JOHN GUILLERMIN'S 'THE BRIDGE AT REMAGEN' WITH BEN GAZARRA

<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/AVvXsEhGzNP0XqbXX9lYFs7JEbEOsq4bs8SI9AQuBjBkNNqkLS6N1A6zYDVmDpBXi7S_Jd4URsKbjKMzwLSXQuvhwGGD84mEAMBjtRyC9XmOZVTT6YKUqistWW-9HYrJ6AGEwsUXNmwvAFChM4X4JV7mGX3cvQDaCHDRHu10T7nf1YAs7vwFywV9TpOx_zdpyS_B/s1554/Screen%20Shot%202025-01-30%20at%2011.06.04%20PM%203%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="770" data-original-width="1554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGzNP0XqbXX9lYFs7JEbEOsq4bs8SI9AQuBjBkNNqkLS6N1A6zYDVmDpBXi7S_Jd4URsKbjKMzwLSXQuvhwGGD84mEAMBjtRyC9XmOZVTT6YKUqistWW-9HYrJ6AGEwsUXNmwvAFChM4X4JV7mGX3cvQDaCHDRHu10T7nf1YAs7vwFywV9TpOx_zdpyS_B/s16000/Screen%20Shot%202025-01-30%20at%2011.06.04%20PM%203%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>George Segal and Ben Gazzara in The Bridge at Remagen Year: 1969 Rates: ***</u></td></tr></tbody></table><p>George Segal had already played a resilient soldier in a World War II movie, KING RAT, who scrounges off the dead and unlucky to make money from the living...<br><br>Which is Ben Gazarra's scene-stealing maverick role in British director John Guillermin's THE BRIDGE AT REMAGEN as secondary-lead to Segal's authority-hating, war-weary lieutenant...</p><p></p><p></p><p><span></span></p>

anna gaël, ben gazzara, bo hopkins, bradford dillman, e.g. marshall, george segal, hans christian blech, john guillermin, matt clark, robert logan, sixties, steve sandor, world war II

JOHN GUILLERMIN'S 'THE BRIDGE AT REMAGEN' WITH BEN GAZARRA

George Segal and Ben Gazzara in The Bridge at Remagen Year: 1969 Rates: *** George Segal had already played a resilient soldier in a World W...

RODDY MCDOWALL IN 'ESCAPE FROM THE PLANET OF THE APES'

<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/AVvXsEgJ1EZyXc2cBY6tsQpnfKp0F9UNP06nVHzUOGLdQ8cEfSsPJAQYabVVW1RooNn41gtFdTZi6rrH5z1WoJaYS7zDD1aqnBxtgbP1KYONKOVLavPWUszyFUgg6X3i_DIjCUwkDj1rDGeHOELvRnWBwOMrb9RZUgjHxKjh1NI4YRmuqzbFkE0dGLHQaBn3cGQI/s2584/23%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1182" data-original-width="2584" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ1EZyXc2cBY6tsQpnfKp0F9UNP06nVHzUOGLdQ8cEfSsPJAQYabVVW1RooNn41gtFdTZi6rrH5z1WoJaYS7zDD1aqnBxtgbP1KYONKOVLavPWUszyFUgg6X3i_DIjCUwkDj1rDGeHOELvRnWBwOMrb9RZUgjHxKjh1NI4YRmuqzbFkE0dGLHQaBn3cGQI/s16000/23%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Roddy McDowall in Escape from the Planet of the Apes Year: 1971 Score for ESCAPE: ***** Score for BENEATH: *<br></u></td></tr></tbody></table><p>The title ESCAPE FROM THE PLANET OF THE APES hardly fits the actual original third APES vehicle since we begin with them having already landed in the current earth's 1973 ocean/beach, so there's no actual literal escape except what's explained later... and really, what this is an escape from is Charlton Heston's ludicrous demand to — in the second feature BENEATH THE PLANET OF THE APES not worthy enough to even be reviewed — have the world blow up from a worshiped nuclear warhead, mounted by a cult of zombie-like humans while the b-story above involves warring gorillas as the chimpanzees remain neutral...</p><p></p><p></p><p></p><p></p><p>Well actually, they were also pretty busy since franchise stars Roddy McDowall and Kim Hunter as Cornelius and Zira with an even smarter scientist in Sal Mineo's Dr. Milo had rebuilt Heston as Taylor's original spaceship, thus explaining how they arrived to present-day Earth... a brilliant idea to restart the series from scratch as ESCAPE is the original 1968 classic in reverse...</p><p><span></span></p>

