As Jesse's companion in the home invasion, Kevin Gottschalk could almost be the comically inept right-hand man if he weren't so damn frightening anyway. Neil Grochmal lenses the film exceptionally well, capitalizing on the strengths of the Canon 7d while largely transcending the limitations of a low-budget pic.
Chris Cosby's original music companions the film well without dominating it. Determined to get their film seen, producers Lamm, Fornatoro and Gottschalk have put the entire thing online on Vimeo hoping to build buzz and viewer awareness that will help them fund their next project.
While watching a film on a monitor is never the preferred setting, doing so in this case is a terrific introduction to low-budget cinema's strengths and challenges. Rambling on and on about insignificant facts and hardly ever describing the on-screen action nor identifying any of the supporting cast - and this guy calls himself a 'film historian'? Note: IMDb's listing for this film, like their entries for all spaghetti westerns and most foreign films in general is full of errors.
Some I have been able to correct. Sergio Leone's spaghetti western masterpiece pits three men against each other in a bid to find hidden gold in an unmarked grave during the American civil war.
Sergio Leone Director. Clint Eastwood Blondie. Luigi Pistilli Father Pablo Ramirez. Rada Rassimov Maria. Enzo Petito Storekeeper. Claudio Scarchilli Bounty Hunter. John Bartha Sheriff. Livio Lorenzon Baker. Antonio Casale Bill Carson. Sandro Scarchilli Killer in Hotel. He had wanted to cast her in his film version of Madame Bovarybut acceded to executive demands that he use an established dramatic actress like Jennifer Jones.
Houseman and Minnelli were considering a character actor from the studio's supporting ranks for the role of producer Harry Pebbel when Walter Pidgeon put in a bid for the role.
When told he seemed too suave and debonair to play the seedy producer, he showed up in Minnelli's office wearing a crew-cut wig and a poorly fitted suit and won the role. Dore Schary saw a lot of himself in the characterization of the writer, which led him to suggest Gloria Grahame to play the character's wife, since the actress resembled Schary's wife, Miriam Svet.
The film's original title was Tribute to a Bad That aint Bad - Golly (2) - Klaus Brandl - Gerd Heide - Evi Böttcher - Drunkards Dream (CD. The filming of The Bad and the Beautiful began on April 9, All of the scenes set at Jonathan Shields' studio were shot on the MGM lot, using the studio's actual facilities. In conferences with Kirk Douglas, director Vincente Minnelli suggested he downplay his character's explosive side and focus on charm instead.
Douglas agreed, but throughout shooting whenever he finished a scene, he would say, "I was very charming in that scene, wasn't I? Concerned about Lana Turner's insecurities and talk of her limited acting abilities, Minnelli got her through her first scene by telling her that every retake was the result of somebody else's problem. Through gentle coaching he got a strong performance out of her while also keeping her confidence intact. Minnelli was so impressed by Ned Glass' performance as the wardrobe man trying to foist his cat suits on Kirk Douglas and Barry Sullivan for their first film, The Doom of the Cat Menhe kept expanding his role.
After two days of shooting, he still needed a close-up of Glass, but the next day the actor did not show up. Having failed to do a thorough background check before shooting started, MGM had hired Glass without realizing he had been blacklisted. The night before his final shot, studio security had called to inform him he would not be allowed on the lot.
Minnelli wanted the music for the long, silent scene in which Lana Turner runs from her dressing room through a deserted sound stage, composed before shooting. That way he could match his blocking and camera movements to the score. Realizing the film's shooting title, Tribute to a Bad Mancould lead audiences to expect a Western, Houseman put out a call for new title suggestions.
Scott Fitzgerald's story "The Beautiful and the Damned. The scene in which Turner drives off into the rainy night after discovering that Douglas has been cheating on her was so complicated it took weeks after she had finished the rest of her scenes before she got to film it. Minnelli put the car's interior on a turntable, then choreographed the cameras moves in and out as the turntable shifted position. He then instructed Turner to build her emotions to hysteria throughout the complicated take.
