cult film freak: time period

Showing posts with label time period. Show all posts

Written by James M. Tate / 1/21/2025 / No comments / anne bancroft , anthony hopkins , british , david lynch , eighties , freddie francis , freddie jones , frederick treves , hannah gordon , history , john geilgud , time period

MEL BROOKS PRESENTS DAVID LYNCH'S ICONIC 'THE ELEPHANT MAN'

<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/AVvXsEhh-z-YOkkJdTZ9nmgkZ0ZrfHRN6Sqkw1b9Q0ORg2a6dkbOTunWlYiLqzZWpiO5m-Q-Erk2qAzJm3YErGniwUOhZ5gpwhebH7jnga0DzlWeNx_kF_7w8E9X-ftxLvWxtKVpu5UXHB-cP5F-J0S0lDH33YTZN0dHDz-v-c8f6Rv8pqeiQi8Q6locj4tGUxDz/s1786/Screen%20Shot%202025-01-22%20at%201.37.58%20PM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="1786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-z-YOkkJdTZ9nmgkZ0ZrfHRN6Sqkw1b9Q0ORg2a6dkbOTunWlYiLqzZWpiO5m-Q-Erk2qAzJm3YErGniwUOhZ5gpwhebH7jnga0DzlWeNx_kF_7w8E9X-ftxLvWxtKVpu5UXHB-cP5F-J0S0lDH33YTZN0dHDz-v-c8f6Rv8pqeiQi8Q6locj4tGUxDz/s16000/Screen%20Shot%202025-01-22%20at%201.37.58%20PM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Anthony Hopkins in David Lynch's THE ELEPHANT MAN Year: 1980 Rating: ****</u></td></tr></tbody></table><p>After the bleak B&W, nightmarishly bizarre ERASERHEAD, otherwise comedy producer Mel Brooks hired offbeat auteur David Lynch to provide 1880's England the same kind of Industrial-doomed, smokestack-bursting aesthetic...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Yet what's expected of Lynch's signature weirdness (before and after), THE ELEPHANT MAN mostly plays out like an against-the-odds high school bully flick... <br></p><p><span></span></p>

anne bancroft, anthony hopkins, british, david lynch, eighties, freddie francis, freddie jones, frederick treves, hannah gordon, history, john geilgud, time period

MEL BROOKS PRESENTS DAVID LYNCH'S ICONIC 'THE ELEPHANT MAN'

Anthony Hopkins in David Lynch's THE ELEPHANT MAN Year: 1980 Rating: **** After the bleak B&W, nightmarishly bizarre ERASERHEAD, oth...

ALEXANDER PAYNE & PAUL GIAMATTI REUNITE FOR 'THE HOLDOVERS'

2023, alexander payne, comedy, counter-culture, drama, new, paul giamatti, teen, time period

ALEXANDER PAYNE & PAUL GIAMATTI REUNITE FOR 'THE HOLDOVERS'

Title: THE HOLDOVERS Year: 2023 Rating: ** Director Alexander Payne is passive/aggressive when it comes to his previous SIDEWAYS star Paul G...

RICHARD LESTER RETURNS TO THE SWORD FOR 'ROYAL FLASH'