albert salmi, bradford dillman, don taylor, eric braeden, harry lauter, kim hunter, m. emmett walsh, natalie trundy, planet apes, roddy mcdowall, sal mineo, science-fiction, seventies, william windom

RODDY MCDOWALL IN 'ESCAPE FROM THE PLANET OF THE APES'

Roddy McDowall in Escape from the Planet of the Apes Year: 1971 Score for ESCAPE: ***** Score for BENEATH: * The title ESCAPE FROM THE PLANE...

CHARLES BRONSON IN 'LOVE AND BULLETS' FEATURING PAUL KOSLO

<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/AVvXsEiXsSKgj_AJnTU574DcE55pTen_bQ3s6E88AhI9hAAsURHmKjCuPri_DhdS5R-UrbPb23nAqvPq0WZGDC-M0Ni33aXNfNIXACcUnFpPwXx1B8kviTyN-w5S8kSV6P4X5kW-XlCMATmjprFgILWJLuyuZN_-bn9Q-6RbrJ6eIobxnqpRzs1lgHN5S1wOkw/s1777/Screen%20Shot%202021-07-13%20at%205.48.18%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1142" data-original-width="1777" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXsSKgj_AJnTU574DcE55pTen_bQ3s6E88AhI9hAAsURHmKjCuPri_DhdS5R-UrbPb23nAqvPq0WZGDC-M0Ni33aXNfNIXACcUnFpPwXx1B8kviTyN-w5S8kSV6P4X5kW-XlCMATmjprFgILWJLuyuZN_-bn9Q-6RbrJ6eIobxnqpRzs1lgHN5S1wOkw/s16000/Screen%20Shot%202021-07-13%20at%205.48.18%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Charles Bronson in LOVE AND BULLETS Year: 1979 Rating: ***</u></td></tr></tbody></table><p>For some, during Charles Bronson's Cannon era, sadly gone felt the MGM days. But it was Lew Grade's ITC that bridged the action star in-between, and LOVE AND BULLETS... once again casting Bronson alongside wife Jill Ireland, keeping her protected from killers... makes the similar, decade-later action/adventure ASSASSINATION seem like THE MECHANIC by comparison... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Only instead of the Secret Service protecting the President's wife it's an Arizona cop protecting a gangster's moll from being killed by a hit man hired by said gangster. Providing Henry Silva another coldblooded turn, partnered with Bronson-flick regular Paul Koslo, both working for (or rather getting paid by) a stuttering mobster overacted by Rod Steiger, whose performance still fares better than Ireland's incessant dumb blonde (in a dumb blonde wig)...</p><p><span></span></p>

action, adventure, billy gray, bradford dillman, charles bronson, europe, hit-man, jill ireland, mafia, paul koslo, rod steiger, seventies, strother martin

CHARLES BRONSON IN 'LOVE AND BULLETS' FEATURING PAUL KOSLO

Charles Bronson in LOVE AND BULLETS Year: 1979 Rating: *** For some, during Charles Bronson's Cannon era, sadly gone felt the MGM days. ...