It took a day to get all the angles Minnelli wanted, by which time Turner truly was hysterical. The scene was one of the most memorable in The Bad and the Beautiful. Composer David Raksin had scored a huge hit with the theme song for the film Laura but resented the fact that the lyricist received an equal share of the profits.
As a result, he insisted that the love theme from The Bad and the Beautiful be released strictly as an instrumental. It became a hit, but not at the same high level of his theme for the earlier film. In the scene, Shields devotes most of his speech to his late father, then makes only a brief mention of his friend at the end.
Stories about the film's basis in fact were so strong that independent producer David O. Selznick asked one of his lawyers to view the film and let him know if it contained anything libelous about him. Despite the parallels between Selznick's life and that of the father-obsessed independent producer played by Douglas, the lawyer determined that there were no grounds for a lawsuit.
Although preview audiences were generally positive about The Bad and the Beautifulmany felt it was too long, prompting MGM to cut almost 12 minutes, including shots of Douglas in Paris as he phones to ask his former friends to work on his next film and a scene in which Turner and Powell meet for the first time.
Publicity for The Bad and the Beautiful focused on the romance between Douglas and Turner's characters. Taglines included "I took you out of the gutter I can fling you back! The Bad and the Beautiful is probably the quintessential "Hollywood according to Hollywood" film; so it's appropriate that it stars the quintessential movie star - Lana Turner.
Turner plays Georgia Lorrison, the trampy, That aint Bad - Golly (2) - Klaus Brandl - Gerd Heide - Evi Böttcher - Drunkards Dream (CD, alcoholic daughter of a legendary actor. She's transformed into a compelling actress by producer Jonathan Shields Kirk Douglashimself a scion of tarnished Hollywood royalty.
Georgia is one of three friends, including a director Barry Sullivan and a screenwriter Dick Powellbetrayed by Shields in his obsessive and ruthless climb to the top. The source material for The Bad and the Beautiful was a magazine story about an unscrupulous Broadway director. Producer John Houseman found the characters trite, but saw possibilities if the plot were revised to focus on Hollywood.
Screenwriter Charles Schnee invented new characters, and Houseman and Director Vincente Minnelli contributed ideas based on real-life Hollywood personalities. The father-obsessed Georgia is partly John Barrymore's star-crossed daughter Diana, and, says Houseman in his memoirs, "fragments of Gardner and Fontaine - not to mention Lana Turner, who came to play her. Minnelli liked his powerful on-screen presence, but directed him not to play too intensely, knowing that would be self-evident.
Instead, Minnelli told Douglas to That aint Bad - Golly (2) - Klaus Brandl - Gerd Heide - Evi Böttcher - Drunkards Dream (CD it for charm. Frequently during filming, Douglas would turn to Minnelli and say, "I was very charming in that scene, wasn't I?
The first scene Turner had to play was a difficult one, where only her legs are seen dangling from a railing, and she had to act drunk with only her voice. Minnelli kept inventing "technical problems" to coax more takes from her, until he got what he wanted.
The ruse clearly worked, because when Turner told the story in her autobiography, she referred to those very technical problems that forced take after take. Minnelli worked with Turner, much as Jonathan Shields worked with Georgia, helping her mold her performance.
By the time she was to do the climactic scene of hysteria in the car, Turner was so confident that she kept her concentration throughout the technically complex scene, and her performance was frighteningly real. Minnelli shot all over the MGM lot, capturing the eeriness and beauty of deserted soundstages and piles of props.
Since the script was talky, he compensated with fluid, constantly moving camerawork, one of his trademarks. For Turner's breakdown, he devised a special turntable, which spun the car while the camera remained steady, zooming in and out to capture her reactions.
Minnelli later said he choreographed the scene as carefully as if he were photographing a ballet. The Bad and the Beautiful was a critical and commercial success. Rich in the Album) of moviemaking, visually inventive, superbly scripted and acted, The Bad and the Beautiful is a fascinating behind-the-scenes look at the end of Hollywood's Golden Era.
