During summer vacation on Long Island, three young people–a girl and two guys–become so close that they form a sort-of threesome. When an uncool girl tries to infiltrate the trio’s newly found relationship, they construct an elaborate plot that has violent results.

Director: Frank Perry
Writers: Barbara Hershey, Richard Thomas, Bruce Davison
Cast: Barbara Hershey, Richard Thomas, Bruce Davison
Producer: Alfred W. Crown, Emanuel L. Wolf, Sidney Beckerman, Joel Glickman, Frank Perry
Cinematography: Enrique Bravo, Gerald Hirschfeld
Music: John Simon
Production Company: Alsid Productions, Francis Productions, Allied Artists Pictures
Country: United States
Language: English
Runtime: 1h 35mn

Last.Summer.1969.576p.BDRip.AAC.x264-eve99.mkv

General
Container:  	Matroska
Runtime: 	1h 36mn
Size: 	4.21 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	5 860 Kbps
BPP: 	
Audio
#1:  	English 1.0ch AAC @ 156 Kbps (Original Mono Mix)
#2:  	English 2.0ch AAC @ 192 Kbps (Commentary by Golden Globe-winning screenwriter Larry Karaszewski and film historian/author Justin Bozung)

https://nitro.download/view/EADB8D8913EE040/Last.Summer.1969.576p.BDRip.AAC.x264-eve99.mkv

Language(s):English
Subtitles:English, English SDH

The post Frank Perry – Last Summer (1969) first appeared on Cinema of the World.

A Hollywood actress undergoes a psychic breakdown and recalls the traumatic events which led to her stay at a sanitarium.

1.09GB | 1h 38m | 560×416 | avi

https://nitro.download/view/2A69D2A2B1BCA15/Play.It.As.It.Lays.1972.TVRip.avi

Language:English
Subtitles:None

The post Frank Perry – Play It As It Lays (1972) first appeared on Cinema of the World.

One of the few bona fide counter-cultural films to be produced by a major studio, The Swimmer is a sun-scorched and surreal suburban satire that boasts a fine performance from Burt Lancaster (Castle Keep, Buffalo Bill and the Indians) as Ned Merrill, the all-American man who one day determines to swim home to his Connecticut mansion via a series of pools in his neighbourhood.

Directed by Frank Perry (Diary of a Mad Housewife) imbues Eleanor Perry’s (David and Lisa, Ladybug Ladybug) adaptation of John Cheever’s short story with stunning expressionistic flourishes, creating a true masterpiece of cinema.

Quote:
John Cheever’s “misery in suburbia” short stories, brief and to the point, have always proven excellent TV fodder. Director Frank Perry’s The Swimmer, adapted for the screen by Perry’s wife Eleanor, is a rare, and for the most part successful, attempt at offering a Cheever story in feature-length form. Dressed only in swimming trunks throughout the film, Burt Lancaster plays a wealthy, middle-aged advertising man, embarked on a long and revelatory journey through suburban Connecticut. Lancaster slowly makes his way to his split-level home by travelling from house to house, and from swimming pool to swimming pool. At each stop, Lancaster comes face to face with an incident in his past. Informing Kim Hunter that he once harbored a secret love for her, Lancaster is mildly upset by Hunter’s indifference. Elderly Cornelia Otis Skinner is incensed at Lancaster’s intrusion in her backyard and orders him to leave. At the next home, Lancaster tries to seduce the nubile Janet Landgard, who’d once baby-sat for his daughters, but she runs away in horror. And so it goes: as each subsequent suburbanite peels off his self-protective veneer, Lancaster grows more and more disillusioned with what he thought was his ideal lifestyle. The more intensely painful episode is the confrontation between Lancaster and ex-mistress Janice Rule (this scene was directed, without credit, by Sydney Pollack). Thoroughly defeated, the all-but-naked Lancaster laboriously makes his way through the Connecticut woods in a blinding rainstorm, desperately seeking out his own home where he fully expects his “loving” wife and daughters to greet him. Not this time. Dismissed as too self-consciously “arty” at the time of its release, The Swimmer’s reputation increased over the decades following its release thanks to constant late-night TV exposure. The film represents the first movie work of 22-year-old composer Marvin Hamlisch.

