cult film freak: karl malden

Showing posts with label karl malden. Show all posts

Written by James M. Tate / 2/12/2025 / No comments / bert freed , british film noir/melodrama , cop , craig stevens , dana andrews , fifties , gary merrill , gene tierney , karl malden , otto preminger , suspense

DANA ANDREWS & GENE TIERNEY IN 'WHERE THE SIDEWALK ENDS'

<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/AVvXsEgJhPb8JjRRH1wWt-iiX7FYG10-nzeRLO8EErcY5OVLHm6Cx7A09fIsAMDqJaGjP7rFsUpKG6V4hzwku6nWNYwKWUAjyLP5cCaXulAmaqn5QhZwvwexT3oKaoEHFX9v8ft1uGBpVPgDzMLzv_9qg9KkC0f5a9XRzOcLIkzOE3WKZVtI3oaUUeJbyFQoZFy0/s1270/Screen%20Shot%202024-08-02%20at%202.50.48%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="972" data-original-width="1270" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhPb8JjRRH1wWt-iiX7FYG10-nzeRLO8EErcY5OVLHm6Cx7A09fIsAMDqJaGjP7rFsUpKG6V4hzwku6nWNYwKWUAjyLP5cCaXulAmaqn5QhZwvwexT3oKaoEHFX9v8ft1uGBpVPgDzMLzv_9qg9KkC0f5a9XRzOcLIkzOE3WKZVtI3oaUUeJbyFQoZFy0/w400-h306/Screen%20Shot%202024-08-02%20at%202.50.48%20AM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Dana and Gene a third time YEAR: 1950</u></td></tr></tbody></table>A sort of Film Noir in reverse as a downright bad and brutal cop does something accidental and pretty awful, covers it up and then, a bit later, gets half-a-heart, which is how Noir leading men usually start: this after he falls for the Falsely Accused Wrong Man's daughter in Gene Tierney's gorgeous, as usual, Morgan Taylor... Even her name is lovely...<br>
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Dana Andrews, who resembled a hybrid Sean Connery before there was one famous enough to resemble, and Steve Martin had he been a tough and tall leading man type, stole scenes in the post World War Two classic, <a href="http://www.cultfilmfreaks.com/2016/05/BYOOurLIVES.html">THE BEST YEARS OF OUR LIVES,</a> and, brother of Steve Forrest, has the same square-jaw and no-nonsense style, and is a lot more edgy and desperate than his snoopy cop in the previous, more lavish and high-budgeted crime melodrama, <a href="http://www.cultfilmfreaks.com/2016/05/Loir.html">LAURA</a>, with the same director and gorgeous co-star...<br>

bert freed, british film noir/melodrama, cop, craig stevens, dana andrews, fifties, gary merrill, gene tierney, karl malden, otto preminger, suspense

DANA ANDREWS & GENE TIERNEY IN 'WHERE THE SIDEWALK ENDS'

Dana and Gene a third time YEAR: 1950 A sort of Film Noir in reverse as a downright bad and brutal cop does something accidental and pretty ...

JAMES CAGNEY WITH RICHARD CONTE IN '13 RUE MADELEINE'

<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/AVvXsEiquXOAZXdln2FZLBqKH_mmuUBVI3i5PM8P2uSEEP24zuPyOTDpmHwmBq41GIzTEi_tpgGUTHZURBDI5py8HzzIvnkUgN5x0SxS6JyU-h8Bpt8Ifs4BGlGAg7T8niX1Cvq0TKcMUGitUut6RTCGZv15UrV8Xyp0nqDcZ5HLsk9z4f7KnU1FT9Qzub9okWPl/s1346/Screen%20Shot%202025-08-02%20at%207.34.27%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquXOAZXdln2FZLBqKH_mmuUBVI3i5PM8P2uSEEP24zuPyOTDpmHwmBq41GIzTEi_tpgGUTHZURBDI5py8HzzIvnkUgN5x0SxS6JyU-h8Bpt8Ifs4BGlGAg7T8niX1Cvq0TKcMUGitUut6RTCGZv15UrV8Xyp0nqDcZ5HLsk9z4f7KnU1FT9Qzub9okWPl/s16000/Screen%20Shot%202025-08-02%20at%207.34.27%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>James Cagney and Richard Conte in RUE MADELEINE Year: 1947 Rating: ***1/2 </u></td></tr></tbody></table><p></p><p></p><p>In the 1940's, James Cagney went to war... well, not literally... but at forty-years old and already an iconic movie star, once WW2 began, he put away his wise-guy garb and did only patriotic features...</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>Which is unfortunate, as the soldiers overseas would probably rather cheer Cagney on in another ROARING TWENTIES-style vehicle to get their minds off reality... But maybe these features were for American audiences to see what sacrifices were going on overseas... </p><span></span>

