Ex-football star Paul Crewe (Burt Reynolds) ends up in a prison run by sadistic sports-nut Warden Hazen (Eddie Albert). Strong-armed into forming an inmate football team, Crewe manages to instill an esprit de corps previously lacking in the prisoners’ lives. Besides, they now have the chance to beat the guards’ football team, headed by the hissable Capt. Knauer (Ed Lauter). Hazen orders Crewe to throw the match; otherwise, Crewe will never get the pardon he’s been promised. The football game that follows consumes nearly a third of the picture.

The.Longest.Yard.1974.WEBRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 1 min
Size: 	2.73 GiB
Video
Codec: 	x264
Resolution: 	1022x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.213
Audio
#1:  	English 1.0ch AC-3 @ 224 kb/s

https://nitro.download/view/6D142C77CF6922F/The.Longest.Yard.1974.WEBRIP.576p.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:English, French, Spanish, Portuguese, Italian, Dutch, Hungarian, Croatian, Serbian, Czech, Polish, Romanian, Estonian, Finnish, Turkish

The post Robert Aldrich – The Longest Yard (1974) first appeared on Cinema of the World.

Quote:
Most actors, especially established stars, yearn for roles that allow them to stretch their performance muscles and play against type. Most big stars who attained their status in the heyday of the studio system often found themselves stifled by typecasting, especially if they enjoyed overwhelming success in any given role. Studio executives weren’t about to risk placing an established property in something unexpected, and if the paying public had shown their approval by lining up at the box office for, say, Tyrone Power as a swashbuckling hero, then Tyrone Power as a swashbuckling hero is exactly what the public would be offered. Over and over. Many of the most pointed disputes in the Golden Era of Hollywood had the subtext of actors trying to break out of this predetermined mold. Power himself in fact attempted to play against type in the 1946 film version of W. Somerset Maugham’s The Razor’s Edge, delivering a surprisingly nuanced performance in a difficult role. (Intrestingly, Maugham’s Of Human Bondage in its first film adaptation provided a defining role for Bette Davis early in her career.) Another legendary writer with a first initial followed by a middle and surname, one F. Scott Fitzgerald, had his own battles with “type casting” in Hollywood. After having been arguably the most popular writer in the world (or at least America) in the 1920s, Fitzgerald descended into an alcoholic haze from which he never really fully recovered. Hollywood attempted to squeeze what it could out of the once profligate author, but Fitzgerald’s days in Los Angeles were neither very productive nor very successful. Fitzgerald’s Hollywood years became yet another object lesson in playing against type when Gregory Peck was cast to play the author in the 1959 film version of Sheilah Graham’s memoir Beloved Infidel. Peck is so indelibly imprinted on the general public consciousness as Atticus Finch in To Kill a Mockingbird that it’s sometimes hard to remember some of the darker, less heroic roles that Peck tackled at various times, notably Duel in the Sun. But there was such an innate decency emanating from Peck that even when the actor did play less morally upright characters something seemed slightly out of place, and that’s certainly the case with Beloved Infidel. Peck’s unease in his role is matched, perhaps relatively less noticeably, by Deborah Kerr as Sheilah Graham, one of the great provocateurs of her time (rather like Dorothy Parker), and Kerr, like Peck playing against type, doesn’t quite seem to know what to make of her character. That leaves two iconic performers flailing about in a pretty sudsy melodrama that is, to put it mildly, a rather depressing look at a doomed love affair between two mismatched souls.

As odd as the casting choices in Beloved Infidel inarguably are, the film itself is a rather peculiar enterprise even disregarding its stars. Though Beloved Infidel in book form had sold well, neither Graham nor Fitzgerald (as surprising as it may sound to us today) were exactly household names in 1959. Furthermore, the film is shorn of virtually any real reference to time or place, as if casual comments like “I have to interview Gable” or the sight of a vintage automobile will immediately anchor it in viewers’ minds as taking place in the 1930s. For a film ostensibly about the down and dirty world of Hollywood, it’s an innately clean, almost hygienically pristine, film with little bite or menace, another kind of odd thing, considering its two main characters.

