cult film freak: February 2019

Written by James M. Tate / 2/27/2019 / No comments / action , adventure , alfred hitchcock , espionage , forties , george sanders , joel mccrea , laraine day , martin kosleck , war , world war II

ALFRED HITCHFORK'S 'FOREIGN CORRESPONDENT' WITH JOEL MCCREA

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<tr><td class="tr-caption" style="text-align: center;"><u>Formerly doubled w/ <a href="http://www.cultfilmfreaks.com/2019/02/berlinC.html">Berlin Correspondent</a> Foreign YEAR: 1940</u></td></tr>
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Instead of gentle giant Gary Cooper, who was director
 Alfred Hitchock's original choice, and an actor most directors were in 
love with, it's lanky Joel McCrea who intrepidly traipses around Europe,
 specifically Holland and London, in search of an important man who's 
memorized what would possibly end the looming Second World War...<br>
<br>
Had
 Cooper played New York reporter John Jones (using a
 heroic pseudonym), he'd probably be a lot more serious and deadpan 
within this extremely important, perilous assignment/situation compared 
to McCrea, who, dapper and always joking around no matter 
how dangerous the risks, cruises passively shotgun in a vehicle driven 
completely by the adventure at hand, which means lots more than the 
character: he's as a proverbial kite is to the breeze, and extremely 
breezy at that.<br>

action, adventure, alfred hitchcock, espionage, forties, george sanders, joel mccrea, laraine day, martin kosleck, war, world war II

ALFRED HITCHFORK'S 'FOREIGN CORRESPONDENT' WITH JOEL MCCREA

Formerly doubled w/ Berlin Correspondent Foreign YEAR: 1940 Instead of gentle giant Gary Cooper, who was director Alfred Hitchock'...

DANA ANDREWS IN 'BERLIN CORRESPONDENT' W/ MARTIN KOSLECK

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<tr><td class="tr-caption" style="text-align: center;"><u>Dana Andrews in an early wartime role from the YEAR: 1942</u></td></tr>
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Sustaining our Dana Andrews retrospective we'll share this with intense German actor Martin Kosleck as a kind of villain's villlain: a role Dana would play twenty-years later, and like it...<br>
<br>
Kosleck is perhaps best known or recognized as the red-herring windmill resident/replacement in Alfred 
Hitchcock's post-war espionage-adventure classic, FOREIGN CORRESPONDENT...<br>
<br>
And unlike that memorable, 
sparse yet important cameo, he's pretty much the entire vehicle for <i>this</i>
 CORRESPONDENT made two years later. Only now we're on his home turf 
during, not before, The Second World War: BERLIN, Germany against 
American Dana Andrews, with a Valentino pencil thin mustache usually given to 
Silent Movie stars, playing the most intrepid role by mere 
introduction...<br>

dana andrews, espionage, martin kosleck, nazi, thriller, virginia gilmore, war, world war II

DANA ANDREWS IN 'BERLIN CORRESPONDENT' W/ MARTIN KOSLECK

Dana Andrews in an early wartime role from the YEAR: 1942 Sustaining our Dana Andrews retrospective we'll share this with intense Ge...

PETER STRAUSS & NICK NOLTE PORTRAY 'RICH MAN POOR MAN'

