Posts Tagged ‘Walter Brennan’
My Darling Clementine Streaming
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My Darling Clementine Streaming.
Movie Title: My Darling Clementine My Darling Clementine is available for streaming or downloading. |
This is arguably the best Western by the best director of Westerns in the history of the genre. Ostensibly the tale of the gunfight at the O.K. Corral, the legendary John Ford gives us a vision of the Customary West that is violent yet idealized, repugnant yet warm, grim yet majestic. Ford has often been called a visual poet, and the sublime “My Darling Clementine” is perhaps the best example of visual poetry that anyone has ever establish to celluloid.
Forget about comparing this film to staunch historical events. While Ford knew Wyatt Earp from his early Hollywood days when Ford was a prop boy, and he claimed that Earp told him how the gunfight really happened, he also said he wasn’t trying to invent a documentary when he directed “Clementine”. The “facts”, whatever they may be, don’t matter here. As the newspaperman tells Senator Ransom Stoddard in Ford’s “The Man Who Shot Liberty Valance”, “When the story becomes fact, print the chronicle.”
Henry Fonda’s Earp is the classic Ford hero, somewhat distant and removed from society, quietly confident and basically nonviolent, but nevertheless commanding the direct respect of others (partly because of his reputation which has preceded him, and its inherent threat of violence) . And, most importantly, he is ultimately unable to part in the peace and security that he makes possible for others. Next to his portrayal of Tom Joad in Ford’s “The Grapes Of Wrath”, this is perhaps Fonda’s finest performance. He has never appeared more wintry and comfortable in a role, as he laconically and assuredly inhabits the lawless frontier town of Tombstone.
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Contrasting Wyatt’s sanguine pragmatism, Doc Holliday (Victor Old-fashioned) is a stupefied, tragic outcast who has uprooted himself from civilization and drifted West. We learn that Doc was once a surgeon (the genuine Doc Holliday was a dentist, another negligible historical discrepancy), a critical, functioning member of society, his career presumably carve short by alcoholism, consumption and undisclosed ghosts, which apparently unruffled haunt him.
The Clanton family provides the reason for Wyatt’s accepting the job as marshal of Tombstone, by murdering his youngest brother, James, and making off with the Earp brothers’ cattle. The miscreant Clantons, like the Cleggs family in Ford’s “Wagonmaster”, are the personification of foul, demented and motherless. The leader of their clan, known only as “Pa” (ominously played by Walter Brennan), would like nothing better than for Tombstone to remain initiate and lawless and free for the taking.
Clementine Carter (Cathy Downs) appears as a civilizing angel from the East, who has reach to rescue Doc from himself and bring him succor to Boston (Ford’s eternal bastion of Civilization in the worst sense, invariably inhabited by bigoted grotesques – though Miss Carter seems to have been spared this characterization) . The tempestuous Chihuahua (Linda Darnell), who wants to hasten away with Doc to Mexico, embodies the wild, initiate frontier.
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While the climax naturally takes residence at the O.K. Corral, the centerpiece of the film, as in many Ford films, is a dance. Its prelude unfolds majestically as Wyatt and Clementine meet in the lobby of the hotel and originate a stately budge toward the framework of the unfinished “first church of Tombstone”, the sound of a tolling church bell and the strains of one of Ford’s stale well-liked hymns, “Shall We Gain at the River” growing louder as the couple approaches the assembled congregation. Like many tall moments in broad films, the beauty of several elements melding flawlessly to obtain this sequence defies verbal description.
The church, to Ford, helps legitimize the existence of a community, not only for religious reasons, but as a space where people can near together in fellowship, providing a foundation for that community’s future existence. The dance, which takes station on the physical foundation of the unfinished church, is the turning point of the film, and provides possibly the most transcendent moment in all of Ford’s work. It is the embodiment of the spiritual establishment of a staunch and lasting community, which, until the arrival of Wyatt and Clementine, and all that they stand for, had no solid foundation.
Ford’s expend of comedy, often criticized for its broadness (but of which he was nevertheless proud), is sparing and deft in “Clementine”. It is gentler and more restrained than his usual comedic fare, as in the droll references to the aroma of the eau de toilette which the fervent proprietor of the Bon Ton Tonsorial Parlor has applied to Wyatt’s freshly shaven and coiffed person: “I care for your town in the morning, Marshal”, says Clementine, as she and Wyatt step out onto the front porch of the hotel; “the scent of the desert flower . . .” “That’s me,” corrects Wyatt, adding, explanatorily, “Barber.” There is also the justly praised bit of business of Wyatt doing his seated “dance” on the front porch of the hotel, as he, somewhat passive aggressively, ignores the shrewish admonishments of Chihuahua. This casual, reportedly spontaneous creation of Fonda’s (or Ford’s, depending on the source) succinctly captures the essence of the relationship between the two characters.
Ford’s innately masterful sense of composition and lighting, which he displayed throughout his career, is magnificently displayed in “Clementine”. The sweeping diagonal of the bar in the saloon as Wyatt walks to the door after Chihuahua’s operation; the expressionistic shadows which constantly envelop the doomed Holliday’s face; the somber, monumental tableau of Wyatt and Morgan, bending over the tiring, body of their brother Virgil in the street at night; all of these images resonate indefinitely in the viewer’s memory, and all stutter a visual master in his prime.
