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denimbex1986 · 5 months

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'Cillian Murphy had just spent the day filming what felt like 30 scenes on “Oppenheimer” with the desert sand kicking up and blasting into his eyes when his co-star Robert Downey Jr. greeted him, trying to boost his spirits. And — this is how Downey remembers it, and when the legend becomes fact, print the legend — Murphy launched into a lament about how, when he had returned to his “18-dollar-a-night hotel room” the previous evening, he found his bags in the hallway and thought, “F—! I haven’t checked out yet. I have to sleep!”

“Every indignity that could befall someone who’s trying to do something .... It was like the tears of Job,” Downey related after a recent screening of the Christopher Nolan blockbuster. “Forget the call sheet and the job. It was everything else. It was the most Irish experience I’ve ever witnessed.”

Nearly two years later, Murphy and I are talking on a late-autumn day in L.A. He’s removing his coat and pulling his chair into the sun because, yes, he’s Irish, and part of the Irish experience is to soak up as much sun as possible when the opportunity presents itself. As to what Downey is ascribing to his native land, Murphy can do nothing but laugh.

“I don’t know if that means that Irish people are more predisposed to suffering,” Murphy says, smiling. “I think he’s being very sweet and saying we were like a troupe, moving at quite a pace. We were just staying at motels by the freeway and moving around. It was not glamorous. The way Chris works is that everything is equitable. No one has trailers or personal makeup. Everyone gets in a bus. It feels like independent filmmaking, but on a f—ing grand scale. And that’s the way I enjoy working.”

Murphy, 47, also enjoys not working, and he’s had a successful enough career in the two decades since his film breakthrough in Danny Boyle’s 2002 classic zombie film “28 Days Later” that he can describe such periods as being “happily unemployed.” That was where he was at a couple of years ago. He’d finished shooting the sixth (and final) season of the entertaining BBC crime drama “Peaky Blinders” and was in the midst of a glorious six months enjoying the company of his wife, Irish visual artist Yvonne McGuinness, and their two teenage sons. Then Nolan called out of the blue.

Actually, it wasn’t Nolan, but his wife and producing partner, Emma Thomas. It couldn’t be Nolan, because Nolan doesn’t have a phone, an eccentricity that’s either endearing or infuriating depending on the context. Thomas handed the phone to her husband, who told Murphy — in what the actor calls an “unbelievably understated British way” — “I’m making a film about Oppenheimer.” Pause. “I’d like you to play Oppenheimer.”

And just like that, Murphy was no longer happily unemployed. He was playing the title character in Nolan’s sprawling drama about the physicist known as the “father of the atomic bomb.”

“A big moment,” Murphy calls it, no stranger to restraint himself. Pause. “A biggie.”

In conversation, Murphy is pleasant and reflective when talking about his native country (he could and should write a book on the Ring of Kerry or at least narrate a self-guided tour) and the arts. I’d read that Nolan sent him photos of David Bowie wearing high-waisted, voluminous trousers from the singer’s Thin White Duke era as a visual reference for the gaunt silhouette he imagined for Oppenheimer, a man who possessed such a manic work ethic that he forgot to eat, subsisting on martinis and Chesterfield cigarettes. I pull up a photo of Bowie taken shortly before his death, wearing a sharp suit, black fedora and beaming smile.

“He looks a little alien, which is what we were going for with Oppenheimer, I think,” Murphy says. He holds onto my phone, looking at Bowie. “One of the greats. That last album [“Blackstar”] was f—ing extraordinary. What a gift to leave us with. Nobody else could have gone out like that.”

Murphy’s most striking feature — his piercing blue eyes — have been noted at length, for good reason. “Oppenheimer” co-star Matt Damon notes how he’d find himself distracted working with Murphy. “It’s a real problem when you’re doing scene work with Cillian [because] sometimes you find yourself just swimming in his eyes,” he told People.

Those eyes are what first attracted Nolan to him. The filmmaker was leafing through a newspaper while writing “Batman Begins” and came across a photo of Murphy from “28 Days Later.” He couldn’t shake the image of this actor with a shaved head and “crazy eyes” and made a note to meet with Murphy for Batman, a role that eventually went to Christian Bale.

They’ve now made six movies together, with Murphy playing the menacing Scarecrow in the “Dark Knight” trilogy, a petulant business heir in “Inception” and a character known simply — and quite accurately — as “Shivering Soldier” in “Dunkirk.” They share a mutual interest in conveying a character’s emotional conflict through close-ups that linger on an actor’s face and allow the audience to feel inner turmoil. In Oppenheimer’s case, it was the searing anguish of a man a bit late to realize and appreciate the consequences of what he’d created.

“To me, great screen acting is all about ‘show, don’t tell,’” Murphy says, “and being able to transmit emotion and energy just by force or presence or charisma.”

I ask him about influences in that regard, but Murphy demurs, saying that if he starts listing actors, he’ll wake up in the middle of the night, thinking, “F—, I left that person out.” He reiterates that his favorite movie moments aren’t big set pieces but watching actors in reflection, inactive, doing nothing, but revealing everything. “I find that compelling in the highest order,” he says.

Murphy had ample opportunity to do just that in “Oppenheimer,” portraying a character caught in a moral dilemma of his own making.

“I knew it would have to be a quiet, small performance, because the themes are f—ing huge,” Murphy says. “What’s happening inside his heart and his mind can’t be painted big, particularly when it’s captured on an Imax camera and it’s going to be shown on a f—ing 80-foot screen. I knew it would have to be delicate and tiny, most of it.”

Murphy doesn’t like to dwell on what he did once call the “monastic experience” of the film’s 57-day shoot or on the months it took to decompress afterward. Such talk would be a little too close to the “Irish experience” Downey had mentioned. But all of these efforts did make me think about something that Emily Blunt, who plays Oppenheimer’s wife, Kitty, in the film and worked with Murphy in “A Quiet Place Part II,” noted about him.

“She said that off set, you’re a hoot,” I tell him, fishing for an example or two. Murphy does not oblige, but he does express how his friendship with Blunt created a trust that informed their portrayal of lifelong partners.

“She’s also one of the funniest people, and I have a rule that I can’t work unless there’s a lightness around the set,” Murphy says. “There has to be some levity. A lot of the films I do are quite heavy and go to some dark, challenging places, and you have to be relaxed to do that. So I don’t walk around in a state of f—ing angst. I need to feel at ease. I can’t be in that dark place all the time. I don’t have the stamina for it.”

