#Judith Wendel

[camyfilms]

REAR WINDOW 1954

Why would a man leave his apartment three times on a rainy night with a suitcase and come back three times?

[twittercomfrnklin2001-blog]

The Furies

If all Westerns looked like John Ford’s or Anthony Mann’s, I think I’d be a much bigger fan of the genre. Of course, it’s almost unfair to call Mann’s THE FURIES (1950, Criterion Channel, YouTube) a Western. It’s more of an anti-Western. It features the same conflict as in most of the genre — the frontier vs. civilization — but in this case civilization is represented not by home, family and the feminine but rather by business interests, particularly banks. And as shot by Victor Milner, the wide-open spaces are more oppressive than liberating. These characters don’t need railroads and cities and farms to fence them in. They’re already confined by their own twisted passions. Walter Huston is the tyrannical, mercurial owner of a ranch called The Furies. He’s Lear on horseback. He plans to leave everything to his tough, adoring daughter (Barbara Stanwyck) as long as he can control her life, including whomever she might marry. Then he comes home from a business trip with a wealthy widow (Judith Anderson) out to take Stanwyck’s place, and the fur and the scissors fly. Charles Schnee adapted the script from a Niven Busch novel, and at the start it has the meandering quality of a lot of fiction. You can’t quite tell where the story’s going, but the characters and atmosphere are so rich it doesn’t matter. And when you get to see Huston (in his last film) and Stanwyck interact, who needs a plot. There’s a terrific score by Franz Waxman and wonderful supporting work from Anderson, Gilbert Roland, Thomas Gomez, Blanche Yurka and Beulah Bondi, who’s barely on screen five minutes yet manages to capture her character simply in the way she transfers her fan from one hand to the other. Censorship imposed a certain racism on the film. Where Stanwyck and Roland had an affair in the novel and even married, that was turned into a friendship and Roland’s unrequited love, because his character, a Mexican, couldn’t be intimate with a white woman. And then there’s Wendell Corey. He’s better than in a lot of his leading roles, but he hardly seems magnetic enough to capture Stanwyck’s passions. And the character, as written for the screen, doesn’t make a lot of sense. He uses Stanwyck at first and then suddenly falls in love with her. Nor does it help that he has a misguidedly chauvinistic proposal scene: “And don’t ask me to be your husband. If we marry, remember one thing. You’ll be my wife. Whenever you’re wrong, I’ll tell you so. If I’m ever wrong, you just keep your little mouth shut.” Would anybody ever believe he could exercise that kind of control over a Barbara Stanwyck? Or a Barbara Hale? Or even a Barbara Pepper?

[newyorkthegoldenage]

In August, 1951, Park Slope youngsters competed in P.S. 77's "beautiful doll" contest. Here are the winners, standing proudly with their entries in the schoolyard (from left to right): Judith Flynn (third place), Barbara Joyce Wendel, Roberta Hope Wendel (grand prize), and Camille Stafanello (first place). Second place winner Arlene Kennedy did not make the picture.

Photo: Brooklyn Daily Eagle/Brooklyn Public Library

[brokecorviknight]

Hatchetfield Pokémon AU - Partner List:

Main Characters:

TGWDLM:

Paul Matthews - Exploud

Emma Perkins - Porygon

BF:

Tom Houston - Donphan

Becky Barnes - Comfey

Lex Foster - Zigzagoon (Cressellia is also here)

Hannah Foster - Mew

NPMD:

Pete Spankoffski - Stoutland

Steph Lauter - Luxray

Grace Chasity - Hatterene

Max Jägerman - Passimian

LIB:

Wiggly (Wiggog Y’rath) / Wendell (Dark/Psychic)

Nibbly (Nibblenephim) / Nicky (Dark/Psychic)

Pokey (Pokotho) / Porter (Dark/Psychic)

Blinky (Bliklotep) / Blaine (Dark/Psychic)

Tinky (T’noy Karaxis) / Theo (Theodore) (Dark/Psychic)

Webby (Queen in White) / Wendy (Psychic/Dark)

Important Characters:

TGWDLM:

Ted Spankoffski - Volcarona

Bill Woodward - Leavanny

Alice Woodward - Skitty

Prof. Henry Hidgens - Liligant

Gen. John MacNamara - Genesect

BF:

Ethan Greene - Cyclizar

Linda Monroe - Vespiqueen

Tim Houston - Cubone

NPMD:

Richie Lipschitz - Gallade

Ruth Fleming - Sprigatito

Solomon Lauter - Honchkrow

Detective Shapiro - Pikachu

NT:

Henry (Fake Prof. Henry Hidgens) - Mimikyu

Lucy Stockworth - Gholdengo

Wooly-Foot - Galrian Darmanitan

Konk (Ted Spankoffski) - Darmanitan

Pryce Perkins (Paul Matthews 23) - Ditto

Emilia Matthews (Emma Perkins Android) - MissingNo

Time Bastard / Homeless Man (Ted Spankoffski) - Iron Moth and Slither Wing

Jane Houston (Perkins) - Revaroom

Miss Holloway - Hypno

Duke Keane - Snorlax

Gerald Monroe - Vivallon

Perky (Emma Perkins) - Aribolva

Ziggy - Shiftry

Jeri - Nidoqueen

Jerry - Nidoking

Lumber Axe (Lil’ Jerry) - Witchwood Haxorus

Shelia Young - Froslass

Rose - Toxtricity

Melissa - Meowstick (Female)

Puss - Espeon

Named Characters:

TGWDLM:

Greenpeace girl / Harmony Jones - Shaymin

Ken Davidson - Grumpig

Charlotte Sweetly - Oinkalogne

Sam Sweetly - Braviary

Nora - Minccino

Zoey Chambers - Alcreamie

Deb - Liepard

BF:

Frank Pricely - Sableye

Sherman Young - Salazzle

Gary Goldstein - Meowth

Uncle Wiley / Wilbur Cross - Tentacruel

Man in a Hurry / Barry Swift - Yanmega

Dude with Peanut - Pachirisu (Peanut)

Xander Lee - Empoleon

President - Unfezant (Male)

NPMD:

Mark Chasity - Flapple

Karen Chasity - Appletun

Off. Bailey - Skarmory

Kyle - Chesnaught

Brenda - Oricorio (Electric)

Jason - Bastiodon

Caitlyn - Altaria

Ms. Mulberry- Audino

Ms. Tessburger - Corsola

Rudolph - Sawsbuck

Brook - Finneon

Trevor Lipschitz - Magcargo

NT:

Allison - Lanturn

Madame Iris - Reuniclus

Craig - Tropius

Barker - Coalossal

Rupert - Gigalith

Jonathan Brisby - Tyrantrum

Sylvia - Floatzel

Andy / Executive Kilgore - Aggron

Jenny - Milotic

Dan Reynolds - Karrablast

Donna Daggit - Shelmet

Tony Greene - Klingklang

Jacqueline Frost - Glaceon

Pamala Foster - Komala

Roman Murray - Morpeko

River Monroe - Combee (Male) or Teddyursa

Trent Monroe - Venomoth

Seaton Monroe - Ninjask

Jordan Monroe - Shuckle

Malone - Octillery

Hailey - Skuntank

Zach Chambers - Gogoat

Liz - Beartic

Judith - Butterfree

Martha - Clawitzer

Mary - Bibarel

Mima Chambers - Drampa

Bob Metzger - Witchwood Aegislash

Carl Metzger - Witchwood Doublade

Larz Metzger - Witchwood Doublade

Louie Metzger - Witchwood Honedge

Mary - Medichan

Noah - Furret

Gabe - Sudowoodo

Marco - Copperajah

Kale - Chatot

Thrash - Noivern

Skud - Rillaboom

Courtney - Zebstrika

Russ - Scovillain

Beth - Centiskorch

Eddie Chiplucky - Krookodile

Stopwatch / Daniel - Phantump

Spitfire / Sophia - Blaziken

Charles - Type: Null

Bruno - Pangoro

Otho - Flamigo

Freddie Biggs - Corviknight

Mina - Pyroar (Female)

Chrissy - Alolan Persian

Aubrey - Purugly

Teddy Bear - Mabosstiff

Jerrie - Golurk

Different Actors:

Hot Chocolate Boy (Peter Spankoffski) (TGWDLM) - Polteageist

Pete Spankoffski (AC) - Aromatisse

Prof. Henry Hidgens (HQ) - Jigglypuff

Prof. Henry Hidgens (WB) - Spinda

Max Jägerman (TGWDLM) - Cinderace

Ethan Greene (YJ) - Goodra

(I’ve been working on this for a few weeks. I thought it would be fun to share. Hope you all enjoy it)

[byneddiedingo]

Barbara Stanwyck, Walter Huston, and Judith Anderson in The Furies (Anthony Mann, 1950)

Cast: Barbara Stanwyck, Walter Huston, Wendell Corey, Judith Anderson, Gilbert Roland, Thomas Gomez, Beulah Bondi, Albert Dekker, John Bromfield, Wallace Ford, Blanche Yurka. Screenplay: Charles Schnee, based on a book by Niven Busch. Cinematography: Victor Milner. Art direction: Henry Bumstead, Hans Dreier. Film editing: Archie Marshek. Music: Franz Waxman. 

The Furies takes place in a West that never was: Would any real cattleman name his ranch "The Furies"? But that's because the film aims at the mythic, and darn near succeeds. The Furies of myth were goddesses of vengeance, also known as the Eumenides, which means "the gracious ones" -- they were so terrible that humans tried to placate them by calling them by a nice name. In the film, all of the women are to some degree vengeful: Barbara Stanwyck's Vance Jeffords chafes against the notion that because she's a woman, she can't run a ranch; Judith Anderson's Flo Burnett tries to get her hooks into Vance's father and bypass Vance's claim to his estate; Beulah Bondi's Mrs. Anaheim is the real power behind her banker husband; and the most vengeful of them all, Blanche Yurka's Mother Herrera, seeks justice for the hanging of her son. For a Western, it's also awfully talky, with some lines that sound like film noir: "I don't think I like love," says Vance. "It puts a bit in my mouth." Others are obvious attempts to sidestep cliché: Vance's father, T.C. (Walter Huston), tells her she has a "dowry if you pick a man I can favor, one I can sit down at the table with and not dislodge my chow." I suspect that a lot of the dialogue, as well as a lot of the slightly overcomplicated plot, comes from its source, a novel by Niven Busch, adapted by Charles Schnee: Busch knew his way around tough dialogue, having written the screenplay for one of film noir's classics, The Postman Always Rings Twice (Tay Garnett, 1946). Anthony Mann keeps the action from overwhelming the talk and the mythologizing, greatly helped by Stanwyck and Huston (in his final film) as the sparring but inextricably bonded Jeffordses. The movie could have used a stronger love interest than Wendell Corey as Rip Darrow, the man who wants to get the better of T.C., and woos Vance as part of the plot. Corey and Stanwyck don't strike sparks; she's more in tune with Gilbert Roland as Juan Herrera, the squatter on The Furies who has been her friend since childhood -- a subplot that's in some ways more interesting than the financial struggles to get hold of the ranch. Initially a box office failure, the film has grown in stature over the years as a showcase for some of the best work of Stanwyck, Huston, and Mann. 

[trying-to-get-somewhere-real]

Savor the Veal, Part III liveblog

This is really the end end fam! Feeling very emo about this...this show gave me Angela Bower, Blorbo of All Time. Not really ready to say goodbye to her (but I am pretty excited to go back and rewatch all my favorite eps and finally get to watch all the spoilery Judith interviews that I’ve missed). Thanks again to my no. 1 WTB bestie @fatimagic. Excited to finally read all your meta!!!

Angela is going to move to Iowa??????????

Sad I didn’t get to personally witness Angela riding the luggage carousel drunk.

Wow, being drunk gets you in the newspaper, Iowa really is pretty boring (sorry to any Iowans reading this...you have to take it up with the WTB writers)

Angela saying she wants to be with him there (yay) and be away from the pressures and the deadlines and live the simple life of gardening and painting that she’s always wanted to (this I do not believe even a little bit; even if she wants to believe it; I know her. She loves him but her work is so important to her identity!!)