espionage, forties, frank latimore, henry hathaway, james cagney, karl malden, richard conte, sam jaffe, spy, thriller, world war II

JAMES CAGNEY WITH RICHARD CONTE IN '13 RUE MADELEINE'

James Cagney and Richard Conte in RUE MADELEINE Year: 1947 Rating: ***1/2 In the 1940's, James Cagney went to war... well, not literally...

VICTOR MATURE 'KISS OF DEATH' INTRODUCING RICHARD WIDMARK

<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/AVvXsEi0HWIIQGIeQA7VODaWI4fF08k0PUDvhHy2IMwSFcaCs3AUgS1rYYPfhCrS0YZRXT4MmgZQCcF9TC1JT44I7SaGYx8FCjUK8PKxxiOn2YgCUKQ3ur4mTTMCKnUwZ6l97JToCk5IpUbXHMhduLL1e3IlOupJx27Z9FUeogsMDcfT5z30KSQl7wwbSJhG1Iwt/s1732/Screen%20Shot%202025-12-26%20at%201.26.10%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1732" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0HWIIQGIeQA7VODaWI4fF08k0PUDvhHy2IMwSFcaCs3AUgS1rYYPfhCrS0YZRXT4MmgZQCcF9TC1JT44I7SaGYx8FCjUK8PKxxiOn2YgCUKQ3ur4mTTMCKnUwZ6l97JToCk5IpUbXHMhduLL1e3IlOupJx27Z9FUeogsMDcfT5z30KSQl7wwbSJhG1Iwt/s16000/Screen%20Shot%202025-12-26%20at%201.26.10%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Richard Widmark and Victor Mature in KISS OF DEATH Year: 1947 Rating: ****</u></td></tr></tbody></table><p>The original KISS OF DEATH is several movies in one, beginning as a tension-filled heist flick that quickly leads to a prison melodrama involving the husband/father crook going to jail (refusing to rat on his criminal partners)... and then becomes a thriller about one thing and one thing only  — fear...</p><p></p><p></p><p>And it's no coincidence that this part sets up when central lead Victor Mature meets extremely talky and psychotic gangster Tommy Udo, played by cinema newcomer Richard Widmark... thus kicking into <i>full fear</i> gear during the second and third act, after Mature's failed attempt of turning Udo over to dogged moral conscience D.A. Brian Donlevy...</p><span></span>

brian donlevy, coleen gray, film noir or melodrama, forties, heist, karl malden, richard widmark, suspense, thriller, victor mature

VICTOR MATURE 'KISS OF DEATH' INTRODUCING RICHARD WIDMARK

Richard Widmark and Victor Mature in KISS OF DEATH Year: 1947 Rating: **** The original KISS OF DEATH is several movies in one, beginning as...

MARLON BRANDO IN HIS BROODING WESTERN 'ONE-EYED JACKS'

adventure, ben johnson, cult, elijah cook jr., karl malden, larry duran, marlon brando, miriam colon, sam gilman, sixties, slim pickens, timothy carey, western

MARLON BRANDO IN HIS BROODING WESTERN 'ONE-EYED JACKS'

Marlon Brando aims at Timothy Carey in ONE-EYED JACKS There's an obscure, now forgotten cult of Marlon Brando fans, or Western fans,...

