across the great divide is a 1976 film that stars robert logan , heather rattray , and george buck flower .

the film was shot on location in utah and canada .

across the great divide ( film )

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spread across two separate parts , the divide is a hugely engaging and constantly surprising story of a society that segregates – but is still recognisable .
unrealistic , but fun , treck across the canadian rockies , with its dangers .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
the divide is an extraordinary new work by one of the uk’s greatest storytellers , alan ayckbourn . unfolding over two parts , the divide is a tale for our own turbulent times that unflinchingly examines a dystopian society of brutal repression , forbidden love and seething insurrection .
brokeback mountain is far more than a gay western . it ' s a great american love story , writes rick moody
the renowned chinese pianist , who brings his emotional , dramatic style to audiences across the globe , returns home . seth doane reports .
and i loved that game growing up . i just watched this movie for the first time since the early 90 ' s . across the great divide is proof that you don ' t need huge budgets or big stars in order for a movie to be good . the movie starts off with 2 children who need to cross the wilderness to claim their land inheritance meet a gambler on the run . together they face natures obstacles in order to reach their destination . granted , there were a few parts that were pretty predictable as to what was going to happen next . but all in all , it was a great little film to watch whether its in a family setting , or just by yourself .
no wonder he ' s sympathetic even to tech - sceptics ; schreier is part of the last generation to have been raised offline . would he be a different sort of person had he grown up with the internet ? he creases his brow , stares amiably at the fake sheep .
i don ' t know . i have lunch with people five years younger than me . we get along all right , we ' re able to talk across the great divide . to cope .
the divide receives its premiere in a co - production between the old vic , london , edinburgh international festival and karl sydow , directed by annabel bolton , an associate director of the old vic .
so , not only were these fans concerned with labelling the film by genre , there was significant disagreement about in which genre the film belonged .
a sense of frustration was evident in relation to the film’s flouting of the rules of resident evil’s game - play . analysis of the gamers’ posts reveals that there were two aspects to this . however , one aspect of this was formulated from a discourse of frustrated ergodic pleasure articulating an experiential divide between game and film , while the other aspect was not .
for barker and brooks , triangulating their findings across three distinct areas allowed them to make observations on what electing to watch a film like judge dredd means in a social and cultural context . this paper now seeks to triangulate its findings on the gamers’ posts , with the research in part two on the status of the franchise and the film makers .
gamer 113 altered their view of the film after a second viewing . this gamer paid some considerable attention to the question of game to film adaptation :
the critical positions identified did orient the reviews in different ways . the research found that each dominant critical position had separate sets of critical concerns . for example , for resident evil fans , being like the game , the quality of game to film adaptations , and the choice of director for the film were the key critical discourses . the film critics were especially concerned with generic identification , the choice of director , the quality of game to film adaptation , and undertaking what i have termed holistic film criticism . the horror film fans main critical discourse centred on the ‘scariness’ of the film . these findings are now presented in more detail .
( the 32 buffalo were shot near my great grandmother ' s former homestead , a place the columnist called
the middle of a lot of central colorado nothingness ,
which must make denver the center of everythingness . )
despite a brief moment of unity across party lines this week , after the mass shooting in which a republican congressman was critically wounded , the media wars surrounding coverage of president donald trump have been getting louder by the day .
director marc levin highlights the recent effects of hyper - gentrification in new york city ? s west chelsea , focusing on an intersection where an elite private school sits directly across the street from public housing projects . read more
heading in from burning back some weeds , i heard the cry of a rabbit in distress . where i live in colorado , i can be sure it ' s not the quiver rabbit i ' m hearing across the arroyo .
for gamer 51 the immersion of the game was achieved through the film viewing . this gamer explained that :
to sum up this section , then , the differences between game - play and film spectatorship were articulated in a number of ways across the sample . these differences centred on several issues : the frustration of ergodic pleasures , the lack of involvement and empathy with the characters in the film compared to those in the games , spatial - temporal features found in the game but not present – or indeed possible – in the film adaptation , and the breaking and bending of game rules . the discourses surrounding the frustration of ergodic pleasures are now discussed in more detail .
but how were these ergodic expressions articulated ? what were they saying about watching the film and playing the game and the divide that might exist between the two experiences ? their responses indicated four areas in which their talk was concentrated : 1 . investigation of the landscape and narrative progress , 2 . character apathy , 3 . game rules , 4 . physical pleasures .
like the gamers who posted from the dominant resident evil fan position , the film critics also had a concern with game to film adaptations . gamer 4 was sceptical about the quality of the film prior to seeing it because ‘i expected another videogame adapted to the big screen to score what money it could and the end result would be crap’ ( gamer 4 25 november 2002 ) . gamer 31 was concerned about the game to film genre and had been monitoring the development of the production prior to the film’s release :
but how did the games’ players respond to this prequel and its game - like features ? were the game - like features enough to overcome any sense of loss or lack of interactivity , or did they , as heiland suggests , respond to the film as an interactive game rather than a non - interactive film ? and if the latter is the case , what would such a response look like ? this paper seeks to explore if there was a palpable sense of a divide between game and film . the following section outlines the methodology utilised in the research .