CLINT EASTWOOD STARS/DIRECTS DIRTY HARRY IN 'SUDDEN IMPACT'

<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/AVvXsEiYMOwMF8gR-2QoNO7iMAJ_ZWX29r723yMthihNkr0Dvej2qWm8Vt1LBIFjo8sVCwG_4zrvYnRAuI9HSO10m07Zz_V_G9humW4phAbfh0ojmrixT1ZOaNlatk-V7qmGCEAhv8xHLlXzgEzy_HNpj72ZB4ty1p9e7-El-6Xvs7cl0U98_UKtFSieS8-OJQ/s1985/Screen%20Shot%202023-02-13%20at%205.50.12%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="956" data-original-width="1985" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYMOwMF8gR-2QoNO7iMAJ_ZWX29r723yMthihNkr0Dvej2qWm8Vt1LBIFjo8sVCwG_4zrvYnRAuI9HSO10m07Zz_V_G9humW4phAbfh0ojmrixT1ZOaNlatk-V7qmGCEAhv8xHLlXzgEzy_HNpj72ZB4ty1p9e7-El-6Xvs7cl0U98_UKtFSieS8-OJQ/s16000/Screen%20Shot%202023-02-13%20at%205.50.12%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Clint Eastwood in Sudden Impact Year: 1983 Rates: ****</u></td></tr></tbody></table><p>The penultimate Dirty Harry is an exploitation of slick, mechanized 1980's violence, body count style, twofold, as vengeful killers stalk Callahan while the mainline has artist Sondra Locke seeking her own revenge from a group of small town San Paulo locals that, years earlier, under a carnival pier, raped her and her sister, inspiring morbid gallery paintings, and, hiding in plain sight, she's restoring the same carnival's carousel while randomly killing off the rapists...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Meanwhile, Harry is, ironically, being punished for leaving a trail of dead villains who wanted <i>him</i> dead first... sent on what he thinks is a busman's holiday/nowhere murder case, also in San Paulo where the second act has an investigatory town-with-secrets noir vibe, connecting the picked-off perverts with a stern local sheriff...</p><p><span></span></p>

action, albert popwell, audrie neenan, body count, bradford dillman, clint eastwood, cop, dirty harry, eighties, exploitation, franchise, mara corday, pat hingle, sondra locke, thriller

CLINT EASTWOOD STARS/DIRECTS DIRTY HARRY IN 'SUDDEN IMPACT'

Clint Eastwood in Sudden Impact Year: 1983 Rates: **** The penultimate Dirty Harry is an exploitation of slick, mechanized 1980's violen...

ORIGINAL KILLER CULT CLASSIC OF JOE DANTE'S 'PIRANHA'

