#robot mitchum

[canmom]

Animation Night 144 - Gundam Thunderbolt

144 is 12 squared. Squares are kinda robot like. Ergo we’re watching Gundam. Impeccable logic I’m sure you’ll agree.

Check it out, it’s an Itano circus.

Gundam! Over the course of Animation Night I’ve gone from being someone who doesn’t know the first thing about Gundam (back when I wrote Animation Night 88 on the history of robot anime and Animation Night 94 on Tomino’s “New Anime Century” and ‘anti-war’ fiction) to someone who is developing a fondness for its particular brand of scifi melodrama.

Gundam Thunderbolt is set in the core Universal Century timeline, but it approaches it with a mind towards changing and dismantling; the author of the manga, Yasuo Ohtagaki, even spoke of ‘always trying to identify which parts of Gundam must be destroyed’ - destruction and subversion being what he considers the original spirit of Gundam.

Gundam Thunderbolt thus begins in a time period concurrent with the original Gundam TV series, with the Federation and Zeon battling on Earth in a ‘Thunderbolt Sector’ littered with space debris. On the Federation’s side are survivors of one of the destroyed space colonies wishing revenge; on Zeon’s is a special unit of amputee pilots. Before long, however, the conflict develops a third faction with the Buddhist radicals in the ‘South Seas Alliance’, which declares its secession from the Federation.

But it’s Gundam, so the focus of the story is on a handful of characters caught in the middle of it. On the Federation side we have Io Fleming, an ensign with a passion for music, and his lover Claudia Peer, a spaceship captain deeply depressed at the long war. On Zeon’s side comes Daryl Lorenz, double leg amputee, and Karla Mitchum, a caring scientist specialising in prosthetics. Early on in the conflict, Io causes Daryl to lose yet another limb - but rather than pack up and leave the war, he volunteers to undergo a further amputation for full integration into a brain controlled Gundam.

The manga is still ongoing, but the first arc was written with the intent of being adapted into a movie, and indeed Sunrise did just that. The first form of Thunderbolt was an eight-episode ONA series released on the web from 2015-2017. Concurrently, this was recut as a pair of compilation movies, titled December Sky and Bandit Flower.

(look it has girls and robots!)

Gundam has gone through many hands since Tomino’s day, and the principle factions of the Universal Century setting have been interpreted in a number of ways - something that anituber Pyramid Inu discusses nicely here. At the time Ohtagaki was writing in the mid 2010s, the mainstream Gundam airing was the Unicorn series (OVAs and then a TV show), written by Harutoshi Fukui, a writer who began his career writing Tom Clancy-like stories with a nationalist bent. He toned this down when he took over Gundam, describing himself as a ‘JJ Abrams’ type figure; nevertheless his Gundam presented a heavy-handedly war-on-terror inspired story in which the Federation is cast as America fighting Muslim militants.

Ohtagaki’s vision also emphasises religion, but instead puts the focus on a more familiar Buddhism, taking aim at what he sees as unreasonable suspicion towards religion in modern Japan (source)...

If you depict people who believe in Buddhism in a manga, people call that a cult. He points out that that way of thinking is already biased and feels that it points out people’s ignorance towards religion. He laments that if you look at it from a global perspective or even consider the history of humanity, the lack of religious beliefs among Japanese people today is quite unusual. He says that it’s a significant problem for Japan today to accept and tolerate other people’s beliefs, so much so that just because someone appears chanting sutras, they’re branded a cult.

He says that assumptions like that are far more dangerous. He’s not out to portray the South Seas Alliance as an ally of justice, nor their religious beliefs as righteous, it’s just that Japanese people close their eyes and try not to see them. He’s illustrating all this because he wants people to realize that it’s strange to think there is no such thing, that it’s more than a little unnatural that there were no religions in the world of Gundam in the first place.

Ohtagaki aimed to sidestep Gundam conventions in other ways: an adult protagonist, a stronger emphasis on chain of command. On the matter of ‘anti-war’, he takes a more fatalistic, small-scale stance:

In anime, the side the protagonist is on always ends up looking like the side that’s in the right. But both the Federation and Zeon are just countries, so it shouldn’t be about wrong and right. I don’t think there’s any point in inserting your ideologies in a manga. For people with normal lives, nations and wars are the ultimate kind of violence, and I want to draw the best ways to handle being in a war in order to survive.

So I’m not anti-war either. Wars will continue to happen, and I don’t think we’ll ever be rid of them, so the most important thing is to know how to handle them. But there aren’t that many people in Japan who think about things in that way. It’s correct to say that you’re anti-war or that there shouldn’t be war, so if you look at things as though war is inevitable, people think that you’re pro-war and you’re a bad person. But I think that’s a very narrow way of thinking, and it actually shows a lack of historical knowledge.

What do I think of that, eh? Right now, mostly ‘hmm’. Ohtagaki is correct to recognise that ‘will wars happen’ and ‘should wars happen’ are different questions; there’s also the question of ‘if war shouldn’t happen, how can it be prevented’. To say ‘war is inevitable’, even if is true, is not to commit to any particular war being inevitable. But it’s also true that there’s no need for all fiction about wars to try and take them on!