the thematic analysis of the gamers’ posts also revealed that they were also expressing their views about things beyond the text . i think one of the most important points that barker and brooks seek to make is that watching a film is about much more than the film itself . it is about expectation , preparation , and what comes after the viewing experience , how the film viewer makes sense of what they have seen within wider social and cultural contexts . the gamers in my research demonstrated this , too . two of the most consistent discourses across the sample were a concern with the ‘nascent genre’ of game - to - film adaptation , and the ‘debate’ about the choice of directors for the project . both discourses required the gamers to go beyond the film , in their critical assessments .
thematically these gamers were most concerned with ‘scares’ and the techniques for achieving them . they showed little interest in the game to film discourse so prevalent in the posts of the resident evil fans and the film critics .
the biggest issue for those taking up a dominant horror fan position was whether the film provided enough scares . here the horror film fans drew on dual expectations : the scares they had experienced through playing the games and the scares they anticipated from a product they perceived to be a horror film . interestingly , these gamers did not express the same degree of generic confusion expressed by the film critics . these gamers fully anticipated resident evil to be a scary horror film , just as the games were scary survival horror games .
in the games , zombies , you learn , are best killed with a couple of shots to the head . however , gamer 54 took great exception to the bending of the rules in the film : ‘the action was boring and stupid there was on real battle with the zombies and in it they just kept shooting them in the chest magazine after magazine in the chest…’ ( gamer 54 3 january 2004 ) .
gamer 43’s review was interesting . this gamer was surprised by the film because as a game to film adaptation , it was an average film rather than the bad film they were expecting . the film was deemed to be above average for a game to film adaptation . but this gamer and film critic was most interested in replay value : ‘overall , resident evil is way above average as far as video game to silver screen goes , however the movie itself only provides enough entertainment to cover you watching it maybe 2 or 3 times , after that the movie becomes kinda boring’ . this replay value was observed time and again in the sample and we shall return to this at the end of this study .
the post screening q & a included director marc levin , as well as some of the kids featured in the film .
as observed by rehak , videogames remediate cinema in that they draw on the tendencies and characteristics of their predecessors . in this regard resident evil the game is no different . but it seems that the film did not remediate the videogame effectively for the gamers . many misidentified the film’s genre as action rather than horror . furthermore for the horror film fans , the film failed as horror because of the lack of scares expected in a horror film . but it did not only fail as horror in this respect because the film also failed as a remediation of the survival horror videogame . this failure , as we have seen , can be found in the lack of empathy for the film’s characters , the lack of the pleasures of ergodic activity associated with game - play , and with the lack of the videogame’s distinctive feel .
gamer 96 also blames the lack of romero’s input on the film . they state : ‘god , there is no way to convey the terribleness of paul anderson’s crimes…rent a romero film instead . to think romero could have directed this film brings a tear to my eye’ ( gamer 96 19 january 2003 ) .
in their application of baxandall’s approach , barker and brooks focus their inquiries on judge dredd across three sites : audiences , production and publicity , the film . this research acknowledges the value in this multi - site approach and as a consequence , i also seek to understand the film adaptation of resident evil within the context of the game’s universe , but also within the context of resident evil as a franchise . the aim here then is to contextualise the gamers’ responses to the adaptation in terms of the film - makers aims and within the ongoing metamorphosis and extension of the resident evil universe ( for fans ) , or franchise ( for capcom ) .
pinedo , isabelle , ‘recreational terror : postmodern elements of the contemporary horror film’ , in the journal of film and video , vol . 44 , no 1 - 2 , 1996 , pp . 17 - 31 .
film maker and friend mike hazard has a short taken from his documentary mr . positive , called
but while love of the game is clearly important to the majority of gamers analysed , it is important also to remember that they are reviewing a film on a film - site message board ( imdb ) . in this context , the second most prevalent critical position taken up by the gamers analysed in the sample is the film critic position . of the 118 posts sampled , twenty one gamers expressed their dominant critical views from the film critic position . when combined with those taking up this position in a secondary capacity , some sixty gamers occupy a film critic position . given that the subject of their reviews is a film adaptation of a game and the platform for their views the imdb , it is no surprise that the most prevalent type of critical position is the combination of resident evil fans and film critics ( thirty one posts ) .
the findings demonstrated that almost a quarter ( 27 gamers ) of the sample expressed either ergodic pleasures or ergodic frustrations in viewing the film . of these , 18 gamers had occupied the dominant critical position of the resident evil fans , whereas five were primarily film critics , two were videogame fans , and the horror and zombie film fans each had one gamer , respectively .
