CHRISTOPHER PLUMMER & ELLIOTT GOULD IN 'THE SILENT PARTNER'

<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/AVvXsEhTpo6EuuPGBZfRkU1Uyu1oFx8MQlpnRe_NRLNP-p5YmC5csOEIpAuQLSBGbC5SJhh-qM8WHZ5LhSATkL8lQpO6k5eneWju8d7XBDnsg9bWi9gEkxl3C9ikEP1iECqAgaqa-oIef7TX_xaAQwvYXPDQCVaQKgYT5h2VJ5Tmn6M5QBsrjTnfr9y3U-rvXg/s1931/Screen%20Shot%202023-05-15%20at%203.42.37%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1102" data-original-width="1931" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTpo6EuuPGBZfRkU1Uyu1oFx8MQlpnRe_NRLNP-p5YmC5csOEIpAuQLSBGbC5SJhh-qM8WHZ5LhSATkL8lQpO6k5eneWju8d7XBDnsg9bWi9gEkxl3C9ikEP1iECqAgaqa-oIef7TX_xaAQwvYXPDQCVaQKgYT5h2VJ5Tmn6M5QBsrjTnfr9y3U-rvXg/s16000/Screen%20Shot%202023-05-15%20at%203.42.37%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE SILENT PARTNER Year: 1978 Rating: ***</u><u>*</u></td></tr></tbody></table><p>An almost perfect vehicle for Christopher Plummer, who, playing either nice guys or menacing villains, was always intensely scowling and extremely intimidating... </p><p></p><p>Especially in the Canadian bank-heist thriller THE SILENT PARTNER (made in Canada showing Canadian cash); yet he's a little <i>too</i> silent and needed to be in the picture more, all but vanishing halfway through until a somewhat rushed third act...</p><p><span></span></p>

canadian, céline lomez, christopher plummer, elliott gould, heist, john candy, seventies, stephen young, susannah york, thriller

CHRISTOPHER PLUMMER & ELLIOTT GOULD IN 'THE SILENT PARTNER'

Title: THE SILENT PARTNER Year: 1978 Rating: *** * An almost perfect vehicle for Christopher Plummer, who, playing either nice guys or menac...

ROGER MOORE IN 'ESCAPE TO ATHENA' WITH TELLY SAVALAS

<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/AVvXsEhYecJR8Cy6ee_QdKN0zyXzxtnY17_PMMQAemavG2WQdHr1rydAS1Tr3WWwDiSCALaxZB0T5uZSVH6s8ubbnNbZCzAiV0iz7ZOUIc0FaVID68I2ALTe2Ke8D4C03RmKgFzeLGErrZ_nonA3/s467/escape-to-athena-movie-poster-1979-1020551523.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="421" data-original-width="467" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYecJR8Cy6ee_QdKN0zyXzxtnY17_PMMQAemavG2WQdHr1rydAS1Tr3WWwDiSCALaxZB0T5uZSVH6s8ubbnNbZCzAiV0iz7ZOUIc0FaVID68I2ALTe2Ke8D4C03RmKgFzeLGErrZ_nonA3/w400-h360/escape-to-athena-movie-poster-1979-1020551523.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: Escape to Athena Year: 1979 Rates: ***1/2</u></td></tr></tbody></table><p>About the only thing ESCAPE TO ATHENA is known for is how miscast the famously British James Bond actor Roger Moore is at playing a WWII Nazi... but Moore's actually a charming German major reluctantly running a Greek Island-set POW camp and can care less about Hitler... </p><p>In fact he's what true Nazi villain Anthony Valentine calls "an antique collector" so, as a German Archeologist flirting with sassy ingenue Stefanie Powers, Moore fits much better than scene-wrecker Elliott Gould, partnered with Powers as a captured USO team... and the goofy, flamboyant Gould seems lost in the wrong movie...</p><p>One that's tonally-challenged either way, showing a public execution one minute and silly pratfalls the next: Yet ESCAPE <i>is</i> beautifully directed by George P. Cosmatos, using creative camera shots to cover what feels like every inch of the sea-cliff Greek village of antique buildings and glorious ruins, where the other characters fare better like Sonny Bono as an endearing Italian chef, David Niven as an experienced old Brit and Richard Roundtree as a token black con man, eventually joining Greek cutthroat Telly Savalas and heart-of-gold-hooker Claudia Cardinale. So despite the maligned reputation, ATHENA has loads of neat action, explosions, gun fights, twists, turns, and only the overlong race-against-time climb to a treasure-laden mountain slows down this adventurous/ambitious Lew Grade produced b-picture... that ultimately tries too hard for epic mainstream status. A far better action than heist flick. <br></p><p><span></span></p>

action, adventure, claudia cardinale, comedy, elliott gould, ensemble, heist, prison, richard roundtree, roger moore, seventies, sonny bono, stefanie powers, telly savalas, william holden, world war II

ROGER MOORE IN 'ESCAPE TO ATHENA' WITH TELLY SAVALAS

Title: Escape to Athena Year: 1979 Rates: ***1/2 About the only thing ESCAPE TO ATHENA is known for is how miscast the famously British Jame...

