ELLIOTT GOULD IN ROBERT ALTMAN'S NEO NOIR 'THE LONG GOODBYE'

<p></p><p></p><p></p><p></p><p></p><p></p><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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwyLlb4lRWSPG04INxIF5glNzvZ3VcQWTJXwR44on_YVpvta0rbJ87Q5sx6G6WDoIV8Ai1yXmQ5u4Md5WnCUygN2gCI5Go0ECRY6yw4WcWxp1MFAHfwKG6RxL2dLi8R3whJAhijAz7gRQK5-viFJnGgO-CwAoMQjpQtcO12TW08T92lPBdP7txKIWxw/s948/Screen%20Shot%202022-04-07%20at%204.01.03%20PM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="854" data-original-width="948" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwyLlb4lRWSPG04INxIF5glNzvZ3VcQWTJXwR44on_YVpvta0rbJ87Q5sx6G6WDoIV8Ai1yXmQ5u4Md5WnCUygN2gCI5Go0ECRY6yw4WcWxp1MFAHfwKG6RxL2dLi8R3whJAhijAz7gRQK5-viFJnGgO-CwAoMQjpQtcO12TW08T92lPBdP7txKIWxw/w400-h360/Screen%20Shot%202022-04-07%20at%204.01.03%20PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: The Long Goodbye Year: 1973 Rating: *****</u></td></tr></tbody></table><p>Former Noir legend Sterling Hayden is technically the most important character in Robert Altman's Neo Noir THE LONG GOODBYE, based on a Raymond Chandler novel where the tough-handsome gumshoe Philip Marlowe is turned into a lazy, hippie-friendly slob in Elliott Gould, perfectly cast against type and at his very best... </p><p></p><p></p><p></p><p></p><p></p><p></p><p>Particularly a scene where he and Hayden's Roger Wade (hired by Wade's mesmerizing trophy wife) share an afternoon drink at the couple's Malibu beach-backyard, and it's here Wade learns that Marlowe's not such a "ding-a-ling" after all... </p><p>Like any kind of Noir, most of the last-name-spouting dialog is meant to put the gumshoe into mazes as puzzling to him as the audience...</p><p>Though the basic plot is simple enough as Marlowe's lifelong buddy supposedly killed himself in Mexico after supposedly killing his wife in Malibu; and to give away any more would be a crime. But what makes director Altman shine behind his actors (including Mark Rydell as a surprisingly vicious gangster and David Arkin as his clumsy henchmen) is that the camera literally <i>never</i> stops moving, and yet it hardly seems to <i>noticeably </i>move all that much at all — subtle genius by the spontaneous auteur whose real agenda is to focus on the characters... despite how completely out-of-focus they may initially seem. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4mNOygOcaUJ0qmmk70K__bU-qbDOdZYXzr2AvU5dQdupwHOWTihU6vaj-tR77d0cGN7ApWekxXxnvDanNolUsHfKFW697nx3hui635UReIafnQy9Mp91j8WNnYEBS_7BitK8GAX-cSP9dcc57I8dRXohkF7I5vdrY-6vRScohAgVxxlT9OhU1Q7JZhQ/s2043/Screen%20Shot%202022-04-07%20at%204.01.14%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1294" data-original-width="2043" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4mNOygOcaUJ0qmmk70K__bU-qbDOdZYXzr2AvU5dQdupwHOWTihU6vaj-tR77d0cGN7ApWekxXxnvDanNolUsHfKFW697nx3hui635UReIafnQy9Mp91j8WNnYEBS_7BitK8GAX-cSP9dcc57I8dRXohkF7I5vdrY-6vRScohAgVxxlT9OhU1Q7JZhQ/s16000/Screen%20Shot%202022-04-07%20at%204.01.14%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Sterling Hayden in THE LONG GOODBYE</u><br></td></tr></tbody></table><p><span></span></p>

arnold schwarzenegger, crime, cult, david arkin, elliott gould, gumshoe, mark rydell, mystery, neo noir, robert altman, seventies, thriller

ELLIOTT GOULD IN ROBERT ALTMAN'S NEO NOIR 'THE LONG GOODBYE'

Title: The Long Goodbye Year: 1973 Rating: ***** Former Noir legend Sterling Hayden is technically the most important character in Robert Al...

