cult film freak: everette sloane

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Written by James M. Tate / 5/01/2026 / No comments / agnes moorehead , classic , delores del rio , everette sloane , film noir or melodrama , forties , hit-man , joseph cotten , mystery , nazi , norman foster , orson welles , ruth warrick , suspense

ORSON WELLES AND JOSEPH COTTEN IN 'JOURNEY INTO FEAR'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguor00zaLn8rcQF8pCjcOACGQEReXaWzBZ0a3V_jFZ9cSA8qu47pgYhL8pkxqcEX714-nQJw1MNqE8IcCpYP6qbz05xxau_EWS4eFsVKXdp15o9fBY9vTUh-fJ4tk6T7ogivvUpv7LPQ08b31Tyo_yMktiet64bAvcJLuj5rFi8KcSYPoKss0CRMgL8DCc/s1882/Screen%20Shot%202026-05-02%20at%2011.00.48%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="992" data-original-width="1882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguor00zaLn8rcQF8pCjcOACGQEReXaWzBZ0a3V_jFZ9cSA8qu47pgYhL8pkxqcEX714-nQJw1MNqE8IcCpYP6qbz05xxau_EWS4eFsVKXdp15o9fBY9vTUh-fJ4tk6T7ogivvUpv7LPQ08b31Tyo_yMktiet64bAvcJLuj5rFi8KcSYPoKss0CRMgL8DCc/s16000/Screen%20Shot%202026-05-02%20at%2011.00.48%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Joseph Cotten and Orson Welles in JOURNEY INTO FEAR Year: 1943 Rating: ****</u><br></td></tr></tbody></table><p>An entertaining, lightweight crime yarn about a married and very 
passive arms dealer... who  ironically has never fired a gun... stuck 
on a cargo ship where there  lurks a clandestine Nazi out to kill him...<br>
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Joseph
 Cotten stars as the hunted  pawn who, having left loyal wife Ruth 
Warrick ashore, is reluctantly sent aboard with dancer Dolores Del Rio and meets 
various passengers including a Turkish tobacco dealer, a slick gambler and a German businessman. It's not hard
  figuring out who the main heavy is, but it doesn't matter...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span></span></p>

agnes moorehead, classic, delores del rio, everette sloane, film noir or melodrama, forties, hit-man, joseph cotten, mystery, nazi, norman foster, orson welles, ruth warrick, suspense

ORSON WELLES AND JOSEPH COTTEN IN 'JOURNEY INTO FEAR'

Joseph Cotten and Orson Welles in JOURNEY INTO FEAR Year: 1943 Rating: **** An entertaining, lightweight crime yarn about a married and ver...

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

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidiI2i60YyYtpr8XteNBGQLK27yX-SjXf7nac0_CzOGY38vC9nuWGJPlWEv3zj0ysCRslmJSzqWFCKC0-B1K0z5pZnEObbTrQeKwKU5xt5UlIeE209oRqGf_M4pSdiXIM56Px7wWv4TMfvoxO4DFpXyYkFC4G3iva0f4fU7geFa7HSK1eDNPWF0fKI6A/s1589/Screen%20Shot%202022-10-30%20at%2012.09.15%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="1589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidiI2i60YyYtpr8XteNBGQLK27yX-SjXf7nac0_CzOGY38vC9nuWGJPlWEv3zj0ysCRslmJSzqWFCKC0-B1K0z5pZnEObbTrQeKwKU5xt5UlIeE209oRqGf_M4pSdiXIM56Px7wWv4TMfvoxO4DFpXyYkFC4G3iva0f4fU7geFa7HSK1eDNPWF0fKI6A/s16000/Screen%20Shot%202022-10-30%20at%2012.09.15%20AM.jpeg"></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>Orson Welles's 1946 directorial noir adventure THE LADY FROM SHANGHAI is famous for the ending, but there <i>are</i> some worthy middle parts of this unique thriller 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></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></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><span></span></p>

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

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

Title: The Lady From Shanghai Year: 1947 Rating: ***1/2 Orson Welles's 1946 directorial noir adventure THE LADY FROM SHANGHAI is famous ...

JACQUES TOURNEUR'S 'WAY OF A GAUCHO' WITH RORY CALHOUN

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<tr><td class="tr-caption" style="text-align: center;"><u>Rory Calhoun rarely looks behind Year: 1952 Rates: ***</u></td></tr>
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Jacques Tourneur makes stylish Westerns, from CANYON PASSAGE before to WICHITA after, and WAY OF A GAUCHO is about the "original cowboys," the titular Argentine bandits who "Go with God" and are as patriotic as they come, and go: Making the famous "last refuge of a scoundrel" quote more pro than con: at least for one in particular who rides in the glory of the Old Days...<br>
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That we never really learn about so we can only follow the intrepid horse-clopping footsteps of Rory Calhoun's "condor-eyed" Martin Penalosa as the best scenes have our anti-hero breaking the law, sent under Richard Boone's harsh military command and eventually finding his own way. This is where things slowly collapse upon an overly grandiose soundtrack and a maze of plotlines marring what should've been a more simple, honest Western that Tourneur's good at...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Gene Tierney in Way of a Gaucho RATES: ***</u></td></tr>
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Painted with broad strokes, the surrounding countrysides feel like another world entirely, so there's a Fantasy element underneath the deep brown saddles and painted red scarves, as if Penalosa's more a lean Barbarian than maverick horseman, and with Tourneur, a Gothic undertone lurks as well...<br>
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But our man needed more of a goal, an urgency, than to ride along (with forced ingenue Gene Tierney when guitar-strumming Everette Sloane would've made a terrific sidekick) full of stubborn, woeful pride. Which doesn't mean the battle scenes with horses flowing along the sweeping camera isn't worthwhile. Above and beyond everything else, this GAUCHO <i>looks</i> fantastic. <span><span>And "Who is the gaucho amigo?" to look anyway else.</span></span>
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everette sloane, fifties, gene tierney, jacques tourneur, richard boone, rory calhoun, western

JACQUES TOURNEUR'S 'WAY OF A GAUCHO' WITH RORY CALHOUN

Rory Calhoun rarely looks behind Year: 1952 Rates: *** Jacques Tourneur makes stylish Westerns, from CANYON PASSAGE before to WICHITA af...