ELLIOTT GOULD IN ROBERT ALTMAN'S NEO NOIR 'THE LONG GOODBYE'

<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/AVvXsEjfzlN60-CDD26JhjHwXuECcvqSnOjPKRnpp1l3UwDDe-kctzoVLCCP5i4JX18KxfVASSK-7gVFdyxPTnVP2f6Untb-UW861LId_xNFHiuyd0kc7pgU7iIbZm4HdCLzYrE5FLJZ7nz5cSe3RZ7HTA7LmPoUdmafk7gxXlPI0Ig-mNGCEf2MtkeuJnlhXw/s1686/Screen%20Shot%202023-04-09%20at%204.16.37%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="759" data-original-width="1686" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzlN60-CDD26JhjHwXuECcvqSnOjPKRnpp1l3UwDDe-kctzoVLCCP5i4JX18KxfVASSK-7gVFdyxPTnVP2f6Untb-UW861LId_xNFHiuyd0kc7pgU7iIbZm4HdCLzYrE5FLJZ7nz5cSe3RZ7HTA7LmPoUdmafk7gxXlPI0Ig-mNGCEf2MtkeuJnlhXw/s16000/Screen%20Shot%202023-04-09%20at%204.16.37%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE LONG GOODBYE Director: Robert Altman Year: 1973 Rating: *****</u></td></tr></tbody></table><p>Former Noir legend Sterling Hayden is technically the most important character in Robert Altman's Neo Noir THE LONG GOODBYE, based on a Raymond Chandler novel where the tough-handsome gumshoe Philip Marlowe is turned into a lazy, hippie-friendly slob in Elliott Gould, perfectly cast against type and at his very best... </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>Particularly a scene where he and Hayden's Roger Wade... hired by Wade's mesmerizing trophy wife guarded by a grouchy doberman within a Malibu, California colony home... share an afternoon drink at the couple's Malibu beach-backyard, and it's here Wade learns that Marlowe's not such a "ding-a-ling" after all...</p><p><span></span></p>

arnold schwarzenegger, crime, cult, david arkin, elliott gould, gumshoe, jerry jones, mark rydell, mystery, neo noir, robert altman, seventies, sybil scotford, thriller

ELLIOTT GOULD IN ROBERT ALTMAN'S NEO NOIR 'THE LONG GOODBYE'

Title: THE LONG GOODBYE Director: Robert Altman Year: 1973 Rating: ***** Former Noir legend Sterling Hayden is technically the most importan...

ELLIOTT GOULD & BILL COSBY IN 'THE DEVIL & MAX DEVLIN'

<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/AVvXsEi7DpSkIbPuxpl5ju3aBappooqYnMXBwUW2cW-D2OSa_VAdAM05vN_hP48Nq-wGaBXPVLQU5ffZS9126RdOpXw9SRJWfT_BblxY7B4FmOCZ_ve_GfF08veaF8LMQNs4u8uZ_31qxaakncrO/s1600/36434342_507207433041771_48333152472530944_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="565" data-original-width="960" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7DpSkIbPuxpl5ju3aBappooqYnMXBwUW2cW-D2OSa_VAdAM05vN_hP48Nq-wGaBXPVLQU5ffZS9126RdOpXw9SRJWfT_BblxY7B4FmOCZ_ve_GfF08veaF8LMQNs4u8uZ_31qxaakncrO/s400/36434342_507207433041771_48333152472530944_n.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Bill Cosby lazily checking up on Gould YEAR: 1981</u></td></tr> </tbody></table> Jimmy Sangster was one of Hammer Films top creative forces, having written screenplay adaptations for their best two Universal Monster into England costume horror reboots, mostly starring Christopher Lee and Peter Cushing...<br> <br> Those being THE HORROR OF DRACULA and CURSE OF FRANKENSTEIN along with a myriad of others including THE BRIDES OF DRACULA, SCREAM OF FEAR, TERROR OF THE TONGS, PARANOIAC and THE MUMMY, and he didn't think THE DEVIL AND MAX DEVLIN, with an original title of THE FAIRYTALE MAN meant for Vincent Prince in Bill Cosby's Satan role, was meant to be a Disney flick, at least while on paper. But it turned into a surprisingly entertaining fantasy-comedy that isn't very funny for funny's sake — but with a handing-off of enough eclectic characters, it's an interesting and entertaining time-filler.<br>

bill cosby, david knell, disney, eighties, elliott gould, lillian müller

ELLIOTT GOULD & BILL COSBY IN 'THE DEVIL & MAX DEVLIN'

Bill Cosby lazily checking up on Gould YEAR: 1981 Jimmy Sangster was one of Hammer Films top creative forces, having written screenplay ...