+Commentary with Frank Perry biographer Justin Bozung

2.27GB | 1h 35m | 1024×554 | mkv

https://nitro.download/view/04C77BE07AF2D9E/The.Swimmer.1968.BDRIP.4K.Powerhouse.576p.x264.AC3.KJNU.mkv

Language:English
Subtitles:None

The post Frank Perry & Sydney Pollack – The Swimmer [Powerhouse 4K] (1968) first appeared on Cinema of the World.

Frank and Eleanor Perry’s heartbreaking feature adaptation of three Truman Capote stories, produced in collaboration with Capote himself. The stories all center around the relationship between two slightly odd, outcast characters, and they all hover around the idea of loss — but each winds up in a starkly different place, perhaps even in a different genre. Magnificently written, acted, and directed – an absolute shame that it’s not better known.

1.28GB | 1h 40m | 640×480 | avi

https://nitro.download/view/F4D11C634FA0FDC/Trilogy_(1969).avi

Language:English
Subtitles:None

The post Frank Perry – Trilogy (1969) first appeared on Cinema of the World.

quote:
During the 1962 Cuban Missile Crisis, the normal routines of a rural elementary school are thrown into a panic when the civil defense alarm sirens go off, warning them of an imminent nuclear attack. The children are separated into groups, with one teacher leading each squad. Mrs. Andrews, the 6th grade teacher with a slowly building sense of doom, leads her group of students through the countryside to one of the children’s family’s bomb shelter. When they arrive at the shelter, they divide the rations and assume various duties, not knowing if they are in the middle of a nuclear holocaust—or if it was a false alarm.

+Commentary by Film Historian Richard Harland Smith

1.81GB | 1h 22m | 1024×552 | mkv

https://nitro.download/view/B7434F6392C53D1/Frank_Perry_-_(1963)_Ladybug_Ladybug.mkv

Language:English
Subtitles:English

The post Frank Perry – Ladybug Ladybug (1963) first appeared on Cinema of the World.

From nytimes.com

Brash, handsome, ruthless, reckless, ambitious, brilliant and corrupt: these are the thrillingly paper thin qualities undoubtedly possessed by Father John Flaherty in the novel upon which ”Monsignor” is based. As played by a more or less real person (Christopher Reeve), Father Flaherty cannot help but lose some of his two-dimensional luster.

Still, ”Monsignor” manages to make itself the most extravagant piece of Hollywood junk since ”Mommie Dearest,” for which the producer Frank Yablans and the director Frank Perry were also responsible. Mr. Yablans also produced ”The Other Side of Midnight,” a schlock masterpiece in whose unwittingly hilarious tradition ”Monsignor” follows. Mr. Yablans didn’t even need to read the French novel by Jack Alain Leger; according to production notes, he ”fell in love with the concept” and decided to make ”Monsignor” on the basis of an English synopsis. Here’s a man who knows what he likes.

Production notes for ”Monsignor,” which opens today at Loew’s State and other theaters, maintain that the film cannot be accused of savaging the Vatican. This is the same logic by which ”Mommie Dearest” was not unkind to Joan Crawford. Father Flaherty, this sacrilegious story’s main character, is a monumentally crooked priest, and the Church appears to condone his every trespass. A few sticklers object to his black-marketing, his fornicating, his Mafia ties and the like, but most Church officials regard him as a real gogetter. By the end of the story, even the Pope has learned of this priest’s corruption, yet Flaherty remains a key figure in the Church’s business affairs.

