#across 110th street

[schlock-luster-video]

Remembering film and television icon Yaphet Kotto on the anniversary of his birth.

R.I.P. (1939 - 2021)

[tedhead]

he needs to stop doing this

[thedrillerkiller]

A special shout out to my pal @cinemajunkie70 and all the Jackie Browns out there… keep on grinding.

[yetihideout]

The wonderful Richard Ward in Across 110th Street, 1972.

Love that voice!

[enigmatic-chaz]

[saikaberry]

Movies [74] Across 110th Street (1972)

★★☆

[legallybrunettedotcom]

hi! can I ask you for crime movie recommendations, or just a list of your personal favorites? I've been getting super into crime fiction recently (books and movies), and I'm making a watchlist of movies I want to check out next. heist movies, gangster films, thrillers, anything involving criminals is interesting to me, and I'd really love to hear about your faves! have a nice day <3

hiii, Estelle! oh I love a good crime movie! I grew up on gangster and mob movies tbh so there's some obvious choices like the godfather and goodfellas. continuing with Scorsese, I love casino. I think it's somewhat underrated Scorsese, idk i just don't see it mentioned that often, but it's super fun. the departed as well, people talked shit about it, but it's great. then mean streets, serpico, taxi driver, dog day afternoon, heat, collateral, thief, chinatown. pretty much every Tarantino ever, obviously reservoir dogs and pulp fiction, jackie brown is my favourite and the sort of song of the movie is across 110th street from the movie of the same name, so I'd def recommend that one, it's an underrated flick. heist movie-wise, ocean's eleven kind of the king here. then set it off, bound, inside man, widows, the italian job (the original), topkapi and rififi are underrated ones, the asphalt jungle, the friends of eddie coyle, the taking of pelham 123, the thomas crown affair (the remake), dead presidents, out of sight, point break, the driver, hustlers, a fish called wanda is sooo funny. sexy beast is such a great and intense movie.

if you'd enjoy something criminal and psychosexual, I'd recommend two 60s movies the housemaid and who killed teddy bear? the cook, the thief, the wife and her lover is an insane sexy one. blue velvet fits here as well. Guy Ritchie made the same movie like 4 times tbh, but I love snatch and lock, stock and two smoking barrels, I think the man from uncle is also a fun one. Brian De Palma is good at corny and sleazy and I kinda love his scarface. body double is silly but I love a good voyeuristic movie. along those lines you obviously have rear window and peeping tom, and then to continue with Hitchcock, I love rope, psycho, and think dial m for murder is quite overlooked. natural born killers, true romance and the doom generation for something stupid and bloody. mandatory Fincher recs like se7en and zodiac. I love the usual suspects, it has that twist at the end that for me personally works even upon rewatches. another underrated movie is joy house with beautiful Jane Fonda and Alain Delon in his prime. faster pussycat kill kill is just pure fun and sleaze and gorgeous ladies. I love lady snowblood and scorpion with Meiko Kaji but I know you've seen those. tokyo drifter is a stylish one as well. some obvi french new wave recs like breathless and pierrot le fou. I'd say there's nothing quite like the atmospheric the night of the hunter. I love drive too, it's all style and the only substance is blood. uncut gems and good time are quite good too. out of something extra new, I enjoyed love lies bleeding more than I expected. seven psychopaths and in bruges for something cynical and silly. then fargo, no country for old men, the big lebowski. filth and trainspotting for something utterly dirty and disgusting. not to forget Hannibal Lecter, we can't not mention the silence of the lambs and manhunter. also badlands, dirty harry, carlito's way, eastern promises, the third man, the big sleep, double indemnity, gun crazy, bonnie and clyde, foxy brown, american psycho, the talented mr ripley, prisoners. something more along crime drama strange days, fallen angels, the city of the rising sun and made in hong kong.

[cantsayidont]

Some bad teevee:

FIGHT NIGHT: THE MILLION-DOLLAR HEIST (2024): Tasteless, embarrassingly bad eight-part Peacock miniseries wastes a high-profile Black cast (including Samuel L. Jackson, Don Cheadle, Taraji P. Henson, Chloe Bailey, and Terrence Howard) in a clumsy attempt to turn a true crime podcast, about the armed robbery of an afterparty for the October 1970 Muhammad Ali–Jerry Quarry fight, into a self-consciously retro blaxploitation pastiche. Starring comedian Kevin Hart as Gordon "Chicken Man" Williams, the Atlanta hustler who organized the party for an array of top Black mob figures and then found himself on the hook after the robbery, the show is a tonally uneasy mix of grim drama and leaden shtick, which smothers some flailing stabs at social commentary while giving the more serious scenes (which are often quite brutal) an inappropriately campy vibe. Hart (who also produced) acts like he's in a latter-day FRIDAY sequel with all the punchlines removed, while Henson looks so uncomfortable that you can't help cringing every time she's onscreen; even Don Cheadle's weary dignity is very hard-pressed, and Dexter Darden's weak caricature of Ali doesn't help. Worse, the story just isn't interesting enough to sustain eight one-hour episodes. CONTAINS LESBIANS? No. VERDICT: One can see what they were going for ("COTTON COMES TO HARLEM meets ACROSS 110TH STREET, but based on a true story!"), but it's a complete train wreck.

NOBODY WANTS THIS (2024): Thinly plotted, stupid sitcom about an obnoxious blond shiksa (Kristen Bell), who runs a confessional podcast with her equally obnoxious sister (Justine Lupe), unexpectedly falling for a cute rabbi (Adam Brody), whose family and friends can't believe he's dumped the hot Jewish woman (Emily Arlook) everyone expected him to marry. Feels like a (bad) romcom feature script stretched awkwardly into 10 half-hour episodes, and it becomes more and more offensive as it goes on, villifying every Jewish woman older than about 15 in a vain attempt to make the boorishly antisemitic heroine seem like a reasonable romantic choice. CONTAINS LESBIANS? The main character periodically mentions that she was a lesbian for a year, but she's not now. VERDICT: Aptly titled.

PENANCE (2020): Eye-rolling British drama/thriller, based on a Kate O'Riordan novel (strictly beach and bathtub reading, one assumes), about a middle-aged mum (Julie Graham), reeling from the unexpected death of her 20-year-old son, who has a Horniness Crisis™ involving a hunky, manipulative young man (Nico Mirallegro), who's also dating her teenage daughter (Tallulah Greive) and is plainly up to no good. Not at all credible even before some absurd third-act contrivances, it's essentially a wish fulfillment fantasy (or porn scenario) drenched in just enough sour self-loathing and turgid melodrama for the target audience (Tory-voting sexually frustrated middle-aged white women) to reassure themselves that they're not really having fun. Just to make sure, Art Malik costars as the kind of insufferably chummy local priest Pat O'Brien used to play. CONTAINS LESBIANS? Nope. VERDICT: Probably well-tailored for its intended audience, but for everyone else, it's too silly to take seriously and too dour to even constitute good trash.

THE PENGUIN (2024): HBO Max dared to ask, "Will the market bear yet another Batman-less Batman TV project?" and came up this spinoff of THE BATMAN (2022), returning the film's version of the Penguin (Colin Farrell, buried beneath half his weight in prosthetics), maneuvering between the rival crime families of Alberto Falcone (Michael Zegen) and Sal Maroni (Clancy Brown), with his only ally a Black teenager (Rhenzy Feliz) who becomes his driver and protégé (not unlike the relationship between Dwight and Tyson in TULSA KING). Cristin Milioti costars as Alberto's unstable sister Sofia Falcone, newly released from Arkham Asylum, with Shohreh Aghdashloo as Sal's ruthless wife Nadia. There's no reason to assume this show won't follow exactly the same pattern as GOTHAM and PENNYWORTH — i.e., a brief flirtation with gritty urban crime drama that quickly goes off the rails into campy derangement while stuffing its pockets with as many second-tier Bat-adjacent characters as Warner Bros. will permit. (Alberto and Sofia are borrowed from the Jeph Loeb/Tim Sale series BATMAN: THE LONG HALLOWEEN and DARK VICTORY, although this version of them bears only a vague resemblance to the original.) Since the show's only apparent reason for being is to juice interest in the eventual Matt Reeves/Robert Pattinson theatrical sequel without impacting that sequel (or even showing Batman) in any meaningful way, why bother? CONTAINS LESBIANS? TBD. VERDICT: Lucy with the football.

[amrass]

Across 110th Street (Or, how I imagine a scene in an AU where Arthur survives TB and randomly finds Karen after a decade)

A city near the Mexican border, 1911

Arthur's worries had already faded in the bustle and hustle of the street, among the people starting their day by doing their shopping, but then he spotted a woman that knocked his breath out.

Beyond the large windows of the haberdashery, she stood among the backs of many others and inspected colorful rolls of fabric, but unlike them she had a shotgun strapped to her back. Blonde curls tumbled underneath a hat with a bouquet on top, as fashionable as the rest of her red dress, contrasting the worn but well-kept shotgun.