Murphy saw “Oppenheimer” at the film’s July world premiere in Paris. Two days later, he and the rest of the cast left the London premiere to show their support for the impending SAG-AFTRA strike. By the time he returned home to Dublin, his wife and sons had already seen “Barbie,” so Murphy went to the cinema by himself to complete the “Barbenheimer” experience.

How do you go incognito to the multiplex, I ask.

“I time going to movies very well now,” Murphy says. “With the ads and trailers, I always arrive a half hour late, slip in and then slip out.”

I grouse how that half hour feels like it’s getting longer by the year. Murphy agrees. And yet ...

“The greatest democratic collective art form is sitting in a darkened space with strangers,” he says. “To be part of a movie that people went to see multiple times and part of a great moment for cinema, that frenzy for those two films, was just lovely. I don’t know if we’ll ever see it again, but I’d like to hope so.”

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autistpride · 1 month

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How many of these famous autists do you recognize? And this isn't even a complete list!

So many amazing wonderful people are autistic. I will never understand why people hate us so much.

Actors/actresses/entertainment:

Chloe Hayden

Talia Grant

Rachel Barcellona

Sir Anthony Hopkins

Dan Akroyd

David Byrne

Darryl Hannah

Courtney Love

Jerry Seinfeld

Roseanne Barr

Jennifer Cook

Chuggaaconroy

Stephanie Davis

Rick Glassman

Paula Hamilton

Dan Harmon

Paige Layle

Matthew Labyorteaux

Wentworth Miller

Desi Napoles

Freddie Odom Jr

Kim Peek

Sue Ann Pien

Henry Rodriguez

Scott Steindorff

Ian Terry

Tara Palmer -Tomkinson

Albert Rutecki

Billy West

Alexis Wineman- Miss America contestant

Athletes:

Jessica- Jane Applegate

Michael Brannigan

David Campion

Brenna Clark

Ulysse Delsaux

Tommy Dis Brisay

Jim Eisenreich

Todd Hodgetts

John Howard

Anthony Ianni

Lisa Llorens

Clay Matzo

Frankie Macdonald

Jason McElwain

Chris Morgan

Max Park

Cody Ware

Amani Williams

Samuel Von Einem

Musicians:

Susan Boyle

Elizabeth Ibby Grace

David Byrne

Johnny Dean

Tony DeBlois

Christopher Dufley

Jody Dipiazza

Pertti Kurikka

James Jagow

Ladyhawke

Kodi Lee

Left at London

Red Lewis Clark

Abz Love

Thristan Mendoza

Heidi Mortenson

Hikari Oe

Matt Savage

Graham Sierota

SpaceGhostPurp

Mark Tinley

Donald Triplett

Aleksander Vinter

Comedians:

Hannah Gatsby

Robert White

Bethany Black

Scientists/inventors/mathematians/Researchers:

Damian Milton

Bram Cohen

Michelle Dawson

Carl Sagan

Writers:

Neil Gaimen

Mel Bags

Kage Baker

Amy Swequenza

M. Remi Yergeau

Sean Barron

Lydia X Z Brown

Matt Burning

Dani Bowman

Nicole Cliffe

Laura Kate Dale

Aoife Dooley

Corrine Duyvus

Marianne Eloise

Jory Flemming

Temple Grandin

John R Hall

Naomi Higashida

Helan Hoang

Liane Holliday Willey

Luke Jackson

Rosie King

Thomas A McKean

Johnathan Mitchell

Jack Monroe

Caiseal Mor

Morenike Giwa- Onaiwu

Jasmine O'Neill

Brant Page Hanson

Dawn Prince-Hughs

Sue Robin

Stephen Shore

Andreas Souvitos

Sarah Stup

Susanna Tamaro

Chuck Tingle

Donna Williams

Leaders:

Julia Bascom

Ari Ne'eman

Sarah Marie Acevedo

Sharon Davenport

Joshua Collins

Conner Cummings

Kevin Healy

Poom Jenson

Amy Knight

Jared O'Mara

David Nelson

Shaun Neumeier

Master Sgt. Shale Norwitz

Jim Sinclair

Judy Singer

Dr. Vernon Smith

Artists:

Miina Akkijjyrkka

Danny Beath

Deborah Berger

Larry John Bissonnette

Patrick Francis

Goby

Jorge Gutierrez

Lina Long

Johnathan Lerman

Julian Martin

Haley Moss

Morgan Harper Nichols

Tim Sharp

Gilles Tehin

Willem Van Genk

Richard Wawro

Poets:

David Eastham

Christopher Knowles

David Miedzianik

Henriette Seth F

#autism acceptance #autism acceptence month #autism #asd #autistic pride #autistic #actually audhd

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almanacrat · 2 years

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Holier Than Thou [E. Munson]

Summary: The preacher's daughter has always been pure and unmistakably good, but meeting the leader of the Hellfire Club may change her ways.

Warnings: Swearing, religious manipulation

Y/n was unlike many of the girls her age. She didn't fool around with guys or do anything so daring as cheat on a quiz. She had never been on a date with a guy due to her father watching her like a hawk and speaking against dating. Each time Y/n would ask her father about the dating rule, he would still insist she was too young, even at the age of seventeen. Despite how simple it may seem, being the preacher's child was difficult. Church twice a week, nightly prayers, rants fueled by fire and brimstone, and daily bible reading made life exhausting.

Y/n set her book bag down by her chair, prepared to listen intently to the class lecture just like she listened to her father’s sermons every Sunday. Today; however, the teacher did not begin a lecture but instead began writing names on the board. Two by two, names were written next to each other. Students gossiped amongst each other about what the names meant. Perhaps they were in trouble? Or perhaps they were going to receive a new seating chart.

Y/n was perfectly happy with where she sat; the left side of the classroom in the second row. Next to her sat Ramona Andrews, a girl with a mediocre personality but enough kindness to leave Y/n alone. Y/n didn't want to sit next to someone who would make fun of her or try to cheat off her homework.

“These are your assigned partners for the upcoming project. I will hand out the rubric for the project at the end of class, but right now I want to explain it to you.” Mrs. Weatherall spoke, her hair done in a bun which was beginning to unravel.

As the teacher droned on, Y/n scanned the board for her name, praying she would have a good partner.

Darn it, She thought as she read the name next to hers.

Eddie Munson.