Many of the reassuringly familiar faces of Ford’s legendary “stock company” are faithfully exhibit, as was nearly always the case – with petite variations – over the years. Ward Bond, Jane Darwell, Russell Simpson, Mae Marsh, J. Farrell MacDonald and the ever-present, ever-endearing Francis Ford, John’s older brother and passe mentor (and a archaic of Hollywood from its infancy), all add their warm, familial qualities, counterbalancing the darker aspects of the film.
Of all the Westerns I’ve seen, “My Darling Clementine” is the most eloquent, the most understatedly awe-inspiring – the most poetic.
John Ford printed the narrative. Sublimely.
If you’re looking for a straight-forward, fair presentation of the events leading up to the ‘Gunfight at the O.K. Corral’, please assume ‘Wyatt Earp’, or ‘Tombstone’ from Amazon.com…But if you rob your history more spiritual, and want to leer a master storyteller paint a visual canvas of a West that may never have existed, but SHOULD have, then this film will be a treasured portion of your video collection!
John Ford knew Wyatt Earp, personally, and was familiar with the events surrounding the Tombstone shootout, but one of his greatest assets as a director was his ability to recognize beyond simple facts, and focus on record. ‘My Darling Clementine’ is a record of icons, of the Loner, battling his possess weaknesses, and creating something lasting, then walking away, to allow Civilization to grow. It’s a classic theme in Ford’s work (he would return to it in ‘The Searchers’, and ‘The Man Who Shot Liberty Valance’), as well as in many other directors’ westerns (‘Shane’, ‘A Fistful of Dollars’, ‘The Wild Bunch’) .
While Wyatt Earp (wonderfully portrayed by Henry Fonda) is surrounded by his brothers in the film, he has an aloofness that makes his character both complex, and enigmatic at the same time. At the film’s originate, he’s a cowpuncher, who had walked away from the responsibilities of being a lawman, finding satisfaction in the hard work and solitary life of the range. When the Clantons (led by Walter Brennan, in one of his greatest roles), first near the brothers, while Wyatt accepts an invitation to obtain a taste of city life, it’s obvious that it will be a brief conclude, before he moves on, and he brushes aside any overtures of friendship.
His lack of desire to commit to a larger community is stressed after he barehandedly captures a drunken Indian (based on an loyal event in Earp’s life), then turns down the Marshal’s badge. Only after a brother is murdered do the Earp brothers agree to abet natty up the town.
In counterpoint to Earp is Doc Holliday (sensitively portrayed by Victor Traditional), an incandescent who fled the South, and had found his enjoy solitude by virtue of his guns, his gambling, and his illness. While Earp is a upright ‘Man of the West’, however, Holliday is a fish out of water, truly comfortable only in a crowded bar. He is doomed, more by his contain scared world, than by the disease that forces him to cough into his handkerchief.
The scenes of Earp in the town are improbable, as Civilization builds around an wretched stranger. Yet Earp toys with the concept of settling into this world, through his politely formal relationship with Doc’s lost worship, Clementine. The scene at the church dance, where the stiffy formal Earp dances against the vista of a West being ‘boarded in’ is symbolic of what his absorb life was becoming, and is classic Ford!
The climactic shootout is noteworthy and raw, ultimately freeing Earp from the constraints of a life that would have been unnatural for him, and ending the downward spiral of Holliday’s life, in an courageous gesture.
It’s often asked why Earp leaves, afterwards, when Clementine and the Tombstone are so lovely…The retort is simple, really; his work is finished, and their future will be constrained into a world of wood and ‘progress’. The Loner, the ‘Man of the West’ would have no position there. Like Ethan, or Shane, he must return to the solitary vistas that are his proper home.
What a anecdote! What a film!
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Streaming Comedy Kings 50 Movie Pack Online
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Streaming Comedy Kings 50 Movie Pack Online.
Movie Title: Comedy Kings 50 Movie Pack Comedy Kings 50 Movie Pack is available for streaming or downloading. |
The COMEDY KINGS 50 MOVIE PACK includes 45 titles not previously available on MILL CREEK ENTERTAINMENT box sets. Most of these films were made in the 1930s and ’40s; a few are from the 50s, the newest was released in 1962. They’re all public domain comedies from such favorites as the Insensible Waste Kids, Charlie Chaplin, Betty Hutton, William Powell and Walter Brennan. Supporting players include Edgar Kennedy, Adolphe Menjou, Margaret Hamilton, Buster Keaton and William Demarest. COMEDY KINGS a pleasing collection of lesser-known vintage movies that are filled with hours of laughter, silliness and high jinks.
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The 1 to 10 get for this DVD box region was calculated from polling data maintained by a film resource website. Forty-three titles here currently average a rating of: 6.2.
The following alphabetized program list includes individual poll numbers for each film, as well as years of release and the most prominent actors.