<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/AVvXsEjlCCGa8ol3jXftUhAsvT_Wi5kQPXUByRgDqFWejE5Zzx8DAfgalt64F_Uo6EKnnVAOoksZZhypGkSAmvIbFxz2XYO8A2w3k7Gnxgcedr6cnjtdxGJKa5b_Wth7mFPgh-dR51ITVTdXgm4Y0UvgK8wF-dYVQc9bJtXBQg5VEn-CnwyKnnLbbmiUj1DaBA/s1600/Screen+Shot+2018-07-17+at+1.10.58+PM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="858" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlCCGa8ol3jXftUhAsvT_Wi5kQPXUByRgDqFWejE5Zzx8DAfgalt64F_Uo6EKnnVAOoksZZhypGkSAmvIbFxz2XYO8A2w3k7Gnxgcedr6cnjtdxGJKa5b_Wth7mFPgh-dR51ITVTdXgm4Y0UvgK8wF-dYVQc9bJtXBQg5VEn-CnwyKnnLbbmiUj1DaBA/w400-h215/Screen+Shot+2018-07-17+at+1.10.58+PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>YEAR: 1978</u></td></tr></tbody></table>"Joe Dante trusted me enough to listen and allow the freedom to write scenes in every show I ever did with him" <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/AVvXsEhRAJDDQuIsG2vMN72ZMGPHUoEAYjttjzW2emWR94lo9MShmyJDS9ruG33QPEs_JabHgtVr2ynVaou4LKUJKsmakvzEeLWtDJuWUD5Vd4PTO2ltQs8C4ePl2fxGoFNnYDeslW9VrWoMh896/s1600/Screen+Shot+2017-05-18+at+8.12.39+PM.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRAJDDQuIsG2vMN72ZMGPHUoEAYjttjzW2emWR94lo9MShmyJDS9ruG33QPEs_JabHgtVr2ynVaou4LKUJKsmakvzEeLWtDJuWUD5Vd4PTO2ltQs8C4ePl2fxGoFNnYDeslW9VrWoMh896/s400/Screen+Shot+2017-05-18+at+8.12.39+PM.jpg" width="120"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>JAWS-like image</u></td></tr> </tbody></table> <span face=""verdana" , sans-serif">said the director's regular troupe member, Belinda Balaski, who we'll continue with later as now, from the origin is, at that time, a future arthouse/indie director, John Sayles, starting out a scriptwriter with terrific pulpy creature-features. Two for Joe Dante: PIRANHA, which you're reading about now, and years later THE HOWLING, very loosely based on a sparse, uncomplicated novel, and the screenplay's far more creative and edgy. And for director Lewis Teague, Sayles wrote ALLIGATOR, one of those "title says it all" flicks but with some depth and, best yet, an actor like Robert Forster who can legitimize anything... </span><br> <br> <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/AVvXsEjmt7eftGVpVzS_rufguYUKGRmGsu3H1e8cl2YtmDALEyQMtckXFugZ7Ze0lQ9wYw93BNHuDQN12TZ2X-mmVwBrxnYBOXyH79ZdVpBdZxlOtDuoYQ_nkhCRYRfY01Zn0kZxdnxQLnGsl5XF/s1600/18519827_316957655400084_7360665445922273565_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmt7eftGVpVzS_rufguYUKGRmGsu3H1e8cl2YtmDALEyQMtckXFugZ7Ze0lQ9wYw93BNHuDQN12TZ2X-mmVwBrxnYBOXyH79ZdVpBdZxlOtDuoYQ_nkhCRYRfY01Zn0kZxdnxQLnGsl5XF/s400/18519827_316957655400084_7360665445922273565_n.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>Bradford Dillman and Heather Menzies</u></td></tr> </tbody></table> <span face=""verdana" , sans-serif">And anyone familiar with COMPULSION knows that Bradford Dillman, who had won the Cannes Festival Best Actor award back in 1959, was no slouch either... </span><br> <span face=""verdana" , sans-serif"><br></span> <span face=""verdana" , sans-serif">As a bearded alcoholic divorced-dad living in a rural cabin, he makes an otherwise limited character interesting and humorous. Which, of course, has a lot to do with the script... </span><span face=""verdana" , sans-serif">But Dillman's chemistry with 70's scream queen Heather Menzies, who shrieked brilliantly at the end of SSSSSSS a few years earlier, makes a really good movie great: And there's no mystery as to homage since </span><span face=""verdana" , sans-serif">Joe Dante says, right up front on the DVD commentary, that PIRANHA is an intentional JAWS clone. But it's no carbon copy of the Steven Spielberg shark classic, taking place on a rural river instead of the ocean... the latter where the deadly Gov't-Created-for-Vietnam fanged-fish are ultimately headed. Plus there's a car chase/race against time: popular back then. But it's no shock that in PIRANHA, the real action takes place in the water...</span><br>

belinda balaski, bradford dillman, creature, heather menzies, horror, interview, jaws-clone, joe dante, piranha, richard deacon, roger corman, seventies, suspense

ORIGINAL KILLER CULT CLASSIC OF JOE DANTE'S 'PIRANHA'

YEAR: 1978 "Joe Dante trusted me enough to listen and allow the freedom to write scenes in every show I ever did with him" JAWS...