I can’t entirely comment on this until I’ve seen the movies, so put a pin there; but given the morass of ‘what does it mean to make true anti-war fiction’, deciding to sidestep the issue entirely is perhaps an understandable move. I’ll be curious to see what focus this approach gives the films; if previous Gundams have approached ‘anti-war narrative’ through focusing on the futility of going to war and the hope for some kind of new-age transcendance (original Gundam), the tragedy of civilians caught up in the middle (War in the Pocket), or the story of a soldier who tries to avoid killing (08th MS Team), what will a story that’s more about just trying to survive look like?

Anyway, so far we’ve focused on the writer and the manga. Let’s actually talk about animation.

Thunderbolt was animated at Sunrise Studio 1, known as one of the bastions of the gradually dying art of 2D mecha animation, as well as character animation with an impressive sense of space. More recently, they impressed everyone with Gundam Hathaway (Animation Night 124).

So Gundam Thunderbolt abounds with complex shouts and detailed designs moving through space, leaning on the talents of e.g. Nobuhiko Genma and Kazuki Ito who animated this incredible POV shot, or Shingo Tamagawa of Puparia fame who provides this splendid character animation. In the late 2010s, we are firmly in the digital compositing era, and glows, flares, gradients and high contrast backgrounds abound, but even though this isn’t entirely to my taste I can’t deny just how splendid the underlying drawings are. The character designs are on the realist end of the scale, and they float around with the classic Sunrise sensitivity to 3D space.

Mecha destruction is given a particularly impressive level of flair, with beam swords and lasers slicing up robots and splattering hot metal all over to the point that it starts to feel like a gory samurai movie. All in all it looks intense and compelling: the product of decades of development by some of the best in their craft. It manages to retain clarity of very complex designs even as they move around wildly. It’s even got some cool oldschool lighting effects...

A question that may be asked is, if mecha animation is mostly about animating complex, rigid 3D shapes, why not do it on the computer, which excels at exactly that? One answer is that there’s a certain quality of movement that comes from planning everything out in 2D. Low framerates can be used to create a sense of weight and avoid the ‘toyetic’ feeling that comes from overly-smooth CG without considerable effort put in to avoiding it.

Another is that 2D gives you a different approach to composition, which allows you to subtly exaggerate and stylise or just frame things in a way that puts the layout in the camera first without constraint - the reason that Houseki no Kuni planned out its action scenes in great detail in 2D before animating them in 3D. Then there’s just the ‘feeling’ of 2D, the slight errors and roughness giving it a more lively, organic feeling. Finally we might add the effect of limitations and constraints as structure.

That said, the ‘2D feel’ of a digitally composited series like Thunderbolt is not the same ‘2D feel’ as a 90s OVA like 08th MS Team. Working digitally makes some aspects of the workflow easier - you can easily preview a motion and scroll through the timeline - which makes some of these extremely complex shots possible. But conversely it is associated with faraway objects becoming indistinct blobs - this is I believe what is referred to as ‘douga melt’. Thunderbolt in all these clips looks very ‘2010s’. Which makes me wonder what the characteristic look of 2020s anime will turn out to be...

I think that will suffice for an introduction/study log/whatever these posts are! Animation Night 144 will begin at 8pm UK time, about two hours from this post! Movies will start at about 8:20pm. It will be at twitch.tv/canmom! Hope to see you there~

[archive-archives]

NEW 2021 1080p HD Masters! THUNDARR THE BARBARIAN: THE COMPLETE SERIES

Run Time             462:00 Subtitles               English SDH Audio Specs    MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.33:1, 4 X 3 Product Color    COLOR Disc Configuration           BD 50, BD 25 Special Feature: "Lords of Light: The Story of Thundarr the Barbarian" featurette.

Civilization is cast into ruin when a runaway planet speeds between the Earth and the Moon, unleashing cosmic destruction. Two thousand years later, Earth is reborn from the ashes with a savage landscape, strange creatures and a primitive sense of justice. But, one man fights to spread peace throughout the land: He is Thundarr the Barbarian, and you can own all 21 exciting adventures starring Thundarr and his companions Ookla the Mok and sorceress Princess Ariel. Using their strength, courage and wits, plus Thundarr’s magical Sunsword, they journey from village to village, liberating slaves and battling all kinds of beasts, mutants, wizards, thieves and robots. The future of Earth may be shrouded in darkness, but Thundarr the Barbarian bursts into action as a shining symbol of hope for humanity.

NEW 2021 1080p HD Master Sourced from 4K scan of Original Nitrate Camera Negative! ISLE OF THE DEAD (1945)

Run Time             72:00 Subtitles               English SDH Audio Specs    DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.37:1, 4 X 3 Product Color    BLACK & WHITE Disc Configuration           BD 25 Special Features: Commentary by Screenwriter/Film Historian Dr. Steve Haberman; Original Theatrical Trailer with Spanish Subtitles

Once you visit the Isle of the Dead, there’s no hope of returning to the land of the living. A small island off the coast of Greece holds a secret so dreadful that once you step onto its soil you must remain there forever. General Pherides (master of horror Boris Karloff) is one such a visitor. Going to the island to honor the grave of his late wife, Pherides discovers that it’s held in the grip of a terrifying plague – a sickness that enters the victim’s mind and drives them insane! Pherides leads the fight against the plague, but then falls prey to it himself. In his delirium, he believes that a woman named Thea (Ellen Drew) is a vorvolaka – a vampire responsible for the deaths. Insanity runs rampant, and grave robbery, premature burial and ghastly vampires are the unspeakable horrors that await on the Isle of the Dead.

