The Furies (1950) - News Poster

(1950)

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[Review] Insiang

If, within art cinema, there comes the instant gravitation to less the film than the name — the all-powerful auteur that supposedly doesn’t have to bow down to corporate masters — then even with a film as immediately striking as 1976’s Insiang, we begin with its author, Lino Brocka. Even in a life cut tragically short, he left enough of a mark to still be considered the Philippines’ greatest filmmaker, amongst his laurels being the nation’s first director to play in competition at Cannes. A particular association made with him was an outspoken criticism of the Philippines’ dictator-in-chief, Ferdinand Marcos.

But carrying that expectation over to Insiang, even without one mention of Marcos’ name throughout the film, the presence of both a fundamentally rotten authority and people left to fend for themselves in poverty leans a viewer, even the uninformed, towards assuming a greater institutional critique. Yet to quickly sum
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Broken Lance | Blu-ray Review

Director Edward Dmytryk, one of the infamous Hollywood Ten blacklisted by McCarthy and his goons in 1947 Hollywood, debuted the most famous title in his filmography seven years later with war drama The Caine Mutiny. That very same year, in fact, only about a month later, he would premiere another title, a robust 1880s set Western starring Spencer Tracy, a title which would also win Oscar glory. Overshadowed by the popularity of Caine, however, the film seems to have disappeared from contemporary discussions of Dmytryk’s work (never able to divorce himself from his eventual testimony in front of Huac), a shame considering it’s a gripping, framed familial saga of intergenerational misunderstandings, racial hang-ups, and eventually even a court-room drama.

Young Joe Devereaux (Robert Wagner) is released from serving a three year prison sentence and immediately returns to his abandoned familial homestead to wreak vengeance on those who wronged him.
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Broken Lance

Edward Dmytryk's big-scale cattle empire saga sees paterfamilias Spencer Tracy drive away his sons and bull his way into a modern civil dispute that can't be resolved with force. Robert Wagner is the loyal son and Richard Widmark the resentful son impatient for Dad to cash in his chips. Fox's early CinemaScope and stereophonic sound western is a transposition of a film noir mystery thriller. Broken Lance Blu-ray Twilight Time Limited Edition 1954 / Color / 2:55 widescreen / 96 min. / Ship Date November 10, 2015 / available through Twilight Time Movies / 29.95 Starring Spencer Tracy, Robert Wagner, Jean Peters, Richard Widmark, Katy Jurado, Hugh O'Brian, Eduard Franz, Earl Holliman, E.G. Marshall, Carl Benton Reid, Philip Ober. Cinematography Joseph MacDonald Film Editor Dorothy Spencer Original Music Leigh Harline Written by Richard Murphy, Philip Yordan Produced by Sol C. Siegel Directed by Edward Dmytryk Reviewed by Glenn EricksonSome of the early 'big' westerns that aspire to epic status are
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Oscar Winner Went All the Way from Wyler to Coppola in Film Career Spanning Half a Century

Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper.[1] Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year.
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Remembering Actress Wright: Made Oscar History in Unmatched Feat to This Day

Teresa Wright movies: Actress made Oscar history Teresa Wright, best remembered for her Oscar-winning performance in the World War II melodrama Mrs. Miniver and for her deceptively fragile, small-town heroine in Alfred Hitchcock's mystery-drama Shadow of a Doubt, died at age 86 ten years ago – on March 6, 2005. Throughout her nearly six-decade show business career, Wright was featured in nearly 30 films, dozens of television series and made-for-tv movies, and a whole array of stage productions. On the big screen, she played opposite some of the most important stars of the '40s and '50s. It's a long list, including Bette Davis, Greer Garson, Gary Cooper, Myrna Loy, Ray Milland, Fredric March, Jean Simmons, Marlon Brando, Dana Andrews, Lew Ayres, Cornel Wilde, Robert Mitchum, Spencer Tracy, Joseph Cotten, and David Niven. Also of note, Teresa Wright made Oscar history in the early '40s, when she was nominated for each of her first three movie roles.
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'Art and the theory of art': "The Man from Laramie" and the Anthony Mann Western

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Anthony Mann

As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.

Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,
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Laff 2012: Dead Man’s Burden | Review

Dry-Eyed Narrative: Jared Moshe’s Western Exercise An Intriguing Effort

Producer Jared Moshe’s directorial debut, Dead Man’s Burden, is a mostly winsome procedure as an homage to the bare bones Western efforts of yore. While drawing easy comparisons to the output of John Ford, there’s definitely a touch of Anthony Mann in Moshe’s work, employing a slim film noir framework with a femme fatale that proves hell hath no fury like a dusty, blue-eyed lady whose lamps are fixated on greener pastures.

Set in 1870 New Mexico, immediately after the end of the Civil War, a young woman named Martha (Claire Bowen) blasts a man in the face with a rifle, who had been in the midst of fleeing on horseback. We come to learn that this man was her father when her prodigal brother, Wade (Barlow Jacobs), returns home, leery of facing the parent that vowed
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Emmys 2012: Danny Huston on Embracing His Inner 'Badass' as Villain of 'Magic City'

Emmys 2012: Danny Huston on Embracing His Inner 'Badass' as Villain of 'Magic City'
At the end of the 1950 film The Furies, the character T.C.—played by Walter Huston, one of the most popular and respected movie stars of the 1930s and 1940s—lays dying. With his final words—which also proved to be the last words that Huston himself would ever offer on the screen—T.C. tells his daughter, “And don’t you go naming my grandson T.C. It’s too big a bag for him to carry. He’ll have too much to live up to, ’cause there’ll never be another like me!” Like T.C.’s decscendants, Huston’s offspring also inherited a high

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Dan Callahan's "Barbara Stanwyck: The Miracle Woman"

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"Dan Callahan's Barbara Stanwyck: The Miracle Woman is a serious book about a serious woman, less a biography of an actress than a biography of her career," writes Scott Eyman in the Wall Street Journal. "Mr Callahan follows her choices of roles and tries to capture what she was saying about herself through her acting. It was an astonishing career, whose impressive outlines only became clear in retrospect. Most actors want to be loved — it's the Achilles' heel of the profession — but Stanwyck seems to have been after something else: respect."

Introducing his interview with Dan Callahan at the L, Mark Asch notes that "Dan concludes that Stanwyck was the most open, raw, unshowy and affectless of the Golden Age movie queens, in both her performances and offscreen attitudes; he builds a compelling personal narrative out of her contradictions: her bootstrapping tough-broad self-sufficiency (this slum kid was a
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Remembering Horror Maestro Curtis Harrington

Filmmaker Curtis Harrington: 1926-2007.

Our Friend Curtis Harrington

by Jon Zelazny

Curtis Harrington was born in Los Angeles in 1926. He made short films as a teenager, graduated from USC, and began his Hollywood career in the 1950’s. By the end of the decade, he was directing: independent films, studio pictures, made-for-tv movies, and episodic TV. He completed his last short film in 2002, and died in 2007 at the age of 80.

I knew Curtis well in his final years, as did writer-producer Dennis Bartok, the former head programmer of L.A.’s famed American Cinematheque.

Dennis Bartok: I think the most interesting aspect of Curtis’s career is that he was really the only filmmaker to successfully transition from the avant-garde scene of the late 1940’s to directing Hollywood feature films. And when you see how distinctive his movies are, you wish he could’ve made more… but when you
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The Furies

Anthony Mann spent much of the 1940s directing tough noirs and most of the 1950s directing psychologically complex Westerns. Set on and around a sprawling Arizona ranch, The Furies appears to fall squarely into the latter camp, but it's an untraditional Western even by Mann's tradition-pushing standards. One of four Mann movies released in 1950—three of them Westerns—it's less concerned with gunfighters and the settling of the frontier than with the persistence of wildness even after civilization has set in. Lorded over by T.C. Jeffords (Walter Huston, in a memorable swan song), the eponymous cattle ranch dominates the land around it. Huston even has the power to issue his own currency—he calls his IOUs "TCs"—but some recall the less-than-friendly ways Huston conquered the land. Others, particularly a group of Hispanic squatters led by Gilbert Roland, suggest he never truly conquered the land at all. He's certainly never conquered his.
See full article at The AV Club »

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