Synopsis:
Frustrated by his inability to help an African-American patient who hates whites, a psychiatrist (Peter Falk) asks his superior (Sidney Poitier) to release him from the case. The superior relates a case from his own past during World War II when he treated a young Nazi (Bobby Darin) who despised blacks. Explaining the tragic results of the case, the older psychiatrist encourages his younger colleague not to be swayed by the patient’s attitude, to remain objective and to stick with his treatment.

2.49GB | 1 h 29 min | 960×576 | mkv

https://nitro.download/view/9A70059FDAEC55A/Pressure.Point.1962.576p.BluRay.FLAC.x264-HANDJOB.mkv

Language(s):English
Subtitles:English (muxed)

The post Hubert Cornfield & Stanley Kramer – Pressure Point (1962) first appeared on Cinema of the World.

Synopsis:
In the 1920s, Tennessee schoolteacher Bertram Cates (Dick York) is put on trial for violating the Butler Act, a state law that prohibits public school teachers from teaching evolution instead of creationism. Drawing intense national attention in the media with writer E. K. Hornbeck (Gene Kelly) reporting, two of the nation’s leading lawyers go head to head: Matthew Harrison Brady (Fredric March) for the prosecution, and Henry Drummond (Spencer Tracy) for the defense.

3.26GB | 2h 7mn | 956×576 | mkv

https://nitro.download/view/CDC6F201153C1B7/Inherit.the.Wind.1960.576p.BluRay.x264.FLAC.2.0.mkv

Language(s):English
Subtitles:English (muxed)

The post Stanley Kramer – Inherit the Wind (1960) first appeared on Cinema of the World.

Joey Drayton brings her fiancé, Dr. John Prentice, home to sunny San Francisco to meet her affluent parents. Their liberal persuasions are now put to the test, for although the young man is an ideal choice (he’s highly and internationally respected in the medical field, and he’s impeccably mannered, handsome, well dressed and of a respectable California family), he’s black. The film, which covers one busy day in the Drayton home, is essentially a drawing-room comedy, a series of cross-conversations between the young doctor and the girl’s parents, and finally between all sets of parents and offspring. A simple dinner is extended to include the doctor’s parents, who fly up from Los Angeles for the evening, and the crusty but benevolent old Irish priest, a friend of the family. Thus, the title of the film . . .

1.49GB | 1h 47mn | 720×384 | mkv
https://nitro.download/view/1AF1AC34C2A7779/Guess_Who’s_Coming_To_Dinner.mkv

Language(s):English
Subtitles:English

The post Stanley Kramer – Guess Who’s Coming to Dinner (1967) first appeared on Cinema of the World.

Quote:
“Vivien Leigh’s last film! A star studded extravaganza, this time on a cruise ship during the time just before World War II. Story-lines include Ms. Leigh as a lonely, forty-something woman hoping she’s still desirable, but trying to keep her dignity about it; Simone Signoret, who’s on her way to prison, romances the ship’s doctor (Oskar Werner) to get narcotics; Jose Ferrer is an anti-Semitic German publisher, not afraid to express his opinions loudly to all as “facts” (Heinz Rühmann is a quiet Jewish passenger he scorns); Lee Marvin is a washed up, drunken ball player who chases Leigh (as does Werner Klemperer); George Segal is a tortured artist who’s traveling with his girlfriend (Elizabeth Ashley), as the couple tries to work through their problems; Michael Dunn is a dwarf who narrates and provides insightful comments; Jose Greco is the leader of the ship’s gypsy entertainers who aim to bilk the passengers, especially a young man bent on losing his virginity; and there are lots of other bit players, including the ship’s Captain (Charles Korvin), who provide background and/or small plots (e.g. parents traveling with their young debutante).

Directed & Produced by Stanley Kramer, the film competed for the Best Picture Oscar, losing to The Sound of Music (1965), and also received a nomination for B&W Costume Design; it won for B&W Cinematography & Art Direction-Set Decoration. Signoret received her second and last Best Actress nomination (she’d won for Room at the Top (1959)); Werner (Best Actor) & Dunn (Supporting Actor) received their only Oscar nominations. Abby Mann’s (Judgment at Nuremberg (1961)) Screenplay was also nominated.” – Classic Film Guide

https://nitroflare.com/view/75761CE00D29776/Stanley_Kramer_-_(1965)_Ship_of_Fools.mkv

Language(s):English, German, Spanish
Subtitles:English

The post Stanley Kramer – Ship of Fools (1965) first appeared on Cinema of the World.

Joker Jackson and Noah Cullen are two convicts on a chain gang who hate each other. After a truck prison accident, they flee and are pursued by the police. While they’re chained, the two are dependent on one another. When they eventually get rid of their chains, their hostility has been changed into fellowship and respect.

https://nitro.download/view/0360911BBB7E042/The.Defiant.Ones.1958.720p.HDTV.x264-GABE.mkv

Language(s):English
Subtitles:English, Romanian

The post Stanley Kramer – The Defiant Ones (1958) first appeared on Cinema of the World.

