#Ernest Haller

[sesiondemadrugada]

What Ever Happened to Baby Jane? (Robert Aldrich, 1962).

[citizenscreen]

Director Robert Z. Leonard, actor Luise Rainer, and cinematographer Ernest Haller eating apple pies on set of ESCAPADE (1935).

[nicoooooooon]

Mildred Pierce (1945) directed by Michael Curtiz featuring Joan Crawford and Ann Blyth

[filmy420]

Confederate Propoganda Film

[nelsonlopezstuff]

My best first-watches of 2024 (Top 20 to 11)

20.

Happy Hour [ハッピーアワー] (2015)

Direction: Ryūsuke Hamaguchi

Screenplay: Ryūsuke Hamaguchi - Tadashi Nohara - Tomoyuki Takahashi

Cinematography: Yoshio Kitagawa

19.

The Birds (1963)

Direction: Alfred Hitchcock

Screenplay: Evan Hunter

Cinematography: Robert Burks

18.

Interrogation [Przesłuchanie] (1989)

Direction: Ryszard Bugajski

Screenplay: Ryszard Bugajski - Janusz Dymek

Cinematography: Jacek Petrycki

17.

Babylon (2022)

Direction: Damien Chazelle

Screenplay: Damien Chazelle

Cinematography: Linus Sandgren

16.

The Fifth Seal [Az ötödik pecsét] (1976)

Direction: Zoltán Fábri

Screenplay: Zoltán Fábri - Ferenc Sánta

Cinematography: Györgi Illés

15.

The Browning Version (1951)

Direction: Anthony Asquith

Screenplay: Terence Rattigan

Cinematography: Desmond Dickinson

14.

Das Boot (1981)

Direction: Wolfgang Petersen

Screenplay: Wolfgang Petersen

Cinematography: Jost Vacano

13.

Gone with the Wind (1939)

Direction: Victor Fleming

Screenplay: Sidney Howard

Cinematography: Ernest Haller

12.

The Miracle Worker (1962)

Direction: Arthur Penn

Screenplay: William Gibson

Cinematography: Ernesto Caparrós

11.

Rififi [Du rififi chez les hommes] (1955)

Direction: Jules Dassin

Screenplay: Auguste Le Breton - Jules Dassin

Cinematography: Philippe Agostini

[thewarmestplacetohide]

Dread by the Decade: Murders in the Zoo

👻 You can support me on Ko-Fi! ❤️

★★½

Plot: An abusive husband uses the animals he donates to a zoo to commit murder.

Review: While its fun premise is squandered, its realistic portrayal of domestic abuse and Atwill's ominous performance save it from total irrelevance.

Year: 1933 Genre: Psychological Horror Country: United States Language: English Runtime: 1 hour 2 minutes

Director: A. Edward Sutherland Writers: Philip Wylie, Seton I. Miller Cinematographer: Ernest Haller Cast: Lionel Atwill, Gail Patrick, Randolph Scott, Kathleen Burke, Charlie Ruggles

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Story: 3/5 - A bizarre amount of time is dedicated to Ruggles' inessential comedic relief character instead of mystery and kills. Its strongest plot point is the relationship between Eric and Evelyn.

Performances: 3/5 - Atwill is great as the cruel Eric, but Ruggles is often grating and Burke is sometimes stiff.

Cinematography: 3/5 - Serviceable.

Editing: 2.5/5 - Scenes sometimes end too abruptly.

Effects: 4/5

Sets: 3/5 - Realistic and well constructed but, like everything else, there is a distinct absence of creativity.

Costumes, Hair, & Make-Up: 4.5/5 - The prosthetics for the sewn mouth are quite shocking for the time.

Trigger Warnings:

Real animal abuse (elephant hooks, improper habitats, animal fighting, etc.)

Very brief, moderate violence

Animal death (fake)

Domestic abuse

Brief marital assault

Brief racist discussion of Asia

Brief discussion of alcoholism

[byneddiedingo]

Natalie Wood and James Dean in Rebel Without a Cause (Nicholas Ray, 1955)

Cast: James Dean, Natalie Wood, Sal Mineo, James Backus, Ann Doran, Corey Allen, William Hopper, Rochelle Hudson, Dennis Hopper. Screenplay: Stewart Stern, Irving Shulman, Nicholas Ray. Cinematography: Ernest Haller. Art direction: Malcolm C. Bert. Film editing: William H. Ziegler. Music: Leonard Rosenbaum. 

