#sidney mcqueen

[yukii0nna]

The Muses of Hope :

Rue, Carlos, Sidney, Chase, Christina, Maya.

@bakawitch @punkeropercyjackson @zexal-club @insomniac-jay @mayameanderings

[thethirdman8]

The truly fine Canadian film director, Mr. Norman Jewison has passed away.

July 21, 1926 - January 20, 2024, he was 97.

My favorite Norman Jewison movies are:

1. The Thomas Crown Affair

2. The Cincinnati Kid

3. In the Heat of the Night

4. Jesus Christ Superstar

5. Fiddler on the Roof

6. Roller Ball

I have to see Hurricane and Moonstruck. (Yes, it's true, I never saw Moonstruck, lol.) The List is subject to change, but probably not.

Honorable mention: The Russians are Coming staring Alan Arkin

[silvanio-rockers]

David Hinds

[mayamistake]

[hotvintagepoll]

Congrats to the ultimate winner of the Hot & Vintage Movie Men Tournament, Mr. Toshiro Mifune! May he live happily and well where the sun always shines, enjoying the glories of a battle hard fought.

A loving farewell to all of our previous contestants, who are now banished to the shadow realm and all its dark joys and whispered horrors—I hear there's a picnic on the village green today. If you want to remember the fallen heroes, you can find them all beneath the cut.

What happens next? I'll be taking a break of two weeks to rest from this and prep for the Hot & Vintage Ladies Tournament. I'll still be around but only minimally, posting a few last odes to the hot men before transitioning into a little early ladies content, just like I did with this last tournament. The submission form for the Hot & Vintage Ladies tournament will remain up for one more week (closing February 21st), so get your submissions in for that asap! Once the form closes, there will be one more week of break. The first round of the Hot & Vintage Ladies Tournament will be posted on February 29th, as Leap Year Day seems like a fitting allusion to leaping into these ladies' arms.

Thanks for being here! Enjoy the two weeks off, and send me some great propaganda.

In order of the last round they survived—

ROUND ONE HOTTIES:

Richard Burton

Tony Curtis

Red Skelton

Keir Dullea

Jack Lemmon

Kirk Douglas

Marcello Mastroianni

Jean-Pierre Cassel

Robert Wagner

James Garner

James Coburn

Rex Harrison

George Chakiris

Dean Martin

Sean Connery

Tab Hunter

Howard Keel

James Mason

Steve McQueen

George Peppard

Elvis Presley

Rudolph Valentino

Joseph Schildkraut

Ray Milland

Claude Rains

John Wayne

William Holden

Douglas Fairbanks Sr.

Harold Lloyd

Charlie Chaplin

John Gilbert

Ramon Novarro

Slim Thompson

John Barrymore

Edward G. Robinson

William Powell

Leslie Howard

Peter Lawford

Mel Ferrer

Joseph Cotten

Keye Luke

Ivan Mosjoukine

Spencer Tracy

Felix Bressart

Ronald Reagan (here to be dunked on)

Peter Lorre

Bob Hope

Paul Muni

Cornel Wilde

John Garfield

Cantinflas

Henry Fonda

Robert Mitchum

Van Johnson

José Ferrer

Robert Preston

Jack Benny

Fredric March

Gene Autry

Alec Guinness

Fayard Nicholas

Ray Bolger

Orson Welles

Mickey Rooney

Glenn Ford

James Cagney

ROUND TWO SWOONERS:

Dick Van Dyke

James Edwards

Sammy Davis Jr.

Alain Delon

Peter O'Toole

Robert Redford

Charlton Heston

Cesar Romero

Noble Johnson

Lex Barker

David Niven

Robert Earl Jones

Turhan Bey

Bela Lugosi

Donald O'Connor

Carman Newsome

Oscar Micheaux

Benson Fong

Clint Eastwood

Sabu Dastagir

Rex Ingram

Burt Lancaster

Paul Newman

Montgomery Clift

Fred Astaire

Boris Karloff

Gilbert Roland

Peter Cushing

Frank Sinatra

Harold Nicholas

Guy Madison

Danny Kaye

John Carradine

Ricardo Montalbán

Bing Crosby

ROUND THREE SMOKESHOWS:

Marlon Brando

Anthony Perkins

Michael Redgrave

Gary Cooper

Conrad Veidt

Ronald Colman

Rock Hudson

Basil Rathbone

Laurence Olivier

Christopher Plummer

Johnny Weismuller

Clark Gable

Fernando Lamas

Errol Flynn

Tyrone Power

Humphrey Bogart

ROUND 4 STUNGUNS:

James Dean

Cary Grant

Gregory Peck

Sessue Hayakawa

Harry Belafonte

James Stewart

Gene Kelly

Peter Falk

QUARTERFINALIST VOLCANIC TOWERS OF LUST:

Jeremy Brett

Vincent Price

James Shigeta

Buster Keaton

SEMIFINALIST SUPERMEN:

Omar Sharif

Paul Robeson

FINALIST FANTASIES:

Sidney Poitier

Toshiro Mifune

and ok, sure, here's the shadow-bracket-style winner's portrait of Toshiro Mifune.

