TIM CONWAY & GARY GRIMES STAR IN DISNEY'S ASS KICKING 'GUS'

<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/-3kQpcPLJTlU/XNuXP86yqQI/AAAAAAABD3I/9KRZT9FdMUUK_isE054Ejtp0lOCF5d97gCLcBGAs/s1600/60262937_704054333357079_7221663985517461504_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="727" data-original-width="960" height="302" src="https://3.bp.blogspot.com/-3kQpcPLJTlU/XNuXP86yqQI/AAAAAAABD3I/9KRZT9FdMUUK_isE054Ejtp0lOCF5d97gCLcBGAs/s400/60262937_704054333357079_7221663985517461504_n.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Tom Bosley with Tim Conway in GUS Year: 1976</u></td></tr> </tbody></table> Despite the fact it's about a Donkey kicking field goals... a literally ass kicking movie... GUS is one of the most entertaining Disney live action ventures made during the 1970's. The plot involves an underdog teen from some foreign land who is the younger brother of a perfect, square-jawed soccer star sibling, worshiped by his father. But Gary's Andy Petrovic has something that will make him famous without making him famous, but rather, his pet mule has all the talent: able to kick a football far into the surrounding forest. Although Gary's Andy is not altogether worthless.<br /> <br /> Gus only kicks after hearing the important word, spoken by Andy and, for the most part, Andy only: "Oyage!" Thus, mule and boy is witnessed by a football scout for a losing team called THE ATOMS played by Ronnie Schell, voice-star of the second best Disney venture, THE CAT FROM OUTER SPACE, who was sent to the Petrovic farm to witness the older brother for his magic foot for the team's punter. But compared to the ball kicking jackass, Soccer boy means nothing.<br /> <br /> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-M5jqCR_Dg7I/XNuV7ttXKeI/AAAAAAABD20/DLOwNEE3jdw0Yq9eDdkbGyN2JqtCP_A1ACLcBGAs/s1600/60119418_704056560023523_3183284207648505856_n.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="958" data-original-width="671" height="400" src="https://2.bp.blogspot.com/-M5jqCR_Dg7I/XNuV7ttXKeI/AAAAAAABD20/DLOwNEE3jdw0Yq9eDdkbGyN2JqtCP_A1ACLcBGAs/s400/60119418_704056560023523_3183284207648505856_n.jpeg" width="280" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Signed by Tim Conway and Ed Asner</u></td></tr> </tbody></table> The best scenes occur when Andy and Gus get slowly, awkwardly warmed up with the team and his fans, and like the first half of most Disney films, our title hero just can't loose. Eventually, Andy gets lost in the mix despite falling in love (and vice versa, which rarely occurs so quickly) with one of the cutest Disney ingenues ever, Louise Williams as Debbie, who, along with Don Knotts, is on the DVD cover (shown above) autographed by Ed Asner, as the team's grumpy coach who really has to put faith into this risky decision, while Tim Conway plays...<br /> <br /> <div style="text-align: right;"> </div> <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/-uS8m8aezBGY/Vtdhqy07ifI/AAAAAAAArRQ/5KxQdFafcjA/s1600/3.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-uS8m8aezBGY/Vtdhqy07ifI/AAAAAAAArRQ/5KxQdFafcjA/s320/3.jpg" width="208" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>GUS Score: ****</u></td></tr> </tbody></table> So let's center on the bad guys who rule one particular scene that intentionally steals the entire movie; Gus causing two hired thugs, Tom Bosley as Alpha Male ex-con Spinner with his dopey sidekick, Tim Conway's Crankcase, to chase the escaped-kidnapped donkey around in a supermarket. Wide-eyed when experienced on the big screen as a child, this fifteen minute scene, occurring while Gus is trying to return to a big climactic game.<br /> <br /> And hell, if this store scene doesn't bring a smile to your face, something is wrong. But poor actor Gary Grimes despises GUS for ruining an already fledgling, at that time, career... And yet, GUS doesn't hurt <i>our </i>career one bit, but provides an eclectic two-hours of one of the most bizarre, wonderfully campy and genuinely creative comedy films ever. And you CAN'T quote the film's star on that, but Cult Film Freak stands behind it fully: "OYAGE, Muthas!"<br /> <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://3.bp.blogspot.com/-pAwqGuUsVq4/XNuWKFMdA6I/AAAAAAABD24/GLi_QgqivSwq-QZk5y3l7hBUaM36hsAMACLcBGAs/s1600/60348712_704054330023746_8234371601232035840_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="789" data-original-width="960" src="https://3.bp.blogspot.com/-pAwqGuUsVq4/XNuWKFMdA6I/AAAAAAABD24/GLi_QgqivSwq-QZk5y3l7hBUaM36hsAMACLcBGAs/s1600/60348712_704054330023746_8234371601232035840_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Tom Bosley's skeleton fighting Gary Grimes' with a cat in GUS</u></td></tr> </tbody></table> <div style="text-align: left;"> </div>

comedy, disney, don knotts, gary grimes, seventies, sports, tim conway

TIM CONWAY & GARY GRIMES STAR IN DISNEY'S ASS KICKING 'GUS'

Tom Bosley with Tim Conway in GUS Year: 1976 Despite the fact it's about a Donkey kicking field goals... a literally ass kicking mo...

DORIS DAY TRIBUTE W/ JAMES CAGNEY IN 'LOVE ME OR LEAVE ME'

<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://2.bp.blogspot.com/-05OufRbF9Jw/XNtxSL_ad4I/AAAAAAABD2k/JH709RvpWeUYCHV6fCR892eqKxi4Bb3QACLcBGAs/s1600/60100696_702910533471459_8059966929395253248_o.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="974" data-original-width="1064" height="365" src="https://2.bp.blogspot.com/-05OufRbF9Jw/XNtxSL_ad4I/AAAAAAABD2k/JH709RvpWeUYCHV6fCR892eqKxi4Bb3QACLcBGAs/s400/60100696_702910533471459_8059966929395253248_o.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>James Cagney and Doris Day YEAR: 1955</u></td></tr> </tbody></table> LEAVE ME OR LEAVE ME is both a showcase for Doris Day's voice and proof she could really act, and going up against James Cagney she plays singer Ruth Etting as a tough, stubborn, assertive dance hall girl who Cagney's jealous gangster Eddie Snyder falls for upon first sight in a scene where, as she fends off a grabby creep, she's shot from a cannon right away...<br> <br> As a biopic, it never feels like the complete truth, and when the tempestuous working relationship peaks at the halfway point, the next morning they're married without an explanation, and strangely enough, it's after what bordered on rape the night before. The real life relationship between the singer and gangster was probably more amicable albeit feisty, and they do show her as a climber who uses Snyder in what are the best scenes, going from the dance hall to a dancing gig to a jingle singer to the nightclub's lead to the radio, and then the Ziegfeld Follies and beyond.<br> <br> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-XmaZrzaOf7Y/XNni0QnZklI/AAAAAAABD1o/TRd_X-e6Mr4Jlgkxl-J562maPjukAr7bACLcBGAs/s1600/60163328_703040210125158_7080692962610380800_o.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="572" data-original-width="1280" height="178" src="https://4.bp.blogspot.com/-XmaZrzaOf7Y/XNni0QnZklI/AAAAAAABD1o/TRd_X-e6Mr4Jlgkxl-J562maPjukAr7bACLcBGAs/s400/60163328_703040210125158_7080692962610380800_o.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>James Cagney and Cameron Mitchell RATING: ****</u></td></tr> </tbody></table> Meanwhile the last half continues with more montage-style tunes where the drama feels too randomly injected, as if they were intruding upon the music as opposed to how things began.<br> <br> Winding up with nice guy pianist Cameron Mitchell (who is usually more natural in the creepy gangster role), the most third-act fun is how perturbed our stocky antagonist gets while being sympathetic and pathetic at the same time. Something only a great actor can pull off, and this is one of Cagney's best 1950's performances. But it's Doris Days' film, and shows she really had an edge, on and especially off the stage. <br>

biopic, cameron mitchell, doris day, drama, fifties, gangster, james cagney, melodrama, music, romance

DORIS DAY TRIBUTE W/ JAMES CAGNEY IN 'LOVE ME OR LEAVE ME'

James Cagney and Doris Day YEAR: 1955 LEAVE ME OR LEAVE ME is both a showcase for Doris Day's voice and proof she could really act, ...

