Juano Hernandez and Glenn Ford on set of Mark Robson’s TRIAL (1955)

The Breaking Point (1950) Michael Curtiz

January 15th 2023

Juano Hernandez in Sergeant Rutledge (1960)

The Last Movie I Watched...

Intruder in the Dust (1949, Dir.: Clarence Brown)

KISS ME DEADLY (1955) Grade: B-

I'm not sure, but I'm going to guess this movie shocked the audience when it came out. The plot felt ahead of its time. The ending was good, I'm trying to think of earlier films like this with a similar surprise ending.

THE BREAKING POINT:

Honest fisherman

Forced into crime by debt

Puts strain on marriage

Juano Hernandez as Uncle Famous in a screencap from Stars in My Crown (1950) with Dean Stockwell. Juano was born in San Juan, Puerto Rico, and had 38 acting credits from 1914, his second credit in 1932, to They Call Me MISTER Tibbs (1970). His other honorable mentions are Intruder in the Dust and Kiss Me Deadly.

His other notable credits include Cabin in the Sky, Young Man with a Horn, St Louis Blues, an episode of Alfred Hitchcock Presents, Sergeant Rutledge, episodes of Route 66 and Naked City, The Pawnbroker, and The Reivers.

Juano Hernandez and David Brian in Intruder in the Dust (Clarence Brown, 1949) Cast: David Brian, Claude Jarman Jr., Juano Hernandez, Porter Hall, Elizabeth Patterson, Charles Kemper, Will Geer, David Clarke, Elzie Emanuel. Screenplay: Ben Maddow, based on a novel by William Faulkner. Cinematography: Robert Surtees. Art direction: Randall Duell. Film editing: Robert Kern. Music: Adolph Deutsch.  Clarence Brown's Intruder in the Dust, shot on location in Oxford, Mississippi, Williiam Faulkner's home town, is better than the Faulkner novel on which it's based. Critics have complained about the prolix self-righteousness of the speeches by Gavin Stevens (David Brian), but they're mercifully kept to a minimum in the film whereas they go on for pages in the book. The chief flaw of both film and book may be that neither Faulkner nor screenwriter Ben Maddow could decide whether they wanted a whodunit wrapped in a fable about racism, or a story about racism that incidentally contains a murder mystery. I think the film is partly rescued from this problem by Robert Surtees's mastery of black-and-white cinematography, which brings a film noir quality to the movie, especially in the scenes shot in the old Lafayette County Jail, where a single bare light bulb often apparently lights the shabby surroundings. And while the midnight digging up of Vinson Gowrie's grave by two teenagers and an elderly woman is one of the more improbable twists of the plot, Surtees's camera and lighting give at least an illusion of plausibility while also evoking horror movie chills. (One thing I particularly like about this scene is that Aleck, the Black teenager played by Elzie Emanuel, isn't put through the usual degrading movie jokes about Blacks afraid of graveyards. He goes along with the plan gamely, but also gets a good laugh line later when the sheriff asks Chick and Aleck what they would have done if there had been a body in the grave. "I hadn't thought about it," Chick says, probably lying to brave it out. "Uh, I did," Aleck says, quite sensibly.) The film works, too, because it's a movie without stars, therefore without the baggage of familiar personae that established movie actors bring to roles. David Brian is the nominal lead, but this was his first year in movies, so his relative unfamiliarity prevents him from overshadowing the film's real star, Juano Hernandez as the stubborn, proud Lucas Beauchamp, a brilliant performance that deserved one of the several Oscar nominations that the film failed to get. Claude Jarman Jr. had made his debut at the age of 12 as Jody in Brown's The Yearling (1946), for which he won the special Oscar once designated for juvenile actors, but like Brian, he never became a big star. The film is really carried by two stellar character players, Porter Hall as Nub Gowrie and Elizabeth Patterson as Miss Habersham, and, I think, by the citizens of Oxford and Lafayette County rounded up for the crowd scenes and a few incidental small roles. It's a film of control and texture that deserves to be better known than it seems to be.

Taken by a WPA photographer between 1935 and 1941, this picture shows diners at Aunt Dinah's Kitchen in Harlem. Established by Richard Huey, an actor in the Harlem theater scene, it was located in the basement of 172 West 135th Street, next to the YMCA. As the sign indicates, it was the go-to dining spot for Harlem's theater folk in the 1930s and 1940s. It also hosted one-act plays and forums and supported actors who needed a free meal.

From 1933 until Huey's death in 1948, the restaurant's “down-home grub” drew such luminaries as Rose McClendon, Ethel Waters, Langston Hughes, Carl Van Vechten, Juano Hernandez, Richard B. Harrison, Olive Borden, Georgette Harvey, Countee Cullen, Claude McKay, Frederick O’Neal, Count Basie, and others to his “hangout for hams.”

The family-style dining room attracted both locals and theater stars. Inspired by his roots in Monroe, Louisiana, Huey lined the walls with newspaper as a tribute to the restaurant walls back home which used the papers "partly to keep the wind out and partly for decoration."

