Quote:
We’re twenty-four minutes into the film Sudden Fear when we realize that the main male character, actor Lester Blaine played by Jack Palance is rotten, and it’s this knowledge that acts as a suspense builder in this taut noir film—a tale of greed, adultery and murder. Up to this point, we’ve just suspected Lester’s intentions, but now our doubts are proved correct. Sudden Fear, a woman-in-jeopardy noir with Joan Crawford playing heiress, Myra Hudson—is the tale of a woman who may meet a foul end at the hands of her deceptive, less-than-loving husband, Lester. For a large chunk of the action, Myra is oblivious to her husband’s evil intentions, but since the plot lets the audience in on the threat, we are committed to the suspense from the start. As spectators, we know that Myra is in danger, and so we are riveted to Lester’s devious plan to rid himself of a wife he so obviously loathes.

Sudden Fear based on a novel by Edna Sherry, brought Crawford her third and final Oscar nomination for Best Actress. Directed by David Miller this 1952 film was the first picture Crawford made for RKO after asking to be released from her Warner Bros. contract. Crawford hated last her Warner Brothers film–This Woman is Dangerous. The film cast her in a rather spongy, implausible role as a female gangster who loses her eyesight and then turns soft and weepy when faced with a possible future as a happy little housewife. For noir fans, Sudden Fear showcases Crawford in one of her most powerful roles.

When Sudden Fear begins, wealthy playwright Myra Hudson is in New York casting for her new play. Lester Blaine lands the part of the leading man, but during rehearsals, Myra finds him lacking as a romantic hero. She abruptly, publicly, and rather callously fires him on the spot. Myra’s advisers think she’s making a mistake, but since Myra always gets her way, a disgruntled and bitter Lester exits the stage.

Myra’s play is a raging success, and she’s due to return home to San Francisco by train. Is it coincidence that Lester Blaine just happens to turn up as a passenger on the same train? Myra seems to think so, but in light of Lester’s humiliation, somehow, his statement that he has no hard feelings towards Myra just doesn’t feel right. On the train journey to San Francisco, Lester entertains and woos Myra, and by the time they reach their destination, Myra is in love. Lester seems to be the perfect lover, and he certainly has perfected the symptoms of an enamored man. He’s attentive, sensitive and gentle, and Myra, who’s smitten by the romance, seems oblivious to the differences in their ages and social status.

Myra may be swept along with Lester Blaine’s smooth style, but for audience members, that niggling doubt remains. At this point, however, Lester’s game may be mean-spirited revenge, or perhaps he’s a pathetic loser after her money. But one brilliantly constructed scene clarifies Lester’s manipulation and Myra’s vulnerability. Lester fails to show up for an evening at Myra’s splendid home, and Myra ditches her guests to seek out her missing beau. While she dashes to his hotel, we see Lester pacing back and forth, waiting only for Myra’s arrival to begin a performance that involves his pride, a suitcase and a one-way trip back to New York. It’s with this scene and its clever camera shots that Lester is revealed as the center of power in the relationship, less-than-sincere and dangerously manipulative in his professions of love.

After we become aware of Lester’s true intentions, the suspense moves away from the question of what Lester is capable of to when and how Myra will have an “accident.” The plot plays with scenes at Myra’s gorgeous coastal cliff top home. The steep stairway to the ocean, carved into rock offers the perfect location for a nasty accident. Since the audience knows that Lester has evil intentions towards his wealthy wife, we are riveted to Myra’s nimble walk (in high heels) down the rocky staircase. We can wince all we want at the spectacle of Myra’s potential danger, but we are powerless to warn her.

Another clever device used as a suspense builder by the film is the use of Myra’s recording machine. The plot reveals this nifty little piece of technology early in the film—along with a demonstration of its abilities. The machine is a crucial part of the plot, but as it turns out, machinery may be relied on for its usefulness, but it’s still subject to the vagaries of human emotion.

