1955.

Film Noir on Vinyl.

"Se meu apartamento falasse" (the apartment) - cinema.

Cópia restaurada em 4K, sendo projetada no melhor cinema de São Paulo. Sei lá... me parece fácil decidir pra onde ir num sábado de noite. Clássico do Billy Wilder, de 1960, filme que seu tom agridoce me incomodou na primeira vez. Mas em outras assistidas foi melhor digerido.

depois de ver: como assistir um filme bom me deixa feliz! Jack Lemmon é um show. Shirley MacLaine me impressiona com talento e beleza. grande roteiro e diálogos espetaculares. não se pode esperar mais.

From the Golden Age of Television

Series Premiere / Pilot

Terry and the Pirates - Macao Gold - Syndication - June 26, 1953

Action Adventure

Running Time: 30 minutes

Written by

Produced by Warren Lewis

Directed by Richard Irving

Stars:

John Baer as Terry Lee

William Tracy as Hotshot Charlie

Gloria Saunders as Dragon Lady

Jack Kruschen as Chopstick Joe*

Mari Blanchard as Burma*

Ben Wright as Quate

Edgar Barrier as Inspector

*in the pilot episode only Jack Kruschen portrayed Chopstick Joe and Mari Blanchard portrayed Burma. In the series Jack Reitzen portrayed Chopstick Joe and Sandra Spence portrayed Burma.

Podcast Actor Jack Kruschen Golden Age of Radio Tribute

A versão de "A máquina do tempo", uma adaptação de HG Wells que pouca gente conhece!

McLintock!

McLintock! (1963) starring John Wayne, Maureen O’Hara McLintock! is a personal favorite. Equal parts Western, comedy, and romance – and it excels at all three. With an all-star cast of truly great performances! (more…)

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Freebie and the Bean (1974)

Freebie and the Bean is often heralded as the first example of the action comedy buddy movie. The movie that did what 48 Hours, the Lethal Weapons, Stakeout and Running Scared perfected in the 80’s.