ROBERT BLAKE AND ELLIOTT GOULD 'BUSTING' CORNELIA SHARPE

<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/AVvXsEgxQD5ACmox62F6PitaAl_LCpZxdARpOx5MQEBX_p4aDXZI5estulv1LxaoCguX5CiM0ZFCIo_yEpTx9OLIUicKVwsEBlzrzWTxxI0wI9nSGAba5I7hxj7V97IG1Xc3KhjxjfQYjS4UCUPFXxD-i9E40DUx6clpDEcIb0c5q6iDYEQ-sfp8f_PlzBNW9g/s1714/Screen%20Shot%202023-03-12%20at%205.55.37%20AM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1329" data-original-width="1714" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQD5ACmox62F6PitaAl_LCpZxdARpOx5MQEBX_p4aDXZI5estulv1LxaoCguX5CiM0ZFCIo_yEpTx9OLIUicKVwsEBlzrzWTxxI0wI9nSGAba5I7hxj7V97IG1Xc3KhjxjfQYjS4UCUPFXxD-i9E40DUx6clpDEcIb0c5q6iDYEQ-sfp8f_PlzBNW9g/w400-h310/Screen%20Shot%202023-03-12%20at%205.55.37%20AM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Cornelia Sharpe in BUSTING Year: 1974 Rating: ****</u></td></tr></tbody></table>Starring Elliott Gould and Robert Blake as determined vice cops BUSTING hookers, making a scene in a sex shop and, as the curtain opens, dogging a high price call girl: Enter the insanely gorgeous Cornelia Sharpe, who the year before played cop Al Pacino's girlfriend in SERPICO...<br> <br> Liken to a mazy Film Noir, the proverbial shoes stick on her, and eventually stumble upon a monopolizing, untouchable mega-pimp played by underrated Allen Garfield backed by henchman Sid Haig who, it turns out, doesn't have much to do since his boss owns the courts <i>and</i> the cops (Sid stated in our podcast interview that the script was being rewritten the entire time, but on the Blu Ray commentary, a much too soft-spoken Peter Hymans seemed to feel all went pretty smoothly and, other than a lot of deliberate improvising by Gould and especially Blake, production flowed according to his own script: the only trouble he had was with the Gay Community after the release).<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> <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/AVvXsEihX-a78uqHlL11FgbnseZkNHpDV_Tgf2V3wzlfXF0G8R0fYfb3PoW0fTbx9kHVx6SQD_jsD8fotEuFM3OE5GhGnE2799JQtnGrHlaL7BZBWacvsb81VwlHtr3VCPA1y2gJYSeyJlWxw6vj/s400/31117910_466090103820171_2491936864043270144_n.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="332" data-original-width="400" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihX-a78uqHlL11FgbnseZkNHpDV_Tgf2V3wzlfXF0G8R0fYfb3PoW0fTbx9kHVx6SQD_jsD8fotEuFM3OE5GhGnE2799JQtnGrHlaL7BZBWacvsb81VwlHtr3VCPA1y2gJYSeyJlWxw6vj/w400-h333/31117910_466090103820171_2491936864043270144_n.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Blake, Gould, Slattery in BUSTING Score: ***1/2</u></td></tr></tbody></table>To keep it from being as jumpy, there should/could have been more off-course scenes establishing our dusty heroes against lesser villains in the dark city. Instead, the second act rushes a rogue-cop sub-genre (times two) as Gould and Blake go on their own to nab Garfield, which is highlighted by an adventurous climb to the top by hanging around (after being punished) at the bottom...<br> <br> Meanwhile, their immense hatred for Garfield's Rizzo is more than the audience can feel or relate with given the little time to establish his power and villainy... We have to take their word, which is far too much dialogue about a guy who seems pretty-run of-the-mill in the heavy department... But it's entertaining as they wait, and wait for a lead: like by waiting inside a filthy public restroom to nab random perverts: showing the kind of torturous meantime (vice) cops go through that most movies leave out, or edit down to a springboard for an upcoming action sequence... <br> <br> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> <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/AVvXsEjnydT9BtiUOl3gSBtiBln1XZLp5oRNETxCzTDIxXnZd2Tqnd8aNCFq1GxtnpdL_xRuEUcK7bMyH8S4_CSOX3Q2nRSATsrgxN413LdcwME_ahBn-uy5P_xEvOaD5I4kfcuFKedWgMfKSoNj/s1600/81103530_871461359949708_1306860047392833536_n.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="501" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnydT9BtiUOl3gSBtiBln1XZLp5oRNETxCzTDIxXnZd2Tqnd8aNCFq1GxtnpdL_xRuEUcK7bMyH8S4_CSOX3Q2nRSATsrgxN413LdcwME_ahBn-uy5P_xEvOaD5I4kfcuFKedWgMfKSoNj/s400/81103530_871461359949708_1306860047392833536_n.jpeg" width="208"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Cornelia Sharpe in Busting</u></td></tr> </tbody></table> But casual viewers, don't despair — there's more than a touch of mainstream thrown in as a long FRENCH CONNECTION-style chase (here on foot) takes place in-and-out of a large outdoor bazaar, which helps make future CAPRICORN ONE director Peter Hyams' grungy exploitation an addictive pleasure, but not a guilty one — while far from sublime, like, say, BULLITT, or even MAGNUM FORCE, it's still a decent entry...