STANLEY KUBRICK'S RUDIMENTARY FILM NOIR OF 'KILLER'S KISS'

<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/AVvXsEhnxacvx1OGHKutZmjhLccTP7wJ4FHdYKn4EmGSkamaeK-rspzSl75vDfeJ08ajYU5AhhX-xYGFjrWiPGdvQY3SoAO0NLnnJw9VKPdkw2xxhvZ4RemsnIUzmt51N8VckiAWdVYP3lal7YRitFYFC4ZQyxPcjqNPz5_alIRVNtCbBM3Ta_Jce7GsTlnbEfGW/s2456/Screen%20Shot%202023-07-25%20at%209.35.08%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="2456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnxacvx1OGHKutZmjhLccTP7wJ4FHdYKn4EmGSkamaeK-rspzSl75vDfeJ08ajYU5AhhX-xYGFjrWiPGdvQY3SoAO0NLnnJw9VKPdkw2xxhvZ4RemsnIUzmt51N8VckiAWdVYP3lal7YRitFYFC4ZQyxPcjqNPz5_alIRVNtCbBM3Ta_Jce7GsTlnbEfGW/s16000/Screen%20Shot%202023-07-25%20at%209.35.08%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: Stanley Kubrick's KILLER'S KISS Year: 1955 Rating: ****</u></td></tr></tbody></table><p>When it's not a primal, jazz piano, mamba-like rhythm as gangster/dance club owner Frank Silvera tries keeping his trophy girl from being romanced by someone truly deserving, the deepest, more soulful orchestration is very reminiscent of (years later) THE GODFATHER score...<br> <br> Despite director Stanley Kubrick referring to KILLER'S KISS as a student film, his rudimentary Noir is a beautiful, intentionally-simplistic tale with the auteur's metronomic, haunting rhythm intact, and, harboring such a flowing, naturally offbeat groove throughout, it's hard to fathom that, at this point, with only an even more low-budget (and unreleased) movie under his belt, he already possessed a vibe and structure all his own... </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>

boxing, felice orlandi, fifties, film noir or melodrama, frank silvera, irene kane, jamie smith, jazz-score, mobster, stanley kubrick, thriller

STANLEY KUBRICK'S RUDIMENTARY FILM NOIR OF 'KILLER'S KISS'

Title: Stanley Kubrick's KILLER'S KISS Year: 1955 Rating: **** When it's not a primal, jazz piano, mamba-like rhythm as gangste...

PETER YATES GIVES MORE THAN CHASE IN THE CLASSIC 'BULLITT'

<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><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/AVvXsEjqGcowbgZy8_l1GFYTSWL4ZdjJz6ZieNOvvxYkA4dAEPcRDJukjslHkvqW8Nm4xUtljM-Da1jwEwFD1ZOxmCjs0rN1BFJ8ewgaGY0bo0_2-wfdmX66DWqp96oqRIG7tolnRHh9WUJANcZk8kzgzn3DvTwYLMnXa7X0hruRvLHkQGG6w24BDzbwVQwmFdG_/s1512/Screen%20Shot%202024-04-25%20at%202.37.27%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="698" data-original-width="1512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqGcowbgZy8_l1GFYTSWL4ZdjJz6ZieNOvvxYkA4dAEPcRDJukjslHkvqW8Nm4xUtljM-Da1jwEwFD1ZOxmCjs0rN1BFJ8ewgaGY0bo0_2-wfdmX66DWqp96oqRIG7tolnRHh9WUJANcZk8kzgzn3DvTwYLMnXa7X0hruRvLHkQGG6w24BDzbwVQwmFdG_/s16000/Screen%20Shot%202024-04-25%20at%202.37.27%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Steve McQueen in BULLITT Year: 1968 Rating: *****</u></td></tr></tbody></table><p>The iconic car chase is the only thing that seems to matter in BULLITT, and not just for the media since director Peter Yates's prior chase in his British heist thriller <a href="http://www.cultfilmfreaks.com/2020/09/AR.html">ROBBERY</a> was so admired by Steve McQueen, Yates got <i>this</i> gig... </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></p><p></p><p>But like there is far more than just action throughout the strategically tempered neo noir cadence of ROBBERY, Yates's cop/crime classic BULLITT is also more about words than wheels...</p><span></span>

action, bill hickman, carl reindel, classic, cop, crime, cult, don gordon, felice orlandi, jacqueline bisset, jazz-score, pat renella, peter yates, robert vaughn, simon oakland, sixties, steve mcqueen, thriller

PETER YATES GIVES MORE THAN CHASE IN THE CLASSIC 'BULLITT'

Steve McQueen in BULLITT Year: 1968 Rating: ***** The iconic car chase is the only thing that seems to matter in BULLITT, and not just for t...