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<tr><td class="tr-caption" style="text-align: center;"><u>Nick Nolte as Tom Jordache fighting William Smith's Falconetti on RICH MAN POOR MAN the original miniseries from 1976</u></td></tr>
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The two title siblings from RICH MAN,  POOR MAN would have made the perfect singular male. Both having grown-up very poor, one becomes rich and the other, extremely and outrageously cursed and unlucky: So the entire miniseries is about acquiring luck through logic and hard work and/or being unlucky by following primal instincts...<br>
<br>
Although, soon enough, the bad luck, permanently stained on Nick Nolte's Tom Jordache, spreads onto everyone around him, including the series' true lead, Peter Strauss as Rudy Jordache, whose story of a delivery boy turned businessman turned aspiring politician intentionally clashes (albeit separately) with Nolte's hardboiled cross-country escapades... <br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Falconetti Wants You... To Join The Merchant Marines: And on the Bottom Bunk You'll Stay</u></td></tr>
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The best parts concerning Nolte's Tom occurs in the 11th hour, when he finally starts doing well... Working a charter boat with partner Herbert Jefferson Jr., his young son and perfect girlfriend turned wife Kay Lenz, life never looked better than all those low-rent dives he'd sulked around in, eventually chased by the mafia and thrown on a merchant marine steamer ship to get outta town, quick... <br>
<br>
And on that ship's where the most sinister and eclectically nefarious villain is introduced in William Smith's Anthony Falconetti: Not only bullying smaller guys onboard by beating them to the proverbial pulp, what he does to Jefferson's Roy, Tom's best friend, is liken to why men fear prison because of what "Bubba" will make them...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Rudy Strauss and Nick Nolte in an 11th hour celebration in RICH MAN, POOR MAN</u></td></tr>
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While great actors, Strauss and Nolte seem ten years too old for playing teenagers, taking place in the first "chapter," literally seconds after World War II, living under their tyrannical father, played by award winning ham Edward Asner as a German baker with a bloody past and the kind of bad choices Nolte's Tom would inherit, almost to exact detail...<br>
<br>
Nolte winds up living with his even worse (albeit successful) uncle, and there his story really begins, having an affair with a voluminous older woman he'll eventually name his beloved charter boat after...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>"I can bake bread to feed people; what can you do?" Rudy asks a spoiled hippie college kid, before going bonkers</u></td></tr>
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Meanwhile, the most intriguing scenes involve Rudy's initial climb to success, starting in his college days while working for Ray Milland at an old fashion superstore that desperately needs modernizing... <br>
<br>
The way Rudy climbs to the top is more intriguing and suspenseful than Nolte's roving Noir inspired muscularity; the latter's story peaking once he's in the boxing game, which doesn't last long enough thanks to, again, horribly asinine decisions. And in his own way, Strauss's Rudy is equally tough, providing a few wonderfully delivered lectures that, unlike his father (Asner), don't come across as overboard or melodramatic... <br>
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<tr><td style="text-align: center;"><i><a href="https://3.bp.blogspot.com/-hqVN2k8xm5k/XGymDLUTieI/AAAAAAAA_9Y/O4tGsUm_6q4Qf16GkCciSx5Za6FNrIzYgCLcBGAs/s1600/52392573_656361518126361_8439853870443659264_n.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="770" data-original-width="960" src="https://3.bp.blogspot.com/-hqVN2k8xm5k/XGymDLUTieI/AAAAAAAA_9Y/O4tGsUm_6q4Qf16GkCciSx5Za6FNrIzYgCLcBGAs/s1600/52392573_656361518126361_8439853870443659264_n.jpeg"></a></i></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>William Smith and Susan Blakely violently bond in RICH MAN POOR MAN the last chapter</u><i><br></i></td></tr>
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But the glue connecting everything is Susan Blakely as Rudy's "childhood" semi-girlfriend Julie Prescott, the only of the three leads fitting the younger, teenage scenes as she curiously glimpses into the "mysterious side" of life with a tempestuous older-man affair, and then, much like Tom, making her own path (in New York City) no matter the consequences.... <br>
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A progressive young woman ahead of her time, she unfortunately finds the wrong man in a horribly cast Bill Bixby, delivering each line straight out of community theater. His random imitations of Jimmy Stewart, supposedly personifying an omnipresent charm, are so cringe-worthy, time practically stands still while he's on screen. </div>
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<tr><td class="tr-caption" style="text-align: center;"><u>Kay Lenz as Kate Jordache in RICH MAN, POOR MAN</u></td></tr>
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Towards the end of this, the original RICH MAN, POOR MAN miniseries... followed by an actual full-season series, BOOK II, sans Nolte and with Strauss fighting political corruption and especially William Smith's demonic madman Falconetti (and not in that order)... Blakely's Julie, married to would-be politician Rudy, amounts to boozing and complaining... <br>
<br>
At one point, before Tom's tragic yet predictable death, Rudy points out how much better the POOR brother's life is (even though Tom's sudden turnaround was all Rudy's doing), attributed to either contentment or a comparably perfect bedmate in Kay Lenz. But that, like everything else, relates to the personal choices from either of three central figures which is really, deep down, a "modernized" Greek tragedy about what paths<i> not</i> to take — and then what happens after willingly setting forth into an inevitable, self-fulfilled perdition. <br>

adaptaiton, drama, ed asner, herbert jefferson jr., kay lenz, miniseries, nick nolte, peter strauss, seventies, susan blakely, time period, william smith

PETER STRAUSS & NICK NOLTE PORTRAY 'RICH MAN POOR MAN'

Nick Nolte as Tom Jordache fighting William Smith's Falconetti on RICH MAN POOR MAN the original miniseries from 1976 The two title ...

ALICE KRIGE & BRIAN KRAUSE IN STEPHEN KING'S 'SLEEPWALKERS'