<br> <br> <div style="text-align: right;"> </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/AVvXsEhfu0Qg2GK32pxV2VxXb7Y4gFKCAKwRhsQdk1jzKws-peVh-co_RhiVInxs9aQzJt0adRHfqlebvKE_ujYc-LuhpuDwGNeAyQ-M8N2zNQ9ZuU85rzEq8VSsISWq6BILUhRYKYU6b6_d3RGe/s1600/Screen+Shot+2018-10-24+at+5.30.19+AM.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="904" data-original-width="444" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfu0Qg2GK32pxV2VxXb7Y4gFKCAKwRhsQdk1jzKws-peVh-co_RhiVInxs9aQzJt0adRHfqlebvKE_ujYc-LuhpuDwGNeAyQ-M8N2zNQ9ZuU85rzEq8VSsISWq6BILUhRYKYU6b6_d3RGe/s400/Screen+Shot+2018-10-24+at+5.30.19+AM.png" width="196"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>The lovely Cornelia Sharpe</u></td></tr> </tbody></table> Robert Blake, amazing in IN COLD BLOOD, plays the epitome of a second-banana... sans the usual sidekick comic relief since he and Gould share similarly caustic, world-weary attitudes, with just-enough chemistry to seem more than two actors thrown together...<br> <br> And, for a device/activity, Blake dangles an omnipresent unlit cigarette in his mouth — warming up for an upcoming cop TV-series featuring a cockatoo? Only it's Gould who (at one point) dons the schlocky costume/fake accent gag. Overall, his performance is natural and easy with some fifth gear intensity when needed...<br> <br> <div style="text-align: left;"> </div> <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/AVvXsEjrq-UJ6NDmnerxoJDWvDCbD7ZHLTgERxlU-qNBCMtEcaNE9xD9J9-Gio-7j0lVjVW4sDoFbgxszsm2oOWrZsKt8YRf7xYTYTY5poanmFlCJJ21f-FK8-mb3s-ikl949OG9IGdE5dz-bBmo/s1600/51ZX4KRV3TL._SY445_.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="341" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrq-UJ6NDmnerxoJDWvDCbD7ZHLTgERxlU-qNBCMtEcaNE9xD9J9-Gio-7j0lVjVW4sDoFbgxszsm2oOWrZsKt8YRf7xYTYTY5poanmFlCJJ21f-FK8-mb3s-ikl949OG9IGdE5dz-bBmo/s1600/51ZX4KRV3TL._SY445_.jpg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Fans watched this for years before any disc </u></td></tr> </tbody></table> <div style="text-align: left;"> </div> And, as usual, maybe wanting to appeal to younger (stoned) audiences who weren't big law enforcement buffs, Gould harbors (beyond "hip threads" and a bushy mustache for undercover purposes) some residual 1960's-era hippie spite, at one point actually referring to two uniformed cops as "Pigs!" And of course the partners work for an irritable, lecturing police chief, and a baffled desk sergeant (Richard X. Slattery)...<br> <br> Also, for fans of Stanley Kubrick's 2001: A SPACE ODYSSEY, Peter Hyams would direct the cold-war-leaning sequel, 2010: THE YEAR WE MAKE CONTACT, and there's a rare glimpse at the original's cerebral centerpiece, Dr. Heywood Floyd ala character-actor William Sylvester (played by Roy Scheider in the sequel) as a defense lawyer in a grungy courtroom displaying all of that decade's cinematic street trash: from junkies to whores to pimps to trannies and, in the previous scene, a hopped-up, sexually-charged homosexual in a gay bar, seeming intentionally overplayed by Antonio Fargas, making a lusty, physical pass at Blake as if political-correctness would never take over Hollywood (Hyams basically apologizes in the commentary) — and such "blatant stereotyping" would not be allowed. Who knows, maybe that kinda thing kept this buried treasure buried for so long.<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/AVvXsEgJsJQC5uKNYJR3AFNGhjAacVZPcJigGdKozpqnrUrjeLHejzqXwfI9JSoWTRvwf7pyPptz4x7dVEzUzxwUxQjTsr7X7burrsFkr9ObSV4f68j29CslLeExxPD7kWAa8V7KCHgIAAk0wG75/s1600/44.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJsJQC5uKNYJR3AFNGhjAacVZPcJigGdKozpqnrUrjeLHejzqXwfI9JSoWTRvwf7pyPptz4x7dVEzUzxwUxQjTsr7X7burrsFkr9ObSV4f68j29CslLeExxPD7kWAa8V7KCHgIAAk0wG75/s1600/44.jpg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Busting William Sylvester who played Floyd on 2001: A Space Odyssey, here he's a lawyer for Cornelia Sharpe</u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <table 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/AVvXsEgHSDY-JCbnLWAvNjXAILC_4W-mgde9MJEbImVeAIUSL1bj5LpRQinFOZpTs1zwkyREKnLV6UHJf21OEUgMfqlgsmhCe2IVt-JY30oqXAc1gZ_VftTNVXqKSPi0cfQZYIXt7WFX8yIAk6FX/s1600/44679965_590785788017268_7273780578976006144_n.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="648" data-original-width="865" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHSDY-JCbnLWAvNjXAILC_4W-mgde9MJEbImVeAIUSL1bj5LpRQinFOZpTs1zwkyREKnLV6UHJf21OEUgMfqlgsmhCe2IVt-JY30oqXAc1gZ_VftTNVXqKSPi0cfQZYIXt7WFX8yIAk6FX/s1600/44679965_590785788017268_7273780578976006144_n.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Elliott Gould and Robert Blake in BUSTING </u></td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div>

