#cy endfield

[365filmsbyauroranocte]

The Sound of Fury (Cy Endfield, 1950)

[videoreligion]

De Sade (1969)

[letterboxd-loggd]

The Underworld Story (1950) Cy Endfield

October 27th 2024

[of-fear-and-love]

Patrick McGoohan in Hell Drivers (1957)

[gatutor]

Keir Dullea-Christiane Krüger "De Sade" 1969, de Cy Endfield, Roger Corman.

[byneddiedingo]

Lloyd Bridges and Frank Lovejoy in Try and Get Me! (aka The Sound of Fury) (Cy Endfield, 1950)

Cast: Frank Lovejoy, Kathleen Ryan, Lloyd Bridges, Richard Carlson, Katherine Locke, Adele Jergens, Art Smith, Renzo Cesano, Irene Vernon, Cliff Clark, Harry Shannon, Donald Doss, Joe E. Ross. Screenplay: Jo Pagano, based on his novel. Cinematography: Guy Roe. Production design: Perry Ferguson. Film editing: George Amy. Music: Hugo Friedhofer. 

Climaxing in a vividly filmed and edited scene of a mob storming a city jail, Try and Get Me! is the second film based on a lynching that took place in San Jose in 1933. The first, Fritz Lang's Fury (1936), starring Spencer Tracy and Sylvia Sidney, is better-known and better acted, but Cy Enfield's version of the story, scripted by Jo Pagano from his fictionalized account of the incident, is equally gripping. What it lacks in its cast, it makes up for in sheer momentum. Frank Lovejoy plays Howard Tyler, an out-of-work man with a wife and child, whose desperation at providing for his family causes him to fall for the blandishments of Jerry Slocum, a sleazy thief played (not to say overplayed) by Lloyd Bridges. When Jerry murders a rich man's son during a kidnapping plot, Howard is trapped in a situation beyond his control. Public opinion is stirred up by newspaper columnist Gil Stanton (the bland and miscast Richard Carlson), who succumbs to his editor's sensationalism. The movie is mostly uncompromising in its hard-nosed treatment of the story, with only a few lapses into sentimentality in its portrayal of Howard's wife and son. Under the original title, The Sound of Fury (a probably intentional echo of Lang's film as well as William Faulkner's The Sound and the Fury), it was a box office failure, leading producer Robert Stillman to re-release it under the title Try and Get Me! But it failed to find an audience until it was restored by the Film Noir Foundation in 2020.

[schlock-luster-video]

On January 5, 1962 Mysterious Island debuted in Finland.

[statesofexception]

Cast — Zulu singing vs "Men of Harlech" from Zulu (Cy Endfield, 1964)

[twittercomfrnklin2001-blog]

The Argyle Secrets

To the casual viewer, Cy Endfield’s THE ARGYLE SECRETS (1948, TCM) seems a decidedly cut-rate production. Shot for just $125,000, it features a lot of action off-screen, with a copious narration that reveals its origins as a radio play (by Endfield). Enterprising newspaperman William Gargan and femme fatale Marjorie Lord, a bush-league Bogie and Bacall if ever there was one, are on the trail of an album containing information on American Nazi collaborators and war criminals smuggled into the country by the government. For all the threadbare production values, however, it has a certain charm. There’s some good tough dialogue and an impressive tracking shot over a waterfront miniature that looks a lot more expensive than it was. There are also two great scenes. On the run from criminals out to get the album, Gargan stumbles through the apartment window of a Jewish family who used to be neighbors. There’s a lot of warmth in the scene, with legendary acting teacher Mary Tarcai as the mother who welcomes him, despite his unconventional entrance. When her son (Robert Kellard) comes home with a newspaper featuring Gargan’s picture on the front page (he’s a murder suspect), Endfield builds up a good deal of suspense as Gargan tries unobtrusively to keep him from opening the paper. Later, Gargan has a showdown with the crooks in a shadowy waterfront store that’s got some great chiaroscuro lighting by cinematographer Macklyn Stengler. UCLA restored the film from a British print for as much as it originally cost to make it, but it’s well worth the effort. Endfield would go on to make some other notable low-budget noirs before the blacklist sent him to England, where he later made the epic ZULU (1964).