<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/AVvXsEh9NfwVKrxHXAGFfa3SCIUnJRh3jTYpTNH7hJaUmdKvACqH4Vhhnyfzhdw1XAwM1j6c435qMnHv1eHf3ASAwkWRwhj6yNpyMnIWJDY555nkNsHDJJSFXhJwRGAacS8ivQ4_hWVXQqm2KjHdQLNVjkSSUe1s3GdNPDYqOhzzHEl9KjiwIyww6iEF6DOThQ/s986/AVvXsEglJ6rJ-HWX_PQhNmXZr3vCF2z1n4zFT7e8ELVmK_0B91no-P_cxSsv62bf6YMzMywKp9-HqufgdsMawAhLPPSSK5BOjXQevkJZMOb1PSzUlu1J0jt3X3NV10nNa5cnm6PgOakyzRAS_R9FRY9FF6pzhgNHDm-sJp3_cRUS2TH6LI0g3cYW2mzCLNq_Bg=s16000.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="630" data-original-width="986" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NfwVKrxHXAGFfa3SCIUnJRh3jTYpTNH7hJaUmdKvACqH4Vhhnyfzhdw1XAwM1j6c435qMnHv1eHf3ASAwkWRwhj6yNpyMnIWJDY555nkNsHDJJSFXhJwRGAacS8ivQ4_hWVXQqm2KjHdQLNVjkSSUe1s3GdNPDYqOhzzHEl9KjiwIyww6iEF6DOThQ/w400-h255/AVvXsEglJ6rJ-HWX_PQhNmXZr3vCF2z1n4zFT7e8ELVmK_0B91no-P_cxSsv62bf6YMzMywKp9-HqufgdsMawAhLPPSSK5BOjXQevkJZMOb1PSzUlu1J0jt3X3NV10nNa5cnm6PgOakyzRAS_R9FRY9FF6pzhgNHDm-sJp3_cRUS2TH6LI0g3cYW2mzCLNq_Bg=s16000.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1975 Rating: ****</u></td></tr></tbody></table>There were only three actors Stanley Kubrick had to give little direction to: Peter Sellers from DR. STRANGELOVE and LOLITA, James Mason from LOLITA, and his CLOCKWORK ORANGE star turned cult icon, Malcolm McDowell, who, through his own statements, wanted to keep in touch with the reclusive genius auteur, perhaps for more great roles in other projects in future years... and being how much he did for Kubrick, it wasn't too much to ask, was it? But after ORANGE he never heard from the director who had ignited his career with the ultra-violent classic that would, better for us and maybe worse for him, never go away... Perhaps he caught wind that Kubrick's next vehicle was a time period piece epic involved around the art of The Duel, titled BARRY LYNDON wherein Ryan O'Neal, while taking some getting used to, by the end turns in a wonderful performance being someone who took us for a very long ride and wound up a man who... let's just say, fit the actor's supposed real life un-appeal. But imagining Malcolm in the title role is a torturous fantasy: If only, yes, if only... <br>

action, adaptation, adventure, alan bates, bob hoskins, caper, history, malcolm mcdowell, oliver reed, richard lester, seventies, time period, twilight time

RICHARD LESTER RETURNS TO THE SWORD FOR 'ROYAL FLASH'

Year: 1975 Rating: **** There were only three actors Stanley Kubrick had to give little direction to: Peter Sellers from DR. STRANGELOVE and...

JAMES CAGNEY IN 'FRISCO KID' WITH MARGARET LINDSAY

<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/AVvXsEj-52KXpD3y8osOJ2sVhnho3EH5Ora_MwqV0r9cy7K6LOQ8ct7iup3uohpts314obzljRlqXYL4aLWOLZTjf0qTDRaQZaGsxpehViwxwq_OS_ZB07BUWNrF2Hv3BufkmPjNNJHE4JBS-yhT9vFY9QJIafm83wQbKYbZ4EYgtZxXRA1R8A5N7-emZHMvcQ=s746" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="746" height="271" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-52KXpD3y8osOJ2sVhnho3EH5Ora_MwqV0r9cy7K6LOQ8ct7iup3uohpts314obzljRlqXYL4aLWOLZTjf0qTDRaQZaGsxpehViwxwq_OS_ZB07BUWNrF2Hv3BufkmPjNNJHE4JBS-yhT9vFY9QJIafm83wQbKYbZ4EYgtZxXRA1R8A5N7-emZHMvcQ=w400-h271" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1935 Rating: ***1/2</u><br></td></tr></tbody></table><p>One of the more severe early James Cagney features features Cagney as a character with a name so tough, once he's almost shanghaied in San Fransisco's 19th Century cutthroat/bar-brawling territory, you just know that new-guy-in-town "Bat Morgan" will get his revenge, and then some...</p><p></p><p>And that <i>some</i> is the kind of "let's band together to make one unbreakable monopolizing outfit" that occurs in just about every gangster flick that FRISCO KID is a time-period version of... </p><p>With either extremely shady or friendly characters surrounding our initially sympathetic turned determined casino-owner, from big boss Barton MacClane's hook-hand henchman The Shanghai Duck to gambler Ricardo Cortez as Cagney's backstabbing second to an affable sidekick to classy ingenue Margaret Lindsay flanked by token idealist Donald Woods (foreshadowing THE ROARING TWENTIES Paul Kelly, Humphrey Bogart, Frank McHugh, Patricia Lane and Jeffrey Lynn respectively); the latter a newspaperman ready to stomp the unlawful shenanigans that Cagney's Morgan is only partially responsible for, providing yet another "crime doesn't pay" plot-line that needed more levity climbing to that inevitably unsteady pinnacle... only this time it's all pretty serious business.  </p><p><span></span></p>

