#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.

[hollywoodfromthemargins]

BODY FOUND — Tom Pittman, actor, whose body was found in car.

The Los Angeles Times Los Angeles, California  Thursday, Nov 20, 1958

Body of Actor Tom Pittman Found in Car

The body of Tom Pittman, one of Hollywood's most promising young actors, was found yesterday in his wrecked sports racing car deep in Benedict Canyon. 

Missing since early on the morning of Nov. 1, Pittman apparently failed to make a curve in the 2800 block of Benedict Canyon Drive and plunged end-over-end 300 feet down an embankment.

The powerful automobile was lying on its side and Pittman's body was found on the floor.

Notices Rail

Officer Roy Kerton spotted the vehicle after noticing a smashed guard rail highway on the above the wreckage. An 8-foot length of the rail still penetrated the windshield.

Pittman had been the object of a search since Nov. 1 when he failed to return to his West Hollywood home from a party in San Fernando Valley.

A missing persons report was filed with the Sheriff's office a week later by his father, Television and Radio Actor Frank Alten.

Like James Dean

Pittman was likened to the late actor, James Dean-both in life and death.

Like Dean he was moody, a habitue of coffee houses with but one love: speed.

And like Dean, Pittman was the proud owner of super-fast Porsche Spyder. Pittman's car, a coupe, was custom built in Switzerland.

Both met death in these powerful race cars.

Pittman, 26, had just completed his most important, movie role in the soon-to-be-released film "Verboten," produced at RKO by Sam Fuller.

"We lost a great talent with the death of Tom," Fuller said yesterday. "You will hear a great deal about this last picture of his. I am terribly shocked over his death."

In the picture, as in real life, young Pittman meets a violent death.

Friends said Pittman was divorced and the father of a small boy.

[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.

[murcielagatito]

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

[thefirstthinguc]

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

[ogradyfilm]

Recently Viewed: The Crimson Kimono

[The following review contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]

At first glance, The Crimson Kimono appears to be a rather vanilla example of film noir. The plot revolves around a murder investigation: after a popular burlesque dancer is shot dead in Los Angeles’ Little Tokyo district, a pair of hardboiled detectives must use their grit, wits, and fists to track down the perpetrator—so far, so formulaic. The narrative abruptly veers into unexpectedly melodramatic territory, however, when both gumshoes fall hopelessly in love with their star witness, straining the bonds of their partnership—and their friendship, which stretches back to the foxholes of the Korean War.

This dilemma hits Joe Kojaku—the Asian American half of the buddy-cop duo—particularly hard; perceiving his pal’s jealousy and resentment over the budding romance as evidence of repressed racism, he begins to question his entire identity. A man of Japanese parentage born and raised in California, he is the quintessential outsider, feeling as though he belongs to neither culture. James Shigeta’s layered, nuanced performance (combined with Samuel Fuller’s sensitive, insightful direction) enriches every frame; the scenes in which his psychologically tormented character aimlessly wanders the dark, empty, labyrinthine streets convey a palpable atmosphere of angst, insecurity, and loneliness.

This emphasis on interpersonal relationships and internal conflicts allows The Crimson Kimono to transcend its otherwise conventional genre framework. While the movie’s familiar stylistic flourishes—moody cinematography, jazzy soundtrack, snappy dialogue—are sublime, its deliciously complex substance is what truly elevates it.

[thecraggus]

Shark! (1969) Review

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

[theaskew]