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September Storm — 3-D

3-D in CinemaScope? That seems like a strange combination, but this obscure treasure hunt adventure with Joanne Dru and Mark Stevens is indeed billed as being filmed in the ‘Miracle of Stereo-Vision,’ five years after the demise of Hollywood’s first fling with ‘depthies.’ Kino and the 3-D Film Archives extras include two vintage 3-D shorts, one of them never screened in 3-D.

September Storm

3-D Blu-ray

Kino Classics

1960 / Color / 2:39 widescreen / 92 min. / Street Date March 28, 2017 / available through Kino Lorber / 34.95

Starring: Joanne Dru, Mark Stevens, Robert Strauss Asher Dann, Jean-Pierre Kérien, Véra Valmont..

Cinematography: Lamar Boren, Jorge Stahl Jr.

Film Editor: Alberto Valenzuela

Art Direction: Boris Leven

Underwater director: Paul Stader

Original Music: Edward L. Alperson Jr., Raoul Kraushaar

Written by W.R. Burnett from a story by Steve Fisher

Produced by Edward L. Alperson

Directed by Byron Haskin

The 3-D Film Archive has been an amazing resource for the fascinating depth format,
See full article at Trailers from Hell »

The Asphalt Jungle

John Huston’s primal heist film is an almost perfect movie, with a score of unforgettable characterizations. A solid crime noir, it concerns itself with the human ironies in the ‘left handed form of human endeavor.’

The Asphalt Jungle

Blu-ray

The Criterion Collection 847

1950 / B&W / 1:37 flat Academy / 112 min. / available through The Criterion Collection / Street Date December 13, 2016 /

Starring Sterling Hayden, Sam Jaffe, Louis Calhern, James Whitmore, Jean Hagen, John McIntire, Marc Lawrence, Barry Kelley, Anthony Caruso, Marilyn Monroe, Brad Dexter.

Cinematography Harold Rosson

Art Direction Randall Duell, Cedric Gibbons

Film Editor George Boemler

Original Music Miklos Rosza

Written by Ben Maddow and John Huston from the novel by W.R. Burnett

Produced by Arthur Hornblow, Jr.

Directed by John Huston

Reviewed by Glenn Erickson

Talk about a film that becomes only more enjoyable with each viewing… John Huston’s The Asphalt Jungle is the Singin’ in the Rain of noir masterpieces.
See full article at Trailers from Hell »

Seven Anti-James Bond Movies You Haven’t Seen

The Bond franchise which has been with us so long, has become so deeply entrenched in popular culture, that we often forget what it was that first distinguished the Bonds a half-century ago. Skyfall might be one of the best of the Bonds, and even, arguably, one of the best big-budget big-action flicks to come along in quite a while, but it’s not alone. The annual box office is – and has been, for quite some time – dominated by big, action-packed blockbusters of one sort of another. The Bonds aren’t even the only action-driven spy flicks (Mr. James Bond, I’d like you to meet Mr. Jason Bourne and Mr. Ethan Hunt).

That’s not to take anything away from the superb entertainment Skyfall is, or the sentimentally treasured place the Bonds hold. It’s only to say that where there was once just the one, there are now many.
See full article at SoundOnSight »

"We Want Our Dvds!": "Billy The Kid" (1930), "Law And Order" (1932), And "Riders Of The Purple Sage" (1941)

  • CinemaRetro
By Fred Blosser

Many books have been written about Hollywood Westerns. After 45 years, the late William K. Everson’s “A Pictorial History of the Western Film” (The Citadel Press, 1969) remains one of the best: a coffee-table book with substance. Everson appropriately tips his sombrero to John Ford, John Wayne, Henry Hathaway, and Howard Hawks (with measured praise for “Red River”), and his comments on films spanning the history of the genre up to the end of the 1960s, from “The Great Train Robbery” (1903) to “The Wild Bunch” (1969), are incisive and thought-provoking. As a film scholar and preservationist, Everson was particularly knowledgeable about older and often obscure movies from the silent and early sound eras. Three of the classic titles he highlights are worthy of his approval and deserve to be better known than they are.

King Vidor’s “Billy the Kid” (1930) is slow going at times, particularly if you’re
See full article at CinemaRetro »

‘This Gun for Hire’ is as gripping as it is purely entertaining

This Gun for Hire

Written by Albert Maltz and W.R. Burnett

Directed by Frank Tuttle

U.S.A, 1942

The great American actor Alan Ladd died at the unfairly young age of 50. With a series of leading roles in some timeless classics during the 1940s and 1950s he carved himself a firm place in Hollywood lore. His quality work in such films as The Blue Dahlia, Two Years Before the Mast and Shane earned him critical acclaim as well as a bevy of movie fans. He could play cool and he could play tough as nails, yet was also clearly capable of demonstrating a subtle humane side to even his most hardened characters. One of the early films of his career that helped pave his way into stardom was the 1942, Frank Tuttle directed This Gun for Hire, a multi-genre mashing of WWII, spy and noir themes.

An alarm clock wakes up
See full article at SoundOnSight »

Blu-ray Review: Iconic ‘The Great Escape’ Hits HD For 50th Anniversary

Chicago – Mother’s Day is gone (hope you were nice to mom) and so the studios begin the push for Blu-ray titles perfect for Father’s Day gifts. The coming weeks will see reissues of Clint Eastwood classics, “The Mad Max Trilogy,” and much more, but it started last week with Fox/MGM’s reissue of the super-alpha-male “The Great Escape,” timed to its 50th anniversary. It’s been half-a-century since this mas macho classic became a box office smash and Oscar nominee. It’s held up pretty well even if the Blu-ray release isn’t a great one. Dad will likely just love the movie anyway.

