Little House on the Prairie alum Melissa Gilbert was married to her second husband How the West Was Won actor Bruce Boxleitner from 1995 to 2011. They met through Boxleitner’s ex and got married pretty quickly. But after 16 years, Gilbert began noticing a lack of care from her then-husband.
Bruce Boxleitner and Melissa Gilbert | Barry King/Getty Images Melissa Gilbert broke her back in ‘Little House on the Prairie: The Musical‘
When Gilbert was acting as Laura Ingalls’ mother in the musical of Little House on the Prairie, she was diagnosed with a herniated disc in her lower back. She took some time off to heal but eventually returned to participate in the national tour. After slipping on the fake snow used in the production, her back pain became unbearable. She needed to receive steroids every few weeks. Her leg would sometimes give out when she was on stage. She required...
Bruce Boxleitner and Melissa Gilbert | Barry King/Getty Images Melissa Gilbert broke her back in ‘Little House on the Prairie: The Musical‘
When Gilbert was acting as Laura Ingalls’ mother in the musical of Little House on the Prairie, she was diagnosed with a herniated disc in her lower back. She took some time off to heal but eventually returned to participate in the national tour. After slipping on the fake snow used in the production, her back pain became unbearable. She needed to receive steroids every few weeks. Her leg would sometimes give out when she was on stage. She required...
- 5/6/2023
- by Kelsey Goeres
- Showbiz Cheat Sheet
James Douglass West, who worked as a child actor alongside Roddy McDowall and Natalie Wood and spent a decade as a writer on Lassie, has died. He was 93.
West died Sunday of natural causes at his home in Studio City, his son, Daniel West, told The Hollywood Reporter.
For the big screen, West penned the original screenplay for the musical Hey Boy! Hey Girl! (1959), starring married couple Keely Smith and Louis Prima, and wrote California (1963), a Western starring Jock Mahoney.
West served for about a year as a story editor for writer-producer Charles Marquis Warren on NBC’s The Virginian, then joined the writing staff of CBS’ Lassie in 1963.
He was on the job during the 1964-65 season when the collie’s family (played by June Lockhart, Hugh Reilly and Jon Provost) move to Australia and Lassie gets paired with a Forest Service Ranger portrayed by Robert Bray.
Campbell Soup,...
West died Sunday of natural causes at his home in Studio City, his son, Daniel West, told The Hollywood Reporter.
For the big screen, West penned the original screenplay for the musical Hey Boy! Hey Girl! (1959), starring married couple Keely Smith and Louis Prima, and wrote California (1963), a Western starring Jock Mahoney.
West served for about a year as a story editor for writer-producer Charles Marquis Warren on NBC’s The Virginian, then joined the writing staff of CBS’ Lassie in 1963.
He was on the job during the 1964-65 season when the collie’s family (played by June Lockhart, Hugh Reilly and Jon Provost) move to Australia and Lassie gets paired with a Forest Service Ranger portrayed by Robert Bray.
Campbell Soup,...
- 3/8/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
As coronavirus vaccines trickle out across the country and new infections and deaths rise at alarming rates in cities like Los Angeles, some power players in entertainment and media are leveraging their clout and connections to be amongst the first to get inoculated.
Numerous high-flying executives and dealmakers have been cycling through private physicians and concierge services to receive one of the two established Covid-19 vaccines on the market. Others have been tapping their vast resources in a mad dash to get vaccinated as the government, especially in Hollywood’s native California, churns through a sluggish rollout.
Some efforts to receive the vaccine ahead of schedule do not violate any laws – though they have raised questions of ethics and good taste in exclusive social circles and boardrooms across Los Angeles. It’s also clear that power and wealth, which allow many in the Hollywood community to afford on-demand doctors and...
Numerous high-flying executives and dealmakers have been cycling through private physicians and concierge services to receive one of the two established Covid-19 vaccines on the market. Others have been tapping their vast resources in a mad dash to get vaccinated as the government, especially in Hollywood’s native California, churns through a sluggish rollout.
Some efforts to receive the vaccine ahead of schedule do not violate any laws – though they have raised questions of ethics and good taste in exclusive social circles and boardrooms across Los Angeles. It’s also clear that power and wealth, which allow many in the Hollywood community to afford on-demand doctors and...