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that sort of really began in earnest in november of 1969 when nixon , after he gave his famous great ' silent majority ' speech , was attacked by the networks immediately .
gamer 15 took a gamble on the film in spite of being disappointed by game to film adaptations in the past : ‘only got it because of the videogame series . i knew i was taking a chance because usually video games made into movies really suck’ ( gamer 15 25 february 2003 ) . gamer 49 also decided to give the film a try because they had played the games but had low expectations because of previous game to film adaptations . they write :
table 1 demonstrates how the majority of gamers adopted more than one critical position in their critical reviews of the film . by far the most prevalent dominant position is the resident evil fan position – seventy one of the 118 gamers . across the whole sample , being a resident evil fan is clearly an important critical position for fans to emphasise . if the 118 posts , eighty five gamers expressed the resident evil fan critical position when dominant and secondary positions are combined .
given the pre - existence of this universe , anderson’s approach was to make this first resident evil film a prequel . the action takes place a month before the first game and seeks to provide a history for the franchise . the problem for anderson was to satisfy fans by incorporating enough from the game world but providing something fresh for fans and non - gamer film audiences . in this respect , the film has come under intense criticism for its deviation from the parameters of the orginary game . however , anderson defended his decision by explaining that the film seeks to also bridge a gap between the film and the first and second games . as anderson argues :
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sometimes , [ anderson ] uses a long shot , usually from above , that shows protagonist and audience surrogate milla jovovich walking across the screen , and the impression it leaves deliberately recalls the exploration sequences of a videogame . the audience will probably be reaching for their control pad during these scenes since the camera angles and shot durations , as well as the placement of scare scenes , have been ripped directly from the resident evil game . this feeling that the film more closely resembles an interactive game than a non - interactive film ( heilman 09 . 04 . 02 urltoken ) .
gamer 50 sought to place the film within the canon of game to film adaptations by claiming it to be ‘one of the better’ video game to film adaptations . but it is clear this gamer does not expect much . they write : this movie is no great movie but it is a worthy video game movie’ ( gamer 50 1 november 2003 ) . gamer 72 articulates the same opinion : ‘ok , video games to films ? not very good admitted . super mario bros attests to that’ ( gamer 72 27 january 2004 ) . for gamer 76 , the problem with game to film adaptations is the ratings system which they suggest is responsible for turning r rated games into pg13 films for children . in a lengthy discussion of this topic , gamer 76 argues :
some gamers viewed it as a science fiction film , like gamer 68 who opens their review by labelling the film for the potential reader : anyone who likes sci - fi thrillers that at the end make you want to stop crime the kick ass way , this is a movie for you’ ( gamer 68 5 november 2004 ) . another gamer claims the film is ‘billed as action / thriller / science fiction / horror film and proceeds to detail the portions of the film where the perceived different genres dominate ( gamer 101 21 august 2004 ) . this generic confusion can also be seen in gamer 115’s post . they argue :
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
games’ visual devices used in the film were noted by one gamer . gamer 93 likened the camera work to shots from the game . they state :
simon isaacs is leading the charge to the playground . with his website fatherly , he wants to change how fathers across the country approach parenting . and he ' s not alone : the largest group of new dads in this country are now millennials . tony dokoupil reports on the changing role of fatherhood and how modern dads differ from fathers of previous generations .
the final discourse of frustrated ergodic pleasure identified in this research was the discourse of physical pleasures . barker and brooks noted that physical pleasures – being done to by a film - formed a prominent vocabulary of involvement and pleasure for their interviewees . these physical aspects were observed in my sample . the horror film fans , for example , were primarily concerned with the generation and quality of ‘scares’ in the film .
decades later , brother and sister elihu and soween are growing up learning the ways of their new , tightly controlled society . as they begin to glimpse the cracks in the system , elihu falls for the daughter of two radical mothers , risking fatal disease and threatening to ignite a bloody revolution . the divide is a searing vision of a future defined by brutal repression , forbidden love and seething insurrection .
gamer 20 articulated clearly and concisely the activity required of the resident evil game - player and found that the film attempted to work for the spectator in the same way . they state :
aside of this visual continuity , another ergodic aspect involves the differences between the way the film and the games established the rules of combat . for example , the viewer only has to see the bullet - time and slow motion kung fu of the matrix ( 1999 ) once to establish that these seemingly fantastical manoeuvres are within the rules of the film that the audience are tutored to accept .
i cannot believe powderfinger never got huge in the us . i am a middle age ( 47 ) classic rock fan . . . and powderfinger is , in my estimation , on par or better than u2 , pearl jam . . . any of the all time great bands . . . . silverchair is pretty good too .
the discourse concerning anderson’s game fan / player credentials can be encapsulated in this statement : the film is so unlike the game that anderson could not have played the game and is masquerading as a fan in order to convince resident evil’s fan community to accept his prequel and to watch his film .
those reading the film from a dominant position of the resident evil fan were more unified , if not wholly so , in their disappointment in the lack of characters from the games . gamer 23 is fairly balanced in their review of the film but notes that the film does have its ‘downfall’ in the lack of characters from the game . gamer 60 expressed disappointment at the lack of characters from the games and a sense of bafflement as to why such fundamental game features were missing from the adaptation . they state :
for this gamer , then , only by playing the games previously can you re - experience this play through the film . feel in this respect adds a new dimension to the sensation of ‘losing oneself in a film’ . feel is a more tactile proposition in games than in films .