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ℋ𝑒𝓇𝑒'𝓈 𝓂𝓎 #2 𝐑𝐨𝐜𝐤 𝐇𝐮𝐝𝐬𝐨𝐧 𝒶𝓃𝒹 𝐃𝐨𝐫𝐢𝐬 𝐃𝐚𝐲 𝓇𝑜𝓂𝒶𝓃𝓉𝒾𝒸/𝒸𝑜𝓂𝑒𝒹𝓎 𝑜𝓃 𝓉𝒽𝑒 𝓁𝒾𝓈𝓉. 𝒯𝒽𝑒 𝓉𝓌𝑜 𝒸𝒽𝒶𝓇𝒶𝒸𝓉𝑒𝓇𝓈, 𝗝𝗲𝗿𝗿𝘆 𝗪𝗲𝗯𝘀𝘁𝗲𝗿 (𝐑𝐨𝐜𝐤 𝐇𝐮𝐝𝐬𝐨𝐧) 𝒶𝓃𝒹 𝗖𝗮𝗿𝗼𝗹 𝗧𝗲𝗺𝗽𝗹𝗲𝘁𝗼𝗻 (𝐃𝐨𝐫𝐢𝐬 𝐃𝐚𝐲) 𝒸𝑜𝓂𝑒 𝒻𝓇𝑜𝓂 𝓉𝓌𝑜 𝓇𝒾𝓋𝒶𝓁 𝒶𝒹𝓋𝑒𝓇𝓉𝒾𝓈𝑒𝓂𝑒𝓃𝓉 𝒶𝑔𝑒𝓃𝒸𝒾𝑒𝓈. 𝗠𝗿. 𝗪𝗲𝗯𝘀𝘁𝗲𝗿'𝘀 𝒶𝑔𝑒𝓃𝒸𝓎 𝒹𝑒𝓈𝓅𝑒𝓇𝒶𝓉𝑒𝓁𝓎 𝓃𝑒𝑒𝒹𝓈 𝒶 𝓃𝑒𝓌 𝓅𝓇𝑜𝒹𝓊𝒸𝓉 𝓉𝑜 𝒶𝒹𝓋𝑒𝓇𝓉𝒾𝓈𝑒 𝒶𝓃𝒹 𝓉𝒽𝒶𝓉'𝓈 𝓌𝒽𝑒𝓃 𝗝𝗲𝗿𝗿𝘆 𝗪𝗲𝗯𝘀𝘁𝗲𝗿 𝒸𝑜𝓂𝑒𝓈 𝓊𝓅 𝓌𝒾𝓉𝒽 𝒶 𝒻𝒶𝓀𝑒 𝓅𝓇𝑜𝒹𝓊𝒸𝓉 𝒸𝒶𝓁𝓁𝑒𝒹 𝐕 𝐈 𝐏. 𝒲𝒶𝓃𝓉𝒾𝓃𝑔 𝓉𝑜 𝓈𝓉𝒶𝓎 𝒶𝒽𝑒𝒶𝒹 𝑜𝒻 𝗠𝗿. 𝗪𝗲𝗯𝘀𝘁𝗲𝗿, 𝗠𝘀. 𝗧𝗲𝗺𝗽𝗹𝗲𝘁𝗼𝗻 𝒹𝑒𝒸𝒾𝒹𝑒𝓈 𝓉𝑜 𝑔𝑒𝓉 𝑜𝓃 𝓉𝒽𝑒 𝑔𝑜𝑜𝒹 𝓈𝒾𝒹𝑒 𝑜𝒻 𝓉𝒽𝑒 𝐕 𝐈 𝐏 𝓅𝓇𝑜𝒹𝓊𝒸𝓉 𝒸𝓇𝑒𝒶𝓉𝑜𝓇/𝒹𝑒𝓋𝑒𝓁𝑜𝓅𝑒𝓇. 𝒯𝒽𝒾𝓈 𝒻𝒾𝓁𝓂 𝒾𝓈 𝒶𝓃𝑜𝓉𝒽𝑒𝓇 𝒽𝒾𝓁𝒶𝓇𝒾𝑜𝓊𝓈 𝓇𝒶𝓂𝒶𝓃𝒸𝑒/𝒸𝑜𝓂𝑒𝒹𝓎 𝓉𝒽𝒶𝓉 ℐ 𝓀𝓃𝑜𝓌 𝓎𝑜𝓊'𝓁𝓁 𝑒𝓃𝒿𝑜𝓎. ℐ 𝓊𝓈𝑒𝒹 𝓉𝑜 𝓌𝒶𝓃𝓉 𝓉𝑜 𝒶𝓁𝓌𝒶𝓎𝓈 𝓉𝓇𝓎 𝓉𝒽𝒾𝓈 𝐕 𝐈 𝐏 𝓉𝒽𝒾𝓃𝑔 𝓌𝒽𝑒𝓃 ℐ 𝓌𝒶𝓈 𝒶 𝓀𝒾𝒹 𝒷𝑒𝒸𝒶𝓊𝓈𝑒 𝑜𝒻 𝓉𝒽𝑒 𝓅𝓇𝑒𝓉𝓉𝓎 𝒸𝑜𝓁𝑜𝓇𝓈, 𝒷𝓊𝓉 𝓁𝒶𝓉𝑒𝓇 𝓌𝒽𝑒𝓃 ℐ 𝒻𝑜𝓊𝓃𝒹 𝑜𝓊𝓉 𝓌𝒽𝒶𝓉 𝒾𝓉 𝓉𝓇𝓊𝓁𝓎 𝓌𝒶𝓈, 𝒾𝓉 𝒷𝑒𝒸𝒶𝓂𝑒 𝓂𝑜𝓇𝑒 𝑜𝒻 𝒶 𝒽𝑜𝑜𝓉 𝓉𝒽𝒶𝓃 𝑒𝓋𝑒𝓇 𝒷𝑒𝒻𝑜𝓇𝑒. 𝒯𝒽𝒾𝓈 𝒻𝒾𝓁𝓂 𝒹𝑒𝒻𝒾𝓃𝒾𝓉𝑒𝓁𝓎 𝒷𝑒𝓁𝑜𝓃𝑔𝓈 𝑜𝓃 𝓉𝒽𝑒 𝓁𝒾𝓈𝓉.

Alan Hale Jr. and Jack Kruschen: Classmates at Hollywood High School

“𝑺𝒉𝒖𝒕 𝒖𝒑 𝒂𝒏𝒅 𝒅𝒆𝒂𝒍.”

