, follows subtle "orders" and etiquette lessons from elder partner Robert Keith, making for a unique and twisted partnership that could be called MY FAIR SOCIOPATH: both (along with "dipso" getaway driver Richard Jaeckel) going from the various oblivious "mules" to either take the hidden heroin, or their lives. Often both. And director Don Siegel keeps the suspense on par with the snappy Noir dialog, and there's even some homoerotic stuff thrown in. Way, way ahead of its time, THE LINEUP exceeds the very limited series it's loosely derived (there's even a Lineup scene in the beginning to attempt retrofitting the title). Thank Don for that... who fought to make this LINEUP his own way: where the cops are but a Greek Chorus for the killers. </p><p><span></span></p>

action, body count, crime, don siegel, drugs, eli wallach, fifties, film noir or melodrama, richard jaekal, robert keith, TV adaptation

DON SIEGEL'S THEATRICAL 'THE LINEUP' STARRING ELI WALLACH

Eli Wallach and Robert Baily Year: 1958 Rating: ****1/2 Brazen and bizarre crime flick beginning with a police investigation of what turns o...

QUEEN OF TECHNICOLOR RHONDA FLEMING GOES 3D FOR 'INFERNO'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-n0JqjoxrFLQ/X4uH91WQDEI/AAAAAAABZC0/QjyYlqO2_posbE30nxaxmfguAeXV0p0cgCLcBGAsYHQ/s1130/inferno-rhonda-fleming.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="863" data-original-width="1130" height="305" src="https://1.bp.blogspot.com/-n0JqjoxrFLQ/X4uH91WQDEI/AAAAAAABZC0/QjyYlqO2_posbE30nxaxmfguAeXV0p0cgCLcBGAsYHQ/w400-h305/inferno-rhonda-fleming.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for Ronda Fleming INFERNO Year: 1953 Rating: *** </u><br></td></tr></tbody></table><p>Robert Ryan could be difficult to root for since he played contentedly bitter types who didn't need or want rooting for...</p><p>But with INFERNO his rich-husband character gets so screwed over by his wife and her lover, left in the scorching desert — without use of his legs — to trudge through rocky terrain before he's a Hot Pocket for condors, there's no other option but to have complete sympathy, if anything else for the movie (and his dire situation) to conclude...<br></p><p>Yet the most intriguing scenes not only alleviate the halting, sometimes awkward tension but add a touch of Film Noir/Melodrama to the Adventure...</p><p>Particularly when trophy wife Rhonda Fleming and cold-blooded stud William Lundigan (usually cast as a one-dimensional hero) — who'd stranded Ryan in the first place — deal with investigating cops, and, when alone, bicker nervously: proving they'd be a horrible couple if their plot <i>does</i> work. So for Survival buffs, these talky, dime-novel moments would be an intrusion. But for Rhonda Fleming fans, the Queen of Technicolor originally curved within 3 fine Dimensions works just fine.  <br></p><span></span>

3D, adventure, fifties, melodrama, rhonda fleming, robert ryan, survival, thriller, tribute, william lundigan

QUEEN OF TECHNICOLOR RHONDA FLEMING GOES 3D FOR 'INFERNO'

Poster for Ronda Fleming INFERNO Year: 1953 Rating: *** Robert Ryan could be difficult to root for since he played contentedly bitter types ...

REST IN PEACE TO RHONDA FLEMING FROM THE NOIR 'CRY DANGER'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rE4OMkM3vIs/X4qv72yb0wI/AAAAAAABY_Q/0yjZtrnlBnsEkQWTRuksUgP-YfwbLskIQCLcBGAsYHQ/s482/aab84cb6855700f964cfcfea3f3a5c31.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="482" height="315" src="https://1.bp.blogspot.com/-rE4OMkM3vIs/X4qv72yb0wI/AAAAAAABY_Q/0yjZtrnlBnsEkQWTRuksUgP-YfwbLskIQCLcBGAsYHQ/w400-h315/aab84cb6855700f964cfcfea3f3a5c31.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>William Powell & Rhonda Fleming 1951 Rates: ***1/2</u><br></td></tr></tbody></table><p>The recently-departed Queen of Technicolor Rhonda Fleming also reigned in a few B&W Film Noirs, like the famous OUT OF THE PAST... and the obscure CRY DANGER starring Dick Powell as a pardoned convict who, five years earlier, was falsely accused of stealing a load of still-missing cash...</p><p>And the first twist involves Richard Erdman as a limping war hero, providing Powell's Rocky a false alibi, with a motive — making him an endearing sidekick but one that spouts too much exposition, filling Powell and the audience in on what could've panned-out more creatively otherwise...</p><p></p><p>Like the fact Rocky's still-incarcerated partner's pretty/perfect wife is even crazier about Rocky, and here's where an intensely dedicated, immensely worried (if somewhat underused) Rhonda Fleming enters, living in a trailer park where the boys — having hatched a comeback plan — temporarily reside. Meanwhile chief villain William Conrad scowls behind his big bookie desk, and Rocky threatens him endlessly while being endlessly dogged by a determined cop: Which all sounds pretty complicated, as Noirs usually involve a mazy plotline, or two. But what works here are the simplistic and (even back then) nostalgic 1930's Gangster-era shoot-outs within a sparse aesthetic — and yet, peppered with so many nifty, convenient one-liners, CRY DANGER is often too clever and self-aware for its own good. <br></p><p><span></span></p>

cult, fifties, film noir or melodrama, regis toomey, rhonda fleming, thriller, william conrad, william powell

REST IN PEACE TO RHONDA FLEMING FROM THE NOIR 'CRY DANGER'

William Powell & Rhonda Fleming 1951 Rates: ***1/2 The recently-departed Queen of Technicolor Rhonda Fleming also reigned in a few B&...