ROD TAYLOR IN 'HOTEL' WITH KEVIN MCCARTHY & RICHARD CONTE

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</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/AVvXsEjXmymrCekORQ-YnkqVBdMkqzcKMa_bxyXwNcnoZc69HEdCfTCzfH8s2ipcj8u9SYKT2nZ1stnLRyvNGVIbnlcs0P0hH5DBDTSEroXf59Z_W_sAAHrMxKFsgHhe61v9e7533CkTXx95L7L-O4N_06CYzwEG22OKjpXj-Uw2hzomGLCQAkcsPCm8SvGmFUJG/s2054/Screen%20Shot%202024-02-24%20at%204.37.51%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1032" data-original-width="2054" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXmymrCekORQ-YnkqVBdMkqzcKMa_bxyXwNcnoZc69HEdCfTCzfH8s2ipcj8u9SYKT2nZ1stnLRyvNGVIbnlcs0P0hH5DBDTSEroXf59Z_W_sAAHrMxKFsgHhe61v9e7533CkTXx95L7L-O4N_06CYzwEG22OKjpXj-Uw2hzomGLCQAkcsPCm8SvGmFUJG/s16000/Screen%20Shot%202024-02-24%20at%204.37.51%20AM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Catherine Spaak and Kevin McCarthy in HOTEL Year: 1967 Rating: ****</u></td></tr></tbody></table><p>The 1967 film HOTEL occurs at a strange and contradictory crossroads for women: While Catherine Spaak plays the typical young and complacent, older rich man's trophy girlfriend, she can't stand him — and even tells him so. That being Kevin McCarthy, whose Curtis O'Keefe represents two things Hollywood despises: He's supposedly a Christian, leading a bizarre prayer ritual that sounds as if God were his own personal accountant; and he's a corporate raider who's actually pretty sharp, knowledgeable and experienced: Yet we're not supposed to appreciate (or even notice) these things because no one in the movie does...</p><p></p><p></p><p></p><p></p><p>As a phony-polite, sophisticated villain, McCarthy plays the kind of boss even his closest, well-paid employees roll their eyes at. And yet he's the most interesting character — especially when opening-up to Spaak's Jeanne about how he was once young, broke, and denied a job as assistant desk clerk at the St. Gregory i.e. our titular HOTEL... <br />
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</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/AVvXsEgVsCAQeK3YRIP9BpW4UhwNFK4JwtPdfdqB-sAH9p_JU8bIbWSIBdwbZ_GvoMfElalbA33fQ94yXGcUtg_UlrtCyl8snp2cmHGpokWiwV3cM_vN-hMnZsU1QbP-fywjsr0jnfdb_gUI_KjFb8WB5B_Rgt62qnvOHloRRKOikwstFiVjPwrNP5ir8u33pFzx/s1360/Screen%20Shot%202024-02-24%20at%204.16.14%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="622" data-original-width="1360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsCAQeK3YRIP9BpW4UhwNFK4JwtPdfdqB-sAH9p_JU8bIbWSIBdwbZ_GvoMfElalbA33fQ94yXGcUtg_UlrtCyl8snp2cmHGpokWiwV3cM_vN-hMnZsU1QbP-fywjsr0jnfdb_gUI_KjFb8WB5B_Rgt62qnvOHloRRKOikwstFiVjPwrNP5ir8u33pFzx/s16000/Screen%20Shot%202024-02-24%20at%204.16.14%20AM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Rod Taylor and Kevin McCarthy in HOTEL</u></td></tr></tbody></table><p>From that story alone we learn more about McCarthy's character and motivation than the handsome, square-jawed Rod Taylor who, as the hotel manager, is more about the present time — always thinking and moving ahead: His Peter McDermott is owner Melvin Douglas's right <i>and</i> left hand man: as well as heart, soul, brain, and moral conscience... <br /></p><p></p><p></p><p>And in the role, Taylor is his usual capable, strong silent type who seems like he knows almost everything — and can eventually figure out what he doesn't. Taking interest in the gorgeous French girl from the onset, it's intentionally predictable they'd eventually hook up...<br />