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(5.7) The Admiral Was A Lady (1950) – Edmund O’Brien/Wanda Hendrix/Rudy Vallee
(5.4) Affairs Of Cappy Ricks (1937) – Walter Brennan/Mary Brian/Lyle Talbot
(5.2) All Over Town (1937) – Olsen & Johnson/Franklin Pangborn/James Finlayson
(6.5) The Animal Kingdom (1932) – Ann Harding/Leslie Howard/Myrna Loy
(5.9) Behave Yourself! (1951) – Farley Granger/Shelley Winters/William Demarest
(6.0) Boys Of The City (1940) – The Dreary Extinguish Kids
(6.6) A Bride For Henry (1937) – Anne Nagel/Warren Hull/Henry Mollison
(6.2) Colonel Effingham’s Raid (1946) – Charles Coburn/Joan Bennett/Donald Meek (in aid)
(5.9) Country Gentleman (1936) – Olsen & Johnson/Joyce Compton/Ray Corrigan (in succor)
(6.3) Flee to Paradise (1939) – Bobby Breen/Kent Taylor/Marla Shelton
(??? ) Spurious Pretenses (1935) – Irene Ware/Sidney Blackmer/Betty Compson
(6.6) Flying Wild (1941) – The Dumb Waste Kids
(5.5) Freckles Comes Home (1942) – Johnny Downs/Gale Storm/Mantan Moreland
(5.9) The Gang’s All Here (1941) – Frankie Darro/Marcia Mae Jones/Mantan Moreland
(??? ) Goodbye Appreciate (1933) – Charles Ruggles/Verree Teasdale/Sidney Blackmer
(5.2) The Groom Wore Spurs (1951) – Ginger Rogers/Jack Carson/Joan Davis
(5.4) Hay Foot (1942) – William Tracy/James Gleason/Noah Beery Jr.
(6.0) Heading For Heaven (1947) – Stuart Erwin/Irene Ryan/Milburn Stone
(6.0) Her Approved Patient (“Bedside Manner”) (1945) – John Carroll/Ruth Hussey/Charles Ruggles
(5.3) Here Comes Difficulty (1948) – William Tracy/Joe Sawyer/Betty Compson
(6.3) His Double Life (1933) – Roland Young/Lillian Gish/Montagu Love
(5.7) His Private Secretary (1933) – John Wayne/Evelyn Napp/Al St. John
(5.1) Hollywood And Vine (1945) – James Ellison/Wanda McKay/Franklin Pangborn
(7.0) I’m From Arkansas (1944) – Slim Summerville/El Brendel/Al St. John (in help)
(6.8) The Inspector General (1949) – Danny Kaye/Walter Slezak/Elsa Lanchester/Alan Hale (in encourage)
(8.1) The Kid (silent-1921) – Charlie Chaplin/Edna Purviance/Jackie Coogan
(5.1) The Lady Says No (1952) – Joan Caulfield/David Niven/Frances Bavier (in succor)
(7.3) Life With Father (1947) – William Powell/Irene Dunn/Elizabeth Taylor
(6.1) Lonely Wives (1931) – Edward Everett Horton/Esther Ralston/Laura La Plante
(6.1) Lost Honeymoon (1947) – Franchot Tone/Ann Richards/Tom Conway
(??? ) Meet The Mayor (“A Fool’s Advice”) (1932) – Frank Fay/Ruth Hall/Franklin Pangborn (in abet)
(6.8) The Milky Contrivance (1936) – Harold Lloyd/Adolphe Menjou/Verree Teasdale
(6.5) Money Means Nothing (1934) – Wallace Ford/Gloria Shea/Edgar Kennedy
(6.8) Never Wave At A WAC (1952) – Rosalind Russell/Paul Douglas/Marie Wilson/Leif Erickson (in wait on)
(6.4) Niagara Falls (1941) – Marjorie Woodworth/Tom Brown/Zasu Pitts
(7.3) Nothing Sacred (1937) – Carole Lombard/Fredric March/Frank Fay/Margaret Hamilton
(6.7) The Nut Farm (1935) – Wallace Ford/Betty Alden/Florence Roberts
(5.9) Palooka (1934) – Jimmy Durante/Lupe Velez/Stuart Erwin
(5.1) Peck’s Terrible Boy With The Circus (1938) – Tommy Kelly/Ann Gillis/Edgar Kennedy/Spanky McFarland
(6.1) The Perils Of Pauline (1947) – Betty Hutton/John Lund/Billy De Wolfe/William Demarest
(6.8) The Rage of Paris (1938) – Danielle Darrieux/Douglas Fairbanks Jr./Mischa Auer
(6.2) Riding On Air (1937) – Joe E. Brown/Guy Kibbee/Florence Rice
(6.8) Road To Bali (1952) – Bob Hope/Bing Crosby/Dorothy Lamour/Michael (minor role)
(5.7) St. Benny The Dip (1951) – Dick Haymes/Nina Foch/Roland Young/Freddie Bartholomew
(??? ) Swing It, Sailor (1938) – Wallace Ford/Ray Miller/Isabel Jewell
(6.9) Three Husbands (1951) – Eve Arden/Ruth Warrick/Howard Da Silva/Billie Burke (in aid)
(??? ) Too Many Women (1942) – Neil Hamilton/June Lang/Joyce Compton
(5.8) The Villain Calm Pursued Her (1940) – Billy Gilbert/Anita Louise/Margaret Hamilton/Buster Keaton (in aid)
(??? ) We’re In The Legion Now (1936) – Reginald Denny/Esther Ralston/Vince Barnett
(??? ) When The Girls Bewitch Over (1962) – Robert Lowery/Marvin Miller/Jackie Coogan
This is a huge state but it’s mistitled – there are plenty of comedy QUEENS on this spot, in fact in a number of the films the female star has the main share. A what a bunch of amusing ladies – Eve Arden, Ginger Rogers, Carole Lombard, Betty Hutton, Irene Ryan, Joan Davis, Rosalind Russell, Lupe Velez, Marie Wilson, ZaSu Pitts, Gale Storm, Helen Broderick, Frances Baiver, Billie Burke, Margaret Hamilton, Constance Collier, etc etc as well as such legendary female stars as Lillian Gish, Irene Dunne, Dorothy Lamour, Myrna Loy, Joan Bennett, Danielle Darrieux, Elizabeth Taylor, Shelley Winters, Laura La Plante, Ann Harding… the list goes on.