Audiences, should they decide to stay, will wonder all through ”Monsignor” why none of Flaherty’s sins brings him a job change, not to mention a well-aimed bolt of lightning. From innocently jitterbugging at a friend’s wedding, he graduates swiftly to firing a gun in battle, proposing a Mafia-linked black market operation using church funds, and seducing a postulant nun with scruples much like his own. The love affair between Flaherty and Clara (Genevieve Bujold) is the movie’s comic centerpiece, from their tentative rendezvous in a shop selling religious articles to a scene in which Flaherty, pretending to be a non-clerical Army officer, lures Clara to a seduction den filled with illicit Campbell’s soup and Hershey bars. Clara looks troubled, even reluctant, when she first spies the silken-draped bed. ”I only have an hour,” she says.

The other Sisters, she tells Flaherty, ”don’t think my reasons for leaving ordinary life are profound enough. They doubt my commitment. Do you think they are” – she wriggles out of her blouse as she says this – ”right?” Absolutely not. Has a group of nuns ever been so unreasonable?

Soon Clara and Flaherty are on a Roman rooftop, with – such is the measure of the film’s symbolic deftness – the Vatican dome right smack between them. ”How can your aunt leave this apartment?” Flaherty asks of Clara, who is subletting. The conversation soon turns to more serious matters. ”You have a secret – I feel it!” cries Clara. ”I’m living with a need to tell you something I can’t tell,” says Flaherty. ”Let it out!” Clara hollers. This exchange drew much applause and merriment from a preview audience, as did the next scene, in which Flaherty and Clara bump into each other at a Papal audience. When she sees Flaherty in his clerical robes, Clara stops in her tracks, creating a traffic jam among the other nuns and doing one of the longest, craziest double-takes in movie history.

Mr. Reeve runs into trouble at the most basic level of acting, namely script-reading: this is one he should have passed right by. Father Flaherty is an unplayable pulp fiction character at best, and he’s meant to have a mean, calculating streak that’s way off base for the guileless-looking Mr. Reeve. Everyone else in the film is cast physically to type, which makes the star seem even more outstandingly out of place; though he’s meant to be the crook of the piece, he appears too much an innocent in the midst of a surly-looking supporting cast. The Pope himself is played by a tiny, wizened actor, Leonard Cimino, who (as a rude but not inaccurate person in the preview audience remarked) bears a resemblance to E.T.

Among the other supporting players are Jason Miller, graduating from Exorcist to Mafia don; Fernando Rey, as a gently dishonest Cardinal; Joe Cortese, offering a stock, hand-waving Italian-American caricature as an obnoxious pal from Flaherty’s boyhood; and Tomas Milian, nastily effective as Flaherty’s arch-enemy within the Church.

The Roman scenery looks wonderful. The small Italian villages are suitably populated with boys in knee pants and peasants driving donkey carts. The screenplay is by Abraham Polonsky and Wendell Mayes. It’s not clear whether one or both of them wrote the line ”You’re a very ambitious man and that’s a very ambitious plan,” which is the kind of thing that either makes a film avoidable or makes it a must, depending on what you’re after.

1.46GB | 2h 01m | 853×480 | mkv

https://nitro.download/view/59600380BD9C3C8/Monsignor.1982.DVDrip.x264-CG.mkv
or
https://tezfiles.com/file/bafdad26638d5/Monsignor.1982.DVDrip.x264-CG.mp4

Language(s):English
Subtitles:None

The post Frank Perry – Monsignor (1982) first appeared on Cinema of the World.

Quote:
Tina Balser is a bored New York housewife-mother married to Jonathan, a pompous, social-climbing lawyer who ridicules her in front of their children, criticizing everything she does or wears. She begins an affair with George Prager, a dashing, successful and blatantly sadistic writer. Finally after George has tormented Tina in much the same manner Jonathan has, and has been unfaithful to boot, she goes back to her husband and begins group therapy.

3.62GB | 1h 35m | 1024×552 | mkv

https://nitro.download/view/D5DA888C2C60D89/Frank_Perry_-_(1970)_Diary_of_a_Mad_Housewife.mkv

Language:English+commentary
Subtitles:English

The post Frank Perry – Diary of a Mad Housewife (1970) first appeared on Cinema of the World.