Rating: 3.5/5.0

The Great Escape” features a stellar story but it’s really about the massive star power of its cast — James Garner, Steve McQueen, James Coburn, Charles Bronson…sorry, Expendables, this may be the most macho cast of all time. They were almost
See full article at HollywoodChicago.com »

Seven Anti-007 Movies You Haven’t Seen

(*My apologies for this coming so long after Sound on Sight’s celebration of 50 years of James Bond, but I’ve been swamped with end-of-semester work and only just now managed to finish this. Hope you all still find this of interest.)

As a coda to the Sos’s James Bond salute, there’s still a point I think deserves to be made.

The Bond franchise which has been with us so long, has become so deeply entrenched in popular culture, that we often forget what it was that first distinguished the Bonds a half-century ago. Skyfall might be one of the best of the Bonds, and even, arguably, one of the best big-budget big-action flicks to come along in quite a while, but it’s not alone. The annual box office is – and has been, for quite some time – dominated by big, action-packed blockbusters of one sort of another.
See full article at SoundOnSight »

Coolest of Crime Cinema: Essential Blaxploitation

After all the debates, controversies, and stereotype accusations have cleared, looking back on Blaxploitation cinema today it’s easy to see healthy portions of the crime and action genres. Using these genres and the struggles of the black community, these films were created for those that wanted to see African American characters on the big screen not taking shit from the man, “getting over”, and–above all else—being the heroes in movies. In the documentary Baad Asssss Cinema, Samuel L. Jackson gives his take on the heroes of Blaxploitation: “We were tired of seeing the righteous black man. And all of a sudden we had guys who were…us. Or guys who did the things we wanted those guys to do.”

The unsung supporting players in these films that backed Fred Williamson and Pam Grier and many other stars were people acting and making a living off of it.
See full article at SoundOnSight »

The Top Ten Films Noir According to ‘Road to Perdition’ Writer Max Allan Collins

Editor’s Note: Max Allan Collins has written over 50 novels and 17 movie tie-in books. He’s also the author of the Road to Perdition graphic novel, off which the film was based. With his new Mickey Spillane collaboration “Lady, Go Die” in great bookstores everywhere, we thought it would be fun to ask him for his ten best films noir. In true noir fashion, we bit off more than we could handle… We have to begin with a definition of noir, which is tricky, because nobody agrees on one. The historical roots are in French film criticism, borrowing the term noir (black) from the black-covered paperbacks in publisher Gallimard’s Serie Noire, which in 1945 began reprinting American crime writers such as Dashiell Hammett, James M. Cain, Raymond Chandler, Chester Himes, Horace McCoy, Jim Thompson, Mickey Spillane, W.R. Burnett and many others. The films the term was first applied to were low-budget American crime thrillers made during the
See full article at FilmSchoolRejects »

Little Caesar Review: d: Mervyn LeRoy

Little Caesar (1931) Director: Mervyn LeRoy Cast: Edward G. Robinson, Douglas Fairbanks Jr., Glenda Farrell, Sidney Blackmer, William Collier Jr., Ralph Ince, Stanley Fields, George E. Stone, Thomas E. Jackson Screenplay: Francis Edward Faragoh, Robert N. Lee; from a novel by W.R. Burnett Oscar Movies Edward G. Robinson, Little Caesar Little Caesar is a good example of a film that is historically important, but that has dated very poorly. Tony Gaudio's camera work is mediocre, Warner Bros. musical director Erno Rapee's spare soundtrack is garbled, and the acting is for the most part wooden. Even Edward G. Robinson, who became a star in this role, is good — but hardly great. What makes Little Caesar's pedestrianism all the more amazing is that just a few months later James Cagney would burst onto the screen with The Public Enemy, a film that holds up far better cinematically — both technically and aesthetically.
See full article at Alt Film Guide »

Similar Images #5

  • MUBI
Similar images, similar dialog, similar actors and similar sets! Part of our on-going series, Similar Images.

The opening of William A. Wellman's The Ox-Bow Incident (1943), screenplay by Lamar Trotti from Walter Van Tilburg Clark's novel; cinematography by Arthur C. Miller; art direction by James Basevi and Richard Day:

The second scene of William A. Wellman's Yellow Sky (1948), screenplay by Lamar Trotti from a story by W.R. Burnett; cinematography by Joe MacDonald; art diretion by Albert Hogsett and Lyle Wheeler:
See full article at MUBI »

Friday Noir: Robinson found guilty of being awesome in ‘Illegal’

Illegal

Directed by Lewis Allen

Screenplay by W. R. Burnett and James R. Webb

1955, U.S.A.

Few those familiar with the Hollywood of the 1930s, 40s and 50s, few names strike a chord like Edward G. Robinson. Shorter than most of his co-stars perhaps, what the actor lacked in physical stature he made up for with a lively personality and charm in bringing his roles to life, so much so that he made quite a name for himself playing especially tough characters in the early days of his career over at Warner Brothers in films the likes of Little Caesar (1931). Remembering Robinson purely as a tough thug paints an incomplete picture for his roles were far more diverse, as exemplified in Lewis Allen’s courtroom noir, Illegal.

Illegal takes the notion of starting off a movie with a bang in the most literal sense possible, as a young woman
See full article at SoundOnSight »

High Sierra

As nearly everyone seems to know, Humphrey Bogart became a romantic star-leading man with the success of Casablanca (1943), in the role first offered to, and rejected by, George Raft, at that moment still a bigger star than Bogart on the Warner Bros. lot. What less people perhaps remember is that Bogart had already become an A-list star with the triumph two years earlier of another movie-role George Raft also turned down first: the over-the-hill modern outlaw Roy Earle in Raoul Walsh’s memorable 1941 gangster tragedy scripted by John Huston and W.R. Burnett, High Sierra (available on DVD). Among vigorous…
See full article at Blogdanovich »

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