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charlesw-1
Reviews
Cheyenne (1955)
Clint Walker Superman GOD
1. Clint Walker Superman GOD
2. An unassuming expression of GOD
a. Physical:
i. Perfection
b. Mentally:
i. Right thinking and wise.
C. Spiritually:
i. Conscious contact with GOD
d. Emotionally
i. The natural stoicism* of confident men.
Ii. Actorly
1. We never see acting; we always see Clint Walker and this is what we want to see in our heroes.
3. America in the middle of the twentieth century.
A. Men at the beginning of, during and right after World War II*.
I. Superman.
Ii. Stagecoach John Wayne.
4. During the 60s, 70s, 80s, 90s, 00s, 10s, I too, bypassed for many years.
5. Second look in 20s.
6. Clint Eastwood learned from Clint Walker*.
A. They were very, very different men in their personal lives.
7. Clint Walker is unsung, however, revered by those with awareness.
A. Loved by all in and out of his professional and personal life.
I. Bad industry players notwithstanding.
B. An inspiration of greatness.
C. GOD
d. It takes a certain level of conciseness to perceive Clint Walker's greatness and perfection.
E. GOD
f. We love and revere him.
8. Clint Eastwood is a world icon in the celebrated world.
A. Clint Eastwood is notorious (babe-hound) (possibly vengeful) in the entertainment industry and his personal life.
I. However, he seems happy with it all.
Ii. We love him; even so.
The End of the Affair (1999)
This is at least one of the movies Seth MacFarlane was thinking of when he ...
Parodied the English couple lying down talking about having sex on a "Family Guy " epoxide.
I think 1999 is just about the last time actors (i.e., Micky Rooney in "Breakfast at Tiffinay's") such as Juliann Moore herein, felt they could get away with accents.
Watching in this way I found this to be hilarious and very entertaining.
So, I guess these are 10 untended stars.
I Died a Thousand Times (1955)
Jack Hates Shelley.
I love Shelley Winters in almost everything she does.
However she is miscast.
So miscast, in fact, it throws off Jack Palance's performance.
Jack is a master at snarling and showing contempt.
It is what we like about him as a King-Heavy.
Here though, in every scene he wants to punch her in the face.
He knows that we know he can do better than Shelley Winters.
We want him to.
Their lack of chemistry is a pall over the whole story.
Like I said: Love them both, just not together.
A Matter of Time (1976)
As others have explained; it is a wonderful campy mess.
All of the production problems and the casting peccadilloes not withstanding A Matter of Time – 1976, is fun, fun, fun. This is really the highest form of camp. Sally Bowles as the sterile cuckoo goes to a fancy dress ball with bits of existentialism sprinkled hither and yon which was the angst, albeit upbeat, style of the mid-1970s. It is as if everybody is in on it except these condemnatory reviewers and possibility anyone under thirty-nine-years of age. We have to know that Vincent Minnelli and his daughter at some point knew exactly the effect this would have on all. I can't be sure it started out with this in mind but at some point during production camping it up became the intention of the day. Was it subconscious? We could try to get a perspective from Miss Minnelli but there is no need to bother her, really. It's thirty-five-years later and I am surprised you guys don't get it. It is quite simply, the highest of ball-gowned-Marie-Antoinette-wigged-Erte-donned, high camp.
Blackmail (1929)
"Blackmail" (1929) is groundbreaking for its time.
If I remember this when I watch early Hitchcock offerings; I get to see glimpses of the masterpieces yet to come. The known and loved: "North by Northwest" (1959) and "Vertigo" (1958) come to mind.
There is the icy blonde and the handsome leading man that becomes involved in her moral dilemma. Most master directors used shadow-language: almost as subplots in early black and white cinema. These artful visual symbols are subtext delights.
Even the eye-feast final chase scene in, on and around a landmark, including the delicious giant head is a Hitchcock: la pièce de résistance.
The list goes on.
Hitchcock dubbing his leading lady, Anny Ondra with Joan Barry's voice was something brand new to do and try. The director was hoping for this to work and it did. It was a courageous choice, possibly or at least adding to the begetting of "Singin' in the Rain" (1952).
Alfred Hitchcock's end run past the powers that be: scrapping the old techniques and jumping into the talkies mid-picture is a testament to this rather young director's genius.
Seeing this nearly ninety-year-old cutting edge technology on screen reminds me of sitting in front of a very boxy Mediterranean floor model Magnavox TV watching "Star Trek" in the mid sixties.
A few years ago, I saw one of these ancient episodes and started chucking at all the simplistic FX scenes. These FX-seeds bore movie-blockbuster-fruit a few years later.
Thanks for reading my fond Alfred Hitchcock thoughts.
South Beach (2006)
Simply one of the WORST shows to ever air on T.V.
All I can say is that the writing is atrocious, the main actors are TERRIBLE - especially Marcus Coloma - I am insulted that he was cast in a lead role for a TV series - he should NOT be acting. The guy who plays "Alex" is pretty bad also. The way the production represents South Beach is cheesy, stereotyped, watered down crap. The sound design is also crap, as well as the directing. Its like watching a bunch of kids in an acting class and a film school throwing together a bad soap opera.
The only redeeming qualities about the show is that the music is O.K. and the actress who plays "Ariel" - Odette Yustman - is not only GORGEOUS and STUNNING, but also a decent actress (and it also helps her stand out that she's acting with possibly the WORST cast ever assembled for television).
Anyway, that's my two cents - Don't watch the show - its CRAP!!!