action, allen garfield, antonio fargas, buddy, cop, cornelia sharpe, crime, elliott gould, exploitation, michael lerner, peter hyams, richard x. slattery, robert blake, seventies, sid haig, vice, william sylvester

ROBERT BLAKE AND ELLIOTT GOULD 'BUSTING' CORNELIA SHARPE

Cornelia Sharpe in BUSTING Year: 1974 Rating: **** Starring Elliott Gould and Robert Blake as determined vice cops BUSTING hookers, makin...

SPACING-OUT ON THE MAINSTREAM-CULT FROM 'CAPRICORN ONE'

<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/AVvXsEgewGVuP-5-Fp_DePK-639M_hqHWIuhW-JPyUEqXIu4Qq0mVWmntabCFgX43IBHsMfVgTZ2AUUStADh6boyr4OA7d4UMHcnD_0QOLevXSkFUhmfvS69HvEqHIXbI88ESnIO-WlwjEh19VPq/s1600/37995590_535558866873294_4516011232452411392_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="598" data-original-width="542" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgewGVuP-5-Fp_DePK-639M_hqHWIuhW-JPyUEqXIu4Qq0mVWmntabCFgX43IBHsMfVgTZ2AUUStADh6boyr4OA7d4UMHcnD_0QOLevXSkFUhmfvS69HvEqHIXbI88ESnIO-WlwjEh19VPq/s400/37995590_535558866873294_4516011232452411392_n.jpg" width="362" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Novelization artwork cover MOVIE RELEASED: 1977</u></td></tr> </tbody></table> Football hero turned murderer THE TOWERING INFERNO co-star OJ Simpson follows the lead of square-jawed man's man James Brolin's solid yet sophisticated, thoroughly intense persona along with the always capable Sam Waterston, turning in constant one-liners, which can be genuinely humorous — even as he's climbing to an inevitably dire situation... <br /> <br /> <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/AVvXsEgv7_yCaQy5soD9dN0lqcn_Z7umGBt_fsDSjJSU1GnXYzlYCBnX93I_taaEM65Mr9xPpNQR7Ao1Pi-mRIPiWwGzbDB4ECULCI0v9lZ23aup7XkccAJN46oG7k_rHzMM35HJbPdKVhhjltFd/s1600/3.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="229" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7_yCaQy5soD9dN0lqcn_Z7umGBt_fsDSjJSU1GnXYzlYCBnX93I_taaEM65Mr9xPpNQR7Ao1Pi-mRIPiWwGzbDB4ECULCI0v9lZ23aup7XkccAJN46oG7k_rHzMM35HJbPdKVhhjltFd/s400/3.jpeg" width="228" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Great Poster Artwork</u></td></tr> </tbody></table> This trio of eclectic and likeable astronauts, using last names only... Brubaker, Willis and Walker... separate across a vast desert, taking a sporadic survival story backseat within their own central storyline. Meanwhile, an affable and lightweight Elliott Gould is rather out of place under the ultra-serious direction of Peter Hyams. A few years earlier, he reigned as flaky smooth-talkers under improvisational auteur Robert Altman in films like MASH, THE LONG GOODBYE and CALIFORNIA SPLIT. So this is basically the tail-end of Gould's prime/peak popularity... <br /> <br /> <div style="text-align: right;"> </div> <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/AVvXsEgNL43ShL3Cv0a5r1BbLHtF5VQc5oq2jmrYBIoUJa__1Fs_AValRtojWYk8ViQSHq9UCrTNjqTbvDpyXoN-RbBHpjSCbfiYOUcGSbjEAfPJGVHXaEm11DhaoPjGhv4tZD4e7HOKf9bU5yz-/s1600/4.