NEW 2021 1080p HD Master Sourced from 4K scan of original nitrate Technicolor negatives! THE GREAT CARUSO (1951) Run Time             109:00 Subtitles               English SDH Audio Specs        MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.37:1, 4 X 3 Product Color    COLOR Disc Configuration           BD 50 Special Features: Documentary "Mario Lanza: Singing to the Gods"; Theatrical Trailer (HD)

Bravo, Enrico! Bravo, Mario! Renowned tenor Mario Lanza portrays his longtime singing idol Enrico Caruso in the crowd-pleasing musical that was 1951’s #4 box-office hit. Suggested by Dorothy Caruso’s biography of her husband, The Great Caruso rings out with aural pleasures (27 musical selections) and shines with the grandeur of a life lovingly refracted through the Hollywood biopic lens. The music (by Puccini, Donizetti, Verdi and more) emphasizes works most closely associated with Caruso. The story, spanning Caruso’s Naples boyhood to worldwide acclaim and tragedy-stricken final performance, touches on the down-to-earth character traits that spread the singer’s fame beyond the black-tie society of Metropolitan Opera connoisseurs. Nominated for three 1951 Academy Awards®, the movie won for Best Sound Recording.

NEW 2021 1080p HD Master Sourced from 4k Scan of Original Camera Negative! CROSSFIRE (1947)

Run Time             85:00 Subtitles               English SDH Audio Specs    MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.37:1, 4 X 3 Product Color    BLACK & WHITE Disc Configuration           BD 50 Special Features: Commentary by Film Historians Alain Silver and James Ursini, with Audio Interview Excerpts of Director Edward Dmytryk; Featurette "Crossfire: Hate Is Like A Gun"

Years of police work have taught Detective Finlay that where there’s crime, there’s motive. But he finds no usual motive when investigating a man’s death by beating. The man was killed because he was a Jew. “Hate,” Finlay says, “is like a gun.” Robert Young portrays Finlay, Robert Mitchum is a laconic army sergeant assisting in the investigation of G.I. suspects, and Robert Ryan plays a vicious bigot in a landmark film noir nominated for five Academy Awards®, including Best Picture. Edward Dmytryk (Murder, My Sweet) directs, draping the genre’s stylistic backdrops and flourishes around a topic rarely before explored in films: anti-Semitism in the U.S. Here, Hollywood takes aim at injustice...and catches bigotry in a Crossfire.

NEW 2021 1080p HD Master Sourced from 4K scan of preservation separation masters! DAMN YANKEES (1958) Run Time             111:00 Subtitles               English SDH Audio Specs        DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.85:1, 16 X 9 WIDESCREEN Product Color    COLOR Disc Configuration           BD 50 Special Feature: Theatrical Trailer (HD), International Theatrical Trailer (HD)

Step up to the plate for Damn Yankees, the rousing movie of the 1,019-performance Broadway grand slam that imports nearly all the original New York lineup, including Tony® Award-winning stars Gwen Verdon as luscious vamp Lola and Ray Walston as her slyly Satanic boss Applegate. Hollywood’s Tab Hunter suits up as potential lost soul and Washington Senators slugger Joe Hardy, revealing a freewheeling fun side unseen in previous roles. The Pajama Game duo of Richard Adler and Jerry Ross serve up an out-of-the-park home-run score, including “Whatever Lola Wants” and “Heart.

NEW 2021 1080p Masters Sourced from 4K scan of Original Camera Negative! THE BERMUDA DEPTHS (1978)

Run Time             97:00 Subtitles               English SDH Audio Specs    DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.85:1, 16 X 9 Widescreen (International Theatrical presentation),  1.33:1, 4 X 3 (U.S. Television presentation) Product Color    COLOR Disc Configuration           BD 50 Special Features: Includes Both the 1.33:1 US Broadcast Television Version and the 1.85:1 International Theatrical Version; New Audio Commentary by Author/ Film Historian Amanda Reyes (Are You in the House Alone? A TV Movie Compendium: 1964-1999) and Kindertrauma co-founder Lance Vaughan.

What secret lurks 20,000 feet below the waves in the paranormal realm called the Bermuda Triangle? That’s the question a scientist (Burl Ives), his student (Carl Weathers) and a young man (Leigh McCloskey) haunted by nightmarish memories of his Bermuda childhood ask themselves. The answer involves a beauty (Connie Sellecca) who has sold her soul for eternal youth and a giant sea turtle that leaves death in its wake. Eerie and hypnotic, The Bermuda Depths was produced by Arthur Rankin, Jr. and Jules Bass (The Year Without a Santa Claus), who meld their imaginative fantasy style with the live-action horror genre.