JOHN THAW DIGS MYRA FRANCIS ON 'THE SWEENEY: COUNTRY BOY'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-p9TNOOwMTz4/X4XQae-XyGI/AAAAAAABY9Y/0I7bX198QH8t2ckwxh-OLE3MtUyBztiqACLcBGAsYHQ/s773/1.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="687" data-original-width="773" height="355" src="https://1.bp.blogspot.com/-p9TNOOwMTz4/X4XQae-XyGI/AAAAAAABY9Y/0I7bX198QH8t2ckwxh-OLE3MtUyBztiqACLcBGAsYHQ/w400-h355/1.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Myra Francis on The Sweeney Year: 1975 Grade: A</u><br></td></tr></tbody></table><p>THE SWEENEY: COUNTRY BOY has our own London boys joined by a well-dressed/well-educated tech guy, naïvely grabbing the front car seat where <i>only</i> John Thaw's Det. Insp. Jack Regan rides...</p><p></p><p>As the central crime involves banks robbed by an inside man using underground wiring, the plot thickens when Myra Frances is introduced as... well... at first the flirtatious Regan thinks she's merely the annoying new guy's old college friend... </p><p>But Thaw thaws out to Det. Sgt. David Keel (<i>IF</i> actor Robert Swann) before he's shot in a warehouse and laid out, bleeding badly, exposed in the open: And with every attempt Regan and Dennis Waterman's Det. Sgt. George Carter make to locate the hidden shooter, another bullet's intentionally fired into another non-vital yet painful spot... </p><p>A dead-eye warning of what could happen if they don't back off (foreshadowing Stanley Kubrick's FULL METAL JACKET with Dorian Harewood's brutally tortuous, drawn-out demise)...: But it's the very, very end when the lovely Myra Francis's Dr. Liz Keel tells Regan who she really is: He simply didn't know the badly wounded (though not dying) victim has the same last name as the now deeply concerned female surgeon — a last name she wasn't born with, providing our famously womanizing Regan the epitome of not only the perfect girl who got away, but one that wasn't his to begin (or end up) with... For all the SWEENEY ingenues, she had both looks and brains... The genuine article — with perfect punctuation!  </p><p><span></span></p>

action, british, british neo noir, british tv, buddy, cop, crime, dennis waterman, heist, john thaw, myra francis, robert swann, seventies, suspense, tv series

JOHN THAW DIGS MYRA FRANCIS ON 'THE SWEENEY: COUNTRY BOY'

Myra Francis on The Sweeney Year: 1975 Grade: A THE SWEENEY: COUNTRY BOY has our own London boys joined by a well-dressed/well-educated tech...

TOM COURTENAY TURNS ANTAGONIST FOR 'A DANDY IN ASPIC'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-onFQtAbXhzg/X4Q59GpeFFI/AAAAAAABY7s/z_H9oK-TU58sBuCISmjKqDsPtBz6iXYxgCLcBGAsYHQ/s480/0.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="472" height="400" src="https://1.bp.blogspot.com/-onFQtAbXhzg/X4Q59GpeFFI/AAAAAAABY7s/z_H9oK-TU58sBuCISmjKqDsPtBz6iXYxgCLcBGAsYHQ/w394-h400/0.jpeg" width="394"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Tom Courtenay gels in ASPIC Year: 1968 Rates: ***1/2</u><br></td></tr></tbody></table><p>"I do believe that you two would have got on well together," Tom Courtenay as a stuffy, cautious and paranoid, cold-blooded British agent named Gaitiss tells Mia Farrow's flaky model Caroline after she beds Laurence Harvey, a far more sympathetic agent that <i>we</i> think is named Alexander Eberlin. "You haven't got a past, and <i>he</i> hasn't got a future."</p><p></p><p>Sadly, either did veteran director Anthony Mann, who started with Film Noir using creative camera angles before turning to traditional Westerns, making A DANDY IN ASPIC a kind of halfway visual comeback as he... before dying on set... is behind everything during the first forty-minutes in England — following the assassination of a top spy— before moving to Germany where Laurence took over direction, sustaining that era's zoom shots and surreal perspectives... </p><p>But the main motivation involves Laurence Harvey's Eberlin with the real name of Krasnevin: not only a Russian spy but THE Russian that everyone — during the last half of an uneven yet unique espionage thriller — wants to seek out and destroy: Especially scene-stealing Courtenay, playing it so vile, vicious and unlikable that his strict Prisoner-of-War rat from KING RAT is <a href="http://www.cultfilmfreaks.com/2020/02/otley.html">OTLEY</a> (a charming rogue) by comparison. Meanwhile the best scenes don't involve Harvey at all... especially his banal romance with an annoying Farrow, whose dated hippie threads clash against the more timeless grey/gritty Cold War aesthetic: It's the two suspenseful meetings between Courtenay (while sticking to Harvey like glue) and Russian Lionel Stander that really stand out: Reminding both the audience <i>and</i> the secretly hunted anti-hero of an impending fate which, in this case, might have deserving company. </p><p><span></span></p>

anthony mann, british neo noir, espionage, laurence harvey, mia farrow, sixties, spy, suspense, thriller, tom courtenay

TOM COURTENAY TURNS ANTAGONIST FOR 'A DANDY IN ASPIC'

Tom Courtenay gels in ASPIC Year: 1968 Rates: ***1/2 "I do believe that you two would have got on well together," Tom Courtenay as...

