#john clifford

[dance-world]

New York City Ballet dancers John Clifford & Brian Pitts - photo by Jack Mitchell - 1970

[cyndeliat]

Kay Mazzo and John Clifford in A Midsummer Night’s Dream, 1970 ph. Martha Swope

[noirgasmweetheart]

Casablanca: the Dance

Ugarte

With no information on the cast, and such shoddy video quality, I can only infer Ugarte's character from context clues. The first two images come from this (poor quality) promo:

In an interesting twist, Rick is the more vampiric-looking one, while Ugarte is just a nervous little mortal. And I adore how they put him in a suit that's at least a size too big, just like the movie did.

...I guess this cop's dance moves distract Ugarte long enough for them to grab him?

I think this is also Ugarte, since he's shown running suspiciously while the announcement about the murdered couriers plays. He looks like the guy who was handing something to Rick and getting arrested, and his posture and mannerisms say that this is our beloved cutrate parasite.

And this cold-hearted bitch sells him out!

The scene in question is in the video below:

[adamwatchesmovies]

Carnival of Souls (1962)

Few films demonstrate that “less is more” better than Carnival of Souls. Consistently eerie and surprisingly frightening, this little horror film was made on a shoestring budget but drips with atmosphere thanks to simple but effective techniques. You’d never guess that it was Herk Harvey’s directorial debut. What's even more shocking is that this was the only film he ever directed.

After miraculously surviving a car accident, Mary Henry (Candace Hilligoss) moves to Salt Lake City to work as a church organist - and get away from her home. There, she has persistent visions of a ghoulish man (played by director Herk Harvey). Try as she might, she is unable to relate with the locals and cannot shake the strange feeling that something in the nearby abandoned pavilion needs to be investigated.

Anyone who has seen Night of the Living Dead will immediately recognize this film’s influence on it. The ghastly man with white skin and dark circles around his eyes is the progenitor of George A. Romero’s flesh-eating ghouls. The dream-like story had an undeniable influence on David Lynch. There are sure to be others who will cite it as a game-changer.

The atmosphere is amplified by the organ score and black-and-white cinematography. Everything we see just… doesn’t feel right. It’s so eerie you’re never sure what to expect next, even if you can foresee the film’s ending. I did not but even if you do, this story is so strange it grips you. Any other movie would spell what’s going on clearly and that would rob what we see of all suspense and unease. By leaving so much to the imagination even at the end, Carnival of Souls infects you with an anxiety you just can’t shake.

This delightfully sophisticated film preys on several fears. The man Mary keeps seeing - the first of many - must be some kind of ghost or lost soul. He eerily resembles a figure in one of the church’s stained glass windows, making you wonder if he isn’t an angel of death coming after “The one that got away”. Whatever he is, it can’t be good, particularly not for Mary, who sees the church as a place where she earns her pay and nothing else. How terrifying it must be for someone who doesn’t believe in anything to suddenly discover that there is a life beyond ours.

Carnival of Souls also examines the fear of the unknown and of being alone, but not in the way you expect. Whatever The Man is or represents, Mary doesn’t want anything to do with him. In a desperate attempt to avoid being alone, she decides to play nice with John (Sidney Berger), the other lodger in the small hotel in which she’s staying. It doesn’t take long for us to see that John is a jerk; one of these overgrown frat boys who will jump onto any opportunity to have a drink and isn’t inclined to take “no” for an answer. The thing is, in a new city where she doesn’t know anyone, he’s the only protection Mary has from the sinister force stalking her. They say the devil you know is better than the one you don’t, but it’s hard to agree when your safety net is this guy.

Because no one can see what Mary sees, she worries that her sanity is slipping away. If there’s one thing worse than going crazy, it’s everyone around you THINKING you’re crazy. What’s particularly striking is that the effects used to bring The Man and his fellow ghouls to unlife are so simple yet so effective. They look just like us except for a few small details, just enough for you to wander close before realizing something is wrong. Once they start moving, there’s no mistaking them for normal people.

Though the film stands on its own, Carnival of Souls becomes much more impressive when you realize it was made for about $33,000. In terms of a movie, that’s nothing - even for 1962. While the illusions on display would be considered crude by today’s standards (though to me they seemed quite convincing and I could not figure out how they did them “back in the day” with so little money) and the performances range from decent to pretty good, what makes this film a triumph is how scary it is. I can just imagine a child watching this, late at night, all alone and having nightmares for months. I'm singling out children because Carnival of Souls would be a great pick to watch on Halloween night with the family; there's no blood, nudity or any other material that might make you want to cover a little one’s eyes… except for those terrifying ghouls. (Extended cut, November 19, 2021)

[3416]

oh my GODD LOOK AT THEM ALL........ HELP ME HELP ME.. it's a REUNION

[2mylovebird]

MY LEAFIES

[freddiemercurylegendabovelegends]

September 18th, 1976 - Queen Story!

Queen played a free concert in Hyde Park, London, UK - To Thank their fans!

👉 It is estimated that between 150 and 200 thousand people were present in Hyde Park, a record still difficult to overcome for that location

👉 A wistful-looking Freddie Mercury back stage in Hyde Park, 1976

📸 Photo by © Danny Clifford

🔸Danny recalls: 'I had been wandering around backstage... and there he was, in a white boiler suit, being handed a microphone. With minutes to go before the start of the show, I playfully asked, “Who are you?” “Freddie.” He replied cheerfully, seeming to appreciate the cheek of my question. I asked him if I could take a few photos. “Of course you can, dear boy!” was his reply. With a portly stage assistant to my left giving him last-minute instructions, Freddie struck a couple of poses for me, looking like Count Dracula. Surprisingly relaxed, I thought, considering he was due on stage any minute. “Off anywhere nice?” I asked him. He just smiled and pointed upwards to the hole above his head. With that, the sound of Brian May’s guitar rang out and the platform Freddie had been standing on started to levitate, rising straight up and onto the stage for the start of their show. I made my way back to the front of the crowd at speed to capture Freddie, now stripped to a white leotard, in all his camp, charismatic glory. This would be the beginning of my working relationship with Queen'

Source: ↘️ https://www.dailymail.co.uk/news/article-6855737/Freddie-Mercury-Rolling-Stones-snapped-Danny-Clifford.html

[haveyouseenthisseries-poll]

[reeftide]

yeah,

[supermikeyworks]

Here's a little fun. These two characters' voice actors were father and son. Mind blown.

[pxrxmoore]

happy fuckin thursday 🫡

[wiiildflowerrr]

@Calum5SOS: Excited for the movie to come out. Look out for me. #pantene

5 December 2015

[cyndeliat]

John Clifford and Edward Villella in A Midsummer Night’s Dream, 1970 ph. Martha Swope

[noirgasmweetheart]

Casablanca: the Dance

Sam

[addictivecontradiction]

Notorious, 1946

[boxwright]

Creedence Clearwater Revival - John Fogerty