[thearabkhaleesi]

REVIEW: WHAT A WAY TO GO! (1964)

What A Way To Go! (1964) follows a four-time widow who talks to a psychiatrist about her four husbands, each of whom died & left her with enormous wealth💸 - I was very surprised when I came across this film because not only does it star one of my favorite actors (Gene Kelly), it stars Shirley Maclaine, Paul Newman, Dean Martin, AND Dick Van Dyke too? I found myself thinking “what is this film & how come I’ve never heard of it?” So I decided to watch it the other day & boy am I glad I did. - Based on the premise of the film, a part of me expected it to be an ahead of its time feminist movie about a woman who marries for money & kills her husbands, & while I was slightly disappointed to find out that that isn’t the case, I think I enjoyed it even more than I would have if it were. The premise remains seemingly over-the-top & unrealistic, & it is - but instead of trying to shy away from that, the screenwriters & director just ran with it! It’s crazy, camp, over-the-top, exaggerated, ridiculous, & isn’t meant to be taken seriously, which all might seem like insults, but it’s also self aware (at least for when it was made) - & I LOVED that. In addition to the incredible famous actors, there’s an artistic monkey, golden robots, glass-shaped beds, a murdering bull, a pink house with a pink Rolls-Royce, & extravagant gowns, - just to name a few campy, crazy things this film has to offer. Gene Kelly even plays a somewhat parodical version of himself & his character from Singin in the Rain while calling out other leading male actors from the time: Frank Sinatra, Marlon Brando, & Cary Grant! The entire film pokes fun at itself & the more popular, mainstream films & stars of the 50s & 60s, acting as a sort of early parody of Old Hollywood, which was a very creative & original idea considering the time it was made. It might seem like it’s trying to do too much & it might not be for everyone, but I wish they had made it even crazier. It’s cheeky, colorful, different, lively, loads of fun, & made for a delightful watch/movie night, despite its flaws & silliness. - As Shirley Maclaine’s character walks us through her life (through flashbacks), she compares each relationship & stage of her life to different types of films - silent pictures, French New Wave films, glamorous Hollywood movies, & musicals - a detail I absolutely loved that made each story stand out with its own aesthetic. Every actor in the film was great, Shirley Maclaine is as charming as ever, I loved seeing Paul Newman in a lighter role, & my heart is filled with joy every time I see Gene Kelly. - If anyone reading this is a fan of fashion or costume design, especially from that era of Hollywood, I strongly advise you to give this film a go - the legendary Edith Head goes all out, particularly during the segment with Robert Mitchum, where there are more beautiful dresses in 10 minutes than in any movie from the last 10 years at least. - However, I know my enjoyment of this film is extremely subjective, especially due to my love for Gene Kelly. If his segment were taken out & or he was replaced with another actor, I wouldn’t have enjoyed it as much as I did. Still, despite being far from perfect, it was extremely fun as it is. If you’re intrigued by anything I’ve said, I definitely recommend it. It’s available on iTunes & YouTube. - 7.6-8/10⭐️

[dea-certe]

Rules: Tag 9 people who you want to know better/catch up with and then answer these questions. I was tagged by @hlmoorewrites (BTW, I can't wait to read your books)

3 Ships: Rory and Jess from Gilmore Girls. Look, I get the love for Dean but he was never smart enough for her and broke her heart three times; once because she didn't say "I love you" after 3 months and needed some time to sort through everything (kind of like she always does), once because of her feelings for Jess (and okay, I cant fault him for that) but the last time was because of his inferiority issues and I can't stand that. And teice it was in front of a ton of people! He wasn't a good boyfriend. And I hate that Lorelai thought he was because he helped her out so much. I hate that Rpry never saw him for what he was. I mean, even the whole fight between him and Jess was started by Dean. And his whole "I don't have to be nice anymore because I'm not with her but you can't do shit because you are" speech to Jess just made me want to watch Jess hit him. And Logan sucks in ways I don't have to explain. But Jess......he loved her. And yes, he hurt her while he was growing up, but he got better and he apologized and he stood there, beside her, as her friend every time. He helped her get her life back on track after Mitchum destroyed her. Hes got the same love of books, the same taste in music, the same quiet resolve, and he's just perfect for her.

Harry Dresden and Karrin Murphy and I will never forgive Jim Butcher for what he did. Ever.

Eliot Spencer and Damien Moreau from Leverage. Not for any good reasons. Only for the fact that they would be a great destructive force. And I really enjoy the idea of those two tearing apart the world together. I also get a small thrill from the thought of Eliot clawing his way out of hell. Its fun.

Last Song I listened To: Valerie by Ghost of the Robot. James Marsters can sing

Last Movie I watched: wow, you picked the best moment because I haven't wanted to watch anything but movies post gilmore girls. The last one was Riddick, as I ended that trilogy and following on the heels of the Fast and Furious Franchise (except parts 2-4, I couldn't care less for them, and if you're noticing a running theme here, its Vin Deisel. One of my favorite actors because realism be damned is what he does best)

Currently Watching: um......nothing. I just finished Riddick and hadn't gotten around to watching something else. I think I'm gonna re-watch Newsroom by Aaron Sorvino. I'm in the mood for feel good and quick witted.

Currently Reading: Rodham by Curtis Sittenfield, The Last Guardian by Eion Colfer, Harleen the comic book, Minion by L.A Banks and Revan. Im just......bouncing back and forth a lot.