ORSON WELLES CINEMA PRESENTS 'THE LADY FROM SHANGHAI'

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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>Poster of THE LADY FROM SHANGHAI Year Released: 1947</u></td></tr>
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Another potentially great Orson Welles post-CITIZEN KANE motion picture: a flawed yet intriguing 1947 Film Noir, hacked by studio editors during post-production with a melodramatic score that Welles detested...<br>
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In order to make (his then ex-wife) Rita Hayworth a nefarious femme fatalle, or to set her on another path aesthetically, he cut the iconic long hair that had sensuously draped down upon her lithe shoulders in GILDA, breaking hearts of men worldwide (which was timeless as years later, Morgan Freeman would get bedazzled in SHAWSHANK REDEMPTION). The studio didn't want their starlet to be so downright... vicious and cunning, which takes much of the bite out of this particular vehicle, named after THE LADY who learned her wily trade in one of the most cutthroat locales on Earth that both main characters had been to; and yet, while he merely visited this place, she worked and lived there...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Welles the actor's actor's actor</u></td></tr>
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Upon a yacht on a cruise Welles's Black Irish maverick Michael O'Hara is hired to charter, our gal sings a drowsy tune titled, "You Don't Love Me," a failed attempt for the studio to garner a number one hit, used as a "Variation of the Theme" within the overall soapy, melodramatic soundtrack. Mostly because of this, our beautiful antagonist becomes more of an ambiguous victim that perhaps Welles had intended, going far beyond her necessary act of reeling in a "Useful Idiot..."<br>
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<tr><td class="tr-caption" style="text-align: center;"><u> Ted de Corsia for the set up</u></td></tr>
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Orson had already chosen a patchwork of stock music to drive his sparse yet convoluted maze forward, and yet, while much of the final cut belongs to the director (billed as <i>Production By</i> as opposed to <i>Directed By</i>)... surprisingly, he actually didn't mind how SHANGHAI turned out... the score broke his heart in this pulpy adventure that takes about twenty minutes to pick up, getting past a contrived, uninspired scene the studio ordered Welles to shoot at the 11th hour: where O'Hara and Hayworth's Elsa Bannister meet on a carriage ride seeming straight out of a musical – he the intrepid hero, she the lovely lass.<br>

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

ORSON WELLES CINEMA PRESENTS 'THE LADY FROM SHANGHAI'

Poster of THE LADY FROM SHANGHAI Year Released: 1947 Another potentially great Orson Welles post-CITIZEN KANE motion picture: a flawed y...

JOURNEY INTO FEAR

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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.cultfilmfreaks.com/2020/03/journey-into-fear.html"><u>Journey Into Fear YEAR: 1943</u></a></td></tr>
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<span style="font-size: large;"><a href="http://www.cultfilmfreaks.com/2020/03/journey-into-fear.html">REVIEW FOR JOURNEY INTO FEAR CLICK HERE</a></span><br />
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everette sloane, film noir or melodrama, forties, joseph cotten, norman foster, orson welles, ruth warrick, suspense

JOURNEY INTO FEAR

Journey Into Fear YEAR: 1943 REVIEW FOR JOURNEY INTO FEAR CLICK HERE

Written by James M. Tate / 5/09/2011 / No comments / anthony quinn , biopic , everette sloane , fifties , kirk douglas

LUST FOR LIFE

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz6a49NAqn5flLcIY_U-vOzJjV01UUe4CFI833JK-cTe1tmJfXSrXlyHCgJhtc0SVGe2pooPXsZFCf7HgxxtJ1iKYplw1oz-EtSE9d7c8pIGcuS5wJU4QqjUoY0Rz98E7ZmTa8r9b1nZk/s1600/van%252Bgogh1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604899836735611346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz6a49NAqn5flLcIY_U-vOzJjV01UUe4CFI833JK-cTe1tmJfXSrXlyHCgJhtc0SVGe2pooPXsZFCf7HgxxtJ1iKYplw1oz-EtSE9d7c8pIGcuS5wJU4QqjUoY0Rz98E7ZmTa8r9b1nZk/s200/van%252Bgogh1.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 198px;" /></a><strong>title:</strong> LUST FOR LIFE<br /><div><strong>year:</strong> 1956<br /><strong>cast:</strong> Kirk Douglas, Anthony Quinn, James Donald<br /><strong>rating:</strong> ****<br /><br />What could have been a typical old school biopic, stretching the truth for mainstream audiences, is a very effective study of Vincent Van Gogh, played nicely by Kirk Douglas, and his art. From his beginnings as a hopeful missionary to his search for a new style of painting, we get to see Van Gogh’s actual portraits, serving as a reminder both for his genius and a device for an impending insanity that, while seeming more passionately grandiose than desperately sad, envelopes the man’s story and why it’s being told. Scenes involving Van Gogh rooming with boisterous rival Paul Gauguin (Anthony Quinn) is memorable, but the moments with the artist alone, staring at the real life backdrops of his paintings, makes this an important, and effective, classic. </div>

anthony quinn, biopic, everette sloane, fifties, kirk douglas