Photo: NYC Dep't of Records Facebook

Juano Hernández (July 19, 1896 – July 17, 1970)

Kiss Me Deadly

In her film debut, Cloris Leachman says, “I could tolerate flabby muscles in a man, if it’d make him more friendly.” The film that follows is neither flabby nor friendly, but it’s one of the great film noirs with one of the bleakest endings in the genre. Contemporary critics didn’t care for Robert Aldrich’s KISS ME DEADLY (1955, Apple+), but it has grown in reputation over the years, particularly with Francois Truffaut and Jean-Luc Godard calling it the single greatest influence on the Nouvelle Vague. Ralph Meeker’s Mike Hammer is far from a crusading private eye at first. He’s lost his gun and his license and concentrates on setting up honey traps with his secretary/lover Velda (the wonderful Maxine Cooper) so he can blackmail cheating husbands. Then he picks up a near-naked hitchhiker (Leachman) who’s escaped from a mental hospital to which she was committed because she knows about “the great whatsit,” one of the best MacGuffin’s in film history. When she’s murdered, Hammer figures whatever she knew must be worth money. Then one of his few friends is murdered, and it gets personal. The corruption he encounters is everywhere, from the government to the kiss of a beautiful blonde. And Hammer is a part of it. Meeker does a marvelous job in the role, changing masks depending on whom he’s trying to manipulate and betraying a bit of glee in beating up attackers and recalcitrant witnesses. Aldrich and A.I. Bezzerides wrote some great punchy dialog for the film (and appropriated the phrase “the great whatsit” from 1932’s THE MOST DANGEROUS GAME), and Ernest Laslo createed some eerie visuals, shooting through objects and casting shadows to create an off-kilter, dangerous world. There’s a lot of good work in the cast, but it’s hard to believe Aldrich couldn’t find a better actress than Gaby Rogers to play the blonde femme fatale. Her tinny line readings sound like a bad imitation of Judy Holliday, or maybe Lina Lamont without the humor. The rest of the cast includes Albert Dekker as a crooked doctor, Paul Stewart as a mob leader, Juano Hernandez as a boxing trainer Wesley Addy as a police lieutenant who may be in love with Hammer, Marjorie Bennett as a landlady (one line, but she delivers it with aplomb), Percy Helton as a coroner, Fortunio Bonanova as an opera singer, and Jack  Elam and Jack Lambert as two dim-witted hired thugs.

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Nos anos 30, o órfão semi abandonado Rick Martin (Kirk Douglas) é criado por sua irmã, sem qualquer cuidado ou amor. Um dia, ele ouve uma canção em um templo e como tem ouvido absoluto, é capaz de reproduzi-la no piano. Quando ele vê um trompete em uma casa de penhores, ele se apaixona pelo instrumento e trabalha para arranjar o dinheiro necessário para comprá-lo. Então ele se encontra com o lendário trompetista Art Hazzard (Juano Hernandez) e Rick se torna seu protegido. Art ensina como tocar trompete e Rick se torna um trompetista bem sucedido mas rebelde. Ao longo de sua carreira, os amigos de Rick Martin são Art Hazzard, o pianista Willie 'Smoke' Willoughby (Hoagy Carmichael) e a cantora Jo Jordan (Doris Day) e acaba se tornando a estrela de sua orquestra. Quando Jo apresenta sua amiga Amy North (Lauren Bacall), que é um estudante de medicina que gosta de experimentar novas sensações, Rick acaba se apaixona por ela, bem no início de sua queda.

Kiss me deadly

For additional due diligence, a search with the Copyright Catalog (1978 to present).Permission (Reusing this file): English: This po. A doomed female hitchhiker pulls Mike Hammer into a deadly whirlpool of intrigue, revolving around a mysterious 'great whatsit'. English: This poster shows no visible copyright markings. With Ralph Meeker, Albert Dekker, Paul Stewart, Juano Hernandez. Kiss Me Deadly is the third studio album by the English punk rock and new wave band Gen X, produced by Keith Forsey it was issued in the United Kingdom on. Tough-as-nails private detective Mike Hammer is thrown into the middle of a murder mystery when a desperate hitchhiker (Cloris Leachman in her first film role). Another battle was won and lost Down The Bishops End last night Spotlights pick the kids in triumph With a thousand scarves in flight, see how they run Spring from the terraces in black and white Young and old into the fight Having fun In South West Six With violence for a fix Kiss me, deadly, tonight Seven o'clock they stand in rank For the thirty bus uptown And later in a downstairs room She pulls her lover down In ecstasy but they can't make a sound Case her mother might come down Having fun In South West Six Discovers teenage sex Kiss me, deadly, tonight (guitar solo) The Snooker Hall is empty Cause they're all out playing pool Hustling down the Fulham Road Doing deals with Mr. Classic pulp fiction begets classic film noir: Investigating the death of. Kiss Me Deadly: Directed by Robert Aldrich. Americas anti-Communist crusaders found their superhero in crime writer Mickey Spillanes private eye hero, Mike Hammer, who enjoyed a flurry. Find trailers, reviews, synopsis, awards and cast information for Kiss Me Deadly (1955) - Robert Aldrich on AllMovie - Regarded by many critics as the.

The Pawnbroker | Sidney Lumet | 1964

Juano Hernandez, Rod Steiger