Many of these titles are hard to derive, a lot are available as single movies from Alpha but this 50 movie situation will probably cost you less than three single Alpha titles and the print quality is usually not of distinguished contrast.
The most moving titles in the plot are THE RAGE OF PARIS, a savory American screwball film starring French diva Danielle Darrieux, a rare starring film for Eve Arden THREE HUSBANDS, Lillian Gish in one of her few early talkies HIS DOUBLE LIFE, peaceful greats Laura La Plante, Esther Ralston, and Patsy Ruth Miller in the astounding talkie comedy LONELY WIVES; the incredibly sexy young Myrna Loy vs. liberated Ann Harding in THE ANIMAL KINGDOM, the incredible but amazing teaming of Rosalind Russell and Marie Wilson in NEVER WAVE AT A WAC, plus a bunch of “B” rarities with such underrated talent as Ann Rutherford, Anne Nagel, Joan Caufield, Isabell Jewell, Betty Compson, Anita Louise, Mary Carlisle, Evelyn Knapp, Marjorie Gateson, Joyce Compton, Verree Teasdale, Ruth Hussey, Ruth Warrick, and Mary Brian. There’s also a number of undeniable classic motion pictures such as THE KID, LIFE WITH FATHER, and ROAD TO BALI.
This is a really tall status but I mediate you will agree after watching many of these films the space was mistitled. These actresses more than enjoy their beget against the menfolk.
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The Big Sleep Discount.
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The Big Sleep Discount.
Compare & Purchase The Big Sleep at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
The Big Sleep Description:
- Amazon Sales Rank: #1278 in Movie
- Released on: 2009-12-17
- Rating: NR (Not Rated)
- Running time: 114 minutes
Customer Reviews:
A fine box set that does not obsolete the previous snap-case DVDs
The 1940s Hollywood power couple of Humphrey Bogart (1899-1957) and Lauren Bacall (1924-) made four excellent films together:
(1) To have and have not (1944)–11/03 snap-case DVD UPC 012569584327, 7/06 keep-case DVD UPC 012569676862
(2) The big sleep (1946)–2/00 snap-case DVD UPC 012569502628, 7/06 keep-case DVD UPC 012569676817
(3) Dark passage (1947)–11/03 snap-case DVD UPC 012569584228, 7/06 keep-case DVD UPC 012569676824
(4) Key Largo (1948)–2/00 snap-case DVD UPC 012569501027, 7/06 keep-case DVD UPC 012569676848
The 1944 movie is a World-War-II film whereas the others are film-noir flicks. [Incidentally, Bacall played opposite Betty Grable and Marilyn Monroe in How to marry a millionaire (1953). The film has an in-joke: the Bacall character says: "I've always liked older men. Look at Roosevelt, look at Churchill, look at that old fella what's his name in The African Queen. Absolutely crazy about him." Bacall is referring to her real-life husband, Humphrey Bogart.]
The box set “Bogie & Bacall: The signature collection” (DVD 7/06) collects the four Bogart-Bacall movies in a convenient slip case to house appropriately four plastic keep cases but awkwardly four cardboard snap cases. The four films in the box set come in plastic keep cases and are
also available separately. The previous releases were in cardboard snap cases but are still available. The exteriors of the respective snap and keep cases are virtually identical, those of The big sleep DVD varying the most, but only for the “special features” note. The earlier snap cases each have inside a chapter index and additional photo. The newer keep cases lack scene indices. I compared the four DVDs in the snap-case editions with the four DVDs in the keep-case editions. The DVDs for each movie are identical. It is important to note that the DVD for The big sleep is two-sided:
Side A (114 min) = 1946 theatrical-release version
Side B (116 min) = 1944 pre-release version with 18 minutes that were either reshot or deleted from the theatrical release
Side B of the keep-case DVD is not clearly labeled as such.
Warner was remiss in not issuing with the box set a brief booklet on Bogart and Bacall.
In conclusion, if you have the four snap-case editions, they are not outdated, and with reasonable care the cardboard snap cases wear well. However, if you are a Bogart collector lusting for the nice slip case for the quartet of films, get the box set with the plastic keep-case editions and give your snap-case editions to a friend or relative.
If You Want Them, This Is It
“Bogie and Bacall — The Signature Collection,” brings us the four movies the near-legendary Hollywood stars, Humphrey Bogart and Lauren Bacall, made together, from first, Howard Hawks’s 1944 “To Have and Have Not,” in which the couple, just meeting, literally fall in love on screen, through probably their best together, 1946′s “The Big Sleep,” again directed by Hawks; their strangest, 1947′s “Dark Passage,” written and directed by Delmar Daves; and their last, the 1948 “Key Largo,” directed by John Huston.