HUMPHREY BOGART AND ROD STEIGER IN 'THE HARDER THEY FALL'

<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/AVvXsEgqlJgbzXIQuGEIvIbtWWbx3v2_yOGzeBYuOXySAX4bSHge4wjY8Nat5ILFGCWydR4srtQF89B1ijuLzFBjNwh31YWcOMxcqUnUu5oROi_VK4pbIrpRPiGCqv4PS7gitDNfO6BqcQC43AzCVP2v2WJqSrti1vCb2l2KRR-T9uXZnBpDcgtricd9wmXqKF7t/s971/first.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="618" data-original-width="971" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqlJgbzXIQuGEIvIbtWWbx3v2_yOGzeBYuOXySAX4bSHge4wjY8Nat5ILFGCWydR4srtQF89B1ijuLzFBjNwh31YWcOMxcqUnUu5oROi_VK4pbIrpRPiGCqv4PS7gitDNfO6BqcQC43AzCVP2v2WJqSrti1vCb2l2KRR-T9uXZnBpDcgtricd9wmXqKF7t/s16000/first.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: ANTS Year: 1977 Rating: ****</u></td></tr></tbody></table><p>The legendary Humphrey Bogart's last movie, during the mid-1950's when the big message could become more important than the characters, which is the opposite of ON THE WATERFRONT that Mark Robson's extremely bias boxing scandal-expose THE HARDER THEY FALL attempts the suspenseful, brawny big city edginess of... armed gangsters ruling over muscular everymen... but in a passive, mainstream fashion...</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>A shame since the boxing sequences — where has-been sports-writer Bogart and his seedy promoter boss Rod Steiger have ringside seats — are filmed with brutal realism... both men making sure the opponents of their mediocre giant upstart take the same kind of fall that could have made Marlon Brando a contender....</p><p><span></span></p>

boxing, expose, felice orlandi, fifties, humphrey bogart, jan sterling, marian carr, mark robson, melodrama, nehemiah persoff, rod steiger, sport

HUMPHREY BOGART AND ROD STEIGER IN 'THE HARDER THEY FALL'

Title: ANTS Year: 1977 Rating: **** The legendary Humphrey Bogart's last movie, during the mid-1950's when the big message could bec...

BRUCE DERN TAILING RYAN O'NEAL IN WALTER HILL'S 'THE DRIVER'

<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/AVvXsEhh0AWhdGEPBJXOfLvQraq2Ok17UOIim2ecuwOU61L8nw1hs60poMjxjLuUFqe8b1kYnPZ-kK43P1WyFagTIawmVbLi0rkUlzEIXAAfCzSG5VOc-fR-8IlQpNnQE5bjUSPNTuxnlqqwcHGPaY1zJx3J8hKFaOgwqD_xaK-E3uLTwGzvbOH8iE17RGkOI3hx/s1408/Screen%20Shot%202024-04-24%20at%205.39.53%20PM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1384" data-original-width="1408" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0AWhdGEPBJXOfLvQraq2Ok17UOIim2ecuwOU61L8nw1hs60poMjxjLuUFqe8b1kYnPZ-kK43P1WyFagTIawmVbLi0rkUlzEIXAAfCzSG5VOc-fR-8IlQpNnQE5bjUSPNTuxnlqqwcHGPaY1zJx3J8hKFaOgwqD_xaK-E3uLTwGzvbOH8iE17RGkOI3hx/s320/Screen%20Shot%202024-04-24%20at%205.39.53%20PM.jpeg" width="320"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE DRIVER Year: 1978 Rates: ****</u></td></tr></tbody></table>An action vehicle but not entirely, Walter Hill's THE DRIVER is more a meticulous, character-driven Neo Noir than rollercoaster ride: This includes a brooding Ryan O'Neal as a getaway DRIVER sought after by a determined cop played by not only scene but<i> entire film-stealing</i> Bruce Dern as... The Detective...<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> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY46SBJnGRgqf_bvnPfwk4mgBLcNSSRPcCYbD6Xfx61io1_jG32JYm15edUke-9LHw-IYztR9olV2kPIYvmwmhB6HPj5CSQIzRqF3ZNnGIH8lnjx9WXuxhoQLvrv08Ne1WoiVUkUFr9vms/s1600/Screen+Shot+2019-04-07+at+4.39.51+AM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1420" data-original-width="909" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY46SBJnGRgqf_bvnPfwk4mgBLcNSSRPcCYbD6Xfx61io1_jG32JYm15edUke-9LHw-IYztR9olV2kPIYvmwmhB6HPj5CSQIzRqF3ZNnGIH8lnjx9WXuxhoQLvrv08Ne1WoiVUkUFr9vms/s320/Screen+Shot+2019-04-07+at+4.39.51+AM.jpeg" width="204"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>The Driver Mileage Rates: ****</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div>As each character is sparsely named after what they are within a pulpy yet stark, slowburn template as no one means anything beyond what they're doing, who they're after or protecting, The Player in particular, Isabelle Adjani caught in-between as... speaking in monotone like everyone else except Dern... her best moments occur while listening...<br> <br> Scenes when Dern questions her or THE DRIVER or a more honest detective in Matt Clark are even better than the chase scenes: Which, of course, directed by future WARRIORS and SOUTHERN COMFORT icon Walter Hill, are topnotch suspenseful and easy to follow – either dodging police prowlers or one of the bad guys who winds up after the titular bad guy we're rooting for. And the most intense screeching tires occur as THE DRIVER shows his stuff inside a parking garage, with no one chasing behind: deliberate car-porn at its finest.<br>

action, bruce dern, car, crime, edward walsh, felice orlandi, getaway driver, isabelle adjani, matt clark, neo noir, rudy ramos, ryan o'neal, seventies, suspense, thriller, twilight time, walter hill

BRUCE DERN TAILING RYAN O'NEAL IN WALTER HILL'S 'THE DRIVER'

Title: THE DRIVER Year: 1978 Rates: **** An action vehicle but not entirely, Walter Hill's THE DRIVER is more a meticulous, character-dr...