GENE HACKMAN IN 'BITE THE BULLET' W/ JAN-MICHAEL VINCENT

<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://2.bp.blogspot.com/-EsFO6q9oTFQ/XNKP7mjvnjI/AAAAAAABDy4/j_6g80WgY8IAZQdDRR3EjNUc3c9oXmhowCLcBGAs/s1600/59358907_697985153963997_7976958431472910336_n.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="908" data-original-width="960" height="377" src="https://2.bp.blogspot.com/-EsFO6q9oTFQ/XNKP7mjvnjI/AAAAAAABDy4/j_6g80WgY8IAZQdDRR3EjNUc3c9oXmhowCLcBGAs/s400/59358907_697985153963997_7976958431472910336_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Twilight Time Signed by Jan-Michael Vincent YEAR: 1975</u></td></tr> </tbody></table> A homesteader's chopping wood when James Coburn rides up and, after asking several questions without a response, tells the man he doesn't know nothin', for which Wood Chopper replies: "I ain't the one who's lost." And snappy dialogue is the best thing going, especially with Coburn's scene-stealing character, at one point saying to young and obnoxious Jan-Michael Vincent, more antagonistic than he'd ever been before or after: "I want you to tell me the story of your life: Just skip everything up till the last fifteen minutes."<br> <br> BITE THE BULLET is a Western action/adventure about a horse race more character-driven than horse-driven, and that's good and bad since the characters are played by wonderful actors who share a few wonderful moments, but some are borderline cliché: Like pacifist Gene Hackman as an ex Rough Rider who may have been the founder of PETA while Candace Bergen is a modern feminist in chaps, and would have been more realistic if played by tougher-looking "hooker" Sally Kirkland, who'd sell her body the same year in another Western, BREAKHEART PASS: both featuring a pivotal train and veteran actor Ben Johnson, here an old-timer with a predictable death scene...<br>

action, adventure, ben johnson, candace bergen, ensemble, gene hackman, james coburn, jan-michael vincent, richard brooks, sally kirkland, seventies, western

GENE HACKMAN IN 'BITE THE BULLET' W/ JAN-MICHAEL VINCENT

Twilight Time Signed by Jan-Michael Vincent YEAR: 1975 A homesteader's chopping wood when James Coburn rides up and, after asking se...

JOHN WAYNE GOES TO ENGLAND IN THE COP FLICK 'BRANNIGAN'

<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/-mnIhOmVXnv8/XMkFdriyYqI/AAAAAAABDeg/h8ridfsABsU6qmEzQAqwr85xy9H3LhSdACLcBGAs/s1600/58883098_694528007643045_8736206686882103296_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="906" height="281" src="https://3.bp.blogspot.com/-mnIhOmVXnv8/XMkFdriyYqI/AAAAAAABDeg/h8ridfsABsU6qmEzQAqwr85xy9H3LhSdACLcBGAs/s400/58883098_694528007643045_8736206686882103296_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>John Wayne stays tough in England as BRANNIGAN Year: 1975</u></td></tr> </tbody></table> After supposedly passing up DIRTY HARRY, John Wayne made two tough cop films (tough films about tough cops), and this is the second: The first being <a href="http://www.cultfilmfreaks.com/2013/03/mcq-john-wayne.html">McQ</a>, centering on a Seattle detective who stays put while this Chicago lawman is sent to England to pick up a Chicago gangster... <br> <br> <span class="_mh6 _wsc" id="cch_f18e85997ba47bc"><span class="_3oh- _58nk">Though more along the lines of BULLITT than either of the two DIRTY HARRY films that had already come out, BRANNIGAN, once again named after John Wayne's character's last name, isn't as much a police procedural while mostly centering on the stranger in a strange land premise, but without following the usual fish-outta-water elements since he gets adjusted to this new country's rules, like not carrying a handgun, by simply not following them. And he's never really effected by the foreign surroundings visible from riding shotgun in an unmarked vehicle driven by pretty female sidekick Judy Geeson...</span></span><br>

action, cop, england, john vernon, john wayne, judy geeson, kathryn leigh scott, mel ferrer, richard attenborough, seventies, thriller

JOHN WAYNE GOES TO ENGLAND IN THE COP FLICK 'BRANNIGAN'

John Wayne stays tough in England as BRANNIGAN Year: 1975 After supposedly passing up DIRTY HARRY, John Wayne made two tough cop films (...

MIMSY FARMER 'HOT RODS TO HELL' TO 'RIOT ON SUNSET STRIP'

<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/-nzMz685kwlw/XMfoEzJy65I/AAAAAAABDWk/h7JIL9o7FLUzS6q_656VE4NMIMPFIsD1gCLcBGAs/s1600/2.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="516" data-original-width="890" height="231" src="https://3.bp.blogspot.com/-nzMz685kwlw/XMfoEzJy65I/AAAAAAABDWk/h7JIL9o7FLUzS6q_656VE4NMIMPFIsD1gCLcBGAs/s400/2.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>from Hot Rods from Hell review of Riot on Sunset Strip both 1967</u></td></tr> </tbody></table> In HOT RODS FROM HELL, the headliners are Dana Andrews and Jeanne Crain as two marrieds with a small boy and a teenage girl who get harassed by young punks in a speedster, and the daughter's played by brunette actress Laurie Mock while the bad girl holding onto the roll bar is blonde cult starlet Mimsy Farmer...<br> <br> The same year, 1967, in RIOT ON SUNSET STRIP, Farmer is the good girl, and like Laurie Mock has a veteran actor as a dad (Andrews), Farmer has Aldo Ray. But let's not forget Gene Kirkwood, the future ROCKY producer who was Mimsy Farmer's third-wheel buddy in HOT RODS and is Laurie Mock's pal in RIOT. Basically, the teenagers are in reverse. Add to that Mickey Rooney's son, Tim, rounding out the rebellious teens while in HOT RODS, Mickey Rooney Jr.'s band plays in the third act...<br>

aldo ray, counter-culture, drama, drive-in, drug culture, drugs, exploitation, gene kirkwood, laurie mock, melodrama, mimsy farmer, music, sixties

MIMSY FARMER 'HOT RODS TO HELL' TO 'RIOT ON SUNSET STRIP'

from Hot Rods from Hell review of Riot on Sunset Strip both 1967 In HOT RODS FROM HELL, the headliners are Dana Andrews and Jeanne Crain...

DOUGLAS SIRK SERVES 'MAGNIFICENT OBSESSION' W/ ROCK HUDSON

<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://2.bp.blogspot.com/-nF-qNdEKbR4/XMFFr91z8dI/AAAAAAABDEo/lYcavBwJah0CHDdv-sIRTgVNcty8jnv5QCLcBGAs/s1600/58708073_2363459443698322_8993373608986279936_o.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="580" data-original-width="1165" height="198" src="https://2.bp.blogspot.com/-nF-qNdEKbR4/XMFFr91z8dI/AAAAAAABDEo/lYcavBwJah0CHDdv-sIRTgVNcty8jnv5QCLcBGAs/s400/58708073_2363459443698322_8993373608986279936_o.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Rock Hudson you like a Hurricane IV Speedboat YEAR: 1954</u></td></tr> </tbody></table> By far one of the strangest 1950's Technicolor melodramas ever made, MAGNIFICENT OBSESSION put Rock Hudson on the map, and he's the best thing going here...<br> <br> Especially since his character — a rich, spoiled young man who races a futuristic space shuttle-shaped racing boat — seems not only against the vapid premise, but justifiably fights back when he's blamed for — after suffering a horrible accident — being revived by use of a neighbor's defibrillator that winds absent to help said neighbor who, married to a brooding Jane Wyman, is some kind of New Age Messianic figure before Hollywood pushed such a thing...<br>

barbara rush, douglas sirk, fifties, jane wyman, melodrama, new age, rock hudson, romance

DOUGLAS SIRK SERVES 'MAGNIFICENT OBSESSION' W/ ROCK HUDSON

Rock Hudson you like a Hurricane IV Speedboat YEAR: 1954 By far one of the strangest 1950's Technicolor melodramas ever made, MAGNIF...