Author: Ephraim Gadsby from USA

Often accused of being less than the sum of its parts, “It’s a Mad Mad Mad Mad World is one of the most precious gems in filmdom. True, it’s far from being the funniest movie ever. Once, when Monty Python was putting a film together, they found that after fifty-odd minutes the audience stopped laughing. Thinking it was the material, they recut it so the latter material came out first. The audience still stopped laughing at fifty-odd minutes, even with what MP assumed the funnier materials backloaded. The fact is, people can only laugh so long.

Even armed with the information that an audience cannot sustain laughter for three hours, “Mad World” is not overwhelmingly funny. Though lots of dialogue is amusing and all the performances are outstanding, but the movie suffers from a common delusion of people outside comedy, as Stanley Kramer was, that the mere vision of cars crashing is somehow funny in itself. One is reminded of the spectacular sequence in “1941” when a ferris wheel breaks loose and rolls off a pier into the ocean. The sequence itself is jaw-dropping and extremely well-done, and not funny for a moment.

The value in “Mad World” is its cast. Most of the big names in comedy in the 1950s and 1960s made it into the cast (Ernie Kovaks, arguably the brightest of the lot, originally cast in the Sid Caesar role, unfortunately died not long before shooting started). The casting of name comics in tiny roles doesn’t do them justice: Stan Freberg has nothing to do but watch Andy Devine talk on the telephone; Doodles Weaver is an uncredited “Man Outside Hardware Store”; the Three Stooges merely show up to be recognized; even Jack Benny, in a miniscule role funny merely because he’s in it, doesn’t have an impact today because too few people remember who he was. Again, some milk their small roles for what they are worth, giving the movie an undercurrent of true humor beyond the principals: Don Knotts, Carl Reiner, Jesse White, Paul Ford, Jim Backus.

“Mad World” is most valuable simply because it is a cross-section of comedy in its day. Although he was talented in many ways, anyone unfamiliar with Phil Silvers will see him in a performance that was the epitome of what he was famous for. Dick Shawn’s manic wildness is captured forever in a way that is little seen in his few other films. Terry-Thomas, whose brilliance was too often relegated to obscure British films rarely seen anymore, is a joy to watch and his British tilt provides a variation from Americans who learned their craft in the Catskills and Vaudeville. Jonathan Winters, whom Robin Williams used as a prototype, was the most gifted ad-lib comic of his day and rarely showed up well when he was constrained by a script and a sustained character, but he brings off many of the best laughs in this film, and, with Arnold Stang and Marvin Kaplan the most memorable set piece in the movie. Milton Berle and Micky Rooney both bring lifetimes of stage and screen work to the project, and their input was invaluable.

All the principals (Berle, Caesar, Adams, Rooney, Hackett, Terry-Thomas, Shawn, Silvers, Winters, Anderson, Falk) are good. Even the ones who seem to have been shorted of funny lines, like Edie Adams, and Eddie Anderson, nevertheless come off well. Although they blend well together, there is a subtle fight between them for attention, to steal a scene with a facial expressions (watch Adams’ face, for instance, when Caesar drags her away, in front of the “Big W”, though you may have to put it on slow-motion) or a bit of business. You can see each of them thinking, at all times. Each gives an intelligent performance, having laboriously hammered out their timing and their business, and they’re all thinking, with the clockwork brains the best comedians have. They may not all be funny every minute, but every moment they know what they’re doing, crafting better performances than many Oscar-winning serious actors have ever turned in.

Though the movie might be too bloated for the promised three hours’ hilarious ride, with too much dependence on, “Hey, there’s Edward Everett Horton flicking a switch!” But anyone who loves comedy and its history needs — deserves — to see the best in the business of comedy in 1963 interacting with their schtick, especially if they don’t mind sitting through — occasionally mindless — car chases and crashes.

** Includes highly informative commentary, with Mark Evanier, Michael Schlesinger, and Paul Scrabo. Recorded exclusively for Criterion in 2013.

** Includes the extra “Restoration Demonstration”. A short and comprehensive explanation of the restoration and reconstruction of the extended version. Recommended before viewing the extended feature.

https://nitro.download/view/3592953B3971DED/It’s.a.Mad.Mad.Mad.Mad.World.1963.Extended.576p.Bluray.AC3.x264-GCJM.mkv
https://nitro.download/view/41FF3C00B27C540/It’s.a.Mad.Mad.Mad.Mad.World.1963.Extra.rar

Language(s):English
Subtitles:English {for missing audio]

The post Stanley Kramer – It’s a Mad, Mad, Mad, Mad World (1963) first appeared on Cinema of the World.

This movie is a fictionalized account of the war crimes trial of judges and prosecutors who served the Nazis.
“Judgment at Nuremberg” depicts a watershed event: the first trials, based on principles of justice and international law, of the leaders of a country that waged aggressive war and committed crimes against humanity. The film is a gripping, searching and provocative look at the moral issues surrounding both the actions of the accused and the process of bringing them to justice. The film also explores the issue of whether ordinary Germans bore responsibility for the Holocaust.

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Language:English
Subs:English

The post Stanley Kramer – Judgment at Nuremberg (1961) first appeared on Cinema of the World.