- 1/25/2021
- by Matt Donnelly
- Variety Film + TV
Normal 0 false false false En-us X-none X-none
By John M. Whalen
In “My Gun Is Quick” (1957), Mickey Spillane’s famous private detective Mike Hammer (Robert Bray) meets a sad young hooker named “Red” (Patricia Donahue) in a greasy spoon and rescues her from a goon trying to put the muscle on her. Hammer slaps him around and kicks him out the door and gives her bus fare plus change to go back home and start over. He’s a hardnose but he’s got a tender spot somewhere under that tough exterior. He writes down his name and number on a slip of paper and tell her to call him to let him know she made it okay. Before they part he notices a very ornate ring on the third finger of her right hand. Hammer has been up for 52 hours and just wants to go home and get some sleep,...
By John M. Whalen
In “My Gun Is Quick” (1957), Mickey Spillane’s famous private detective Mike Hammer (Robert Bray) meets a sad young hooker named “Red” (Patricia Donahue) in a greasy spoon and rescues her from a goon trying to put the muscle on her. Hammer slaps him around and kicks him out the door and gives her bus fare plus change to go back home and start over. He’s a hardnose but he’s got a tender spot somewhere under that tough exterior. He writes down his name and number on a slip of paper and tell her to call him to let him know she made it okay. Before they part he notices a very ornate ring on the third finger of her right hand. Hammer has been up for 52 hours and just wants to go home and get some sleep,...
- 6/28/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Mike Hammer is in action again! Well, not exactly. Producer Victor Saville’s third go-round with Mickey Spillane’s famed character doesn’t do the franchise justice. Hammer-philes will be astounded by this thriller’s decidedly un-thrilling thrills: there’s little to connect the inexpressive nice guy Robert Bray with the super-popular, super-violent avenger of the books. Spillane’s original is abandoned in favor of a tame ‘who’s got the diamonds?’ storyline, with some compensation in a string of exciting ‘Hammer dames.’ I checked twice — Mike doesn’t shoot Any of them in the stomach.
My Gun Is Quick
Blu-ray
Kl Studio Classics
1957 / B&w / 1:85 widescreen / 91 min. / available through Kino Lorber / Street Date March 24, 2020 / 24.95
Starring: Robert Bray, Whitney Blake, Patricia Donahue, Donald Randolph, Pamela Duncan, Booth Coleman, Jan Chaney, Genie Coree, Richard Garland, Charles Boaz, Peter Mamakos, Claire Carleton, Phil Arnold, John Dennis, Terence de Marney, Ray Kellogg.
My Gun Is Quick
Blu-ray
Kl Studio Classics
1957 / B&w / 1:85 widescreen / 91 min. / available through Kino Lorber / Street Date March 24, 2020 / 24.95
Starring: Robert Bray, Whitney Blake, Patricia Donahue, Donald Randolph, Pamela Duncan, Booth Coleman, Jan Chaney, Genie Coree, Richard Garland, Charles Boaz, Peter Mamakos, Claire Carleton, Phil Arnold, John Dennis, Terence de Marney, Ray Kellogg.