</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/AVvXsEiPI69crbw2708CSltax9GBMS4N13er9mtypovAl7-oAjPDxdQh81-I3Zs__a9Zt-eMUqF8X_AdVR5DMXNcwclp6j53W7NFZfO3Sxb2HoeioREj72PkQzjCtHheFDEqxiSUmFwPTIsWJ8jInktO7W5tw1ThOO3UTlsyUUA9IQvXMgmUn5unDCbIKJ67VR8y/s2072/Screen%20Shot%202024-02-24%20at%204.23.29%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="920" data-original-width="2072" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPI69crbw2708CSltax9GBMS4N13er9mtypovAl7-oAjPDxdQh81-I3Zs__a9Zt-eMUqF8X_AdVR5DMXNcwclp6j53W7NFZfO3Sxb2HoeioREj72PkQzjCtHheFDEqxiSUmFwPTIsWJ8jInktO7W5tw1ThOO3UTlsyUUA9IQvXMgmUn5unDCbIKJ67VR8y/s16000/Screen%20Shot%202024-02-24%20at%204.23.29%20AM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jessica Rabbit body-model Vikki Dougan in HOTEL</u></td></tr></tbody></table><p>But there are more important stories tucked away in other rooms: Like an elegant yet paranoid and/or guilt-ridden Countess and Count played by well-dressed beauties Merle Oberon and Michael Rennie, covering up for a lethal drunk driving car accident with the help of slick and slimy Richard Conte as the hotel's crooked house detective...</p><p></p><p>Meanwhile, the most fun's had with Karl Malden as a roving, room-to-room thief, who even overacts when just his eyes are shown. He'll do anything to snake other people's money, and at one point teams up with a neighboring strip joint's b-girl for a random cash-in-pocket heist (former 1950's backless dress model/starlet Vikki Dougan, who inspired the iconic cartoon sexpot "Jessica Rabbit" from the neck down)... <br />
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</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/AVvXsEhfhwdoKI2mJgUDUankxDXj7rMOfr85qdl9-qr6B5dhgW0jQect3LVlzYCEzz1PgCjpqFh7Pk45oJw9tPvVzV5wxUk5rQ_AzNv3WT3XdufF-QSwv9xv0yr3nzD83-ZfFrtHVLxvdET8Lee9rORFN5i5Vmn9ta10th2W2jUiVJpQ9L41GiafVFdkWDju5Qy4/s2190/Screen%20Shot%202024-02-24%20at%204.28.37%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="918" data-original-width="2190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfhwdoKI2mJgUDUankxDXj7rMOfr85qdl9-qr6B5dhgW0jQect3LVlzYCEzz1PgCjpqFh7Pk45oJw9tPvVzV5wxUk5rQ_AzNv3WT3XdufF-QSwv9xv0yr3nzD83-ZfFrtHVLxvdET8Lee9rORFN5i5Vmn9ta10th2W2jUiVJpQ9L41GiafVFdkWDju5Qy4/s16000/Screen%20Shot%202024-02-24%20at%204.28.37%20AM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Rod Taylor and Kevin McCarthy in HOTEL</u></td></tr></tbody></table><p>While it seems that actor turned director Richard Quine's pleasurable, addictive, New Orleans-jazz blaring HOTEL is the kind of all-star ensemble that'd saturate the following decade's Irwin Allen pictures, or Agatha Christie adaptations, these actors and actresses were, at the time, more distinguished than relevant except for Taylor, the star of two already established (and at that time, semi-recent) classics, THE TIME MACHINE and THE BIRDS...</p><p></p><p></p><p>He walks around with a sharp eye — figuring how to thwart McCarthy's plans to morph the turn-of-the-century hotel into a proverbial shopping mall — all the while making side-deals, trying to keep his boss modern, and avoiding a local-media scandal... <br />
