cult film freak: margaret blye

Showing posts with label margaret blye. Show all posts

Written by James M. Tate / 11/25/2021 / No comments / drama , elizabeth taylor , helmut berger , import , keith baxter , margaret blye , melodrama , romance , seventies

ELIZABETH TAYLOR IN 'ASH WEDNESDAY' WITH KEITH BAXTER

<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/a/AVvXsEj6U5bGdzo32rjbIOuU6-TYhTwYtooqn0IaRZp-8V0p-nL6_kerKZFd3F5WKtV-7lAMtbIh-qo3s30wUcGoT482QeGPCFnnULeqHy5d-Quh0S9fIa0jlNJn0ufMYqUXHBRAF-b3PibYO0UmllV4hfzn4VCjyn_5nslxC3ffVL9nulgHaIzOWpjLYSTzDg=s1391" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1035" data-original-width="1391" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6U5bGdzo32rjbIOuU6-TYhTwYtooqn0IaRZp-8V0p-nL6_kerKZFd3F5WKtV-7lAMtbIh-qo3s30wUcGoT482QeGPCFnnULeqHy5d-Quh0S9fIa0jlNJn0ufMYqUXHBRAF-b3PibYO0UmllV4hfzn4VCjyn_5nslxC3ffVL9nulgHaIzOWpjLYSTzDg=s16000"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Elizabeth Taylor in ASH WEDNESDAY Year: 1973 Rating: ****</u></td></tr></tbody></table><p>A brilliant plot-device for any forty-year-old actress who was once an ingenue, ASH WEDNESDAY has a middle-aged Elizabeth Taylor circa 1973 playing a character well over sixty...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Beginning at a Swiss resort for plastic surgery far ahead of its time, ASH combines wistful melodrama and a touch of science-fiction since, when the procedure is finished... after being shown in uncomfortable detail from what seems a training film for med students... she winds up the real Elizabeth Taylor at that age... her age, then... thus looking comparably better than ever...</p><p><span></span></p>

drama, elizabeth taylor, helmut berger, import, keith baxter, margaret blye, melodrama, romance, seventies

ELIZABETH TAYLOR IN 'ASH WEDNESDAY' WITH KEITH BAXTER

Elizabeth Taylor in ASH WEDNESDAY Year: 1973 Rating: **** A brilliant plot-device for any forty-year-old actress who was once an ingenue, AS...

CHARLES BRONSON FIGHTS THROUGH WALTER HILL'S 'HARD TIMES'

<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/AVvXsEj475LiUBtrTFIE153qIJh0oU-MecrM0G2Fq3Ad0evcGqTyVALIJWR2Sq1Je_e34sLRh7FhrqqOFc-CTohgri9_qsJGGar8Z6Cg4l3l3gRIXr7YTBycy_ODPzeGvFV34fB8t53tG4BlfpCw/s1329/Screen%252BShot%252B2021-09-19%252Bat%252B9.47.21%252BPM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="603" data-original-width="1329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj475LiUBtrTFIE153qIJh0oU-MecrM0G2Fq3Ad0evcGqTyVALIJWR2Sq1Je_e34sLRh7FhrqqOFc-CTohgri9_qsJGGar8Z6Cg4l3l3gRIXr7YTBycy_ODPzeGvFV34fB8t53tG4BlfpCw/s16000/Screen%252BShot%252B2021-09-19%252Bat%252B9.47.21%252BPM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Charles Bronson fights Bob Tessier in Walter Hill's HARD TIMES Year: 1975 Rating: ***1/2</u></td></tr></tbody></table><p>For a director whose style would be eternally linked to the Action genre, Walter Hill's first feature HARD TIMES relies more on location, dialog, ambiance, and even the title leans on the REASON for sporadic cash-handed street fights than the inner-ingredients OF them...<br></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>Yet there are some terrific bare-knuckled boxing with a tremendously built Bronson looking thirty-five at the age of fifty-two, one year after hitting A-list big with DEATH WISH and if, say, a Michael Winner or J. Lee Thompson had directed, the brawls might've flowed looser alongside the character motivations to mean more than peripheral glimpses into why our central hero really doesn't say very much...</p><p><span></span></p>

bob tessier, boxing, charles bronson, depression-era, drama, james coburn, jill ireland, margaret blye, mc gainey, michael mcguire, seventies, strother martin, walter hill

CHARLES BRONSON FIGHTS THROUGH WALTER HILL'S 'HARD TIMES'

Charles Bronson fights Bob Tessier in Walter Hill's HARD TIMES Year: 1975 Rating: ***1/2 For a director whose style would be eternally l...