SEAN CONNERY IN JOHN BOORMAN'S EXPERIMENTAL 'ZARDOZ'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-KstDmudp-7U/X53geu_1ArI/AAAAAAABZS4/jo7-4fGee3oj3P8H5kB2xuxLOpVQ0w9cgCLcBGAsYHQ/s1088/zardoz-pic-7.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="769" data-original-width="1088" height="283" src="https://1.bp.blogspot.com/-KstDmudp-7U/X53geu_1ArI/AAAAAAABZS4/jo7-4fGee3oj3P8H5kB2xuxLOpVQ0w9cgCLcBGAsYHQ/w400-h283/zardoz-pic-7.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Sean Connery as Zed in ZARDOZ Year: 1974 Rating: ***1/2</u><br></td></tr></tbody></table><p>After scoring big with DELIVERANCE, adventurous and intrepid director John Boorman wound up with the bizarre futuristic fable ZARDOZ, a picture that could never be made today...</p><p>About a raping and pillaging (and raping) barbarian, part of a raping and pillaging barbarian race, violently riding horseback along the beachy outskirts of a world run within a hidden wilderness Utopia of sexless intellectuals, that never (really) age... </p><p></p><p>And the coolest sequence has Sean Connery's resilient muscular/shirtless title character discovering his way there, stowed inside a giant floating god-head statue; and then becoming an experimental neanderthal that these flaky neo-hippies can study — in particular the gorgeous and stubborn Charlotte Rampling and scene-stealing arthouse beauty Sara Kestelman, both shrewder than passive male counterpart John Alderton, who <i>all</i> share scenes with Connery's Zed when he isn't alone, investigating what makes this strange land tick, dating back to the 20th Century — with a twist <i>literally</i> built into the title: A cerebral STAR TREK meets TWILIGHT ZONE that needs far more pockets of action throughout endless philosophizing so heavy-handed, it's nearly impossible for an audience to fully grasp... at least the first time around. <br></p><p><span></span></p>

action, adventure, charlotte rampling, fantasy, future, john alderton, john boorman, memorial, sara kestelman, science-fiction, sean connery, tribute

SEAN CONNERY IN JOHN BOORMAN'S EXPERIMENTAL 'ZARDOZ'

Sean Connery as Zed in ZARDOZ Year: 1974 Rating: ***1/2 After scoring big with DELIVERANCE, adventurous and intrepid director John Boorman w...

ORSON WELLES DIRECTS AND STARS IN 'THE LADY FROM SHANGHAI'

<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/-wnOc93uGuH8/YA4MalSVkKI/AAAAAAABb3M/eIa98vJSx6YJBfuhk954XcL0DSuTyhxbwCLcBGAsYHQ/s325/510RfEUVimL._AC_.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="302" data-original-width="325" height="371" src="https://1.bp.blogspot.com/-wnOc93uGuH8/YA4MalSVkKI/AAAAAAABb3M/eIa98vJSx6YJBfuhk954XcL0DSuTyhxbwCLcBGAsYHQ/w400-h371/510RfEUVimL._AC_.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: The Lady From Shanghai Year: 1947 Rating: ***1/2</u></td></tr></tbody></table><p>THE LADY FROM SHANGHAI is famous for the ending, but there <i>are</i> some worthy middle parts of this unique Noir that Welles cast ex-wife Rita Hayworth in, cutting off her luscious GILDA hair and ticking off studio-heads right off the bat...</p><p></p><p>Not that it matters... Hayworth's performance isn't that "wicked" and yet she <i>is</i> fitfully vulnerable: particularly in a corny horse-and-carriage scene Welles opposed, introducing both his contentedly poor Irishman, Mike "Black Irish" O'Hara to Hayworth's rich, sullen Elsa, wife of a crippled, snaky and hugely infamous lawyer played by Everette Sloane... </p><p>Sadly, he's as lackluster as she is — but on the other hand, Ted de Corsia as Sloane's secret gumshoe fulfills the "hard-boiled" edge while Glenn Anders shines in this "road movie" at sea...</p><p>Welles the initially reluctant hired/rented captain of Sloane's yacht, taking his "party" around South America/Cape Horn back up to San Fransisco as the best scenes take place in-between, at a Spanish seaport where Anders, as Sloane's law partner, George (far more spontaneous, crooked, and sometimes downright outrageous) starts messing with the good captain's head (and the audience's too) in what's mostly a breezy action/adventure yarn that (as Welles has bemoaned) wields a far too melodramatic score, making every scene concerning boy and girl seem like a soap operatic engagement instead of a seductive entanglement — all leading to that famous finale, which makes up for Anders no longer being around since he was basically all the fun before the fun house. <br></p><p><span></span></p>