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<tr><td class="tr-caption" style="text-align: center;"><u>Alice Krige and Brian Krause bond in Sleepwalkers YEAR: 1992</u></td></tr>
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Stephen
 King found himself a worthy future director in Mick Garris for the TV mini-series THE STAND two years after 
SLEEPWALKERS, an intentional b-movie that introduces a new kid in 
school, fawned-over despite his shyness and, somewhat like Sissy Spacek 
in CARRIE, which was King's first adaptation, Brian Krause's Charles 
Brady reads a story aloud in class and the English teacher is not very 
polite...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Mädchen Amick</u></td></tr>
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Resembling a magazine model surfer, Krause does a good 
enough job playing-down who would obviously be an otherwise instantly 
popular kid. Although, blonde and bright on the outside with a dark, secret 
interior, he does quickly land an equally perfect-looking girl, 
and Mädchen Amick's Tanya quickly becomes our vulnerable 
bottom-lip-biting ingenue dating her dream boy; the latter who, behind very closed 
doors, has an extremely close relationship with his sexy middle aged (or
 possibly eternally aged) mother, Mary...<br>
<br>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>A Luke warm response</u></td></tr>
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In this pivotal role, Alice Krige combines sensuality
 and jealousy: wanting to protect her son while yearning for her next 
meal, and fearing the horde of loathsome cats, gathered outside their 
home like union members on strike. As explained in the opening scrawl,  and later orchestrated by the classic slide guitar instrumental "Sleep Walk,"
mother and son are in fact SLEEPWALKERS i.e. cat-like creatures that must feed 
on blood to survive: a combination of werewolves, vampires, and 
something altogether gross and slimy.<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>SLEEPWALKERS Score: ***</u></td></tr>
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The
 best scenes occur as the good girl warms up to her seemingly normal new beau
 while, alone on the side, he cruises around in his muscle car within 
the outskirts of the rural town, taking care of daylight business 
concerning that bullying teacher and a pesky cop.<br>
<br>
Sadly, and as would happen in THE STAND concerning villain Randall Flagg, the moment when 
the dated early-90's CGI shows Krause's face morphing into a monstrous 
reality (at one of his future victims), all mystique is lost...<br>
<br>
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Then he gets violently down and dirty with his 
beloved girlfriend, trying for "Here's Johnny!" style fervor and, alas, this sudden lunacy blunts the suspense way too soon in
 a game-changing scene that should have occurred during the final act 
instead of the middle: leaving us with an overlong car-to-foot chase that, 
although altering locations, is one-dimensional and rushes to a 
predictable conclusion. Thankfully, throughout the 11th hour bedlam, 
Alice Krige remains mysterious and creepy even after the trick is 
revealed, that is, she keeps classing up the proverbial joint after it's burned itself out.<br>
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action, alice krige, body count, brian krause, horror, mädchen amick, mark hamill, mick garris, nineties, stephen king, thriller, vampire

ALICE KRIGE & BRIAN KRAUSE IN STEPHEN KING'S 'SLEEPWALKERS'

Alice Krige and Brian Krause bond in Sleepwalkers YEAR: 1992 Stephen King found himself a worthy future director in Mick Garris for the...

BRUCE WILLIS IN M. NIGHT SHYAMALAN'S 'GLASS' W/ SAM JACKSON

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<tr><td class="tr-caption" style="text-align: center;"><u>The poster shows the main problem... way too much McAvoy  2019</u></td></tr>
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M. Night Shyamalan never needs to provide a director commentary track for GLASS since the actors do it for him. A two-tier sequel, one for the subtle classic UNBREAKABLE starring Bruce Willis as a security guard who can't be injured, manipulated by title character Mr. Glass, played by Samuel L. Jackson; the other SPLIT, the recent thriller/horror with James McAvoy as a zoo employee serial killer of young girls...<br>
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Unfortunately, and despite the title, this is <i>not </i>an UNBREAKABLE sequel. Having AMERICAN HORROR STORY actress Sarah Paulson play a psych-ward shrink with a three-day pass (using two unrealistically inept security guards) to cure this eclectic trio of their supposed hyperactive fantasies, it's really about sustaining SPLIT. And for the audience, having to deal with a killer with multiple personalities is one thing... Being stuck with an otherwise talented British actor showing just how damned talented he is, is, well.. Hell on Earth... and slowly...<br>

2019, action, bruce willis, comic book, franchise, horror, james mcavoy, m. night, new, samuel l. jackson, sequel, superhero, thriller, trilogy

BRUCE WILLIS IN M. NIGHT SHYAMALAN'S 'GLASS' W/ SAM JACKSON

The poster shows the main problem... way too much McAvoy 2019 M. Night Shyamalan never needs to provide a director commentary track for...

DANA ANDREWS SOARING IN 'AIRPLANE' ORIGIN 'ZERO HOUR!'

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<tr><td class="tr-caption" style="text-align: center;"><u>Fallen Angel couple Linda Darnell & Dana Andrews year: 1957</u></td></tr>
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"It's an entirely different kind of
 flying" albeit not "altogether" and/or entirely since that famous AIRPLANE line came from 
the 1957 Airline Disaster flick ZERO HOUR!, starring Dana Andrews as 
haunted war vet Ted Striker and, like Robert Hays as Ted <i>Striker</i>, suffers a load of trauma, but for more 
reasons than one flyer's death, opening the movie with archive WWII footage with an ultra-serious, melodramatic narration... <br>
<br>
But still not that funny since six of Ted's men went down after he had 
okayed a bombing on a particular ground target during heavy fog and, not
 seeing their way clearly, all six hit the ground, one after the other, 
exploding in deadly flames. With this genuinely tragic catapult we cut 
to the low-budget reality at a military hospital, as every ZERO HOUR! location
 epitomizes the sparse, thrown-together B-movie set-dressing, resembling
 used furniture most likely rolled into the studio for a quick day's 
shoot...<br>

action, dana andrews, disaster, fifties, linda darnell, melodrama, peggy king, sterling hayden, suspense, thriller