- 3/3/2020
- by Glenn Erickson
- Trailers from Hell
Dirty cops were a movie vogue in 1954, and Edmond O'Brien scores as a real dastard in this overachieving United Artists thriller. Dreamboat starlet Marla English is the reason O'Brien's detective kills for cash, and then keeps killing to stay ahead of his colleagues. And all to buy a crummy house in the suburbs -- this man needs career counseling. Shield for Murder Blu-ray Kl Studio Classics 1954 / B&W / 1:75 widescreen / 82 min. / Street Date June 21, 2016 / available through Kino Lorber / 29.95 Starring Edmond O'Brien, Marla English, John Agar, Emile Meyer, Carolyn Jones, Claude Akins, Herbert Butterfield, Hugh Sanders, William Schallert, Robert Bray, Richard Deacon, David Hughes, Gregg Martell, Stafford Repp, Vito Scotti. Cinematography Gordon Avil Film Editor John F. Schreyer Original Music Paul Dunlap Written by Richard Alan Simmons, John C. Higgins from the novel by William P. McGivern <Produced by Aubrey Schenck, (Howard W. Koch) Directed by Edmond O'Brien, Howard W. Koch
Reviewed by Glenn Erickson
Here's the kind of '50s movie we love, an ambitious, modest crime picture that for its time had an edge. In the 1950s our country was as blind to the true extent of police corruption as it was to organized crime. Movies about bad cops adhered to the 'bad apple' concept: it's only crooked individuals that we need to watch out for, never the institutions around them. Thanks to films noir, crooked cops were no longer a film rarity, even though the Production Code made movies like The Asphalt Jungle insert compensatory scenes paying lip service to the status quo: an imperfect police force is better than none. United Artists in the 1950s helped star talent make the jump to independent production, with the prime success stories being Burt Lancaster and Kirk Douglas. But the distribution company also funded proven producers capable of putting out smaller bread 'n' butter movies that could prosper if costs were kept down. Edward Small, Victor Saville, Levy-Gardner-Laven. Aubrey Schenck and Howard C. Koch produced as a team, and for 1954's Shield for Murder Koch co-directed, sharing credit with the film's star, Edmond O'Brien. The show is a smart production all the way, a modestly budgeted 'B' with 'A' ambitions. O'Brien was an industry go-getter trying to channel his considerable talent in new directions. His leading man days were fading but he was in demand for parts in major films like The Barefoot Contessa. The producers took care with their story too. Writers Richard Alan Simmons and John C. Higgins had solid crime movie credits. Author William P. McGivern wrote the novel behind Fritz Lang's The Big Heat as well as Rogue Cop and Odds Against Tomorrow. All of McGivern's stories involve crooked policemen or police corruption. Shield for Murder doesn't tiptoe around its subject matter. Dirty cop Detective Lt. Barney Nolan (O'Brien) kills a hoodlum in an alley to steal $25,000 of mob money. His precinct boss Captain Gunnarson (Emile Meyer) accepts Barney's version of events and the Asst. D.A. (William Schallert) takes the shooting as an open and shut case. Crime reporter Cabot (Herbert Butterfield) has his doubts, and lectures the squad room about the abuse of police power. Barney manages to placate mob boss Packy Reed (Hugh Sanders), but two hoods continue to shadow him. Barney's plan for the money was to buy a new house and escape the rat race with his girlfriend, nightclub cashier Patty Winters (Marla English). But a problem surfaces in the elderly deaf mute Ernst Sternmueller (David Hughes), a witness to the shooting. Barney realizes that his only way forward is to kill the old man before he can tell all to Det. Mark Brewster (John Agar), Barney's closest friend. Once again one of society's Good Guys takes a bite of the forbidden apple and tries to buck the system. Shield for Murder posits an logical but twisted course of action for a weary defender of the law who wants out. Barney long ago gave up trying to do anything about the crooks he can't touch. The fat cat Packy Reed makes the big money, and all Barney wants is his share. Barney's vision of The American Dream is just the middle-class ideal, the desirable Patty Winters and a modest tract home. He's picked it out - it sits partway up a hill in a new Los Angeles development, just finished and already furnished. Then the unexpected witness shows up and everything begins to unravel; Barney loses control one step at a time. He beats a mob thug (Claude Akins) half to death in front of witnesses. When his pal Mark Brewster figures out the truth, Barney has to use a lot of his money to arrange a getaway. More mob trouble leads to a shoot-out in a high school gym. The idea may have been for the star O'Brien to coach actors John Agar and Marla English to better performances. Agar is slightly more natural than usual, but still