</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/AVvXsEiEOkr6bfZojI9VB_LCGCDdFhWjhSGzMvfAvQH8YF0nKGhpYlsQc_gVs8IHgQsvr41aQuYSZtcQxR_AmCypBXYH-x5SFvWY3iN61y3Qm9W3Art3ZuhhY1-NsOw_OMz-MBxzqSlEHp0BMNMzJR_dBhnCuwLuIhJgWlnaJVqFror1PnMjINK91ZNYHz_4Kfi0/s2244/Screen%20Shot%202024-02-24%20at%204.29.36%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="944" data-original-width="2244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEOkr6bfZojI9VB_LCGCDdFhWjhSGzMvfAvQH8YF0nKGhpYlsQc_gVs8IHgQsvr41aQuYSZtcQxR_AmCypBXYH-x5SFvWY3iN61y3Qm9W3Art3ZuhhY1-NsOw_OMz-MBxzqSlEHp0BMNMzJR_dBhnCuwLuIhJgWlnaJVqFror1PnMjINK91ZNYHz_4Kfi0/s16000/Screen%20Shot%202024-02-24%20at%204.29.36%20AM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Richard Conte in HOTEL</u></td></tr></tbody></table><p>So when not wasting time with the glorified French harlot, who <i>is</i> downright gorgeous with a good-enough screen presence for her otherwise robotic delivery to not really matter, Taylor juggles various problems in a suave, smooth manner...</p><p></p><p></p><p>And, thankfully, the political/racial elements aren't dated or preachy, connected tightly within a story-line that rarely strays from providing a cozy two-hours of pleasurable, top rate, four-star entertainment.<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>More impressive than the Hotel is Rod Taylor's f-pad where he beds the glorified Frog Whore in HOTEL</u></td></tr>
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<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/AVvXsEjAYwTC_ToklNQdo36kqNrwxBc6dWNo4rdnqqq_ZvEpkqb7FDkQNEaBM-at31LOQZcaNkUHpeC6FNd7BiWt04CjAL8apd261V1Wm8xp90piSLhNKKmpiCMlFcfci1d-KZWx5zAdI9-wdvFRtAUylzVIZr_JeZxF-yY9TehniZP2WwtncL99cHAaChG9c2SN/s1332/Screen%20Shot%202024-02-24%20at%204.32.29%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="1332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAYwTC_ToklNQdo36kqNrwxBc6dWNo4rdnqqq_ZvEpkqb7FDkQNEaBM-at31LOQZcaNkUHpeC6FNd7BiWt04CjAL8apd261V1Wm8xp90piSLhNKKmpiCMlFcfci1d-KZWx5zAdI9-wdvFRtAUylzVIZr_JeZxF-yY9TehniZP2WwtncL99cHAaChG9c2SN/s16000/Screen%20Shot%202024-02-24%20at%204.32.29%20AM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Rod Taylor and Merle Oberon in HOTEL</u></td></tr></tbody></table><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/AVvXsEjnQO5g_cZQONCtp-WgpBk6HkLzBI0BCtKf-aefiL86nYWrghcgcogR4tm8SGCERwDShU02FcFd6R97agV-Irqx9yFDwAj1rN8WGRq9t1NitjRgSMrnVCXPHkubgiz1aHEuTqRUxjaEgEDagywM1Bpb_QLQo03JoAljVjAoAfY0HqnNydm6hc-V34PkggV0/s1340/Screen%20Shot%202024-02-24%20at%204.35.04%20AM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="616" data-original-width="1340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQO5g_cZQONCtp-WgpBk6HkLzBI0BCtKf-aefiL86nYWrghcgcogR4tm8SGCERwDShU02FcFd6R97agV-Irqx9yFDwAj1rN8WGRq9t1NitjRgSMrnVCXPHkubgiz1aHEuTqRUxjaEgEDagywM1Bpb_QLQo03JoAljVjAoAfY0HqnNydm6hc-V34PkggV0/s16000/Screen%20Shot%202024-02-24%20at%204.35.04%20AM.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Karl MaldenVikki Dougan in HOTEL</u></td></tr></tbody></table><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/AVvXsEhVnS0pqMEMyVp5Ixwey4_F90US5T-7608ga0wl7i9N0Kts9PxKnRx9Crv7M8JBr-ArNJzj8qKcOVQk9-LVqoLz1yAUyHYBrOnh2DTUgKKosIkpJ3DyfOdl2R6N95J8V5BlAxRZY6m3RvW6obl5hO_6z-KEY0jYWNrUJ0RitGyKPDCXgc2GmFDQB-9KxHvz/s929/65316955_732066530555859_4080981021607067648_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="576" data-original-width="929" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnS0pqMEMyVp5Ixwey4_F90US5T-7608ga0wl7i9N0Kts9PxKnRx9Crv7M8JBr-ArNJzj8qKcOVQk9-LVqoLz1yAUyHYBrOnh2DTUgKKosIkpJ3DyfOdl2R6N95J8V5BlAxRZY6m3RvW6obl5hO_6z-KEY0jYWNrUJ0RitGyKPDCXgc2GmFDQB-9KxHvz/s16000/65316955_732066530555859_4080981021607067648_n.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Debbie Dean and Adele Claire as 2nd and 1st Hooker in HOTEL (1967</u></td></tr></tbody></table><br />