in january 2005 i finally watched the first film adaptation of the popular game franchise , resident evil . i was not sure what to expect , or what i should be expecting . the divide between watching a film and playing the game seemed like a void and i had no idea how to cross it . after viewing i still had no idea and turned to the imdb resident evil message board to see what others had made of it . and i found similar confusion , but also significant disagreement . i also found , however , that the respondents seemed to have agreed on what they should be disagreeing about . i found this fascinating and so this research project was born .
gamer 105 cut right to the chase : ‘the problem with resident evil is that it is basically an action movie masquerading as a horror movie’ ( gamer 105 7 july 2003 ) . a belief that horror has been sacrificed for action was observed several times in the sampled posts and was a constant discourse – mostly for film critics , but it was observed across all dominant positions . i suggest that expectations drawn from playing resident evil – a survival horror game – fuelled these criticisms .
the film itself isn’t particularly faithful to the game , but i don’t think it could be really . the game involved you exploring a mansion alone , fighting off beasties and solving puzzles . good idea for a game . bad idea for a film’ ( gamer 28 14 april 2003 ) .
for producer bernd eichinger , some scenes in the film are ‘very close to shots in the game’ ( eichinger 2002 ) , although capcom executive and head of production , yoshiki okamoto sees the relationship between the game and the film in a different way . for okamoto the cinematic elements of the game make it an exciting possibility for adaptation into film . he states : ‘we’ve been told that the game contains movie elements and we hoped that the game would become a movie as soon as possible’ ( okamoto 2002 ) . the camerawork has been interpreted by critics as resembling some of the angles in the game . heilman ( 2002 ) for example , states in his review of the film :
this paper is concerned with how those who had played resident evil – from here described as gamers – and who had written about the film had responded to it . however , to provide a fuller analysis , it seemed necessary to contextualise what they were saying with the film maker’s intentions and within the context of the resident evil franchise . as a consequence , this paper asks : how did gamers respond to the adaptation of resident evil in film ? in addressing this question , the paper raises further questions : how far did the film’s makers seek to adapt elements of the game and did the film maker’s adaptations meet the expectations of the gamers ? what does it mean to post on the imdb resident evil message board ? what discourses can be identified in the gamers’ writing and how do they connect with the wider social world ?
a century from now england is hit by a deadly contagion . society is decimated as contact between men and women becomes fatal . under the dictates of an elusive preacher , an unthinkable solution is enforced . separated by the divide , the adult survivors are segregated by gender with men wearing white as a mark of their purity and women – still infected – clothed in black as a sign of their sin .
the range of responses to the choice of director for the project stem not from anderson’s skills in the direction of the film . rather , the discourses articulated demonstrate the knowledge fans brought with them to their viewing of resident evil .
for some gamers , paul anderson and game to film adaptation go hand in hand . for gamer 88 the fact that paul anderson , director of the mortal kombat game to film adaptation , had been given the go - ahead as the director of resident evil almost reduced them to tears . this gamer states :
three issues around the choice of director emerged from the analysis of the posts by dominant resident evil fans . the first discourse around direction centres on anderson as a director of previously poor films and his work on mortal kombat was especially panned by this group of gamers . anderson is seen as a game to film specialist and as we have seen in the previous section , that is not something that would impress most resident evil fans . gamer 81 is something of a rarity in that anderson’s game to film work is appreciated : ‘paul w s anderson has made another great video game movie…the best videogame based movie since the original mortal kombat ’ ( gamer 81 4 september 2003 ) .
many of those gamers who adopted the dominant resident evil fan position in their posts admitted that they had low expectation of the film because of previous game to film adaptations . this critical position was the most often taken up dominant position . however , the resident evil fans were perhaps the most divided on the success of the film and this can be seen in analysis of their expectations . to clarify this point , i have compiled a table of expectations ( see table 2 below ) .
for gamer 116 a sense of generic confusion did undermine the film’s success : ‘to think of this film as being a horror movie is a gross miscarriage of justice . this is more an action - adventure movie than anything and has nothing to do with horror at all’ ( gamer 116 ) . this gamer made every effort to feel scared by the film , but failed : i tried to feel scared throughout the movie , but there was nothing to make me feel scared’ ( ibid ) . gamer 25 expressed the same frustrations in relation to genre expectations and scares : ‘you call this a horror film more like action film there was little gore not even scary…’ ( gamer 25 3 march 2003 ) .
these gamers’ discussions focussed most closely on the game / film comparison but they were weighted heavily in favour of the originary text and tended to end with an overall verdict on the worthiness of the adaptation . a number of key discourses emerged . these were a concern with how far the film was like or not like the game , how far an adaptation of the game in film should reflect the game , the perceived poor quality of previous films adapted from games and in relation to this last point , the instatement of anderson as the director rather than romero .