action, classic gangster, donald woods, george e. stone, james cagney, margaret lindsay, ricordo cortez, thirties, time period

JAMES CAGNEY IN 'FRISCO KID' WITH MARGARET LINDSAY

Year: 1935 Rating: ***1/2 One of the more severe early James Cagney features features Cagney as a character with a name so tough, once he...

CHARLES BRONSON & JASON ROBARDS REUNITE IN 'CABOBLANCO'

<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/AVvXsEgwKdkxza0msZrmAXd1bM6jghFtmd_PLhqicu2IN9go4w5E1GMQAaiP-ocy_Mr7gyMWaZ5er9vbEDj1SYEQ8uSCheclWb0zZgEEWikyR2kXXgMk5A-s_NDycdkYZxWc1uCbUJf7jbBRpPw4/s921/Screen+Shot+2021-07-18+at+11.43.11+PM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="698" data-original-width="921" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwKdkxza0msZrmAXd1bM6jghFtmd_PLhqicu2IN9go4w5E1GMQAaiP-ocy_Mr7gyMWaZ5er9vbEDj1SYEQ8uSCheclWb0zZgEEWikyR2kXXgMk5A-s_NDycdkYZxWc1uCbUJf7jbBRpPw4/w400-h304/Screen+Shot+2021-07-18+at+11.43.11+PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: Cabo Blanco Year: 1980 Rating: **1/2</u></td></tr></tbody></table><p>This spiritual remake of CASABANCA about an American who runs a Peruvian hotel/nightclub harboring a French woman who knows about a local sunken ship's treasure is also similar to future blockbuster TITANIC; and for some reason the cache-seeking ship's captain, played by youthful surrogate hero <a href="http://www.cultfilmfreaks.com/2013/10/jaws-3-sucks-greatly.html">Simon MacCorkindale</a> sending a mini-sub to investigate, also narrates, eventually injured since this <i>is</i> a <a href="http://www.cultfilmfreaks.com/search/label/charles%20bronson">Charles Bronson</a> vehicle: But unlike the Bogart classic, Dominique Sanda and Bronson's Giff Hoyt didn't have a previous affair... </p><p>And yet she <i>did</i> have a former French lover (his friend) who provided details about that treasure which... sadly, since <i>fortune hunting neo noirs</i> are usually pretty good... is quickly <i>buried</i> in a limited plot concerning pressure from the second/third of ONCE UPON A TIME IN THE WEST, Jason Robards as the Nazi main villain (hooked with blonde moll <a href="http://www.cultfilmfreaks.com/2019/07/downhill-racer.html">Carmilla Sparv</a> who should have replaced the wooden Sanda).... even less threatening than his native law-leg Fernando Rey or Aryan assassin <a href="http://www.cultfilmfreaks.com/2020/04/theparty.html">Denny Miller</a>. Meanwhile the biggest shame is that CABO has fantastically manned camera-direction by <a href="http://www.cultfilmfreaks.com/2021/06/ClockworkPassage.html">J. Lee Thompson</a>, seeming more in-tune with a modern (1980) thriller that the wardrobe and certain technological aspects also resemble. And while primed to beat a lot of people up, Bronson's hardly in any <i>real</i> danger throughout — so why even bother?<br><span></span></p>

camilla sparv, charles bronson, denny miller, dominique sanda, eighties, fernando rey, j. lee thompson, jason robards, mystery, nazi, neo noir, simon maccorkindale, thriller, time period, treasure

CHARLES BRONSON & JASON ROBARDS REUNITE IN 'CABOBLANCO'

Title: Cabo Blanco Year: 1980 Rating: **1/2 This spiritual remake of CASABANCA about an American who runs a Peruvian hotel/nightclub harbori...

