#Barbara baxley

[tedhead]

obsessed w the halloween decorations in this diner

[erstwhile-punk-guerito]

[milliondollarbaby87]

A Shock to the System (1990) Review

A Shock to the System (1990) Review

Graham Marshall is a long time executive at a large advertising company and is passed over for promotion by a young rival. Not being able to cope with this and his wife Leslie being self absorbed, everything is about to explode within his life. ⭐️⭐️⭐️ Continue reading Untitled

[classichollywoodactresses]

Barbara Baxley

[byneddiedingo]

Sally Field in Norma Rae (Martin Ritt, 1979)

Cast: Sally Field, Beau Bridges, Ron Leibman, Barbara Baxley, Gail Strickland, Morgan Paull, Robert Broyles, John Calvin. Screenplay: Irving Ravetch, Harriet Frank Jr. Cinematography: John A. Alonzo. Production design: Walter Scott Herndon. Film editing: Sidney Levin. Music: David Shire.

If Norma Rae were made today, it would have to end with the owners closing the textile mill after the pro-union vote and shipping the jobs to Sri Lanka. Only two years after the movie was released, Ronald Reagan fired the striking air traffic controllers, giving impetus to the anti-union movement that persists to this day. Which is not just to say that Norma Rae is dated -- it was a bit that way at the time -- but that it persists in the memory largely because of Sally Field's breakthrough performance. It won her her first Oscar, and a well-deserved one: She carries the movie as few actresses have done before or since, freeing her from the trap that the TV series Gidget (1965-66) and The Flying Nun (1967-70) had caught her in. She had proved herself with the 1976 TV miniseries Sybil, for which she won an Emmy, but nothing demonstrated her ability to hold an audience in her grasp like Norma Rae. The screenplay by Irving Ravetch and Harriet Frank Jr. also earned an Oscar nomination, but it's scattered and sketchy, only touching lightly on the many elements of union organizing in the South -- racism, political chicanery, violence -- which are probably more important to understand than what the film focuses on: the grit and determination of one young textile worker and one stereotypically lefty Jewish organizer (Ron Leibman).

[ulkaralakbarova]