PETER SELLERS, BRITT EKLAND & VICTOR MATURE 'AFTER THE FOX'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-THcQLwBHKtg/X3-_PicLybI/AAAAAAABYwY/UGO-TePn7bccrJGRmFmqZU_emUSH6Ea8gCLcBGAsYHQ/s1530/Screen%2BShot%2B2020-10-08%2Bat%2B6.21.50%2BPM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="947" data-original-width="1530" height="248" src="https://1.bp.blogspot.com/-THcQLwBHKtg/X3-_PicLybI/AAAAAAABYwY/UGO-TePn7bccrJGRmFmqZU_emUSH6Ea8gCLcBGAsYHQ/w400-h248/Screen%2BShot%2B2020-10-08%2Bat%2B6.21.50%2BPM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Britt Ekland in AFTER THE FOX Year: 1966 Rates: **1/2</u><br></td></tr></tbody></table><p>Victor Mature plays an aged, has-been actor who spends so much time bickering with agent Martin Balsam about doing or <i>not</i> doing a French existential film, you'll simply want things to narrow into what the <i>real</i> movie's about...</p><p></p><p>And AFTER THE FOX doesn't mean <i>what follows</i> but <i>who's followin</i>g Peter Sellers' criminal named Fox: He broke out of prison, in disguise, and there's plenty of humor but not enough laughs outright... <br></p><p>Shame since the cinematography's so gorgeous, a satire on the pretentious side of 1960's French New Wave cinema, ironically directed by 1950's minimalist BICYCLE THIEVES auteur Vittorio De Sica, who doesn't allow either his funny (Sellers) or straight man (Mature) enough time together... leaving the best scenes to Britt Ekland as The Fox's film-buff little sister he lives to protect, even more important than the plot to recover his previously stolen loot. But, like that bogus art film (badgered by noisy, annoying villagers), all that matters is the deliberately pointless running around, which is entertaining yet tiresome. And not always in that order<span style="color: grey;">.</span></p><p><span style="color: grey;"><span></span></span></p>

brit ekland, british, comedy, french, heist, peter sellers, sixties, victor mature

PETER SELLERS, BRITT EKLAND & VICTOR MATURE 'AFTER THE FOX'

Britt Ekland in AFTER THE FOX Year: 1966 Rates: **1/2 Victor Mature plays an aged, has-been actor who spends so much time bickering with age...

YOUNG MARRIEDS EDDIE & VALERIE BET 'THE SEDUCTION OF GINA'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tOR-xfzAnw4/X4LgPyRNN8I/AAAAAAABY3I/r9ueyiPELBgMV54txRVGNCT7kqVmxNjYQCLcBGAsYHQ/s1993/00.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1497" data-original-width="1993" height="300" src="https://1.bp.blogspot.com/-tOR-xfzAnw4/X4LgPyRNN8I/AAAAAAABY3I/r9ueyiPELBgMV54txRVGNCT7kqVmxNjYQCLcBGAsYHQ/w400-h300/00.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Valerie Bertinelli as GINA Year: 1984 Rating: ***1/2</u><br></td></tr></tbody></table><p>It was love and marriage that prompted premiere rock god Eddie Van Halen to score this 1984 TV-movie THE SEDUCTION OF GINA for wife Valerie Bertinelli; only don't expect cool beachy grooves like the same years' <a href="http://www.cultfilmfreaks.com/2018/11/THEwildLIFE.html">THE WILD LIFE</a> that he <i>thoroughly</i> composed: herein among three prerecorded instrumental tracks, a <i>Jump</i>-like synth-driven opener introduces Valerie's titular GINA as a flaky college student married to a serious med student, and after a beginner's luck bout of barroom horse race gambling, she winds up a desperate addict...</p><p></p><p>Which is not only constrained by television standards, but someone as adorable as Valerie hitting rock bottom isn't very rocky, or bottomy...</p><p>The casino mogul (Michael Brandon) she owes and ultimately "has to" sleep with is both better looking and more aptly suited than her downer husband; and then a streetwise bookie hardly puts pressure since she gets trust fund money so easily. But that doesn't mean this SEDUCTION doesn't have value. There's a good amount of suspense while she's actually gambling (mostly Black Jack) within the plush Tahoe casino, and one morning-after as she rushes to her apartment seconds before her husband arrives is a genuine nail-biter. Meanwhile, best pal Dinah Manoff has potential as a boy-crazy sidekick... <i>if</i> this were a series-pilot instead... But GINA is a basic tale about what happens when a gorgeous young lady has too much free-time that winds up costing. If only she stuck with the polite millionaire and dropped the whiny loser... But then she'd have no more problems and this is — while doing for gambling what PRETTY WOMAN does for prostitution<i> </i><i>— </i>an addiction melodrama that's a decent bet for passing the time. </p><p><span></span></p>

dinah manoff, edward van halen, eighties, exploitation, gambling, melodrama, michael brandon, TV, tv movie, valerie bertinelli

YOUNG MARRIEDS EDDIE & VALERIE BET 'THE SEDUCTION OF GINA'

Valerie Bertinelli as GINA Year: 1984 Rating: ***1/2 It was love and marriage that prompted premiere rock god Eddie Van Halen to score this ...

AND GOD RESTED: A RAMBLING FAREWELL TO EDDIE VAN HALEN

<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BxBZTn_z-4A/X30G2-9zWxI/AAAAAAABYus/xmF1kAXMRVMKwqUF9QHcQ_bDadWdkKL0ACLcBGAsYHQ/s500/R-2120293-1265128957.jpeg.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-BxBZTn_z-4A/X30G2-9zWxI/AAAAAAABYus/xmF1kAXMRVMKwqUF9QHcQ_bDadWdkKL0ACLcBGAsYHQ/w320-h320/R-2120293-1265128957.jpeg.jpeg" width="320"></a></div><p>Faded memory of two long-haired kids riding a BMX bike... The one on the handlebars holds a ghetto blaster as they're leaving the high school campus while Van Halen's <i>Feel Your Love Tonight</i> blares from outta those circular speakers...<br></p><p>Well that was very long ago when Eddie Van Halen existed on radios and television AND IN MOVIES too... </p><p>One to catch is <a href="http://www.cultfilmfreaks.com/2018/11/THEwildLIFE.html">THE WILD LIFE</a> where as SOLE COMPOSER he's not burdened by temperamental (or just plain MENTAL) lead singers... ... And throughout Cameron Crowe's counter <a href="http://www.cultfilmfreaks.com/2010/03/robert-romanus-fast-times-at-ridgemont.html">FAST TIMES</a> tale of two former high school buddies (and one hippie little brother) are blues and rock instrumentals, and even a lightning-fast jazz track taking place in a donut shop... </p><p></p><p>And before that was Jonathan Kaplan's miraculous teen-angst cult classic OVER THE EDGE... </p><p>Made in 1979 (and released on cable in 1982) where Van Halen's first album's Kinks cover YOU REALLY GOT ME orchestrated heavy metal kids Matt Dillon, Michael Kramer and Tom Fergus entering a two-story suburban house filled with rowdy movie kids representing rowdier kids from real life... mainly influenced by movies, and music: Most of who would eventually either burn out from or grow out of those lean young crazy years... But some of us never forgot the tunes that those seemingly endless great times grooved to... And how Eddie Van Halen's beachy rhythm/riffs could exceed even his signature/legendary hammer-on solos... And... So... Anyways... REST IN PEACE to an eternal Guitar God: This post's for you!<br></p><span></span>

edward van halen, eighties, memorial, music, seventies, tribute, van halen

AND GOD RESTED: A RAMBLING FAREWELL TO EDDIE VAN HALEN

Faded memory of two long-haired kids riding a BMX bike... The one on the handlebars holds a ghetto blaster as they're leaving the high s...