Just then, a body plopped down in the seat next to hers. Eddie himself sat to face Y/n, a smug smirk on his face.

“Looks like we’re partners.” He smiled mischievously.

“Looks like it.” Y/n forced a small smile, trying to hide her despair.

“I had to take this class last year and I still have my project leftover from that, so we could take a look at it if you want. Use it for inspiration.” He suggested in a surprisingly helpful manner.

“Oh, uh, sure. That would be great. What did you get on it?” Y/n responded.

“I got an F, but it was a high F! Right on the cusp of being a D.” Eddie announced proudly.

“Yeah, we can look at it. Maybe use it as a guide for what not to do.” Y/n mumbled under her breath, eyes fixating on the rings he wore.

“Was that sass? Coming from the preacher's kid?” Eddie grinned, teasing her.

“I’m sorry, I didn't mean to be rude, I just-” Y/n sputtered, afraid she had been unkind.

“It’s okay, Y/n. I was just teasing you. I thought it was funny.”

“Okay.” Y/n said softly, still feeling guilty for being rude.

“Lighten up. I’m not gonna bite your head off.” Eddie twirled a pencil between his fingers, doodling a little smiley face on their rubric.

Y/n decided to start working, and to her surprise, Eddie wanted to help. Their project required them to create a presentation on one of the scientists of the 17th century, and their contribution to the scientific community. After flipping through the textbook Y/n made the decision to present on Robert Boyle, as Eddie insisted he didn't care who they presented on.

Eddie would write facts and snippets of information then slide the notecards to Y/n, who would subtly correct them while he wasn't looking. By the time the bell rang they had a stack of notecards with incorrect information on some which Y/n could not fix in time.

“Wicked work. We make a great team.” Eddie commented as he handed her the stack of notecards.

“See you tomorrow, Eddie.” Y/n murmured as she exited the room.

Y/n was still a bit scared of Eddie, or rather, she was scared of how enchanting he was. The little jokes he made throughout the class had her resting the urge to giggle. His hair framed his face perfectly, even if it was horrendously frizzy. His round eyes seemed to see her far better than even the eyes of god had, and she couldn't tell if she loved it or hated it.

Eddie was quite entranced with Y/n. He had always seen her walking through the hallways, quiet as a mouse. He thought she was the most gorgeous girl he had set eyes on, but refrained from speaking to her all these years because of her father. Eddie knew the pastor disapproved of people like him; heavy metal listeners and DND players with long hair. He knew she would never go for him, but he still felt his heart beat a little faster when he thought of her.

Y/n shivered as she walked through the parking lot, the brisk air nipping at her skin. She got frustrated with herself for not bringing a warm jacket. Her house was a ten minute walk from the school, and she began to walk begrudgingly when a large van pulled up beside her. Loud music rang out from inside and in the driver’s seat sat the one and only Eddie Munson.

“Do you need a ride?” He offered.

“Oh, no, that's okay. I don't want to inconvenience you. It’s only a ten minute walk.” Y/n replied, despite truly wanting to get in. The cold air still stirred around her, penetrating her cardigan.

“It's not an inconvenience, and you’re shivering. Come on, I don't want to be responsible for you getting hypothermia.”

Y/n contemplated her options for a few seconds, then opened the door and hopped into the passengers seat. It was warm in the van and Eddie turned down the music as she entered.

“Thanks, Eddie.”

“It’s the least I could do. You’re the one helping me get a good grade on this project.”

“You’re helping. You're doing a good part of the work.” Y/n replied, admiring the way his rings glinted in the light.

“You’re the one correcting my work.”

“You saw that?” Y/n cringed internally, wishing he hadn't seen it.

“Yep. You write pretty fast, but you're not as discreet as you think you are.” Eddie smirked.

“What’s this song?” Y/n asked after a moment of silence.

“This song, my dear, is Highway to Hell by ACDC.” Eddie tapped the radio.

“Oh.” Y/n was clearly taken aback by the name, not expecting to hear a song with such a name.

“Why do you ask?” Eddie wondered.

“I don't know. Kinda catchy I guess.” Y/n mumbled the last part, ashamed to admit that she enjoyed the song. Songs like that were never allowed in her house. When they did play music, it was gospel music and light-hearted tunes from years ago.

“What was that last part?” Eddie questioned.

“I said it was kinda catchy.” Y/n repeated, her head hung abashedly.

“No way. No fucking way! The preacher’s kid likes Highway to Hell?” Eddie laughed in disbelief.

“I never said I liked it.” Y/n protested, but Eddie wouldn't have it.

“You didn't have to say that. You said it was catchy, which means you like it.” Eddie smiled widely.

“Please don't tell anyone, Eddie.” Y/n pleaded, horrified that her father would find out.

“Oh, I’m gonna tell everyone, princess.” Eddie leaned closer to her as he smirked evilly. He noticed her eyes getting wide with anxiety, her eyebrows furrowed in distress at his words. “I’m kidding, Y/n. No one will know. Our secret, okay?” Eddie soothed Y/n, holding out his pinky to her.

“Promise?” Y/n looked up at him with big doe eyes, still rattled from the image of her father finding out that she liked such a vulgar song.

“Promise.” Eddie spoke. With that, Y/n took his pinky in hers, holding it there for a few seconds before releasing it.

“Thanks again for the ride. I’ll see you tomorrow.” Y/n said as she got out of the van which was parked haphazardly in front of her house.

“If I decide to come to class tomorrow.” Eddie spoke, making Y/n give him a slightly agitated look. “I’ll be there tomorrow, Y/n.” Eddie sighed, detesting the idea of going to school.

Y/n quietly shut the door to her house, setting her book bag down by the coat rack which stood next to the door.

“Who drove you home?” Her father asked harshly as he rounded the corner.

“Just someone from school.” Y/n murmured, eyes looking at the floor to avoid her father's iron gaze.

“Who from school? I want a name.”

“Melissa. Melissa Hart.” Y/n felt bad for lying, but she knew he would never approve of someone like Eddie driving her home. “She’s in my English class.”

“Very well then. I’ve heard she’s a kind girl. Her mother comes in to pray on Sundays.” He commented, his eyes still boring into her.

“She is very nice.” Y/n desperately tried to end the conversation, wanting nothing more than to escape upstairs. At last, her father left the room and she darted to her bedroom. Y/n slumped down on her bed, her conscience beginning to gnaw at her for lying to her father. She had to, she told herself. She had to or her father would have gone berserk for no reason. Still, despite her guilt she could not shake the interest that she had in Eddie Munson.