LEGENDARY TELEVISION MINISERIES OF 'RICH MAN, POOR MAN'

<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/AVvXsEhokkqTT8ftgqfwxJ5ibnVkdrvf9YEQnc_JZTN3ttjmKA3X59TcFm2rhP3XFVlb_eMX13slSqA43Z4q8F2EnhSpJyFP2z85ACxFVphJwmxoUzndMaNmM-_uHZ6ITPWquD9RYrtmRp3GEbw9/s949/197665416_1255469021548938_2890333516275307322_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="636" data-original-width="949" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokkqTT8ftgqfwxJ5ibnVkdrvf9YEQnc_JZTN3ttjmKA3X59TcFm2rhP3XFVlb_eMX13slSqA43Z4q8F2EnhSpJyFP2z85ACxFVphJwmxoUzndMaNmM-_uHZ6ITPWquD9RYrtmRp3GEbw9/s16000/197665416_1255469021548938_2890333516275307322_n.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Robert Reed and star Peter Strauss in RICH MAN, POOR MAN Year: 1976 Rating: ****1/2</u></td></tr></tbody></table>The two title siblings from RICH MAN,  POOR MAN would have made the perfect singular male. Both having grown up very poor, one becomes rich and the other... other than poor... is outrageously cursed and unlucky: So the entire miniseries is about acquiring luck through hard work and/or being unlucky by following primary primal instincts...<br>
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Although, soon enough, the bad luck, permanently stained on Nick Nolte's Tom Jordache, spreads onto everyone around him, including the series' true lead, Peter Strauss as Rudy Jordache, whose story of a delivery boy turned businessman turned aspiring politician intentionally clashes (albeit separately) with Nolte's hardboiled cross-country escapades...<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Rudy Strauss and Nick Nolte in an 11th hour celebration in RICH MAN, POOR MAN</u></td></tr>
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The best parts concerning Nolte's Tom occurs in the 11th hour, when he finally starts doing well... Working a charter boat with partner Herbert Jefferson Jr., his young son and perfect girlfriend turned wife Kay Lenz, life never looked better than all those low-rent dives he'd sulked around in, eventually chased by the mafia and thrown on a merchant marine steamer ship to get outta town, quick... <br>
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And on that ship's where the most sinister and eclectically nefarious villain is introduced in William Smith's Anthony Falconetti: Not only bullying smaller guys onboard by beating them to the proverbial pulp, what he does to Jefferson's Roy, Tom's best friend, is liken to why men fear prison because of what "Bubba" will make them...<br>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcKUK_0i_4mHDH8jn-HtXW-RrjeK0mYbMSlp8wDGJ3QW8pq-2iVyj1RnB_CzGOSDzoWhR8yiGD-NQTbp4TovVJeW7P5VIfoKHmGL3NfpfKGQuaquhDgEQz6k7Yv9-CBk57btc9H7iFpxI/s1600/90598494_934725910289919_4228674261037875200_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="724" data-original-width="942" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcKUK_0i_4mHDH8jn-HtXW-RrjeK0mYbMSlp8wDGJ3QW8pq-2iVyj1RnB_CzGOSDzoWhR8yiGD-NQTbp4TovVJeW7P5VIfoKHmGL3NfpfKGQuaquhDgEQz6k7Yv9-CBk57btc9H7iFpxI/s1600/90598494_934725910289919_4228674261037875200_n.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Nick Nolte as Tom Jordache in RICH MAN, POOR MAN </u></td></tr>
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While great actors, Strauss and Nolte seem ten years too old for playing teenagers, taking place in the first "chapter," literally seconds after World War II, living under their tyrannical father, played by award winning ham Edward Asner as a German baker with a bloody past and the kind of bad choices Nolte's Tom would inherit, almost to exact detail...<br>
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Nolte winds up living with his even worse (although successful) uncle, and here his story really begins, having an affair with a voluminous older woman he'll eventually name his beloved charter boat after...<br>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJsVTAytyeCnGHBWZGTqVXAbnDn0piNEPnegrjkWiOgcxX4geYMx6nb8rP6AEYdWmnGd6dobB3kmCO0VGESFLreNwp7lUbwyy7RayQ-MDRk1IKw5VxR2_iYD5Mb5AV4D1zPqVOdvDp-6xm/s1600/52269861_656341961461650_4551937096285159424_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="620" data-original-width="883" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJsVTAytyeCnGHBWZGTqVXAbnDn0piNEPnegrjkWiOgcxX4geYMx6nb8rP6AEYdWmnGd6dobB3kmCO0VGESFLreNwp7lUbwyy7RayQ-MDRk1IKw5VxR2_iYD5Mb5AV4D1zPqVOdvDp-6xm/s1600/52269861_656341961461650_4551937096285159424_n.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>"I can bake bread to feed people; what can you do?" Rudy asks a spoiled hippie college kid, before going bonkers</u></td></tr>
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Meanwhile, the most intriguing scenes involve Rudy's initial climb to success, starting in his college days while working for Ray Milland at an old fashion superstore that desperately needs modernizing... <br>