Currently Craving: mental stimulation of a sort. I'm bored but on a mental plane. I wanna do something. Don't know what it is yet.

Tagging: @cattorneyatlaw @ace-feminist @breelandwalker @thevagaries @missmetal910 @catgirl9696 @elizabethpickett @sticksandstonesmaybreakmeblog @random-blog-i-cant-delete @gotmehookedonthekpop and anyone else who feels like it.

[kevrocksicehouse]

Guillermo del Toro worked in the dark heart of fairy tales. A few other movies that told fables for adults.

Night of the Hunter. D: Charles Laughton (1955). Two orphaned children, fleeing an evil stepfather (Robert Mitchum) and are sheltered by the deep southern equivalent of a good witch (Lillian Gish). In his only directorial effort, Laughton turns the West Virginia landscape into an enchanted forest.

Freeway. D: Matthew Bright (1996). Reese Witherspoon plays a variant of Little Red Riding Hood in this art-exploitation movie about a white-trash girl who gets targeted by a serial killer (Kiefer Sutherland as “the big bad wolf”) on her way to live with her grandmother. Witherspoon upends the whole “girl in peril” trope of the story and takes things into her own hands. It’s as if John Waters wasn’t as campy (and was much more violent).

A.I. Artificial Intelligence D: Steven Spielberg (2001). A child-robot (Haley Joel Osment) programmed to feel love, is acquired, then discarded by a family and sets off on a journey to find “the blue fairy” who will turn him into a real boy. The script was by Stanley Kubrick and the movie is a fascinating meld of his chilly, antiseptic vision with Spielberg’s more sentimental one.

The Fall. D: Tarsem Singh (2006). A depressed, bedridden stuntman recovering from a bad jump (and a love affair gone bad) befriends a young girl and tells her a story about five heroes (one of whom is Charles Darwin) fighting an evil king. We soon realize he is manipulating her into helping him commit suicide, but sometimes stories take on a life of their own. A too-little-seen exploration of the power of fiction.

Beasts of the Southern Wild. D: Benh Zeitlin (2012). Hushpuppy (Quvenzhane Wallis) who lives in a Louisiana Bayou village called “The Bathtub, weathers storms and ecological destruction, and endures the slow death of her father while awaiting the approach of “aurochs,” Giant Beasts released by the melting of the ice caps, in this ecologically-minded examination of how children turn their environment into mythology.

[thealmightyemprex]

10 favorite 1950′s movies/reccomendeitions

So I figured,a lot of people  with the quarantine are bored and looking for new stuff to watch ,so I wanted to give my reccomendations for some classic films people could check out .....Thing is as I compiled the list I realized a majority of them are from the 50′s .so decided why not make it all the 50′s .This list is in no particular order

Night of the Hunter :This is my second favorite movie of all time  .The story of two kids  who know the location of some stolen money ,and thus are the targets of  the murderous and  greedy preacher Harry Powell.The thing is while the main kid John can see through Powell’s facade ,he is such a charming  guy that all the adults ignore  this.IT’s a scary movie but I hesitate to call it  a horror movie  ,it’s more like a fairy tale ,with Lilian Gish even playing a mother goose type figure and Powell certainly evokes the big bad wolf (He’s even compared to a wolf in the movie ).I will also say Robert Mitchum’s  Harry Powell is one of the most terrifying villains I have ever seen

20′000 LEagues Under the Sea :If you dig steampunk you HAVE to watch this movie .A scientist(Paul Lukas),his assistant (Peter Lorre), and a harpooner (Kirk Douglas) are taken aboard a submarine by Captain Nemo(James Mason)....And from there you get some great adventure,a great cast,an itriguing anti villain,and an epic battle with a squid.This maybe my favorite Disney movie 

Them!:This is a movie about giant ants that actually is terrifying .It treats the subject matter seriously ,the ants dont look bad ,the  main cast are all excellent (Including James Whitmore from the Shawshank Redemption ) and theres are a lot of fun supporting characters(Including a tiny role for Spock himself ,Leonard Nimoy)

12 Angry Men:The life of a young man hangs in the balance,as a jury  is convinced he murdered his father ,but one man (Henry Fonda) is convinced there might be some doubt .This movie is a battle of words ,all in one room and with characters whose names we dont even know ....And yet it is never dull,with great direction by Sidney Lumet and magnificent acting by not only Henry Fonda but Lee J Cobb ,EG Marshall,John Fiedler ,Jack Warden,Martin Balsam,and all the rest of the cast 

The African Queen :Taking place at the start of  WWI,a missionary(KPlayed by one of my favorite actresses Kathryn Hepburn) and a hard drinking riverboat captain (Played by one of my favorite actors Humphrey Bogart ) team up  to sink a  German ship .What we get is a romantic adventure film that is basically Han Solo and Leia the movie  .