All four films are made by Warner Brothers, in black and white; all but “Dark Passage” made entirely on studio back lots, despite the ostensible tropical settings of “To Have and Have Not,” and “Key Largo.” In most, Bogie plays a character that will be familiar to his fans from his previous work, particularly the great wartime hit “Casablanca” that directly preceded “To Have.” We see some of the familiar Warner Brothers company of supporting players in these films, and some well-known, highly-esteemed actors, but the pictures belong to Bogie and Bacall, as they fire up the screen, as lovers and then newly-marrieds.
“To Have and Have Not,” supposedly resulted from a bet between Hawks and Ernest Hemingway, famed American author of the book on which it’s based. Hawks said he could get a good movie from Hemingway’s worst book, which this was. Hawks did so, with a screenplay by another famed American novelist, William Faulkner, and Jules Furthman. The picture, however, is an effort to remake “Casablanca,” without Ingrid Bergman, or the earlier movie’s sterling supporting cast. Set on a French-speaking Caribbean island, with Vichy French and Free French at war. Almost-heroic Free French fighter, and his wife. Bogie as Henry (Steve) Morgan, hardboiled antihero who sticks his neck out for nobody. Hugely talented American singer-songwriter Hoagy Carmichael as Cricket, singing piano player. Despite his many beautiful compositions, he just doesn’t hold the screen as did Dooley Wilson, playing Sam, singer of “As Time Goes By,” in the earlier film. Walter Brennan thrown in playing his stellar drunk, Eddie, asking people “Was you ever stung by a dead bee?” He’s treated with romanticizing kid gloves by all concerned. And the breathtaking 19-year old Bacall, as Marie (Slim) Browning, who’s just landed on the island because she’s run out of money. She’s given a snazzy check suit, and some snappy dialogue. Remember “You know how to whistle, don’t you?” She even sings; legend says she was dubbed by Andy Williams, but that’s not necessarily true. They say her part was beefed up when the studio execs saw what was happening onscreen. Sid Hickox’s noirish cinematography also contributes greatly to a sexy, old-fashioned, rather routinely plotted, World War II thriller, combining romance, faraway adventure, and a macho Hemingway hero.
“The Big Sleep,” 1944, was the second film made by the golden trio, Bogart, Bacall and Hawks. The screenplay, again, was by novelist Faukner, based, this time, on a detective novel of the same name by the Californian author Raymond Chandler. This noir mystery thriller also casts a backwards eye at “Casablanca.” Here, Bogie plays Philip Marlowe, Chandler’s existential, street-smart, courageous private eye, called to investigate efforts to blackmail the aging, incapacitated, wealthy General Sternwood about one of his daughters. Both the General’s daughters, the old man admits, are wild, and have the vices of their class, but Carmen, played by Martha Vickers, is most troublesome; Vivian, played by Bacall, gambles, and seems, carelessly enough, to have recently misplaced her husband, of whom the General was fond. Still, in this picture, Vivian has great rooms and clothes, and a nifty white coupe convertible. Supporting players include Dorothy Malone, Peggy Knudsen, Bob Steele, Lash Canino, and Elisha Cook. Max Steiner contributed the atmospheric score. The notoriously complicated, difficult to follow plot is frequently interrupted by girls admiring Bogie, and stopped dead so Bacall can sing. The screenplay cleans up its source material considerably, still, it was considered an unusually violent and amoral movie for its time. Treatment of Los Angeles is moody; night scenes are shadow and fog, daylight scenes slightly, menacingly overblown. Nobody played harried and world-weary better than Bogart.
1947′s “Dark Passage,” noir thriller, was written and directed by Delmar Daves, based on a novel by David Goodis, who wrote the novel on which “Shoot The Piano Player” is based. It’s set in San Francisco of the 40′s, and may be the best screen treatment of that city at that time. Once again, Sidney Hickox’s noirish cinematography takes full advantage of its flavorful setting, hills, bay, staircase streets. The building in which Bacall’s character, Irene Jansen, supposedly lives, and its glass elevator, and her duplex apartment, are masterpieces of the “moderne” style then highly popular. Bogart plays Vincent Parry, a doctor unjustly convicted of killing his wife; at the film’s opening, he’s just escaped from San Quentin, coming home to clear himself. For the first hour, we never see him, only see everything through his eyes, then a new filmic technique. The gimmick is, he has plastic surgery so as to no longer be recognizable; he then becomes the Bogart we know. Housely Stevenson plays the plastic surgeon Dr. Walter Coley: his scenes are treated in a most Frankensteinian way. The plot takes some truly odd turns: we’re to believe that Agnes Moorhead, who is surely riveting, could give Bacall a run for her money in the Bogart stakes. As if. Bacall doesn’t sing, but she looks sensational, and has, in addition to that apartment, some stylish clothes and jewelry — note the Mexican opals. She’s also got an eye-catching, memorable “woody” station wagon.
“Key Largo,” 1948, directed by John Huston, was the last screen pairing of our two leads. It’s based on a stage play by Maxwell Anderson, nominally set in the tropical Florida Keys. A wheelchair-bound Lionel Barrymore plays James Temple, owner of the island hotel; Bacall plays Nora, his widowed daughter in law. Bogart plays Frank Mc Cloud, who fought the Italian campaign alongside the Temple boy until he was killed. Mc Cloud goes to visit the Temples off-season, and discovers that a powerful hurricane’s coming. And that they are being terrorized by Edward G. Robinson, one of the great movie villains, playing gangster Johnny Rocco. Clair Trevor, playing Gaye Downs, Rocco’s moll, former nightclub entertainer, gets to sing this time. She does an acapella “Moanin’ Low,” a song popularized by Libby Holman in the early 30′s, and won a Best Supporting Actress Oscar for it. Bogart plays an unusually quiet version of his “I stick my neck out for nobody character.” But, such are the burdens of marriage, Bacall is uncharacteristically demure. She doesn’t appear to be wearing makeup, her eyes are downcast, and her wardrobe seems to consist of one –dowdy– outfit. She doesn’t have those lines, either: Barrymore and Robinson get them this time.
