A dedicated FBI agent recalls the agency’s battles against the Klan, organized crime and Communist spies.

The.FBI.Story.1959.DVDRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 28 min
Size: 	2.28 GiB
Video
Codec: 	x264
Resolution: 	712x576 ~> 768x576
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	2 000 kb/s
BPP: 	0.203
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/FF3CFB06BDD797A/The.FBI.Story.1959.DVDRIP.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:None

The post Mervyn LeRoy – The FBI Story (1959) first appeared on Cinema of the World.

In 1868, Ethan Edwards returned after an eight-year absence to his brother Aaron’s home in the West Texas desert.

Tag Gallagher wrote:
The letter sequence comes in the middle of The Searchers, the third of five acts, and it breaks into the story (following Ethan in present time) with a series of flashbacks framed by others’ viewpoints of Ethan. It thus distances Ethan from us, in contrast with the surrounding acts, in order to define him within the frame of his culture.

Jorgensens’ fireplace. The only letter Laurie (Vera Miles) gets from
Marty (Jeffrey Hunter) in five years is delivered by Charlie McCorry (Ken Curtis). In a comic sequence, she is forced to read it aloud in front of Charlie (an oaf courting her) and her parents. Marty writes how he acquired an Indian wife…

Flashback 1. (Laurie reads, voice-off.) Ethan and Marty trade with Indians, then find a chubby girl following them, a wife Marty has unwittingly purchased. “Come on, Mrs. Pawley!” jokes Ethan. They call her “Look.”

Jorgensens’ fireplace. Charlie is overjoyed (“Hawh! Hawh! So he got himself an Indian wife!”); Laurie throws the letter into the fire. Her father retrieves it, scolds her, pitilessly orders she read on. “‘She wasn’t nearly as old as you’!” she reads, fuming…

Flashback 2. That night. Look tries to lie with Marty, who kicks her down a hill. At mention of Scar she shows terror. Next morning (Marty narrates) they follow her trail marks.

Jorgensens’ fireplace. Laurie, eyes filled with tears.
Ford’s structure of points of views is intricate. We are watching the movie (Ford) wherein Laurie reads Marty’s words about Ethan’s attitude toward Look. Secondly, each of the characters involved offers a contrasting sensibility. Laurie’s miscomprehension of Marty’s letter contrasted with what actually happened is mirrored within her home by Laurie’s distress contrasted with Charlie’s oafish opportunism, her fathers obliviousness, her mother’s wish that Laurie forget Marty.
And that is not all. If we share Ethan’s humor at Marty’s plight while ignoring Look’s plight, we do so because we perceive Look through the filters of others’ sensibilities (all of them racist: Ethan, Marty, Laurie, her parents, Charlie). Our lack of regard for Look’s feelings parallels the general lack of regard for Laurie’s feelings. Empathy is rare in the world of The Searchers, as in our own. Ford hopes, by means of the intricate contrasts of this letter scene, to make us aware of how each person’s attitudes color reality. To do so, Ford must “distance” us from the sympathy we automatically feel for the John Wayne character and must turn our participation in Ethan’s callous racism against us:

Flashback 3. (Marty, voice-off: ) They lose Look’s trail in snow. Later, Ethan slaughters buffalo, to deprive the Indians. Then they come upon an Indian camp raided by cavalry, with corpses everywhere: men, women, children, and Look.
Ethan kills buffalo to kill Indians; soldiers kill Look. Do we now feel sorry for laughing at her? But this sequence’s chief effect is to distance Ethan. As we dissolve from Laurie into a long shot of Ethan about to slaughter buffalo, Marty’s voice tells us we are about to see something that he still has not been able to figure out: the way Ethan goes wild killing the buffalo. This episode, then, and in fact this entire third act, is a sort of “medical report” on Ethan. Elsewhere, Ethan tends to be the dramatic focal point of The Searchers and an empathy-identity figure for the audience; but in this act we see him through others’ eyes, others comment on him, his deeds are complexly contextualized, his sanity is dissected, he becomes a phenomenon to be studied, and is least able to guard from view the tenderness and terror inside him. As a result, not only is our compassion for him enriched, but his actions are objectified against the tapestry of his culture.