the fans did not express a consistent view of the adaptation’s storyline . responses on this issue tended to be divided between two positions : resident evil purists who rejected the film’s attempt to historicise and contextualise the resident evil story and who resisted , ignored or misread the film’s prequel intentions , and those resident evil fans who believed that a game replica in film would not work . in terms of the former , gamers 60 , 6 and 41 comments are typical . the language used to describe the story included words like ‘warped’ , ‘twisted’ , and ‘distorted’ . gamer 60 disliked the film’s story and suggested that the reason for their negative view of the story relates to their expectations drawn from the game . gamer 60 states :
as we have seen , game - to - film adaptations do not offer instant pleasures for these gamers because of the connection the films have to their favourite games . they have to negotiate and overcome expectations of yet another poor game - to - film adaptation . so , it is perhaps unsurprising that some of the gamers responded to anderson as the director of choice in this way . anderson directed mortal kombat , one of the first game - to - film adaptations and in a sense he represents a kind of poster - child for the nascent genre . this status carries with it all the associations and ( low ) expectations of game - to - film adaptation . in this way , this discourse places anderson on the most hated lists of many a gamer as a representative of all that is bad with game - to - film adaptations . this means that this discourse is actually an extension of the game - to - film discourse discussed above .
for starters , there is no - one in the film who is actually from the game…milla jovovich ruins it too . the entire film focussed around her and what involvement she has with umbrella . i can tell you that – none ! she is the main character and yet is not in any of the games’ ( gamer 67 22 november 2004 ) .
two of the horror film fans linked the choice of director to the scares they anticipated . gamer 42 argued : ‘i feel this movie would have been more horrific if mr romero had written the screenplay and directed the film’ ( gamer 42 8 may 2003 ) . gamer 69 on the other hand liked the scares anderson achieved in the adaptation of mortal kombat and was satisfied with the scares in resident evil : ‘just like with mortal kombat from the computer game , paul anderson has once again succeeded in creating an amazingly horrifying yet interesting film’ ( gamer 69 31 october 2004 ) .
in the first part of this paper , i established a set of similarities and differences between games and films . this was done for two reasons . firstly , i wanted to understand more fully the differences between games and films . and secondly , i wanted to begin to map any potential experiential divide i might encounter in the gamers’ posts . it was revealed in the findings that almost a quarter of gamers commented on the game - play experience and the differences between game - play and spectatorship .
the’ manson score’ is then commended and then gamer 2 ponders the relation between the ending and the resident evil games , pointing out that they could probably do with ‘a trivia site’ to help them fill in the gaps in their knowledge of the resident evil universe . gamer 2 ends in characteristic film critic style , by pondering also whether they would recommend this film to others :
as suggested , this physical dimension also alludes to what the game is doing to them . mostly , the game brings shocks , scares , and jumps , and the film was measured by gamer 7 in this respect : ‘both the game and the movie are edge of the seat fright fests that will definitely get your heart racing’ ( gamer 7 9 december 2002 ) . similarly gamer 27 measures the film’s success through ‘jumps’ but found it wanting : ‘i was expecting a spooky mansion with plenty of jumps and chilling special effects . whilst playing the videogame i jumped hundreds of times and i jumped no times during this film’ ( gamer 27 23 april 2003 ) . for gamer 58 the film and the game physically captured them in different ways . for them the film ‘…doesn’t make you jump from your chair , instead it glues you to it’ ( gamer 58 13 november 2003 ) .
the discourse surrounding the romero / anderson story is also interesting in the context of barker and brooks’ findings . the authors argue that conflicts and stresses surround films and these can have an impact on audience expectations and indeed , on their decisions as to whether to view the film or not ( ibid : 232 ) . i think this argument is borne out very well in the case of my research and the gamers’ views on the sacking of romero from the film and his replacement with anderson . this decision was rarely viewed as anything other than a mistake by the gamers sampled . for them , the promise of realising the intertextual relations between the game , the film and romero’s status as author of the living dead films was hard to resist and the disappointment expressed by these gamers when they learned that he had been fired was palpable . the discourse articulated here , then , is best described in this statement : the film partly failed as film and as adaptation because romero was the natural choice of director and he was fired .
it was clear from the analysis that the gamers took up a number of different positions in their critical appraisals of the film . by critical position , i mean the specific critical angle the posts were coming from . were they more concerned with how the film compared to the game , or did their critical reviews centre on reviewing the film itself ? furthermore , the gamers typically adopted more than one critical position . however , in the vast majority of these had a preferred or dominant position that could be determined from the analysis of their critical views . the critical positions identified in the research were : resident evil fans , film critics , horror film fans , zombie film fans and videogames fans . it is important to note that a distinction has been drawn between resident evil fans and videogame fans because not all of the videogames fans were also fans of the game . they were , primarily , fans of the form ( videogames ) rather than the content ( the game ) or in some cases , other types of content ( other videogames ) and those articulating from this critical position made this clear in their posts . table 1 below shows the different types of critical positions observed in the analysis .