These four films are the components of this collection. There will be no more by our two great leads, and they were certainly among the screen’s most incendiary lovers. If you want them, this is it.
You know how to whistle, don’t you Steve?
This long overdue collection of the four films Bogie and Betty made together is an absolute must have for fans of both Forties flicks and of course the greatest romantic screen-team in Hollywood history. Starting with ‘To Have and Have Not’, which was Lauren Bacall’s debut film, as has been said many times before one can literally watch the pair fall in love on-screen a la Garbo and Gilbert in ‘Flesh and the Devil’. The story is pure Hemingway with wonderful support from Walter Brennan and Hoagy Carmichael among others.
Next came ‘The Big Sleep’, a wonderful (if not baffling!) film noir adapted from the popular novel by Raymond Chandler. Betty never looked more glamourous and sexy than she does in this one.
Their third film togather was the highly underrated ‘Dark Passage’, another noir gem expertly directed by the equally underrated Delmer Daves with superb support from Agnes Moorehead and Bruce Bennet. Bogie plays a framed innocent man just escaped from San Quentin who is aided and abetted by Bacall after winning her trust.
The fourth and unfortunately last film with the pair is ‘Key Largo’, more in the vein of ‘To Have and Have Not’ than the previous two. The best supporting cast of all four films includes Claire Trevor (who won Best Supporting Actress), Lionel Barrymore and Edward G. Robinson in one of his last tough-guy gangster roles. In her book, Bacall describes the experience of making this film as one of the happiest memories of her career with daily afternoon tea served in her dressing room!
The price of this set considering the high-quality of the prints and the marvellous and relevant extras included by Warner’s makes this set excellent value for money. Don’t think twice, get it!
Watch The Westerner Movie Online
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Watch The Westerner Movie Online.
Movie Title: The Westerner The Westerner is available for streaming or downloading. |
This is one of the most current and scrumptious Westerns ever made. What sets it apart is the relative lack of action, the map that director William Wyler shifts most of the interest onto the relationship and interpersonal interplay between Cole Hardin (Gary Cooper, in one of his finest Western roles) and Contemplate Roy Bean (Walter Brennan) . The arrangement the two depart from instant enemies, to unexpected friends, to uneasy opponents, to reluctant enemies, and finally befriend to sympathetic friends is masterfully portrayed. As stunning as Cooper is, distinguished of the credit lies with Brennan, who became the first person to gain three acting Oscars by picking up his third Best Supporting Actor Oscar. Unlike his other Oscar wins, this role was essentially a lead role. Although many actors have portrayed Consider Roy Bean over the years, Brennan’s is the definitive one, despite being the least historically proper. If his version isn’t the most faithful, it is the most compelling. He manages to be utterly absurd, dangerously unpredictable, and utterly likable at the same time.
The yarn essentially falls into two halves. The first involves Gary Cooper’s accidental identification in Mediate Bean’s saloon as a horse thief, his trial and conviction, and clever manipulation of the Reflect to derive a reprieve. The second half concerns Cooper’s taking sides in a range war, siding with a lone female farmer against cattlemen. Both halves are brought together nicely in Cooper and Brennan’s final struggle that ends the film.
Along with Walter Brennan and Gary Cooper, the right star of this film is Gregg Toland, whose cinematography rivets the viewer’s attention on the conceal from beginning to extinguish. Toland, who died tragically young in 1948 at the age of 44, is universally regarded as one of the very greatest cinematographers of all time, and THE WESTERNER was one of his finest efforts in a very, very astronomical inch of films over a relatively short period of time. In the period running from 1939-41, Toland was responsible for filming such fabulous classics as WUTHERING HEIGHTS, THE GRAPES OF WRATH, THE WESTERNER, and CITIZEN KANE. Has any cinematographer ever had a two-year period matching this one? I saw THE WESTERNER years before I knew who Gregg Toland was, but I long retained the memory of several of the improbable shots Toland framed. He was a accepted of director William Wyler, who would expend him often during Toland’s tragically short career.
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Toland’s photography manages to give this film an yarn feel and scope, while the tensions in the relationship between Cooper and Brennan obtain it a highly intimate film. This is easily one of the most fresh Westerns in the history of Holly, and one of the best.
The Westerner is simply one of the best westerns ever made. It starts of course with Gregg Toland’s amazing cinematography. “The Westerner” has all of the classic elements of the genre, the lonesome drifter (Cooper), the half-evil consider (Brennan as Deem Roy Bean), the “searching-for-a-real-man” woman, the gang of thug rustlers (played by a gang of various thugs), the wimpy farmers (played by a bunch of wimpy farmers), the raunchy bar-room singer (played by a lock of golden hair), and the climatic shoot-out (Cooper versus Brennan) . The scenes that select the movie are those in which Cooper qualified agress to gently crack Deem Roy Beans stiff neck with a posthaste twist. You can hear the pops and also feel the relief as you explore.