In the 23rd century, inhabitants of a domed city freely experience all of life’s pleasures — but no one is allowed to live past 30. Citizens can try for a chance at being “renewed” in a civic ceremony on their 30th birthday. Escape is the only other option. Credits: TheMovieDb. Film Cast: Logan: Michael York Francis: Richard Jordan Jessica: Jenny Agutter Box: Roscoe Lee Browne Holly: Farrah Fawcett Doc: Michael Anderson Jr. Old Man: Peter Ustinov 2nd Sanctuary Man: Randolph Roberts The Woman Runner: Lara Lindsay Billy: Gary Morgan Mary 2: Michelle Stacy Woman Customer: Laura Hippe Sandman: David Westberg Sanctuary Woman: Camilla Carr Cub: Greg Lewis Timid Girl: Ashley Cox Sandman: Bill Couch Runner: Glenn R. Wilder Last Day Character (uncredited): Joe L. Blevins Sandman Daniel (uncredited): Roger Borden Sand Man (uncredited): Greg Bransom City Dweller (uncredited): Paula Crist The City Computer (uncredited): Virginia Ann Ford Cub (uncredited): Chuck Gaylord Cub (uncredited): Mitch Gaylord (uncredited): Johnny Haymer Confused City Dweller (uncredited): Jessie Kirby 3rd Sanctuary Man / Ambush Man (uncredited): Greg Michaels 1st Sanctuary Man (uncredited): Bob Neill Love Shop Woman with Toy (uncredited): Renie Radich 1st Screamer in Logan’s Apartment (uncredited): Candice Rialson Screamer Party Woman (uncredited): Cheryl Smith Runner Great Hall (uncredited): Ron D. Thornton Film Crew: Director: Michael Anderson Novel: William F. Nolan Novel: George Clayton Johnson Screenplay: David Zelag Goodman Producer: Saul David Original Music Composer: Jerry Goldsmith Director of Photography: Ernest Laszlo Editor: Bob Wyman Production Design: Dale Hennesy Costume Design: Bill Thomas Associate Producer: Hugh Benson Makeup Artist: William Tuttle Hairstylist: Judith A. Cory Unit Production Manager: Byron Roberts Stunt Coordinator: Glenn R. Wilder Casting: Jack Baur Set Decoration: Robert De Vestel Property Master: Jack M. Marino Sound Editor: John Riordan Visual Effects Designer: L.B. Abbott Music Supervisor: Harry V. Lojewski Music Editor: William Saracino Dialect Coach: Leon Charles Script Supervisor: Ray Quiroz Choreographer: Stefan Wenta Second Assistant Director: Alan Brimfeld Second Assistant Director: Win Phelps Assistant Director: David Silver Stunt Coordinator: Bill Couch Key Grip: Martin Kashuk Electrician: Don Stott Associate Editor: Freeman A. Davies Assistant Editor: Chuck Ellison Unit Publicist: Don Morgan Stunts: Dick Ziker Stunts: Jeannie Epper Stunts: Loren Janes Stunts: Beth Nufer Stunts: Alex Plasschaert Stunts: Regina Parton Stunts: Lori Thomas Stunts: Mike Washlake Stunts: Russell Saunders Stunts: Barbara Graham Stunts: Tommy J. Huff Stunts: Sunny Woods Stunts: Paula Dell Stunts: Chuck Gaylord Stunts: Mitch Gaylord Stunts: Rosemary Johnston Stunts: Whitey Hughes Stunts: ‘Wild’ Bill Mock Stunts: Gary Morgan Stunts: Dar Robinson Stunts: Walter Robles Stunts: Angelo De Meo Stunts: Paula Crist Stunts: Dottie Catching Stunts: Bill Couch Jr. Stunts: Gregory J. Barnett Stunts: Craig R. Baxley Stunts: Phil Adams Stunts: Denny Arnold Stunts: May Boss Special Effects: Glen Robinson Movie Reviews: Richard: It’s a ‘Future Vision’ type of movie, plus a bit of an adventure into the unknown. At least for the two “Runners’ who have escaped out of their bubble world. It is fraught with twists and turns in a post Peak-Oil world, where society has finally found a solution to the resources of the planet. The ‘chosen’ few, however have one little catch, their lives have a unique way of ending, until these two discover a new way, and a Lie that was being told to all of the citizens. (Warning for younger viewers,there are scenes where (At the time,) it was considered risque to show people jumping into a freshwater pond and going skinny dipping).

[therileyandkimmyshow]

Podcast Actress Barbara Baxley Golden Age of Radio Tribute

[gatutor]

Barbara Baxley-Warren Beatty "Su propio infierno" (All fall down) 1962, de John Frankenheimer.

[dreaminginthedeepsouth]

Follies of God

Photo of Barbara Baxley and James Dean on the set of "East of Eden"

* * * *

"There is not enough cocaine in the world that could provide as much energy and wild happiness as that set [of "East of Eden"], those people, that feeling that everything was possible. [Elia] Kazan gave us freedom and Jimmy [Dean] was the bright comet we all had prayed we could be, or that we could be near."

--Barbara Baxley/Interview with James Grissom

[tennwriter]

"There is not enough cocaine in the world that could provide as much energy and wild happiness as that set [of "East of Eden"], those people, that feeling that everything was possible. [Elia] Kazan gave us freedom and Jimmy [Dean] was the bright comet we all had prayed we could be, or that we could be near."--Barbara Baxley/Interview with James Grissom/Photo of Baxley and James Dean on the set of "East of Eden"

[tedhead]

come along with me (1982) dir. joanne woodward

[erstwhile-punk-guerito]

[twilightzonecloseup]

4.05 Mute

Director: Stuart Rosenberg

Director of Photography: Robert Pittack

“It has been noted in a book of proven wisdom that perfect love casteth out fear. While it's unlikely that this observation was meant to include that specific fear which follows the loss of extrasensory perception, the principle remains, as always, beautifully intact.“

[brokehorrorfan]

Scream Factory has revealed the specs for its A Stranger Is Watching Blu-ray, which releases on July 20. The 1982 horror film was director Sean S. Cunningham’s follow-up to Friday the 13th.

