The Wrong Man (1956)
After reading a news article about a woman who was brutally stabbed to death, Walter becomes obsessed with the crime and as a writer develops his own opinion of what happened. Concluding not only was she killed by her husband Marty Kimmel (Eddie Marsan), but how he committed the murder as well. So confident of his evaluation of the case, Walter even decides to visit Marty at his bookstore, to meet the man he believes killed his wife.
Things soon start to change for Walter however when his wife
Harry Dean Stanton has died at the age of 91, it was confirmed over the weekend.
Actor Harry Dean Stanton died of natural causes in Los Angeles on Friday September 15th, his agent John Kelly announced. He was 91.
Stanton, who made his breakthrough in Wim Wenders’ Paris, Texas, submerged himself in over 250 movies since he began acting in the 1950s. That didn’t make him any less unforgettable, putting his subtle stamp on such films as Cool Hand Luke (1967), Two-Lane Blacktop (1971), Godfather II (1974), Ridley Scott’s Alien (1979) and John Carpenter’s Escape From New York (1981). Plus he taught Emilio Estevez how to boost cars in the cult classic Repo Man.
Stanton hit the mainstream in John Hughes’ Pretty In Pink (1986), he played Molly Ringwald’s unemployed father.
He played against Jack Nicholson, a lifelong friend, in The Missouri Breaks and Bob Rafelson’s Man Trouble. He also appeared in The Mighty,
Kl Studio Classics
1965 / Color / 2:35 widescreen / 83 min. / Street Date March 14, 2017 / available through Kino Lorber / 29.95
Starring: Peter Cushing, Patrick Wymark, Nigel Green, Jill Bennett, Michael Gough, Ceorge Couloris, Christopher Lee.
Cinematography: John Wilcox
Art Direction: Bill Constable
Film Editor: Oswald Hafenrichter
Original Music: Elisabeth Lutyens
Written by Milton Subotsky from a story by Robert Bloch
Produced by Milton Subotsky, Max J. Rosenberg
Directed by Freddie Francis
Nine years ago Legend Films brought us a DVD of this 1965 horror item,
Alfred Hitchcock’s Vertigo screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, March 11th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. The film will be introduced by Harry Hamm, movie reviewer for Kmox. Admission is only $5
This gives us a perfect excuse to re-run this top ten list so here, according to We Are Movie Geeks, are Alfred Hitchcock’s ten best films:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating.
I Want to Live!
1958 / B&W / 1:85 widescreen / 121 min. / Street Date November 15, 2016 / Available from the Twilight Time Movies Store 29.95
Starring Susan Hayward, Simon Oakland, Theodore Bikel, Virginia Vincent, Wesley Lau, Philip Coolidge.
Cinematography Lionel Lindon
Original Music Johnny Mandel
Written by Nelson Gidding, Don M. Mankiewicz
Produced by Walter Wanger (for Joseph Mankiewicz)
Directed by Robert Wise
Reviewed by Glenn Erickson
Robert Wise’s I Want to Live! from 1958 is a Can of Worms movie… start discussing its subject matter, and opinions immediately become a stumbling block. So I’ll
Reviewed by Glenn Erickson
Steven Spielberg doing a genre movie is usually good news, and if you discount Forrest Gump most everybody has fond memories of Tom Hanks. A
Reviewed by Glenn Erickson
The Wrong Man sees Alfred Hitchcock at the end of
Still just in her mid-twenties, actress Diane Baker found herself one morning in the unfamiliar surroundings of Alma and Alfred Hitchcock’s Brentwood kitchen. They ate peaches around the kitchen table and discussed director Hitchcock’s next picture – Marnie. “I was offered the part without reading the script,” Baker told me on the phone from an apparently sunny San Francisco. “I just happily accepted. Whatever it was, I was going to do it.” But looking back who can blame her? This was, of course, the director whose five previous films had been The Birds, Psycho, North by Northwest, Vertigo and The Wrong Man,
The Drownsman (Anchor Bay Entertainment, Blu-ray & DVD)
After almost drowning in a lake accident, Madison (Michelle Mylett, Antisocial) develops hydrophobia: an abnormal fear of water. After shutting the world and her friends out for over a year, her friends attempt an intervention.
The Birds screens at Schlafly Bottleworks (7260 Southwest Ave.- at Manchester – Maplewood, Mo 63143) Thursday, April 2nd at 7pm. It is a benefit for Helping Kids Together (more details about this event can be found Here)
This gives us a perfect excuse to re-run this top ten list from March of 2012. Alfred Hitchcock directed 54 feature films between 1925 and 1976, and here, according to We Are Movie Geeks, are his ten best:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating. Perhaps ole’ ” Hitch ” wanted to give those young up-and-coming
Hitchcock made a total of 39 self-referential cameos in his films over a 50 year period. Four of his films featured two cameo appearances (The Lodger: A Story of the London Fog UK), Suspicion, Rope, and Under Capricorn). Two recurring themes featured Hitchcock carrying a musical instrument, and using public transportation.
The films are as follows:
The Lodger (1927), Easy Virtue (1928), Blackmail (1929),Murder! (1930), The Man Who Knew Too Much (1934), The 39 Steps (1935),Sabotage (1936), Young and Innocent (1937), The Lady Vanishes (1938), Rebecca(1940), Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Suspicion (1941),Saboteur (1942), Shadow of a Doubt (1943), Lifeboat (1944), Spellbound (1945),Notorious (1946), The Paradine Case (1947), Rope (1948), Under Capricorn (1949),Stage Fright (1950), Strangers on a Train
If the Hollywood auteurs were the ghosts in the studio machine, what would they look like exorcised? Rather than author, the word "auteur" might have referred to a kind of rhetorician working within genre codes that, once decoded, would only reveal his own commentary on them. But what would happen if this auteur cleared his throat, managed a sip of water, and tried speaking in his own tongue? Typically, the critics who had authored the auteur as a placeholder and retroactive justification for their own generic interpretations would have to snub such attempts to break out of genre molds to go strange, personal places. For the irony is that these works, kind of laboratory
Opening with a dedication to the bravery of those foreign correspondents and others that risk their lives in war time, we enter into the realm of a Us newsroom where frustration is running high at the lack of actual coverage worthy news filtering in from the correspondents.
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10. City Lights
City Lights was arguably the biggest risk of Charlie Chaplin's career: The Jazz Singer, released at the end of 1927, had seen sound take cinema by storm, but Chaplin resisted the change-up, preferring to continue in the silent tradition. In retrospect, this isn't so much the precious behaviour of a purist but the smart reaction of an experienced comedian; Chaplin's films rarely used intertitles anyway, and though it is technically "silent", City Lights is very mindful of it own self-composed score and keenly judged sound effects.
At its heart,
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