not very good. The gorgeous Ms. English remains sweet and inexpressive. After several unbilled bits, the woman often compared to Elizabeth Taylor was given "introducing" billing on the Shield for Murder billing block. Her best-known role would be as The She-Creature two years later, after which she dropped out to get married. Co-director O'Brien also allows Emile Meyer to go over the top in a scene or two. But the young Carolyn Jones is a standout as a blonde bargirl, more or less expanding on her small part as a human ashtray in the previous year's The Big Heat. Edmond O'Brien is occasionally a little to hyper, but he's excellent at showing stress as the trap closes around the overreaching Barney Nolan. Other United Artists budget crime pictures seem a little tight with the outdoors action -- Vice Squad, Witness to Murder, Without Warning -- but O'Brien and Koch's camera luxuriates in night shoots on the Los Angeles streets. This is one of those Blu-rays that Los Angelenos will want to freeze frame, to try to read the street signs. There is also little downtime wasted in sidebar plot detours. The gunfight in the school gym, next to an Olympic swimming pool, is an action highlight. The show has one enduring sequence. With the force closing in, Barney rushes back to the unfinished house he plans to buy, to recover the loot he's buried next to its foundation. Anybody who lived in Southern California in the '50s and '60s was aware of the massive suburban sprawl underway, a building boom that went on for decades. In 1953 the La Puente hills were so rural they barely served by roads; the movie The War of the Worlds considered it a good place to use a nuclear bomb against invading Martians. By 1975 the unending suburbs had spread from Los Angeles, almost all the way to Pomona. Barney dashes through a new housing development on terraced plots, boxy little houses separated from each other by only a few feet of dirt. There's no landscaping yet. Even in 1954 $25,000 wasn't that much money, so Barney Nolan has sold himself pretty cheaply. Two more latter-day crime pictures would end with ominous metaphors about the oblivion of The American Dream. In 1964's remake of The Killers the cash Lee Marvin kills for only buys him a patch of green lawn in a choice Hollywood Hills neighborhood. The L.A.P.D. puts Marvin out of his misery, and then closes in on another crooked detective in the aptly titled 1965 thriller The Money Trap. The final scene in that movie is priceless: his dreams smashed, crooked cop Glenn Ford sits by his designer swimming pool and waits to be arrested. Considering how well things worked out for Los Angeles police officers, Edmond O'Brien's Barney Nolan seems especially foolish. If Barney had stuck it out for a couple of years, the new deal for the L.A.P.D. would have been much better than a measly 25 grand. By 1958 he'd have his twenty years in. After a retirement beer bash he'd be out on the road pulling a shiny new boat to the Colorado River, like all the other hardworking cops and firemen enjoying their generous pensions. Policemen also had little trouble getting house loans. The joke was that an L.A.P.D. cop might go bad, but none of them could be bribed. O'Brien directed one more feature, took more TV work and settled into character parts for Jack Webb, Frank Tashlin, John Ford, John Frankenheimer and finally Sam Peckinpah in The Wild Bunch, where he was almost unrecognizable. Howard W. Koch slowed down as a director but became a busy producer, working with Frank Sinatra for several years. He eventually co-produced Airplane! The Kl Studio Classics Blu-ray of Shield for Murder is a good-looking B&W scan, framed at a confirmed-as-correct 1:75 aspect ratio. The picture is sharp and detailed, and the sound is in fine shape. The package art duplicates the film's original no-class sell: "Dame-Hungry Killer-Cop Runs Berserk! The first scene also contains one of the more frequently noticed camera flubs in film noir -- a really big boom shadow on a nighttime alley wall. Kino's presentation comes with trailers for this movie, Hidden Fear and He Ran All the Way. On a scale of Excellent, Good, Fair, and Poor, Shield for Murder Blu-ray rates: Movie: Good Video: Very Good Sound: Excellent Supplements: Trailers for Shield for Murder, Hidden Fear, He Ran All the Way Deaf and Hearing Impaired Friendly? N0; Subtitles: None Packaging: Keep case Reviewed: June 7, 2016 (5115murd)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
