adrianovasconcelos
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Selos4
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Classificação de adrianovasconcelos
Four years before this film, Peter Collinson had directed the hugely successful ITALIAN JOB featuring a terrific European ensemble that included Michael Caine and Raf Vallone, and was full of humorous heist action.
Sadly, he did not manage to whip up the same level of inspiration here, and the highly original and irreverent sequences in ITALIAN JOB make way in THE MAN CALLED NOON to a ponderous narrative occasionally jolted out of its snail pace by shootouts, and a contrived dialogue ripping off such quality Westerns as Sergio Leone's ONCE UPON A TIME in the WEST, Fred Zinnemann's HIGH NOON, Nicholas Ray's JOHNNY GUITAR, among others. Even UN FLIC, the 1972 Jean-Pierre Melville-directed French thriller featuring Alain Delon and Richard Crenna, made a contribution with the model train sequence in which Crenna also runs around the roof (thankfully without the helicopter).
Acting is generally substandard. Crenna never amounted to much as an actor. Here, he suffers from amnesia, keeps giving himself the name of a man who exists and Boyd seeks. Crenna's good looks are consistently emphasized, and he often seems either perplexed or like he has just spotted another killer. The film opens with him getting shot and running to a train that just happens to blowing its horn at the tiny town's station, fleeing more than 10 men looking for him.
That is where Stephen Boyd comes in. 14 years earlier, Boyd had memorably played the cold, evil Roman called Masala in BEN-HUR, and here he too does quite a bit of horseriding, but otherwise he is just a waning star playing a pawn on the film's chessboard, of which two different sets surface at the end with Farley Granger making the moves as Judge Niland, who is also a good user of the rifle and sentences no end of lives.
Two beautiful females appear: Rosa Schiaffino as the white dressed good woman Fan Davidge, and Patty Shepard as the black-dressed baddie Peg Cullane. Neither is particularly necessary for the action, but obviously the film needed female presences to be box office viable.
Plenty of lovely landscape shots, lovingly filmed trains arriving at stations, make THE MAN CALLED NOON rather easy on the eye, especially when the musical score is not too loud and modern for the West in the late 19th Century.
Rather mediocre. I doubt I will rewatch it. 6/10.
Sadly, he did not manage to whip up the same level of inspiration here, and the highly original and irreverent sequences in ITALIAN JOB make way in THE MAN CALLED NOON to a ponderous narrative occasionally jolted out of its snail pace by shootouts, and a contrived dialogue ripping off such quality Westerns as Sergio Leone's ONCE UPON A TIME in the WEST, Fred Zinnemann's HIGH NOON, Nicholas Ray's JOHNNY GUITAR, among others. Even UN FLIC, the 1972 Jean-Pierre Melville-directed French thriller featuring Alain Delon and Richard Crenna, made a contribution with the model train sequence in which Crenna also runs around the roof (thankfully without the helicopter).
Acting is generally substandard. Crenna never amounted to much as an actor. Here, he suffers from amnesia, keeps giving himself the name of a man who exists and Boyd seeks. Crenna's good looks are consistently emphasized, and he often seems either perplexed or like he has just spotted another killer. The film opens with him getting shot and running to a train that just happens to blowing its horn at the tiny town's station, fleeing more than 10 men looking for him.
That is where Stephen Boyd comes in. 14 years earlier, Boyd had memorably played the cold, evil Roman called Masala in BEN-HUR, and here he too does quite a bit of horseriding, but otherwise he is just a waning star playing a pawn on the film's chessboard, of which two different sets surface at the end with Farley Granger making the moves as Judge Niland, who is also a good user of the rifle and sentences no end of lives.
Two beautiful females appear: Rosa Schiaffino as the white dressed good woman Fan Davidge, and Patty Shepard as the black-dressed baddie Peg Cullane. Neither is particularly necessary for the action, but obviously the film needed female presences to be box office viable.
Plenty of lovely landscape shots, lovingly filmed trains arriving at stations, make THE MAN CALLED NOON rather easy on the eye, especially when the musical score is not too loud and modern for the West in the late 19th Century.
Rather mediocre. I doubt I will rewatch it. 6/10.
Immensely gifted British-born Director Michael Powell shows touches of upcoming genius in this 62-minute noir whodunnit which may well have given some ideas to René Clair as he helmed the much larger budget production AND THEN THERE WERE NONE of 1941.
In addition to unusually clear B&W cinematography for 1934, NIGHT OF THE PARTY aka MURDER PARTY benefits from superior acting, in particular Ernest Thesiger as Adrian Chiddiat (rhyming with idiot), a failed writer belittled by womanizer Lord Studholme (excellent short portrayal by Malcolm Keen), Muriel Aked as Princess Amelia of Corsova; and, inevitably, the great Leslie Banks makes the most of his short and efficient part as Sir John Holland, a police inspector invited to attend what turns out to be a MURDER PARTY.
Top notch dialogue by Roland Pertwee and John H Turner.
Definitely warrants watching as an early Michael Powell vehicle showing many of the touches that would lead to such masterpieces as COLONEL BLIMP, THE RED SHOES, BLACK NARCISSUS, among others, 8/10.
In addition to unusually clear B&W cinematography for 1934, NIGHT OF THE PARTY aka MURDER PARTY benefits from superior acting, in particular Ernest Thesiger as Adrian Chiddiat (rhyming with idiot), a failed writer belittled by womanizer Lord Studholme (excellent short portrayal by Malcolm Keen), Muriel Aked as Princess Amelia of Corsova; and, inevitably, the great Leslie Banks makes the most of his short and efficient part as Sir John Holland, a police inspector invited to attend what turns out to be a MURDER PARTY.
Top notch dialogue by Roland Pertwee and John H Turner.
Definitely warrants watching as an early Michael Powell vehicle showing many of the touches that would lead to such masterpieces as COLONEL BLIMP, THE RED SHOES, BLACK NARCISSUS, among others, 8/10.
THE LAWLESS YEARS ran from 1959 through 1961, featuring James Gregory as police inspector Barney Rudisky, a real life cop telling how big crime names of the Roaring Twenties like Dutch Schultz, Maxey Gorman, Johnny Lucky, etc got caught and served life sentences or fried on the electric chair.
The episodes are only around 26 minutes long but shortness makes them to the point and prevent your attention wandering.
James Gregory, a very good supporting actor in non-TV films, would go on to play superbly the very opposite of Rudisky in corrupt Senator Iselin in THE MANCHURIAN CANDIDATE (US 1962), probably his career's finest hour.
I have watched some seven LAWLESS YEARS episodes and found them all gripping and worth my time. 8/10.
The episodes are only around 26 minutes long but shortness makes them to the point and prevent your attention wandering.
James Gregory, a very good supporting actor in non-TV films, would go on to play superbly the very opposite of Rudisky in corrupt Senator Iselin in THE MANCHURIAN CANDIDATE (US 1962), probably his career's finest hour.
I have watched some seven LAWLESS YEARS episodes and found them all gripping and worth my time. 8/10.
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