#eddie munson #eddie munson x reader #eddie munson fic #eddie munson imagine #eddie munson smut #eddie munson fanfic #stranger things fic #stranger things fanfiction #stranger things #steve harrington #robin buckley

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byneddiedingo · 11 months

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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.

#Cape Fear #J. Lee Thompson #Robert Mitchum #Gregory Peck

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diceriadelluntore · 1 year

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Rivisitazioni

Frankenstein, lo ricordo, è il medico, il barone Victor. Eppure appena si sente il nome in questione, la prima immagine che viene in mente è questa:

cioè il ruolo della Creatura che Boris Karloff ebbe in una serie di film prodotti dalla Universal con la regia, tra gli altri, di James Whale, negli anni ‘30. Partendo dal capolavoro di Mary Wollstonecraft Godwin Shelley, pubblicato nel 1818 e riedito dalla stessa autrice nel 1831, tantissimi hanno pensato di farne un film, per quella che è, con Dracula e i Vampiri, il soggetto più trasporto della storia del Cinema. Ho ritrovato una lista, da un’idea di Marco Giusti, che raccoglie alcune perle.

La Parodia - Frankenstein Junior, Mel Brooks, 1974

Uno dei massimi film comici di tutti i tempi. Gene Wilder è il nipote del dottore, Peter Boyle nel ruolo della vita dopo Crazy Joe (di Carlo Lizzani, sulla figura del gangster Joe Gallo) è la Creatura, Marty Feldman il più indimenticabile degli Igor, Teri Garr è Inga, Cloris Leachman è Frau Blücher. Una marea di gag, camei leggendari (Gene Hackman nel ruolo dell’eremita), Mel Brooks scopre per caso che lo sceneggiatore dei film di Whale, Gerald Hirschfeld, conservava ancora le scenografie originali, che furono usate nella stessa maniera dei film degli anni ‘30, compreso montaggio e riprese in bianco e nero. Gli Aerosmith riprendono una delle battute di Igor, Walk This Way, per farne un imperituro inno rock. Stracult!

Gli Inglesi - i Frankenstein degli Hammer Studios

La casa di produzione che diffuse i film horror negli anni ‘60 e ‘70. Peter Cushing è nei film di Terence Fischer il barone medico, che in ogni film diventa più cattivo e malefico, e le peripezie della creature fruttarono 7 film tra il 1957 e il 1974. Il più bello è Distruggete Frankenstein del 1969, con annessa scena di stupro, imposta dai produttore per rendere pruriginosa la storia (e del tutto inutile ai fini della sceneggiatura) con il mostro che è Freddy Jones, il padre di Elephant Man di David Lynch (prodotto da Mel Brooks).

Il Blaxploitaion

Nella leggendaria trilogia delle rivisitazioni black dei film, Blackenstein (1973) supera di molto per trash sia Blacula che il leggendario Abby, rivisitazione de L’Esorcista. Il mostro, il cui trucco fu curato da Ken Strickfaden, il truccatore dei Frankestein di Karloff, non fa paura per niente, ha la faccia molle e sembra un Arnold gigante. Il successo nullo della pellicola impedì la trilogia, dato che erano già pronti The Fall Of The House Of House Of Blackenstein e Blackenstein III.

Franco e Ciccio

Immancabile la rivisitazione del duo comico. Regia di Steno, titolo bizzarro, Un Mostro e Mezzo (1965), Ciccio Ingrassia è il dottore, Franco Franchi la cavia. Vuole diventare come Carlo Ponti, il famoso produttore, che è brutto, ma ha come moglie il suo idolo: Sofia Loren. Scena cult: quando dopo la creazione, Franco dice al dottore: Mi viene da ridere, mi ha fatto la faccia da fesso.

Il Trash

Non si sa ancora chi fu il regista di uno dei massimi trash movie di ogni tempo: Terror! Il Castello Delle Donne Maledette (1973). Ai più risulta Robert Oliver, regista americano dei b movie, per altri da Oscar Brazzi, che era sceneggiatore per i Bertolucci e famoso produttore, nonchè fratello del famoso attore italiano Rossano Brazzi. Che si macchia una grande carriera facendo il ruolo del Conte (non barone) Frankenstein, che produce mostri aiutato da una pattuglia di strani tipi, tra cui alcuni dei più grandi protagonisti del cinema di serie B: Gordon Mitchell come Igor, il nano vero Michael Dunn come gobbo Genz, che si mangia i pezzi degli esperimenti del Conte, Luciano Pigozzi (uno che ha recitato in 180 film!), Ciro Papa, qui battezzato Xiro Papas e anche produttore (Papa era di Torre Annunziata) ma soprattutto la creatura, che prende vita dai resti di un uomo di Neanderthal, il mitico Salvatore Baccaro, qui battezzato Boris Lugosi. Che nel film era così:

L’ultragore

Il Mostro È In Tavola... Barone Frankenstein (1973)

Uno dei film in 3D sulle vicende del famoso dottore, prodotto da Warhol, Carlo Ponti, girato da Paul Morrissey e da Antonio Margheriti per le riprese in 3D. Tonino Guerra è accreditato alla sceneggiatura, il film vede Udo Kier folle barone che crea un mostro donna, una giovane Dalila Di Lazzaro. Little Joe Dallessandro è il giovane aiutante, uno stalliere, ed era già passato alla storia per essere citato in Walk On The Wild Side di Lou Reed e, secondo la leggenda, di essere il modello del jeans nella copertina di Sticky Fingers dei Rolling Stones. Penso sia introvabile la versione originale, quelle che si trovano oggi tagliano tutte le scene “macabre” ed erotiche.

Versione Giapponese

Furakenshutain Vs Baragon - Inoshiro Honda, 1965

I giapponesi rubano ai tedeschi durante la guerra un pazzo esperimento per creare un uomo invicibile. Però durante uno studio, la creatura viene bombordata da radiazioni, che lo fanno crescere a dismisura. Sul punto di essere distrutto, un gruppi di archeologi fa rinascere un mostro, Baragon (una specie di Godzilla con il naso a lampadina) e si decide di farsi aiutare dal gigante per sconfiggere il mostro. Grandissimo!

Sono super accette altre segnalazioni!