[roseshavethoughts]

Zulu (1964)

My ★★★★ review of Zulu (1964) #FilmReview #MovieReview #Cinema

Zulu (1964) Synopsis – Outnumbered British soldiers do battle with Zulu warriors at Rorke’s Drift – Zulu Director – Cy Endfield Starring –Michael Caine, Stanley Baker, Jack Hawkins, Ulla Jacobsson Genre – War | Drama | Historical Released – 1964 ⭐⭐⭐⭐ Rating: 4 out of 5. For fans of – The Dam Busters, Charge of the Light Brigade, Lawrence of Arabia IMDB Zulu is one of the greatest…

[365filmsbyauroranocte]

The Sound of Fury (Cy Endfield, 1950)

[videoreligion]

De Sade (1969)

[letterboxd-loggd]

The Argyle Secrets (1948) Cy Endfield

December 20th 2022

[dixvinsblog]

Le cinéma de Philippe Guillaume : " L'île mystérieuse " de Cy Endfield 1961

“L’île mystérieuse”, le “Robinson Crusoë” de Jules Verne est un roman d’aventures où les rares péripéties demandent un ou deux ingrédients d’importation ainsi qu’une concentration de l’intrigue pour captiver le spectateur de cinéma.                                     Cette production de Charles H.Schneer implique, bien sûr, la présence au générique du grand maître des effets spéciaux, Ray…

[gatutor]

Jill Ireland-Stanley Baker "Ruta infernal" (Hell drivers) 1957, de Cy Endfield.

[eretzyisrael]

Guardian's review of Oct. 7 documentary sparks outrage over 'demonizing Gazans' comments

by Miri Weissman

The Guardian has found itself at the center of a heated controversy following its review of "One Day in October," a documentary focusing on the October 7 Hamas attacks on Kibbutz Be'eri. The review, published recently, has sparked significant backlash across social media platforms, particularly on X.

The Guardian's review, written by Stuart Jeffries, described the film as "composed of heartbreaking survivor interviews along with disturbing footage from phones and security cameras. Camera footage from a 4x4, time-stamped 8:01 AM, includes audio from hysterically excited unseen terrorists as they race to join the killing spree. 'It's time for the nation of Jihad! … I swear to God! … We'll slaughter them! … I wanna livestream this! We've got to show the folks back home!' A comrade assures the speaker they already are: Hamas massacred Israelis for viewers in real time."

It suggested that while the documentary might help explain Israel's actions in Gaza and Lebanon, it fails to provide insight into Hamas's motives for the attacks. "If you want insight into why Israel is doing what it is doing in Gaza and Lebanon, this film may help. If you want to understand why Hamas murdered civilians, though, One Day in October won't help."

"Indeed, it does a good job of demonizing Gazans, first as testosterone-crazed Hamas killers, later as shameless civilian looters, asset-stripping the kibbutz while bodies lay in the street and the terrified living hid," Jeffries continued.

Jeffries compared the documentary to Cy Endfield's "Zulu," suggesting that "One Day in October," if unwittingly, "follows the same pattern" of othering. He argued that "All our sympathies are with relatable Israelis" while "Hamas terrorists are a generalized menace on CCTV, their motives beyond One Day in October's remit."

The review concluded by juxtaposing the death toll: "101 kibbutzniks and 31 soldiers were killed at Be'eri on 7 October. Of 32 hostages seized, five were murdered, while three remain in Gaza. So far, since 7 October, 40,000 Gazans have died."

The reviewer's critique of the film has led to a wave of criticism on social media. One X user responded, "Dear @guardian, if you wanted to see Gazans painted as peace-loving citizens, then perhaps a documentary about the massacre of Kibbutz Be'eri on Oct 7th wasn't for you. Sorry if you feel that portraying those who murdered, stole and celebrated the deadliest day for Jews since the Holocaust as 'murderers and looters' is an inaccurate portrayal."