The plot thickens when tarty, brash Irene Neves (Gloria Grahame, one of my all-time favorite noir stars) arrives on the scene as Lester’s vicious love interest. Irene hasn’t been invited to San Francisco, but she wheedles her way into Myra’s exclusive set nonetheless. Greedy and amoral, she accelerates Lester’s desire for wealth, and together they make a lethal combination of lust, violence and murderous design. Clever camera shots of reflected images in mirrors reveal the main characters’ true emotions—Myra’s lawyer’s distrust of Lester, Irene planning murder, Lester’s mask of loving, doting husband suspended, and Myra horrified by just how far she’ll go.

The film’s plot is as well rounded as a Greek tragedy, with just desserts for those who concoct evil ends for others. But it’s the delivery of those just desserts that makes for riveting viewing. The city of San Francisco assumes a spectacular role in Sudden Fear. The film includes great shots of the city, and it’s played here as both an ambivalent setting for nefarious actions, and also as a rat’s maze in the frenzied, final action-packed scenes. The city’s inanimate beauty serves to highlight urban indifference to its inhabitants’ actions.

Sudden Fear gives Crawford a terrific role and gives her the chance to act her heart out. Here she’s the tough, cold businesswoman who melts with Lester’s continued interest. Weakened by emotion and threatened by violence, she spends one hysterical terror-filled night in the shifting shadows of her bedroom before going on the offensive in the no-one-fucks-with-Joan role fans love so much. The fact that Myra is a successful playwright is artfully weaved into the story when she imagines she can write her way out of a real-life problem just as she would write a script for one of her plays. Myra’s attempt to script her own life is seen in a series of imagined flashforward sequences. Unfortunately, since she is dealing with real people and not fictional characters, there’s an element of unpredictability that even Myra can’t anticipate. Just as the timing in a play must be precision perfect, Myra’s scheme also relies on split second sequencing. The film uses the ticking of a clock to emphasize the crucial timing involved in Myra’s plan. The clock ticks away like a metronome with the action and nerve-wracking suspense building to a frenzied, orgasmic, and deadly conclusion.

David Miller - (1952) Sudden Fear.mkv

General
Container:  	Matroska
Runtime: 	1 h 51 min
Size: 	2.36 GiB
Video
Codec: 	x264
Resolution: 	790x576 
Aspect ratio:  	1.372
Frame rate: 	23.976 fps
Bit rate: 	2 642 kb/s
BPP: 	0.242
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary)

https://nitro.download/view/48CDEBDC3F89176/David_Miller_-_(1952)_Sudden_Fear.mkv

https://rapidgator.net/file/5f95b2a3f54d63b4299a4972d3e59cf6/David_Miller_-_(1952)_Sudden_Fear.mkv

Language(s):English
Subtitles:English

The post David Miller – Sudden Fear (1952) first appeared on Cinema of the World.

Synopsis:
Drama depicting rural life in contemporary Afghanistan and the Afghani people’s love for an ancient traditional sport similar to horseback polo.

The.Horsemen.1971.BluRay.1080p.x264-Poussy.mkv

General
Container:  	Matroska
Runtime: 	1 h 47 min
Size: 	6.62 GiB
Video
Codec: 	x264
Resolution: 	1920x800 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	8 547 kb/s
BPP: 	0.232
Audio
#1:  	English 2.0ch FLAC @ 293 kb/s

https://nitro.download/view/6688E23B36385EF/The.Horsemen.1971.BluRay.1080p.x264-Poussy.mkv

Language(s):English
Subtitles:English

The post John Frankenheimer – The Horsemen (1971) (HD) first appeared on Cinema of the World.

Quote:
“C’est un film simple sur des choses compliquées”, this is how J.L. Godard once described Le mépris : “It’s a simple film about complicated things.”

I. “Totalement, tendrement, tragiquement”
II Cinecittà, “All kinds of real human beings.”
III. Prokosch’s villa in Rome – “About the money and your wife”
IV. In the appartment – “I’m not going, I’m not going”
V. In the theater (where one sells lies)
VI. Capri – “I have to know why you despise me”
VII. “Adieu”
VIII. Ithaque – “Silenzio!”