annazette chase, catherine spaak, drama, ensemble, jack donner, jazz score, karl malden, melvin douglas, merle oberon, michael rennie, richard conte, rod taylor, sixties, vikki dougan

ROD TAYLOR IN 'HOTEL' WITH KEVIN MCCARTHY & RICHARD CONTE

Catherine Spaak and Kevin McCarthy in HOTEL Year: 1967 Rating: **** The 1967 film HOTEL occurs at a strange and contradictory crossroads fo...

Written by James M. Tate / 9/02/2015 / No comments / disaster , karl malden , martin landau , natalie wood , science-fiction , sean connery , seventies

SEAN CONNERY W/ MARTIN LANDAU & NATALIE WOOD IN METEOR

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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayaswQYTCX4cC0Vzd9mVtq49j8W6s26EbOFdIwPK6gTZ9fz6pvbzJjEhdltSe4zjAa04yO1m39G7bENpNiS1cHeWrbQNcfsJRvHsCXPhzFjIqtITUERsbCaxZ8RXcIfu9EmucSgRHvsU/s1600/screen-shot-2015-08-25-at-3-05-16-pm.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayaswQYTCX4cC0Vzd9mVtq49j8W6s26EbOFdIwPK6gTZ9fz6pvbzJjEhdltSe4zjAa04yO1m39G7bENpNiS1cHeWrbQNcfsJRvHsCXPhzFjIqtITUERsbCaxZ8RXcIfu9EmucSgRHvsU/s1600/screen-shot-2015-08-25-at-3-05-16-pm.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>year: 1979</u></td></tr>
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Sean Connery’s character is so over solving possible catastrophic problems, like how to destroy a METEOR with an outer space vessel that winds up, thanks or actually no thanks to the American government, aiming the missiles at Russia… and vice versa on their secretive end… that he’s gone sailing, literally, and is brought back to backroom meetings with nice guy Karl Malden, cranky Martin Landau, a terrific fellow in Russian leader Brian Keith and ingenue Natalie Wood, whose purpose is to translate for Keith while subtly batting her giant eyes at Connery, the one person who can possibly figure out how to save the planet, with a little help and, added to this somewhat urgent yet not entirely suspenseful plot we get dated glimpses into the meteor soaring and roaring through space, towards Earth, making the original STAR TREK effects seem like 2001: A SPACE ODYSSEY… And to perk things up, smaller craters land on random continents, injecting disaster genre elements, from fires to floods, into an otherwise talky thriller. Sure the concept is dated… concerning the Russians… but “modern” blockbusters like ARMAGEDDON and DEEP IMPACT should give thanks to this literally groundbreaking vehicle.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifMT4m0DciAzAKub_WCVBeu82z-KqIsHpYtaaRJ31MKsVwWGZXgby07tGwEI_oXmLF_Ysl3NqH67YVwUZht5E4Mb80pX-6ha3OpqJYGCcDdwg5N1Ih943sRcE3PaE7Nia41eE_NeWEXmIY/s1600/14947954_224261981336319_4283574485774893710_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifMT4m0DciAzAKub_WCVBeu82z-KqIsHpYtaaRJ31MKsVwWGZXgby07tGwEI_oXmLF_Ysl3NqH67YVwUZht5E4Mb80pX-6ha3OpqJYGCcDdwg5N1Ih943sRcE3PaE7Nia41eE_NeWEXmIY/s1600/14947954_224261981336319_4283574485774893710_n.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>This Sailboat in Outer Space is a long dissolve from the heavens to the earth's sea where our hero's in a race</u></td></tr>
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disaster, karl malden, martin landau, natalie wood, science-fiction, sean connery, seventies

SEAN CONNERY W/ MARTIN LANDAU & NATALIE WOOD IN METEOR

year: 1979 Sean Connery’s character is so over solving possible catastrophic problems, like how to destroy a METEOR with an outer space ...