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="272" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNL43ShL3Cv0a5r1BbLHtF5VQc5oq2jmrYBIoUJa__1Fs_AValRtojWYk8ViQSHq9UCrTNjqTbvDpyXoN-RbBHpjSCbfiYOUcGSbjEAfPJGVHXaEm11DhaoPjGhv4tZD4e7HOKf9bU5yz-/s400/4.jpeg" width="271" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Robert Walden and Elliott Gould</u></td></tr> </tbody></table> As the snoopy and intrepid reporter Robert Caulfield, he gets first-star billing but is the first character forgotten when this multi-genre vehicle stops rolling. An important yet thankless role injecting sloppy Noir into the taut Science-Fiction realm embodied by what's based on a perpetual real life conspiracy surrounding the first men to walk on the Moon circa 1969...<br /> <br /> The basic plot of CAPRICORN ONE, named after the rocket that, in front of the nation's eyes and, in particular, a breezy U.S. VP verses a perturbed David Huddleston, lets us in on what the real late-seventies Washington D.C. felt about space travel...<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/AVvXsEgMsp8Yl6dazjf_fxAPEWn3i8O0_IzKtpVcDPL2v5vXCwhSYp3RD4df0Kpynkwdi9oDnYfDr9kazMUnXL7eNn11ZZoZtd4KN6FfYShHgSYBTfrf2Zjm83yF33Kc1sSdNaruxF7IB0rduH3u/s1600/7.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMsp8Yl6dazjf_fxAPEWn3i8O0_IzKtpVcDPL2v5vXCwhSYp3RD4df0Kpynkwdi9oDnYfDr9kazMUnXL7eNn11ZZoZtd4KN6FfYShHgSYBTfrf2Zjm83yF33Kc1sSdNaruxF7IB0rduH3u/s1600/7.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Meeting of a death-time</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> So the titular vessel really doesn't go anywhere since the astronauts, at the last minute before ignition — occurring at a steady-paced fifteen minutes or so into the picture — are given a locked-door speech by Hal Holbrook, turning in a sophisticated villain role, especially while providing a beautiful verbal combination of patriotic reverie under a bewitching spell of remorseful repose — yet most of his other scenes merely concern sitting in the "Houston Room" with a finger on the dump button, just in case the idealistic Brubaker (Brolin) decides to go off script, and thus, ruin the whole show... literally. <br /> <br /> <div style="text-align: right;"> </div> <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/AVvXsEinHgiMHhtIiGPgDz5Hn4W0xB5gJhpIKj8SG6g_dRdESaxE23HydqtLcQ_s0J0ZPUYmJsFjsJU0uqoFBwCzux5gf10SuAmlAd4ylgYktF27ybgZqLIUBUyyQX27xHO9dBXHVbEhObFkvDbp/s1600/5.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinHgiMHhtIiGPgDz5Hn4W0xB5gJhpIKj8SG6g_dRdESaxE23HydqtLcQ_s0J0ZPUYmJsFjsJU0uqoFBwCzux5gf10SuAmlAd4ylgYktF27ybgZqLIUBUyyQX27xHO9dBXHVbEhObFkvDbp/s1600/5.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>James Brolin not buying it</u></td></tr> </tbody></table> The only real problem with the otherwise perfectly lightweight and entertaining CAPRICORN ONE is how quickly Gould catches on to (or that he catches on at all to) an <i>extremely</i> farfetched connection concerning Brubaker's wife (the always-annoying Brenda Vacarro), rushing the proverbial bridge (while literally driving over a real one) to have an ending point in sight...