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The way Rudy climbs to the top is more intriguing and suspenseful than Nolte's roving Noir-inspired muscularity; the latter's story peaking once he's in the boxing game, which doesn't last long enough thanks to, again, horribly asinine (and downright frustrating) decisions. And in his own way, Strauss's Rudy is equally tough, providing a few wonderfully delivered lectures that, unlike his father (Asner), don't come across as overboard or melodramatic... <br>
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<tr><td class="tr-caption" style="text-align: center;"><u>William Smith and Susan Blakely violently bond in RICH MAN POOR MAN the last chapter</u><i><br></i></td></tr>
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But the glue connecting everything is Susan Blakely as Rudy's "childhood" semi-girlfriend Julie Prescott, the only of the three leads fitting the younger, teenage scenes as she curiously glimpses into the "mysterious side" of life with a tempestuous older-man affair (Robert Reed), and then, much like Tom, making her own path (in New York City) no matter the consequences.... <br>
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A progressive young woman ahead of her time, she unfortunately finds the wrong man in a horribly cast Bill Bixby, delivering each line straight out of community theater. His random imitations of Jimmy Stewart and others, supposedly personifying an omnipresent charm, are so cringe-worthy, time practically stands still while he's on screen (you'll wish he'd turn into the Hulk simply to kick his own ass)... </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6IgboTEJFSc-tC0txVTsHmY_cixs-fuj5wqfyzpiX6QMcwGTe4B2X_EHKfrWe7zs_Nq5A61pjGgGMQHxMNyNeR6t8Z2rKCxGSWZXdgWjIAC2FZPdYZ4Qw5MT1lpqrpQ05DrxCW1pG_4b/s1600/52594341_656329081462938_7998427160509415424_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6IgboTEJFSc-tC0txVTsHmY_cixs-fuj5wqfyzpiX6QMcwGTe4B2X_EHKfrWe7zs_Nq5A61pjGgGMQHxMNyNeR6t8Z2rKCxGSWZXdgWjIAC2FZPdYZ4Qw5MT1lpqrpQ05DrxCW1pG_4b/s1600/52594341_656329081462938_7998427160509415424_n.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Kay Lenz as Kate Jordache in RICH MAN, POOR MAN</u></td></tr>
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Towards the end of this, the original RICH MAN, POOR MAN miniseries... followed by an actual full-season series, BOOK II, sans Nolte and with Strauss fighting political corruption and especially William Smith's demonic madman Falconetti... Blakely's Julie, married to would-be politician Rudy, amounts to boozing and complaining, even more of an albatross on Rudy than his brother ever was... <br>
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At one point, before Tom's tragic yet predictable death, Rudy points out how much better the POOR brother's life is (even though Tom's sudden turnaround was all Rudy's doing), attributed to either contentment or a comparably perfect bedmate in Kay Lenz. But that, like everything else, relates to the personal choices from either of three central figures which is really, deep down, a "modernized" Greek tragedy about what paths<i> not</i> to take — and then what happens after willingly setting forth into an inevitable, self-fulfilled perdition.<br>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0v7vZV_tJYxgFDvp8kMPgKRMlG54p-YThBdHPse_8Z7YoguldVq8CrxjhmM_L2SHwJKmS2pEr9K29hd1jUZnqzNXufn2iHrypOwKHS9mQAwNeJOdwfEfJLjGfed4iu3NUEZZrNyTjHHaq/s1600/52466016_656844641411382_7955491948704301056_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="752" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0v7vZV_tJYxgFDvp8kMPgKRMlG54p-YThBdHPse_8Z7YoguldVq8CrxjhmM_L2SHwJKmS2pEr9K29hd1jUZnqzNXufn2iHrypOwKHS9mQAwNeJOdwfEfJLjGfed4iu3NUEZZrNyTjHHaq/s1600/52466016_656844641411382_7955491948704301056_n.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Two uncredited cuties in France in the 11th hour chapters of RICH MAN POOR MAN</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj99tvpIamwjIv-yU11pjGPkTZ3ktgxh24dJZR8VqNXqnwEDyixl6kXFOtchSVR2f2ILMLywME5InyTJjf93ifSUgsSBOwHKM7jPtlF2VU-Nyi56LLkCZBbZZ64paqOTxkKn1sZX5RjC09H/s1600/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="695" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj99tvpIamwjIv-yU11pjGPkTZ3ktgxh24dJZR8VqNXqnwEDyixl6kXFOtchSVR2f2ILMLywME5InyTJjf93ifSUgsSBOwHKM7jPtlF2VU-Nyi56LLkCZBbZZ64paqOTxkKn1sZX5RjC09H/s1600/1.jpeg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Falconetti Wants You... To Join The Merchant Marines: And on the Bottom Bunk You'll Stay</u></td></tr>
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adaptaiton, drama, ed asner, herbert jefferson jr., kay lenz, miniseries, nick nolte, peter strauss, robert reed, seventies, susan blakely, time period, william smith

