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Kevin O'Morrison, Actor in 'The Set-Up' and 'Sleepless in Seattle,' Dies at 100

Kevin O'Morrison, Actor in 'The Set-Up' and 'Sleepless in Seattle,' Dies at 100
Kevin O'Morrison, a playwright and character actor who appeared in such films as The Set-Up and Sleepless in Seattle, has died. He was 100.

O'Morrison died Dec. 11 at a senior living facility in Lynnwood, Wash., his cousin Jim Davidson told The Hollywood Reporter.

O'Morrison played a prizefighter in the classic film noir boxing drama The Set-Up (1949), directed by Robert Wise and starring Robert Ryan, and was another pugilist in The Golden Gloves Story (1950). In Nora Ephron's Sleepless in Seattle (1993), he portrayed Meg Ryan's father, Cliff.

Occasionally billed as Kenny O'Morrison, he made his movie debut in...
See full article at The Hollywood Reporter - Movie News »

Kevin O'Morrison, Actor in 'The Set-Up' and 'Sleepless in Seattle,' Dies at 100

Kevin O'Morrison, a playwright and character actor who appeared in such films as The Set-Up and Sleepless in Seattle, has died. He was 100.

O'Morrison died Dec. 11 at a senior living facility in Lynnwood, Wash., his cousin Jim Davidson told The Hollywood Reporter.

O'Morrison played a prizefighter in the classic film noir boxing drama The Set-Up (1949), directed by Robert Wise and starring Robert Ryan, and was another pugilist in The Golden Gloves Story (1950). In Nora Ephron's Sleepless in Seattle (1993), he portrayed Meg Ryan's father, Cliff.

Occasionally billed as Kenny O'Morrison, he made his movie debut in...
See full article at The Hollywood Reporter - TV News »

The Outfit

John Flynn's The Outfit (1974), a brutally efficient bit of business based glancingly on Richard Stark’s procedurally inquisitive and poetic crime novel of the same name, is a movie that feels like it’s never heard of a rounded corner; it’s blunt like a 1970 Dodge Monaco pinning a couple of killers against a Dumpster and a brick wall. I say “glancingly” because the movie, as Glenn Kenny observed upon The Outfit’s DVD release from the Warner Archives, is based less on the chronologically unconcerned novel than an idea taken from it. On the page Stark's protagonist, the unflappable Parker, his face altered by plastic surgery to the degree that past associates often take a fatal beat too long to realize to whom it is they are speaking, assumes the detached perspective of a bruised deity, undertaking the orchestration of a series of robberies administered to Mob-run businesses
See full article at Trailers from Hell »

‘The Angry Birds Movie’ Review: App-Based Cartoon Has All the Fun of Avian Flu

  • The Wrap
‘The Angry Birds Movie’ Review: App-Based Cartoon Has All the Fun of Avian Flu
In 1985, the movie version of “Clue” was released, and there was predictable teeth-gnashing among critics over the blasphemy of making a feature film based on a board game. But as “Clue” co-star Michael McKean noted years later, “There’s a very good movie called ‘The Set-Up,’ Robert Wise boxing picture, which is based on a poem that’s barely one page long about a boxing match. You could make a good movie, or a sh-tty one, based on anything.” So let’s be clear, then: “The Angry Birds Movie” isn’t pointless because it’s based on an app. It
See full article at The Wrap »

Echoes of Stir: Four Hours in Joliet

  • MUBI
Photo by Donnacha Kenny"Congratulations, Tom; you're one of the lucky eight per cent!" —Stir of Echoes (1999)Joliet, Illinois is probably the American city which more people have dreamed more fervently of escaping than any other. But after spending four hours in 'Prison Town'—long synonymous far and wide with incarceration—I was sad to leave; I'll be glad one day to return. Fortunately, such matters are questions of personal choice. Many of the area's residents, including those not serving custodial sentences, have little realistic option but to remain—trapped by personal, social and/or economic circumstances that can feel as confining as any 6-by-8 cell. "Joliet, or "J-Town", is racially diverse and is known as a crime-ridden city, although the area has shown much improvement since the 1990's... The east side is generally known as the ghetto side and the west side is known as middle class, even though
See full article at MUBI »

