
blanche-2
Joined May 1999
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Barbara Stanwyck is Irene Trent, a woman haunted by dreams and nightmares in 1964's The Night Walker, directed by William Castle, costarring her real-life ex-husband Robert Taylor.
Stanwyck's blind husband (Hayden Rorke) suspects that she had been having an affair with his lawyer Barry Morland (Taylor). He has been tape recording her at night and she says things like hold me close and never leave me. He denies it, and in fact, she does have a dream lover (Lloyd Bochner) and has finally seen his face in a dream.
After her husband is killed in a fire, Irene dreams he's alive and that she is locked in where the fire started. Terrified, she moves into the back of the beauty shop she owns and tells Barry that she has to sell the house.
Once in the beauty shop, the dream lover shows up for real. And the nightmares become real. Or have they? It falls to Irene and Barry to investigate what is happening to her, real or imagined.
Boy, Barbara could scream bloody murder.
Really entertaining film. Stanwyck was 57: Taylor was 53. Though people aged differently then, I thought they both looked great. Loved seeing Taylor - my mother adored him.
Highly recommended.
Stanwyck's blind husband (Hayden Rorke) suspects that she had been having an affair with his lawyer Barry Morland (Taylor). He has been tape recording her at night and she says things like hold me close and never leave me. He denies it, and in fact, she does have a dream lover (Lloyd Bochner) and has finally seen his face in a dream.
After her husband is killed in a fire, Irene dreams he's alive and that she is locked in where the fire started. Terrified, she moves into the back of the beauty shop she owns and tells Barry that she has to sell the house.
Once in the beauty shop, the dream lover shows up for real. And the nightmares become real. Or have they? It falls to Irene and Barry to investigate what is happening to her, real or imagined.
Boy, Barbara could scream bloody murder.
Really entertaining film. Stanwyck was 57: Taylor was 53. Though people aged differently then, I thought they both looked great. Loved seeing Taylor - my mother adored him.
Highly recommended.
The editing of this film is appalling.
The Other Man, with its terrific cast of Liam Neeson, Laura Linney, Antonio Banderas, and Romola Garai had such promise, all of which was destroyed with lack of attention to the final product.
We see a married couple, Neeson and Linney, having dinner together in the opening scene discussing fidelity, later making love. She designs high-end shoes, and she goes off to Milan on a business trip.
The next thing we know, her husband is emptying out her closet and throwing clothes at his daughter (Garai) who refuses to wear them.
Then he breaks into his wife's computer and cell phone. He sees emails from another man, Ralph, intimate photos, and hears a phone message from Ralph.
He responds to the emails as his wife. He has a woman in his office trace the IP address and discovers the man's identity and location in Milan. He wants to kill him. He follows him to a chess club.
They meet, and Ralph (which has to be pronounced Rafe because how could Antonio Banderas be named Ralph) tells him about his wild love affair with this beautiful shoe designer ten years earlier. And he has reason to believe he'll be seeing her again soon.
So I'm asking myself the following: What happened, before all this, to make the husband get rid of his wife's clothes? She's away, but she didn't take her computer or cell phone? There's no password on either?
Someone suggested that this is a great film to show potential filmmakers and have them edit the film together in a way that makes some sense, a film that builds to a stunning conclusion.
Instead we have this hodgepodge with some ridiculous moments - the daughter suddenly showing up in Milan and that joke of a group scene at the end.
A loser, from Richard Eyre, an excellent director and screenwriter, responsible for films like The Dresser, Notes on a Scandal, and the wonderful Stage Beauty. Makes you wonder.
The Other Man, with its terrific cast of Liam Neeson, Laura Linney, Antonio Banderas, and Romola Garai had such promise, all of which was destroyed with lack of attention to the final product.
We see a married couple, Neeson and Linney, having dinner together in the opening scene discussing fidelity, later making love. She designs high-end shoes, and she goes off to Milan on a business trip.
The next thing we know, her husband is emptying out her closet and throwing clothes at his daughter (Garai) who refuses to wear them.
Then he breaks into his wife's computer and cell phone. He sees emails from another man, Ralph, intimate photos, and hears a phone message from Ralph.
He responds to the emails as his wife. He has a woman in his office trace the IP address and discovers the man's identity and location in Milan. He wants to kill him. He follows him to a chess club.
They meet, and Ralph (which has to be pronounced Rafe because how could Antonio Banderas be named Ralph) tells him about his wild love affair with this beautiful shoe designer ten years earlier. And he has reason to believe he'll be seeing her again soon.
So I'm asking myself the following: What happened, before all this, to make the husband get rid of his wife's clothes? She's away, but she didn't take her computer or cell phone? There's no password on either?
Someone suggested that this is a great film to show potential filmmakers and have them edit the film together in a way that makes some sense, a film that builds to a stunning conclusion.
Instead we have this hodgepodge with some ridiculous moments - the daughter suddenly showing up in Milan and that joke of a group scene at the end.
A loser, from Richard Eyre, an excellent director and screenwriter, responsible for films like The Dresser, Notes on a Scandal, and the wonderful Stage Beauty. Makes you wonder.
The Lady in the Morgue is part of a three-film Crime Club series from Universal, this one starring Preston Foster as detective Bill Crane.
The body of a woman, Alice Ross, is found in a cheap hotel, dead from an apparent suicide. The police believe it to be Kathryn Courtland, a woman from a wealthy family who has gone missing.
When Crane, hired by the family, arrives at the morgue with his assistant Doc (Frank Jenks), the body is gone and the morgue attendant is dead. The police suspect Crane.
It seems that several factions have different ideas about the identity of this woman. As Crane endeavors to learn who she is, he gets cracked over the head with a liquor bottle, appears at an inquest, and has a night at the cemetery.
One awful, thoughtless scene, when Crane, testing whether the woman really hung herself, experiments with the device using a black hotel attendant who accompanies him to the hotel room.
Preston Foster was an interesting man, with careers as an actor, singer, and composer. He handles the role of Crane well, with lively support from Jenks. Wild Bill Elliott pre his cowboy days plays a Courtland relative, and the very exotic-looking ex-silent screen actor Roland Drew plays a band leader.
The film moves fast - maybe too fast given all the different identity stories - with a little finesse, this could have been a solid mystery film. But here we're in the land of the cheap Bs. The director, Otis Garett, was quite good. However, he sadly died three years later.
The body of a woman, Alice Ross, is found in a cheap hotel, dead from an apparent suicide. The police believe it to be Kathryn Courtland, a woman from a wealthy family who has gone missing.
When Crane, hired by the family, arrives at the morgue with his assistant Doc (Frank Jenks), the body is gone and the morgue attendant is dead. The police suspect Crane.
It seems that several factions have different ideas about the identity of this woman. As Crane endeavors to learn who she is, he gets cracked over the head with a liquor bottle, appears at an inquest, and has a night at the cemetery.
One awful, thoughtless scene, when Crane, testing whether the woman really hung herself, experiments with the device using a black hotel attendant who accompanies him to the hotel room.
Preston Foster was an interesting man, with careers as an actor, singer, and composer. He handles the role of Crane well, with lively support from Jenks. Wild Bill Elliott pre his cowboy days plays a Courtland relative, and the very exotic-looking ex-silent screen actor Roland Drew plays a band leader.
The film moves fast - maybe too fast given all the different identity stories - with a little finesse, this could have been a solid mystery film. But here we're in the land of the cheap Bs. The director, Otis Garett, was quite good. However, he sadly died three years later.