#sam fuller

[murcielagatito]

yall want an enemies to lovers bodyguard movie? look no further may i present to you miss congeniality 2: armed and fabulous. they beat eachother up they fight they cannot stand eachother at all but they make the best fucking team ever they do drag together they share secrets with eachother and bond during a sleepover they learn to get along and through it all they got eachothers backs when they need it most. what more must i say? they have it all!

"i am your bodyguard which means i need a BODY to GUARD"

also height difference

[filmnoirfoundation]

Born on this day in 1912, journalist, soldier, director, and father, Sam Fuller. What is your favorite film of his, noir or not?

[arutai]

Sam Fuller by Thomas Lavelle

[twittercomfrnklin2001-blog]

Shockproof

The combination of two filmmakers as distinctive as Samuel Fuller and Douglas Sirk would have made for a much better film than SHOCKPROOF (1949, TCM, YouTube) had Columbia Pictures not softened most of the rough edges of Fuller’s script. He wrote about a parole officer (Cornel Wilde) who becomes obsessed with a murderess (Patricia Knight, aka Mrs. Wilde) under his supervision. He tries to keep her from the gambler boyfriend (John Baragrey) for whom she had killed, gets her a job caring for his blind mother (Esther Minciotti) and, when she shoots a man to protect him, goes on the lam with her., The film still has a strong sense of the forces that drive Wilde from the straight and narrow and a wonderful bit of irony at the end that I can’t reveal. But it also has a hokey ending forced on Sirk and Fuller by the studio. Sirk hated it so much he left Columbia and briefly returned to Germany.

Sirk’s influence can be seen in an opening sequence that introduces Knight by following her picture hat as she adopts a new look and goes for her first check-in with Wilde (in one L.A.’s best. locations, The Bradbury Building). He also makes Wilde’s family home another character in the film (as he did with the family homes in ALL I DESIRE, ALL THAT HEAVEN ALLOWS, THERE’S ALWAYS TOMORROW and WRITTEN ON THE WIND). He tends to favor the story’s women, getting strong performances from Knight (she gives good regret), Minciotti, Ann Shoemaker as a police psychiatrist and Claire Clarkson as Knight and Wilde’s neighbor.

[thefinalimage]

Park Row | 1952 | dir. Sam Fuller

Rusty: "Mr. Davenport, when you write a story, why do you always put 'thirty' at the bottom?" Davenport: "Thirty's a symbol to all printers, and it means it's the end of the story, there isn't any more."

[of-fear-and-love]

Richard Loo in The Steel Helmet (1951)

[m--bloop]

John Cassavetes and Gena Rowlands at the Berlin International Film Festival (1984)

[apicturespeaks]

The Big Red One, Samuel Fuller

[oldshowbiz]

1962.

Vancouver's James Clavell, writer of The Fly and Shogun, had his own production company and tried to recruit Sam Fuller to make movies in British Columbia.

[allaboutstanwyck]

Barbara Stanwyck and Sam Fuller on the set of Forty Guns, released 1957.

[thefirstthinguc]

See Sam Fuller's Hell and High Water without glasses in CinemaScope!

[murcielagatito]

yes i'm normal about her. i need to gnaw on her like a no. 2 pencil

[thecraggus]

Shark! (1969) Review

Sam Fuller's dirty little thriller Shark! is a welcome change of pace for Shark Weak 5 #Review

[theaskew]

[cinemajunkie70]

A very happy birthday in the afterlife to the very great Samuel Fuller!

[hollywoodcomet]

Musical Monday: Hats Off (1936)

It’s no secret that the Hollywood Comet loves musicals. In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 600. To celebrate and share this musical love, here is my weekly feature about musicals. This week’s musical: Hats Off (1936) – Musical #739 Studio: Grand National Films Director: Boris Petroff Starring: Mae Clarke, John Payne, Helen…