The Lusty Men (1952) - News Poster



Junior Bonner

Sam Peckinpah was a fine director of actors when the material was right, and his first collaboration with Steve McQueen is an shaded character study about a rodeo family dealing with changing times. Joe Don Baker and Ben Johnson shine, but the movie belongs to Ida Lupino and Robert Preston.

Junior Bonner


Kl Studio Classics

1972 / Color / 2:35 widescreen / 100 min. / Special Edition / Street Date October 31, 2017 / available through Kino Lorber / 29.95

Starring: Steve McQueen, Robert Preston, Ida Lupino, Joe Don Baker, Ben Johnson, Mary Murphy, Dub Taylor, Don ‘Red’ Barry, Bill McKinney.

Cinematography: Lucien Ballard

Film Editors: Frank Santillo, Robert L. Wolfe

Second Unit Director: Frank Kowalski

Bud Hurlbud: Special Effects

Original Music: Jerry Fielding

Written by Jeb Rosebrook

Produced by Joe Wizan

Directed by Sam Peckinpah

I suppose there were plenty of successful rodeo-themed westerns back in the day, perhaps the kind interrupted by a cowboy song every ten minutes or so.
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The Curious Languor of Robert Mitchum

  • MUBI
Everyone notices the eyes first, languid, those of a somnambulist. Robert Mitchum, calm and observant, is a presence that, through passivity, enamors a viewer. His face is as effulgent as moonlight. The man smolders, with that boozy, baritone voice, seductive and soporific, a cigarette perched between wispy lips below which is a chin cleft like a geological fault. He’s slithery with innuendo. There’s an effortless allure to it all, a mix of malaise and braggadocio, a cocksure machismo and a hint of fragility. He’s ever-cool, a paradox, “radiating heat without warmth,” as Richard Brody said. A poet, a prodigious lover and drinker, a bad boy; his penchant for marijuana landed him in jail, and in the photographs from his two-month stay he looks like a natural fit. He sits, wrapped in denim, legs spread wide, hair shiny and slick, holding a cup of coffee. His mouth is
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Nyff 2017 Runs September 28-October 15; Here Are Five Films To Seek Out

  • CriterionCast
It’s that time of year again. With fall festivals like Tiff and Venice now in the rear view mirror, the film world is focused squarely on the Mecca that is New York City, for arguably the year’s most interesting festival, Nyff. Running, this year, from September 28-October 15, the lineup includes not only the 25 Main Slate releases, but numerous others spread over sections ranging from experimental features to groundbreaking shorts and even a Robert Mitchum retrospective.

So how does one go about processing all of these films, or even where to begin when setting your own viewing schedule? Well, you could stick to the well known directors or the highly buzzed about properties that are making a stop on their long festival journey from as early as Cannes or Berlin of this year. But where’s the fun in that? How about a few genuine discoveries? That’s where
See full article at CriterionCast »

Tiff 2017. Correspondences #4

  • MUBI
Dear Kelley and Fern,We are all on the same page for John Woo's Manhunt, no doubt—a film that casts my mind back with wry, chuckling nostalgia to first discovering the action maestro's days of glory. Such backward glances have been common to me this week. I must admit, it's been more than a bit hard to be present at Toronto—my heart, mind and soul still feels battered aghast from last week’s devastating, gaping conclusion of David Lynch and Mark Frost’s Twin Peaks: The Return. The 25 years that separate that series from the show’s second season are a gulf of time, a void of aging and loss that you feel in every shot—a span, the finale implies, that is ultimately impossible to surmount.This gap was very much in my mind watching Youth, a nostalgic re-envisioning of the Cultural Revolution in the
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From Silent Film Icon and His Women to Nazi Era's Frightening 'Common Folk': Lgbt Pride Movie Series (Final)