AWESOMELY RADICAL ANIMATION OF 'PINOCCHIO IN OUTER SPACE'

<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://4.bp.blogspot.com/-q8zBJBDmiXM/XL670uqg0QI/AAAAAAABDAs/Ei5RJf7PNGkKHwXFL2y7ORWpNei0O2L9ACLcBGAs/s1600/58543047_689754004787112_617991475443007488_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="523" data-original-width="686" height="303" src="https://4.bp.blogspot.com/-q8zBJBDmiXM/XL670uqg0QI/AAAAAAABDAs/Ei5RJf7PNGkKHwXFL2y7ORWpNei0O2L9ACLcBGAs/s400/58543047_689754004787112_617991475443007488_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Year of Arrival: 1965 Pinocchio in Outer Space Scores: ****</u></td></tr> </tbody></table> Take away a dingy song during the first half-hour dealing with our main character at home, who's a puppet again after a naughty montage of ditching school, bullying a dog and getting bad grades, and you have relatively frightening scenes that are, or seem, surprisingly aimed at adult audiences: including a shadow appearing over our famously phony boy's head, and chasing him around a field with a fitfully suspenseful, formidable score...<br> <br> Turns out to be a spaceship manned by a friendly turtle-creature (voiced by Arnold <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Stang</span> in the expository <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Jiminy</span> Cricket mantle) who takes Pinicchio up to outer space to seek a flying, planet-destroying whale. They land on Mars and are attacked by mysteriously derived giant sand crabs that resemble cartoon versions of something Ray <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Harryhausen</span> would devise. Followed by the best scenes where the duo investigate the Red Planet's desolate domed city, holding many secrets and more aggressive foes. And then, back in outer space: the discovery of, capture from, battle with, and eventual taming of Orbit the Whale is quite intense. All making for a bizarre cartoon experience <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">definitely</span> worth the watch. Again and again and again some more. <br>

action, adventure, animation, arnold stang, cartoon, cult, exploitation, fantasy, kids, science-fiction, sixties

AWESOMELY RADICAL ANIMATION OF 'PINOCCHIO IN OUTER SPACE'

Year of Arrival: 1965 Pinocchio in Outer Space Scores: **** Take away a dingy song during the first half-hour dealing with our main c...

CHARLES BRONSON JAWS-LIKE WESTERN OF 'THE WHITE BUFFALO'

<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://2.bp.blogspot.com/-7203SVxHalc/XLQf6nbwNbI/AAAAAAABCtU/3qF0FUHixrQxYdctZT3FFYVfQZBEThIcQCLcBGAs/s1600/57221226_685337848562061_7239280442422067200_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="786" height="297" src="https://2.bp.blogspot.com/-7203SVxHalc/XLQf6nbwNbI/AAAAAAABCtU/3qF0FUHixrQxYdctZT3FFYVfQZBEThIcQCLcBGAs/s400/57221226_685337848562061_7239280442422067200_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Charles Bronson ducks for cover in The White Buffalo YEAR: 1976</u></td></tr> </tbody></table> A Charles Bronson cult film that, without the hilariously dated and contrived title creature, is a surprisingly decent Western in its own right...<br> <br> <div style="text-align: right;"> </div> Haunted by nightmares of THE WHITE BUFFALO, Bronson, as a retired, inconspicuous Wild Bill Hickok, wakes up with guns blazing, all his own — first on a train and then inside a gold mining town's hotel run by a gracious Kim Novak...<br> <br> In-between we learn of the giant beast through the frantic, personal rage of the most sympathetic character, Will Sampson's Crazy Horse, who must go by the name 'Worm' until he avenges his family's death and, by the end, a stretch of terrain that resembles a neatly cut, treeless landing strip provides a showdown location for the killer Buff's three hunters — so let's cover the main JAWS similarities through the main characters...<br>

action, adventure, charles bronson, clint walker, creature, cult, exploitation, jack warden, jaws-clone, seventies, stuart whitman, thriller, western, will sampson

CHARLES BRONSON JAWS-LIKE WESTERN OF 'THE WHITE BUFFALO'

Charles Bronson ducks for cover in The White Buffalo YEAR: 1976 A Charles Bronson cult film that, without the hilariously dated and cont...

JESSIE LA RIVE MAPES ON PLAYING HERSELF IN 'URBAN COWBOY'

<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/-SSj7fjt2lrY/XLPrlox07KI/AAAAAAABCsc/-zpXVnlucsQtAY7HBWiltGeC7X8LMViaQCLcBGAs/s1600/Screen%2BShot%2B2019-04-14%2Bat%2B7.23.17%2BPM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1156" data-original-width="1600" height="288" src="https://3.bp.blogspot.com/-SSj7fjt2lrY/XLPrlox07KI/AAAAAAABCsc/-zpXVnlucsQtAY7HBWiltGeC7X8LMViaQCLcBGAs/s400/Screen%2BShot%2B2019-04-14%2Bat%2B7.23.17%2BPM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Interview with Urban Cowboy's Jessie La Rive Mapes</u></td></tr> </tbody></table> <span style="font-family: "calibri" , "helvetica" , sans-serif;"><i>"Hold my beer, Jessie," Debra Winger's character, Sissy, tells real life cowgirl Jessie La Rive Mapes, then billed as Jessie La Rive, in the  popular 1980 John Travolta feature <a href="http://www.cultfilmfreaks.com/2019/04/urban-cowboy.html">URBAN COWBOY</a>, in which the former disco king, trading polyester for chaps, rides a mechanical bull in the gigantic Gilley's Bar in Houston, Texas, where, on film and real life, Jessie was right at home...</i></span><br> <u><br></u> <span style="font-family: "calibri" , "helvetica" , sans-serif;"><u>How did you first get involved with URBAN COWBOY?</u> The original story was written by Aaron Latham of Esquire magazine. He did a story about my best friend, Betty Jones, her ex-husband and myself along with my daddy, Steve Strange. Then director Jim Bridges with Paramount Pictures decided that the love triangle around the bull would make for a great movie.</span><br>

country music, debra winger, eighties, interview, james bridges, james gammon, jessie la rive, john travolta, love triangle, scott glenn, sport

JESSIE LA RIVE MAPES ON PLAYING HERSELF IN 'URBAN COWBOY'

Interview with Urban Cowboy's Jessie La Rive Mapes "Hold my beer, Jessie," Debra Winger's character, Sissy, tells real...

DUSTIN HOFFMAN & WARREN BEATTY FAMOUSLY BOMB IN 'ISHTAR'

<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/-Y-adoLK2dBI/XLJdlz_TY2I/AAAAAAABCrA/EmaeiI5CyjgblYJzhAapZKsJyMhp9WxjACLcBGAs/s1600/Screen%252BShot%252B2019-04-12%252Bat%252B7.10.19%252BAM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="630" data-original-width="853" height="295" src="https://3.bp.blogspot.com/-Y-adoLK2dBI/XLJdlz_TY2I/AAAAAAABCrA/EmaeiI5CyjgblYJzhAapZKsJyMhp9WxjACLcBGAs/s400/Screen%252BShot%252B2019-04-12%252Bat%252B7.10.19%252BAM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Year of Defeat: 1987</u></td></tr> </tbody></table> In one scene from the famously infamous 1987 mega-flop ISHTAR, a shy and introverted Warren Beatty admits that, in order to get women, he wished he looked more like Dustin Hoffman: which is funnier than anything else in the movie... <br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> Both are straight men without comic relief, and there isn't a touch of humor to be found: Especially not in the muddled screenplay written by director Elaine May and centering on two awful lounge singers, Lyle Rogers and Chuck Clark, who don’t seem realistic enough to be genuine failures: Hoffman’s Clark is the most confident and intrepid, and gullible. Once the duo are sent to Ishtar for a few low-rent gigs, he quickly gets in hot water, falling for a burqa-clad yet still noticeably hot Isabelle Adjani as Shirra, who wants to free her people from tyranny, and is basically using Clark for her own needs, transporting an important map that everyone wants: Especially Charles Grodin’s nefariously polite Jim Harrison, a CIA Agent pulling Clark in another direction…<br>

action, adventure, buddy, charles grodin, comedy, dustin hoffman, eighties, elaine may, espionage, jack weston, warren beatty

DUSTIN HOFFMAN & WARREN BEATTY FAMOUSLY BOMB IN 'ISHTAR'

Year of Defeat: 1987 In one scene from the famously infamous 1987 mega-flop ISHTAR, a shy and introverted Warren Beatty admits that, i...