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Streaming Red River Online
 |
Streaming Red River Online.
Movie Title: Red River Red River is available for streaming or downloading. |
“Red River” deserves the adulation that critics, film scholars, and most importantly audiences have lavished on it since its premiere in 1948. One of the earliest “psychological” westerns, preceded by Selznick’s “Duel in the Sun” (1946) and followed by King’s “The Gunfighter” (1950), etc., “Red River” maintains interest after half a century due to the unusual tensions between its characters, and the supreme skill with which those characters are played. Residence against the backdrop of the first cattle drive along the Chisum Wobble, the memoir basically boils down to an anecdote conflict between two men of different generations. John Wayne is the older sharp-shooter who builds up an empire through ruthless wiles and steely determination; Montgomery Clift, who is equally proficient with a gun, is the young surrogate son who tends to manage through intellect and reason rather than violence. These two opposing personalities and styles eventually erupt into a mortal combat under the strain of driving over 9,000 head of cattle across the hostile terrain of Texas, Oklahoma, and Kansas.
As the volatile Dunson, John Wayne gives one of his most finely nuanced performances. Living by a personal code of ethics which doesn’t always translate into true or even rational behavior, Wayne is neither sympathetic nor deplorable; he’s simply human. His performance is bolstered by the dissimilarity provided by the quietly charasmatic Montgomery Clift, whose unspoken adore and respect for Wayne’s father figure shine through the fright and intimidation he expresses. (Remarkably, this was Clift’s first performance in front of the movie cameras; the stage-trained actor seems to have adapted instinctively to the more subtle technique required of film work.) Various other characters reach between these two to construct some memorable triangles throughout the film. Three-time Oscar winner Walter Brennan is extraordinary as Wayne’s longtime sidekick whose allegiance eventually shifts over to Clift; Paul Fix also does a blooming job in a minor role as the character whose fate jumpstarts the conflict between the two leading men. Most engaging among the supporting cast is John Ireland who plays the curiously-named Cherry; the Freudian scene in which he and Clift esteem each other’s pistols, and then initiate to shoot them off together is simply amazing. It’s worth noting that Cherry is the first one to try and intervene during the climactic showdown between Wayne and the “son” he contemptuously characterizes as “soft”; equally considerable is the fact that the character who finally brings resolution into the movie is a “strong” woman (played by Joanne Dru) .
The MGM DVD release of this classic United Artists film is, in my humble plan, poor. The source print is visually a worry, chock paunchy of lines, jumps, flutters, speckles, and other visual noise. The grays are grainy and at one point, the represent even is briefly – and distractingly – out of focus. The sound isn’t great better: it crackles and pops and the volume is inconsistent. Adding insult to injury, there are no extras at all, not even cast biographies or production notes, powerful less a theatrical trailer. This is one classic film that demands – and richly deserves – to be restored, remastered and repackaged.
Let it be known to one and all: “Red River” is one of the best Western movies of all time! It is a supperlative western film, telling the myth of the first cattle drive from Texas to Abeline, Kansas, which would later be known as the Chisholm Wander.
Buy,Download, Or Stream Red River! Click Here
Buy,Download, Or Stream Red River! Click Here
The American West is known for it’s rugged individualism, and starring in this story film is Hollywood’s #1 rugged individual, John Wayne. Wayne plays Tom Dunson, who on a wagon flow of settlers going west, decides to strike out on his enjoy for Texas country and put his have cattle ranch. In leaving the wagon mumble gradual, Dunson also leaves late the cherish of his young life, saying he will send for her when he finds his homestead. But that same day, the wagon insist is attacked by Indians, and his fancy is brutally killed. The only survivor of the massacre is a inviting young boy, who is found wandering in a daze with his cow. The boy, Matthew Garth, is adopted by Dunson. The stage is then region for the remainder of the account, the struggle to do the greatest cattle ranch in Texas, and the massive cattle drive to accumulate the cattle to market.
Howard Hawks directs this masterpiece of filmmaking, and takes Borden Chase’s (Saturday Evening Post) serialized storyline, and spins a visual saga of obsession and rivalry between Dunson and and his adoptive son Matthew Garth. The film co-stars Montgomery Clift as Matthew Garth. The cast is very favorably rounded out with the addition of Walter Brennan, Joanne Dru, and John Ireland. The film’s musical derive by Dimitri Tiomkin is as perfectly peaceful for the stale west as the unlit and white rendering of the western barren landscape in the film.
Buy,Download, Or Stream Red River! Click Here
It is Dunson’s dictatorship determine to score the cattle to market that eventually leads to the supreme conflict in the film, the battle of wills between father and son. Matthew Garth is forced by dire circumstances to lead a mutiny against the tyrannical Dunson, and engage the herd to Kansas, leaving Dunson alone in the wilderness. Dunson, stung by the perceived betrayal of his adopted son, promises to derive up with Garth, and demolish him. The film’s climax is the showdown between Dunson and Garth, on the streets of Abeline.
This is a film that you will appreciate watching for the first time, and for many times afterward. It is one of Wayne’s best films, and the film that established him as a Hollywood western film icon. John Ford, a halt friend of Waynes, and a premier director of his time, commented upon seeing Wayne dominate the film: “That son of a bitch can really act!”; perhaps the highest perform of praise Ford ever gave.
If I had to recommend one western film, this is the one I’d resolve.