𝑻𝒉𝒆 𝑨𝒑𝒂𝒓𝒕𝒎𝒆𝒏𝒕 is a 1960 American romantic comedy-drama film directed and produced by Billy Wilder from a screenplay he co-wrote with I. A. L. Diamond. It stars Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston, Jack Kruschen, David Lewis, Willard Waterman, David White, Hope Holiday and Edie Adams. 

Columbo: The Most Dangerous Match (1973)

(WARNING: Some flashing lights in the fantasy and dream scenes.)

The Most Dangerous Match is a solid episode that plays with the series' structure in interesting ways. The story builds some tense set pieces while featuring an effectively structured mystery. The eventual solution is clever and the clues are shown in organic ways while not being too obvious. Columbo remains interesting and his dog is given some nice moments while the new characters have distinct personalities. Peter Falk is in top form where while Laurence Harvey shows the killer's precision and paranoia in striking ways. Jack Kruschen makes a strong impression with limited screen time and the supportingcast has some nice turns from Heidi Brühl, Michael Fox, and an especially over-the-top Lloyd Bochner. The direction keeps the central mystery exciting while giving the story some levity. The episode has some clever compositions that put the audience in the characters' heads, with some dream scenes being the most distinct in the series so far. This is an enjoyable episode that lets the series go into new directions.

Robert Mitchum and Gregory Peck in Cape Fear (J. Lee Thompson, 1962)

Cast: Gregory Peck, Robert Mitchum, Polly Bergen, Lori Martin, Martin Balsam, Jack Kruschen, Telly Savalas, Barrie Chase. Screenplay: James R. Webb, based on a novel by John D. MacDonald. Cinematography: Sam Leavit. Art direction: Robert F. Boyle, Alexander Golitzen. Film editing: George Tomasini. Music: Bernard Herrmann.

When I watched Martin Scorsese's 1991 remake of Cape Fear, I hadn't seen J. Lee Thompson's 1962 version. Now that I've seen it, I don't know why Scorsese wanted to remake it. The earlier version, with a screenplay by James R. Webb from the same John D. MacDonald novel, The Executioners, is a tense, well-cast movie with a Bernard Herrmann score that Scorsese had Elmer Bernstein adapt for his version. What Scorsese's screenwriter, Wesley Strick, did was to add more complications to the characters in the later film. Gregory Peck's Sam Bowden is a straight arrow compared to Nick Nolte's, and both Jessica Lange and Juliette Lange bring greater depth to Bowden's wife and daughter than Polly Bergen and Lori Martin do in the earlier version. But given that the movie in both cases is essentially a suspense thriller, I'm not sure that this is necessarily an improvement: The earlier film's emphasis on the innocence of the Bowdens makes the threat posed by Robert Mitchum's Max Cady more intense than that posed by Robert De Niro to the more morally compromised Bowdens of the Scorsese film. So in short, I have to say I prefer the earlier version. No one is saying that Lee Thompson was a better director, or that the screenwriter and actors in his version are superior to Scorsese and company. But if the intent of the film is to shock and to have the audience on the edge of their seats, then the earlier version does the job better. I have never been a fan of Gregory Peck, who is an actor who never surprises me with a line delivery or facial expression, as Nolte has been known to do, and Bergen and Martin are decidedly inferior to Lange and Lewis as actors, but they make better victims, which is all that the movie asks of them. The one performance that seems to me superior is Mitchum's, perhaps because there is a brutishness in his very persona that is lacking in De Niro, who has many film personae. I think De Niro overacts feverishly to make his Cady menacing, at the expense of becoming ludicrous. Mitchum, on the other hand, has only to narrow his sleepy eyes to suggest the deep psychosis of his character, and his menacing of Bergen, in which Mitchum apparently improvised the device of breaking an egg and smearing her with it, is truly chilling. Although Lee Thompson's final sequence, in which Cady sneaks up on the Bowdens' houseboat, is somewhat botched -- we're never quite sure where Cady, Bowden, and the detective assigned to guard them are at any given moment -- I still think it's preferable to the special-effects-laden storm that destroys the houseboat in Scorsese's film. Lee Thompson, whose only other really memorable film was The Guns of Navarone (1961), was never the filmmaker that Scorsese is, but here I think he does a better job of keeping the audience on edge.