<br /> <br /> <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/AVvXsEiDhAj5oTc3s86sAU5FeIfBAXnAEmIQG-uwpm5AUAQ3zJbUEhNQBhs9AYMUANZlqwecW24bX3YSDlwzb5uPM95q3DI2HA50RTJwnMBlnbYv2hrFsj2rponr-SKdpLgNZ9Hz3ajthVQxoFOK/s1600/Screen+Shot+2020-07-07+at+9.41.32+PM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="915" data-original-width="681" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDhAj5oTc3s86sAU5FeIfBAXnAEmIQG-uwpm5AUAQ3zJbUEhNQBhs9AYMUANZlqwecW24bX3YSDlwzb5uPM95q3DI2HA50RTJwnMBlnbYv2hrFsj2rponr-SKdpLgNZ9Hz3ajthVQxoFOK/s320/Screen+Shot+2020-07-07+at+9.41.32+PM.jpeg" width="238" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Capricorn One import DVD</u></td></tr> </tbody></table> Along the way, some of the best scenes involve character-actor Robert Walden, the smartest of the Houston techies, figuring something's off and not only making his buddy Caulfield (Gould) curious, but genuinely catapulting the plot into motion: ultimately involving an 11th hour "Guest Star" Telly Savalas in a dilapidated underdog desert biplane verses shiny and formidable government helicopters that, after all the brainy espionage, closes the door with simplistic and frolicking action...<br /> <br /> If ever there's discovered a more sublime example of Sick Day Afternoon Cinema, to pass the time while enjoying passing time, let us know, because this ONE is the CITIZEN KANE of time-filling fluff... A special kind of "I grew up loving this movie" project that should cross over into any generation given the straight-out, unapologetic entertainment value since both halves are like completely different movies telling one neat story.<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/AVvXsEiGR8LGwBHFyxSkOhNYQihOEguo5DdbjSf6B4vG0NiDqe54YD97rVbXtek6AF9ucj4gHxG3oQLfVzsJUMOVzuyVWHWFNqcunyCrPWvrNph40D7jJh9eu2WMT7OOiUPRSUHQTyl00QIXD7Rr/s2366/Screen+Shot+2021-07-16+at+2.37.35+AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="2366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGR8LGwBHFyxSkOhNYQihOEguo5DdbjSf6B4vG0NiDqe54YD97rVbXtek6AF9ucj4gHxG3oQLfVzsJUMOVzuyVWHWFNqcunyCrPWvrNph40D7jJh9eu2WMT7OOiUPRSUHQTyl00QIXD7Rr/s16000/Screen+Shot+2021-07-16+at+2.37.35+AM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Robert Walden and Hal Holbrook in CAPRICORN ONE</u><br /></td></tr></tbody></table><div style="text-align: left;"> </div> <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/AVvXsEh4MHxpqqgHzVznFjTKjHbR8IlXVrh17qFS6RFmpQ77EYoScTq76ySYXljs6Er1D6q6xPfrqgdguLRmamhXJa9vb_pkntgzZGxGbOFk09EnCqFwLe634xxNrwSHtHsCDRh7dAYuhb98Qgg/s1600/8.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4MHxpqqgHzVznFjTKjHbR8IlXVrh17qFS6RFmpQ77EYoScTq76ySYXljs6Er1D6q6xPfrqgdguLRmamhXJa9vb_pkntgzZGxGbOFk09EnCqFwLe634xxNrwSHtHsCDRh7dAYuhb98Qgg/s1600/8.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Karen Black in a 70's classy hot rod with a troubled Elliott Gould towards the end of the movie</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/AVvXsEiZj05_rYvhRqSKQayCzVAyASvz9O_TT8AcrotMt2_qjV7PAolnAihhf47Yo5yo2K6-pyMjp53uAs1AbEyc2HN1t80eW8gH57NVu3C6t2jEGh3c1I3qoG5Kf6LnlIQOOYPV7UHCbZYPXP4/s1600/11.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZj05_rYvhRqSKQayCzVAyASvz9O_TT8AcrotMt2_qjV7PAolnAihhf47Yo5yo2K6-pyMjp53uAs1AbEyc2HN1t80eW8gH57NVu3C6t2jEGh3c1I3qoG5Kf6LnlIQOOYPV7UHCbZYPXP4/s1600/11.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>A fantastic theme by Jerry Goldsmith plays along while this terrific-looking font's shown</u></td></tr> </tbody></table> <br /><br />