Totally, Tenderly, Tragically by Phillip Lopate wrote:
Contempt, one of Jean-Luc Godard’s greatest masterpieces, has a stately air that breaks with the filmmaker’s earlier, throwaway, hit-and-run manner, as though he were this time allowing himself to aim for cinematic sublimity. It is both his richest study of human relations, and a film very much about a tortured kind of movie love. The film has inspired passionate praise—Sight & Sound critic Colin MacCabe may have gone slightly overboard in dubbing Contempt “the greatest work of art produced in post-war Europe,” but I would say it belongs in the running. It has certainly influenced a generation of filmmakers, including R.W. Fassbinder, Quentin Tarantino and Martin Scorsese (who paid his own homage by quoting from the Godard film’s stark, plangent musical score in Casino, and cosponsoring its re-release). Scorsese has called Contempt “brilliant, romantic and genuinely tragic,” adding that “It’s also one of the greatest films ever made about the actual process of filmmaking.”

In 1963, film buffs were drooling over the improbable news that Godard—renowned for his hit-and-run, art house bricolages such as Breathless and My Life to Live—was shooting a big CinemaScope color movie with Brigitte Bardot and Jack Palance, based on an Alberto Moravia novel, The Ghost at Noon. It sounded almost too good to be true. Then word leaked out that Godard was having problems with his producers, Carlo Ponti and Joseph E. Levine (the distributor of Hercules and other schlock), who were upset that the rough cut was so chaste. Not a single nude scene with B.B.—not even a sexy costume! Godard obliged by adding a prologue of husband and wife (Michel Piccoli and Bardot) in bed, which takes inventory of that sumptuous figure through color filters, while foreshadowing the couple’s fragility: when she asks for reassurance about each part of her body, he reassures her ominously, “I love you totally, tenderly, tragically.”

Beyond that “compromise,” Godard refused to budge, saying: “Hadn’t they ever bothered to see a Godard film?”

Le mepris - Jean-Luc Godard (1963) [4K restoration 2023].mkv

General
Container:  	Matroska
Runtime: 	1 h 43 min
Size: 	3.13 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	3 852 kb/s
BPP: 	0.359
Audio
#1:  	French 1.0ch FLAC @ 208 kb/s (Original audio mono)
#2:  	English 1.0ch AC-3 @ 192 kb/s (Commentary by Robert Stam)

https://nitro.download/view/20A9DAF0C5992F8/Le_mepris_-_Jean-Luc_Godard_(1963)__4K_restoration_2023_.mkv

Language(s):French (main), English, German, Italian
Subtitles:English, German, Spanish, Dutch, Norwegian, Finnish, Swedish, Japanese

The post Jean-Luc Godard – Le mépris aka Contempt (1963) first appeared on Cinema of the World.

Quote:
“C’est un film simple sur des choses compliquées”, this is how J.L. Godard once described Le mépris : “It’s a simple film about complicated things.”

Totally, Tenderly, Tragically by Phillip Lopate wrote:
Contempt, one of Jean-Luc Godard’s greatest masterpieces, has a stately air that breaks with the filmmaker’s earlier, throwaway, hit-and-run manner, as though he were this time allowing himself to aim for cinematic sublimity. It is both his richest study of human relations, and a film very much about a tortured kind of movie love. The film has inspired passionate praise—Sight & Sound critic Colin MacCabe may have gone slightly overboard in dubbing Contempt “the greatest work of art produced in post-war Europe,” but I would say it belongs in the running. It has certainly influenced a generation of filmmakers, including R.W. Fassbinder, Quentin Tarantino and Martin Scorsese (who paid his own homage by quoting from the Godard film’s stark, plangent musical score in Casino, and cosponsoring its re-release). Scorsese has called Contempt “brilliant, romantic and genuinely tragic,” adding that “It’s also one of the greatest films ever made about the actual process of filmmaking.”

In 1963, film buffs were drooling over the improbable news that Godard—renowned for his hit-and-run, art house bricolages such as Breathless and My Life to Live—was shooting a big CinemaScope color movie with Brigitte Bardot and Jack Palance, based on an Alberto Moravia novel, The Ghost at Noon. It sounded almost too good to be true. Then word leaked out that Godard was having problems with his producers, Carlo Ponti and Joseph E. Levine (the distributor of Hercules and other schlock), who were upset that the rough cut was so chaste. Not a single nude scene with B.B.—not even a sexy costume! Godard obliged by adding a prologue of husband and wife (Michel Piccoli and Bardot) in bed, which takes inventory of that sumptuous figure through color filters, while foreshadowing the couple’s fragility: when she asks for reassurance about each part of her body, he reassures her ominously, “I love you totally, tenderly, tragically.”