Angela cooking dinner for Tony is weird idk idk...okay but she does seem happy. I want to support her but I just feel like this isn’t her and never will be. (it’s why I love her tbh)

Wendell got his first C! Way to go Wendell!

Mona doing a little mindgamery with Angela by making her think one of the clients was going to walk. And Angela immediately wants to go back to the city to keep him from doing it before Mona admits she made it up to see whether Angela was really happy. Angela says it’s wearing a little thin but she can get through a year of anything.

They won the baseball championship!! This cannot be good for Tony only staying for a year...Yeah there it is. Offering him a three year contract. :/

“I miss the deadlines, I like the pressure” YEAH YOU DO...truly there will never be a sexier character to me in the history of television than Angela Bower.

Him trying to say he’s not going to take the 3-year job and her telling him he just said he’s never been happier in his entire life and he’s doing what he’s meant to do. THIS IS SO STRESSFUL AND UPSETTING SHE’S ABOUT TO SUGGEST THEY BREAK UP OR SMTG I JUST KNOW IT!

judith light’s face in this scene...guys...my heart is in tiny pieces...this woman can ACT okay

IT’S HAPPENING IT’S HAPPENING EVERYONE STAY CALM (it = final scene)

Well, I am crying. That last scene lived up to the hype. They are everything!!!!!!!!!

Thank you to everyone who has put up with these on your dash for eight months and especially to the people who have liked/commented. I really did these for me but it was nice to know there were people out there reading them too!!

[agendaculturaldelima]

  #ProyeccionDeVida

🎬 “LA VENTANA INDISCRETA” [Rear Window]

🔎 Género: Intriga / Espionaje / Fotografía / Película de Culto

⌛️ Duración: 110 minutos

✍️ Guion: John Michael Hayes

📕 Historia: Cornell Woolrich

🎼 Música: Franz Waxman

📷 Fotografía: Robert Burks

🗯 Argumento: Un reportero fotográfico se ve obligado a permanecer en reposo con una pierna escayolada. A pesar de la compañía de su novia y de su enfermera, procura escapar al tedio observando desde la ventana de su apartamento con unos prismáticos lo que ocurre en las viviendas de enfrente. Debido a una serie de extrañas circunstancias empieza a sospechar de un vecino cuya mujer ha desaparecido

👥 Reparto: James Stewart (L.B. 'Jeff' Jefferies), Grace Kelly (Lisa Carol Fremont), Raymond Burr (Lars Thorwald), Wendell Corey (Tom Doyle), Georgine Darcy (Miss Torso), Thelma Ritter (Stella), Judith Evelyn (Miss Lonelyhearts), Ross Bagdasarian (Sr. Songwriter), Havis Davenport (Casado #1), Rand Harper (Casado #2) y Irene Winston (Emma Thorwald)

📢 Dirección: Alfred Hitchcock

© Productors: Paramount Pictures

🌎 País: Estados Unidos

📅 Año: 1954

📽 Proyecciones:

📆 Jueves 15 de Agosto

🕗 7:00pm.

🏪 Británico San Juan de Lurigancho (av. Próceres de la Independencia 1531)

📆 Miércoles 21 de Agosto

🕗 7:00pm.

🏪 Patio del Centro Cultural Británico (calle Bellavista 531 - Miraflores)

🚶‍♀️🚶‍♂️ Ingreso libre🌛

[elcinelateleymickyandonie]

Título original: Rear Window 

Año: 1954 

Duración: 110 min. 