[justforbooks]

The director and producer Norman Jewison, who has died aged 97, had a career dedicated for the most part to making films that, while entertaining, included socio-political content. His visual flair, especially in the use of colour, spot-on casting and intelligent use of music, enabled him to raise sometimes thin stories into highly watchable films.

He hit the high spot critically and commercially with In the Heat of the Night (1967), which starred Sidney Poitier as a northern US city police detective temporarily held up in a small southern town and Rod Steiger as the local sheriff confronted with the murder of a wealthy industrialist. The detective mystery plot was perhaps mainly the vehicle for an enactment of racial prejudices and hostilities culminating in a grudging respect on both sides, but it worked well. The final scene, much of it improvised, in which the two men indulge in something approaching a personal conversation, was both moving and revealing.

The film won five Academy awards – for best picture, best adapted screenplay, best editing, best sound and, for Steiger, best actor – and gave Jewison the first of his three best director nominations; the others were for Fiddler on the Roof, his 1971 adaptation of the Broadway musical, and the romantic comedy Moonstruck (1987). In 1999 Jewison was the winner of the Irving G Thalberg memorial award from the academy for “a consistently high quality of motion picture production”.

The son of Dorothy (nee Weaver) and Percy Jewison, he was born and brought up in Toronto, Ontario, where his father ran a shop and post office. Educated at the Malvern Collegiate Institute, a Toronto high school, Jewison studied the piano and music theory at the Royal Conservatory in the city, and served in the Canadian navy during the second world war. On discharge, he went to the University of Toronto, paying his way by working at a variety of jobs, including driving a taxi and occasional acting.

After graduating with a bachelor of arts degree, in 1950 he set off with $140 on a tramp steamer to the UK, where he landed a job with the BBC, acting and writing scripts. On his return to Canada two years later, he joined the rapidly expanding television industry, producing and directing variety shows for the Canadian Broadcasting Corporation.

Jewison was spotted by the William Morris talent agency and invited to New York, where he signed with CBS and was given the unenviable task of rescuing the once successful show Your Hit Parade, which was by then displaying signs of terminal decline. He revamped the entire production and took it back to the top of the ratings. He directed episodes of the variety show Big Party and The Andy Williams Show, and specials for Judy Garland, Frank Sinatra, Harry Belafonte, Jackie Gleason and Danny Kaye.

On the Belafonte special, Jewison had white chains dangling above the stage, an image that displeased many southern TV stations, which refused to screen the show. This was the first indication of his stance on racism.

Success brought him to the notice of Tony Curtis, who had his own production company at Universal, and Jewison began a three-year contract with 40 Pounds of Trouble (1962), starring Curtis. This was followed by the likable but light Doris Day comedies The Thrill of It All (1963), Send Me No Flowers (1964) and The Art of Love (1965).

In 1965 he got out of his contract to make the first film of his choice, MGM’s The Cincinnati Kid, starring Steve McQueen (the Kid) and Edward G Robinson (the Man) and centring on a professional poker game between the old master and the young challenger. He took over the project from Sam Peckinpah, tore up the original script by Paddy Chayefsky and Ring Lardner, and commissioned Terry Southern, the result getting him noticed as a more than competent studio director.

In 1966 he made the beguiling but commercially unsuccessful comedy The Russians Are Coming, The Russians Are Coming, about a Russian submarine stranded off the coast of Cape Cod. This was at the height of the cold war and gained him a reputation for being a “Canadian pinko”, although it was nominated for a best picture Oscar.

In the Heat of the Night was followed by The Thomas Crown Affair (1968) in which McQueen and Faye Dunaway played thief and insurance investigator respectively and engaged in a chess game that evolved into one of the longest onscreen kisses, as the camera swirls around and around above their heads. The theme song, The Windmills of Your Mind, was a hit and the film a success.

Fiddler on the Roof, with a silk stocking placed by Jewison across the camera lens to provide an earth-toned quality, won Oscars for cinematography, music and sound, and a nomination for Chaim Topol in his signature role of Tevye.

Jesus Christ Superstar (1973), his adaptation of Andrew Lloyd Webber’s rock opera, and Rollerball (1975), starring James Caan, were followed by F.I.S.T. (1978), a tale of union corruption starring Sylvester Stallone as an idealistic young organiser who sells out, and And Justice for All (1979), starring Al Pacino, a deeply ironic portrayal of the legal world.