ALFRED HITCHCOCK'S 'FRENZY' WITH JON FINCH & BARRY FOSTER

<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://4.bp.blogspot.com/-PuByxE3pq1I/XLAWdeROR0I/AAAAAAABCiU/e51Wde3fpQQLaWXk3TXh5cCzu6QMBwcDgCLcBGAs/s1600/Screen%2BShot%2B2019-04-11%2Bat%2B9.29.41%2BPM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1062" data-original-width="1600" height="265" src="https://4.bp.blogspot.com/-PuByxE3pq1I/XLAWdeROR0I/AAAAAAABCiU/e51Wde3fpQQLaWXk3TXh5cCzu6QMBwcDgCLcBGAs/s400/Screen%2BShot%2B2019-04-11%2Bat%2B9.29.41%2BPM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Opening credit sequence for FRENZY Year: 1972</u></td></tr> </tbody></table> After a dry-spell with melodramas and big budget espionage films, Alfred Hitchock had an artistic comeback with FRENZY: Also serving as a grand return to England where Piccadilly Circus feels like its own busy character while the main protagonist, an antagonistic former RAF hero, gets embroiled in what Hitchcock perfected early on...<br> <br> The Wrong Man theme, and it's an avalanche here, bordering on satire and with some of the coldest dark-humor sprinkled in. Yet FRENZY is no laughing matter, being perhaps the darkest and definitely most <i>modern</i> Hitchcock vehicle: and not just because people use swear words, or the nudity in one of the rape sequences: The most shocking and in-your-face involves Barbara Leigh-Hunt followed by Anna Massey's off-screen demise, in which one of Hitchcock's greatest shots makes for that <i>key signature moment</i> (the shower in PSYCHO; the umbrellas in FOREIGN CORRESPONDENT, etc.) that all his films rely on.<br>

alec mccowen, alfred hitchcock, anna massey, barbara leigh-hunt, barry foster, body count, dark comedy, exploitation, jon finch, neo noir, seventies, suspense, thriller, wrong man

ALFRED HITCHCOCK'S 'FRENZY' WITH JON FINCH & BARRY FOSTER

Opening credit sequence for FRENZY Year: 1972 After a dry-spell with melodramas and big budget espionage films, Alfred Hitchock had an a...

JOHN TRAVOLTA RIDES 'URBAN COWBOY' VERSES SCOTT GLENN

<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/-vp_xiL0hrH8/XK8i6gtiUxI/AAAAAAABCgk/IM5aNn4PyHgiwolv8qN-04gU4Yn72HdXwCLcBGAs/s1600/urban-cowboy-john-travolta.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="658" height="341" src="https://1.bp.blogspot.com/-vp_xiL0hrH8/XK8i6gtiUxI/AAAAAAABCgk/IM5aNn4PyHgiwolv8qN-04gU4Yn72HdXwCLcBGAs/s400/urban-cowboy-john-travolta.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>John Travolta in Urban Cowboy YEAR: 1980</u></td></tr> </tbody></table> Another soundtrack film with John Travolta after disco and 1950's rock paid off, James Bridges' URBAN COWBOY is a character-driven, intentionally plotless melodrama with a ripped-muscular Scott Glenn as an ex-con who winds up Travolta’s rival: adding Pseudo-Sport to the genre involving a mechanical bull, bumping and grinding inside an immense Texas barroom where the title's first half derives throughout a beer-soaked, Country Music blaring, wooden-neon interior.<br> <br> Before the opening credits, Travolta’s a small town guy with a nice suburban family, a cowboy hat, an unfitting beard: And thanks to his uncle, after landing a Houston-set tough guy oil rig gig and bedding down two models at the hot-spot, Gilley's, he’s quickly married to pretty barfly Debra Winger who's really more a bickering best friend, providing the two affable leads an old fashion chemistry that’s bound to fall apart at the seams... <br>

debra winger, drama, eighties, james bridges, jessie la rive, john travolta, madolyn smith, melodrama, romance, scott glenn, sport

JOHN TRAVOLTA RIDES 'URBAN COWBOY' VERSES SCOTT GLENN

John Travolta in Urban Cowboy YEAR: 1980 Another soundtrack film with John Travolta after disco and 1950's rock paid off, James Brid...

PETER O'TOOLE IN 'THE DAY THEY ROBBED THE BANK OF ENGLAND'

<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://4.bp.blogspot.com/-E0TP4cRB_Ig/XKsG8IyVhYI/AAAAAAABCc4/ZUC7Xv0_K-ExKHMapFeL1Fw6ROOOppflACLcBGAs/s1600/the-day-they-robbed-the-bank-of-england-french-movie-poster.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="473" data-original-width="454" height="320" src="https://4.bp.blogspot.com/-E0TP4cRB_Ig/XKsG8IyVhYI/AAAAAAABCc4/ZUC7Xv0_K-ExKHMapFeL1Fw6ROOOppflACLcBGAs/s320/the-day-they-robbed-the-bank-of-england-french-movie-poster.jpeg" width="307"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Year: 1960</u></td></tr> </tbody></table> In this classy, turn of the Century-set British heist film, Aldo Ray plays an American joining with would-be Irish Revolutionaries to knock off the titular location, and the best moments occur in the planning stages as the giant Yank learns the innards of the immense, seemingly impenetrable bank-fortress from a personal tour by Peter O'Toole, playing an extremely nice lieutenant of the bank's troop of marching guards...<br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Txya2OmZuwM/XKrs8AqGB_I/AAAAAAABCb8/5Bvc3Tf_yYMwwrCkx78iGa45NlBz4829ACLcBGAs/s1600/Screen%2BShot%2B2019-04-07%2Bat%2B11.22.50%2BPM.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1210" data-original-width="799" height="400" src="https://2.bp.blogspot.com/-Txya2OmZuwM/XKrs8AqGB_I/AAAAAAABCb8/5Bvc3Tf_yYMwwrCkx78iGa45NlBz4829ACLcBGAs/s400/Screen%2BShot%2B2019-04-07%2Bat%2B11.22.50%2BPM.jpeg" width="263"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Robbed the Bank of England SCORE: ****</u></td></tr> </tbody></table> O'Toole's not the main star but has a genuine arc: his affable persona, giving away any and all secrets to an all-ears thief feigning style and class, sharpens as he begins to catch on during the crest of the second act, intensifying into a more familiar, edgy and intense character for O'Toole to embrace (and that he'd play later on).<br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> Meanwhile, the pace slows during a filler romance between Ray and the only female plotter, and the most time's spent during the usual digging of the tunnel — the kind you mostly see in prison films breaking out while here they're attempting to break in...<br> <br> The cast also includes veteran actor Albert Sharpe as a sewer dwelling bum that unknowingly provided the groundwork; Kieron Moore as the mouthiest and youngest Irishman, a thankless role and the only antagonist of sorts; and Elizabeth Sellers as the pouty (and much too old) ingenue in this semi-obscure gem directed by John Guillermin, and that famously laid the groundwork for O'Toole's career: After viewing one scene, David Lean knew he had his LAWRENCE OF ARABIA despite the dark features and a straight, hawkish nose that would soon be altered.<br>

aldo ray, caper, england, heist, john guillermin, kieron moore, peter o'toole, sixties, thriller

PETER O'TOOLE IN 'THE DAY THEY ROBBED THE BANK OF ENGLAND'

Year: 1960 In this classy, turn of the Century-set British heist film, Aldo Ray plays an American joining with would-be Irish Revolution...

JOHN CARPENTER DIRECTS TV-MOVIE 'SOMEONE'S WATCHING ME!'

<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/-Gqj-UJue0SA/XKq6JP7wSGI/AAAAAAABCbE/06rk6I-diqoOCxhLG8wRSeXlPISmIaipACLcBGAs/s1600/someone%2527s%252Bwatching%252Bme.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="465" data-original-width="612" height="302" src="https://1.bp.blogspot.com/-Gqj-UJue0SA/XKq6JP7wSGI/AAAAAAABCbE/06rk6I-diqoOCxhLG8wRSeXlPISmIaipACLcBGAs/s400/someone%2527s%252Bwatching%252Bme.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Title Sequence for Someone's Watching Me YEAR: 1978</u></td></tr> </tbody></table> After John Carpenter hit big with the horror film HALLOWEEN, a made-for-TV movie as the next step is a big strange, but it's not bad: Plot centers on a director played by Lauren Hutton who is, as the title implies, being watched by someone in the building across from her own... <br> <br> Some of the dialogue is silly and the characters aren't fleshed out, but the pace keeps flowing, the tension mounts well, and there's that neat Carpenter steady-cam throughout despite the lack of spooky-synth Carpenter score. At times this feels like a theatrical thriller edited-for-television; other times it's like watching a TV movie that, with more work, could have made it to the big screen. All in all it's a Hitchcock homage, but looks more like a Brian DePalma-doing-Hitchock. Either way it's not too shabby for a small screen effort. Carpenter fans shouldn't be disappointed; just don't grade on a curve.<br>

horror, john carpenter, lauren becall, suspense, thriller, tv movie

JOHN CARPENTER DIRECTS TV-MOVIE 'SOMEONE'S WATCHING ME!'