País: Estados Unidos 

Dirección: Alfred Hitchcock 

Guion: John Michael Hayes. Historia: Cornell Woolrich 

Reparto: 

James Stewart ----- Actor 

Grace Kelly ----- Actriz 

Thelma Ritter ----- Actriz 

Raymond Burr ----- Actor 

Judith Evelyn ----- Actriz 

Wendell Corey ----- Actor 

Sinopsis: 

Un reportero fotográfico (Stewart) se ve obligado a permanecer en reposo con una pierna escayolada. A pesar de la compañía de su novia (Kelly) y de su enfermera (Ritter), procura escapar al tedio observando desde la ventana de su apartamento con unos prismáticos lo que ocurre en las viviendas de enfrente. Debido a una serie de extrañas circunstancias empieza a sospechar de un vecino cuya mujer ha desaparecido. (FILMAFFINITY) 

Synopsis: 

A photojournalist (Stewart) is forced to rest with his leg in a cast. Despite the company of his girlfriend (Kelly) and his nurse (Ritter), he tries to escape the tedium by observing from the window of his apartment with binoculars what is happening in the houses across the street. Due to a series of strange circumstances he begins to suspect a neighbor whose wife has disappeared. (FILMAFINITY) 

Fuente: https://youtu.be/m01YktiEZCw?si=cnCBrshYY9SJArE2 

Sinopsis: https://www.filmaffinity.com/es/film802694.html

[7r0773r]

A World Lost by Wendell Berry

I swam back into shallow water. This partial concession to my mother's fears made me feel absolved without confession, forgiven with out regret. I turned over on my back and floated for a long time. Looked at from so near the surface of the pond, the sky was huge, the world almost nothing at all, and I apparently absent altogether. The sky seemed a great gape of vision, without the complication of so much as an eye. Now and then a butterfly or a snake doctor or a bird would fly across and I would watch it. But what really fascinated and satisfied me were the birds high up that, after you had looked into the sky a while, just appeared or were just there: a hawk soaring, maybe, or a swift or a swallow darting about.

There were three joys of swimming. The first was going down out of the hot air into the cooling water. The second was being in the water. The third was coming out again. After I was cooled and quiet, a little tired, and had begun to dislike the way my fingertips had wrinkled, I waded out into the breeze that was chilly now on my wet skin. I stood in the grass and let the breeze dry me, shivering a little until I felt the warmth of the sun. And maybe the best joy of all, a fourth, was the familiar feeling of my clothes when I put them on again.

For a long time then I just sat in the grass, feeling clean and content, thinking perhaps of nothing at all. I was nine years old, going on ten; having never needed to ask, I knew exactly where I was; I did not want to be anyplace else. (pp. 8-9)

***

Perhaps it was from thinking about [Uncle Andrew] after his death, discovering how much I remembered and how little I knew, that I learned that all human stories in this world contain many lost or unwritten or unreadable or unwritable pages and that the truth about us, though it must exist, though it must lie all around us every day, is mostly hidden from us, like birds' nests in the woods. (p. 43)

***

[Aunt Judith] was using her grief to invite sympathy, and in doing so falsified her grief, and in falsifying her grief made it impossible to sympathize with her. And she compounded the difficulty by the innocence of perfect self-deception; she had, I feel sure, no idea what she was doing. And what was one to say? I could find in myself not the least aptitude for the occasion. I longed to exchange places with the wallpaper or the rug. My father, having assured Aunt Judith that he would do all he could for her, had almost as little to say as I did. She placed and left us in our embarrassment as she would have seated us at a table. (p. 53)

***

When a cold spell would come late in the spring, causing us to feel that some fundamental disorder was at hand, [Grandma] would quote from a source I have never found: "The time will come when we'll not know the winter from the summer but by the budding of the trees." And though that time has never come, I believed then that it would come, and I believe it still. (p. 64)

***

There came a morning when I stood in the dust of the road with a hoe in my hands, looking at the field, and was overcome by sudden comprehension of what was happening there. The corn was a little above knee-high, the tobacco plants about the size of a man's hat, both crops green and flourishing. R. T. and I were hoeing the tobacco. I could see Jake Branch plowing corn with a riding cultivator drawn by a good pair of black, white-nosed mules named Jack and Pete. Somewhere beyond the ridgetop, Col Oaks was plowing tobacco with a single mule, old Red, and a walking plow. The air smelled of vegetation and stirred earth. Beside me, R. T. was filing his hoe. Standing there in the brilliance with my ears sticking out under the brim of my straw hat and my mouth probably hanging open (somebody was always telling me, "Shut your mouth, Andy!"), I saw how beautiful the field was, how beautiful our work was. And it came to me all in a feeling how everything fitted together, the place and ourselves and the animals and the tools, and how the sky held us. I saw how sweetly we were enabled by the land and the animals and our few simple tools.