Written by James M. Tate / 3/01/2010 / No comments / jordan rhodes , karl malden , seventies

JORDAN RHODES ("THE STREETS OF SAN FRANCISCO")

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh218XeGH4U5Trn7CF6BBxxUq-pWK37qUsgTClrHrVpeqd10nrSEF8HvHZsVkOyDKqIRYRY9u-UsOY4FT65GanIuGFqGWUC9gtXZsktE3tYD0r0sY-c0RsmTnfFAlw6ZnoOPrVM4QG0EtwZ/s1600-h/extra1+copy.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5434639625449530290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh218XeGH4U5Trn7CF6BBxxUq-pWK37qUsgTClrHrVpeqd10nrSEF8HvHZsVkOyDKqIRYRY9u-UsOY4FT65GanIuGFqGWUC9gtXZsktE3tYD0r0sY-c0RsmTnfFAlw6ZnoOPrVM4QG0EtwZ/s200/extra1+copy.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 147px;" /></a><i>Character-actor Jordan  Rhodes appeared in numerous classic cult films including the Charles  Bronson vehicle MR. MAJESTYK and Sean Penn's directorial debut THE  INDIAN RUNNER, and in-between this time he got the opportunity to work  on a popular television series called THE STREETS OF SAN FRANCISCO with  the late Karl Malden...</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFlkrrkRcP8hY6k89rX4eq8-S6nxyw0tbxfRv_SoSVE0GL8hvXuIcfMnHswfbgo3uE99z2czo4IhDLlkpHSlbWojO2UdMQG7YXn3Z99RS9S6QWoV6TPs0vD2OUL3Bn1qjPlQ8r7xaN2Zrd/s1600-h/Karl-Malden-001.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5433183906120119314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFlkrrkRcP8hY6k89rX4eq8-S6nxyw0tbxfRv_SoSVE0GL8hvXuIcfMnHswfbgo3uE99z2czo4IhDLlkpHSlbWojO2UdMQG7YXn3Z99RS9S6QWoV6TPs0vD2OUL3Bn1qjPlQ8r7xaN2Zrd/s200/Karl-Malden-001.jpg" style="cursor: pointer; float: left; height: 120px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a><b><u>JORDAN RHODES:</u></b> Karl  Malden…What a tremendous actor and professional. When I first was hired  to recur as Jerry Billings, the D.A. on Streets of San Francisco, to  replace John Kerr, I had no idea that Karl was the man responsible for  getting me the job. I had been hired to do a guest shot on the show a  few months before, during the season. In that show, my character had a  couple of scenes with Karl and Michael Douglas. Shortly after I finished  that episode, John Kerr, the actor that had been playing the D.A., left  the show because of some creative differences. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ID1w88zlvaZBrDm0NgjAnEXuiFLPZz8RamtzeGiNk0PaPoa7eY4_4ZkZytCkAOd8NB9oYU38Ey3pGeW7uhNr5ca1j2vech7iqaDdrxMSSmRdBCVcbzdwrVKf59_8F42IxmM61rOofwxS/s1600-h/streets-of-san-francisco-3.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5433184657106467698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ID1w88zlvaZBrDm0NgjAnEXuiFLPZz8RamtzeGiNk0PaPoa7eY4_4ZkZytCkAOd8NB9oYU38Ey3pGeW7uhNr5ca1j2vech7iqaDdrxMSSmRdBCVcbzdwrVKf59_8F42IxmM61rOofwxS/s200/streets-of-san-francisco-3.jpg" style="cursor: pointer; float: right; height: 106px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a>Michael  had just announced that he was also leaving the series so he could  produce One Flew Over The Cuckoo’s Nest. A play, that his father, Kirk  Douglas, had starred in on Broadway and had owned the movie rights to  for over ten years. Kirk had given the rights to Michael and he had  finally found the financing and wanted to produce the movie. So the  production company was going to bring in another young actor to take  over the role of Karl’s partner and side-kick, Richard Hatch. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGiAzz5dGxR8-7t97_Jcgae3_Aoc9ecxnDKJaVjRSFK2ZvkD33UJEu3d1GLRFRShG_1LUUiYruoZW63fpoglV9wWBjtlVKunZ9Lyue-kfRG7U6cuwRFrJYvtL1HJ17Aon3qdx6NE80x7Qv/s1600-h/02malden_600.