Rebel Without a Cause seems to me a better movie than either of the other two James Dean made: East of Eden (Elia Kazan, 1955) and Giant (George Stevens, 1956). It's less pretentious than the adaptation of John Steinbeck's attempt to retell the story of Cain and Abel in the Salinas Valley, and less bloated than the blockbuster version of Edna Ferber's novel about Texas. And Ray, a director with many personal hangups of his own, was far more in tune with Dean than either Kazan or Stevens, who were shocked by their star's eccentricities. Granted, Rebel is full of hack psychology and sociology, attributing the problems of Jim Stark (Dean), Judy (Natalie Wood), and John "Plato" Crawford (Sal Mineo) to parental inadequacy: Jim's weak father (Jim Backus) and domineering mother (Ann Doran) and paternal grandmother (Virginia Brissac), Judy's distant father (William Hopper) and mother (Rochelle Hudson), and Plato's absentee parents who have left him in care of the maid (Marietta Canty). In fact, Jim and his friends really are rebels without a cause, there being neither an efficient cause -- one that makes them do stupidly self-destructive things -- nor a final cause -- a clear purpose behind their madness. Fortunately, Ray is not as interested in explaining his characters as he is in bringing them to life. Unlike Kazan or Stevens, Ray gives his actors ample room to explore the parts they're playing. There's a loose, improvisatory quality to the scenes Dean, Wood, and Mineo play together, more suggestive of the French New Wave filmmakers than of Hollywood's tightly controlled directors. It's no surprise that both Jean-Luc Godard and François Truffaut were admirers of Ray's work. At the same time, though, Rebel is very much a Hollywood product, with vivid color cinematography by Ernest Haller, who had won an Oscar for his work on Gone With the Wind (Victor Fleming, 1939), and a fine score by Leonard Rosenman. Most of all, though, it has Dean, Wood, and Mineo, performers with an obvious rapport. At one point, for example, Dean puts a cigarette in his mouth backward -- filter on the outside -- and Wood reaches out and turns it around, a bit establishing their intimacy that feels so real that you wonder if it was improvised or developed in performance. (In fact, I noticed the gesture because I had just seen Billy Wilder's The Lost Weekend, made ten years earlier, in which Jane Wyman performs the same turning-the-cigarette-around action for Ray Milland several times. Cigarettes are nasty things but they make wonderful props.)

[byneddiedingo]

Cast: James Dean, Natalie Wood, Sal Mineo, James Backus, Ann Doran, Corey Allen, William Hopper, Rochelle Hudson, Dennis Hopper. Screenplay: Stewart Stern, Irving Shulman, Nicholas Ray. Cinematography: Ernest Haller. Art direction: Malcolm C. Bert. Film editing: William H. Ziegler. Music: Leonard Rosenbaum. 

Rebel Without a Cause seems to me a better movie than either of the other two James Dean made: East of Eden (Elia Kazan, 1955) and Giant (George Stevens, 1956). It’s less pretentious than the adaptation of John Steinbeck’s attempt to retell the story of Cain and Abel in the Salinas Valley, and less bloated than the blockbuster version of Edna Ferber’s novel about Texas. And Ray, a director with many personal hangups of his own, was far more in tune with Dean than either Kazan or Stevens, who were shocked by their star’s eccentricities. Granted, Rebel is full of hack psychology and sociology, attributing the problems of Jim Stark (Dean), Judy (Natalie Wood), and John “Plato” Crawford (Sal Mineo) to parental inadequacy: Jim’s weak father (Jim Backus) and domineering mother (Ann Doran) and paternal grandmother (Virginia Brissac), Judy’s distant father (William Hopper) and mother (Rochelle Hudson), and Plato’s absentee parents who have left him in care of the maid (Marietta Canty). In fact, Jim and his friends really are rebels without a cause, there being neither an efficient cause – one that makes them do stupidly self-destructive things – nor a final cause – a clear purpose behind their madness. Fortunately, Ray is not as interested in explaining his characters as he is in bringing them to life. Unlike Kazan or Stevens, Ray gives his actors ample room to explore the parts they’re playing. There’s a loose, improvisatory quality to the scenes Dean, Wood, and Mineo play together, more suggestive of the French New Wave filmmakers than of Hollywood’s tightly controlled directors. It’s no surprise that both Jean-Luc Godard and François Truffaut were admirers of Ray’s work. At the same time, though, Rebel is very much a Hollywood product, with vivid color cinematography by Ernest Haller, who had won an Oscar for his work on Gone With the Wind (Victor Fleming, 1939), and a fine score by Leonard Rosenman. Most of all, though, it has Dean, Wood, and Mineo, performers with an obvious rapport. At one point, for example, Dean puts a cigarette in his mouth backward – filter on the outside – and Wood reaches out and turns it around, a bit establishing their intimacy that feels so real that you wonder if it was improvised or developed in performance. (In fact, I noticed the gesture because I had just seen Billy Wilder’s The Lost Weekend, made ten years earlier, in which Jane Wyman performs the same turning-the-cigarette-around action for Ray Milland several times. Cigarettes are nasty things but they make wonderful props.)

James Dean as Jim Stark REBEL WITHOUT A CAUSE (1955) dir. Nicholas Ray

[piano-sequenza]

Gone with the Wind | Victor Fleming | Ernest Haller

[bigspoopygurl]

Gone with the Wind (1939)

“No, I don't think I will kiss you, although you need kissing, badly. That's what's wrong with you. You should be kissed and often, and by someone who knows how.”

Directors: Victor Fleming, George Cukor, Sam Wood

Cinematographer: Ernest Haller, Lee Garmes

[tvln]

the verdict (us, siegel 46)

[sesiondemadrugada]

What Ever Happened to Baby Jane? (Robert Aldrich, 1962).

[citizenscreen]

I thought it was pizza but it’s an apple pie director Robert Z. Leonard, Luise Rainer, and cinematographer Ernest Haller are eating in this publicity photo for ESCAPADE (1935).

[screamscenepodcast]

She's baaaaaack -- from the dead! This 1957 b-movie BACK FROM THE DEAD is directed by Charles Warren and stars Peggie Castle, Marsha Hunt, Arthur Franz and Don Haggerty.

What will your hosts think of this female-led horror? Does it deserve to remain in obscurity?

Context setting 00:00; Synopsis 19:45; Discussion 43:24; Ranking 57:38

[filmy420]

Fuck the Confederacy

[donmarcojuande]

Great sequence of Joan Crawford in ‘Humoresque (1946), courtesy of director Jean Negulesco & cinematographer Ernest Haller