Gojira :A  tale of nuclear  destruction and the responsibility of people who create such weapons ,covered in the skin of a monster movie  .This is a horror film in its truest sense

High Noon:I will admit while I love western films....Most of the westerns I love are from the 60′s onward,but this is one of the earlier westerns that I love .Simple story of a bad guy coming to town with vengence on his mind  while our hero (GAry Cooper) tries to get any assistance ....And is constantly let down by his “friends”.A simple yet effective story `

Dial M for Murder:My third favorite Hitchcock film(Behind Psycho and Rope).Basically a man( Ray Milland)  plans on getting someone to murder his wife(Played by Grace Kelly) and that is ALL I am saying about the plot ,cause the twist and turns are what makes this fun as well as Ray Milland as one of the most charming villains EVER 

Forbidden Planet:A retelling of Shakespeares the Tempest ....But in SPAAAAAAAAAAAAAACE.This is one of the first movies to be set on a planet far from Earth ,this film is basically a prototype for Star  Trek ,has a daramtic leading performance by a young Leslie Nielsen of Airplane,Scary Movie and Naked Gun fame ,one of the most iconic movie robots with Robbie and a unique monster 

Throne of Blood :Yet another Shakespeare adaptation,this time of  ,Macbeth ,but with Samurai .Honestly it might be weird that I chose this over say Seven Samurai or Rashomon .....But Seven Samurai is very long and I honestly prefer its remake the Magnificent Seven ,and Rashomon has elements that just havent aged well ,and honestly I just prefer Throne of Blood .It helps  Macbeth  is my favorite Shakespear play ,and that means you get murder intrigue,prophecy ,evil spirits ,all that fun stuff ,great performances by Toshiro  Mifune and Isuzu Yamada and one of the greatest endings in all of cinema

[twittercomfrnklin2001-blog]

TILL THE END OF TIME

Edward Dmytryk’s TILL THE END OF TIME (1946) could have been more than the fanzine version of William Wyler’s THE BEST YEARS OF OUR LIVES (1946). Allan Rivkin’s script (from Niven Busch’s THEY DREAM OF HOME) hits all the right notes in dealing with the plight of returning GIs and even has some scenes that parallel Wyler’s film (the awkward homecoming, the vet with a disability, the fight with post-war homegrown fascists). But where Wyler’s film has a powerful resonance, Dmytryk’s goes for too many easy answers. There are some very good performances, particularly from Robert Mitchum as a cowboy who comes back from the war with a steel plate in his head, Bill Williams as the veteran who’s lost his legs and Selena Royle as his mother (and what a pity that Royle went from being a respected stage actress to MGM’s third string mother figure to ROBOT MONSTER). Dorothy McGuire always felt she was miscast as a sympathetic war widow. She has some good scenes, but there’s one in which she’s called a tramp, and the label is so wildly inappropriate, even by the less-enlightened standards of the 1940s, it seems almost ludicrous and discredits her leading man. Not that he needed any help in that department. In his first leading role, Guy Madison is certainly way better looking than any of the men in THE BEST YEARS OF OUR LIVES, but he can’t hold a candle to them for talent. Both he and Mitchum have minimalist acting styles, but where Mitchum can deliver a blank stare with a 1,000-page novel behind it, Madison’s is backed by a bunch of empty pages. He’s sort of the post-war version of Zac Efron.

[clemsfilmdiary]

The Worst of June 2020

Worst Film: The Fluffer

           Runners Up: Moonwalker, Turner & Hooch

Most Problematic Film: Léon: The Professional (pedophilia, sexualization of 12-year-old Natalie Portman)

          Runners Up: Dredd (police brutality, black villain), Gone with the Wind (confederate nostalgia, whitewashing of slavery), Witness (police brutality, racial profiling)

Worst Performance: Andrew Stevens in 10 to Midnight

           Runners Up: Clint Eastwood in In the Line of Fire, Harrison Ford in Witness, Tom Hanks in Turner & Hooch, Heather Langenkamp in A Nightmare on Elm Street 3: Dream Warriors, Sylvester Stallone, John Lithgow and Janine Turner in Cliffhanger, Lisa Wilcox in A Nightmare on Elm Street 4: The Dream Master and A Nightmare on Elm Street 5: The Dream Child

Most Overrated Film: The Death and Life of Marsha P. Johnson

           Runners Up: Funny Face, A Single Man, Da 5 Bloods, Edward II, The Godfather: Part II, My Beautiful Laundrette, Two for the Road

Most Overrated Performance: Harrison Ford in Witness

           Runners Up: Audrey Hepburn in Two for the Road, Al Pacino in The Godfather: Part II

Worst Screen Couple: Fred Astaire and Audrey Hepburn in Funny Face

           Runner Up: Tom Hanks and Mare Winningham in Turner & Hooch

Most Unsightly Screen Presence: Andrew Tiernan in Edward II

Most Loathsome Screen Presence: Jasper Newell in We Need to Talk About Kevin

           Runners Up: Charles Bronson in 10 to Midnight, Patricia Clarkson in Dogville, Sara Hjort Ditlevsen in Borgman, Karina Fernandez in Another Year, Albert Finney and Audrey Hepburn in Two for the Road, Ezra Miller in We Need to Talk About Kevin, Robert Mitchum in One Shoe Makes It Murder, Natalie Portman and Jean Reno in Léon: The Professional, Mélanie Thierry in Da 5 Bloods, Andrew Tiernan in Edward II