the often overlooked fact that as a re gamer , you usually have at least in part a lot of information in the world around you . you know things you couldn’t otherwise know . for example , how things work , maps , where things are , etc . this movie does a great job of keeping the viewer informed in this manner , without going so far as to ruin the surprises’ ( gamer 20 10 february 2003 ) .
in addition to these game - like features , the film also sought to emulate the investigative mode of the game . this is done through the use of labyrinths . as set designer , richard bridgland explained : ‘when you play the game you never know what is going to be around that corridor’ ( bridgland 2002 ) . one of the stars , michelle rodriguez reiterates this . her take on the narrative flow of the film mirrors that of the game . she says : ‘you have to solve things at every turn you take’ ( rodriguez 2002 ) . bridgland makes clear the intentions of the film makers in tackling the adaptation . he states :
this study has attempted to understand gamers’ responses to the film adaptation of resident evil in great detail , getting close to their reviews . critical positions were identified as were key discourses in their posts . but this is not enough to ensure the utility and validity of this pursuit . the findings must now be connected to social and cultural spheres . here i reiterate that my intentions are similar to barker and brooks , who state that they ‘want to be able to understand…how people’s responses to films like dredd can be studied as social phenomena’ ( barker and brooks 1998 : 115 ) .
this film had two possible directions . it could have been a gore fest zombie film , or a psychological deep thriller…unfortunately , paul w s anderson seemingly has trouble with this concept and opted to follow both . he ends up with one of the messiest films i’ve ever witnessed ( gamer 115 4 january 2005 ) .
point - of - view is used in largely the same way in survival horror games as are used in film . as king and krzywinska state : ‘predetermined framing of this kind acts like that of a film , to some extent , directing the attention of the player and creating visual diversity through shifts of perspective , although at the expense of player freedom’ ( 2002 : 13 ) .
in a sense , this discourse teaches gamers to expect to be disappointed when they view a videogame adaptation in film , but keeps them interested – and viewing – with a promise that the adaptations will eventually improve . for gamers , this offers a kind of promise of deferred pleasure . for the film and games industries , this means a steady supply of hopeful punters . the veracity of this statement can be seen perhaps in my sample . a quick count reveals that 26 of the 118 gamers sampled were looking out for the sequel – 11 of whom disliked the first adaptation . only two gamers said that the film was so bad they would avoid the sequel at all costs . around a quarter of the gamers had also seen the film more than twice – some of these to their “disgust” and “surprise” .
to sum up here then , i have argued that several discourses have been identified through the course of this research that in my view provide interesting insights into the ways gamers responded to the film adaptation of resident evil . some of these discourses relate to the filmic plain ( game to film adaptations , choice of director ) , some to industrial and cultural practices ( game to film adaptations , low brow games , and some to the specific pleasures of the game ( being like the game ) and game - play ( frustrated ergodic pleasures ) . in my conclusion , i attempt to draw the research together – audience , film and franchise – in order to assess how far an understanding of all three facilitates a better understanding of the social and cultural significance of media adaptations and their audiences .
not all thought that the feel had been successfully recreated in the film . gamer 46 attempted to speak for disappointed resident evil fans and lamented the elements missing in the film that made the game so unique and special . they state : ‘we wanted to endless scares , suspense , a creepy environment . we deeply wished to see the dark atmosphere present in the game , but we get nothing of this’ ( gamer 46 27 july 2003 ) .
few of these gamers had anything positive to say about game to film adaptations . it was noted , however , that some of the gamers thought that anderson’s resident evil was the best attempt yet .
littlerock is actually about families , born into and stumbled across in the middle of nowhere . it begins with the quintessential american disconnect — an automotive breakdown in the midst of a road trip . japanese tourists — brother and sister — on a genealogical pilgrimage to the manzanar world war ii japanese - american internment camp find themselves stranded in a motel full of hopped - up trailer trash . shit ensues : bike rides , shotgun beers , drug deals and one of the most exquisitely etched love triangles ever not written .
as krzywinska noted , investigation and exploration are rewarded in game - play . some spoke of this in their reviews . for example , gamer 12 attempted to explain why the film disappointed them . for this gamer , the film did not reflect the game’s premise of ‘…a lone character in a genuinely spooky mansion never knowing what unspeakable horror was round the next corner…’ ( gamer 12 21 december 2002 ) .
for the gamers who articulated this discourse , clearly , anderson had failed . game avatars do not require in - depth characterisation as players bring themselves to the avatar . film characters do require more depth of characterisation , their motivations need to be established and they need to be situated in relation to other characters . the archetypes in the film adaptation were neither fish nor fowl and for some this rendered them useless .
this part of the paper has sought to underline some of the key similarities and differences between games and films identified in literature drawn from games studies and films studies . as noted earlier , the film - makers also sought to play with the differences and similarities between the game and film versions of resident evil and the game - like aspects were picked up on by a number of critics . but how did gamers respond to the adaptation ? can issues relating to the differences between game - play and film viewing be found in the gamers’ responses ? in broader terms , this paper seeks to contribute to an understanding of how contemporary users of media products negotiate their inter - medial experiences .