A Soldier’s Story (1985), based on the Pulitzer prize-winning play and including an early performance from Denzel Washington, dealt with black soldiers who risked their lives “in defence of a republic which didn’t even guarantee them their rights”, and some of whom had internalised the white man’s vision of them.

Moonstruck, a somewhat daft love story but a tremendous box office success and for the most part a critical one, won the Silver Bear and best director for Jewison at the Berlin film festival and was nominated for six Oscars, winning for best screenplay, best actress for Cher and best supporting actress for Olympia Dukakis.

Then came Other People’s Money (1991), a caustic and amusing comedy on the new world of corporate finance and takeovers, in which Danny DeVito played a money hungry vulture, made largely in response to Reagan’s era of deregulation, and The Hurricane (1999) in which Jewison again worked with Washington, who played the real life boxer Rubin “Hurricane” Carter, falsely convicted of a triple murder and imprisoned for years before the conviction was quashed. The latter film aroused controversy over its alleged manipulation of some facts and, despite its undoubted qualities, this fracas probably contributed to it being commercially disappointing.

In the early 1990s, Jewison had begun preparations for a film on the life of Malcolm X, and had secured Washington to play the title role, when Spike Lee gave his strongly expressed opinion that only a black film-maker could make this story. The two met, and Jewison handed over the film to Lee.

Jewison’s last film, The Statement (2003), starred Michael Caine as a Nazi war criminal on the run. He was also producer for films including The Landlord (1970), The Dogs of War (1980), Iceman (1984) and The January Man (1989).

He had returned to Canada in 1978, living on a ranch north of Toronto with his wife Dixie, whom he had married in 1953. There he reared Hereford cattle, grew tulips and produced his own-label maple syrup. In 1988 he founded the Canadian Centre for Advanced Film Studies, now known as the Canadian Film Centre, in Toronto.

He was a confirmed liberal, a man of integrity who turned in his coveted green card in protest at the Vietnam war and saw film not only as entertainment but also as a conduit for raising serious issues.

Dixie (Margaret Dixon) died in 2004. In 2010 he married Lynne St David, who survives him, as do two sons, Kevin and Michael, and a daughter, Jennifer, from his first marriage.

🔔 Norman Frederick Jewison, film director, producer and screenwriter, born 21 July 1926; died 20 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[lboogie1906]

Nia DaCosta (November 8, 1989) is a director and screenwriter. She is credited as the first African American woman to have a film debut at #1 upon opening weekend. She wrote and directed the crime thriller film Little Woods (2019), winning the Nora Ephron Prize at the Tribeca Film Festival. She directed Candyman (2021). In August 2020, she was hired to direct The Marvels, becoming the youngest filmmaker to direct a Marvel film.

She was born in Brooklyn and raised in Harlem. She is of Jamaican descent. Her original obsession and professional aspirations started with her desire to be a writer, a poet to be exact. It was not till an AP class that she was exposed to the work of Joseph Conrad, and after reading his book Heart of Darkness, she and her class then watched the film adaptation, of Coppola’s “Apocalypse Now”. This was a turning point in her life, from there on out she was obsessed with a film which, led her to research 1970s films, where she found inspiration in directors such as Martin Scorsese, Sidney Lumet, Steven Spielberg, and Francis Ford Coppola. She cited Scorsese as a top inspiration, as well as having her masters in writing from the Royal Central School of Speech & Drama enrolled at his alma mater, New York University Tisch School of the Arts.

After finishing school and working as a TV production assistant she would work with filmmakers like Martin Scorsese, Steve McQueen, and Steven Soderbergh. She wrote the script for Little Woods, which was one of the 12 projects chosen for the 2015 Sundance Screenwriter and Directors Labs, where she would meet Tessa Thompson who would play the role of Ollie in her 2019 film Little Woods. She funded a short film version of what would become her first feature film through Kickstarter with the help of 72 backers who raised $5,100. After finishing Little Woods she was working on the show Top Boy in London when she learned that she was on the list to direct a revival of Candyman. Her film Candyman would bring her the title of the first female African-American to have a film debut at the top of the box office. #africanhistory365 #africanexcellence

[amphtaminedreams]

Currently Obsessing Over, Debrief No.4: EAT THE RICH (...But, like...After the Met Gala!)