‘The Set-Up’ stands tall in both Robert Ryan’s and Robert Wise’s oeuvres

The Set-Up

Written by Art Cohn

Directed by Robert Wise

U.S.A., 1949

A boxer’s career is a strange beast. Keeping in mind that all professional athletes eventually feel the strain caused by years of exertion on their body, boxing is a different matter altogether. The objective is, literally, to beat the other fellow up before he or she strikes one too many hits on one’s noggin first. Small wonder, then, that boxers in their early to mid 30s are considered old, past their prime. One good punch however, one great right or left hook can shoot a career into the stratosphere. The problem is that for so many unfortunate fighters, they either lack the skill or the luck to land said potent strike. Of all the sports analogies that can relate to the proverbial boulevard of broken dreams, few can compare to that of the boxer, a
See full article at SoundOnSight »

The Men Who Would Be Hughes (Plus Hepburn and the end of Rko)

Howard Hughes movies (photo: Leonardo DiCaprio as Howard Hughes in 'The Aviator') Turner Classic Movies will be showing the Howard Hughes-produced, John Farrow-directed, Baja California-set gangster drama His Kind of Woman, starring Robert Mitchum, Hughes discovery Jane Russell, and Vincent Price, at 3 a.m. Pt / 6 a.m. Et on Saturday, November 8, 2014. Hughes produced a couple of dozen movies. (More on that below.) But what about "Howard Hughes movies"? Or rather, movies -- whether big-screen or made-for-television efforts -- featuring the visionary, eccentric, hypochondriac, compulsive-obsessive, all-American billionaire as a character? Besides Leonardo DiCaprio, who plays a dashing if somewhat unbalanced Hughes in Martin Scorsese's 2004 Best Picture Academy Award-nominated The Aviator, other actors who have played Howard Hughes on film include the following: Tommy Lee Jones in William A. Graham's television movie The Amazing Howard Hughes (1977), with Lee Purcell as silent film star Billie Dove, Tovah Feldshuh as Katharine Hepburn,
See full article at Alt Film Guide »

The Past, Present, and Future of Real-Time Films Part Four

The Digital Era: Real-time Films From 2000 To Today

40 years before, in 1960, lighter cameras enabled a cinéma vérité-flavored revolution in street realism. By 2000, new digital cameras suggested a whole new set of promises, including telling stories that would have been unimaginable within minimum budgets for features even ten years before. In 2000, film purists warned that digital still didn’t look as good as celluloid, but that didn’t stop at least three innovative filmmakers from boldly going where no filmmaker had gone before. Mike FiggisTimecode (2000) was the first star-supported (Salma Hayek, Stellan Skarsgard, Holly Hunter, among many others) single-shot project since Rope, underlining that earlier film’s timelessness. If Run Lola Run could do one story three times, then Timecode would do three or four stories one time: the movie is four separate ninety-minute shots shown all at the same time, each in one quadrant of the screen. Where do you look?
See full article at SoundOnSight »

The Past, Present, and Future of Real-Time Films Part One

What do film directors Alfred Hitchcock, Stanley Kubrick, Agnès Varda, Robert Wise, Fred Zinnemann, Luis Buñuel, Alain Resnais, Roman Polanski, Sidney Lumet, Robert Altman, Louis Malle, Richard Linklater, Tom Tykwer, Alexander Sokurov, Paul Greengrass, Song Il-Gon, Alfonso Cuarón, and Alejandro Iñárritu have in common? More specifically, what type of film have they directed, setting them apart from fewer than 50 of their filmmaking peers? Sorry, “comedy” or “drama” isn’t right. If you’ve looked at this article’s headline, you’ve probably already guessed that the answer is that they’ve all made “real-time” films, or films that seemed to take about as long as their running time.

The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars,
See full article at SoundOnSight »

The 101 Best Sports Movies of All Time

A quarter-century ago, Kevin Costner hit a double-play, following up "Bull Durham" with "Field of Dreams" and becoming king of the sports movie. Twenty-five years later, as "Field of Dreams" marks its 25th anniversary (it was released on April 21, 1989), Costner is back with "Draft Day." The movie's about football, not baseball, and Costner's character plays in the executive suite, not on the field, but his mere presence still offers a reminder of great sports movies past.