BRITISH WEREWOLF FROM OUTER SPACE HORROR FLICK 'PREY'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-NRpxrA8L8Cw/X3luAXQPQFI/AAAAAAABYgY/cQQtgTJM8OsFAEUoMnu6_FssHHoPtQ7hQCLcBGAsYHQ/s1061/Screen%2BShot%2B2020-09-28%2Bat%2B2.37.21%2BPM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1061" data-original-width="961" height="400" src="https://1.bp.blogspot.com/-NRpxrA8L8Cw/X3luAXQPQFI/AAAAAAABYgY/cQQtgTJM8OsFAEUoMnu6_FssHHoPtQ7hQCLcBGAsYHQ/w363-h400/Screen%2BShot%2B2020-09-28%2Bat%2B2.37.21%2BPM.jpeg" width="363"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: PREY Year: 1978 Rating: ***1/2</u><br></td></tr></tbody></table><p>A shape-shifting space alien takes the form of a handsome young man on Earth and, after violently doing what he was sent for (which we learn at the end), he finds two pretty lesbians holed-up in a rural country estate... just so he can study their daily/nightly routine... Which means that men are all the same no matter what planet they derive...<br></p><p></p><p>For a robotic-like Barry Stokes it's a complicated (and often risky) lesson of love and jealousy in what's an offbeat triangle within a low-budget science-fiction horror with plenty of intended downtime...</p><p>Giving the feel that cult director Norman J. Warren's PREY is actually more of a deliberately slow-paced arthouse thriller, and, filmed in England with British actors, the acting's quite good when it really shouldn't be... </p><p>Featuring the more feminine and once straight Glory Annen (with an unseen backstory involving an ex-husband), who's given either loving/controlling kisses <i>or</i> dirty/frustrated looks by her shorter-haired yet equally attractive lover (Sally Faulkner), the most fun is how the bickering couple tries figuring out this strange male visitor, who winds up like a benign, manipulated little brother of sorts... <br></p><p>Meanwhile the taboo exploitation gets sporadically intruded upon by what hardcore horror fans would want much more of, like gruesome body count deaths by the alien, particularly while sporting full fangs, an interstellar wolfman, who, despite having plenty to watch (as a voyeur along with the intended male audience) has very little to do. </p><p><span></span></p>

barry stokes, british, exploitation, glory annen, horror, indie, lesbian, norman j. warren, rural, sally faulkner, science-fiction, seventies, thriller

BRITISH WEREWOLF FROM OUTER SPACE HORROR FLICK 'PREY'

Title: PREY Year: 1978 Rating: ***1/2 A shape-shifting space alien takes the form of a handsome young man on Earth and, after violently doin...

LOW BUDGET BRITISH ANTHOLOGY HORROR FLICK 'SCREAMTIME'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-prJnANdjeRI/X3vuxppXoJI/AAAAAAABYj8/xgqghSXqptAXBXM1Qws_kzY29VlCxV2HQCLcBGAsYHQ/s2042/1.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1523" data-original-width="2042" height="299" src="https://1.bp.blogspot.com/-prJnANdjeRI/X3vuxppXoJI/AAAAAAABYj8/xgqghSXqptAXBXM1Qws_kzY29VlCxV2HQCLcBGAsYHQ/w400-h299/1.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Dione Inman in SCREAMTIME Year: 1983 Rating: ***1/2</u><br></td></tr></tbody></table><p>"They're British," says New York lowlife Vincent Russo after stealing three video rentals, "I can tell by the way they talk." But it's more than that... </p><p>The mellow pace and steady acting punctuates British cinema while SCREAMTIME involves a wraparound story where two thieves insert and eject short films that <i>they and we</i> are viewing...</p><p></p><p>And the best is the first, THAT'S THE WAY TO DO IT, about creepy puppet Punch handled by an old man with a nagging wife — <i>plus</i> a goading stepson whose girlfriend Dione Inman becomes the "final girl" as the deaths leading to her climactic chase are strategically predictable: those who die <i>really</i> deserve it... </p><p>Followed by DREAMHOUSE where a married woman is tortured by images of the title location's past (ala <a href="http://www.cultfilmfreaks.com/2020/05/still-crazy-4-the-SHINING.html">THE SHINING</a>)... This one's more cerebral and a bit plodding yet ultimately saved by a fantastic twist, which is <i>all</i> DO YOU BELIEVE IN FAIRIES amounts to: a dirt-bike racer housesits for two ecentric old ladies... and while a Punch puppet is the first tale's tiny killer, here it's a slew of Garden Gnome statues led by wide-eyed Kim Thomson's telekinetic Fairy Queen ghost. And it's lucky those East Coast punks actually robbed a London video store since Britain's super-cheap horror flicks are usually worthwhile: Like a broken antique clock can't tell time but is still magnificent to look at, there's plenty here to savor. <br></p><p><span></span></p>

ann lynn, british, cult, dionne inman, eighties, exploitation, haunted house, horror, horror anthology, kim thomson, robin baily, vincent russo

LOW BUDGET BRITISH ANTHOLOGY HORROR FLICK 'SCREAMTIME'

Dione Inman in SCREAMTIME Year: 1983 Rating: ***1/2 "They're British," says New York lowlife Vincent Russo after stealing thre...

