cult film freak: henry fonda

Showing posts with label henry fonda. Show all posts

Written by James M. Tate / 4/13/2024 / No comments / brooke bundy , gary lockwood , henry fonda , inger stevens , jack elam , jacqueline scott , james best , james stewart , louise latham , morgan woodward , robert porter , sixties , thriller , western

GARY LOCKWOOD WITH JAMES STEWART & HENRY FONDA 'FIRECREEK'

<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/AVvXsEjvGRLaTzSaAO6chJDrI_T019EqDsJd7MrqQ7_45dkzjkgNgvDderu7KeqOZDXlX721of8kPfEDHqodFRdf4yMTGomogwOAjN0TpmUEDGknTPzxNdsjUTkbZuRZU1QSmNRAedu71rz7wkGXBVsSaXzgnb0bCLSYeCTs-0-qD9TR_DtYNt-qCapuuS05qLo4/s2080/Screen%20Shot%202024-04-15%20at%202.30.32%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1210" data-original-width="2080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGRLaTzSaAO6chJDrI_T019EqDsJd7MrqQ7_45dkzjkgNgvDderu7KeqOZDXlX721of8kPfEDHqodFRdf4yMTGomogwOAjN0TpmUEDGknTPzxNdsjUTkbZuRZU1QSmNRAedu71rz7wkGXBVsSaXzgnb0bCLSYeCTs-0-qD9TR_DtYNt-qCapuuS05qLo4/s16000/Screen%20Shot%202024-04-15%20at%202.30.32%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Gary Lockwood in FIRECREEK Year: 1968 Rating: ****</u></td></tr></tbody></table><p>With biker movies all the rampaging counter-culture rage, lower budgeted Westerns during the 1960's and 1970's became far more dark, violent, pulpy and contained, and yet, some still followed the old John Ford giant landscape aesthetic — in full background display for FIRECREEK where a gang of subtle yet vicious marauding riders ride into a small town that's literally a main street, and hardly even that...<br>
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Where James Stewart plays a humble outskirts-farmer/passive substitute sheriff in this titular locale "taken over" in a passive-aggressive fashion, where much of the suspense relies more on implied threat than bloodshed... which <i>does</i> occur at the climax: a worthy wait after a few long scenes where the good guys ponder their lives in existential "is this all there is?" dialogue (one involving Dean Jagger describing the purgatory "town full of losers")...<br>
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brooke bundy, gary lockwood, henry fonda, inger stevens, jack elam, jacqueline scott, james best, james stewart, louise latham, morgan woodward, robert porter, sixties, thriller, western

GARY LOCKWOOD WITH JAMES STEWART & HENRY FONDA 'FIRECREEK'

Gary Lockwood in FIRECREEK Year: 1968 Rating: **** With biker movies all the rampaging counter-culture rage, lower budgeted Westerns during...

RICHARD FLEISCHER'S NEO NOIR BIOPIC 'THE BOSTON STRANGER'

biopic, body count, cop, crime, henry fonda, neo noir, richard fleischer, sixties, thriller, tony curtis

RICHARD FLEISCHER'S NEO NOIR BIOPIC 'THE BOSTON STRANGER'

Year: 1968 Rating: ** Richard Fleischer's Police Procedural biopic, using the multi-screen effect, only works until Tony Curtis is r...

JOAN CRAWFORD PLAYS 'DAISY KENYON' WITH DANA ANDREWS

dana andrews, film noir or melodrama, forties, henry fonda, joan crawford, love triangle, martha stewart, otto preminger, peggy ann garner, romance, ruth warrick

JOAN CRAWFORD PLAYS 'DAISY KENYON' WITH DANA ANDREWS

Joan Crawford w/ Dana Andrews YEAR of Release: 1947 Joan Crawford stated that if it weren't for director Otto Preminger, DAISY KENYO...