my own exposure to the small form collective came through artist and filmmaker lee lynch , whose work i have followed ( disclosure : and occasionally collaborated on , in a celebrity cameo capacity ) for a few years . while he was still a student at calarts , lynch gave me a copy of his student feature transposition of the great vessels ( a fictionalized account of the auteur ' s literal conception — greeeat ! ) , which i shelved alongside other student videos i ' d accumulated over the years ; pretty low in the rotation .
a large number of barker and brooks’ respondents were fans of judge dredd and readers of 2000ad . in their vip entitled “dredd’s deserts” , the viewers’ patterns of talk revolved around the discussion of ‘what judge dredd was really like , and what he deserves’ ( ibid ) . this vip articulated ‘a language of insiders’ knowing appreciation’ ( ibid ) . i anticipate patterns similar to this will emerge from my research . resident evil fans , like dredd fans are in a sense stake holders , and curators of knowledge . how would they respond to the film makers’ attempts to assign the film as a prequel ? will they accept this new history of the resident evil universe ? and if they are concerned with the film being ‘like the game’ , what does that actually mean , since games and film offer similar but also different pleasures ?
the discourses surrounding the choice of director are complex and also reveal how work is done by viewers prior to the viewing of a film . as we saw in the findings , criticisms relating to the choice of director were found with some regularity and consistency in the posts of the those expressing the dominant critical position of the resident evil fans , but they were also evidenced in other critical positions with less frequency . the three specific discourses relating to the choice of director revolved around anderson as specialist in the already denigrated game to film ‘genre’ , anderson’s credentials as a fan / player of the games , and the romero sacking .
the videogame fans were not the only ones for whom the differences between game - play and film spectatorship mattered . in this section , the sample is taken as a whole i . e . irrespective of critical position in order to examine the ergodic aspects they felt did or not deliver a game - like experience . did gamers articulate a sense of loss or lack from game to film ? were viewers / gamers of resident evil frustrated spectators ?
coyotes lope across our land all the time . two days ago three does trotted single file along a ridge about 60 yards from the house , as i turned to watch them , i saw a single coyote in pursuit , followed by a straggling pup . the survival parade dipped down into the wash , then back up the other side of a trail that connects to one of our regular mountain bike and hiking trails . a minute later , the deer had switched back my way and were headed around my sister ' s house , the coyote still about 20 yards back , the pup nowhere to be seen .
it is clear from the posts that measuring the likeness to the game was a consistent preoccupation for those assessing the film from the dominant position of the resident evil fan . in the main , anderson seems to have correctly identified the monsters that the fans would like to see brought to life . but the main areas of contention for these gamers centred on the non - adherence to the resident evil story , the lack of characters from the game , and interestingly , the concept of feel .
anderson also sought to bring the sets from the game to life by building replicas : ‘ . . . you’ll recognize pieces of hardware and sets from the game . we rebuilt some of the sets from the game . like in resident evil 2 , there’s a big train . we built that train’ ( ibid ) . in addition , anderson ensured that plot elements from the games were included in the film and various characters from the games were referenced . as anderson states : ‘there are story points and references to characters . it really operates within the world of the video game’ ( ibid ) . the film departed from the game world in a bid to bring what anderson described as ‘added value’ for fans . for example , while having favourite monsters from the game world in the film , the director added a new monster . he states :
the gamers posting on imdb’s resident evil message board had a point in posting : to varying degrees they are all recording and publishing their views on the film for themselves and others they anticipate are like - minded . there is no reply facility so gamers do not talk to each other about the film . are they as solitary and ‘sad’ as the fanboy tag suggests ? do they show awareness of talking to others , as gamers , as fans of resident evil and / or film reviewers or are they locked in their own private , obsessive worlds ? what , ultimately , does their participation on this site mean ?


the kid , also known as kid cheung and my son a-chang , is a 1950 hong kong drama film starring the then 10-year-old bruce lee in his first leading role in the title role of " kid cheung " , based on a comic book character written by yuen bou-wan , who also has a role in the film .

co-starring lee 's father , lee hoi-chuen , this is the second film in which the father and son worked together on , the other being the birth of mankind in 1946 .

the kid ( 1950 film )

the wonder kid is a drama , from 1950 , about a musical prodigy who is kidnapped .
, a 1950 hong kong film featuring a ten - year - old bruce lee in a starring role . although
there are no featured reviews for i shot billy the kid at this time .
marshal tyrone and the silver kid form an uneasy alliance against a gang of claim jumpers .
there are no critic reviews yet for i shot billy the kid . keep checking rotten tomatoes for updates !
in new mexico , billy the kid is involved in the lincoln county war , kills many rivals and eventually becomes a wanted fugitive .
a young bruce lee stars in this film adaptation of a popular chinese comic strip .
john wayne , one of the most popular film actors of the 20th century , remains a popular american icon to this day .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
audie murphy is quite an interesting phenomenon , though a little old to play the young billy the kid . this is one of the tellings that tries to back up billy the kid , though painting him more as a tragic figure than as an antihero or villain . a good movie to catch with dad .