-Anne Hathaway in custom Versace-

-L-R, top row: Olivia Rodrigo, Jenna Ortega, Sora Choi all in Thom Browne, bottom row: Conan Gray in Balmain-

-L-R, top row: Yung Miami in ACT N°1, Rihanna in Valentino Couture, bottom row: Tems in Robert Wun, Cardi B in Chenpeng Studio, Kim Kardashian in Schiaparelli-

-Emily Ratajkowski’s custom Dilara Fındıkoğlu dress, details-

-look, I hate exorbitant displays of wealth as much as the next perennially broke person (whose martyr of a landlord apparently has no choice but to raise the rent astronomically again! does the poor man’s suffering ever end!?)...But in the interest of FASHUN, I like to take a night off, anddd if the purpose of the Met Gala and all its afterparties isn’t to give a voice to the voiceless, i.e the amateur fashion girlies, then that would make this year all about Karl Lagerfeld and it is each and every one of our civilian duties to prevent that from happening! Monday 1st May 2023 was a celebration of three things, 1). Choupette the cat, 2). Anne Hathaway in custom Versace, 3). Emily Ratajkowski in custom Dilara Fındıkoğlu..and all the following fashion moments too-

-L-R, top row: Anok Yai in Atelier Prabal Gurung, Gwendoline Christie in Fendi, bottom row: Sydney Sweeney in Miu Miu, Rita Oran in Prabal Gurung, Nicole Kidman in Chanel-

-L-R: Aubrey Plaza in Stella McCartney, Vanessa Hudgens in Michael Kors, Olivia Rodrigo in Chanel, Keke Palmer in Sergio Hudson-

-Michaela Coel in custom Schiaparelli-

-L-R, top row: Margot Robbie in Chanel, Kate and Lila Moss in Fendi, Ashley Graham in Harris Reed, bottom row: Halle Bailey in Gucci, Emily Ratajkowski in Tory Burch, Penélope Cruz in Chanel, Chloe Fineman in Wiederhoeft-

-Anok Yai in 16Arlington-

-L-R, top row: Jeremy Pope in Balmain, Anne Hathaway in Versace, Jennie Kim in Chanel with Maude Apatow in Chloe & Sidney Sweeney, bottom row: Margot Robbie in Chanel, Suki Waterhouse in Fendi, Whitney Peak in Chanel, Lizzo in Paco Rabanne-

-L-R, top row: Gabrielle Union & Dwayne Wade in Prada, Priyanka Chopra-Jonas in Valentino, Amanda Seyfried in Oscar de La Renta, Nicola Peltz in Valentino, bottom row: Yara Shahidi in Jean Paul Gaultier, Paris Hilton in Marc Jacobs, Palomo Essar in Luar, Lily James in Tamara Ralph Couture-

-Anok Yai-

-L-R, top row: Nicole Kidman, Florence Pugh in Valentino, bottom row: Phoebe Bridgers in Tory Burch, J-Lo in Ralph Lauren, Olivia Wilde in Chloe-

-L-R, top row: Dua Lipa in Chanel & Rihanna in Chrome Hearts, Chloe Fineman, Kerry Washington in Michael Kors, bottom row: Gabriella Karefa-Johnson, Jeremy Pope, LaLa Anthony, Lea Michele in Michael Kors-

-Emma Chamberlain in Miu Miu-

-L-R, top row: Cai Xukun, Iman Hammam & Joan Smalls, Emily Ratajowski in Versace, bottom row: Lil Nas, Shai Gilgeous-Alexander in Thom Browne, Ella Emhoff in Vaquera, Kate Moss in Fendi-

-L-R, top row: Lily James in Versace, Jennie Kim, Olivia Wilde, Paris Hilton, bottom row: Teyana Taylor, Elena Azzaro, Busta Rhymes, Georgia Fowler-

-Ava Max in Christian Siriano-

-L-R, top row: Aurora James in Bode, Whitney Peak, Yara Shahidi, Alia Bhatt in Prabal Gurung, bottom row: Quannah Chasinghorse in Prabal Gurung, Hannah Bagshawe and Eddie Redmayne in Alexander McQueen, Song Hye-kyo in Fendi, Kaitlyn Dever in Michael Kors-

-L-R, top row: Emilia Silberg and Jared Leto, Miranda Kerr in Dior, Kelsey Absille in Prabal Gurung, Adut Akech, bottom row: Kylie Jenner in Haider Ackermann for Jean Paul Gaultier, Cardi B in Richard Quinn, Dua Lipa in Chanel, Phillipa Soo in Richard Quinn-

-L-R: Rita Ora in a mix of vintage Fendi & Chanel, Kylie Jenner in Jean Paul Gaultier, Precious Lee in Fendi-

-Elle Fanning in Vivienne Westwood & Andreas Kronlather for Vivienne Westwood, details-

-L-R, top row: Keke Palmer in Sergio Hudson, Imaan Hammam in Standing Ground, Adut Akech in Carolina Herrera, Vitoria Ceretti in Balenciaga, bottom row: Liu Wen in Tory Burch, Irina Shayk in Yohji Yamamoto, Lily Aldridge in Oscar de La Renta-

-L-R: Yara Shahidi in Jean Paul Gaultier, Janelle Monae in Thom Browne, Devon Aoki in Jeremy Scott-