Arthur's remaining lung hurt with the lack of air, as still as the other one, the one filled with air after his artificial lung collapse.

When she bought a roll of emerald green silk, he saw lines on her face and on her hands as she balanced shopping bags and a purse. She threw her head back and laughed at something the shopkeeper said, and Arthur imagined petals flying off her hat like a flower in the autumn of its life. Age had neither been kind nor unkind to her. She had a lot of wrinkles, but they were softened by her larger frame. Her skin was pale with signs of alcoholism, but she moved in an easy but secure fashion, smiling to herself, lipstick bright and unafraid to show off the thinning lips of a woman no longer young.

And then she came out of the shop and saw Arthur. She dropped her shopping bags into the mud. None of them looked away at the splash. He wondered if his own face mirrored the emotions on hers: shock, recognition, pain ... And then determination, as she hiked her skirt up and ran towards him like a cannon ball, stopping right in front of him, a feat that would've made most people flinch.

"I thought you were dead," Karen Jones breathed.

"I ..." and Arthur was breathless, too, because he had felt the same thing towards her. It had been more than ten years since they had seen each other. There had been no goodbyes, no letters, nothing.

Instincts made him tense when she moved, even when he was engulfed by her arms. Dazed, he tried to return the hug, noting how she might appear larger because he was thinner after his TB treatment. She smelled of whiskey malt and a perfume that made him think of Molly, but most of all she smelled like herself.

"You," he said, and here she was.

And then he held her as close as she held him, fully embracing each other, both of them allowing themselves a moment of easy love.

[tedhead]

@troublewithangels tagged me to do this in september but i completely forgot so i’m going to talk about my favorite first watches of october 💗. i chose the pumpkin eater (1964)—if you follow me on letterboxd this might be expected bc i wrote a multi-paragraphed barely coherent review at 8:30AM on a wednesday about how much i loved and was crushed by this movie, they all laughed (1981)—surprised by how much i enjoyed this one and i kind of fell in love with john ritter, ulzana’s raid (1972)—another film that came out of nowhere and blew me away. i didn’t expect too much from a 70s revisionist western by aldrich but it truly was a brilliant vietnam war allegory (and my old man’s in it), and blithe spirit (1945)—fucking LOVED it, but it’s pretty much tailor-made to my taste so that’s not a surprise. honorable mentions: road diary: bruce springsteen and the e street band (2024), corinna, corinna (1994), and across 110th street (1972).

tagging: @fortheturnstiles, @2201, @rostovs, and @johnwatersvhs

[fuck-you-upmusicbracket]

Across 110th Street (Bobby Womack)

Across 110th Street/Pimps trying to catch a woman that's weak/Across 110th Street/Pushers won't let the junkie go free/Across 110th Street/Woman trying to catch a trick on the street, ooh, baby/Across 110th Street/You can find it all in the street

"I grew up hearing my father play this song during car rides, but I fell in love with it last year after watching the Jackie Brown movie. It is such an earworm! I cannot get it out of my head. And I'm not complaining--it's great."

Epliogue (The Stanley Parable)