Here's the kind of '50s movie we love, an ambitious, modest crime picture that for its time had an edge. In the 1950s our country was as blind to the true extent of police corruption as it was to organized crime. Movies about bad cops adhered to the 'bad apple' concept: it's only crooked individuals that we need to watch out for, never the institutions around them. Thanks to films noir, crooked cops were no longer a film rarity, even though the Production Code made movies like The Asphalt Jungle insert compensatory scenes paying lip service to the status quo: an imperfect police force is better than none. United Artists in the 1950s helped star talent make the jump to independent production, with the prime success stories being Burt Lancaster and Kirk Douglas. But the distribution company also funded proven producers capable of putting out smaller bread 'n' butter movies that could prosper if costs were kept down. Edward Small, Victor Saville, Levy-Gardner-Laven. Aubrey Schenck and Howard C. Koch produced as a team, and for 1954's Shield for Murder Koch co-directed, sharing credit with the film's star, Edmond O'Brien. The show is a smart production all the way, a modestly budgeted 'B' with 'A' ambitions. O'Brien was an industry go-getter trying to channel his considerable talent in new directions. His leading man days were fading but he was in demand for parts in major films like The Barefoot Contessa. The producers took care with their story too. Writers Richard Alan Simmons and John C. Higgins had solid crime movie credits. Author William P. McGivern wrote the novel behind Fritz Lang's The Big Heat as well as Rogue Cop and Odds Against Tomorrow. All of McGivern's stories involve crooked policemen or police corruption. Shield for Murder doesn't tiptoe around its subject matter. Dirty cop Detective Lt. Barney Nolan (O'Brien) kills a hoodlum in an alley to steal $25,000 of mob money. His precinct boss Captain Gunnarson (Emile Meyer) accepts Barney's version of events and the Asst. D.A. (William Schallert) takes the shooting as an open and shut case. Crime reporter Cabot (Herbert Butterfield) has his doubts, and lectures the squad room about the abuse of police power. Barney manages to placate mob boss Packy Reed (Hugh Sanders), but two hoods continue to shadow him. Barney's plan for the money was to buy a new house and escape the rat race with his girlfriend, nightclub cashier Patty Winters (Marla English). But a problem surfaces in the elderly deaf mute Ernst Sternmueller (David Hughes), a witness to the shooting. Barney realizes that his only way forward is to kill the old man before he can tell all to Det. Mark Brewster (John Agar), Barney's closest friend. Once again one of society's Good Guys takes a bite of the forbidden apple and tries to buck the system. Shield for Murder posits an logical but twisted course of action for a weary defender of the law who wants out. Barney long ago gave up trying to do anything about the crooks he can't touch. The fat cat Packy Reed makes the big money, and all Barney wants is his share. Barney's vision of The American Dream is just the middle-class ideal, the desirable Patty Winters and a modest tract home. He's picked it out - it sits partway up a hill in a new Los Angeles development, just finished and already furnished. Then the unexpected witness shows up and everything begins to unravel; Barney loses control one step at a time. He beats a mob thug (Claude Akins) half to death in front of witnesses. When his pal Mark Brewster figures out the truth, Barney has to use a lot of his money to arrange a getaway. More mob trouble leads to a shoot-out in a high school gym. The idea may have been for the star O'Brien to coach actors John Agar and Marla English to better performances. Agar is slightly more natural than usual, but still not very good. The gorgeous Ms. English remains sweet and inexpressive. After several unbilled bits, the woman often compared to Elizabeth Taylor was given "introducing" billing on the Shield for Murder billing block. Her best-known role would be as The She-Creature two years later, after which she dropped out to get married. Co-director O'Brien also allows Emile Meyer to go over the top in a scene or two. But the young Carolyn Jones is a standout as a blonde bargirl, more or less expanding on her small part as a human ashtray in the previous year's The Big Heat. Edmond O'Brien is occasionally a little to hyper, but he's excellent at showing stress as the trap closes around the overreaching Barney Nolan. Other United Artists budget crime pictures seem a little tight with the outdoors action -- Vice Squad, Witness to Murder, Without Warning -- but O'Brien and Koch's camera luxuriates in night shoots on the Los Angeles streets. This is one of those Blu-rays that Los Angelenos will want to freeze frame, to try to read the street signs. There is also little downtime wasted in sidebar plot detours. The gunfight in the school gym, next to an Olympic swimming pool, is an action highlight. The show has one enduring sequence. With the force closing in, Barney rushes back to the unfinished house he plans to buy, to recover the loot he's buried next to its foundation. Anybody who lived in Southern California in the '50s and '60s was aware of the massive suburban sprawl