-L-R, top row: Gustav Witzøe in Palomo Spain, Precious Lee in Fendi, bottom row: Brian Tyree Henry in Karl Lagerfeld, Eva Chen in Fendi, Karen Elson in Christian Siriano-

-L-R, top row: Jordan Roth in Schiaparelli, Camila Morrone in Rodarte, Lily Collins in Vera Wang, bottom row: Daisy Edgar-Jones in Gucci, Pasha Harulia in Bevza, Margaret Qualley in Chanel, FKA Twigs in Maison Margiela-

-L-R, top row: Madelyn Cline in Stella McCartney, Alex Newell in Christian Siriano, Conan Gray, Isabelle Boemke in Bode, bottom row: Vanessa Hudgens in Michael Kors, Finneas O’Connell in Vivienne Westwood, Brooklyn Beckham and Nicola Peltz in Valentino, Liberty Ross in Burberry-

-L-R: Micaela Coel in Schiaparelli, Rita Ora, Ava Max in Christian Siriano-

-L-R, top row: LaLa Anthony in Sergio Hudson, Rihanna, Bad Bunny in Jacquemus, bottom row: Doja Cat in Oscar de La Renta, Ice Spice in archive Emilio Pucci, Cardi B in Miss Sohee-

-middle, far right: Emily Ratajkowski in Versace-

-Gigi Hadid in custom Givenchy, details-

-L-R, top row: Doja Cat in Oscar de La Renta, Alton Mason in Karl Lagerfeld Couture, Devon Aoki in Jeremy Scott, Lizzo in Chanel, bottom row: Michelle Yeoh in Karl Lagerfeld, Jodie Comer in Burberry, Chi Ossé in Advisry, Lea Michele in Michael Kors-

-L-R, top row: Salma Hayek in Gucci, Donatella Versace in Versace, Kylie Jenner, Lil Nas in Dior, bottom row: Aubrey Plaza in Stella McCartney, Mindy Kaling in Simkhai, Naomi Campbell in Chanel, Burna Boy in Burberry-

-Billie Eilish in Simone Rocha, details-

-L-R, top row: Micaela Diamond in Carolina Herrera, Kerry Washington in Michael Kors, Alexa Chung in Róisín Pierce, Anitta in Marc Jacobs, bottom row: Angèle in Chanel, Huma Abedin in Fendi, Julia Garner in Gucci, Svitlana Bevza in Bevza-

-Dua Lipa in Chanel-

-L-R, clockwise: Jenna Ortega in Thom Browne, Nicola Petz, Irina Shayk & Karlie Kloss, Emily Ratajkowski-

I have no time for the accompanying men in bland suits. Sorry bout it.

[byneddiedingo]

Gregory Peck and Jennifer Jones in Duel in the Sun (King Vidor, 1946)

Cast: Jennifer Jones, Gregory Peck, Joseph Cotten, Lionel Barrymore, Herbert Marshall, Lillian Gish, Walter Huston, Charles Bickford, Harry Carey, Tilly Losch, Butterfly McQueen. Screenplay: David O. Selznick, Oliver H.P. Garrett, based on a novel by Niven Busch. Cinematography: Lee Garmes, Ray Rennahan, Harold Rosson. Production design: J. McMillan Johnson. Film editing: Hal C. Kern. Music: Dimitri Tiomkin.