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warduke · 11 months

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Robert F. Boyle

North by Northwest, Alfred Hitchcock

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stlhandyman · 2 years

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Supreme Court, U.S FILED In The OCT 2 2022 Supreme Court ofthe United States RALAND J BRUNSON, Petitioner,

Named persons in their capacities as United States House Representatives: ALMA S. ADAMS; PETE AGUILAR; COLIN Z. ALLRED; MARK E. AMODEI; KELLY ARMSTRONG; JAKE AUCHINCLOSS; CYNTHIA AXNE; DON BACON; TROY BALDERSON; ANDY BARR; NANETTE DIAZ BARRAGAN; KAREN BASS; JOYCE BEATTY; AMI BERA; DONALD S. BEYER JR.; GUS M. ILIRAKIS; SANFORD D. BISHOP JR.; EARL BLUMENAUER; LISA BLUNT ROCHESTER; SUZANNE BONAMICI; CAROLYN BOURDEAUX; JAMAAL BOWMAN; BRENDAN F. BOYLE; KEVIN BRADY; ANTHONY G. BROWN; JULIA BROWNLEY; VERN BUCHANAN; KEN BUCK; LARRY BUCSHON; CORI BUSH; CHERI BUSTOS; G. K. BUTTERFIELD; SALUD 0. CARBAJAL; TONY CARDENAS; ANDRE CARSON; MATT CARTWRIGHT; ED CASE; SEAN CASTEN; KATHY CASTOR; JOAQUIN CASTRO; LIZ CHENEY; JUDY CHU; DAVID N. CICILLINE; KATHERINE M. CLARK; YVETTE D. CLARKE; EMANUEL CLEAVER; JAMES E. CLYBURN; STEVE COHEN; JAMES COMER; GERALD E. CONNOLLY; JIM COOPER; J. LUIS CORREA; JIM COSTA; JOE COURTNEY; ANGIE CRAIG; DAN CRENSHAW; CHARLIE CRIST; JASON CROW; HENRY CUELLAR; JOHN R. CURTIS; SHARICE DAVIDS; DANNY K. DAVIS; RODNEY DAVIS; MADELEINE DEAN; PETER A. DEFAZIO; DIANA DEGETTE; ROSAL DELAURO; SUZAN K. DELBENE; Ill ANTONIO DELGADO; VAL BUTLER DEMINGS; MARK DESAULNIER; THEODORE E. DEUTCH; DEBBIE DINGELL; LLOYD DOGGETT; MICHAEL F. DOYLE; TOM EMMER; VERONICA ESCOBAR; ANNA G. ESHOO; ADRIANO ESPAILLAT; DWIGHT EVANS; RANDY FEENSTRA; A. DREW FERGUSON IV; BRIAN K. FITZPATRICK; LIZZIE LETCHER; JEFF FORTENBERRY; BILL FOSTER; LOIS FRANKEL; MARCIA L. FUDGE; MIKE GALLAGHER; RUBEN GALLEGO; JOHN GARAMENDI; ANDREW R. GARBARINO; SYLVIA R. GARCIA; JESUS G. GARCIA; JARED F. GOLDEN; JIMMY GOMEZ; TONY GONZALES; ANTHONY GONZALEZ; VICENTE GONZALEZ; JOSH GOTTHEIMER; KAY GRANGER; AL GREEN; RAUL M. GRIJALVA; GLENN GROTHMAN; BRETT GUTHRIE; DEBRA A. HAALAND; JOSH HARDER; ALCEE L. HASTINGS; JAHANA HAYES; JAIME HERRERA BEUTLER; BRIAN HIGGINS; J. FRENCH HILL; JAMES A. HIMES; ASHLEY HINSON; TREY HOLLINGSWORTH; STEVEN HORSFORD; CHRISSY HOULAHAN; STENY H. HOYER; JARED HUFFMAN; BILL HUIZENGA; SHEILA JACKSON LEE; SARA JACOBS; PRAMILA JAYAPAL; HAKEEM S. JEFFRIES; DUSTY JOHNSON; EDDIE BERNICE JOHNSON; HENRY C. JOHNSON JR.; MONDAIRE JONES; DAVID P. JOYCE; KAIALPI KAHELE; MARCY KAPTUR; JOHN KATKO; WILLIAM R. KEATING; RO KHANNA; DANIEL T. KILDEE; DEREK KILMER; ANDY KIM; YOUNG KIM; RON KIND; ADAM KINZINGER; ANN KIRKPATRICK; RAJA KRISHNAMOORTHI; ANN M. KUSTER; DARIN LAHOOD; CONOR LAMB; JAMES R. LANGEVIN; RICK LARSEN; JOHN B. LARSON; ROBERT E. LATTA; JAKE LATURNER; BRENDA L. LAWRENCE; AL LAWSON JR.; BARBARA LEE; SUSIE LEE; TERESA LEGER FERNANDEZ; ANDY LEVIN; MIKE LEVIN; TED LIEU; IV ZOE LOFGREN; ALAN S.LOWENTHAL; ELAINE G. LURIA; STEPHEN F. LYNCH; NANCY MACE; TOM MALINOWSKI; CAROLYN B. MALONEY; SEAN PATRICK MALONEY; KATHY E. MANNING; THOMAS MASSIE; DORIS 0. MATSUI; LUCY MCBATH; MICHAEL T. MCCAUL; TOM MCCLINTOCK; BETTY MCCOLLUM; A. ADONALD MCEACHIN; JAMES P. MCGOVERN; PATRICK T. MCHENRY; DAVID B. MCKINLEY; JERRY MCNERNEY; GREGORY W. MEEKS; PETER MEIJER; GRACE MENG; KWEISI MFUME; MARIANNETTE MILLER-MEEKS; JOHN R. MOOLENAAR; BLAKE D. MOORE; GWEN MOORE; JOSEPH