The film tries to make both Graham and Fitzgerald rather conventional characters, a perhaps fatal mistake. The real life Graham was virtually nothing like the character portrayed by Kerr in the film. Graham (née Lily Sheil) was the child of poor Jewish immigrants and was raised in an environment of poverty and hardscrabble ways, and by the time she emigrated to America in the early thirties and had already married (while still in her teens), hardly the patrician “insider” affianced to a Marquess portrayed in the film. (Graham indeed did indeed become engaged to the Marquess of Donegall after she divorced her first husband.) Kerr made a career out of playing “veddy” proper, kind of inherently uptight, women, and she simply doesn’t have the brusque viciousness that marked Graham’s early Hollywood years.

Much like Kerr as Graham, Peck simply seems too nice to be portraying such a haunted man as F. Scott Fitzgerald. So much important emotional context is given short shrift in Sy Bartlett’s screenplay that it actually isn’t entirely the actor’s fault. When a plot point as important as Zelda Fitzgerald’s mental instability and institutionalization is basically dealt with anecdotally (by Eddie Albert, no less), it gives the film a strangely dissociative quality that divorces it from the very elements which would have seemed to provide the most compelling content. Instead we’re left with two very glamorous stars portraying two very glamorous (if troubled) people who seem to have little to no connection to their real life counterparts.

Beloved Infidel plays almost like yet another version of A Star is Born, with an up and coming female supplanting her once very famous husband (surrogate in this case) in the Hollywood pecking order. And actually quite a bit like the 1954 version of that iconic story, Beloved Infidel seems bloated and simply too “shiny” (for want of a better term) for its own roiling emotional content. The 1954 A Star is Born actually manages to deliver some visceral emotional impact despite its flaws, but Beloved Infidel just kind of sits there like a beautifully made up but vacuous movie star, waiting for its close-up.

Beloved Infidel.1959.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	2 h 3 min
Size: 	2.80 GiB
Video
Codec: 	x264
Resolution: 	1024x434 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.282
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https://nitro.download/view/9EAFB5FA48756BC/Beloved_Infidel.1959.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English

The post Henry King – Beloved Infidel (1959) first appeared on Cinema of the World.

Director Anthony Asquith’s 1958 British psychological thriller Orders to Kill is an extremely powerful and persuasive wartime moral dilemma film. Paul Massie stars as Gene Summers, a French-speaking American agent parachuted into France in World War Two with orders to kill a supposed double agent, French lawyer Lafitte (Leslie French), a meek sort of family person, whom he soon comes to think may be innocent of suspected treachery as a Nazi sympathiser, leading to an agonising moral dilemma.

Among a strong cast, Massie gives a very fine performance, and so also do an outstanding Irene Worth as a French Resistance worker, Lillian Gish as Massie’s mother Mrs Summers and Eddie Albert as his trainer, Major MacMahon.

With Paul Dehn’s rarely intelligent, thoughtful screenplay to work from, this distinguished movie is directed with polished assurance and grim determination by an on-form Asquith, in one of this underrated film-maker’s finest films. Dehn’s screenplay is based on an original story by Donald C Downes, adapted for the screen by George St George.

It won three Bafta Film Awards. Irene Worth won the British Academy Award as Best British Actress, Paul Dehn won Best British Screenplay and Paul Massie won Most Promising Newcomer to Film. Anthony Asquith was a nominee for the Palme d’Or at the Cannes Film Festival (1958).

Also in the cast are James Robertson Justice, John Crawford, Lionel Jeffries, Sandra Dorne, Nicholas Phipps, Jacques B Brunius, Anne Blake, Lillie Bea Gifford, Sam Kydd, Miki Iveria, Henzie Raeburn, Robert Henderson, Ann Walford, Philip Bond and Andreas Malandrinos.

Orders to Kill (aka Order to Kill) is directed by Anthony Asquith, runs 112 minutes, is produced by Lynx Films, distributed by British Lion Films, written by Paul Dehn (screenplay) and George St George (adapted for the screen by), based on an original story by Donald C Downes, shot in black and white by Desmond Dickinson, produced by Anthony Asquith and Anthony Havelock-Allan, and scored by Benjamin Frankel, with Art Direction by John Howell.

It was shot at Shepperton Studios, Surrey, England.

Orders to Kill.1958.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 52 min
Size: 	2.59 GiB
Video
Codec: 	x264
Resolution: 	958x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
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#1:  	English 1.0ch AC-3 @ 192 kb/s (Mono)
#2:  	English 2.0ch AC-3 @ 112 kb/s (Interview with Anthony Havelock)

https://nitro.download/view/DDFDA2168D49079/Orders_to_Kill.1958.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English, Russian, Spanish, Italian

The post Anthony Asquith – Orders to Kill (1958) first appeared on Cinema of the World.