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

<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/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s2149/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1143" data-original-width="2149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s16000/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2</u></td></tr></tbody></table><p>In-between the late Dean Stockwell's <i>green-haired</i> child actor days and the likeable chubby fella leaping through time TV-era, he was a handsome young man but always with a gritty edge... </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>Befitting perfectly alongside a more jovially crooked Bradford Dillman in COMPULSION directed by Richard Fleischer, who had trouble with the first-billed/third-act star Orson Welles (for tax issues more than attitude), providing a walloping anti-death penalty speech lasting ten minutes... yet by that time the best scenes had long passed...<br></p><p><span></span></p>

adaptation, bio, bradford dillman, crime, dean stockwell, e.g. marshall, fifties, gavin macleod, melodrama, orson welles, richard fleischer, robert f. simon

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2 In-between the late Dean Stockwell's green-haire...

BRADFORD DILLMAN & SUZY PARKER IN 'CIRCLE OF DECEPTION'

<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/AVvXsEibtfjVkHLgCOPvn4GJsZ_YtD6vTIdj4KP_1Y1zYlAgpM4S6BiYl9FLetz4fYX-3wwNdJdTFRmct7J60zdxMaCvAQCyLHoaEGptOZKb3gzg0l0pA5OVHO9WsqNgn4TmWE1ygDKCKj0xSSiOSusX0_0ilCsXHT03dbogcRWqNJFGf_4uHNc5bAItMGhkikh3/s1978/Screen%20Shot%202023-10-28%20at%202.58.21%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1140" data-original-width="1978" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibtfjVkHLgCOPvn4GJsZ_YtD6vTIdj4KP_1Y1zYlAgpM4S6BiYl9FLetz4fYX-3wwNdJdTFRmct7J60zdxMaCvAQCyLHoaEGptOZKb3gzg0l0pA5OVHO9WsqNgn4TmWE1ygDKCKj0xSSiOSusX0_0ilCsXHT03dbogcRWqNJFGf_4uHNc5bAItMGhkikh3/s16000/Screen%20Shot%202023-10-28%20at%202.58.21%20AM.png"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: CIRCLE OF DECEPTION Year: 1960 Rating: ***</u></td></tr></tbody></table><p>Alternate titles for the British WWII Thriller CIRCLE OF DECEPTION starring two imported and thereafter married American actors Bradford Dillman and Suzy Parker, could be <i>He Was Expendable</i> or <i>Hell Is For Cowards</i> as the deliberately telegraphed twist has British Intel chief Harry Andrews seeking the wrong man for the job, who must fold under questioning/torture with bogus information that <i>he thinks</i> is right...</p><p></p><p></p><p></p><p></p><p></p><p></p><p>In the intentionally undependable role is Bradford Dillman, newly famous for brilliantly playing a murderous brat in <a href="http://www.cultfilmfreaks.com/2021/11/stockwell-dillman.html">COMPULSION</a>, seeming a bit too young here, his uniform loose on a skinny frame while Parker, a former model turned actress ala <a href="http://www.cultfilmfreaks.com/2016/05/TBOE.html">THE BEST OF EVERYTHING</a>, is mostly relied upon for looks and exposition while predictably falling in love with the sympathetic, vulnerable pawn...</p><p><span></span></p>

bradford dillman, british, espionage, harry andrews, robert stephens, sixties, spy, suzy parker, world war II

BRADFORD DILLMAN & SUZY PARKER IN 'CIRCLE OF DECEPTION'

Title: CIRCLE OF DECEPTION Year: 1960 Rating: *** Alternate titles for the British WWII Thriller CIRCLE OF DECEPTION starring two imported a...