underway, a building boom that went on for decades. In 1953 the La Puente hills were so rural they barely served by roads; the movie The War of the Worlds considered it a good place to use a nuclear bomb against invading Martians. By 1975 the unending suburbs had spread from Los Angeles, almost all the way to Pomona. Barney dashes through a new housing development on terraced plots, boxy little houses separated from each other by only a few feet of dirt. There's no landscaping yet. Even in 1954 $25,000 wasn't that much money, so Barney Nolan has sold himself pretty cheaply. Two more latter-day crime pictures would end with ominous metaphors about the oblivion of The American Dream. In 1964's remake of The Killers the cash Lee Marvin kills for only buys him a patch of green lawn in a choice Hollywood Hills neighborhood. The L.A.P.D. puts Marvin out of his misery, and then closes in on another crooked detective in the aptly titled 1965 thriller The Money Trap. The final scene in that movie is priceless: his dreams smashed, crooked cop Glenn Ford sits by his designer swimming pool and waits to be arrested. Considering how well things worked out for Los Angeles police officers, Edmond O'Brien's Barney Nolan seems especially foolish. If Barney had stuck it out for a couple of years, the new deal for the L.A.P.D. would have been much better than a measly 25 grand. By 1958 he'd have his twenty years in. After a retirement beer bash he'd be out on the road pulling a shiny new boat to the Colorado River, like all the other hardworking cops and firemen enjoying their generous pensions. Policemen also had little trouble getting house loans. The joke was that an L.A.P.D. cop might go bad, but none of them could be bribed. O'Brien directed one more feature, took more TV work and settled into character parts for Jack Webb, Frank Tashlin, John Ford, John Frankenheimer and finally Sam Peckinpah in The Wild Bunch, where he was almost unrecognizable. Howard W. Koch slowed down as a director but became a busy producer, working with Frank Sinatra for several years. He eventually co-produced Airplane! The Kl Studio Classics Blu-ray of Shield for Murder is a good-looking B&W scan, framed at a confirmed-as-correct 1:75 aspect ratio. The picture is sharp and detailed, and the sound is in fine shape. The package art duplicates the film's original no-class sell: "Dame-Hungry Killer-Cop Runs Berserk! The first scene also contains one of the more frequently noticed camera flubs in film noir -- a really big boom shadow on a nighttime alley wall. Kino's presentation comes with trailers for this movie, Hidden Fear and He Ran All the Way. On a scale of Excellent, Good, Fair, and Poor, Shield for Murder Blu-ray rates: Movie: Good Video: Very Good Sound: Excellent Supplements: Trailers for Shield for Murder, Hidden Fear, He Ran All the Way Deaf and Hearing Impaired Friendly? N0; Subtitles: None Packaging: Keep case Reviewed: June 7, 2016 (5115murd)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/11/2016
- by Glenn Erickson
- Trailers from Hell
Jim Knipfel May 17, 2019
Kiss Me Deadly remains the greatest hardboiled apocalyptic sci-fi noir ever.
Former comic book writer Mickey Spillane published his first Mike Hammer mystery, I, The Jury, in 1947. In a way, it wasn’t that far removed from the superhero stories he’d been writing, even if it was a bit earthier without all the funny costumes. Spillane’s own alter-ego, the burly, hard-drinking, tough-talking Hammer was harder-boiled than that mealy-mouthed wimp, Sam Spade. And unlike that other wet blanket named Philip Marlowe, Hammer had few if any qualms about taking sleazy divorce cases or pulling his gun.
Over the next three decades, the Brooklyn-born Spillane pumped out a dozen more Hammer mysteries, including My Gun is Quick, Vengeance is Mine, and The Girl Hunters. Along with Spillane’s no-nonsense writing style and stories packed with extreme (for the 1950s) sex and violence, the lurid and suggestive cover...
Kiss Me Deadly remains the greatest hardboiled apocalyptic sci-fi noir ever.
Former comic book writer Mickey Spillane published his first Mike Hammer mystery, I, The Jury, in 1947. In a way, it wasn’t that far removed from the superhero stories he’d been writing, even if it was a bit earthier without all the funny costumes. Spillane’s own alter-ego, the burly, hard-drinking, tough-talking Hammer was harder-boiled than that mealy-mouthed wimp, Sam Spade. And unlike that other wet blanket named Philip Marlowe, Hammer had few if any qualms about taking sleazy divorce cases or pulling his gun.
Over the next three decades, the Brooklyn-born Spillane pumped out a dozen more Hammer mysteries, including My Gun is Quick, Vengeance is Mine, and The Girl Hunters. Along with Spillane’s no-nonsense writing style and stories packed with extreme (for the 1950s) sex and violence, the lurid and suggestive cover...