MICHAEL CAINE IN THE ORIGINAL VERSION OF 'THE ITALIAN JOB'

<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/a/AVvXsEgQ_WRdSIbjp2EYw8eWqWOoBJnhAZnm3SvHQR8jEYbMeZJrOmxx2esI_0bTG_vQKeSV-qsNRCrkd4mgwBgJmTIvXv-oovZNQOlIWKedooaM_r5M9Jz9ax066cHmvJKdJWm2AiAVkkrPlX_zTPfvBIueZwMdoWErbJUnVc2KUvLhVsE8L5F5f-nTpfIJfA=s779" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="580" data-original-width="779" height="297" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQ_WRdSIbjp2EYw8eWqWOoBJnhAZnm3SvHQR8jEYbMeZJrOmxx2esI_0bTG_vQKeSV-qsNRCrkd4mgwBgJmTIvXv-oovZNQOlIWKedooaM_r5M9Jz9ax066cHmvJKdJWm2AiAVkkrPlX_zTPfvBIueZwMdoWErbJUnVc2KUvLhVsE8L5F5f-nTpfIJfA=w400-h297" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Michael Caine in The Italian Job Year: 1969 Rating: **1/2</u></td></tr></tbody></table><p>A stern, turtleneck-clad Michael Caine resembles BULLITT Steve McQueen on THE ITALIAN JOB poster, a misleading heist film as slapstick impairs what could have been a damn cool action vehicle... </p><p></p><p></p><p></p><p></p><p>Which <i>it is</i> during the 11th hour when those famously nifty mini-cars zip through Italy after Caine's gang of British criminals rob millions in gold... but the chase follows what's a far too easy heist with very few hitches, and the main problem is the overlong setup: a shame since the "collecting of ensemble misfits" is usually involving and fun...<br></p><p>But only Michael Caine — fresh out of prison before breaking back in to talk Noel Coward into funding the heist — seems like he knows what's going on and how the hell to get there, and back: Even the experienced getaway bus driver at the literal cliffhanger finale was the wrong choice, taking mountainous corners like a wacky open road joyride, and, while many viewers loathe the ambiguous ending, it's actually the best (and most suspenseful) scene in the picture since, for the first time, all of the otherwise goofy characters (backed by an even goofier main song/track) are dead serious, literally for their very lives, which should have happened a lot more times, and a whole lot sooner. <br></p><p><span></span></p>

action, caper, comedy, cult, ensemble, harry baird, heist, margaret blye, michael caine, noel coward, peter collinson, sixties

MICHAEL CAINE IN THE ORIGINAL VERSION OF 'THE ITALIAN JOB'

Michael Caine in The Italian Job Year: 1969 Rating: **1/2 A stern, turtleneck-clad Michael Caine resembles BULLITT Steve McQueen on THE ITAL...

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 style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdd3_RU2f2yYj-ZQNMnWUeV1aMFkp09k_qgy0QHhb58r01YjfbvvxKmH1i4sRbDxQFsKWYbP2OnbWSqWvkGPWk89q0BqLTG91U5PD8eiQhXl5WAx1U37Dbhdx5WxGLUX2Qb2GdVIbGABk/s1600/82412140_887976554964855_697173157504614400_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="725" data-original-width="953" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdd3_RU2f2yYj-ZQNMnWUeV1aMFkp09k_qgy0QHhb58r01YjfbvvxKmH1i4sRbDxQFsKWYbP2OnbWSqWvkGPWk89q0BqLTG91U5PD8eiQhXl5WAx1U37Dbhdx5WxGLUX2Qb2GdVIbGABk/s1600/82412140_887976554964855_697173157504614400_n.jpeg" /></a></td></tr>
<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 style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUpGwKY_fDSuu1ZFoTPYeXBlY6kKwGLWUBrQyqpkkMWmGXB7_5anVpqfXG8Dry4KiDKsx5oyFcHWE1QVhAJQax3Wi77Fraeuyb-JY0cg4qUauufZmzOh8Z9N6iUTL2fsO-_tEPW6EMMs6/s1600/82596782_887981394964371_8703621929648521216_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="621" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUpGwKY_fDSuu1ZFoTPYeXBlY6kKwGLWUBrQyqpkkMWmGXB7_5anVpqfXG8Dry4KiDKsx5oyFcHWE1QVhAJQax3Wi77Fraeuyb-JY0cg4qUauufZmzOh8Z9N6iUTL2fsO-_tEPW6EMMs6/s1600/82596782_887981394964371_8703621929648521216_n.jpeg" /></a></td></tr>
<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 style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmpnCbCB-wuWEjjD4l5e5urA-EZSd3k4U8baG0iH75BHNi6OJyKmE4rEroWN09NKifzDdHdORJTH_Gt_AzLlqhCJw_2Z8dM3dLyl0Cj309ED06Pn5QpoiRJK8Ng7xGZa52bxmE13Up3i2u/s1600/82509454_887964568299387_1546333061447155712_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="682" data-original-width="898" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmpnCbCB-wuWEjjD4l5e5urA-EZSd3k4U8baG0iH75BHNi6OJyKmE4rEroWN09NKifzDdHdORJTH_Gt_AzLlqhCJw_2Z8dM3dLyl0Cj309ED06Pn5QpoiRJK8Ng7xGZa52bxmE13Up3i2u/s1600/82509454_887964568299387_1546333061447155712_n.jpeg" /></a></td></tr>
<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 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