BEFORE TAKING A BULLITT PETER YATES STAGED THIS 'ROBBERY'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-vguw7-G2N5E/X2iq7veqsbI/AAAAAAABYbE/pMOCwLBzjPIvZW_i24OcvYC1Xw_vvQ8yACLcBGAsYHQ/s501/00387645.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="501" data-original-width="466" height="320" src="https://1.bp.blogspot.com/-vguw7-G2N5E/X2iq7veqsbI/AAAAAAABYbE/pMOCwLBzjPIvZW_i24OcvYC1Xw_vvQ8yACLcBGAsYHQ/s320/00387645.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>ROBBERY Year: 1967 Rating: ****</u></td></tr></tbody></table><p>Best known as the little obscure crime film that gave English director Peter Yates his big game-changing opportunity to make BULLITT stateside after Steve McQueen had witnessed the rudimentary car chase sequence from ROBBERY, an extremely sparse, deliberately uncaring British Neo Noir Heist-Thriller... </p><p>And it's not just the chase that Yates carried over to the McQueen classic but the meticulous and metronomic moments leading up to it...</p><p></p><p>Starring the always tough/ultra square-jawed Stanley Baker but only because he's in charge, ROBBERY makes pretty much equal use of the male leads including James Booth as the trailing cop, William Marlowe as Baker's strong-silent second, Barry Forster as his strong-silent third while Frank Finlay, as a meek though crooked banker too-easily broken out of prison, is the most vulnerable and sympathetic...</p><p>Yet there's very little sympathy for these particular devils, whose only flaw is how long and tediously methodical it takes for the actual train heist (inspired by The Great Train Robbery) to go down... the director not always considering an audience but, like real life crimes — and even the McQueen ultra-realistic police-procedure about the other side of the law — Yates showcases the slowburn reality like being right there, for better or worse since it's not always extremely exciting, and that's the point. Just don't let the casting of beautiful poster-perfect Joanne Pettit fool you. ROBBERY cares neither about romance or the human condition. <br /></p>

action, barry foster, british neo noir, british new wave, frank finlay, heist, james booth, joanne pettit, peter yates, sixties, stanley baker, william marlowe

BEFORE TAKING A BULLITT PETER YATES STAGED THIS 'ROBBERY'

ROBBERY Year: 1967 Rating: **** Best known as the little obscure crime film that gave English director Peter Yates his big game-changing opp...

ANN LYNN LOCKED IN THE BRITISH NEO NOIR 'STRONGROOM'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-cs1lI7HDwpI/X20-yOk9w7I/AAAAAAABYbQ/lBrtAzOOVDAjWlXp9l6taIcuwutU4Y0xgCLcBGAsYHQ/s456/513gz2IOo8L._AC_.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="363" data-original-width="456" height="319" src="https://1.bp.blogspot.com/-cs1lI7HDwpI/X20-yOk9w7I/AAAAAAABYbQ/lBrtAzOOVDAjWlXp9l6taIcuwutU4Y0xgCLcBGAsYHQ/w400-h319/513gz2IOo8L._AC_.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for STRONGROOM Year: 1962 Rates: ***1/2</u><br></td></tr></tbody></table><p>STRONGROOM is an important early-1960's British crime films as it underlines what you won't find Stateside: to be extra cautious to <i>not harm anyone</i> during a heist or your jail sentence lengthens... </p><p>Making British bad guys not only more sympathetic but far more cautious, which includes bank robbers Keith Faulkner and Darren Nesbitt who, after locking the first guy's coworkers in the titular bank vault, is talked into by the more empathetic crook to return to the crime scene to provide some oxygen...<br></p><p></p><p>A twist ignited by the third robber's death... the older brother to the edgy Keith Faulkner, he held the key to the STRONGROOM that the oblivious cops won't let go of, so, what takes up most of the runtime is the bickering boys seeking a way back while, inside, spectacle-wearing bank manager Colin Gordon and subtle beauty Ann Lynn are running out of air, providing more race-against-time suspense than what should be occurring simultaneously outside, including investigating cops. Making for an anticipated 11th hour that everything deliberately hinges on, and a final twist that makes this one of the most Noirish of the Brit Neo Noirs. It's too bad there couldn't be a stronger man-woman chemistry inside the vault... but first-billed, far too old and completely miscast Colin Gordon seems like pretty Ann Lynn's father's accountant. A strong-silent <a href="http://www.cultfilmfreaks.com/search/label/william%20lucas">William Lucas</a> type would have fit better, giving Lynn something to keep breathing for and the audience to root for. </p><p><span></span></p>

ann lynn, british neo noir, british new wave, colin gordon, crime, darren nesbitt, heist, keith faulkner, race against time, suspense

ANN LYNN LOCKED IN THE BRITISH NEO NOIR 'STRONGROOM'

Poster for STRONGROOM Year: 1962 Rates: ***1/2 STRONGROOM is an important early-1960's British crime films as it underlines what you won...