action, adventure, everette sloane, film noir or melodrama, forties, glenn anders, orson welles, rita hayworth, ted decorsia, thriller

ORSON WELLES DIRECTS AND STARS IN 'THE LADY FROM SHANGHAI'

Title: The Lady From Shanghai Year: 1947 Rating: ***1/2 THE LADY FROM SHANGHAI is famous for the ending, but there are some worthy middle p...

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

<p></p><p></p><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://blogger.googleusercontent.com/img/a/AVvXsEiGBhGl4FYVUajzNUEnu4Jz9eT_ASztFMqyY31-xCZyBrHuDh26Xoc0zI8gxTtkWtXMVZtDRSKqVDh_Jw2fMcokvB13TFGQdAjsY9zdQVozY0q_AicqR2hJcM_6D23OF71tjMsIStqNE2LI9qRpokHyzxt94T-knC2qsdV_ODNTGQpzYwLNZEl7nrjDFA=s1160" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1160" data-original-width="1066" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiGBhGl4FYVUajzNUEnu4Jz9eT_ASztFMqyY31-xCZyBrHuDh26Xoc0zI8gxTtkWtXMVZtDRSKqVDh_Jw2fMcokvB13TFGQdAjsY9zdQVozY0q_AicqR2hJcM_6D23OF71tjMsIStqNE2LI9qRpokHyzxt94T-knC2qsdV_ODNTGQpzYwLNZEl7nrjDFA=w368-h400" width="368"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1958 Rating: ****1/2</u></td></tr></tbody></table><p>Brazen and bizarre crime flick beginning with a police investigation of what turns out being heroin smuggled through antiques from a cruise ship... </p><p>And then focusing on the criminals who collect the stuff: the first fifteen minutes a police procedural based on the television series its named after, also known as SAN FRANCISCO BEAT, which was a Bay Area DRAGNET from the early part of the sparse Eisenhower decade, in which this edgy theatrical adaptation came out in the hipper/jazzier crest of.</p><p></p><p></p><p>Eli Wallach, as the crazy, insecure and sometimes charming lead thug named Dancer, shipped in from Florida with a tan intact, follows subtle "orders" and etiquette lessons from elder partner Robert Keith... </p><p>Making for a unique and twisted partnership that could be called MY FAIR SOCIOPATH: both (along with "dipso" getaway driver Richard Jaeckel) going from the various oblivious "mules" to either take the hidden heroin, or their lives. Often both...</p><p>And director Don Siegel keeps the suspense on par with the snappy Noir dialog, and there's even some homoerotic stuff thrown in, way, way ahead of its time... THE LINEUP exceeds the very limited series it's loosely derived (there's even a Lineup scene in the beginning to attempt retrofitting the title). Thank Don for that... who fought to make this LINEUP his own way: where the cops are but a Greek Chorus for the killers. </p><p><span></span></p>

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

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

Year: 1958 Rating: ****1/2 Brazen and bizarre crime flick beginning with a police investigation of what turns out being heroin smuggled thro...