In his analysis of Minnelli's films, Directed by Vincente MinnelliStephen Harvey explains the enduring seductiveness of the film: " The Bad and the Beautiful aspires neither to high art nor newsreel naturalism. By its own example, this black-and-white fantasia celebrates the energy and showmanship that made the studio system flourish. Descriptive video.
Douglas was the only nominee not honored. The hero of this relentless saga is a Hollywood That aint Bad - Golly (2) - Klaus Brandl - Gerd Heide - Evi Böttcher - Drunkards Dream (CD who is a heel.
And the fine job of drawing and quartering him that is done in the course of two hours by a top staff of MGM dissectors is enough to make the blood run cold Minnelli's craftsmanship and Houseman's skill as a producer are evident in the slickness of the film. But certainly they and all the others who worked on it know much more about the subject of Hollywood egos and championship chumps than is revealed in this sardonic scan of Hollywood. As an exhibition of know-how in picture-making The Bad and the Beautiful is first rate, although every now and then Charles Schnee's screenplay goes in for dubious melodrama.
The structure is all too reminiscent of Citizen Kane , and there is the "Rosebud" of Douglas' ill-defined Oedipal confusion, but there are also flashy, entertaining scenes and incidents derived from a number of famous careers. And the director, Vincente Minnelli, has given the material an hysterical stylishness; the black-and-white cinematography by Robert Surtees is more than dramatic -- it has a temperament.
The Bad and the Beautiful was a breakthrough: it opened up a potential for sudden insights in brilliantly regulated melodrama that was one of Minnelli's most fascinating assets. Solid, insightful, witty, with Lana's best performance ever David Raksin's wonderful score is another asset.
Nov 10, · out of 5 stars Not a bad movie(if you can get past the fact that Dillon aint Dillon) November 10, Format: DVD Verified Purchase. The movie in and of itself aint bad as they say it is if you can only get past the fact that everyone is pretty much in character except the most important person and that would be Dillon. He has absolutely. Feb 14, · “Vicious” Victor Ortiz (, 25 KOs) and Devon Alexander “The Great” (, 14 KOs) headline a show as the former welterweight champions meet in the round main event. COVID Resources. Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this balnalatelesupprosivadisbere.coinfo balnalatelesupprosivadisbere.coinfo’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus. The Bad and the Beautiful ended up the big winner on Oscar® night, winning five awards. Douglas was the only nominee not honored. The film was nominated for the British Academy Award for Best Film From Any Source. The Bad and the Beautiful was voted a place on the National Film Registry in The Critics Corner: THE BAD AND THE BEAUTIFUL. Jamaican dancehall movements with a soundtrack featuring dancehall legends. Featuring: Kimberly Johnson Director: Raj Debah Photography: Shaniqwa Jarvis Editor. Apr 01, · The thing where one guy who’s a bad guy in a movie is kin to a different bad guy in a different movie in the same franchise isn’t a new thing. In fact, this exact same setup was used in the Die Hard movie series, when John McClane killed Hans Gruber in the original Die Hard in and then had to kill his older brother in Die Hard: With a. “The Good, the Bad, and the Brutal” is a twelve song collection that slyly splits up the tracks as having “good” or “bad” in the titles. The opener, “A Good Problem”, is a powerhouse anthem that will appeal to many of those who’ve become jaded with life, and frankly just don’t give a . 'Good Little Bad Girls': Controversy and the flapper comedienne Fig. 1. Several problematics titles containing racy slang were attributed to Clare Bow's 'Peaches' in The Fleet's In (Paramount, ) [Wisconsin Center for Film and Theater Research.] pointing out twelve 'colorful titles' in the film, a. Villains/antagonists whose status as such is not revealed until sometime after their initial appearances. Date on the labels is but the album was released in Barcode and Other Identifiers Matrix / Runout (Side A, etched): JBGPNOJZ-A S L WHERE THE HELL IS RACINE??5/5(3).
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