From Silent Film Icon and His Women to Nazi Era's Frightening 'Common Folk': Lgbt Pride Movie Series (Final)
(See previous post: “Gay Pride Movie Series Comes to a Close: From Heterosexual Angst to Indonesian Coup.”) Ken Russell's Valentino (1977) is notable for starring ballet dancer Rudolf Nureyev as silent era icon Rudolph Valentino, whose sexual orientation, despite countless gay rumors, seems to have been, according to the available evidence, heterosexual. (Valentino's supposed affair with fellow “Latin LoverRamon Novarro has no basis in reality.) The female cast is also impressive: Veteran Leslie Caron (Lili, Gigi) as stage and screen star Alla Nazimova, ex-The Mamas & the Papas singer Michelle Phillips as Valentino wife and Nazimova protégée Natacha Rambova, Felicity Kendal as screenwriter/producer June Mathis (The Four Horsemen of the Apocalypse), and Carol Kane – lately of Unbreakable Kimmy Schmidt fame. Bob Fosse's Cabaret (1972) is notable as one of the greatest musicals ever made. As a 1930s Cabaret presenter – and the Spirit of Germany – Joel Grey was the year's Best Supporting Actor Oscar winner. Liza Minnelli
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NYC Weekend Watch: Alain Resnais, Theo Angelopoulos, ‘Last Tango In Paris’ & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.


“Welcome to Metrograph: A to Z” has a packed weekend with a slate that includes Alain Resnais‘ Je t’aime, je t’aime, Nicholas Ray‘s The Lusty Men, Jackie Brown, and, yes, Jackass 3D.

Baumbach & Paltrow‘s De Palma plays with a Jim McBride feature on Saturday and two De Palma shorts on Sunday.
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In a Lonely Place

It's a different Bogart -- a character performance in a Nicholas Ray noir about distrust anxiety in romance. Gloria Grahame is the independent woman who must withhold her commitment... until a murder can be sorted out. Which will crack first, the murder case or the relationship? In A Lonely Place Blu-ray The Criterion Collection 810 1950 / B&W / 1:37 flat Academy / 93 min. / available through The Criterion Collection / Street Date May 10, 2016 / 39.95 Starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, Jeff Donnell, Martha Stewart, Robert Warwick, Morris Ankrum, William Ching, Steven Geray, Hadda Brooks. Cinematography Burnett Guffey Film Editor Viola Lawrence Original Music George Antheil Written by Andrew Solt, Edmund H. North from a story by Dorothy B. Hughes Produced by Robert Lord Directed by Nicholas Ray

Reviewed by Glenn Erickson

Which Humphrey Bogart do you like best? By 1950 he had his own production company, Santana, with a contract for release through Columbia pictures.
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In a Lonely Place: On Wim Wenders’ Road Movie Trilogy

In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”

But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.

See full article at The Film Stage »

Tiff 2015. Correspondences #13

  • MUBI
Dear Fernando,You are done with the festival I know, but I since I have finally caught up with Anomalisa, I wanted to answer you about it. Back in Cannes you may recall how much I enjoyed Yorgos Lanthimos's The Lobster, but wondered if the second time around it would carry such a punch—in other words, how founded the experience of that film is on the first encounter. This is the very question I asked myself again after sitting through Duke Johnson and Charlie Kaufman's animated puppet drama, a wonderfully unsettling viewing experience of constant awkwardness, drawn-out deadtime, halted humor, and a truly never ending awareness that at no point did I have any idea what kind of movie this was or where it might be going. Isn't that wild? So used to genres and conventions, signposts, patterns, throwbacks and homages, it often feels like few films come as a true surprise.
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Mitchum Stars in TCM Movie Premiere Set Among Japanese Gangsters Directed by Future Oscar Winner

Robert Mitchum ca. late 1940s. Robert Mitchum movies 'The Yakuza,' 'Ryan's Daughter' on TCM Today, Aug. 12, '15, Turner Classic Movies' “Summer Under the Stars” series is highlighting the career of Robert Mitchum. Two of the films being shown this evening are The Yakuza and Ryan's Daughter. The former is one of the disappointingly few TCM premieres this month. (See TCM's Robert Mitchum movie schedule further below.) Despite his film noir background, Robert Mitchum was a somewhat unusual choice to star in The Yakuza (1975), a crime thriller set in the Japanese underworld. Ryan's Daughter or no, Mitchum hadn't been a box office draw in quite some time; in the mid-'70s, one would have expected a Warner Bros. release directed by Sydney Pollack – who had recently handled the likes of Jane Fonda, Barbra Streisand, and Robert Redford – to star someone like Jack Nicholson or Al Pacino or Dustin Hoffman.
See full article at Alt Film Guide »

The Longest Ride Review

The cinematic universe of romance novelist Nicholas Sparks has become a theatrical institution best described as “Shyamalanian.” The films stick to a particular genre formula, but that’s part of the fun: an unlikely romance is challenged by dubious (or even better, insane) plot twists that all the same allow for a happily-ever-after-enough ending. The shtick is part of the appeal, as watching beautiful people fall in love only gets more exciting when you know they’ll have to overcome a coo-coo bananas curveball or two. As the 10th entry in a potentially-stagnating brand, The Longest Ride tries out something more daring than any ghost wife or organ transplant shuffle: being sweetly, uneventfully boring.