This is a bad movie, but it's one distinguished in the annals of bad movies because it was made by David O. Selznick, who as the poster shouted at moviegoers, was "The Producer Who Gave You 'GONE WITH THE WIND.'" Selznick made it to showcase Jennifer Jones, the actress who won an Oscar as the saintly Bernadette of Lourdes in The Song of Bernadette (Henry King, 1943). Selznick, who left his wife for Jones, wanted to demonstrate that she was capable of much more than the sweetly gentle piety of Bernadette, so he cast her as the sultry Pearl Chavez in this adaptation (credited to Selznick himself along with Oliver H.P. Garrett, with some uncredited help by Ben Hecht) of the novel by Niven Busch. Opposite Jones, Selznick cast Gregory Peck as the amoral cowboy Lewt McCanles, who shares a self-destructive passion with Pearl. Both actors are radically miscast. Jones does a lot of eye- and teeth-flashing as Pearl, while Peck's usual good-guy persona undermines his attempts to play rapaciously sexy. The plot is one of those familiar Western tropes: good brother Jesse (Joseph Cotten) against bad 'un Lewt, reflecting the ill-matched personalities of their parents, the tough old cattle baron Jackson McCanles (Lionel Barrymore) and his gentle (and genteel) wife, Laura Belle (Lillian Gish). Pearl is an orphan, the improbable daughter of an improbable couple, the educated Scott Chavez (Herbert Marshall) and a sexy Indian woman (Tilly Losch), who angers him by fooling around with another man (Sidney Blackmer). Chavez kills both his wife and her lover and is hanged for it, so Pearl is sent to live with the McCanleses -- Laura Belle is Chavez's second cousin and old sweetheart -- on their Texas ranch. It's all pretentiously packaged by Selznick: not many other movies begin with both a "Prelude" and an "Overture," composed by Dimitri Tiomkin in the best overblown Hollywood style. It has Technicolor as lurid as its story, shot by three major cinematographers, Lee Garmes, Ray Rennahan, and Harold Rosson. But any attempt to generate real heat between Jones and Peck was quickly stifled by the Production Code, which even forced Selznick to introduce a voiceover at the beginning to explain that the character of the frontier preacher known as "The Sinkiller" (entertainingly played by Walter Huston) was not intended to be a representative clergyman. There are a few good moments, including an impressive tracking shot at the barbecue on the ranch in which various guests offer their opinions of Pearl, the McCanles brothers, and other things. Whether this scene can be credited to director King Vidor, who was certainly capable of it, is an open question, because Vidor found working with the obsessive Selznick so difficult that he quit the film. Selznick directed some scenes, as did Otto Brower, William Dieterle, Sidney Franklin, William Cameron Menzies, and Josef von Sternberg, all uncredited. The resulting melange is not unwatchable, thanks to a few good performances in secondary roles (Huston, Charles Bickford, Harry Carey), and perhaps also to some really terrible ones (Lionel Barrymore at his most florid and Butterfly McQueen repeating her fluttery air-headedness from GWTW).

[yukii0nna]

Sidney McQueen / Sidhe

A young girl who is from Tir An Og. She came to the human realm due to wanting to take a break from her ex only for her to decide to stay due to how much she liked hering. You can find her taking selfies or dancing to music.

Like most fae, she is pretty much up for pranks and jokes though she has a habit of taking them too far at times.

Often comments on the teams love lives and often jokes that the jewels are cursed with that part .

Isn't good at magic

Uses glamour to look more human

Is a half-Sylph

Talks like a valley girl but is actually pretty smart

Lives with Rue as her ward

Is half a Japanese human on her mom's side. She never met her though.

@punkeropercyjackson @bakawitch @zexal-club @insomniac-jay @maxarat @mayameanderings @franollie

[dirty-numb-angelgirl]

hii, i’m gabrielle!! i’m 19 and from canada! i’m obsessed with music, films, and literature and talk about them to an irritating excess.

my favourite bands/musicians (though it changes by the day) are the clash, pulp, radiohead, the smiths, talking heads, leonard cohen, david bowie, fiona apple, oasis, blur, lou reed/velvet underground, pavement, fontaines d.c., the cure, björk, patti smith, jimi hendrix and hole!!

my favourite directors are martin scorsese, sidney lumet, gregg araki, spike lee, david lynch, david cronenberg, paul schrader, quentin tarantino, stanley kubrick, david fincher, harmony korine, bruce mcdonald and elaine may!! (actors-wise i do not play about al pacino, winona ryder, phillip seymour hoffman or chloe sevigny)

my favourite authors are fyodor dostoevsky, bret easton ellis, kurt vonnegut, jean paul sartre, j.g. ballard, vladimir nabokov, oscar wilde, sylvia plath and william s. burroughs

consumption of art aside, i’m passionate about human rights/social issues, smoking, black coffee, tinned fish, queer culture/history, academics, high fashion (esp. alexander mcqueen, martin margiela, or john galliano), tiramisu, cats, anthony bourdain, etc!! generally will use this blog to archive anything i find particularly compelling in the other annuls of the internet/research.

no dnis because i’d like to experience tumblr as the lawless land it was intended to be (unless you’re racist or a pedophile or what have you, in which case please do not interact)

[ljones41]

Top Favorite Car Racing Movies

Due to the upcoming release of "GRAN TURISMO", I had decided to list my current favorite movies about car racing:

TOP FAVORITE CAR RACING MOVIES

"Speed Racer" (2008) - The Wachowskis wrote and directed this exciting and very original adaptation of Tatsuo Yoshida's late 1960s Manga animated series about a young American race car driver. Emile Hirsch, Christina Ricci and Matthew Fox starred.

2. "The Love Bug" (1968) - Robert Stevenson directed this funny and first-rate adaptation of "Car, Boy, Girl", Gordon Buford's novel about a sentient Volkswagen Beetle named Herbie and his relationship with his driver, Jim Douglas. Dean Jones, Michele Lee, Buddy Hackett and David Tomlinson starred.

3. "Those Daring Young Men in Their Jaunty Jalopies aka Monte Carlo or Bust" (1969) - Ken Annakin directed and co-wrote this all-star comedy about the European car rally , the Monte Carlo Rally. Tony Curtis, Susan Hampshire and Terry-Thomas starred.