Most Obnoxious Score: The Death and Life of Marsha P. Johnson (Bryce Dessner)

           Runners Up: Da 5 Bloods (Terence Blanchard), A Single Man (Abel Korzeniowski)

Assorted Displeasures:

- Grotesque claymation, demonic robot transformation sequence in Moonwalker

- Air of vapid 60s nostalgia and fashion snobbery in A Single Man

- Anti-porn lesbians, garish post-stonewall expressions of pride in After Stonewall

- Tom Hanks' gratuitous shirtless and underwear scenes in Turner & Hooch

[lynchgirl90]

@IndieWire  @Kyle_MacLachlan is giving one of the best TV performances ever, and he's barely had to move. #TwinPeaks

‘Twin Peaks’: 7 Powerful Moments When Kyle MacLachlan Barely Moves

Kyle MacLachlan is giving one of the best performances in television history, and he's barely had to move a muscle.

Recently, Seth Meyers imagined what his NBC talk show might look like if it was set in The Red Room. Despite the opportunity for easy potshots at the preposterousness of “Twin Peaks,” the two-minute segment played it pretty straight.

The original opening titles were reincorporated along with the 4:3 framing of the original seasons. There were stand-ins for Laura Palmer and The Man From Another Place, while Meyers took over the role of Agent Dale Cooper. For anyone familiar with the series, the video homage was quite fun. For anyone else, it would’ve been quite weird.

But one thing stood out above the rest: Seth Meyers was moving too much.

Now, that’s not a slight against Meyers. His take on Agent Cooper was about as physically restrained as possible, barring any lessons from the robotic on-and-off acting of the “Westworld” cast. But there was still too much movement.

That’s how extraordinary Kyle MacLachlan has been in “Twin Peaks: The Return.”

Despite the timing of the sketch, Meyers was drawing from the scene in Season 1, Episode 3, “Zen, or The Skill to Catch a Killer,” not Agent Cooper from “The Return.” The performances are different. In Season 1, he was a first-time, part-time visitor to The Red Room. In “The Return,” he’s been trapped there for 25 years. The former is a little more expressive; a little more fluid. The latter is stoic and stunted; trapped in a cage barely restraining his true spirit.

As fans have come to accept in Season 3, Dale Cooper is different. He’s a man of many names; almost as many as the characters MacLachlan plays. He’s Dougie Jones to everyone in Las Vegas, but he’s still Dale Cooper to those in the know (viewers, mainly). For a brief time, MacLachlan played the real Dougie Jones, too, and he’s still playing the mysterious Mr. C — Agent Cooper’s doppelgänger and Dougie’s creator — in addition to Dale Cooper.

But above all else, he’s still. MacLachlan has achieved so much by barely moving. Let’s celebrate that, shall we?

1. Dougie is Scared (“Part 3”)

We don’t know much about Dougie, and most of what we do know is bad. Dougie cheats on his wife with a prostitute. Dougie racks up huge gambling debts instead of spending time with his son. Dougie is friends with the insurance dirtbag Anthony Sinclair (Tom Sizemore), but not that good of friends since Tony turned on Dougie at the drop of a hat.

Dougie doesn’t last long, but the empathy viewers have for him in the moment above has quadrupled since it first aired. Dougie is just having an ordinary Tuesday with Jade, banging in an open house near his actual home, when he keels over and disappears. Confused and in pain, Dougie is transported to The Red Room so Mr. C can roam freely. He only sits with MIKE (Phillip Gerard) for a second, but in that brief amount of time, MacLachlan gives Dougie his humanity.

He struggles to turn his head, but it’s unclear whether he’s held captive in his chair or too scared to move. What matters is the fear in his eyes: MacLachlan takes Dougie from wide-eyed confusion to beleaguered anxiety in just a few lines. He never understands why he’s there or what’s happening to him. He’s just a construct, and even when MIKE tells him so, he doesn’t understand. He never realizes he’s not a real person. MacLachlan informs all of that, and gives Dougie his dignity right before he disappears.

2. Cooper Sees Himself (“Part 4”)

There’s a lot to admire about Cooper’s first morning as Dougie Jones, but MacLachlan’s deft blending of absurd comedy and true poignancy is outstanding. After being ushered into the bathroom clutching his crotch, the audience is prepped for an outlandish first foray with the family. Janey-E is impatient. Sonny Jim is amused. Cooper, well, we don’t know what Cooper is feeling.

But he’s feeling something, and that’s what matters. Evoked in a brief, basic motion, the shot above is simple and speaks to the series’ ongoing fascination with duality. MacLachlan moves less than the camera does, staring intently at his own image and then the lack of connection between his hand and its mirror image. Cooper is still searching. He’s still a seeker. He’s still himself, but “Twin Peaks” has changed, and MacLachlan is adapting with it, ever so patiently.

The brief scene shreds the idea that Cooper is now just someone to laugh at; that we’re just waiting for him to “snap out of it” and go back to his old self while he can barely control his bladder and wears a tie over his head. MacLachlan makes the above moment stick by giving Cooper as much pathos as piss jokes.