ELIZABETH TAYLOR STARS IN 'ASH WEDNESDAY' WITH KEITH BAXTER

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<tr><td class="tr-caption" style="text-align: center;"><u>VHS Cover for Ash Wednesday</u></td></tr>
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A brilliant idea for former A-list actress and sex symbol who had been turning the first slightly-wide curve of her late-thirties and early-forties: With the famously lean, young, pointed beauty long gone, in 1973 Elizabeth Taylor plays a woman of around sixty-five that gets a facelift in Switzerland...<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor in Ash Wednesday</u></td></tr>
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Having her seem not only terribly ancient but life-beaten, weathered, bushed, and downright horribly melancholy — thus her "new" face is really what Taylor actually looked like in 1973, and the way the surgery is treated, shown in an up-close, realistically bloody montage...<br />
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And as learned through five minutes of exposition... it's obvious the entire procedure wasn't as as common as today, providing a science-fiction vibe beneath the mundane surface, but only inside the hospital, which is more of a rest home for the super rich and where injections cannot stop the aging process from the inside to fit the outside, but will "retard" the process of aging and, having lost a fair amount of weight, Liz winds up looking better here 
than other 1970's films... <br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Ash Wednesday Scores ***1/2</u></td></tr>
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The scene-stealer of Act One is dapper, cleft-chinned Keith Baxter as a wry, blunt, flamboyant fashion photographer going through a followup procedure...<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Liz annoyed by a moose-faced gay hairdresser</u></td></tr>
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That Liz's morose Barbara Sawyer, who has bandages covering most of her face for at least thirty minutes, has to <i>not</i> look forward to, and that the expository Baxter "teaches" her and the audience about... <br />
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After which, Taylor and her new self winds up at a Swiss hotel, waiting for the love of her life — her lifelong husband, Mark, played by Henry Fonda, a man she completely depends on — and the only reason she got the facelift in the first place although we get plenty of hints, especially from her visiting daughter — the only person who knows the truth: that the marriage was in peril, facelift or not. In that, Taylor is a humble yet equally oblivious version of Blanche DuBois, and you have to watch twice to see her reactions to particular moments when she realizes that the inevitable is in fact, inevitable... <br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Liz Taylor has a Helmet Berger in Ash Wednesday</u></td></tr>
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And yes, there is romance — sort of — as Barbara is flirted with in the hotel by a handsome, has-been ski-bum played by a stern and brooding Helmut Berger: Throughout the entire picture, Liz discovers her youth through everyone else's reaction, and scenes where she catches glimpses of her image provide moments of her usual graceful, royal acting skills, without words... Most of the dialogue is taken by reoccurring visits from Keith Baxter, with a quip for just about everything — and everyone...<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Shortbus Opening Montage</u></td></tr>
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An entertaining yet slow-paced film that's neither arthouse or conventional, ASH falls within a sort of wish-fulfillment romantic melodrama with a heavy theme on marriage — or love lost — or both. During the one bedroom scene, Berger's Erich turns to Barbara and says she shouldn't have waited so long. She thinks she might have been inexperienced in bed and he really meant, to sleep with <i>him</i>...<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor in ASH WEDNESDAY</u></td></tr>
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Well if the one sexually-driven romantic moment happened any quicker, ASH WEDNESDAY, with glorious and rich, cascading score by Maurice Jarre like an Italian music box befitting the Italian locale, would be nothing short of straight-out propaganda for face-lifts, or a just another Harlequin romance novel on screen...<br />
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In which there are hints of each and yet, as a whole, it's one of many counter-culture era films about finding oneself, but with a pretty neat twist: And last but certainly not least, the biggest surprise is the lack of unintentionally funny moments, as occur in many ambitious low budget vehicles of this decade, often referred to as "Howlers" like, for example, Taylor and husband Richard Burton's BOOM! — that's with the exception of the opening credit sequence, pasting images of the young and famous Taylor and Fonda to look as if they're actually a couple — getting the camp value out of the way early.<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Helmut Berger as Erich in ASH WEDNESDAY aka Meu Corpo em Tuas Mãos</u></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><u>1970's hottie Margaret Blye as Taylor's stunned daughter in ASH WEDNESDAY aka </u><u>Die Rivalin</u></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><u>Chimes at Midnight's Keith Baxter in Ash Wednesday a hybrid of Timothy Dalton and Ron Wood</u></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor in Ash Wednesday aka Unutulan hatıralar aka Δεν μπορούμε να ζούμε με αναμνήσεις</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqFeg1DpPlEdjb9H14bXkFC9KZ4dNQK9PcePaSNHWFF9qKMxH9if06pFro_ugz8_9_UH9wVIX3HA6hTBCcbuCNrZUbSLtD2-eb9nSpPZDfdeDRmsTkmL3xzwjLdTvkYSoy6GEnHkZGMUPV/s1600/83944411_887964578299386_5874170833085136896_n+2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="732" data-original-width="947" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqFeg1DpPlEdjb9H14bXkFC9KZ4dNQK9PcePaSNHWFF9qKMxH9if06pFro_ugz8_9_UH9wVIX3HA6hTBCcbuCNrZUbSLtD2-eb9nSpPZDfdeDRmsTkmL3xzwjLdTvkYSoy6GEnHkZGMUPV/s1600/83944411_887964578299386_5874170833085136896_n+2.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Larry Peerce directs Elizabeth Taylor in Ash Wednesday aka Porque morre o nosso amor? </u></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor in Ash Wednesday aka </u><u>Mercoledì delle ceneri aka Środa popielcowa </u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5kBqpGIKIqPPfK-BLW8URF-_zImZJhh6wZ_Hs_W83EAEtFYQmGJKwfAZbsPCvF3KxlL2orrVtJWoiSx9Nth-gTzbNNRyuWJwqai6jx9kuhUArlZctYTHhhoofho6vN11hX7_eCMPep0GX/s1600/92189071_943487859413724_6445856449338802176_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="724" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5kBqpGIKIqPPfK-BLW8URF-_zImZJhh6wZ_Hs_W83EAEtFYQmGJKwfAZbsPCvF3KxlL2orrVtJWoiSx9Nth-gTzbNNRyuWJwqai6jx9kuhUArlZctYTHhhoofho6vN11hX7_eCMPep0GX/s1600/92189071_943487859413724_6445856449338802176_n.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor (looking like a shot from a Beatles album cover) in ASH WEDNESDAY</u></td></tr>
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drama, elizabeth taylor, helmut berger, henry fonda, keith baxter, margaret blye, melodrama, romance, seventies