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5433184491129631970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGiAzz5dGxR8-7t97_Jcgae3_Aoc9ecxnDKJaVjRSFK2ZvkD33UJEu3d1GLRFRShG_1LUUiYruoZW63fpoglV9wWBjtlVKunZ9Lyue-kfRG7U6cuwRFrJYvtL1HJ17Aon3qdx6NE80x7Qv/s200/02malden_600.jpg" style="cursor: pointer; float: left; height: 180px; margin: 0pt 10px 10px 0pt; width: 179px;" /></a>The  company was very anxious to keep Karl happy, and now due to a new guy  coming in, Karl was going to have to go back to working at least 5 days a  week, since Michael’s character and story line would no longer be able  to take up a couple of days a week. The production company wanted to  bring in a new guy for the D.A. that was capable of taking up some of  the slack and have enough scenes in a show to allow Karl a day or two  off during a grinding season of shows. I’m not sure people realize you  work 10 to 12 hours a day on a series, and when it’s a hit, you were  doing 26 episodes. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEA-eM2piyBmah9MVD_ghDCsABoKKQly0PFdAslKaCWZsXIWmTgPC-6bsB7AKt1rvq6fIY-zlu_0o_aeCaZnRuwlHVMwZDoBUGdCVA5N-PF1DqcbbLKi5B12YUxQb8fe4Wv5ET2DuO1ZZ/s1600-h/as+a+gentleman.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5433185560501519906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEA-eM2piyBmah9MVD_ghDCsABoKKQly0PFdAslKaCWZsXIWmTgPC-6bsB7AKt1rvq6fIY-zlu_0o_aeCaZnRuwlHVMwZDoBUGdCVA5N-PF1DqcbbLKi5B12YUxQb8fe4Wv5ET2DuO1ZZ/s200/as+a+gentleman.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 154px;" /></a>They  went to Karl and asked him if he had any suggestions for the new D.A. –  AND he remembered me from my guest shot, where I played an attorney  whose law partner had been killed by an ex-convict, and he suggested  they bring me back as the D.A., who left his private practice to join  the district attorney’s office.  Karl never said anything about this to  me, I learned it from someone in the production office after I was on  the show for a while. I learned a great deal from Karl. He would tell me  how to “stay” in a shot, even when we were walking along headed to the  courthouse, he would grab me by the arm and say, “stay close, that way  you’ll always be in the shot”. In the beginning, he watched out for me  with the make-up men and the lighting. In every scene I did with him,  Karl was always “there”! <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ovND8eeIBqQ0SGis70Uk8CkUT98slxfvomvYymYoynKJU738p5EVjEhgz8qXEliQSmksZc-xvDPUF-FnQITSxvyeL6SrN9Y2oTs9Cllwbbm3Xl0GILMhowYvtYNDNFNoP2z1XMp47ziV/s1600-h/Karl-Malden.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5433189621937690018" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ovND8eeIBqQ0SGis70Uk8CkUT98slxfvomvYymYoynKJU738p5EVjEhgz8qXEliQSmksZc-xvDPUF-FnQITSxvyeL6SrN9Y2oTs9Cllwbbm3Xl0GILMhowYvtYNDNFNoP2z1XMp47ziV/s200/Karl-Malden.jpg" style="cursor: pointer; float: left; height: 91px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a>He  believed in giving, sometimes more than he got, and taught me you  always worked for the “good of the scene”, the good of the story. He was  just terrific to work with and if you could leave your ego home, you  would always learn something from working with him. I’m thankful that a  few years ago, I took the time to write him a letter expressing my  thanks for all he taught me, and his kindness toward me during the time I  worked with him.

jordan rhodes, karl malden, seventies