Title Sequence for Someone's Watching Me YEAR: 1978 After John Carpenter hit big with the horror film HALLOWEEN, a made-for-TV movie...

GEORGE MONTGOMERY IN 'CANYON RIVER' W/ MARCIA HENDERSON

<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://4.bp.blogspot.com/-OHr7J_ZtMkI/XKx0Kbnho2I/AAAAAAABCds/cbHKQlWLrbgcJcqGeL3zshXzmqU2kxVzQCLcBGAs/s1600/56396051_680060129089833_9090001662952603648_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="576" data-original-width="719" height="256" src="https://4.bp.blogspot.com/-OHr7J_ZtMkI/XKx0Kbnho2I/AAAAAAABCds/cbHKQlWLrbgcJcqGeL3zshXzmqU2kxVzQCLcBGAs/s320/56396051_680060129089833_9090001662952603648_n.jpeg" width="320"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Year of Release: 1956</u></td></tr> </tbody></table> George Montgomery is perfect. So much so, his character has two first names, and both are... so damn perfect...<br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-bGiJzM8KFEw/XKfq3zVUd_I/AAAAAAABCWo/qIbXse11XY0unifzGBcnxglIfrg5c16lQCLcBGAs/s1600/Screen%2BShot%2B2019-04-05%2Bat%2B3.16.35%2BPM.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="770" data-original-width="506" height="320" src="https://3.bp.blogspot.com/-bGiJzM8KFEw/XKfq3zVUd_I/AAAAAAABCWo/qIbXse11XY0unifzGBcnxglIfrg5c16lQCLcBGAs/s320/Screen%2BShot%2B2019-04-05%2Bat%2B3.16.35%2BPM.jpeg" width="209"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Original Warner Archive DVD</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> As Steve Patrick, an affable, dedicated and intrepid, rancher who has bred a new hybrid of beef cattle, needing to get through the harsh and sometimes deadly Wyoming winter to sell them on time for the best price (for to then buy a bigger, more lucrative ranch after selling all the remaining property to let the gamble ride), he has one gigantic flaw, and it's not his taste in women.<br> <br> Although he shouldn't get credit for quickly landing the lovely Marcia Henderson, as a widow named Janet, since she, eventually along for the ride (with her young son) as a chuck wagon cook for the small group of cowpunchers, practically throws herself upon our almost-flawless leading man: His Achilles Heel isn't noticeable, to him, yet <i>we</i> know all about it... <br>

action, adventure, alan hale jr., fifties, george montgomery, marcia henderson, peter graves, robert wilke, romance, warner archives, western

GEORGE MONTGOMERY IN 'CANYON RIVER' W/ MARCIA HENDERSON

Year of Release: 1956 George Montgomery is perfect. So much so, his character has two first names, and both are... so damn perfect... ...

DENNIS CHRISTOPHER RIDES 'BREAKING AWAY' W/ DENNIS QUAID

<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/-9p9y62-arx0/XNON3Ryl9zI/AAAAAAABDzo/rhoaO3hJxK4NHtsuXCF8G4raPJ4OzDpMgCLcBGAs/s1600/59663609_699811683781344_720628592383361024_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="560" data-original-width="560" height="400" src="https://1.bp.blogspot.com/-9p9y62-arx0/XNON3Ryl9zI/AAAAAAABDzo/rhoaO3hJxK4NHtsuXCF8G4raPJ4OzDpMgCLcBGAs/s400/59663609_699811683781344_720628592383361024_n.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Epitomizes the Haves Haves Not of Breaking Away YEAR: 1979</u></td></tr> </tbody></table> Feel good movie about teens from the poor side of the tracks but with a cool rock-diving water hole to hang at, BREAKING AWAY is distinguished by a confidently upbeat, quirky protagonist who, while obsessed with Italy, longs to race bicycles with Italy's visiting team: But when not peddling around town, Dennis Christopher's Dave hangs with local buddies Dennis Quaid, a former football hero; Jackie Earle Haley, the token mascot; and Daniel Stern, the comic relief who's the most soulful and in-tune with our cycling hero...<br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-vQIsDkCZ_Tc/XKeu2bXCnQI/AAAAAAABCUk/SfmHuDJNZOs6mcZwoGcagILYXOitY8lHQCLcBGAs/s1600/56757358_679638052465374_4408572359254999040_n.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="474" height="320" src="https://2.bp.blogspot.com/-vQIsDkCZ_Tc/XKeu2bXCnQI/AAAAAAABCUk/SfmHuDJNZOs6mcZwoGcagILYXOitY8lHQCLcBGAs/s320/56757358_679638052465374_4408572359254999040_n.jpeg" width="174"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Dennis Quaid as Mike</u></td></tr> </tbody></table> To the rich college kids, led by preppie jerk Hart Bochner, the young locals are Townies or Cutters while the University remains an albatross that otherwise humble and poor Bloomington, Indiana can't shake. Our boy Dave's the only one with an angle: Finding the prettiest girl in Robyn Douglass, and faking an Italian accent for a filler romance.<br> <br> <div style="text-align: left;"> </div> <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/-r0nj2JNdEO4/XKepY84fYnI/AAAAAAABCUE/SAGJ2k4hxL0W0pdSFKKpbSXosYB72ZVugCLcBGAs/s1600/56549480_679656682463511_6128112312059428864_n.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="535" height="198" src="https://1.bp.blogspot.com/-r0nj2JNdEO4/XKepY84fYnI/AAAAAAABCUE/SAGJ2k4hxL0W0pdSFKKpbSXosYB72ZVugCLcBGAs/s200/56549480_679656682463511_6128112312059428864_n.jpeg" width="200"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Breaking Score: ***1/2</u></td></tr> </tbody></table> Through the much too-written script, where the late-teens talk like they're suffering a mid-life crisis, the bicycling scenes are nicely shot by action director Peter Yates; and though the class envy gets tiresome, and Dave's jovial dialogue with his parents is a tad silly, as the big race between the locals and jocks approaches, each and every character contributes equally to a spirited finale. Before that, when used car salesman dad Paul Dooley walks through the ruin of a town, sharing about his own faded dreams, it seems like another movie altogether: More edgy and realistic, which BREAKING AWAY could have used a few more scenes of. But it's an affable sport film meant to celebrate the energy and momentum of youth, and it does that well.<br> <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/-iF0eZjYDl_8/XNOP6aK1DFI/AAAAAAABDzw/1ib5l-V1CYkxntN8kt0xPk644MlvYdMqQCLcBGAs/s1600/59735660_699814537114392_8102573022151442432_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="607" data-original-width="960" src="https://1.bp.blogspot.com/-iF0eZjYDl_8/XNOP6aK1DFI/AAAAAAABDzw/1ib5l-V1CYkxntN8kt0xPk644MlvYdMqQCLcBGAs/s1600/59735660_699814537114392_8102573022151442432_n.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Almost sure this is Jennifer K. Mickel as Girl in Breaking Away with Hart Bochner</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <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://3.bp.blogspot.com/-8v1IcS3KGbA/XKbI2zsydoI/AAAAAAABCQk/yTAhpgs4WtU_909E-JDm-iR9ubzrZqnHACLcBGAs/s1600/56180252_679638039132042_515832036175380480_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="960" src="https://3.bp.blogspot.com/-8v1IcS3KGbA/XKbI2zsydoI/AAAAAAABCQk/yTAhpgs4WtU_909E-JDm-iR9ubzrZqnHACLcBGAs/s1600/56180252_679638039132042_515832036175380480_n.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Riding against the Italian Bike Company truck in BREAKING AWAY</u></td></tr> </tbody></table> <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://4.bp.blogspot.com/-9LQ4ztMVVyw/XKennuo24NI/AAAAAAABCTs/xT5DbcfTw74mVW5GYr4O7ZDVvM9g4whhQCLcBGAs/s1600/56334648_679639569131889_7425966105090326528_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="590" data-original-width="960" src="https://4.bp.blogspot.com/-9LQ4ztMVVyw/XKennuo24NI/AAAAAAABCTs/xT5DbcfTw74mVW5GYr4O7ZDVvM9g4whhQCLcBGAs/s1600/56334648_679639569131889_7425966105090326528_n.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Dennis Quaid shows his stuff in BREAKING AWAY</u></td></tr> </tbody></table>

daniel stern, dennis christopher, dennis quaid, hart bochner, jackie earle haley, john ashton, paul dooley, peter yates, robyn douglass, small town, sport, teen

DENNIS CHRISTOPHER RIDES 'BREAKING AWAY' W/ DENNIS QUAID

Epitomizes the Haves Haves Not of Breaking Away YEAR: 1979 Feel good movie about teens from the poor side of the tracks but with a cool ...