LATE ACTOR BRADFORD DILLMAN HOWLS IN 'MOON OF THE WOLF'

<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/AVvXsEhYbp88fh3jTvFdq42X0rBPWZjUfx6kF39LV45mx7eIZR4yMYh8eznw4ff8fZ8APcp8w5vwwJy-IsRu8N0ISjmrFz_-Enxff3e18DL19F9dfrJt1WckmBEFcPhFj2_Y81VC2gwxs7FSbbK2/s1600/26907598_423117534784095_648306667380802768_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="873" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYbp88fh3jTvFdq42X0rBPWZjUfx6kF39LV45mx7eIZR4yMYh8eznw4ff8fZ8APcp8w5vwwJy-IsRu8N0ISjmrFz_-Enxff3e18DL19F9dfrJt1WckmBEFcPhFj2_Y81VC2gwxs7FSbbK2/s400/26907598_423117534784095_648306667380802768_n.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Bradford Dillman armed though not yet dangerous YEAR: 1972</u></td></tr> </tbody></table> TV Movies of the Week were perfect, but far from overall perfection. One of the best examples of "pretty good fare" is MOON OF THE WOLF starring David Janseen from THE FUGITIVE series — then, throughout the 70's he was a reining king of the M.O.W. universe, and while this particular werewolf tale never broke any ground in the sub-genre, it's Gothic and semi-spooky just the same...<br> <br> Bradford Dillman has always been a favorite. His based-on-real-life character from COMPULSION downright steals the show from heavyhitter Orson Welles and the more sympathetic of two killers based on Leopold and Loeb, Dean Stockwell, making Dillman's Artie Strauss the alpha male bully who takes charge. Soon enough that particular Richard Fleischer classic will be covered but for this tribute, MOON will do just fine...<br>

barbara rush, bradford dillman, david janssen, seventies, tribute, tv movie

LATE ACTOR BRADFORD DILLMAN HOWLS IN 'MOON OF THE WOLF'

Bradford Dillman armed though not yet dangerous YEAR: 1972 TV Movies of the Week were perfect, but far from overall perfection. One of t...