LEGENDARY TELEVISION MINISERIES OF 'RICH MAN, POOR MAN'

Robert Reed and star Peter Strauss in RICH MAN, POOR MAN Year: 1976 Rating: ****1/2 The two title siblings from RICH MAN, POOR MAN would h...

REVIVING WOODY ALLEN'S 'A MIDSUMMER NIGHT'S SEX COMEDY'

<table align="center" 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/AVvXsEgoHXK2gWdzw-G6HFEjTkfsZ6gXpRFqW6pDFGe1Wmjy3t5wJhW1lNccWwvdkUAGuyBstXNFDxU-XLemBx87VgN44QfSAck2qfQDGBe2WwFGLblhtyP4sML0gF52v27au89oHxAYovmao-MH9qf_65qXUveQqG5tqPhAHqTKy8VBzeSsKwO91VfKfC_WSjCL/s1600/Screen+Shot+2018-12-20+at+2.41.05+PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1287" data-original-width="1600" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoHXK2gWdzw-G6HFEjTkfsZ6gXpRFqW6pDFGe1Wmjy3t5wJhW1lNccWwvdkUAGuyBstXNFDxU-XLemBx87VgN44QfSAck2qfQDGBe2WwFGLblhtyP4sML0gF52v27au89oHxAYovmao-MH9qf_65qXUveQqG5tqPhAHqTKy8VBzeSsKwO91VfKfC_WSjCL/w400-h321/Screen+Shot+2018-12-20+at+2.41.05+PM.png" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u> Year: 1982 Rates: ****</u></td></tr></tbody></table>Upon release, Woody Allen's multi homage (from Shakespeare to Bergman) A MIDSUMMER NIGHT'S SEX COMEDY was a case of The Emperor's New Clothes: For critics who adored Allen's work, Allen could do practically no wrong... until this underrated and underappreciated, and unfairly maligned gem...<br>
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An intentionally breezy and quirky, fun and jovial countryside-romp through creature-filled nature and bright daydream sunlight that, after recommended multiple viewings, alters from The Emperor being naked to those new clothes clashing with his otherwise signature wardrobe. And there <i>are</i> similar traits of SLEEPER, using a futuristic contraption to fly and here, set during the 1900's, Woody's stock broker/inventor Andrew hits the skies again on a bicycle helicopter, after crashing with a pair of makeshift wings...<br>