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

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

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

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

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

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

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

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

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

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

LAURENCE HARVEY VS TOM COURTENAY FOR 'A DANDY IN ASPIC'

<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/-WUPQwKDGsLU/YAg6KfEz-MI/AAAAAAABbtE/_nSP-JQ31zYO1Mauc2SAEiuz89pc9hHdgCLcBGAsYHQ/s613/131939717_3780565435321042_7772336485462547940_n.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="613" data-original-width="503" height="400" src="https://1.bp.blogspot.com/-WUPQwKDGsLU/YAg6KfEz-MI/AAAAAAABbtE/_nSP-JQ31zYO1Mauc2SAEiuz89pc9hHdgCLcBGAsYHQ/w329-h400/131939717_3780565435321042_7772336485462547940_n.jpeg" width="329"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Blu Cover for Dandy Year: 1968 Rates: ***1/2</u></td></tr></tbody></table><p>"I do believe that you two would have got on well together," Tom Courtenay as a stuffy, cautious and paranoid, cold-blooded British agent named Gaitiss tells Mia Farrow's flaky model Caroline after she beds Laurence Harvey, a far more sympathetic agent that <i>we</i> think is named Alexander Eberlin. "You haven't got a past, and <i>he</i> hasn't got a future."</p><p></p><p>Sadly, either did veteran director Anthony Mann, who started with Film Noir using creative camera angles before turning to traditional Westerns, making A DANDY IN ASPIC a kind of halfway visual comeback as he... before dying on set... is behind everything during the first forty-minutes in England — following the assassination of a top spy— before moving to Germany where Laurence took over direction, sustaining that era's zoom shots and surreal perspectives... </p><p>But mainly, Laurence Harvey's Eberlin has the real name  of Krasnevin: not only is he a Russian spy but is THE Russian that everyone — during the last half of an uneven yet unique espionage thriller — wants to seek out and destroy...</p><p>Especially Courtenay, playing it so unlikable he makes his DR ZHIVAGO communist seem charming and affable. Meanwhile, the best scenes don't involve Harvey at all... especially his banal romance with an annoying Farrow, whose dated hippie garb clash against the more timeless grey/gritty Cold War aesthetic: It's the two suspenseful meetings between Courtenay (while sticking to Harvey like glue) and Russian Lionel Stander that really stand out: Reminding both the audience <i>and</i> the secretly hunted anti-hero of an impending fate which, in this case, might have some deserving company. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-1RfTo6Zig74/YAfkwNbtYrI/AAAAAAABbsg/iWOLAeqXa2QCxTF9qZ38Fk95-1JmOVaQwCLcBGAsYHQ/s2048/lf.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1479" data-original-width="2048" src="https://1.bp.blogspot.com/-1RfTo6Zig74/YAfkwNbtYrI/AAAAAAABbsg/iWOLAeqXa2QCxTF9qZ38Fk95-1JmOVaQwCLcBGAsYHQ/s16000/lf.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster art serving as other side Blu Ray Cover for A Dandy in Aspic</u></td></tr></tbody></table><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tirPySNq26c/YAfYBz-6uxI/AAAAAAABbsA/Jw_jZugsr50m1Lx4HBW4MN6_z4vTsGekwCLcBGAsYHQ/s960/31732366_1824948817810770_4459078455941660672_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="553" data-original-width="960" src="https://1.bp.blogspot.com/-tirPySNq26c/YAfYBz-6uxI/AAAAAAABbsA/Jw_jZugsr50m1Lx4HBW4MN6_z4vTsGekwCLcBGAsYHQ/s16000/31732366_1824948817810770_4459078455941660672_n.jpg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Tom Courtenay as Gattis in A DANDY IN ASPIC</u><br></td></tr></tbody></table><p></p><p><span></span></p>

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

LAURENCE HARVEY VS TOM COURTENAY FOR 'A DANDY IN ASPIC'

Blu Cover for Dandy Year: 1968 Rates: ***1/2 "I do believe that you two would have got on well together," Tom Courtenay as a stuff...

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

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

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

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

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

AND GOD RESTED: A RAMBLING FAREWELL TO EDDIE VAN HALEN

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

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

AND GOD RESTED: A RAMBLING FAREWELL TO EDDIE VAN HALEN

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

BRITISH WEREWOLF FROM OUTER SPACE HORROR FLICK 'PREY'

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

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

BRITISH WEREWOLF FROM OUTER SPACE HORROR FLICK 'PREY'

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

LOW BUDGET BRITISH ANTHOLOGY HORROR FLICK 'SCREAMTIME'

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

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

LOW BUDGET BRITISH ANTHOLOGY HORROR FLICK 'SCREAMTIME'

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