My moment of vision cannot have lasted long. It ended, I imagine, when R. T. finished sharpening his hoe and nudged me with the file and handed it to me. It was a powerful moment, a powerful vision nonetheless. I have lived under its influence ever since. (pp. 95-96)

[byneddiedingo]

Rear Window (Alfred Hitchcock, 1954)

Cast: James Stewart, Grace Kelly, Thelma Ritter, Wendell Corey, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady, Jesslyn Fax, Rand Harper, Irene Winston, Havis Davenport. Screenplay: John Michael Hayes, based on a story by Cornell Woolrich. Cinematography: Robert Burks. Art direction: J. McMillan Johnson, Hal Pereira. Film editing: George Tomasini. Music: Franz Waxman. 

REAR WINDOW (1954) dir. Alfred Hitchcock

[letterboxd-loggd]

Rear Window (1954) Alfred Hitchcock

December 3rd 2022

[genevieveetguy]

- The last thing Mrs. Thorwald would leave behind would be her wedding ring. Stella, do you ever leave yours at home? - The only way somebody would get that would be to chop off my finger. Let's go down to the garden and find out what's buried there. - Why not? I always wanted to meet Mrs. Thorwald.

Rear Window, Alfred Hitchcock (1954)

[kwebtv]

The Gregory Hines Show  -  CBS  -  September 15, 1997 - February 27, 1998

Sitcom (22 episodes - 7 unaired)

Running Time:  30 minutes

Stars:

Gregory Hines as Ben Stevenson

Brandon Hammond as Matthew "Matty" Stevenson

Wendell Pierce as Carl Stevenson

Mark Tymchyshyn as Alex Butler

Robin Riker as Nicole Moran

Bill Cobbs as James Stevenson

Judith Shelton as Angela Rice

Steve Harvey as  Gerald

Alan Cumming as   Rick

Adam Pally   as  Alex

Will Smith   as Franklin

Bernie Mac   as George

[frankenpagie]

2.23.20

[byneddiedingo]

James Stewart and Grace Kelly in Rear Window (Alfred Hitchcock, 1954)

Cast: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady, Jesslyn Fax, Rand Harper, Irene Winston, Havis Davenport. Screenplay: John Michael Hayes, based on a story by Cornell Woolrich. Cinematography: Robert Burks. Art direction: J. McMillan Johnson, Hal Pereira. Film editing: George Tomasini. Music: Franz Waxman.

An almost perfect movie. Rear Window has a solid framework provided by John Michael Hayes's screenplay, which has wit, sex, and suspense in all the right places and proportions. The action takes place in one of the greatest of all movie sets, designed by J. McMillan Johnson and Hal Pereira and filmed by Alfred Hitchcock's 12-time collaborator, Robert Burks. The jazzy score by Franz Waxman provides the right atmosphere, that of Greenwich Village in the 1950s, along with pop songs like "Mona Lisa" and "That's Amore" that come from other apartments and give a slyly ironic counterpoint to what L.B. Jefferies (James Stewart) sees going on in them. It has Stewart doing what he does best: not so much acting as reacting, letting us see on his face what he's thinking and feeling as as he witnesses the goings-on across the courtyard or the advances being made on him by Lisa Fremont (Grace Kelly) in his own apartment. It's also Kelly's sexiest performance, the one that makes us realize why she was Hitchcock's favorite cool blond. They get peerless support from Thelma Ritter as Jefferies's sardonic nurse, Wendell Corey as the skeptical police detective, and Raymond Burr as the hulking Lars Thorwald, not to mention the various performers whose lives we witness across the courtyard. It's a movie that shows what Hitchcock learned from his apprenticeship in the era of silent film: the ability to show rather than tell. In essence, what Jeffries is watching from his rear window is a set of silent movies. That Hitchcock is a master no one today doubts, but it's worth considering his particular achievement in this film: It contains a murder, two near-rapes, one near-suicide, serious threats to the lives of its protagonists, and the killing of a small dog, and yet it still retains its essential lightness of tone.