"Every single one of my friends know that I’ve bawled my eyes out at this song at least once. I’m a sucker for strong music, and the fact that I’m hyperfixated so hard on this damn game does not help. Listen. This game is a rollercoaster. From start to ‘end’, it is a rollercoaster. It presents itself as goofy and lighthearted, haha there’s a British guy following you around who reacts to your choices. It’s very silly, the jokes are funny, it doesn’t take itself seriously. Until it does. The Narrator, who supposedly created the game and takes great pride in it, is showing off his game’s success and reminiscing over the thing it used to be, in a place he calls the Memory Zone. Then, he stumbles upon a collection of negative reviews that make him realize that his game may not be all that he thinks it is. He’s desperate to please his players, and so he sacrifices himself and his time and creates a skip button, so that players who don’t want to hear his voice can skip through his dialogue. The time between skips gets longer and longer until he’s gone. Stanley is finally able to leave the room he’d been trapped in, and is met with open desert. A wasteland. He still hasn’t learned his lesson, even through billions of years (someone did the math) of solitude, and how much that affected him (and potentially killed him), he still desperately wants to please those who play his game. And so he puts together an expo to show off his ‘new features’. As he prepares to present it to Stanley, there’s a swell of hopeful and triumphant music. This is important. One of the exhibits is these figurines. If you collect all of them, there is supposedly ‘no reward’, but it actually unlocks an ending where the Narrator decides to release Stanley for good. This is the last step to unlocking the Epilogue, given to you by a mysterious entity who greets you every time you open the game. In the Epilogue, it’s mostly cutscenes. Stanley wanders the desert wasteland, while this music plays. The Narrator is not present. The Epilogue is a culmination of everything Stanley and the Narrator have gone through together, against each other and then against the world. The Epilogue takes place when the Narrator is gone, leaving Stanley to only wander alone with his memory, with no silly voice to keep him company. It’s a time where Stanley can only bring back memories about the Narrator as he faces survival in the desert. Alone. I cry every time the music swells during the sandstorm bit of the cutscenes. But at the very end of the song, when the music dies down, Stanley once again stumbles across the Memory Zone. The place that the Narrator once held dear, that held all his favorite memories, now dilapidated and half-buried in the sand. The place where the Narrator once enthusiastically showed off positive reviews of his game. The place he was proud of, hidden away where the developers would never see it. And. And do you know what this song does. When the Memory Zone comes into view. It fuckjgn reprises the song from the Narrator’s expo, once triumphant and swelling as he showed his creations off with a grand flourish, now quiet and sorrowful as you come across the memory zone without him present. And if the swelling of the sandstorm scene doesn’t hit me first, this bit fucking floors me. Every single time. The Stanley Parable: Ultra Deluxe is a silly game about choice. It is also a game about companionship, and trust, and hurt, and grief. And during the true ‘ending’ of the game, before everything starts anew, when that music is playing, it’s the result of every single moment these characters have experienced, come together in one song, and a bunch of cutscenes. THAT is why this song fucks me up. sorry i dont know wtf possessed me just now but yeah. This game is a little obscure and many MANY people who have played it have not made it to the Epilogue, so I highly doubt it’s gonna make it very far into the tournament. But fuck if it can make me cry,"

[longliverockback]

Los Lobos The Ride 2004 Hollywood ————————————————— Tracks: 01. La venganza de dos pelados - Café Tacvba 02. Charmed 03. Is This All There Is? - Little Willie G 04. Charmed 05. Somewhere in Time - Dave Alvin 06. Wicked Rain • Across 110th Street - Bobby Womack 07. Kilate - Tom Waits��& Martha González 08. Hurry Tomorrow 09. Ya se va - Rubén Blades 10. Wreck of the Carlos Rey - Richard Thompson 11. Matter of Time - Elvis Costello 12. Someday - Mavis Staples 13. Chains of Love 14. Phone Call from Rita 15. Monstra’s Out 16. Jockey Full of Bourbon —————————————————

Steve Berlin

David Hidalgo

Conrad Lozano

Louie Pérez

César Rosas

* Long Live Rock Archive

[lboogie1906]

Perry Watkins (April 13, 1907 - August 14, 1974) was the first African American set designer on Broadway. He was a stage painter, makeup and costume artist, producer, and film art director.

Born in Providence, Rhode Island, he attended Hope High School where he and a friend hand-wrote and decorated a daily newspaper called “The Foolscape.” Awarded a scholarship to study art at the Rhode Island School of Design, he studied figure drawing and still life.

Despite having his paintings displayed at the Springfield Museum and the Providence Art Club, he struggled financially and worked as a waiter, chauffeur, insurance salesman, reporter, draftsman, and commercial illustrator. He applied to the Federal Theatre Project with a sample production and was employed.

Starting as a stagehand and becoming assistant technical director at Lafayette Theatre, he began a flurry of work, painting drops, dying costumes, and operating the lighting for Macbeth, designing sets for The Case of Philip Lawrence, Haiti, Plays of the Sea and Horse Play, as well as designing the costumes for Androcles and the Lion. He created sets for Mississippi Rainbow for the Chicago Negro Unit of the FTP and for the Los Angeles Negro Unit’s revival of Run Little Chillun!

He made a breakthrough, becoming the first Black Broadway set designer when he was commissioned for Mamba’s Daughters. He was permitted to take the drafting and art exam for admission into the Set Designer’s Union. He passed it easily and became the first African American to be admitted. He taught in the Rose McClendon Workshop Theatre and the following year designed the set for the revival of The Big White Fog at Lincoln Theatre.

In 1944 he served as the assistant technical director for Walk Hard, which was shown in Harlem and on Broadway. He co-produced Beggar’s Holiday. It was a success, showing one hundred and eight performances.

He ventured into film and television, working on art direction and design for films such as Hercules in New York, Come Back, Charleston Blue, Across 110th Street, and Gordon’s War. #africanhistory365 #africanexcellence

[antiquesintheattic]

peeping tom across 110th street cover