Flashback 3 (continued). Later, they sight the renowned 7th Cavalry, with flags, beautiful horses, and a bright Irish jig. At the fort entrance three peaceful Indians, each in different-colored blanket, enter the frame as silent onlookers. The music dies into tough-faced soldiers whipping captives, herding them like cattle into the stockade.
Ford shows the 7th Cavalry in its mythic glory, because its myth is an essential portion of its historical actuality. And he shows the Searchers responding to that glory, because that is how they felt about the cavalry.
But Ford does not thereby glorify the cavalry. On the contrary, he “frames” the evocation of their glory between scenes of massacred Indians and whipped captives. Without its glory, properly contextualized, the 7th Cavalry cannot be understood. Thus Ford treats it as he treats Ethan. And Ford shows reasons for their brutality:

Flashback 3 (continued). In the fort Ethan and Marty inspect whites rescued from Comanche. All are half-crazy; perhaps one is Debbie. In a sustained close-up, Ethan’s eyes react to the broken humans he sees and the lunatic howls he hears.
Everyone inhabits a private world: Laurie, her father, her mother, Charlie; the 7th Cavalry, the captive Indians, the peaceful Indians, the indifferent sergeant (Jack Pennick) who shows Ethan the rescued whites. The privacy of the lunatics may differ in dimension from this universal solipsism, but does it differ in kind? Where is truth midst everyone’s solitudes? In all probability Debbie is a lunatic, too: why does Ethan persist in his search? Perhaps because he recognizes something of himself in others’ lunacy: his stare outward at the terrified lunatics is really the stare inward we noted in Huw at the end of How Green Was My Valley. And Ethan had a similar moment earlier (resting his horse and gazing anxiously across the desert toward his brother’s house [I-3]) when his sensitivity broke through his armor. His vision of a comfy home is impaired by his vision of “wilderness” (in his threatened family, in the lunatics, in Debbie, in himself), but his kindnesses — his concern for Martha and Mrs. Jorgensen, his stopping Marty and Brad from seeing their dead — explain Ethan’s unbridled hate as a form of terror, a terror he can only control by exteriorizing it into the search for Debbie.

Jorgensens’ fireplace. Marty’s letter offers not a word of love; Laurie is disconsolate. Her father takes the letter, folds it into his pocket, and exits nonchalantly smoking his pipe. Laurie stares bereftly out the window (a stare mirroring Ethan’s), but Charlie, strumming guitar, saunters coyly to her side, singing, “Gone again, skip to my Lou, my darling.”

Coda. Laurie’s thoughts are visualized by a long dissolve into a sunset vista of Ethan and Marty riding the wilderness.

The searchers - John Ford (1956) 1080p.mkv

General
Container:  	Matroska
Runtime: 	1 h 58 min
Size: 	15.2 GiB
Video
Codec: 	x264
Resolution: 	1920x1036 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	17.8 Mb/s
BPP: 	0.372
Audio
#1:  	English 1.0ch FLAC @ 198 kb/s
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary by Peter Bogdanovich)

https://nitro.download/view/D98F83436E929D6/The_searchers_-_John_Ford_(1956)_1080p.mkv

Language(s):English
Subtitles:English, Danish, Dutch, Estonian, Finnish, French, German, Greek, Hebrew, Hungarian, Italian, Korean, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Russian, Slovenian, Spanish, Swedish, Turkish, Ukrainian

The post John Ford – The Searchers (1956) (HD) first appeared on Cinema of the World.

PLOT: Former buffalo hunter and entrepreneur Wyatt Earp arrives in the lawless cattle town of Wichita Kansas. His skill as a gun-fighter make him a perfect candidate for Marshal but he refuses the job until he feels morally obligated to bring law and order to this wild town.

Wichita.1955.576p.BDRip.x264.AAC.2.0-OLDFLiX.mkv

General
Container:  	Matroska
Runtime: 	1 h 21 min
Size: 	1.68 GiB
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Codec: 	x264
Resolution: 	1024x402 
Aspect ratio:  	2.547
Frame rate: 	23.976 fps
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#1:  	English 2.0ch AAC LC @ 82.2 kb/s

https://nitro.download/view/7D74797C3B39BB1/Wichita.1955.576p.BDRip.x264.AAC.2.0-OLDFLiX.mkv

Language(s):English
Subtitles:English

The post Jacques Tourneur – Wichita (1955) first appeared on Cinema of the World.