And after all, isn't nostalgia a key element of sports movies? "Field of Dreams" makes this explicit -- we long for the sports heroes of our childhood, for a supposed long-gone golden age of our preferred sport, as a way of connecting with our past and bridging the generational divide that separates us as adults from our parents. Sports movies offer more than just the drama of winners and losers, or the journey from dream to achievement,
See full article at Moviefone »

Audrey Totter, Lady in the Lake Actress, Dies at 95

Audrey Totter, Lady in the Lake Actress, Dies at 95
Audrey Totter, the radio actress who became a silver screen star by playing femme fatales in 1940s film noir including Lady in the Lake has died. Totter's daughter, Mea Lane, tells the Los Angeles Times that her mother died Thursday at a Los Angeles hospital. She was 95 and had recently suffered a stroke. Totter was under contract with MGM starting in 1944. After landing a small part in The Postman Always Rings Twice, Totter went on to a series of roles as tough talking blondes. Her breakthrough came with Lady in the Lake, the 1947 adaptation of Raymond Chandler's Philip Marlowe detective tale.
See full article at PEOPLE.com »

Audrey Totter obituary

Stylish film noir star known for her role in Lady in the Lake

I was kissed by Audrey Totter. At least, I share that experience with anybody who has seen Lady in the Lake (1947), when Totter plants her lips on the subjective camera, the surrogate for Robert Montgomery as Philip Marlowe. The film, directed by Montgomery, and based on the Raymond Chandler novel, was shot so that the whole story is seen literally through Marlowe's eyes.

The role of the gold-digging tigress magazine editor Adrienne Fromsett, who hires the private eye to find the missing wife of her publisher, was a breakthrough for Totter, who has died aged 95. Previously, she had been in a dozen movies, her hair colour and accent varying so much from film to film that she dubbed herself "the feminine Lon Chaney of the MGM lot".

Montgomery chose Totter for the part because of her versatility as a radio actor.
See full article at The Guardian - Film News »

Audrey Totter, 1940s Film Noir Actress, Dies at 95

  • Moviefone
Los Angeles (AP) - Audrey Totter, the radio actress who became a silver screen star by playing femme fatales in 1940s film noir including "Lady in the Lake," has died.

Totter's daughter, Mea Lane, tells the Los Angeles Times (http://lat.ms/JrDjQZ) her mother died Thursday at a Los Angeles hospital. She was 95 and had recently had a stroke.

Totter was under contract with MGM starting in 1944. After landing a small part in "The Postman Always Rings Twice," Totter went on to a series of roles as tough-talking blondes.

Her breakthrough came with "Lady in the Lake," the 1947 adaptation of Raymond Chandler's Philip Marlowe detective tale. She also appeared in the thriller "The Unsuspected" and the boxing drama "The Set-Up."

After retiring to raise a family, Totter later resurfaced on television.

___

Information from: Los Angeles Times, http://www.latimes.com
See full article at Moviefone »

Eight-Time Best Actor Academy Award Nominee O'Toole Dead at 81

Peter O’Toole: ‘Lawrence of Arabia’ actor, eight-time Oscar nominee dead at 81 (photo: Peter O’Toole as T.E. Lawrence in David Lean’s ‘Lawrence of Arabia’) Stage, film, and television actor Peter O’Toole, an eight-time Best Actor Academy Award nominee best remembered for his performance as T.E. Lawrence in David Lean’s epic blockbuster Lawrence of Arabia, died on Saturday, December 14, 2013, at a London hospital following "a long illness." Peter O’Toole was 81. The Irish-born O’Toole (on August 2, 1932, in Connemara, County Galway) began his film career with three supporting roles in 1960 releases: Robert Stevenson’s Disney version of Kidnapped; John Guillermin’s The Day They Robbed the Bank of England; and Nicholas Ray’s The Savage Innocents, starring Anthony Quinn as an Inuit man accused of murder. Two years later, O’Toole became a star following the release of Lawrence of Arabia, which grossed an astounding $44.82 million in North America back in 1962 (approx.
See full article at Alt Film Guide »

Tough Dame Totter Dead at 95: One of the Last Surviving Stars of Hollywood Noirs

Femme fatale Audrey Totter: Film noir actress and MGM leading lady dead at 95 (photo: Audrey Totter ca. 1947) Audrey Totter, film noir femme fatale and Metro-Goldwyn-Mayer contract player best remembered for the mystery crime drama Lady in the Lake and, at Rko, the hard-hitting boxing drama The Set-Up, died after suffering a stroke and congestive heart failure on Thursday, December 12, 2013, at West Hills Hospital in Los Angeles County. Reportedly a resident at the Motion Picture and Television Home in Woodland Hills, Audrey Totter would have turned 96 on Dec. 20. Born in Joliet, Illinois, Audrey Totter began her show business career on radio. She landed an MGM contract in the mid-’40s, playing bit roles in several of the studio’s productions, e.g., the Clark Gable-Greer Garson pairing Adventure (1945), the Hedy Lamarr-Robert Walker-June Allyson threesome Her Highness and the Bellboy (1945), and, as an adventurous hitchhiker riding with John Garfield,
See full article at Alt Film Guide »

Actress Audrey Totter, Femme Fatale of Classic Noir Films, Dies at 95

Actress Audrey Totter, Femme Fatale of Classic Noir Films, Dies at 95
Audrey Totter, a steely blonde actress known for her leading roles in some film noir’s most prominent titles, including “Lady in the Lake,” “The Set-Up,” died Thursday. She was 95. Totter, who was living in the Motion Picture and Television Home in recent years, had a stroke and suffered from congestive heart failure, according to the L.A. Times.