Earl Mac Rauch (The Adventures of Buckaroo Banzai Across the 8th Dimension) and Victor Miller (Friday the 13th) wrote the script, based on Mary Higgins Clark’s 1977 novel. Kate Mulgrew, Rip Torn, James Naughton, Shawn von Schreiber, and Barbara Baxley star.

A Stranger Is Watching has received a new 2K scan of the interpositive. Special features can be found below.

Special features:

Introduction by director Sean S. Cunningham (new)

Audio commentary by film historian Peter M. Bracke (new)

Interview with director Sean S. Cunningham (new)

Theatrical trailer

TV spot

Still gallery

They don’t see him, but he’s there. Plotting. Planning… and anticipating every move they make. This terrifying thriller follows a psychopath as he imprisons a little girl and a famous reporter in the dank maze of tunnels beneath New York City’s Grand Central Station. He first wants to collect a ransom… and then murder his captives. His victims’ only hope is their own wits – and the aid of homeless people who roam this urban netherworld.

Pre-order A Stranger Is Watching from Amazon.

[byneddiedingo]

George C. Scott in The Exorcist III (William Peter Blatty, 1990)

Cast: George C. Scott, Ed Flanders, Brad Dourif, Jason Miller, Nicol Williamson, Scott Wilson, Nancy Fish, Tracy Thorne, Barbara Baxley, Harry Carey Jr., Mary Jackson, Zohra Lampert, Viveca Lindfors. Screenplay: William Peter Blatty, based on his novel. Cinematography: Gerry Fisher. Production design: Leslie Dilley. Film editing: Peter Lee-Thompson, Todd C. Ramsay. Music: Barry De Vorzon. 

I am no great fan of The Exorcist (William Friedkin, 1973), so I couldn't be expected to like The Exorcist III very much. It's an inchoate movie, made by a writer-director who has a lot of interesting ideas, which he sometimes accomplishes, but he doesn't quite know how to put them together. The premise is that a priest, Father Dyer (Ed Flanders), and a police lieutenant, William Kinderman (George C. Scott), who were close to Father Karras (Jason Miller), the exorcist of the first film, meet on the 15th anniversary of his death. Within a few days Father Dyer is hospitalized and then murdered in a peculiarly unusual way, neatly drained of his blood while in his hospital bed. Investigating the death of his friend, Kinderman interviews hospital staff, including the chain-smoking head of the psychiatric ward, Dr. Temple (Scott Wilson), who gives him access to the most securely guarded inmates. One of them has been institutionalized there for 15 years after being found wandering the streets of the city. After claiming amnesia and lapsing into catatonia, he suddenly turned violent and began to claim that he was James Venamun, who had been executed 15 years earlier as the serial killer known as Gemini. There have been recent murders that strikingly resemble those of Gemini, so Kinderman is allowed to interview the patient, whom he recognizes as the long-dead Father Karras. During the course of the interview, however, the patient changes form to resemble Venamun (Brad Dourif). Further deaths follow, and Kinderman's own family is threatened before he begins to figure out what in the literal hell is going on. The problem is that there are two or three movies going on here at once. One involves the mystery of Father Karras, and another the story of Gemini, and of course the whole thing is tied back to the demonic possession premise of the original The Exorcist. Blatty hadn't planned to include an exorcism in the film, which is based on his novel Legion, but the producers insisted, so a priest called Father Morning (Nicol Williamson) is awkwardly inserted into the story to do a big effects-laden exorcism scene. It fits oddly with the slow, moody pace of much of Blatty's film, and finally turns out to be the wrong way to deal with the problem anyway. There's a good deal of overacting in the movie -- Scott was nominated for a Razzie as worst actor, though Williamson, Dourif, and Miller do their share of hamming it up too. Blatty does accomplish one good jump scare scene in the film, effectively using sound and camera placement, and there's a well-done sequence in which Kinderman races to save the lives of his family, so it's not a total misfire.