D. MORELLE; SETH MOULTON; FRANK J. MRVAN; STEPHANIE N. MURPHY; JERROLD NADLER; GRACE F. NAPOLITANO; RICHARD E. NEAL; JOE NEGUSE; DAN NEWHOUSE; MARIE NEWMAN; DONALD NORCROSS; ALEXANDRIA OCASIO-CORTEZ; TOM O'HALLERAN; ILHAN OMAR; FRANK PALLONE JR.; JIMMY PANETTA; CHRIS PAPPAS; BILL PASCRELL JR.; DONALD M. PAYNE JR.; NANCY PELOSI; ED PERLMUTTER; SCOTT H. PETERS; DEAN PHILLIPS; CHELLIE PINGREE; MARK POCAN; KATIE PORTER; AYANNA PRESSLEY; DAVID E. PRICE; MIKE QUIGLEY; JAMIE RASKIN; TOM REED; KATHLEEN M. RICE; CATHY MCMORRIS RODGERS; DEBORAH K. ROSS; CHIP ROY; LUCILLE ROYBAL-ALLARD; RAUL RUIZ; C. A. DUTCH RUPPERSBERGER; BOBBY L. RUSH; TIM RYAN; LINDA T. SANCHEZ; JOHN P. SARBANES; MARY GAY SCANLON; JANICE D. SCHAKOWSKY; ADAM B. SCHIFF; BRADLEY SCOTT SCHNEIDER; KURT SCHRADER; KIM SCHRIER; AUSTIN SCOTT; DAVID SCOTT; ROBERT C. SCOTT; TERRI A. SEWELL; BRAD SHERMAN; MIKIE SHERRILL; MICHAEL K. SIMPSON; ALBIO SIRES; ELISSA SLOTKIN; ADAM SMITH; CHRISTOPHER H. V SMITH; DARREN SOTO; ABIGAIL DAVIS SPANBERGER; VICTORIA SPARTZ; JACKIE SPEIER; GREG STANTON; PETE STAUBER; MICHELLE STEEL; BRYAN STEIL; HALEY M. STEVENS; STEVE STIVERS; MARILYN STRICKLAND; THOMAS R. SUOZZI; ERIC SWALWELL; MARK TAKANO; VAN TAYLOR; BENNIE G. THOMPSON; MIKE THOMPSON; DINA TITUS; RASHIDA TLAIB; PAUL TONKO; NORMA J. TORRES; RITCHIE TORRES; LORI TRAHAN; DAVID J. TRONE; MICHAEL R. TURNER; LAUREN UNDERWOOD; FRED UPTON; JUAN VARGAS; MARC A. VEASEY; FILEMON VELA; NYDIA M. VELAZQUEZ; ANN WAGNER; MICHAEL WALTZ; DEBBIE WASSERMAN SCHULTZ; MAXINE WATERS; BONNIE WATSON COLEMAN; PETER WELCH; BRAD R. WENSTRUP; BRUCE WESTERMAN; JENNIFER WEXTON; SUSAN WILD; NIKEMA WILLIAMS; FREDERICA S. WILSON; STEVE WOMACK; JOHN A. YARMUTH; DON YOUNG; the following persons named are for their capacities as U.S. Senators; TAMMY BALDWIN; JOHN BARRASSO; MICHAEL F. BENNET; MARSHA BLACKBURN; RICHARD BLUMENTHAL; ROY BLUNT; CORY A. BOOKER; JOHN BOOZMAN; MIKE BRAUN; SHERROD BROWN; RICHARD BURR; MARIA CANTWELL; SHELLEY CAPITO; BENJAMIN L. CARDIN; THOMAS R. CARPER; ROBERT P. CASEY JR.; BILL CASSIDY; SUSAN M. COLLINS; CHRISTOPHER A. COONS; JOHN CORNYN; CATHERINE CORTEZ MASTO; TOM COTTON; KEVIN CRAMER; MIKE CRAPO; STEVE DAINES; TAMMY DUCKWORTH; RICHARD J. DURBIN; JONI ERNST; DIANNE FEINSTEIN; DEB FISCHER; KIRSTEN E. GILLIBRAND; LINDSEY GRAHAM; CHUCK GRASSLEY; BILL HAGERTY; MAGGIE HASSAN; MARTIN HEINRICH; JOHN HICKENLOOPER; MAZIE HIRONO; JOHN HOEVEN; JAMES INHOFE; RON VI JOHNSON; TIM KAINE; MARK KELLY; ANGUS S. KING, JR.; AMY KLOBUCHAR; JAMES LANKFORD; PATRICK LEAHY; MIKE LEE; BEN LUJAN; CYNTHIA M. LUMMIS; JOE MANCHIN III; EDWARD J. MARKEY; MITCH MCCONNELL; ROBERT MENENDEZ; JEFF MERKLEY; JERRY MORAN; LISA MURKOWSKI; CHRISTOPHER MURPHY; PATTY MURRAY; JON OSSOFF; ALEX PADILLA; RAND PAUL; GARY C. PETERS; ROB PORTMAN; JACK REED; JAMES E. RISCH; MITT ROMNEY; JACKY ROSEN; MIKE ROUNDS; MARCO RUBIO; BERNARD SANDERS; BEN SASSE; BRIAN SCHATZ; CHARLES E. SCHUMER; RICK SCOTT; TIM SCOTT; JEANNE SHAHEEN; RICHARD C. SHELBY; KYRSTEN SINEMA; TINA SMITH; DEBBIE STABENOW; DAN SULLIVAN; JON TESTER; JOHN THUNE; THOM TILLIS; PATRICK J. TOOMEY; HOLLEN VAN; MARK R. WARNER; RAPHAEL G. WARNOCK; ELIZABETH WARREN; SHELDON WHITEHOUSE; ROGER F. WICKER; RON WYDEN; TODD YOUNG; JOSEPH ROBINETTE BIDEN JR in his capacity of President of the United States; MICHAEL RICHARD PENCE in his capacity as former Vice President of the United States, and KAMALA HARRIS in her capacity as Vice President of the United States and JOHN and JANE DOES 1-100.