Totter’s characters were not so much femme fatales who seduced men into trouble but ruthless, independent figures scheming to get the best out of a bad situation.

Totter did not begin in film noir — two of her early credited roles were supporting parts in comedies “The Sailor Takes a Wife” and “The Cockeyed Miracle” — but a well-received supporting performance in 1946 noir classic “The Postman Always Rings Twice” foreshadowed the direction of her career.

The actress made quite an impression in her first lead role in the Robert Montgomery-directed 1947 adaptation
See full article at Variety - Film News »

Film Noir Star Audrey Totter Dies at 95

Film Noir Star Audrey Totter Dies at 95
Audrey Totter, the blond starlet who made her mark in such 1940s film noir classics as Lady in the Lake, The Set-Up and High Wall, has died. She was 95. Totter, who had a stroke and suffered from congestive heart failure, died Thursday at West Hills Hospital and Medical Center, her daughter Mea told the Los Angeles Times. A former radio actress in Chicago and New York who signed a contract with MGM for $300 a week in 1944, Totter had a career in films that was short-lived but memorable. Her breakthrough came in Lady in the Lake

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See full article at The Hollywood Reporter - Movie News »

‘Born to Kill’ has a sexually charged an unstoppable force encounter an immovable object

Born to Kill

Written by Eve Greene and Richard Macaulay

Directed by Robert Wise

U.S.A., 1947

Helen Brent (Claire Trevor) is in Reno, Nevada for a few days to settle a divorce. She stays at a nearby ‘bed and breakfast’ type establishment where the fun natured caretaker Mrs. Kraft (Esther Howard) and neighbor Laurey Palmer (Isabel Jewell) seem to spend more time drinking and laughing than anything else. Upon visiting a casino one evening, Helen makes eye contact with a tall, square-jawed handsome man named Sam Wilde (Lawrence Tierney), whose family name suites him perfectly. Sam, prone to violent outbursts driven by jealousy and lust, knows Laurey too, even having dated her. When discovering she has a new boyfriend, Sam murders them both in cold blood in a manner that would make Jason Voorhees proud. Sam them follows Helen to San Francisco, hoping to cozy up with the her as well.
See full article at SoundOnSight »

Glove stories: boxing at the movies

From a silent Hitchcock movie to the story of a boxer who dreams of being a great violinist, Danny Leigh explores cinema's enduring love of the fight game

Boxing was there at the very dawn of cinema. As early as 1894, film-makers were shooting prize fights: the fast and furious physical spectacle was perfect for the new medium of motion pictures. Soon, scores of directors had been drawn to boxing – not just for the violence but for the drama of fighters' lives. In 1927, Hitchcock made The Ring, a silent tale of a pugilistic love triangle that is his one and only original screenplay. While many boxing movies reached greatness, even the most ordinary could still thrill with a canny sprinkling of what became genre staples: wise old trainers, crooked promoters, fixes, comebacks, wives who can't bear to look. In fact, plenty of boxing films are really about the women behind the men.
See full article at The Guardian - Film News »

Friday Noir: A quintessential ‘femme fatale’ storms her way through ‘Tension’

Tension

Directed by John Berry

Screenplay by Allen Rivkin

U.S.A., 1949

Who is the infamous femme fatale? From what dark depths of humanity was she born and will men ever be able to truly resist her seductive moves? Such queries can spark endless discussions, among them the quality of the actresses who have portrayed them throughout the decades, especially in the early days of the noir genre. What appears to be all showmanship and flash hides the real talents of the actresses interpreting the roles. Not everyone can pull off the task with flying colours. Some actresses simply have the ‘fatale bug.’ Jane Greer was one of the most popular of her contemporaries, her role in Out of the Past being the most celebrated. Another talented, seductive thespian of the time that should not be overlooked is Audrey Totter, who made quite a career for herself with a great many roles in noir films.
See full article at SoundOnSight »
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