A Dangerous Profession (Ted Tetzlaff, 1949)
"How long have you been married Mrs Brackett?”
"About 5 years"
"I did not want to be again that coldwater-flat hero, keeping myself neat and unimpaired in the subway at the five o’clock rush hour."
Alfred Hayes, My Face for the World to See (1958)
1960s or maybe 1970s German poster for Shock Corridor. I’d go for the latter decade as the film is partly being sold on the auteurist reputation of Fuller. As much as I like and admire the original US posters which went full out on selling shock and sensation, this one seems a truer representation of the film’s pleasures - sex-ploitation made by a filmmaking genius … Jess Franco would have understood. The original poster has an uncensored nipple …
There are some fascinating story boards and matched screen grabs for Delmer Daves’ Jubal and 3:10 to Yuma over at Criterion
Iain Sinclair found a copy of Budd Boetticher’s last film A Time for Dying (1969) in a remainder bin in Hastings and passed it on with the information that it was interesting. It was, and a shock too, completely unlike Boetticher’s laconic classic westerns. It was garrulous, noisy and jaundiced in its depiction of drunken hanging judges, psychotic aggression and sexual coercion. According to Sinclair the film was done as a favour to its nominal star Audie Murphy, who was in hock to the Las Vegas mob, and it was made as a money-laundering exercise; an unfortunate decline by any conventional assessment, but watched askance it stands in antithesis to, as well as being a summary of, a career. It is both departure and distillation.
Chris Petit, “Post Mortem” Sight & Sound (May 2013)
Television’s debut gig … I always considered the Nick Ray quote a bit of naked opportunism. A name people would recognise but no one interested would be able to check its veracity. After reading Richard Hell’s autobiography it turns out still to be a piece of opportunism but Ray had seen the band play:
Danny had visited the loft and had liked us and just told us to write his. Scott Cohen’s was perfect. Nick ray, the great film director, leftist, and amphetamine head, had watched us rehearse a couple of times.
I Dreamed I Was A Very Clean Tramp (2013)
None of Ray’s biographers mention he was a punk prophet … a missed opportunity…
The Paperboy …First screening Sunday morning and I’m the last man left sitting in the room. I’m waiting to read the music credits. I don’t do this for every film I see just the very best, and this one I loved. Nearly all the songs were new to me so no moments of recognition just a certain sense that I was in the company of filmmakers that knew what they were doing. A film to watch and listen to again … Here’s one of the soundtrack highlights, Laura Lee’s Crumbs Off The Table (1972)
Aside from some superlative performances, Ed Harris’ Pollock (2000) is notable for its fulsome recreation of everyday life 1940s style. The care costume designer David C. Robinson takes in recreating Pollock’s denim wardrobe is impressive. More on that here. Anyone able to identify the jacket and dungarees the artist wears in these Life magazine photos by Martha Holmes?
I watched Parker last week, the latest in a long and not very honorable line of Richard Stark adaptations. I saw it in a cinema on 42nd St, but that Manny Farber underground-termite-art-frisson that I was looking for was buried too deep and too long ago to be found. Anyway, this Australian poster reminded me of why I go to the cinema: because it is suitable only for adults … and it’s where Lee Marvin and Angie Dickinson are found …
… conjures up images of Jack Palance at Cinecitta, Bardot under Godard’s red, yellow and blue lights, Cornel Wilde playing a matador, and empty bottles, full ashtrays and Dana Andrews.
Just chanced upon this portrait of James Stewart for the poster of The Man from Laramie. Ain’t it fine … I found it here