#charles frend

[lobbycards]

Barnacle Bill (aka All at Sea), Italian lobby card (fotobusta). 1957

[letterboxd-loggd]

A Run for Your Money (1949) Charles Frend

February 6th 2023

[roseshavethoughts]

Mechanical Cinematics: My Top 5 Movies Involving Ships

Mechanical Cinematics: My Top 5 Movies Involving Ships #Film #Cinema

The history of sea travel in cinema reflects the evolution of cinematic storytelling and the enduring fascination with maritime adventures. From the early days of silent films to the present, ships and sea voyages have provided filmmakers with a rich tapestry of narratives. In the early 20th century, silent films like The Sea Beast (1926) and The Sea Hawk (1924) showcased maritime adventures with…

[mariocki]

Man in a Suitcase: Jigsaw Man (1.22, ITC, 1968)

"Look, I have to pay for all this luxury I live in here."

"Middle class morality. I've never done an honest day's work in my life."

"It shows, too."

[sebscore]

I feel LL would scare Fred ( the team principal) like

Carlos: you scare me

LL: thank you. You want me to swing at Ferrari?

Carlos: PLEASE

* looks and Charles and Enzo for approval*

C&E: go for it

LL: VASSUER

*frend internaly panicked*; yes

Thé entier team: *😳😬 WTF* Good luck Fred

-🍁

you think Little “has to hold her brothers’ hands for everything” Leclerc would scare anyone on the Ferrari team? 😭😭😭

its funny to think about tho 😭🫶🏻

[arthistoryanimalia]

For #FishyFriday:

Dish, c.1880 Designed by William Frend De Morgan (English, 1839-1917) Made by William De Morgan Pottery (Chelsea, London, 1872-1881) tin-glazed earthenware Art Institute of Chicago

“The artists associated with the British Arts and Crafts movement responded to machine production in various ways. While designers like William Arthur Smith Benson--whose brass and copper wall sconces are displayed at left--embraced the machine as an efficient way to produce good design for the masses, the two designers represented in this vitrine, William Frend De Morgan and Charles Robert Ashbee, held fast to the idea of handwork and cooperative, guild-based production.

Like much of De Morgan's work, this plate incorporates a pastiche of Near Eastern motifs and luster decoration, a technique used in ninth-century Egypt, Persia (now Iran), and Syria.”

[byneddiedingo]

Derrick De Marney, Nova Pilbeam, and John Longden in Young and Innocent (Alfred Hitchcock, 1937)

Cast: Nova Pilbeam, Derrick De Marney, Percy Marmont, Edward Rigby, Mary Clare, John Longden, George Curzon, Basil Radford, Pamela Carne. Screenplay: Charles Bennett, Edwin Greenwood, Anthony Armstrong, based on a novel by Josephine Tey. Cinematography: Bernard Knowles. Art direction: Alfred Junge. Film editing: Charles Frend. Music: Jack Beaver, Louis Levy.

If Alfred Hitchcock hadn't made The 39 Steps (1935) before Young and Innocent, the later film might be taken for a somewhat less tightly plotted and certainly less well-cast sketch for the earlier one. Instead of Robert Donat as the man wrongly accused of murder on the run with Madeleine Carroll as his reluctant accomplice, we get the considerably lower-wattage Derrick De Marney and Nova Pilbeam. Young and Innocent (released in America as The Girl Was Young) feels almost like a retread, in which Hitchcock is trying out a few things that he'll use with more finesse in later films but isn't concerned with much in the way of plausibility and motivation. There is, for example, the focus on the hands when Erica Burgoyne (Pilbeam) is trapped in a car that's sliding into a sinkhole, and Robert Tisdall (De Marney) reaches out to grasp her. We'll see it again with variations in Saboteur (1942) and North by Northwest (1959), but there with more integration into the plot; here the sinking car seems to be only a gimmick introduced to allow Hitchcock to play with suspense-building techniques. There's also a long tracking crane shot that gradually focuses in on the villain (George Curzon) with a give-away tic that anticipates the tracking shot in Notorious (1946) that ends up on the key in Ingrid Bergman's hand. Hitchcock also uses Young and Innocent to exploit his well-known fear of the police, this time by mocking them, as when two cops are forced to hitch a ride with a farmer hauling livestock in his cart: When they complain about how crowded the cart is, the farmer tells them it was only built for ten pigs. Otherwise, Young and Innocent is agreeably nonchalant about plot essentials: Why was Tisdall mentioned in the murdered woman's will? Why did everyone assume that when he ran for help after discovering her body he was actually fleeing the scene of the crime? Why does he flee from the courtroom instead of sticking around to plead his case? Why does Erica so swiftly believe in his innocence? The film is nonsense, but it's enjoyable nonsense if you turn off such questions and go along for the ride. The screenplay, loosely based on a novel by Josephine Tey, is credited to Charles Bennett, Edwin Greenwood, and Anthony Armstrong, but I suspect it was much reworked by Hitchcock and his wife, Alma Reville, who is credited with "continuity," to allow for the director's experiments in suspense.

