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(A) Continue reading Call it the scariest horror flick ever made, a Moby Dick action adventure, a social commentary on beach towns and greedy mayors, a humanistic family story of science and wonder, one of the best film adaptations of a best-selling novel, one of the pioneering summer blockbusters and the winner of three Academy Awards (editing, sound, score).
Or, if you’re GQ magazine, you can take a more cynical approach and call it the beginning of the end for the Hollywood Renaissance: “It’s now a movie-history commonplace that the late-’60s-to-mid-’70s creative resurgence of American moviemaking — the Coppola-Altman-Penn-Nichols-Bogdanovich-Ashby decade — was cut short by two movies, Jaws in 1975 and Star Wars in 1977, that lit the fuse for the summer-blockbuster era.” Still, just because many of their starry-eyed followers went on to make effects-heavy garbage for short-attention spans, doesn’t mean that Spielberg and Lucas themselves made garbage.
The Philippine government offered helicopters to use on set, but suddenly recalled them to fend off rebel forces.
Martin Sheen suffered a near-fatal heart attack at the young age of 36, receiving last rites from a non-English speaking priest and being sidelined for five weeks.
Maybe that’s enough for some, but it isn’t for me anymore because the more beautiful everything is, the more it will hurt without you.” Such is the predicament facing Jerry Mulligan, the titular American in Paris, an ex-G. Their relationship is reminiscent of Bergman and Bogie’s in Casablanca — two lovers who fall in love in Paris and share a musical standard as their love song, yet who also can not be together because outside factors prohibit it.
Jerry (Gene Kelly) has come to love the city for its culture, but now only sees it as a curse, thanks to a broken heart over a Frenchwoman, Lise Bouvier (Leslie Caron).
I loved what they created, and I thought something would happen to me, too. Continue reading “The companionship of a doll is a pleasant thing, even for a period of time running into months.
If you look at our website’s banner in this context, there are fins to the left, fins to the right, and it’s the only shark in town. Just 13 percent of American feature films used a “title song” between 1950-1954, but the number grew to 22 percent over the next five years, and reached 29 percent by the late ’60s.Sparking the trend was “The Ballad of High Noon,” an Oscar-winning song written by Dimitri Tiomkin and Ned Washington and sung by Tex Ritter (father of John Ritter). / Look at that big hand move along / Nearin’ high noon.Not only would it become a popular country music record, it also allowed the film to both introduce the stakes of its plot and reinforce the moral of its story: Do not forsake me O my darlin’ / On this our wedding day / Do not forsake me O my darlin’ / Wait, wait along. / If I’m a man I must be brave / And I must face that deadly killer / Or lie a coward, a craven coward / Or lie a coward in my grave. / He made a vow while in State’s Prison / Vow’d it would be my life or his and / I’m not afraid of death, but O, / What will I do if you leave me?Helping the cause was 1967’s removal of the Hays Code in favor of the MPAA rating system.That meant filmmakers could make sexier, more violent films, as long as they carried a particular rating.