https://www.supremecourt.gov/DocketPDF/22/22-380/243739/20221027152243533_20221027-152110-95757954-00007015.pdf

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world-cinema-research · 28 days

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Young Frankenstein

By: Christian Lavarello - Week 4

“My Name is Fronkonsteen!!!”

Young Frankenstein is a horror film with a touch of comedy from 1974 directed by Mel Brooks which tells the story of Dr. Frederick Frankenstein played by Gene Wilder who is a lecturing physician at an American medical school and grandson of famous Dr. Frankenstein. Dr. Frederick Frankenstein distances himself from the notoriety of his family by insisting people call him “Dr. Fronkonsteen” to separate himself from his grandfather’s legacy and “madness”. Although Dr. Frankenstein continually distances himself from his past, he finds himself being driven by destiny to follow in his grandfather’s legacy of bringing back a dead body to life. Some of the main characters of the film are Dr. Frankenstein’s assistant Marty Feldman as Igor the stock minion that comes with his grandfather’s castle, Cloris Leachman as Frau Blucher the housekeeper, Terri Garr as Inga the lab assistant and Dr. Frankenstein’s fiancée Elizabeth played by, Madeline Kahn and the monster played by Peter Boyle.

Director Mel Brooks was an actor, comedian, composer and filmmaker, born as Melvin James Kaminsky in 1926 in Brooklyn, New York. In 1944, Mel Brooks was drafted into the Army and placed in the Specialized Training Program at Virginia Military Institute, where he learned combat engineering and other fighting skills. Shortly after Mel Brooks was transferred to the 1104th Engineer Combat Group, participating in the Battle of the Bulge. He was sent to the forward edge of the battle areas, helping to clear German land mines during World War II.

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After Director Mel Brooks was honorably discharged from the Army as a corporal, he found his true calling as an artist and became one of the most successful film directors of the 70s. Many of his films were among the top 10 most profitable films of the year they were released. Mel Brooks best-known films include The Producers, The Twelve Chairs, Blazing Saddles, Young Frankenstein, Silent Movie, High Anxiety, History of the World, Part I, Spaceballs and Robin Hood: Men in Tights. A musical adaptation of his first film, The Producers, also ran on Broadway from 2001 to 2007.

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Young Frankenstein had great success and received mostly positive reviews, with a 94% rating in rotten tomatoes, 92% rating from the audience and 4.5 stars on google. A review of the movie by Robert Ebert states the following, “Brooks revealed a rare comic anarchy. His movies weren’t just funny, they were aggressive and subversive, making us laugh even when we really should have been offended. (Explaining this process, Brooks once loftily declared, “My movies rise below vulgarity.”) “Young Frankenstein” is as funny as we expect a Mel Brooks comedy to be, but it’s more than that: It shows artistic growth and a more sure-handed control of the material by a director who once seemed willing to do literally anything for a laugh. It’s more confident and less breathless”. Mr. Ebert’s description of the film truly demonstrates Mel Brooks’ true gift for creating unique films. As a first-time viewer of the film, fifty years after its release, I can say it was a great film to watch and ahead of its’ time.

During the time of the release of this film the United States was undergoing through political turmoil and there was a lot of instability due to the resignation of President Richard Nixon and the Watergate scandal. The 70s was also a time where women's rights, gay rights and environmental movements gained momentum. On a parallel artistic world compared to historical events in the 70s, Young Frankenstein brought a film which was categorized as a horror film, the premise of the film brought also satire and humor to help the audience see the good amid current historical events. The film's cast caught up with satirical humor and added their personality to a humorous script by Mel Brooks. Technological advancements also influenced Hollywood in the 1970s. The introduction of new filmmaking techniques, such as the use of handheld cameras, naturalistic lighting, and on-location shooting, added a sense of realism and authenticity to films which we witness in Young Frankenstein through its’ special effects such as low-hanging fog to torrential rain.

Not only can we measure the great success of Young Frankenstein by the critic’s review but also by its’ financial success upon release. The film’s production budget was around $2.78 million and grossed around $86.2 million. The film starred popular stars with an unfamiliar story that was easy to understand and marketed for financial success which made this film a conventional film of its time. Notably, Young Frankenstein was a great movie in the 1970s and continues to amaze and entertain viewers fifty years after its release.

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#Youtube

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bobmccullochny · 4 months

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History

January 25, 1533 - King Henry VIII married his second wife, Anne Boleyn, in defiance of Pope Clement who had refused to annul his first marriage. The King later broke all ties with Rome and became Supreme Head of the Church of England.

January 25, 1579 - Holland, Zeeland, Utrecht, Gelderland, Friesland, Groningen and Overyssel formed the (Protestant) Dutch Republic with the signing of the Union of Utrecht to defend their rights against Catholic Spain.

January 25, 1947 - Gangster Al Capone, who once controlled organized crime in Chicago, died in Miami at age 48 from syphilis.

January 25, 1959 - An American Airlines Boeing 707 made the first scheduled transcontinental U.S. flight, traveling from California to New York.

January 25, 1961 - President John F. Kennedy conducted the first live televised presidential news conference, five days after taking office.

January 25, 1971 - In Uganda, a military coup led by Idi Amin deposed President Milton Obote. Amin then ruled as president-dictator until 1979 when he was ousted by Tanzanian soldiers and Ugandan nationalists. During his reign, Amin expelled all Asians from Uganda, and ordered the execution of more than 300,000 tribal Ugandans.

Birthday - Scientist Robert Boyle (1627-1691) was born in Lismore, Ireland. He formulated Boyle's Law concerning the volume and pressure of gases.

#today's smile

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thestormposts · 6 months

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denimbex1986 · 9 months

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'Irish actor Cillian Murphy has marveled at the cinematic world on many occasions but starring as Tommy Shelby in Steven Knight-created British crime drama Peaky Blinders pushed the actor to achieve sky-high fandom.

Also, the actor’s collaboration with the master of commercial cinema with a complex idea, Christopher Nolan has been well established. After appearing in five of Nolan’s movies, the actor finally lived his dream starring in the lead role in the sixth collaboration Oppenheimer, a huge hit of 2023.

Earnings of Cillian Murphy

Cillian Murphy’s evolution as an actor is quite interesting. After establishing himself as a capable actor after starring in Danny Boyle’s zombie thriller 28 Days Later in 2002, the actor got a global break after appearing in Christopher Nolan’s Batman Begins. Following his popularity after the 2005 movie, the actor reportedly charged around $3-5 million. In the later collaboration with Nolan, the actor earned around $1 million for the supporting roles he played up until Oppenheimer. The latest and sixth collaboration with the director has earned him a whopping $10 million for playing J. Robert Oppenheimer.

Notably, the most popular role he played in the Netflix series Peaky Blinders earned him a fortune. In the initial seasons, Murphy earned around $100,000 per episode for playing the crime lord in the British period drama. Soon, the series witnessed global fandom and insane viewership and the actor’s salary also reached a new height. Reportedly, in the last three seasons, the Inception actor pocketed around $2 million for each episode. The actor’s earning has been extended over time since the establishment of his reputation as a global star. The actor has appeared in several other projects that have done well at the box office and he went on to get paychecks with huge numbers written on them.