Beyond This Place is a tame murder mystery based on a novel by A. J. Cronin. Van Johnson is cast as an American citizen whose British father has supposedly been dead for years. On a visit to London, Johnson discovers that his father is very much alive, serving a life sentence for murder. Johnson inaugurates his own investigation, retraces the trail of circumstantial evidence, and unearths the real culprit. Director Jack Cardiff was not happy with his work on Beyond This Place, possibly because he was obliged for box office purposes to use an American star in an essentially British story. The film was released in the US as Web of Evidence.

Web.of.Evidence.1959.TPTV.WEB-DL.AAC2.0.H.264.mkv

General
Container:  	Matroska
Runtime: 	1 h 24 min
Size: 	1.26 GiB
Video
Codec: 	h264
Resolution: 	810x576 
Aspect ratio:  	1.406
Frame rate: 	25.000 fps
Bit rate: 	1 998 kb/s
BPP: 	0.171
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#1:  	English 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/BB3FE103CA1D3F4/Web.of.Evidence.1959.TPTV.WEB-DL.AAC2.0.H.264.mkv

Language(s):English
Subtitles:English

The post Jack Cardiff – Web of Evidence (1959) first appeared on Cinema of the World.

Yugoslav partisans grimly crop the hair of a village quintet of women believed to have consorted with the occupational Nazis. Four, for various reasons, have indeed – and their seducer is a lone, swaggering sergeant whom the partisans briskly emasculate. Escorted out of town by the sheepish Nazis, the forlorn ladies link up, patriotically and romantically, with a band of tough mountain guerrillas

Filesize.....: 1,112 MB (or 1,139,244 KB or 1,166,586,176 bytes)
Runtime......: 01:41:06 (140,716 fr)
Video Codec..: XviD
Video Bitrate: 1390 kb/s
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 128 kb/s (64/ch, stereo) CBR
Frame Size...: 720x480 (1.50:1) [=3:2]

https://nitro.download/view/A9E44D84778338A/5_Branded_Women_(Martin_Ritt,_1960)_SATRip_VOSE__Cine-Clasico_.avi

Language(s):English
Subtitles:spanish hardsubs

The post Martin Ritt – 5 Branded Women (1960) first appeared on Cinema of the World.

Quote:
Hitchcock’s long-standing fear of the police is what originally attracted him to a newspaper account of a family man wrongly identified as an armed robber. The Wrong Man pays scrupulous attention to such things as the details of police procedure and the eventual apprehension of the real culprit – before the conviction of the wrongly accused man (Fonda), but after the stress has driven his wife (Miles) to mental breakdown. The result is Hitchcock’s most sombre film, unrelieved by his usual macabre humour; the black-and-white photography and the persecuted Fonda’s sharply chiselled features lend an impressive documentary feel. It’s not generally rated among the master’s best works, largely because of the intractability of the source material (or Hitchcock’s unwillingness to dramatise the events). But there’s still plenty here for Hitchcockophiles: a Jesuitical strain (the man happened to be a devout Catholic), a complicity of guilt (as the wife irrationally comes to blame herself); and it’s pure noir.

3.73GB | 1h 45mn | 1016×576 | mkv

https://nitro.download/view/2286A4E6168312A/The.Wrong.Man.1956.x264.576p.BDRip-RLYEH.mkv

Language:English
Subtitles:None

The post Alfred Hitchcock – The Wrong Man (1956) first appeared on Cinema of the World.

Quote:
There are arguably no bigger cinematic icons of America than John Wayne – the right wing side of America steeped in violence and guns, and James Stewart – the left wing side of America rooted in humanity, understanding and intelligence. And there is arguably no finer chronicler of America’s mythology and past than John Ford. Put them together and you get one of the finest westerns ever made.

When high ranking senator Ransom Stoddard (James Stewart)returns to the town of Shinbone after many years away in Washington, it is with a great deal of surprise. After being put under pressure by the local newspaper he reveals that he is there for the funeral of an old friend, Tom Doniphon (John Wayne), and he begins to tell the story of how their lives intertwined when Ransom first came to town.

Ransom was a young lawyer travelling through Shinbone when his carriage was held up by the notorious bandit Liberty Valance (Lee Marvin), who deals out a brutal horsewhipping to him when he refuses to back down. Recovering in the local saloon, Ransom vows to bring Valance to justice using all the legal means at his disposal despite the fact that Valance has the town in a grip of fear and the local Marshall, Appleyard (the Foghorn Leghorn voiced Andy Devine), is a fat lazy coward. This is highly amusing to Tom, a local rancher and tough guy who wants nothing more than a quiet life and to marry local girl Hallie (Vera Miles). Tom admires the fact that Ransom is principled and resolute in his beliefs, but also knows that if you want to defy Valance you don’t do it with books, you do it with a gun – an action that Ransom won’t consider. It’s a clash of idealism against pragmatism.

