gavmaster
A rejoint oct. 2000
Bienvenue sur nouveau profil
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Évaluation de gavmaster
An incredible exercise in formulaic writing. It could be used as a textbook for TV drama writing. The show follows the standard QM production formula of prologue, multiple acts, and epilogue.
Here's a summary of almost every show.
Prologue: You see Richard Kimble walking along the road.
Act one: Kimble gets some kind of menial job (stable hand, factory worker). Suspicion about the quiet drifter, the new guy. Act two: Kimble falls in love with a woman, tells her his whole story, dramatically ("They said I killed my wife, but I didn't do it! It was... a ONE ARMED MAN!")
Act three: Kimble casts further suspicion on himself by using his medical skills ("The way he cured that horse... there's something about that guy... The way he set Bill's broken arm... there's something about that guy...") The suspicious party/ies from the first act call the authorities.
Act four: The chase is on! Lots of dramatic orchestral brass music, punctuated by shots of David Janssen running, then stopping and turning towards the camera and giving his patented panicked look.
Epilogue: Kimble eludes his pursuers, gets away for another week. We see him walking backwards down the road, thumbing a ride with a sack over his shoulder. A car passes him, he turns around, keeps walking and we hear Robert Conrad's deep yet somehow stuck-in-the-throat voiceover something like, "Richard Kimble: Fugitive. Still searching for the one-armed-man". Swell of music. FTB
This show has been revived SO many times, notably as "The Incredible Hulk", "The Pretender" and recently as "The Fugitive". Truly an enduring formula: The Pythagorean Theorem of TV writing!
Here's a summary of almost every show.
Prologue: You see Richard Kimble walking along the road.
Act one: Kimble gets some kind of menial job (stable hand, factory worker). Suspicion about the quiet drifter, the new guy. Act two: Kimble falls in love with a woman, tells her his whole story, dramatically ("They said I killed my wife, but I didn't do it! It was... a ONE ARMED MAN!")
Act three: Kimble casts further suspicion on himself by using his medical skills ("The way he cured that horse... there's something about that guy... The way he set Bill's broken arm... there's something about that guy...") The suspicious party/ies from the first act call the authorities.
Act four: The chase is on! Lots of dramatic orchestral brass music, punctuated by shots of David Janssen running, then stopping and turning towards the camera and giving his patented panicked look.
Epilogue: Kimble eludes his pursuers, gets away for another week. We see him walking backwards down the road, thumbing a ride with a sack over his shoulder. A car passes him, he turns around, keeps walking and we hear Robert Conrad's deep yet somehow stuck-in-the-throat voiceover something like, "Richard Kimble: Fugitive. Still searching for the one-armed-man". Swell of music. FTB
This show has been revived SO many times, notably as "The Incredible Hulk", "The Pretender" and recently as "The Fugitive". Truly an enduring formula: The Pythagorean Theorem of TV writing!
'The McMasters' is yet another film that stands as a testament to the changing values of North American society: another case of "There's no way that could have been made today".
Brock Peters plays Benji, a former slave and Civil War veteran who is adopted by kindly-old-white-man Burl Ives ('Mcmasters'), and given title to the old man's farm. Conflict with the racist locals, led by the chilling Jack Palance as Kolby, ensues, leading to a violent conclusion.
To me the film was almost painfully riveting, and frank in its depictions of violence and racism.The violence in today's action films is highly stylized, and almost glamorous by comparison: today's post-Star-Wars escapist fare has no place for the smallest depiction or frank discussion of racism. I found myself getting involved with the characters, cheering them on and yelling advice to the screen. I also loved the western/blacksploitation angle of the film, even though the "showdown" plot is pretty standard western fare.
The film seems old-fashioned when viewed today: does that mean that society has progressed, or regressed since 1969? You be the judge.
Brock Peters plays Benji, a former slave and Civil War veteran who is adopted by kindly-old-white-man Burl Ives ('Mcmasters'), and given title to the old man's farm. Conflict with the racist locals, led by the chilling Jack Palance as Kolby, ensues, leading to a violent conclusion.
To me the film was almost painfully riveting, and frank in its depictions of violence and racism.The violence in today's action films is highly stylized, and almost glamorous by comparison: today's post-Star-Wars escapist fare has no place for the smallest depiction or frank discussion of racism. I found myself getting involved with the characters, cheering them on and yelling advice to the screen. I also loved the western/blacksploitation angle of the film, even though the "showdown" plot is pretty standard western fare.
The film seems old-fashioned when viewed today: does that mean that society has progressed, or regressed since 1969? You be the judge.
Expertly directed by R. William Neill, who was responsible for the film noir classic "Black Angel", "The Pearl Of Death" is based on the Arthur Conan Doyle story "The Adventure of the Six Napoleons". This film has it all: mystery, action, comedy, horror, even a half-assed patriotic message tacked on to the end (it was made as WWII was coming to a close). I was impressed by Basil Rathbone's characterization of Holmes: he consistently utters lines that, coming from an inferior actor, would probably sound ridiculous, yet he manages (probably because this was his sixth turn at the character) to impress me with his believability and sheer presence on the screen. Until I saw this film I was always irritated by Nigel Bruce's bumbling Dr. Watson, whose character is miles away from the Watson portrayed in the books, but I now realize that he was the perfect foil for Rathbone's Holmes. The updating of Holmes into the modern era also troubles me, but the film manages to maintain a kind of 'timeless' quality by avoiding too many 'modern' references. Virgil Miller's cinematography is beautiful: I would hate to see it "Colorized" by Turner and his evil band. Miller, who shot another one of my favorite films, "Mr. Moto Takes A Chance" is the perfect compliment for Neill's great direction: together they make every shot interesting, and provide many unforgettable images.