- 5/17/2016
- Den of Geek
Randolph Scott Westerns, comedies, war dramas: TCM schedule on August 19, 2013 See previous post: “Cary Grant and Randolph Scott Marriages — And ‘Expect the Biographical Worst.’” 3:00 Am Badman’S Territory (1946). Director: Tim Whelan. Cast: Randolph Scott, George ‘Gabby’ Hayes, Ann Richards. Bw-98 mins. 4:45 Am Trail Street (1947). Director: Ray Enright. Cast: Randolph Scott, Robert Ryan, Anne Jeffreys. Bw-84 mins. 6:15 Am Return Of The Badmen (1948). Director: Ray Enright. Cast: Randolph Scott, Robert Ryan, Anne Jeffreys, George ‘Gabby’ Hayes, Jacqueline White, Steve Brodie, Tom Keene aka Richard Powers, Robert Bray, Lex Barker, Walter Reed, Michael Harvey, Dean White, Robert Armstrong, Tom Tyler, Lew Harvey, Gary Gray, Walter Baldwin, Minna Gombell, Warren Jackson, Robert Clarke, Jason Robards Sr., Ernie Adams, Lane Chandler, Dan Foster, John Hamilton, Kenneth MacDonald, Donald Kerr, Ida Moore, ‘Snub’ Pollard, Harry Shannon, Charles Stevens. Bw-90 mins. 8:00 Am Riding Shotgun (1954). Director: André De Toth. Cast: Randolph Scott, Wayne Morris,...
- 8/20/2013
- by Andre Soares
- Alt Film Guide
Humphrey Bogart movies: ‘The Maltese Falcon,’ ‘High Sierra’ (Image: Most famous Humphrey Bogart quote: ‘The stuff that dreams are made of’ from ‘The Maltese Falcon’) (See previous post: “Humphrey Bogart and Lauren Bacall Movies.”) Besides 1948, 1941 was another great year for Humphrey Bogart — one also featuring a movie with the word “Sierra” in the title. Indeed, that was when Bogart became a major star thanks to Raoul Walsh’s High Sierra and John Huston’s The Maltese Falcon. In the former, Bogart plays an ex-con who falls in love with top-billed Ida Lupino — though both are outacted by ingénue-with-a-heart-of-tin Joan Leslie. In the latter, Bogart plays Dashiel Hammett’s private detective Sam Spade, trying to discover the fate of the titular object; along the way, he is outacted by just about every other cast member, from Mary Astor’s is-she-for-real dame-in-distress to Best Supporting Actor Academy Award nominee Sydney Greenstreet. John Huston...
- 8/1/2013
- by Andre Soares
- Alt Film Guide
Paul Henreid: Hollow Triumph aka The Scar tonight Turner Classic Movies’ Paul Henreid film series continues this Tuesday evening, July 16, 2013. Of tonight’s movies, the most interesting offering is Hollow Triumph / The Scar, a 1948 B thriller adapted by Daniel Fuchs (Panic in the Streets, Love Me or Leave Me) from Murray Forbes’ novel, and in which the gentlemanly Henreid was cast against type: a crook who, in an attempt to escape from other (and more dangerous) crooks, impersonates a psychiatrist with a scar on his chin. Joan Bennett, mostly wasted in a non-role, is Henreid’s leading lady. (See also: “One Paul Henreid, Two Cigarettes, Four Bette Davis-es.”) The thriller’s director is Hungarian import Steve Sekely, whose Hollywood career consisted chiefly of minor B fare. In fact, though hardly a great effort, Hollow Triumph was probably the apex of Sekely’s cinematic output in terms of prestige...
- 7/17/2013
- by Andre Soares
- Alt Film Guide
Destroy the Brain is proud to have Max Allan Collins write up a guest post to explain the character of Mike Hammer and the screen adaptations of this character. We want to thank Tom Green from Titan Books for giving us this great opportunity.
The publication of Lady, Go Die! has elicited Hollywood inquiries as to the possibility of a new Mike Hammer movie. Accompanying this interest comes the usual question, “Who do you think should play Mike Hammer?” Since Mickey Spillane always said that Mike Hammer is a state of mind, my suggestions range from Josh Brolin to Denzel Washington, from Ben Affleck to Jason Statham. I am always open to imaginative casting. Tom Hanks made a great Michael Sullivan in Road to Perdition, after all.
Mickey always complained about the Hollywood movies from his Hammer novels, although he had complimentary things to say about the two TV Hammers,...
The publication of Lady, Go Die! has elicited Hollywood inquiries as to the possibility of a new Mike Hammer movie. Accompanying this interest comes the usual question, “Who do you think should play Mike Hammer?” Since Mickey Spillane always said that Mike Hammer is a state of mind, my suggestions range from Josh Brolin to Denzel Washington, from Ben Affleck to Jason Statham. I am always open to imaginative casting. Tom Hanks made a great Michael Sullivan in Road to Perdition, after all.
