Released from jail, Nanni (Checchi) punches prison guard Stefano (Ninchi) who has
denounced him. In order to take revenge, Stefano suggests the suspicion that, during his
absence, his wife has had business with the Count Paolo (Rimoldi). A few days later, at
night, a deadly ambush will be prepared.Read More »
Very weird piece of mystic low-life exotica, with perennial foreigner Valery Inkijinoff as Eastern sage dispensing strange wisdom and Viviane Romance looking stunning in Betty Page fringe as a prostitute and femme fatale. Lots of Third Manic running around in a sort of non-specifically-exotic soukh set, crime, atmosphere and Marcel Dalio. Quite peculiar by Raymond Bernard’s standards, but VERY diverting.Read More »
Citizen Kane is a 1941 mystery/drama film released by RKO Pictures, the first feature film directed by Orson Welles. It tells the fictional story of Charles Foster Kane, a man whose fight for power in the publishing world transformed from sheer thrill-seeking to ruthless war, and how his life affected everyone in his orbit. The storyline follows a reporter seeking to find what Kane meant by his dying word: “Rosebud.”
The film’s main character, Kane, is a composite of several historical individuals: newspaper magnate William Randolph Hearst; the reclusive aerospace and movie mogul Howard Hughes; and the Chicago utilities magnate Samuel Insull. Citizen Kane is widely considered to be a masterpiece by critics and viewers alike, and is often cited as being one of the greatest and most innovative works in the history of film.Read More »
The Asphalt Jungle is a brilliantly conceived and executed anatomy of a crime — or, as director John Huston and scripter Ben Maddow put it, “a left-handed form of human endeavor.” Recently paroled master criminal Erwin “Doc” Riedenschneider (Sam Jaffe), with funding from crooked attorney Emmerich (Louis Calhern), gathers several crooks together in Cincinnati for a Big Caper. Among those involved are Dix (Sterling Hayden), an impoverished hood who sees the upcoming jewel heist as a means to finance his dream of owning a horse farm. Hunch-backed cafe owner (James Whitmore) is hired on to be the driver for the heist; professional safecracker Louis Ciavelli (Anthony Caruso) assembles the tools of his trade; and a bookie (Marc Lawrence) acts as Emmerich’s go-between. The robbery is pulled off successfully, but an alert night watchman shoots Ciavelli. Corrupt cop (Barry Kelley), angry that his “patsy” (Lawrence) didn’t let him in on the caper, beats the bookie into confessing and fingering the other criminals involved. From this point on, the meticulously planned crime falls apart with the inevitability of a Greek tragedy. Way down on the cast list is Marilyn Monroe in her star-making bit as Emmerich’s sexy “niece”; whenever The Asphalt Jungle would be reissued, Monroe would figure prominently in the print ads as one of the stars. The Asphalt Jungle was based on a novel by the prolific W.R. Burnett, who also wrote Little Caesar and Saint Johnson (the fictionalized life story of Wyatt Earp). — Hal EricksonRead More »
Quote:
Boomerang, directed by Elia Kazan, is a chilling film noir, the true story about the murder of a priest, the subsequent arrest and trial of a jobless drifter, and the efforts of young state’s attorney Henry Harvey (Dana Andrews) to uncover the truth. Closely based on the actual 1924 murder of Fr. Hubert Dahme in Bridgeport, Connecticut, the film was directed by the young Elia Kazan in a highly effective, semi-documentary style. Kazan shot most of the film on location, using high-contrast cinematography and an extremely mobile camera to create a palpable sense of urgency. The screenplay, expertly crafted by Richard Murphy received an Academy Award nomination.Read More »
Plot:
Broadway producer Jonnie Demming is ready to out-razzle and out-dazzle ’em all with a new production that has everything – except the actress Jonnie knows is perfect for the lead. Future U.S. Senator George Murphy portrays Demming in a backstager drawn from the Jerome Kern-Oscar Hammerstein II musical Very Warm for May and co-starring Ginny Simms as the actress in Demming’s sights. But the film’s real story lies in its supporting acts: Tommy Dorsey leads the Big Band brass, Lena Horne sings an exotic Brazilian Boogie, Hazel Scott scorches the 88, the contortionist Ross Sisters defy human anatomy and Nancy Walker and Ben Blue add their clowning glory. Lots of romp and rhythm mark marvelous time in Broadway Rhythm! From Warner Brothers!Read More »
Plot:
Though the title sounds like something from a Big Band era tune, it actually refers to commands used during the training of mules. Young Snug Dominy has just purchased a pair of strapping mules. With no available cash, he must work for their previous owner to pay them off. Snug lives with his callous stepmother Judith, who spends all her time and attention with his stepbrother Stretch. This creates an escalating tension between the two youths that their father is unable to stop. Meanwhile, Snug toils long and hard to keep possession of his muleteam, as the farmer who owned them tries to get them back. Things get really sticky when Snug falls in love with the farmer’s lovely daughter. Look very closely and see a young Marilyn Monroe paddling a canoe in one sequence.Read More »
Plot:
The law is the law. No exceptions. So Sheriff Sam Barrett saddles up a deputized posse and rides in pursuit of an accused outlaw: his son Logan. Meanwhile, Logan is on the run, living by his wits and attempting to clear his name of murder. Justice rides hard in Return of the Frontiersman, a shoot-’em-up filled with horseback chases, raging gun battles and men who know how to take – and deliver – a swift sock to the jaw. Gordon MacRae plays Logan, heading a cast that includes Rory Calhoun and Julie London. MacRae adds a couple tunes for good measure. And when he offers London a buggy ride at picture’s end, it’s hard not to recall the “surrey with a fringe on top” that awaited MacRae in the smash musical Oklahoma! From Warner Brothers!Read More »
“Frauen sind keine Engel” was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his ‘Viennese trilogy’ made at about the same time. Please don’t expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst’s more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality.Read More »