3. Mr. C Sees Diane (“Part 7”)

Please don’t make me watch this scene again. MacLachlan is so unnerving in his unblinking intensity — and Laura Dern, as Diane, so angry, hurt, and unsettled — that it’s a difficult moment to revisit. Much of Mr. C’s intimidating presence stems from this moment. We know what he’s capable of because of the authority he conveys even when handcuffed behind bars (well, bulletproof glass).

His brown jumpsuit, restricted positioning, and the generous space between Mr. C and his interrogators should all dwarf his imposing presence. MacLachlan arches his back, stares straight ahead, and — of course — doesn’t move an inch, and all of these choices make Mr. C as threatening as ever. He’s one scary dude, and — thankfully — makes this scene memorable enough that we don’t have to go back and re-watch.

4. Cooper Hears Music (“Part 11”)

One could easily argue “Part 11” is Cooper’s most revealing episode to date — and exemplifies MacLachlan’s best work. For one, the last half-hour is entirely Cooper’s story. The funniest scene since “Mr. Jackpots” kicks things off (see below), but it’s the ending that really hits home. After Cooper survives another death threat, this time from the Mitchum brothers (James Belushi and Robert Knepper), they take him out for celebratory pie — the dessert that just saved his life.

But in between a toast to Dougie and serving the pie, a piano change draws Cooper’s attention. Suddenly he’s transfixed, his head quickly pivoting and his eyes remaining on the pianist until the pie arrives. Even a surprise greeting from a grateful elderly patron — the woman who followed his advice and won thousands at the casino — can’t take Mr. Jackpots’ mind off the melody.

MacLachlan looks past her while she thanks him, unwavering in his focus. He’s still listening to Angelo Badalamenti’s “Homecoming,” and he’s still remembering a time and place long past. He’s looking through her as an event that already transpired. He wants to go back to that place; he wants a homecoming. As she leaves and he bites into the cherry pie, it’s as though Cooper is saying goodbye to Dougie’s past and moving ever more consciously toward his future: When MacLachlan says the iconic line, “damn good [pie],” his slight shift in inflection provides a faint hint of nostalgia and the slightest of hope.

Cooper will return. He won’t be trapped as Mr. Jackpots forever.

5. Cooper Chases Coffee (“Part 11”)

OK, this is perhaps the most movement MacLachlan does outside of taking down The Spike, but look at how restrained he is! Viewers get so much out of this brief comedic bit: For a moment, he looks annoyed. On the way in, he just looks eager. By the end, he’s back to the status quo, as if coffee is the only thing in his life that keeps him alive. And that’s the beauty of it: An immeasurable number of texts, tweets, and posts undoubtedly used this .gif and a message equivalent to, “This is me every morning.” MacLachlan captures the universal need for your morning Joe without abandoning Cooper’s stilted state. In short, it’s funny because it’s true.

6. Mr. C Wins an Arm-Wrestling Match (“Part 13”)

This entire scene is based around specificity of movement, so, this entire scene epitomizes Kyle MacLachlan’s intricate understanding of his characters’ physicality. Not only does he account for the visual intrigue of his choices, but his movements are built from Mr. C and Cooper’s spirits.

Nothing changes about Mr. C during his arm-wrestling match. He’s the same imposing force he’s always been. But as MacLachlan challenges his opponent to best him, again and again — “Let’s go back to starting positions” is still the most badass line ever uttered during an arm-wrestling match — his absolute control over Mr. C’s movements becomes all the clearer.

Just look at the way he shifts in his chair to approach the table. Then watch as his face, head, and neck as they remain motionless while his arm operates like a pulley on a string. Even when MacLachlan is called on to speak (gasp!) and move (wow!), he keeps Cooper and Mr. C as precise as possible: Real Cooper is a little looser; pliable in mind and body, but Evil Cooper is rigid because he knows exactly what he wants and what he needs to do to get it.

7. Cooper Hears the Name “Gordon Cole” (“Part 15”)

Listen, there’s no telling what exactly got Cooper to do what he did near the end of “Part 15,” but it was hearing Gordon Cole’s name that forever altered his pleasant evening of eating cake and pushing buttons. As “Sunset Boulevard” popped on the TV, Cooper took note. His neutral perspective shifted into a state of bemusement, but no more so than usual. It’s when Cecil B. DeMille says the fateful words, “Get Gordon Cole,” that MacLachlan’s expression changes entirely, Cooper gets down on the ground, and crawls toward an electrical socket making too much noise.

As proposed in Sunday night’s review, this could be the end of Cooper’s impersonation of Dougie. Right after he electrocutes himself and collapses, a dying Margaret explains how death “is just a change, not an end.” The version of Cooper oft-referred to as Dougie could die via the same household device that transported him there in the first place, and “Twin Peaks” will be on to the next iteration of its hero. If so, his time in the Jones’ household was given a fitting end: a few jerky movements, some subtle adjustments in expression, and a bevy of emotional weight laid down. MacLachlan has done this with Cooper, Dougie, and Mr. C throughout “Twin Peaks” Season 3, and each part has been deepened by the star’s contribution to it.

MacLachlan hasn’t created one new character in “The Return”; he’s built three brand new individuals from the ground up. And he barely had to move a muscle.

Link (TP)

[refugiobidencope-blog]

Communication Contents From AMAZINES.COM

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