Mickey always complained about the Hollywood movies from his Hammer novels, although he had complimentary things to say about the two TV Hammers,...
- 5/8/2012
- by Max Allan Collins
- Destroy the Brain
My experience with Tennessee Williams's work is limited to multiple viewings of both A Streetcar Named Desire and Cat on a Hot Tin Roof. I love both of those films and still have yet to entirely crack into the rest of my Tennessee Williams Collection from 2006 to get more acquainted, but after watching Sidney Lumet's adaptation of The Fugitive Kind I am certainly more likely to do so.
Starring Marlon Brando and Anna Magnani, The Fugitive Kind swallows you whole. It's an atmospheric romance of class and conflict that slowly warms but has enough restraint to never boil over even if its players might. Brando stars as the drifter Valentine Xavier. Just released from jail, Val finds himself caught in a torrential downpour when he is offered a place to stay for the night by Vee Talbot (Maureen Stapleton). Vee helps him find work in his effort to "turn over a new leaf.
Starring Marlon Brando and Anna Magnani, The Fugitive Kind swallows you whole. It's an atmospheric romance of class and conflict that slowly warms but has enough restraint to never boil over even if its players might. Brando stars as the drifter Valentine Xavier. Just released from jail, Val finds himself caught in a torrential downpour when he is offered a place to stay for the night by Vee Talbot (Maureen Stapleton). Vee helps him find work in his effort to "turn over a new leaf.
- 4/27/2010
- by Brad Brevet
- Rope of Silicon
Another Tuesday is before us, with brand new Criterion Collection titles. It appears that with each pair of the April new releases, we’re treated to films separated by several decades, in both color and black & white. This week Criterion releases the first Sidney Lumet directed film in the Collection, featuring Marlon Brando’s first appearance in the Collection as well. The Fugitive Kind, Criterion # 515, is being released as a 2-Disc DVD. We’re also getting a brand new cut of Ang Lee’s Ride With The Devil, Criterion # 514, on DVD and Blu-ray. To read Travis’ initial thoughts on these releases, check out our announcement for the April Releases here.
After we watched Ang Lee’s The Ice Storm for the podcast, I decided that I had not see enough of Lee’s films. I decided to give The Hulk another chance, after several attempts to get through the comic...
After we watched Ang Lee’s The Ice Storm for the podcast, I decided that I had not see enough of Lee’s films. I decided to give The Hulk another chance, after several attempts to get through the comic...
- 4/27/2010
- by Ryan Gallagher
- CriterionCast
W.C. Fields once said, "Never work with children or animals." Well, one of the world's most famous canines is returning to television and it looks like producers will get to avoid working with both real-life kids and dogs.
The character of Lassie the collie first appeared in a 1938 short story, written by Eric Knight. It was later expanded into a novel called Lassie Come-Home. An MGM film based on the book, starring Roddy McDowall and Elizabeth Taylor, hit theaters in 1943. That spawned additional Lassie stories in print, on radio and in movie theaters.
In 1954, the Lassie TV show debuted on CBS. Aside from the famous canine, the family show features the talents of Tommy Rettig, Jan Clayton, George Cleveland, Jon Provost, June Lockhart, Hugh Reilly, Robert Bray, Jack De Mave, Jed Allan, Ron Hayes, Larry Wilcox, Pamelyn Ferdin, Cloris Leachman, and Jon Shepodd. Lassie had a number of human friends...
The character of Lassie the collie first appeared in a 1938 short story, written by Eric Knight. It was later expanded into a novel called Lassie Come-Home. An MGM film based on the book, starring Roddy McDowall and Elizabeth Taylor, hit theaters in 1943. That spawned additional Lassie stories in print, on radio and in movie theaters.
In 1954, the Lassie TV show debuted on CBS. Aside from the famous canine, the family show features the talents of Tommy Rettig, Jan Clayton, George Cleveland, Jon Provost, June Lockhart, Hugh Reilly, Robert Bray, Jack De Mave, Jed Allan, Ron Hayes, Larry Wilcox, Pamelyn Ferdin, Cloris Leachman, and Jon Shepodd. Lassie had a number of human friends...
- 7/13/2009
- by TVSeriesFinale.com
- TVSeriesFinale.com
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