TIM BURTON & MICHAEL KEATON ORIGINAL 'BATMAN' REVIEWED

<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/-2OxpVGUHDN4/XKRkKExLn1I/AAAAAAABCLY/7zLSoZD9OK0pAkn-S7w757pag2O7H-FQQCLcBGAs/s1600/56219971_678494642579715_582631048349745152_n%252B2.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="317" data-original-width="361" src="https://3.bp.blogspot.com/-2OxpVGUHDN4/XKRkKExLn1I/AAAAAAABCLY/7zLSoZD9OK0pAkn-S7w757pag2O7H-FQQCLcBGAs/s1600/56219971_678494642579715_582631048349745152_n%252B2.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Joker's Commercial Logo from BATMAN Year: 1989</u></td></tr> </tbody></table> Since the extremely dark Christopher Nolan DARK KNIGHT trilogy, the original Michael Keaton BATMAN is viewed as too shiny, vapid, dated... for kids and kids only: The campy Adam West television series in theatrical wolves clothing...<br> <br> Which gives former fans of the 1989 Tim Burton vehicle a sort of dizzy amnesia to what was actually a cool-looking, ominous locale for the City of Gotham...<br> <br> A sinister-chrome, matte-painted cross between Film Noir gangland and a spooky children's pop-up book, truly deserving of a vigilante swooping down upon bad guys: Starting out with two kitschy crooks having just robbed a family, reminiscent of our masked hero's own tragic childhood that led Bruce Wayne into the isolated, thankless life of a multimillionaire hybrid of Charles Foster Kane and Charles Bronson.<br>

action, blockbuster, comic book, dc comics, eighties, franchise, jack nicholson, kim basinger, michael keaton, prince, robert wuhl, tim burton, tracey walter

TIM BURTON & MICHAEL KEATON ORIGINAL 'BATMAN' REVIEWED

Joker's Commercial Logo from BATMAN Year: 1989 Since the extremely dark Christopher Nolan DARK KNIGHT trilogy, the original Michael ...

EDMOND O'BRIEN WEARS A 'SHIELD FOR MURDER' W/ JOHN AGAR

<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/-XIITnTnsG20/XKLZ6SmdCeI/AAAAAAABCFc/5vIMfJVwajUbC6MSWZNOOayQ3xGRwNHAQCLcBGAs/s1600/maxresdefault.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="715" data-original-width="870" height="327" src="https://3.bp.blogspot.com/-XIITnTnsG20/XKLZ6SmdCeI/AAAAAAABCFc/5vIMfJVwajUbC6MSWZNOOayQ3xGRwNHAQCLcBGAs/s400/maxresdefault.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><u>Year of Capture & Release: 1954</u></span></td></tr> </tbody></table> By the time this SHIELD FOR MURDER hit theaters, Edmond O'Brien had put on a few pounds, resembling Tyrone Power had he eaten Tyrone Power and with the lean, strict, tough years behind he was perfect as a character he'd have, a few years prior, spent an entire movie trying to bust... <br> <br> Starting out with a MURDER where only one hidden witness knows the truth, O'Brien's crooked cop Barney might not have stooped this low... intentionally killing a lowlife criminal who happens to have a ton of cash from the bigwig mobster he ripped off... unless he felt he was above the law since he <i>was</i> the law, and Detective Barney Nolan not only has a bad temper but a reputation that proceeds him – the believers are a young cop he mentored since youth, played by <a href="http://www.cultfilmfreaks.com/2016/09/TARANTULAlland.html">TARANTULA</a> star John Agar as well as the token ingenue, Marla English (<a href="http://www.cultfilmfreaks.com/2018/09/3-Bad-Sisters-Crime-Against-Joe.html">THREE BAD SISTERS</a>) as Patty Winters, a nice looking dame he can't trust to work in public yet he dreams of stowing her cozily into a tract house in the budding suburbs with the help of his victim, now donning empty pockets in the morgue and, with the exception of Emile Meyer's quick lecture, and a newspaper reporter morally hounding his cop friend, Barney, who got away with it.<br>

action, british film noir/melodrama, carolyn jones, cop, crime, edmond o'brien, fifties, john agar, marla english

EDMOND O'BRIEN WEARS A 'SHIELD FOR MURDER' W/ JOHN AGAR

Year of Capture & Release: 1954 By the time this SHIELD FOR MURDER hit theaters, Edmond O'Brien had put on a few pounds, resemb...

JOHN PAYNE IN PHIL KARLSON'S VISTAVISION NOIR 'HELL'S ISLAND'

<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/-x7NI1uzMi6o/XJ980VBNchI/AAAAAAABB88/mugGjXwPSQswBjDWkEqG6XfLjIkWfRU9wCLcBGAs/s1600/Screen%2BShot%2B2019-03-30%2Bat%2B7.25.09%2BAM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1176" data-original-width="1493" height="315" src="https://1.bp.blogspot.com/-x7NI1uzMi6o/XJ980VBNchI/AAAAAAABB88/mugGjXwPSQswBjDWkEqG6XfLjIkWfRU9wCLcBGAs/s400/Screen%2BShot%2B2019-03-30%2Bat%2B7.25.09%2BAM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Mary Murphy and John Payne in HELL ISLAND Year: 1955</u></td></tr> </tbody></table> Much lighter, more efficient b-movie mainstream entertainment than the John Payne and director Phil Karlson's more edgy, driven and well known 99 RIVER STREET and especially the intentionally claustrophobic KANSAS CITY CONFIDENTIAL...<br> <div> <br> John Payne and Phil Karlson's HELL'S ISLAND borrows from the adventure genre in its set-up of a Las Vegas bouncer sent to the title Spanish location to find a ruby, and it's rather confusing since we begin with Payne's character telling his story (and thus the overall narration) to a cop and then, during the flashback of getting the assignment we go back, again, as he discusses two time lapses at once... or something: But things get rolling, slowly but in an entertaining fashion, once the mission's underway, and one that, despite the title, doesn't have a lot of danger in store for our hero, whose main problem is getting back in touch with the dark woman (with light hair) who had broken his heart...<br> <br> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PCuQqLYjCKI/W5zq0vxoHsI/AAAAAAAA5XA/MdNJHCHiCR45JKHfNWao--2LSxf7pQjvwCEwYBhgL/s1600/3%2B2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="597" data-original-width="838" height="282" src="https://1.bp.blogspot.com/-PCuQqLYjCKI/W5zq0vxoHsI/AAAAAAAA5XA/MdNJHCHiCR45JKHfNWao--2LSxf7pQjvwCEwYBhgL/s400/3%2B2.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>HELL'S RATING: ***1/2</u></td></tr> </tbody></table> And this is where the Noir element pours on: The sappy heart leading the otherwise tough guy around as he goes to various locations to gather clues in what becomes less of a plot and more a <i>Fog of Love</i> resulting in what's Payne and Karlson's weakest effort although...<br> <br> This seems as intentional as a great band inserting a breezy ballad between two intense rockers (although this is their last collaboration following, in order, KANSAS CITY CONFIDENTIAL and 99 RIVER STREET). And the look distinguishes from the other films' black and white, which of course is the Film Noir usual: This color/aesthetic is enhanced from a wonderful technology (that ranged from 1950's Alfred Hitchcock to the special effects shots in 1977's STAR WARS) known as...<br> <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://4.bp.blogspot.com/-o6a9m5FHPHI/W5zpXaIcCRI/AAAAAAAA5Wc/5D4hak17RnM6hQOJvj-kOtQqFhYnvc2_ACLcBGAs/s1600/5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="910" src="https://4.bp.blogspot.com/-o6a9m5FHPHI/W5zpXaIcCRI/AAAAAAAA5Wc/5D4hak17RnM6hQOJvj-kOtQqFhYnvc2_ACLcBGAs/s1600/5.jpg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>John Payne attempting some humor on (or, in) HELL'S ISLAND</u></td></tr> </tbody></table> </div>

crime, film noir or melodrama, john payne, mary murphy, phil karlson, thriller, vistavision

JOHN PAYNE IN PHIL KARLSON'S VISTAVISION NOIR 'HELL'S ISLAND'

Mary Murphy and John Payne in HELL ISLAND Year: 1955 Much lighter, more efficient b-movie mainstream entertainment than the John Payne ...

