samxxxul
Entrou em fev. de 2013
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Selos4
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Classificação de samxxxul
Been binging Nicholas Ray's stuff lately, and yesterday was his birthday, so I lucked out finding a solid copy of Wind Across the Everglades. It's a weird one-some Ray fans love it, others shrug it off. I get the split; it's messy but kinda awesome.
It's set in early 1900s Florida, with Christopher Plummer (first lead role, second film ever) as Walt Murdock, a teacher turned bird protector. He's out to save the Everglades' birds from poachers hunting their feathers. His big foe is Cottonmouth (Burl Ives), a wild poacher boss with a pet snake and a rough crew hiding deep in the swamp. It's based loosely on Guy Bradley, a real game warden killed by plume hunters in 1905.
The Everglades steal the show-gators chomping birds, snakes slinking through water. It's stunning but creepy, like nature's flexing on us. Ray nails the vibe with killer location shots. The cast is nuts: Plummer's intense, Ives is a magnetic bad guy you kinda root for, plus Gypsy Rose Lee as a brothel madame, Peter Falk in his first role, even a boxer (Tony Galento) and a clown (Emmett Kelly). Falk said he and Plummer were the only "real" actors, which tracks with the oddball energy.
Story's a bit all over, not always gripping, but it's got heart. Ray blurs good and evil-Murdock's got a dark side, Cottonmouth's got honor. Ray's addiction was a disaster here. He was spiraling with drugs and booze, constantly beefing with producer Budd Schulberg. Their fights got so bad Ray got the boot before wrapping, and Schulberg took over, directing scenes and editing. Word is the editing's a bit sloppy. Ray even sent Schulberg a desperate letter after a preview, begging to restore cut scenes and tone down Ives' wild final scene (shot after Ray was gone). No luck. The Technicolor's a little beat-up, but it vibes with the swamp's lawless feel.
At 92 minutes, with Paul Sawtell and Bert Shefter's score and Richard Sylbert's design, it's a strange, gorgeous fever dream. Ray's magic-and his chaos-bleed through every frame. If you're down with his vibe, this one's a must. It's not perfect, but it's got that raw, untamed Ray energy that'll stick with you like swamp mud on your boots.
It's set in early 1900s Florida, with Christopher Plummer (first lead role, second film ever) as Walt Murdock, a teacher turned bird protector. He's out to save the Everglades' birds from poachers hunting their feathers. His big foe is Cottonmouth (Burl Ives), a wild poacher boss with a pet snake and a rough crew hiding deep in the swamp. It's based loosely on Guy Bradley, a real game warden killed by plume hunters in 1905.
The Everglades steal the show-gators chomping birds, snakes slinking through water. It's stunning but creepy, like nature's flexing on us. Ray nails the vibe with killer location shots. The cast is nuts: Plummer's intense, Ives is a magnetic bad guy you kinda root for, plus Gypsy Rose Lee as a brothel madame, Peter Falk in his first role, even a boxer (Tony Galento) and a clown (Emmett Kelly). Falk said he and Plummer were the only "real" actors, which tracks with the oddball energy.
Story's a bit all over, not always gripping, but it's got heart. Ray blurs good and evil-Murdock's got a dark side, Cottonmouth's got honor. Ray's addiction was a disaster here. He was spiraling with drugs and booze, constantly beefing with producer Budd Schulberg. Their fights got so bad Ray got the boot before wrapping, and Schulberg took over, directing scenes and editing. Word is the editing's a bit sloppy. Ray even sent Schulberg a desperate letter after a preview, begging to restore cut scenes and tone down Ives' wild final scene (shot after Ray was gone). No luck. The Technicolor's a little beat-up, but it vibes with the swamp's lawless feel.
At 92 minutes, with Paul Sawtell and Bert Shefter's score and Richard Sylbert's design, it's a strange, gorgeous fever dream. Ray's magic-and his chaos-bleed through every frame. If you're down with his vibe, this one's a must. It's not perfect, but it's got that raw, untamed Ray energy that'll stick with you like swamp mud on your boots.
Been on Noboru Nakamura's revisit binge since his birthday, and makes it the perfect moment to rewind and give some love to his films. It's this chill, understated laid back flick that has its heart in all the right formative places. Compared to later classics, this one's rougher around the edges and doesn't get nearly as much love, but that's part of its charm.
Been on Isao Yukisada's revisit binge since his birthday, and makes it the perfect moment to rewind and give some love to his first debut movie, "Open House." It's this chill, understated laid back flick that has its heart in all the right formative places. Compared to later classics, this one's rougher around the edges and doesn't get nearly as much love, but that's part of its charm.
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