4. "Rush" (2013) - Chris Hemsworth and Daniel Brühl starred in this biopic about the rivalry between two drivers, the Briton James Hunt and the Austrian Niki Lauda, during the 1976 Formula One motor-racing season. Ron Howard directed.

5. "Ford v Ferrari" (2019) - James Mangold directed this biopic about automobile designer Carroll Shelby and racer Ken Miles, who were hired by the Ford Motor Company to lead a team to build a race car that would defeat the perennially dominant Italian racing team Scuderia Ferrari at the 1966 24 Hours of Le Mans race in France. Matt Damon and Christian Bale.

6. "Talladega Nights: The Ballad of Ricky Bobby" (2006) - Adam McKay wrote and directed this sports comedy about an immature yet successful NASCAR driver. Will Farrell starred.

7. "The Great Race" (1965) - Blake Edwards directed and co-wrote this comedic and fictionalized account of the 1908 New York to Paris Race. Tony Curtis, Jack Lemmon and Natalie Wood starred.

8. "Grand Prix" (1966) - John Frankenheimer directed this story about the fate of four Formula One drivers through a fictionalized version of the 1966 Formula One season. James Garner, Eva Marie Saint and Yves Montand starred.

9. "Viva Las Vegas" (1964) - Elvis Presley and Ann-Margaret starred in this musical comedy about a romance between a race car driver competing in Las Vegas' first annual Grand Prix race and a hotel swimming instructor. George Sidney directed.

10. "Cars" (2006) - John Lasseter directed and co-wrote this Disney animated film about a hotshot rookie race car named Lightning McQueen who gets stranded in Radiator Springs, a rundown town that is past its glory days. Owen Wilson starred.

[70s80sandbeyond]

Steve McQueen, Paul Newman, Barbra Streisand and Sidney Poitier

[hotvintagepoll]

this is a poll for a movie that doesn't exist.

It is vintage times. The powers that be have decided to again remake the classic vampire novel Dracula for the screen. in an amazing show of inter-studio solidarity, Hollywood’s most elite hotties are up for the starring roles. the producers know whoever they cast will greatly impact the genre, quality, and tone of the finished film, so they are turning to their wisest voices for guidance.

you are the new casting director for this star-studded epic. choose your players wisely.

Previously cast:

Jonathan Harker—Jimmy Stewart

The Old Woman—Martita Hunt

Count Dracula—Gloria Holden

Mina Murray—Setsuko Hara

Lucy Westenra—Judy Garland (rip)

The Three Voluptuous Women—Betty Grable, Marilyn Monroe, and Lauren Bacall

The Agonized Mother—Mary Philbin (rip)

Dr. Jack Seward—Vincent Price

Quincey P. Morris—Toshiro Mifune

Arthur Holmwood—Sidney Poitier

R.M. Renfield—Conrad Veidt

The Captain of the Demeter—Omar Sharif (rip)

The First Mate of the Demeter—Leonard Nimoy (rip)

Mr. Swales—Ed Wynn (rip)

The Correspondent for The Daily Graph—Ethel Waters

Dracula in dog form—Frank Oz with a puppet

Sister Agatha—Angela Lansbury

Mrs. Westenra—Gladys Cooper (rip)

Dracula's solicitors—Peter Cushing and Christopher Lee

Dr. Van Helsing—Orson Welles

Mrs. Bilder is the wife of the zookeeper Thomas Bilder. She is also very fond of wolves.

[themovieblogonline]

"Buck & The Preacher": Harry Belafonte SHINES BRIGHT in Sydney Poitier's Directorial Debut