[ulkaralakbarova]

Karl Anton Verloc and his wife own a small cinema in a quiet London suburb where they live seemingly happily. But Mrs. Verloc does not know that her husband has a secret that will affect their relationship and threaten her teenage brother’s life. Credits: TheMovieDb. Film Cast: Mrs. Verloc: Sylvia Sidney Karl Verloc – Her Husband: Oskar Homolka Stevie – Her Young Brother: Desmond Tester Ted: John Loder Renee: Joyce Barbour Superintendent Talbot: Matthew Boulton Hollingshead: S. J. Warmington The Professor: William Dewhurst Mrs. Jones (uncredited): Clare Greet Greengrocer (uncredited): Aubrey Mather Monocle Man (uncredited): Austin Trevor Studious Youngster (uncredited): Charles Hawtrey The Professor’s Daughter (uncredited): Martita Hunt Mr. Verloc’s Visitor (uncredited): Torin Thatcher Mr. Verloc’s Visitor (uncredited): Peter Bull Man Walking Past the Cinema as the Light Is Renewed: Alfred Hitchcock Film Crew: Screenplay: Charles Bennett Director of Photography: Bernard Knowles Editor: Charles Frend Novel: Joseph Conrad Director: Alfred Hitchcock Additional Dialogue: E. V. H. Emmett Art Direction: Oscar Friedrich Werndorff Wardrobe Designer: Marianne Thanks: Walt Disney Continuity: Alma Reville Music: Louis Levy Sound Recordist: Angelina Cameron Costume Designer: Joe Strassner Dialogue: Helen Simpson Dialogue: Ian Hay Associate Producer: Ivor Montagu Scenic Artist: Albert Whitlock Camera Operator: Stephen Dade Art Direction: Albert Jullion Producer: Michael Balcon Music: Jack Beaver Music: Hubert Bath Assistant Director: Pen Tennyson Movie Reviews: CinemaSerf: Perhaps not one of Hitchcock’s most prominent films, but it’s a tense crime thriller telling the tale of a family of recent émigrés to Britain who are struggling to run their small London cinema. Oskar Homolka (“Mr. Verloc”) falls foul of some criminals who offer to pay him for carrying out an act of sabotage. This doesn’t quite cause the mayhem they desire so he is unwittingly, this time, involved a much more deadly action. Unbeknown to him, Scotland Yard are on to them and have planted a detective (John Loder) in the greengrocers who befriends the family. The plot unfolds slowly and tensely. Loder and (“Mrs. Verloc”) a slightly dewy-eyed Sylvia Sidney fall for each other as we go along. That storyline slightly districts from the suspense and the ending comes along a bit too rapidly for me. Great to watch, though…

[ask-thsc-blog]

Even though he was from the government, Burt was starting to like this guy, even if it was just a little

Frend :3

BURT: "thanks, man... though I'm surprised you're being nice to someone that's on the enemy side-"

CHARLES: "I can't even do interrogations with criminals because I always play good cop. Can't help it-"

[spectaculardistractions]

This might have been a pacifist film if Hawkins and Holden had blown up the bridge while all the British prisoners were lined up on it, and even that wouldn't have proved anything, for the analogous depth-charge episode in The Cruel Sea doesn't lead to a pacifist reaction. You can't make an omelette without breaking eggs and you can't make war without scrambling a few guts. In America, even better class audiences, it appears, shriek 'Kill Him! kill him!' as Nicholson tries to save his bridge. Industrial hall audiences here don't shriek, and they feel sorry for him, but - he's got to go. For the anti-Nicholson audience, the doctor's cry - 'Madness! madness!' - refers to Nicholson's actions. For the pro-Nicholson audience, it condemns the destructiveness of war. For those who feel with both sides, even if they know that Nicholson must die, it underlies the tragic criss-cross of heroisms of which the greatest has gone wrong, in a convulsive and challenging way. Nicholson's own evolution is not particularised. Is the bridge, for him, a symbol of the unconquerable quality which he, and his men, can show? Is it an emblem of honour, beyond all question of usefulness? Or do its associations with engineering relate it to the long utilitarian-liberal-middle-class tradition with its pacifist leanings (the merchant skipper of Billy Budd is an earlier champion of the same creed)!

Raymond Durgnat, A Mirror for England

[gatutor]

Clifford Evans-Constance Cummings "The foreman went to France" 1942, de Charles Frend.

[lobbycards]

Barnacle Bill (aka All at Sea), Italian lobby card (fotobusta). 1957

[ludojudoposts]

The Cruel Sea (1953) dir. Charles Frend

Starring-Donald Sinden, Jack Hawkins, Stanley Baker, Denholm Elliott, John Stratton, Virginia McKenna

[albertserra]

The Cruel Sea (1953) dir. Charles Frend

[thisbluespirit]

Old Films Watched (1940s edition): 2. The Loves of Joanna Godden (Ealing, 1947); dir. Charles Frend; screenplay by H. E. Bates & Angus MacPhail (from the 1921 novel Joanna Godden by Sheila Kaye-Smith); starring Googie Withers, John McCallum, Jean Kent, Chips Rafferty, Sonia Holm, & Henry Mollison.

“A woman running a farm?  Whoever heard of that!” // "You did. Just now."

[letterboxd-loggd]

The Magnet (1950) Charles Frend

July 16th 2019