PETER YATES DIRECTS A SLOWBURN 'THE FRIENDS OF EDDIE COYLE'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ddyLa33l_1Q/X2g58hD2hzI/AAAAAAABYaQ/WBM_FbUUNbw-eyGB16kD5yBt4XWb7mT4gCLcBGAsYHQ/s1427/0.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1106" data-original-width="1427" height="310" src="https://1.bp.blogspot.com/-ddyLa33l_1Q/X2g58hD2hzI/AAAAAAABYaQ/WBM_FbUUNbw-eyGB16kD5yBt4XWb7mT4gCLcBGAsYHQ/w400-h310/0.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Steven Keats in EDDIE COYLE Year: 1973 Rates: ****1/2</u><br></td></tr></tbody></table><p>The miracle of Peter Yates's Crime Thriller THE FRIENDS OF EDDIE COYLE is how interesting an entire movie full of long conversations can be, especially when the title character's played by an aged and experienced Robert Mitchum... </p><p>Turning in a natural, low-key yet still tightly-wound performance as a Boston career-criminal, who knows more <i>last names</i> than it's usual to get lost in within any Noir-style flick where a bunch of them are spouted left and right, and it takes several viewings to know exactly who's who... </p><p></p><p>And while Eddie tries getting manipulative cop Richard Jordan to squash an approaching sentence, there's a trio of dispersed bank robberies led by a masked, business-like Alex Rocco (kidnapping vault-key-holding bank managers while their families wait home at gunpoint) while hot rod driving Steven Keats as "Jackie Brown" cautiously runs guns throughout the surrounding rural landscape... and his story seems like a movie all its own, with a beginning, middle and end. Meanwhile, the weak spot is Peter Boyle as a bartender ex-con who gets around too easily, making Mitchum's plight as useless as he himself had made all of Keats's busy-work via double-cross... then again this <i>is</i> the purpose of a group of eclectic crooks pushing each other out of a losing game (hence the titular irony of FRIENDS), making this Peter Yates's return to the more cerebral/existential heist template of <a href="http://www.cultfilmfreaks.com/2020/09/AR.html">ROBBERY</a> but with a superior, groovy soundtrack (by Dave Grusin) that also blows away the hippie-jazz of BULLITT. </p><span></span>

alex rocco, crime, heist, neo noir, peter boyle, peter yates, richard jordan, robert mitchum, seventies, steven keats

PETER YATES DIRECTS A SLOWBURN 'THE FRIENDS OF EDDIE COYLE'

Steven Keats in EDDIE COYLE Year: 1973 Rates: ****1/2 The miracle of Peter Yates's Crime Thriller THE FRIENDS OF EDDIE COYLE is how inte...

KATHERINE WOODVILLE & CLIFFORD DAVID IN 'THE PARTY'S OVER'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-1dXVTLzzmsw/XzziI0uEthI/AAAAAAABW_4/H_boCGGea387hDt4ApVNwakRkiU6s6bowCLcBGAsYHQ/s1600/0-1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="888" data-original-width="1545" src="https://1.bp.blogspot.com/-1dXVTLzzmsw/XzziI0uEthI/AAAAAAABW_4/H_boCGGea387hDt4ApVNwakRkiU6s6bowCLcBGAsYHQ/s1600/0-1.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u> Katherine Woodville in THE PARTY'S OVER Year: 1965</u></td></tr> </tbody></table> Executive Producer Peter O'Toole and Jack Hawkins along with director Guy Hamilton took their names off this controversial British Beatnik flick where an American girl, missing from her New York tycoon father and businessman fiance, is supposedly raped/screwed after death: so for them it wasn't controversial enough...<br> <br> Yet no actual necrophilia occurs (unless you count a quick posthumous kiss), even in the restored cut when — a day before THE PARTY'S OVER — Oliver Reed and his wayward cohorts play cat-and-mouse with Clifford David as the rich chick's arranged fiance, Carson...<br>

ann lynn, beatnik, british, british new wave, clifford david, counter-culture, crime, eddie albert, jazz score, katherine woodville, louise sorel, maurice browning, mystery, oliver reed, romance, sixties

KATHERINE WOODVILLE & CLIFFORD DAVID IN 'THE PARTY'S OVER'

Katherine Woodville in THE PARTY'S OVER Year: 1965 Executive Producer Peter O'Toole and Jack Hawkins along with director Guy Ha...

PETER VAUGHAN IN 'SMOKESCREEN' WITH YVONNE ROMAIN

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wo1iPWEJvnw/X2NcyAnoCVI/AAAAAAABYOg/-56XIQ1y63gAsAYIqPhmNtMvzO-bj_axwCLcBGAsYHQ/s1600/0%252B2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1117" data-original-width="1600" src="https://1.bp.blogspot.com/-wo1iPWEJvnw/X2NcyAnoCVI/AAAAAAABYOg/-56XIQ1y63gAsAYIqPhmNtMvzO-bj_axwCLcBGAsYHQ/s1600/0%252B2.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Peter Vaughan & Yvonne Romain in SMOKESCREEN Year: 1964</u></td></tr> </tbody></table> The biggest shame about Jim O'Connelly's quirky low-budget British post-noir SMOKESCREEN is that it was a film instead of a television series since Peter Vaughan's perpetually cautious and stingy insurance adjuster Roper had so many more adventures in him....<br> <br> His particular case involves what the audience and a young couple witness from the very beginning: a burning car driving off a cliff, and we never see a driver, which is what Roper searches for throughout the hour-long programmer, going from one person to the next in the usual investigative fashion... <br>

british neo noir, british new wave, david gregory, glynn edwards, jill curzon, jim o'connolly, john carson, peter vaughan, sixties, yvonne romain

PETER VAUGHAN IN 'SMOKESCREEN' WITH YVONNE ROMAIN

Peter Vaughan & Yvonne Romain in SMOKESCREEN Year: 1964 The biggest shame about Jim O'Connelly's quirky low-budget British p...

CHRISTINA GREGG STALKED IN 'DON'T TALK TO STRANGE MEN'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-qravcCcDyN8/X1CbLsLak6I/AAAAAAABXmo/J5aWav-PBIUB9Z5mTY3JCjZL0WXmVduqQCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-09-03%2Bat%2B12.26.11%2BAM.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1147" data-original-width="1600" height="286" src="https://1.bp.blogspot.com/-qravcCcDyN8/X1CbLsLak6I/AAAAAAABXmo/J5aWav-PBIUB9Z5mTY3JCjZL0WXmVduqQCLcBGAsYHQ/s400/Screen%2BShot%2B2020-09-03%2Bat%2B12.26.11%2BAM.png" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Christina Gregg in DON'T TALK TO STRANGERS Year: 1962</u></td></tr> </tbody></table> With shows like CATFISH it may seem somewhat new: grown men soliciting and seducing young naïve girls into their clutches, online, but in the 1961 British New Wave Thriller, it happened pretty much the same way, via payphone...<br> <br> And while a title like DON'T TALK TO STRANGE MEN sounds like a public service announcement, it's ironic that the stranger on the phone is the one advising this to his target, the maybe too pretty and perhaps slightly too old for the pathetically desperate, lonely, needy role as gorgeous girl-next-door Christina Gregg, a bybrid of two babyface starlets, Diane Baker (before) and Jennifer Jason Leigh (after): she's part of what's more a teenage crush movie than a serial killer suspense, and it's not a one way street despite her doing all the acting facially...<br>

british new wave, christina gregg, crime, janina faye, serial killer, suspense, thriller

CHRISTINA GREGG STALKED IN 'DON'T TALK TO STRANGE MEN'

Christina Gregg in DON'T TALK TO STRANGERS Year: 1962 With shows like CATFISH it may seem somewhat new: grown men soliciting and sed...