The structure of The Longest Ride is the biggest surprise it has in store, as the first twenty minutes or so are by-the-numbers Sparks. An artsy college senior, Sophia (Britt Robertson) meets a shit-kicking bull rider,
See full article at We Got This Covered »

Film Review: ‘The Longest Ride’

As spring perennials go, a new Nicholas Sparks movie has come to seem as inevitable as tax day and allergy season, and only mildly less irritating to the senses. Though the character names and model-perfect faces may change (ever so slightly), the place (coastal North Carolina) remains the same, as do the trials and tribulations facing the star-crossed lovers who traverse its shores. The formula is by now as proven (and critic-proof) as Marvel or Tyler Perry — so why tinker with it in the least? Rest assured, “The Longest Ride” does nothing of the sort as it parallels the fates of two couples from different eras navigating the usual Sparks-ian gauntlet of war, class relations, cataclysmic accidents and life-altering medical conditions. Appealing performances by a trio of second- and third-generation Hollywood kids keep this three-hankie twaddle more bearable than it deserves, but “Ride” will surely go the longest with
See full article at Variety - Film News »

The Noteworthy: 4 March 2015

  • MUBI
The 19th Human Rights Watch Film Festival is returning to the Ritzy Cinema in Brixton from the 18th to the 27th of March. You can find the whole program here, along with a statement from the Festival Director John Biaggi. For Film Comment, Jordan Osterer interviews Buzzard director Joel Potrykus:

"Film Comment: There’s a divide in the film between idle, detached moments and pretty graphic content. How do you negotiate the gap between these very quiet moments and the more extreme situations?

Potrykus: My whole theory of making films is that I want to lull audiences to sleep—I almost want to bore them—and then right before they fall asleep, kick them in the balls."

David Robert Mitchell's It Follows is Sight & Sound's film of the week; Kim Newman reviews. Not one, not two, but three successful Kickstarter campaigns to take note of:

1. Living Los Sures
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Daily | Godard, Welles, Sinclair

  • Keyframe
If you were looking for a primer on Jean-Luc Godard, you couldn't do much better than J. Hoberman's latest piece for the Nation. Also in today's roundup of news and views: Matthew Asprey Gear on the conspiracy thriller Orson Welles never got around to making, Imogen Sara Smith on Jacques Tati's Playtime, Julien Allen on Michael Powell and Emeric Pressburger's A Matter of Life and Death, Adam Nayman on George Stevens’s Shane, Robert Cashill on Richard Fleischer's Che!, Christopher Sharrett on Roger Corman's Bloody Mama, Leonard Quart on Nicholas Ray's The Lusty Men, interviews with Martín Rejtman, Andrei Zvyagintsev, Matt Porterfield, David Robert Mitchell (It Follows), Daniel Wolfe (Catch Me Daddy)—and much more. » - David Hudson
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The Noteworthy: Bill Morrison at MoMA, Cinema Technique, Viff by Bordwell & Thompson

  • MUBI
Edited by Adam Cook

Above: if you are fortunate enough to be in the vicinity of MoMA between now and November 21st, you may want to consider visiting their Bill Morrison exhibition. David Ehrlich of The Playlist interviews Mia Hansen-Løve about her new film Eden, as well as her next project. In a web exclusive piece for Sight & Sound, Michael Pattison writes on experimental films from the London Film Festival and 25Fps in Zagreb:

"All art is by its very nature experimental. In the face of an increasingly standardised narrative cinema, one defining feature of the experimental mode might be miscellany. Festival programmes celebrating ‘experimental cinema’ subsequently accommodate everything from the impenetrably personal to the familiarly abstract.

More than most, when housed together, such works demand an omnivorously receptive sensibility: preferences are fine, but one’s sustained appreciation of this genre seemingly depends upon how long one is able to keep an open mind.
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New on Video: ‘Out of the Past’

  • SoundOnSight
Out of the Past

Directed by Jacques Tourneur

Written by Daniel Mainwaring

USA, 1947

Director Jacques Tourneur knew how to make the most out of a little, particularly when he was working in collaboration with producer Val Lewton (see Cat People, 1942, I Walked with a Zombie, 1943, and The Leopard Man, 1943). So when Rko gave this master of the low-budget picture a comparatively larger budget and a top-notch screenplay (by Daniel Mainwaring—as Geoffrey Homes—based on his own novel, “Build My Gallows High”) the result was one of the finest of all film noir.