The following is a part of Esmarelda's Summer Seventies Series I’ll tell you one thing about me: I am nothing if not a sucker for a great intro. The slick harmonica that plays over the credits of “Buck and the Preacher” is cause enough for me to perk up my ears and get excited for the next hour and forty-two minutes. Sidney Poitier takes his first stab in the director’s chair in this moderately paced western, but the novelty of watching one of the greatest actors of his generation step into a new role at the helm is quickly overshadowed by a dynamic performance by his co-star and producing partner, Harry Belafonte. Much like Steve McQueen and Paul Newman in “The Towering Inferno,” the novelty of two kings of the silver screen occupying the same frame is tantalizing in and of itself, but Sidney Poitier’s classic stoicism is almost too stagnant for the outlandish antics of Harry Belafonte’s performance as Preacher, a slick-talking conman who masquerades as a man of the cloth. https://www.youtube.com/watch?v=r-24cY5PjSI “Buck and the Preacher” tells the story of Buck (Poitier) a post-Civil War wagon master who is on the run from bounty hunters determined to kill him for helping emancipated field hands navigate their way out West. He crosses paths, and ultimately teams up with, the conniving con-man Preacher, played by Harry Belafonte in a role that simultaneously feels both of-the-moment and years ahead of its time. Originally set with Joseph Sargent as director, Poitier fired Sargent after the first week of filming citing reasons that Sargent lacked the cultural identity necessary to impart relatable realism into the film. This led to Poitier taking the reins in what would be his first foray into the world of directing. As much as I wish the star of the picture was Poitier’s directing style, the real star here is Harry Belafonte. He explodes on the screen with crazy eyes and some of the worst teeth in cinema I’ve ever seen. Belafonte’s Preacher provides some much-needed comedic relief and both his timing and delivery are 100% on point in what is otherwise a somewhat forgettable film. It’s not a bad movie, not by any means, it’s just somewhat forgettable which is probably why I hadn’t heard of it until now. The pacing of the film is off, and the bad guys are switched halfway through the movie, lending to some confusion as to the main character’s overall goal. By the end, the film has morphed into something of a “Butch Cassidy and the Sundance Kid” rip-off, with Buck, Preacher, and Buck’s wife Ruth (played by the delightful Ruby Dee) robbing banks to steal enough money for the wagon party to survive the winter. I don’t feel that it is any failure on Poitier’s part as a director, but rather the stale story structure embedded in Ernest Kinoy’s lackluster script. The dialogue is fine, and the premise is exciting, but the series of events, as they are strung together, creates too many valleys and not enough peaks. The film is full of situations immersed in heartache, but perhaps it is Poitier’s reluctance to explore these more violent happenings which robs the audience of any emotional connection. While watching “Buck and the Preacher” I was reminded of another Civil War-era film from the seventies called “Skin Game” starring James Garner and Louis Gossett Jr. “Skin Game” also focuses on an unlikely duo who team up in order to survive, but there are far more interesting turns, mischief and misdirection. “Buck and the Preacher” is void of surprise or illusion and utilizes far too much silence. Sidney Poitier gives his signature stares of intensity, but both times that I watched the film I found myself wanting more from Buck as a character. In contrast, any disappointment from wanting more from Poitier was quickly made up every time Harry Belafonte took the screen. Preacher is the real star of the show – the origin story of how he inherited his prized possessions after murdering a con man who sold his mother gives great insight into his own tortured evolution. But I’ve never quite seen someone show up for a film the way Harry Belafonte showed up for “Buck and the Preacher.” It’s understandable – the subject matter is delicate. The backdrop of emancipated slaves searching for their own piece of land was a stark contrast to African Americans fighting for home ownership and equal rights in the shadow of the Civil Rights Movement. I think it was important for Poitier to take the directing reins, and when you watch him ride on his horse with such a powerful and commanding presence, you feel like you are on the ride with him – with Poitier exploring the uncharted territory of filmmaking in much the same way that Buck explores the trail to the New Frontier. Benny Carter’s twangy score does service to keeping the audience’s attention in a way that, once again, blends the new with the old. Poitier doesn’t take much artistic license with his stylistic choices – save for the cool-ass peacoat Buck wears, (seriously, that’s a badass coat and I would wear it). But the film as a whole reads like a talented actor directing a solidly constructed film. There is no real “eye” here or vision, the story is told from beginning to end and the performances are the biggest highlight. It’s a story of hope, a story of perseverance, a story of brotherhood, and vengeance all rolled into one. But the true reason for giving attention to this film is to marvel at the energy and commitment of Harry Belafonte, who gives a performance that in its time was labeled over-the-top, but in retrospect, digs so deep into the psyche of a hustler that you could literally pluck him from 1972 and place him in any similarly themed modern film today. It is truly an electrifying performance. Read the full article

[cruzzramirez]

@waitingona-mirabel

Hmmm.

The more Mirabel went on, the less Cruz thought she understood. Because at first, Cruz got it.

Being famous? Sounded like a rough gig for sure. Especially these days when the internet allowed people to be mean for no reason and not have to face the consequences of their words or actions, and it could be put right on your phone's notif screen. Ahh, nothing like a hater in the inbox for a wake up call.

And, look, it wasn't like McQueen was Penny Forrester famous, but Cruz had often wondered what it would have been like if people had known her as Lightning McQueen's Daughter rather than anything else. The fans of the Magick Grand Prix weren't as scary as a the Sidney movie star, but they were a passionate community. Cruz was used to being in her little pocket of the world in Swynlake, she would have probably busted a gasket if what had happened to Mirabel had happened to herself.

But the family stuff....hmm....

"Did you talk to your family about it?" She felt a little bad about poking at Mirabel's reasons, looking for the holes, but she also wanted to know! "Because I always saw your family as supportive. Were they really that bothered?"

Nice Try, Welcome Back | Miruz