LANCE COMFORT DIRECTS WILLIAM SYLVESTER IN 'BLIND CORNER'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-o4BFp458kaw/X1XXKFflQZI/AAAAAAABXvo/K5WNqmNc3b4RSaglOr_1c4z8NkCpJhsKACLcBGAsYHQ/s1600/11111.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="984" data-original-width="1600" src="https://1.bp.blogspot.com/-o4BFp458kaw/X1XXKFflQZI/AAAAAAABXvo/K5WNqmNc3b4RSaglOr_1c4z8NkCpJhsKACLcBGAsYHQ/s1600/11111.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Barbara Shelley (the cheater) and William Sylvester (the cheated) in BLIND CORNER Year: 1964</u></td></tr> </tbody></table> Stanley Kubrick's 2001: A SPACE ODYSSEY is known for its outer space special effects, prehistoric monkeys and a nefarious computer. As for humans there are two British actors (Keir Dullea and Gary Lockwood) and one American as that pair of astronauts' chief. But William Sylvester, though born in Oakland, California, is as much a British actor as they are, trained in RADA and a fixture of England's cinema since after World War II...<br> <br> Though known mostly for the Godzilla/King Kong homage GORGA (that is, before 2001), Sylvester's best performance is the main character from MAN IN THE DARK, actually titled BLIND CORNER, which sounds more like the Noir that it is, one of many low budget 1960's crime flicks from the British New Wave. <br>

british neo noir, british new wave, lance comfort, mark eden, perfect murder, sixties, thriller, william sylvester

LANCE COMFORT DIRECTS WILLIAM SYLVESTER IN 'BLIND CORNER'

Barbara Shelley (the cheater) and William Sylvester (the cheated) in BLIND CORNER Year: 1964 Stanley Kubrick's 2001: A SPACE ODYSSEY...

OLIVER REED EPISODES OF THE BRITISH CLASSIC 'THE SAINT'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Wog9_Cf7A24/X1AF0uZMLqI/AAAAAAABXl0/1S7jn872oGkEWVKAIdgbPLkazfqGRHN6QCLcBGAsYHQ/s1600/6.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="964" data-original-width="1600" src="https://1.bp.blogspot.com/-Wog9_Cf7A24/X1AF0uZMLqI/AAAAAAABXl0/1S7jn872oGkEWVKAIdgbPLkazfqGRHN6QCLcBGAsYHQ/s1600/6.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed on THE SAINT episode SOPHIA from the year 1963</u></td></tr> </tbody></table> In his early troubled-youth pictures THE SYSTEM and THE PARTY'S OVER, British actor Oliver Reed gave his future roles away with imitations that are, in those cases, poking fun of either Americans or the typical cinematic Gangster...<br> <br> The latter being used in the episode SOPHIA where Roger Moore's THE SAINT finds himself in rural Greece where the episode's titular character (played by a gorgeous Imogen Hassall)... the daughter of a stubborn, old-fashioned pub owner... is anticipating her supposedly rich New Yorker cousin...<br>

british, british new wave, crime, heist, imogen hassal, oliver reed, roger moore, sixties, TV, yvonne romain

OLIVER REED EPISODES OF THE BRITISH CLASSIC 'THE SAINT'

Oliver Reed on THE SAINT episode SOPHIA from the year 1963 In his early troubled-youth pictures THE SYSTEM and THE PARTY'S OVER, Bri...

WILLIAM LUCAS RISKS ENGLAND'S BIG FREEZE IN 'CALCULATED RISK'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bHWwnY_EIqI/X19rAPfBs7I/AAAAAAABYKc/j0o93N9rQ2gAmN6fKh8S8vTyLemDEpVBACLcBGAsYHQ/s1600/Screen%252BShot%252B2020-09-14%252Bat%252B1.37.35%252BAM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="895" data-original-width="1600" src="https://1.bp.blogspot.com/-bHWwnY_EIqI/X19rAPfBs7I/AAAAAAABYKc/j0o93N9rQ2gAmN6fKh8S8vTyLemDEpVBACLcBGAsYHQ/s1600/Screen%252BShot%252B2020-09-14%252Bat%252B1.37.35%252BAM.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>William Lucas smokes in the real cold England for CALCULATED RISK during Big Freeze of 1963</u></td></tr> </tbody></table> Continuing our wave of Noir/Crime BRITISH NEW WAVE, sadly enough, not all of them are great, especially shameful since <a href="http://www.cultfilmfreaks.com/2020/09/the-break.html">THE BREAK</a> cool baddie William Lucas stars in one of the most Noir-sounding titles, CALCULATED RISK, a hybrid of THE ASPHALT JUNGLE as a newly released old short convict has a big plan for a big heist (John Rutland doing Sam Jaffe) and LARCENY INC since they have to dig under two locations to reach the targeted goal...<br> <br> Which aren't stores but bombed-out houses from twenty-years past, leading to a lucrative bank vault while Lucas, as a sophisticated businessman who really doesn't need the bread, heads up a group of fellas about as classy and, alas, uninteresting, not seeming a fitful lot for a crime caper <i>or</i> movie...<br>

british neo noir, british new wave, caper, dilys watling, george martin, heist, john rutland, sixties, terence cooper, warren mitchell, william lucas

WILLIAM LUCAS RISKS ENGLAND'S BIG FREEZE IN 'CALCULATED RISK'

William Lucas smokes in the real cold England for CALCULATED RISK during Big Freeze of 1963 Continuing our wave of Noir/Crime BRITISH NE...