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Watch Red River Movie Online
|
Watch Red River Movie Online.
Movie Title: Red River Red River is available for streaming or downloading. |
“Red River” deserves the adulation that critics, film scholars, and most importantly audiences have lavished on it since its premiere in 1948. One of the earliest “psychological” westerns, preceded by Selznick’s “Duel in the Sun” (1946) and followed by King’s “The Gunfighter” (1950), etc., “Red River” maintains interest after half a century due to the original tensions between its characters, and the supreme skill with which those characters are played. Area against the backdrop of the first cattle drive along the Chisum Chase, the narrative basically boils down to an memoir conflict between two men of different generations. John Wayne is the older sharp-shooter who builds up an empire through ruthless wiles and steely determination; Montgomery Clift, who is equally proficient with a gun, is the young surrogate son who tends to manage through intellect and reason rather than violence. These two opposing personalities and styles eventually erupt into a mortal combat under the strain of driving over 9,000 head of cattle across the hostile terrain of Texas, Oklahoma, and Kansas.
As the volatile Dunson, John Wayne gives one of his most finely nuanced performances. Living by a personal code of ethics which doesn’t always translate into true or even rational behavior, Wayne is neither sympathetic nor deplorable; he’s simply human. His performance is bolstered by the difference provided by the quietly charasmatic Montgomery Clift, whose unspoken like and respect for Wayne’s father figure shine through the terror and intimidation he expresses. (Remarkably, this was Clift’s first performance in front of the movie cameras; the stage-trained actor seems to have adapted instinctively to the more subtle technique required of film work.) Various other characters approach between these two to manufacture some memorable triangles throughout the film. Three-time Oscar winner Walter Brennan is incredible as Wayne’s longtime sidekick whose allegiance eventually shifts over to Clift; Paul Fix also does a aesthetic job in a minor role as the character whose fate jumpstarts the conflict between the two leading men. Most interesting among the supporting cast is John Ireland who plays the curiously-named Cherry; the Freudian scene in which he and Clift treasure each other’s pistols, and then open to shoot them off together is simply wonderful. It’s worth noting that Cherry is the first one to try and intervene during the climactic showdown between Wayne and the “son” he contemptuously characterizes as “soft”; equally principal is the fact that the character who finally brings resolution into the movie is a “strong” woman (played by Joanne Dru) .
The MGM DVD release of this classic United Artists film is, in my humble conception, dreadful. The source print is visually a worry, chock burly of lines, jumps, flutters, speckles, and other visual noise. The grays are grainy and at one point, the recount even is briefly – and distractingly – out of focus. The sound isn’t considerable better: it crackles and pops and the volume is inconsistent. Adding insult to injury, there are no extras at all, not even cast biographies or production notes, mighty less a theatrical trailer. This is one classic film that demands – and richly deserves – to be restored, remastered and repackaged.
Let it be known to one and all: “Red River” is one of the best Western movies of all time! It is a supperlative western film, telling the anecdote of the first cattle drive from Texas to Abeline, Kansas, which would later be known as the Chisholm Plod.
Buy,Download, Or Stream Red River! Click Here
Buy,Download, Or Stream Red River! Click Here
The American West is known for it’s rugged individualism, and starring in this chronicle film is Hollywood’s #1 rugged individual, John Wayne. Wayne plays Tom Dunson, who on a wagon scamper of settlers going west, decides to strike out on his occupy for Texas country and set his fill cattle ranch. In leaving the wagon bellow slack, Dunson also leaves unhurried the appreciate of his young life, saying he will send for her when he finds his homestead. But that same day, the wagon relate is attacked by Indians, and his esteem is brutally killed. The only survivor of the massacre is a appealing young boy, who is found wandering in a daze with his cow. The boy, Matthew Garth, is adopted by Dunson. The stage is then spot for the remainder of the record, the struggle to set aside the greatest cattle ranch in Texas, and the massive cattle drive to gain the cattle to market.
Howard Hawks directs this masterpiece of filmmaking, and takes Borden Chase’s (Saturday Evening Post) serialized storyline, and spins a visual saga of obsession and rivalry between Dunson and and his adoptive son Matthew Garth. The film co-stars Montgomery Clift as Matthew Garth. The cast is very favorably rounded out with the addition of Walter Brennan, Joanne Dru, and John Ireland. The film’s musical collect by Dimitri Tiomkin is as perfectly mild for the venerable west as the shadowy and white rendering of the western barren landscape in the film.
Buy,Download, Or Stream Red River! Click Here
It is Dunson’s dictatorship choose to collect the cattle to market that eventually leads to the supreme conflict in the film, the battle of wills between father and son. Matthew Garth is forced by dire circumstances to lead a mutiny against the tyrannical Dunson, and seize the herd to Kansas, leaving Dunson alone in the wilderness. Dunson, stung by the perceived betrayal of his adopted son, promises to fetch up with Garth, and raze him. The film’s climax is the showdown between Dunson and Garth, on the streets of Abeline.
This is a film that you will like watching for the first time, and for many times afterward. It is one of Wayne’s best films, and the film that established him as a Hollywood western film icon. John Ford, a terminate friend of Waynes, and a premier director of his time, commented upon seeing Wayne dominate the film: “That son of a bitch can really act!”; perhaps the highest build of praise Ford ever gave.
If I had to recommend one western film, this is the one I’d settle.
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