John Ford is never happier than when at home with a western. Despite the fact that none of his four Oscars came for a western, it fits him like a well worn glove, and The Man Who Shot Liberty Valance has the tang of authenticity throughout. You can taste the strong liquor, smell the sawdust and practically feel the horse leather underneath your hands. He litters the film with marvellous small details such as Tom lighting cigarettes from a lamp or Appleyard’s ever growing slate of free meals, and blackly comic dialogue (“Pompy, go find doc Willoughby – and if he’s sober, bring ‘im back!”). This all ties together to create a western that could only be created by someone who knows the genre inside out. Ford’s sense of playfulness and creativity still comes through however. The horsewhipping scenes are unflinchingly horrific, the revelation of Valance and his men from a newly lit lamp is a touch of noir, and there’s a standoff between Valance and Tom that you only realise is tense because when it’s over you finally remember to breath.

Like another of Ford’s masterpieces, The Searchers, this isn’t just a simple western however. The Man Who Shot Liberty Valance is an intelligent and thought provoking dissection of American history and western mythology. Ransom seems to be a man out of time as he is bewildered to discover that Shinbone is a town still ran by the gun and not by the law. This continues when he discovers that barely anyone can read here and no-one has taken up the option to vote either. This isn’t to say that Ford either favours Ransom’s point of view nor disagrees completely with it. As Hallie snaps at Ransom, what good are all his books when he’s wearing an apron as he helps out around the saloon? And Tom is always on hand to point out that Valance is a man who will never reach for a book, but a gun, and it’s pointless to try and escape that fact. But Ford doesn’t automatically side with Tom either. As Ransom’s attempts to set up a school and a council gather pace, Tom is increasingly left on the outside too. There are those who may not know who Valance’s eventual shooter is, so let’s just say that it’s as poignant as it is thrilling. Ideals of any kind are a great thing to have, but an even harder thing to cling onto.

This kind of social rumination is easily identified by the casting of Wayne against Stewart. Stewart’s character tends to pontificate, and even patronise as he finds out when he is incredulous at Hallie’s lack of education, but it’s because of Stewart’s natural authority, dignity and class, that he can sell such a highly principled character without making him sanctimonious. His natural flow of dialogue is keenly used here, as is his innate comic timing, such as when his lanky frame doesn’t quite fit around the debating table in the saloon. Miles is also excellent, and Marvin is a truly evil villain. The kind of vile bully that swaggers around feeling untouchable, we may know his fate from the film title, but Marvin makes it a fate truly deserving that we savour keenly.

Yet it’s John Wayne’s performance that lingers longest. Strutting through the film with an amused grin on his face, Wayne is as at home as Ford is and it shows with his character – standing still as a statue in an argument over a dropped steak with Valance, Tom lashes out with one leg to send one of Valance’s men flying, yet never lets his posture drop or break sweat. It’s a deceptively fast movement that you’d never expect from the always deliberately paced Wayne. By the end however, as events reach their climax, it’s clear that it is Tom who is the soul of the film. Left on the outside by the end as much as Ransom was at the beginning, Tom is a clear indicator that times were changing and civilisation was starting to take root in America. Men like Tom had to either adapt or be left behind and Wayne epitomises that brilliantly. He never had the greatest range as an actor, but he could find shades and subtle facets in his characters that he doesn’t get enough praise for. The Man who Shot Liberty Valance is an unexpectedly elegaic film, and it is through Wayne that we feel it.

Crammed full of comic incident, wonderful characters (look out for Lee Van Cleef), nasty violence and dialogue to savour (“Gimme a beer! A beer’s not drinkin’!”), The Man who Shot Liberty Valance is a highmark of the genre. “A man’s gotta do what a man’s gotta do” may have been a creed of Wayne’s, but it’s never been meant with as much poignancy and as much thought as it has here.

4.37GB | 2h 03m | 1280×720 | mkv

https://nitro.download/view/A1C244115B275B6/The.Man.Who.Shot.Liberty.Valance.720p.HDTV.x264-EmU.mkv

Language:English
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The post John Ford – The Man Who Shot Liberty Valance (1962) first appeared on Cinema of the World.