Synopsis:
Tia and Tony are two orphaned youngsters with extraordinary powers. Lucas Deranian poses as their uncle in order to get the kids into the clutches of Deranian’s megalomanical boss, evil millionaire Aristotle Bolt, who wants to exploit them. Jason, a cynical widower, helps Tia and Tony “escape to witch mountain,” while at the same time Tia and Tony help Jason escape the pain of the loss of his wife.

Escape.to.Witch.Mountain.1975.576p.BluRay.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	2.39 GiB
Video
Codec: 	x264
Resolution: 	1006x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 966 kb/s
BPP: 	0.213
Audio
#1:  	English 5.1ch AC-3 @ 384 kb/s
#2:  	English 1.0ch Vorbis @ 94.0 kb/s (Commentary by actor Ike Eisenmann, director John Hough, and actress Kim Richards)

https://nitro.download/view/4CDD146C6D8AB5A/Escape.to.Witch.Mountain.1975.576p.BluRay.x264-HANDJOB.mkv

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

The post John Hough – Escape to Witch Mountain (1975) first appeared on Cinema of the World.

A famous opera singer, Giorgio Fini, loses his voice during an American tour. He goes to a female throat specialist, Faye Kennedy, whom he falls in love with.

1.83GB | 1 h 51 min | 853×480 | mkv

https://nitro.download/view/31852A3D2595618/Yes.Giorgio.1982.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:Spanish

The post Franklin J. Schaffner – Yes, Giorgio (1982) first appeared on Cinema of the World.

In this romantic comedy, a wealthy heiress marries hastily and realizes her mistake on her honeymoon in New York. Though it is her wedding night, she decides not to consummate the union and so ends up hiding in the room of a fellow whose airplane cargo company is facing financial ruin. He assumes that the frightened girl is poor and homeless and so takes her in. She then overdoses on sleeping pills and cannot wake up. The fellow is forced to take her back to California. The flight back is tumultuous as she, a fugitive criminal, two enamored newlyweds, a cigar smoking chimp, a corpse, and a shipment of lobsters are aboard the plane. Mayhem really ensues when the plane crashes in a farmer’s field. By this time, the woman and the fellow have fallen in love.

1.75GB | 1h 40mn | 720×540 | mkv

https://nitro.download/view/7AD2B8150817B7B/You_Gotta_Stay_Happy_(1948)_–_H.C._Potter.mkv

Language:English
Subtitles:English, French, Russian (muxed)

The post H.C. Potter – You Gotta Stay Happy (1948) first appeared on Cinema of the World.

Quote:
Jenny and Dale Williams have been married ten years and parents of a
nine-year-old daughter, “Cookie” Williams. They live well, have
separate careers, are surrounded by sophisticated friends, and are
afflicted with overattentive in-laws on each side. Celebrating their
tenth anniversary,this, of course, means it is time to tell each other
they want a divorce from each other. They talk about it. They talk to
their friends about it. The friends and in-laws talk to them and to
each other and to anyone who will listen about it.

Plot Synopsis by Hal Erickson

If the Perfect Marriage in this romantic comedy were truly perfect, there wouldn’t be any story, would there? Outwardly an ideal couple, Maggie and Dale Williams (Loretta Young, David Niven) have grown tired of one another after 10 years. Petty squabbles lead to major battles, exacerbated by the well-meaning interference of friends and relatives. Caught in the middle is Maggie and Dale’s daughter Cookie (Nona Griffith), who loves both parents equally and doesn’t want to choose between them-which may very well happen if things get any worse. Leonard Spigelgass’ screenplay, based on a play by Samson Raphaelson, is a lot closer to real life than most films of the period. Funny though the disagreements between the Williamses may be, there is an underlying pain and harshness to their bickering, which even the reasonably happy ending cannot altogether dissipate.

http://nitroflare.com/view/31FF06547AEB4FC/Perfect_Marriage.1947.Lewis_Allen.avi

Language(s):English
Subtitles:None

The post Lewis Allen – The Perfect Marriage (1947) first appeared on Cinema of the World.