JAMES GARNER IN 'SUPPORT YOUR LOCAL SHERIFF' W/ BRUCE DERN

<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/-d7dsC1QxCAs/XJ96PH5S4KI/AAAAAAABB8w/siRalaquV8spmy6ry2PmSfNLYcbiTGS0QCLcBGAs/s1600/Screen%252BShot%252B2019-03-29%252Bat%252B3.39.04%252BPM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="740" data-original-width="1054" height="280" src="https://3.bp.blogspot.com/-d7dsC1QxCAs/XJ96PH5S4KI/AAAAAAABB8w/siRalaquV8spmy6ry2PmSfNLYcbiTGS0QCLcBGAs/s400/Screen%252BShot%252B2019-03-29%252Bat%252B3.39.04%252BPM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>James Garner, Bruce Dern and Jack Elam YEAR: 1969</u></td></tr> </tbody></table> In the part of Jason McCullough, supposedly on his way to Australia where the Wild West is starting all over again, James Garner is the guy we know and love, and the actor, soon to find his niche, again, on television's ROCKFORD FILES, is as relaxing as a warm setting sun, and nothing can stop him...<br> <br> Not Bruce Dern, who'd slay John Wayne in THE COWBOYS and would often play crazies, and is basically what Claude Akins was to RIO BRAVO. His scruffy clan consisting of two brothers and a headstrong father who need to break him free, at any cost. And yet, like that montage in SADDLES... though this is comedy, not spoof... whatever they throw at the Sheriff to stop him is quickly, easily, without a single hitch or problem, taken care of... Kind of like the cartoon of Popeye sleepwalking on a construction site girder, his feet accidentally yet successfully guiding him through one stage to anther till he's safe on the other side...<br>

action, bruce dern, comedy, harry morgan, jack elam, james garner, joan hackett, sixties, western

JAMES GARNER IN 'SUPPORT YOUR LOCAL SHERIFF' W/ BRUCE DERN

James Garner, Bruce Dern and Jack Elam YEAR: 1969 In the part of Jason McCullough, supposedly on his way to Australia where the Wild W...

CHARLES BRONSON NOIR OF 'CRIME WAVE' AKA 'THE CITY IS DARK'