WILLIAM LUCAS MAKES 'THE BREAK' WITH CHRISTINA GREGG

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-hqkGdtorPhk/X14evWaZNNI/AAAAAAABYHI/5-TW6WJCWr8b5pKP706gRiny9ZEqt8lswCLcBGAsYHQ/s1600/14.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1082" data-original-width="1600" height="270" src="https://1.bp.blogspot.com/-hqkGdtorPhk/X14evWaZNNI/AAAAAAABYHI/5-TW6WJCWr8b5pKP706gRiny9ZEqt8lswCLcBGAsYHQ/s400/14.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Christina Gregg and William Lucas in THE BREAK Year: 1962</u></td></tr> </tbody></table> The same year British beauty Christina Gregg played a schoolgirl told <a href="http://www.cultfilmfreaks.com/2020/08/catfone.html">DON'T TALK TO STRANGE MEN</a>, she was the twenty-something sister of a convict who made THE BREAK from a train...<br> <br> And winds up with handful of eclectic characters that... as Quentin Tarantino attempted in HATEFUL EIGHT inspired by John Carpenter's classic THE THING... are all stuck together, here within a rural hotel: all with not only different personalities and perspectives but purpose, motivation and temperaments... Meanwhile the leading man is a sophisticated type: here a blocked author and, on the upside he quickly yet slowly finds kinship with the gorgeous Christina Gregg, but he's also being surreptitiously eyed by the most intriguing and perhaps crooked person onboard in CURSE OF FRANKENSTEIN tutor Robert Urquhart as a wily-charming gumshoe insurance investigator...<br>

action, british neo noir, british new wave, christina gregg, eddie byrne, lance comfort, robert urquhart, sixties, thriller, tony britton, william lucas

WILLIAM LUCAS MAKES 'THE BREAK' WITH CHRISTINA GREGG

Christina Gregg and William Lucas in THE BREAK Year: 1962 The same year British beauty Christina Gregg played a schoolgirl told DON'...

BRITISH NEO NOIR 'JUNGLE STREET' AKA 'JUNGLE STREET GIRLS'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xhXJyB_Strc/X2CIdVTI2iI/AAAAAAABYMQ/LKx3MK4jkdAAPJXqRdS1mQYYeyoFqfXlACLcBGAsYHQ/s1600/0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="964" data-original-width="1600" src="https://1.bp.blogspot.com/-xhXJyB_Strc/X2CIdVTI2iI/AAAAAAABYMQ/LKx3MK4jkdAAPJXqRdS1mQYYeyoFqfXlACLcBGAsYHQ/s1600/0.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>David McCallum and Gillian Watt with Anne Scott in JUNGLE STREET aka JUNGLE STREET GIRLS Year: 1960</u></td></tr> </tbody></table> After having met and married from <a href="http://www.cultfilmfreaks.com/2020/09/HellDrivers.html">HELL DRIVERS</a>, three years later David McCallum and Jill Ireland — a twenty-something still-at-home loser who hangs around a strip joint and that joint's top stripper — headlined something more low budget but far superior, a heist thriller that takes a long road to get there with many twisty avenues...<br> <br> The second lead is freshly-sprung convict Kenneth Cope, a handsome, experienced, bitter lad with a romantic background with Ireland (one scene as he charmingly converses with McCallum's kitchen sink mother is a standout); he also wants payback from former partner McCallum, who <i>didn't</i> get caught from what got him sent inside...<br>

brian weske, british neo noir, british new wave, david mccallum, heist, jill ireland, kenneth cope, marian collins, sixties, suspense, vanda hudson

BRITISH NEO NOIR 'JUNGLE STREET' AKA 'JUNGLE STREET GIRLS'

David McCallum and Gillian Watt with Anne Scott in JUNGLE STREET aka JUNGLE STREET GIRLS Year: 1960 After having met and married from HE...

CAROL REED'S BELFAST NOIR 'ODD MAN OUT' WITH JAMES MASON

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-I66lIZGOBao/XJ1Ov1MNz7I/AAAAAAABBvU/FGjsDegkb8UQPxYu1hzUohYLMKDa82TYgCLcBGAs/s1600/55865125_675646786197834_3391611282808373248_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="721" data-original-width="794" height="362" src="https://3.bp.blogspot.com/-I66lIZGOBao/XJ1Ov1MNz7I/AAAAAAABBvU/FGjsDegkb8UQPxYu1hzUohYLMKDa82TYgCLcBGAs/s400/55865125_675646786197834_3391611282808373248_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Robert Beatty bribes adorable urchin to find his friend YEAR: 1947</u></td></tr> </tbody></table> James Mason is always intense, even when he's playing comedy, and this is no comedy: The most riveting scenes seem initially very normal and, for this wounded Irish nationalist leader left for dead and, in darkened alleys and hidden rooms, constantly in-hiding, he seems to come across things that, at first, seem much different than they turn out being, making this ODD MAN way, way OUT there while at the same time, you feel in the desperate man's perspective...<br> <br> So the suspense relies on a fish out of water while perhaps the best moments occur for only ten or so minutes in the beginning, as we see through what's truly a semi-deranged mind to begin with: having been holed-up in prison for many years, even his own "soldiers" don't trust his instincts and capabilities to pull off a relatively otherwise in-and-out office heist that in fact, Mason's confounded and lost, intrepidly named Johnny McQueen backed by tough, assertive Robert Beatty (who is young and resembles a not yet grown Tom Courtenay); weaselly, gun-toting Cyril Cusack; timid Dan O'Herlihy; and especially the lovely, soulfully sad yet dedicated and stubborn-tough ingenue Kathleen Ryan...<br>

british film noir/melodrama, carol reed, drama, forties, IRA, james mason, robert beatty, thriller

CAROL REED'S BELFAST NOIR 'ODD MAN OUT' WITH JAMES MASON

Robert Beatty bribes adorable urchin to find his friend YEAR: 1947 James Mason is always intense, even when he's playing comedy, an...