Starring Robert Mitchum as Jeff and Jane Greer as Kathie, Out of the Past is built on a premise that is one of the defining characteristics of noir: the inevitability of an inescapable past. Such a device was often integral, with the repercussions of one’s recent deeds coming back to haunt them, but relatively rare was
See full article at SoundOnSight »

Restored Films By Martin Scorsese, Nicholas Ray, Alain Resnais & More Headed To New York Film Festival 2013

  • The Playlist
No sleep for cinephiles as the fall festival season keeps stacking one enticing movie upon another. In case you thought it was only new movies worth paying attention to, guess again, as the New York Film Festival has unveiled a slate of restored films (along with with their Documentary, Applied Science and How Democracy Works Now programming) that will be heavenly manna for those looking to check out classic films in crisp new editions. So what can you look forward to? Martin Scorsese's underrated and pretty gorgeous "The Age Of Innocence" gets a restoration. Two Nicholas Ray films get spruced up — his rodeo western "The Lusty Men" and film noir classic "The Live By Night" — while French filmmaker Leos Carax also gets two movies restored with "Mauvais Sang" and "Boy Meets Girl." Legends Luschino Visconti and Alain Resnais get "Sandra" and "Providence" touched up respectively while filmmakers Apichatpong Weerasetakhul,
See full article at The Playlist »

New York Film Festival Adds Documentary, Restoration Sidebars

New York Film Festival Adds Documentary, Restoration Sidebars
Documentaries and restored narrative pics dominate the sidebar programming of the 2013 New York Film Festival, with more than 30 titles — including producer-thesp Gael Garcia Bernal in docu “Who is Dayani Cristal?” and a newly restored version of Martin Scorsese’s “The Age of Innocence” — added to the fest to screen alongside the 36-film main slate.

With the docs grouped thematically, this year’s collection of sidebar films seems presented and organized with a bit more clarity than has been the case in prior years. That could be a product of the fest’s new topper, Kent Jones, who this year stepped into the role of director of programming and selection committee chair following the exit of longtime leader Richard Pena.

Three sections make up Nyff’s lineup of sidebar documentaries. One group, “Motion Portraits,” focuses on feature-length looks at individuals, including “Dayani Cristal,” Marc Silver’s Sundance alum that features Bernal
See full article at Variety - Film News »

Support Nicholas Ray: 2 Films, 1 Kickstarter, Susan Ray Interview

  • MUBI
Above: A 35mm still image from We Can't Go Home Again.

Mubi is currently showing throughout most of the world two wonderful Nicholas Ray films. One is his final film, uncompleted but beautifully restored and reconstructed, We Can't Go Home Again (1973). The other is a new documentary by Susan Ray, the filmmaker's widow, Don't Expect Too Much, that is a companion piece to this wildly experimental, collaborative feature. We are showing these two features to celebrate Ray and bring attention to The Nicholas Ray Foundation's Kickstarter project funding a new documentary on the filmmaker, Action! Master Class with Nicholas Ray.

Update: After not making the previous project goal, a new Kickstarter projection for Action! can be found here. We highly encourage you to donate your support. From the project's description:

"In Action! you'll encounter Nick's charismatic presence as he shares his knowledge of what he called "the cathedral of the arts.
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The Noteworthy: Godard on Set, The History of Film, Tracking PTA

  • MUBI

The Rome Film Festival has come to a close and the awards have been handed out. David Hudson has the details at Keyframe. The big winner? Larry Clark's Marfa Girl, which as of today has been independently released online. The Berlin Film Festival has announced its retrospective for February, and it's a particularly inspired choice: "The Weimar Touch," which is "devoted to how cinema from the Weimar Republic influenced international filmmaking after 1933. It will focus on continuities, mutual effects and transformations in the films of German-speaking emigrants up into the 1950s." A welcome surprise in casting news: Viggo Mortensen has signed up for Lisandro Alonso's next feature, on which he will also serve as producer.


Above: via Three Colors, Jean-Luc Godard on the set of his next film, Adieu au langage. On the very left is cinematographer Fabrice Aragno, whom I interviewed here in the Notebook.
See full article at MUBI »
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