<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/-lezd9r-tVjg/XJ6jw1Sa0RI/AAAAAAABB74/N0GoPRNkn8oiebQ0mnAlTS0y6gVAbCwMACLcBGAs/s1600/55560655_676100132819166_1975100273672060928_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="665" data-original-width="766" height="346" src="https://3.bp.blogspot.com/-lezd9r-tVjg/XJ6jw1Sa0RI/AAAAAAABB74/N0GoPRNkn8oiebQ0mnAlTS0y6gVAbCwMACLcBGAs/s400/55560655_676100132819166_1975100273672060928_n.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Charles Bronson in CRIME WAVE Year: 1953</u></td></tr> </tbody></table> Norman Mailer was dead wrong when, years after CRIME WAVE aka THE CITY IS DARK, he wrote TOUGH GUYS DON’T DANCE because, well, James Cagney could tear up the floorboards, as could 99 RIVER STREET John Payne...<br /> <br /> And the buried CRIME WAVE lead... overshadowed by rigid cop Sterling Hayden, a young Charles Bronson, lead thug Ted de Corsia and a thoroughly demented Timothy Carey... is played by Gene Nelson, perhaps <i>the most </i>incredible dancer before and after, keeping cool and tough in his first ultra-serious role as Steve Lacey, an ex-convict paid a surprise visit by three of his old friends: You can put quotes on that since these guys are hardly pals. They all shared a prison stint, and the trio, after escaping, kill a cop... One gets shot and now they need a place to hole up DESPERATE HOURS style, much to Lacey’s even-keeled, slowburn chagrin. He has a great job as an airplane mechanic, and a beautiful wife in Phyllis Kirk’s Ellen, who, during the eleventh hour, has to weather Timothy Carey going so dynamically, eye-blinking wacko he’s well worth the wait.<br /> <br /> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-GGlXelFv9UE/XJ4j8daJyVI/AAAAAAABB10/dQhju3H6JBg3YhIw4XakvJP420pu--8BQCLcBGAs/s1600/56237469_676120502817129_5304876736226263040_n.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="754" data-original-width="830" height="362" src="https://4.bp.blogspot.com/-GGlXelFv9UE/XJ4j8daJyVI/AAAAAAABB10/dQhju3H6JBg3YhIw4XakvJP420pu--8BQCLcBGAs/s400/56237469_676120502817129_5304876736226263040_n.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Sterling Hayden, Gene Nelson in CRIME WAVE Rating: ****</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> Especially after all the edgy build-up where Bronson’s Ben Hastings has his own narrowed, non-trusting, lethal eyes on a shifty veterinarian; de Corsia’s Doc Penny stresses an upcoming (and ultimately rushed) bank job; and Sterling Hayden in a fitfully basic, toothpick chomping role as Detective Lt. Sims, doing a low budget version of what John McIntire wanted from Hayden's  gang in ASPHALT JUNGLE: to bust ‘em all…<br /> <br /> We go from the scantly designed, noticeable anemic budgeted police station set to the fitfully claustrophobic apartment locale, the best scenes involve flowing exterior direction by André De Toth out on the gritty streets, for real – as if the City of Angels consisted only of purgatory alleyways and dilapidated buildings: A viciously sparse canvas that the characters exist in and can’t escape from: the good guys, the bad guys, and like all true Noirs, those ambiguous unlucky souls caught desperately in-between.<br /> <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://4.bp.blogspot.com/-b_6zJdsjvhI/XJ4r3l_AUPI/AAAAAAABB3I/Wj82pRmtFdUw_rgnF-P5aCfePu8ucK0YwCLcBGAs/s1600/55770071_676135052815674_8566648490501865472_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="713" data-original-width="960" src="https://4.bp.blogspot.com/-b_6zJdsjvhI/XJ4r3l_AUPI/AAAAAAABB3I/Wj82pRmtFdUw_rgnF-P5aCfePu8ucK0YwCLcBGAs/s1600/55770071_676135052815674_8566648490501865472_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Timothy Carey has his bulging eyes on Phyllis Kirk in CRIME WAVE</u></td></tr> </tbody></table> <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/-kRLTnvwE-3Y/XJ4pg7_KzFI/AAAAAAABB3A/CbszJVcNnGsVa74H4FwfiTYJL3EUp-HpwCLcBGAs/s1600/55932310_676132316149281_7886974077733175296_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="718" data-original-width="960" src="https://1.bp.blogspot.com/-kRLTnvwE-3Y/XJ4pg7_KzFI/AAAAAAABB3A/CbszJVcNnGsVa74H4FwfiTYJL3EUp-HpwCLcBGAs/s1600/55932310_676132316149281_7886974077733175296_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Timothy Carey's signature teeth-grating smile w/ Charles Bronson in CRIME WAVE</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <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://3.bp.blogspot.com/-PZU4YzmBefs/XJ4bbbiioHI/AAAAAAABB0E/FvL1UiiX5r8OON_z125X5MBmVmCSN3esACLcBGAs/s1600/3.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="643" data-original-width="892" src="https://3.bp.blogspot.com/-PZU4YzmBefs/XJ4bbbiioHI/AAAAAAABB0E/FvL1UiiX5r8OON_z125X5MBmVmCSN3esACLcBGAs/s1600/3.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Timothy Carey, Gene Nelson and Sterling Hayden in CRIME WAVE</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div style="text-align: right;"> </div> <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://2.bp.blogspot.com/-tp1LHWjdBl4/XJ4bcD-EMSI/AAAAAAABB0Q/tKHRl_uNSEcNMNVulVdDOdIAy--pRzJfQCLcBGAs/s1600/55680125_676100206152492_2559407291275149312_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="693" data-original-width="960" src="https://2.bp.blogspot.com/-tp1LHWjdBl4/XJ4bcD-EMSI/AAAAAAABB0Q/tKHRl_uNSEcNMNVulVdDOdIAy--pRzJfQCLcBGAs/s1600/55680125_676100206152492_2559407291275149312_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Sterling Hayden in CRIME WAVE</u></td></tr> </tbody></table> <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/-A4HZxZ1Vg34/XJ4bcrou-UI/AAAAAAABB0U/gY6YfYv8MpkZA1izwCk66Y8Mgal2kioMQCLcBGAs/s1600/55851213_676100209485825_260833050353467392_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="654" data-original-width="960" src="https://1.bp.blogspot.com/-A4HZxZ1Vg34/XJ4bcrou-UI/AAAAAAABB0U/gY6YfYv8MpkZA1izwCk66Y8Mgal2kioMQCLcBGAs/s1600/55851213_676100209485825_260833050353467392_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Desperate breakfast with Phyllis Kirk, Tod de Corsia, Gene Nelson and Charles Bronson, CRIME WAVE</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <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://2.bp.blogspot.com/-WmeJXUR3U-A/XJ4dH8xKTDI/AAAAAAABB08/fxAW4UA7lfkQxb7Dm750gD9KmedK-Hy0gCLcBGAs/s1600/55869270_676100116152501_802831341556072448_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="736" data-original-width="960" src="https://2.bp.blogspot.com/-WmeJXUR3U-A/XJ4dH8xKTDI/AAAAAAABB08/fxAW4UA7lfkQxb7Dm750gD9KmedK-Hy0gCLcBGAs/s1600/55869270_676100116152501_802831341556072448_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Gene Nelson and Ted de Corsia, CRIME WAVE</u></td></tr> </tbody></table> <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://2.bp.blogspot.com/-LP-llFlNQvQ/XJ4kH-JfX0I/AAAAAAABB18/iFTNXirVSlccN5GgI8XM8i2Bp-cKEvmWwCLcBGAs/s1600/55711471_676117356150777_936542615602462720_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="737" data-original-width="960" src="https://2.bp.blogspot.com/-LP-llFlNQvQ/XJ4kH-JfX0I/AAAAAAABB18/iFTNXirVSlccN5GgI8XM8i2Bp-cKEvmWwCLcBGAs/s1600/55711471_676117356150777_936542615602462720_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Phyllis Kirk faces Sterling Hayden in CRIME WAVE</u></td></tr> </tbody></table> <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://2.bp.blogspot.com/-y2s-mQnzDYw/XJ4kJu-I75I/AAAAAAABB2A/GmVjOIUWGlArGTgVhedXQ8BUAqXHqh94ACLcBGAs/s1600/55758170_676117392817440_2939117631858278400_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="775" data-original-width="960" src="https://2.bp.blogspot.com/-y2s-mQnzDYw/XJ4kJu-I75I/AAAAAAABB2A/GmVjOIUWGlArGTgVhedXQ8BUAqXHqh94ACLcBGAs/s1600/55758170_676117392817440_2939117631858278400_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Gene Nelson and Sterling Hayden in CRIME WAVE</u></td></tr> </tbody></table> <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://3.bp.blogspot.com/-wkExGluR3Mg/XJ4kK1B0jxI/AAAAAAABB2I/fIaSsXuWpRIcQcRBEoBCtdA2UgkqLgfBwCLcBGAs/s1600/55509718_676100129485833_8465897499859615744_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="645" data-original-width="798" src="https://3.bp.blogspot.com/-wkExGluR3Mg/XJ4kK1B0jxI/AAAAAAABB2I/fIaSsXuWpRIcQcRBEoBCtdA2UgkqLgfBwCLcBGAs/s1600/55509718_676100129485833_8465897499859615744_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Sterling Hayden on the run in reverse in CRIME WAVE</u></td></tr> </tbody></table> <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://3.bp.blogspot.com/-OKeQKfTNWdE/XJ4kSN_6imI/AAAAAAABB2M/6Be2PED9cfwaW-fVRrBQ53R9B_8GDl-oQCLcBGAs/s1600/55698522_676118886150624_3891284131597778944_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="728" data-original-width="960" src="https://3.bp.blogspot.com/-OKeQKfTNWdE/XJ4kSN_6imI/AAAAAAABB2M/6Be2PED9cfwaW-fVRrBQ53R9B_8GDl-oQCLcBGAs/s1600/55698522_676118886150624_3891284131597778944_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Example of low budget film noir set in Sterling Hayden's office in CRIME WAVE</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <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://3.bp.blogspot.com/-Kmh7EhQzXEs/XJ4sNLgkBnI/AAAAAAABB3Q/4H2-aqf2CF0ut6NR9AWv-p_Tpi2XSw3GwCLcBGAs/s1600/z.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="739" data-original-width="960" src="https://3.bp.blogspot.com/-Kmh7EhQzXEs/XJ4sNLgkBnI/AAAAAAABB3Q/4H2-aqf2CF0ut6NR9AWv-p_Tpi2XSw3GwCLcBGAs/s1600/z.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Timothy Carey and Phyllis Kirk in CRIME WAVE</u></td></tr> </tbody></table> <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/-a4GpVAVyM-M/XJ46SqKeOQI/AAAAAAABB3Y/UKXr82qU9g05_F0oeWIrWBSZKj5WuLRRQCLcBGAs/s1600/55600670_676138726148640_5746511412771946496_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="714" data-original-width="960" src="https://1.bp.blogspot.com/-a4GpVAVyM-M/XJ46SqKeOQI/AAAAAAABB3Y/UKXr82qU9g05_F0oeWIrWBSZKj5WuLRRQCLcBGAs/s1600/55600670_676138726148640_5746511412771946496_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u> CRIME WAVE is a Noir that went out of the studio and into the streets</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <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/-JKxAYOUmlaY/XJ6kHlEBspI/AAAAAAABB8A/x6oNE02Oe4MyWmJoJ5koKCF17_-jnjEmwCLcBGAs/s1600/1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="669" data-original-width="826" src="https://1.bp.blogspot.com/-JKxAYOUmlaY/XJ6kHlEBspI/AAAAAAABB8A/x6oNE02Oe4MyWmJoJ5koKCF17_-jnjEmwCLcBGAs/s1600/1.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Gene Nelson pressured by Sterling Hayden in CRIME WAVE</u></td></tr> </tbody></table> <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://3.bp.blogspot.com/-Qp90JtA53-g/XJ6lJcH4jnI/AAAAAAABB8I/D5NAEwe2ZAUrQSrsANycsI3RvV6BG7tLQCLcBGAs/s1600/55600292_676100202819159_1997308127925501952_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="763" data-original-width="901" src="https://3.bp.blogspot.com/-Qp90JtA53-g/XJ6lJcH4jnI/AAAAAAABB8I/D5NAEwe2ZAUrQSrsANycsI3RvV6BG7tLQCLcBGAs/s1600/55600292_676100202819159_1997308127925501952_n.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Charles Bronson aka </u><u>Charles Buchinsky w/ Phyllis Kirk in CRIME WAVE</u></td></tr> </tbody></table>

andre de toth, andré de toth, charles bronson, crime, dub taylor, fifties, film noir or melodrama, gene nelson, phyllis kirk, sterling hayden, ted decorsia, thriller, timothy carey

CHARLES BRONSON NOIR OF 'CRIME WAVE' AKA 'THE CITY IS DARK'

Charles Bronson in CRIME WAVE Year: 1953 Norman Mailer was dead wrong when, years after CRIME WAVE aka THE CITY IS DARK, he wrote TOUGH ...

CAROL REED'S IRISH FILM NOIR 'ODD MAN OUT' W/ 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 mate 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, asserted Robert Beatty; weaselly Cyril Cusack; and especially full-lipped ingenue Kathleen Ryan...<br>

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

CAROL REED'S IRISH FILM NOIR 'ODD MAN OUT' W/ JAMES MASON

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