Cillian Murphy Thinks He is Overpaid

Murphy is certainly not among the highest-paid actors in the industry. He is nowhere near the highest-paid celebrities yet the Oppenheimer actor feels he is overpaid. The actor believes that acting as a profession has the potential to earn a lot of money but it is not fair for hardworking professionals like doctors and nurses who dedicate their lives to the service of humankind. “I’m really lucky. I feel embarrassed by it sometimes,” Murphy told The Guardian.

“I’m just a f*cking actor. There are doctors and nurses and f*cking people that work. I struggle with that. I mean, actors are overpaid, you know? It’s nice when you get paid, when you’re young, and you’ve gone from having no money, but the Catholic guilt kicks in immediately, and I’m like ‘It’s all going to go wrong. You don’t deserve this’. And I don’t.”

The actor currently sits at a $20 million net worth, as per Celebrity Net Worth. One of the quietest actors further iterates that he is not fond of showbiz attached to the profession. “I do them because you’re contractually obliged to. I just endure them. I’ve always found it difficult,” Murphy told The Guardian adding that he does not enjoy the “personality side of being an actor.” When not working, the actor loves having quality time with his wife Yvonne McGuinness, and his boys.'

#Cillian Murphy #Oppenheimer #Peaky Blinders #Yvonne McGuinness #Inception #28 Days Later #Danny Boyle #Tommy Shelby #Steven Knight #Batman Begins #Christopher Nolan

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somebaconlover · 1 year

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T2 Trainspotting (2017)

Directed by Danny Boyle

Cinematography by Anthony Dod Mantle

Starring Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle and Kelly Macdonald

“Choose life” was a well-meaning slogan from a 1980s antidrug campaign. And we used to add things to it. So I might say, for example, choose… Designer lingerie in the vain hope of kicking some life back into a dead relationship. Choose handbags. Choose high-heeled shoes. Cashmere and silk to make yourself feel what passes for happy. Choose an iPhone made in China by a woman who jumped out of a window, and stick it in the pocket of your jacket fresh from a South Asian firetrap. Choose Facebook, Twitter, Snapchat, Instagram and a thousand other ways to spew your bile across people you’ve never met. Choose updating your profile. Tell the world what you had for breakfast and hope that someone, somewhere cares. Choose looking up old flames, desperate to believe that you don’t look as bad as they do. Choose live-blogging from your first wank to your last breath. Human interaction reduced to nothing more than data. Choose ten things you never knew about celebrities who’d had surgery. Choose screaming about abortion. Choose rape jokes, slut shaming, revenge porn, and an endless tide of depressing misogyny. Choose 9/11 never happened, and if it did, it was the Jews. Choose a zero-hour contract and a two-hour journey to work, and choose the same for your kids, only worse. And maybe tell yourself it’s better that they never happened. And then sit back and smother the pain with an unknown dose of an unknown drug made in somebody’s f***ing kitchen. Choose unfulfilled promise and wishing you’d done it all differently. Choose never learning from your own mistakes. Choose watching history repeat itself. Choose the slow reconciliation towards what you can get rather than what you always hoped for. Settle for less and keep a brave face on it. Choose disappointment. And choose losing the ones you loved. And as they fall from view, a piece of you dies with them. Until you can see that one day in the future, piece by piece, they will all be gone. And there’ll be nothing left of you to call alive or dead. Choose your future, Veronika. Choose life."

#Spotify

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valleyledger · 2 years

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CETRONIA AMBULANCE CORPS AND ITS ASSOCIATES RAISE FUNDS FOR BREAST CANCER AWARENESS

Featured Image: Breast Cancer Check Presentation (Left to Right: Edwin Boyle, Director of Operations of Cetronia Ambulance Corps; Paramedic Chris Sholley of Cetronia Ambulance Corps; Amy Ninos, Chief Financial Officer of Cetronia Ambulance Corps; Amy Burrows, Annual Giving Officer of Lehigh Valley Health Network; Robert F. Mateff Sr., Chief Executive Officer of Cetronia Ambulance…

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byneddiedingo · 11 months

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Cary Grant in North by Northwest (Alfred Hitchcock, 1959)

Cast: Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Josephine Hutchinson, Martin Landau, Philip Ober. Screenplay: Ernest Lehman. Cinematography: Robert Burks. Production design: Robert F. Boyle. Film editing: George Tomasini. Music: Bernard Herrmann.

There's a famous gaffe in North by Northwest, in the scene in which Eve Kendall (Eva Marie Saint) shoots Roger Thornhill (Cary Grant). Before she fires the gun, you see a young extra in the background stop his ears against the noise, even though it's supposed to surprise and panic the crowd. It's so obvious a mistake that you wonder how the editor, George Tomasini (who was nominated for an Oscar for the film), could have missed it. The usual explanation is that he couldn't find a way to cut it out, or didn't have footage to replace it. And after all, in the days before home video, would the audience in the theater notice? Even if they did, they would have no easy way to confirm that they had actually seen it. But I have a different suspicion: I think that they showed the goof to Alfred Hitchcock, and that he laughed and left it in. For above all else, North by Northwest is a spoof, a good-natured Hitchcockian jest about a genre that he had virtually invented in 1935 with The 39 Steps: the wrong man chase thriller, in which the good guy finds himself on the run, pursued by both the bad guys and other good guys. The ear-plugging kid fits in with the film's general insouciance about plausibility. A couple who climb down the face of Mount Rushmore, she in heels (and later in stocking feet) and he in street shoes? A lavish modern house with a private air strip that seems to be on top of the mountain, only a few hundred yards from the monument? A good-looking man who seems to go unnoticed by the crowds in New York and Chicago and on the train in between, even though his face is on the front page of every newspaper? A beautiful blond woman who shows up just at the right moment to take him in and not only hide him on the train but also make love to him? Only a director with Hitchcock's skill and aplomb could take on such a tall tale and make it work, keeping you thoroughly entertained in the process. Of course, he had one of the greatest leading men of all time to work with and a leading lady with enough skill to evoke his favorite, Grace Kelly, without embarrassing herself. He had Bernard Herrmann's wonderful score, alternately pulse-pounding and romantic, and Robert Burks's cinematography. He had James Mason, Martin Landau, and Jessie Royce Landis as support. I would call it my favorite Hitchcock film, but only when I've just seen it, and my ranking will probably change the next time I see Notorious (1946) or Rear Window (1954) again.

#North by Northwest #Alfred Hitchcock #Cary Grant

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