RICHARD HARRIS IN '99 AND 44/100% DEAD' W/ EDMOND O'BRIEN

<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/AVvXsEhUhwye0eYOHA5PcS_QVZL6bWS8qzKOgGXCp5K8Lx8z19ruWfzf96wmPs80cvi8SdsxQHeTQxUhBAUeviw250zQBUrmfU_C3mlGgVNrfbnPNx09KNTAE0O031rephIgOj337JJWtX5VuSW8/s1600/d7323af07c5b11f7edda0ed5435d9f15.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="590" data-original-width="665" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhwye0eYOHA5PcS_QVZL6bWS8qzKOgGXCp5K8Lx8z19ruWfzf96wmPs80cvi8SdsxQHeTQxUhBAUeviw250zQBUrmfU_C3mlGgVNrfbnPNx09KNTAE0O031rephIgOj337JJWtX5VuSW8/s400/d7323af07c5b11f7edda0ed5435d9f15.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1974</u></td></tr> </tbody></table> This crime/comedy curio has a crazy title and a quirky dark comedic intro reminiscent of the comparably underpar <a href="http://www.cultfilmfreaks.com/2011/05/gang-that-couldnt-shoot-straight.html">THE GANG THAT COULDN'T SHOOT STRAIGHT</a>, here involving an underwater mafia burial ground on the waterfront dock where a young mob upstart is moving in on an old-timer...<br /> <br /> With capable direction by capable director John Frankenheimer and starring Richard Harris as a freelance hit-man/problem-fixer named Harry Crown, sheds its silly skin pretty damn quick...<br /> <br /> Harris, hired by Edmond O'Brien as a cigar-smoking Uncle Frank, is so ultra serious his cemented expressions alone force the film into submission, adhering to a severe and violent plot-line: he must stop the other side from moving in on Frank's territory, and to keep the old fella... and himself, a partner and a few ladies... alive in the process.<br /> <br /> <div class="separator" style="clear: both; text-align: center;"> </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/AVvXsEgx1qh7hexAaRWCvpAb7Gf2cZbNXq1pRJ8oYhS0LJ2cT9uNHg-4Yb06T7Apj0a4tqaN4-zAZKG6O0Cl8BOjD5ZeKGPRfWaHMsoIMEOYqsg3b7xLcyTeV4oYyGSd-C0gv6kkCyWHo9rJHYk/s1600/12.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1qh7hexAaRWCvpAb7Gf2cZbNXq1pRJ8oYhS0LJ2cT9uNHg-4Yb06T7Apj0a4tqaN4-zAZKG6O0Cl8BOjD5ZeKGPRfWaHMsoIMEOYqsg3b7xLcyTeV4oYyGSd-C0gv6kkCyWHo9rJHYk/s320/12.png" width="240" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>99 MOVIE SCORE: ***1/2</u></td></tr> </tbody></table> Not like anything was wrong with the opening five minutes involving a cute whistling musical intro and an animated credit sequence, used on most of the poster artwork, but since edgy grit ruled the 1970's crime genre... and if you cut down an overlong love scene establishing good girl/love interest Anne Turkel and add a bit more to the old/young partnership of Harris and I DISMEMBER MAMA co-star Zooey Hall as the young, vulnerable but faithfully dependable Tony... this is a perfect fit for the always-intriguing Harris and serves as effective ammunition in the overall Frankenheimer crime canon.<br /> <br /> <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/AVvXsEjLWWUGI4PmSpGbg9hB6OzE3jbYaUvqAL91LMXfIV8-Z231l8NZMmOkCc_YK7_lIjgfXhpSLzm-chj3mxxfh8fhtmD2zPx3P1ciYosCzfCKXpqWlOANmT5BHEmkvzQNPIaUya2BE0qEgbw/s1600/Screen+Shot+2016-06-30+at+1.14.14+PM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWWUGI4PmSpGbg9hB6OzE3jbYaUvqAL91LMXfIV8-Z231l8NZMmOkCc_YK7_lIjgfXhpSLzm-chj3mxxfh8fhtmD2zPx3P1ciYosCzfCKXpqWlOANmT5BHEmkvzQNPIaUya2BE0qEgbw/s400/Screen+Shot+2016-06-30+at+1.14.14+PM.png" width="143" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>With Janice Heiden</u></td></tr> </tbody></table> While O'Brien, in his last feature-length role, was said (by Peter Jason in a Cult Film Freak podcast) to be in ill heath, and not so "with it," on the set of Orson Welles' unfinished THE OTHER SIDE OF THE WIND, he does a fine job as the kind of mobster – though bordering on obvious satire – the likes of an era where the man himself derived: you can imagine a young Uncle Frank sharing a cell with James Cagney (but not undercover) only here he's...<br /> <br /> Despite the situation of being bullied out of business by Bradford Dillman's intentionally overboard Big Eddie... having a fine life with one of the prettiest ladies of that decade, Janice Heiden as his favorite mistress, Clara, her wandering eyes glued on Harris's Crowne, older but not as old and also very fit, tough as nails and best yet, completely resilient.<br /> <br /> From a hotel room shoot-out to a dangerous bridge battle against sadistic chief goon Chuck Conners, Harry's an assassin more the creative likes of James Bond than those gun-wilding lug-heads he's pitted against. His impossibility to fail makes the movie less suspenseful, sure, yet the entire bloody romp becomes more enjoyable – seeing just how many corners he can sneak into and out of and, on the film-making end, those nifty zooms and quick-edits are all part of the terrific, underrated, under-appreciated whole.<br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmsH-6ylNMl1TBJ_TlZzqhxqogDowQaQcl63fGqW2biPkQbgThsdp8eO43xb5GD6AMxpgXzebjXZ1WYRWuiAdmyrBlQDeWk57tUN-vsjnN3h3oVcxs3GXYzNv2Rz2Fm1H95y2256x-N8/s1600/Screen+Shot+2016-06-28+at+2.28.16+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmsH-6ylNMl1TBJ_TlZzqhxqogDowQaQcl63fGqW2biPkQbgThsdp8eO43xb5GD6AMxpgXzebjXZ1WYRWuiAdmyrBlQDeWk57tUN-vsjnN3h3oVcxs3GXYzNv2Rz2Fm1H95y2256x-N8/s1600/Screen+Shot+2016-06-28+at+2.28.16+AM.png" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 12.8px;"><u>Opening Title Sequence for Edmond O'Brien's last film in 1974 along with a review of a 1954 Film Noir</u></td></tr> </tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg89DXpP35198IDB0lhONQi8fuHKfBpIF_7Cu-Hx6ApAPDJvwq8Y3A8t-EI6GdMiMIi5mn7YaiVoUjVWJfiumc4dLkb-bNMDifxJ_83MGRz-SGQsUp0bFzVX9NOZPIiFOYvo-ReaBb6gsk/s1600/Screen+Shot+2016-06-30+at+1.21.26+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg89DXpP35198IDB0lhONQi8fuHKfBpIF_7Cu-Hx6ApAPDJvwq8Y3A8t-EI6GdMiMIi5mn7YaiVoUjVWJfiumc4dLkb-bNMDifxJ_83MGRz-SGQsUp0bFzVX9NOZPIiFOYvo-ReaBb6gsk/s1600/Screen+Shot+2016-06-30+at+1.21.26+PM.png" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Edmond O'Brien talks to while Janice Heiden makes eyes at Richard Harris in 99 AND 44/100% DEAD</u></td></tr> </tbody></table>