action, elliott gould, ensemble, hal holbrook, james brolin, karen black, o.j. simpson, peter hyams, robert walden, sam waterston, science-fiction, seventies, suspense, thriller

SPACING-OUT ON THE MAINSTREAM-CULT FROM 'CAPRICORN ONE'

Novelization artwork cover MOVIE RELEASED: 1977 Football hero turned murderer THE TOWERING INFERNO co-star OJ Simpson follows the lead o...

CALIFORNIA SPLIT

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzFaIpM_JSHprGoaAGn_78LSXT0offUQ50GpFYe6HpD1ln9xva33HNNBeMBCuycAdnbDdQjAqfCdgYGnkamx88LEdJzvLq-OoywSsV6smOPISQ6Txq2j6a0biO8cSQI9pweAMYmbd_nVY/s1600/California_Split_13.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5461199397539675522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzFaIpM_JSHprGoaAGn_78LSXT0offUQ50GpFYe6HpD1ln9xva33HNNBeMBCuycAdnbDdQjAqfCdgYGnkamx88LEdJzvLq-OoywSsV6smOPISQ6Txq2j6a0biO8cSQI9pweAMYmbd_nVY/s200/California_Split_13.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 131px;" /></a><div><b>title: </b>CALIFORNIA SPLIT<span class="Apple-tab-span" style="white-space:pre"> </span></div><div><b>year: 1</b>974</div><div><b>cast:</b> George Segal, Elliott Gould</div><div><b>rating: </b>****1/2</div><div><br /></div>Robert Altman delves smoothly into the world of low-rent gambling with George Segal as a debt-burdened writer and Elliott Gould as a jobless loser playing poker, betting on horses, sharing women and spontaneous conversations. From their humble beginnings in California, to their misadventures in Nevada, to the conclusion in Reno, this is a grand odd-couple character-study where gambling is more than a device, but a character in itself: the phantom antagonist. At times Altman's loose, improvisational style is wonderfully voyeuresque, and there's always a new street-savvy, bickering situation to struggle through. Segal proves once again he's not just a funnyman banjo player. And for Gould, it's the perfect follow-up to Altman's THE LONG GOODBYE, only he's more hyperactive and troublesome, while Segal provides the base. Highlights include the random confrontations between the boys and mustached bully Edward Walsh, brother of actor Joseph (THE DRIVER) Walsh, who wrote the script and plays a crippled bookie.

elliott gould, george segal, robert altman, seventies

CALIFORNIA SPLIT

title: CALIFORNIA SPLIT year: 1 974 cast: George Segal, Elliott Gould rating: ****1/2 Robert Altman delves smoothly into the world of low...

BUSTING

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kiOHTwO36Ww3H-qKdiKreYqqrqfUTmmmodqgP10lbD5yGKpsknWdBWv3_Y8Xx2Y8KmboT5jLrj9EbRDFZgBX4QV_3iwK6m6VFTcHXnaz337Ivn4mMzi3EH6hI12J_1nIciLQ_EdUIFo/s1600/1226517114970_6_Busting_mif_290_210.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5461191010283038930" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kiOHTwO36Ww3H-qKdiKreYqqrqfUTmmmodqgP10lbD5yGKpsknWdBWv3_Y8Xx2Y8KmboT5jLrj9EbRDFZgBX4QV_3iwK6m6VFTcHXnaz337Ivn4mMzi3EH6hI12J_1nIciLQ_EdUIFo/s200/1226517114970_6_Busting_mif_290_210.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 166px;" /></a><div><b>title:</b> BUSTING</div><div><b>year: </b>1974</div><div><b>cast: </b>Elliott Gould, Robert Blake, Allen Garfield<br /></div><div><b>rating: </b>***1/2 </div><div><br /></div>A very hard to find seventies crime drama with Elliott Gould and Robert Blake as vice cops busting gay bars, low-rent hookers, sex shops and high price call girls, then eventually stumbling upon a bigwig pimp played by underrated Allen Garfield, and his henchman Sig Haig who, it turns out, doesn't have to do much since his boss owns the courts and the cops. Gould and Blake go on their own to nab Garfield with predictable results, although the adventurous climb to the top, by hanging at the bottom, is quite enjoyable, and a FRENCH CONNECTION-style foot chase in an outdoor bizarre makes for very addictive pleasure. Blake, unlit cigarette in mouth, is warming up for his famous TV-gig a year later, and Gould's performance is natural and easy but with some intensity.

allen garfield, cop, crime, elliott gould, robert blake, seventies, sid haig

BUSTING

title: BUSTING year: 1974 cast: Elliott Gould, Robert Blake, Allen Garfield rating: ***1/2 A very hard to find seventies crime drama with ...