ELIZABETH TAYLOR STARS IN 'ASH WEDNESDAY' WITH KEITH BAXTER

VHS Cover for Ash Wednesday A brilliant idea for former A-list actress and sex symbol who had been turning the first slightly-wide curve...

Written by James M. Tate / 8/06/2016 / No comments / charles bickford , film noir or melodrama , forties , henry fonda , joan crawford , otto preminger , wrong man

OTTO PREMINGER AND GENE TIERNEY REUNITE FOR 'WHIRLPOOL'

charles bickford, film noir or melodrama, forties, henry fonda, joan crawford, otto preminger, wrong man

OTTO PREMINGER AND GENE TIERNEY REUNITE FOR 'WHIRLPOOL'

Year: 1949 Before Jose Ferrer played despicable villains he played intellectual/sophisticated ones... In Otto Preminger's WHIRLPOOL ...

Written by James M. Tate / 3/17/2014 / No comments / forties , gregg toland , henry fonda , john carradine , john ford , melodrama , politics

HENRY FONDA ON A SOAPBOX IN 'THE GRAPES OF WRATH'

forties, gregg toland, henry fonda, john carradine, john ford, melodrama, politics

HENRY FONDA ON A SOAPBOX IN 'THE GRAPES OF WRATH'

year: 1940 rating: *1/2 Following the opening credits, after Henry Fonda’s Tom Joad hitches a ride with a reluctant, narrow-minded truck...

Written by James M. Tate / 6/08/2011 / No comments / courtroom drama , ensemble , fifties , henry fonda , jack klugman , lee j. cobb , martin balsam

12 ANGRY MEN

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbATqiupmItgy4kpXMbB8wM6djPpj3kKYJGvg818b_W__xHgnIrcpvFBvBt1g9xlr4xJL15XMcCQBKQZK-4n6ybBSnHD6btMiZrfY05v-r4mv4NCepSOHJTnEjNmnKlYzFpzjhW82LVIY/s1600/460059.1020.A.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5615948346307079922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbATqiupmItgy4kpXMbB8wM6djPpj3kKYJGvg818b_W__xHgnIrcpvFBvBt1g9xlr4xJL15XMcCQBKQZK-4n6ybBSnHD6btMiZrfY05v-r4mv4NCepSOHJTnEjNmnKlYzFpzjhW82LVIY/s200/460059.1020.A.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0px 0px 10px 10px; width: 123px;" /></a><span style="font-weight: bold;">title:</span> 12 ANGRY MEN<br />
<span style="font-weight: bold;">year:</span> 1957<br />
<span style="font-weight: bold;">cast: </span>Henry Fonda, Lee J. Cobb, Jack Warden, Martin Balsam, Jack Klugman<br />
<span style="font-weight: bold;">rating:</span> ***1/2<br />
<br />
Set in a hot, stuffy deliberations room full of not only angry but stubborn and impatient jurors, Henry Fonda alone makes up for what had to be the worst defense in the history of murder cases. This honored film, a courtroom drama taking place outside the courtroom, has Fonda as a mild-mannered architect acting as if a defense attorney, proving that a young man accused of fatally stabbing his father, in a supposedly open-shut case, is not guilty by means of reasonable doubt. The fellow jurors he must convince, including a barking, bitter Lee J. Cobb, a stiff and determined E.G. Marshall, and Jack Warden as a salesman who'd rather see a ball game, aren’t backing down…but more open-minded jurors like Jack Klugman help him gain more and more support. While the writing can be manipulative, intentionally swaying the audience right along with the jury, the direction, within the confined setting, gives each member a chance to shine. Yet the acting, performed by a stellar cast with some terrific moments, often feels stagy: especially Lee J. Cobb’s over-the-top breakdown. But it’s Fonda’s show here, remaining the constant barometer in an ever-changing tide.

courtroom drama, ensemble, fifties, henry fonda, jack klugman, lee j. cobb, martin balsam