Beyond that “compromise,” Godard refused to budge, saying: “Hadn’t they ever bothered to see a Godard film?”

Le mepris - Jean-Luc Godard (1963) [4K restoration 2023] 1080p.mkv

General
Container:  	Matroska
Runtime: 	1 h 43 min
Size: 	11.8 GiB
Video
Codec: 	x264
Resolution: 	1920x816 
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	15.8 Mb/s
BPP: 	0.419
Audio
#1:  	French 1.0ch FLAC @ 208 kb/s (Original audio mono)
#2:  	English 1.0ch AC-3 @ 192 kb/s (Commentary by Robert Stam)

https://nitro.download/view/83E4275075AFD8E/Le_mepris_-_Jean-Luc_Godard_(1963)__4K_restoration_2023__1080p.mkv

Language(s):French (main), English, German, Italian
Subtitles:English, German, Spanish, Dutch, Norwegian, Finnish, Swedish, Japanese

The post Jean-Luc Godard – Le mépris aka Contempt (1963) (HD) first appeared on Cinema of the World.

Roman centurion Marcian is captured by Attila the Hun en route to Constantinople, but escapes. On arrival, he finds the eastern Roman emperor Theodosius plotting with Attila to look the other way while the latter marches against Rome. But Marcian gains the favor of Pulcheria, lovely sister of Theodosius, who favors a united Empire. As Attila marches, things look bleak for the weakened imperial forces. But the conqueror has an awe of the power of the Christians’ God…

Sign of the Pagan.1954.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 32 min
Size: 	1.73 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	2 500 kb/s
BPP: 	0.234
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/0D898A7C050FFDA/Sign_of_the_Pagan.1954.576p.BDRip-AVC.ZONE.mkv
or
https://nitro.download/view/746BF0CA89F0042/Sign_of_the_Pagan.1954.576p.BDRip-AVC.ZONE.part1.rar
https://nitro.download/view/653CD8B3A8C9895/Sign_of_the_Pagan.1954.576p.BDRip-AVC.ZONE.part2.rar

Language(s):English
Subtitles:None

The post Douglas Sirk – Sign of the Pagan (1954) first appeared on Cinema of the World.

Plot
Uraz (Omar Sharif), the son of Tursen (Jack Palance), the stable master and retired buzkashi player for a feudal lord, is a master horseman who lives by a primitive code of honor. Uraz’s family honor is damaged when he breaks his leg playing the game, which is the Afghani equivalent of polo. His father, who lost a lot of money betting on his son, will barely speak to him. To regain the family honor (and wealth) he must somehow re-learn how to ride – after his injuries cost him his leg below the knee. In the face of great obstacles, and despite the derision and treachery of others, he gains the chance to play in the games given by the king of Afghanistan.

1.62GB | 1h 45m | 700×426 | mkv

https://nitro.download/view/16C58E53573948F/The.Horsemen.1971.DVDRip.x264.mkv
or
https://fikper.com/EJWxjIbJ6j/The.Horsemen.1971.DVDRip.x264.mkv.html

Language:English
Subtitles:English

The post John Frankenheimer – The Horsemen (1971) first appeared on Cinema of the World.

After aging criminal Roy Earle is released from prison he decides to pull one last heist before retiring – by robbing a resort hotel.

1.85GB | 1h 49m | 841×358 | mkv

https://nitro.download/view/A0F1538001AA6D8/I.Died.a.Thousand.Times.1955.DVDRip.x264.mkv
or
https://nitro.download/view/D977BC8ED10FA36/I.Died.a.Thousand.Times.1955.DVDRip.x264.part1.rar
https://nitro.download/view/00E7F807327BC2D/I.Died.a.Thousand.Times.1955.DVDRip.x264.part2.rar

Language(s):English
Subtitles:None

The post Stuart Heisler – I Died a Thousand Times (1955) first appeared on Cinema of the World.