action, bradford dillman, dark comedy, edmond o'brien, exploitation, janice heiden, john frankenheimer, mob, richard harris, seventies

RICHARD HARRIS IN '99 AND 44/100% DEAD' W/ EDMOND O'BRIEN

year: 1974 This crime/comedy curio has a crazy title and a quirky dark comedic intro reminiscent of the comparably underpar THE GANG THA...

THE ENFORCER

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzFl4cna2sZ-5__1Eq9Ac9l2BvfBq59E75ULqKHkZEB5rb3_UJhRC_8a8dB7-0Zc8XYkVbT71gufJ2bVBm8Fmw4uLKmZNOtzS7yntWM9i6w4MVbmuzcjZRmrc2sMwSebDhz7tgtqm2IAw/s1600/dirtyharry.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5574409705047365042" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzFl4cna2sZ-5__1Eq9Ac9l2BvfBq59E75ULqKHkZEB5rb3_UJhRC_8a8dB7-0Zc8XYkVbT71gufJ2bVBm8Fmw4uLKmZNOtzS7yntWM9i6w4MVbmuzcjZRmrc2sMwSebDhz7tgtqm2IAw/s200/dirtyharry.jpg" style="margin: 0px 0px 10px 10px; width: 200px; float: right; height: 169px;" /></a><strong>title:</strong> THE ENFORCER<br /><div><strong>year:</strong> 1978</div><div><strong>cast:</strong> Clint Eastwood, Tyne Daley, Bradford Dillman, Pepe Serna</div><div><strong>rating:</strong> ****</div><br /><div></div><div>Third entry in the Dirty Harry series pits iconic Clint Eastwood against a group of Vietnam Vet revolutionaries who... well, they like killing and blowing stuff up. Like other DH films, the main plot, teased in the intro, sustains in the second half: after Harry battles various petty hoods stupid enough to try. Tyne Daley is a nicely balanced non-pushy feminist sidekick, both assertive and vulnerable... the action is perfectly sporadic, the dialog is fun and pulpy, the soundtrack cool and funky, and Bradford Dillman makes for a great jerk cop-boss, more of a thorn in Harry's side than the main killers, all ending up in a nifty shootout on Alcatraz isle. </div>

action, bradford dillman, clint eastwood, cop, franchise, seventies

THE ENFORCER

title: THE ENFORCER year: 1978 cast: Clint Eastwood, Tyne Daley, Bradford Dillman, Pepe Serna rating: **** Third entry in the Dirty Harr...