billy the kid becomes embroiled in lincoln county , nm , land wars . when rancher who gave him a break is killed by rival henchman , billy vows revenge . new employer takes advantage of his naivety to kill rivals , lets the kid take rap . kid takes to the hills with friends until caught . escapes hanging but remains in area to be near employer ' s young wife with whom he ' s infatuated
billy the kid becomes embroiled in lincoln county , nm , land wars . when rancher who gave him a break is killed by rival henchman , billy vows revenge . new employer takes advantage of his naivety to kill rivals , lets the kid take rap . kid takes to the hills with friends until caught . escapes hanging but remains in area to be near employer ' s young wife with whom he ' s infatuated .
we don ' t have enough data to suggest any movies based on the kid . you can help by rating movies you ' ve seen .
from lippert studios , the same company responsible for i shot jesse james , comes i shot billy the kid . those who know their western history will recall that billy the kid was gunned down by his friendly enemy pat garrett . this time around , garrett is played by robert lowery , while the larger part of billy is essayed by don barry ( a bit too old for the part , though physically perfect ) . the film recounts garrett and billy ' s volatile relationship , and the events leading up to their final , fatal confrontation . brooklynese supporting actor sid melton seems a bit out of place as the film ' s nominal comedy relief .
in the later part of the 1960s , wayne had some great successes and failures . he co - starred with robert mitchum in el dorado ( 1967 ) , which was well received . the next year , wayne again mixed the professional and the political with the pro - vietnam war film the green berets ( 1968 ) . he directed and produced as well as starred in the film , which was derided by critics for being heavy handed and clichéd . viewed by many as a piece of propaganda , the film still did well at the box office .
this list collects every film from the starting list that became they shoot pictures don ' t they ' s 1000 greatest films . this…
but is the kid really any good ? certainly , the presence of a young bruce lee gives the film a certain novelty value . and as a surviving piece of 1950s hong kong cinema , it definitely has some historical value as well . but actual entertainment value ? the kid shows a national cinema that hasn’t quite matured just yet , but ( with the benefit of hindsight ) shows a tremendous amount of potential - a potential perhaps best embodied by its pint - sized leading man and a future international superstar in the making . ( calvin mcmillin 2008 )
working with ford , he got his next big break in stagecoach ( 1939 ) . wayne portrayed the ringo kid , an escaped outlaw , who joins an unusual assortment of characters on a dangerous journey through frontier lands . during the trip , the kid falls for a dance hall prostitute named dallas ( claire trevor ) . the film was well received by movie goers and critics alike and earned seven academy award nominations , including one for ford & apos ; s direction . in the end , it took home the awards for music and for actor in a supporting role for thomas mitchell .
billy the kid ( murphy ) becomes embroiled in lincoln county , nm , land wars . when rancher who gave him a break is killed by rival henchman , billy vows revenge . new employer takes advantage of his naivete to kill rivals , lets the kid take rap . kid takes to the hills with friends until caught . escapes hanging but remains in area to be near employer ' s young wife ( storm ) with whom he ' s infatuated . falls into trap by pat garrett and is shot down while gazing at woman thru window .
wayne started working behind the scenes as a producer in the late 1940s . the first film he produced was angel and the badman ( 1947 ) . over the years , he operated several different production companies , including john wayne productions , wayne - fellows productions and batjac productions .
taking on a war drama , wayne gave a strong performance in sands of iwo jima ( 1949 ) , which garnered him his first academy award nomination for best actor . he also appeared in more two westerns by ford now considered classics : she wore a yellow ribbon ( 1949 ) and rio grande ( 1950 ) with maureen o & apos ; hara .
the movies were always a part of bruce lee’s life . his father ( who plays the rich businessman here ) was a leading cantonese opera singer and film actor , and through that association bruce made his first on - screen appearance in golden gate girl ( 1941 ) at the tender age of 3 months . the kid –which was based on a comic strip character - stars 10 year - old bruce as a poor lad who gets mixed up with a street gang .
i thought the film was cute at the start ; i got a lot of chuckles out of it , and bruce has oodles of screen presence ( it’s funny to note that he was doing that ‘thumb to the nose’ gesture even then ) . his father was a…
american actor / stuntman jock o ' mahoney ( aka jock mahoney ) stars in the australian the kangaroo kid . the star plays a 19th - century san francisco detective named tex kinnane , who is sent
down under
to nab shyster lawyer vincent moller ( douglass dumbrille ) . several comparisons are made between the american wild west and the equally treacherous australian outback .
john forsythe was a theater , film and tv actor . he won golden globes for playing blake carrington in aaron spelling’s long - running prime - time drama dynasty .
is largely about class conflict , with the filmmakers clearly siding with the struggling poor over the ever - greedy and petty rich . those stuck in poverty are invariably depicted in a positive light - the diligent female workers , the long suffering teachers ( e . g . , uncle ho ) , and the innocent children ( e . g . , cheung and his siblings ) . but even the thieves in this film have honor , something the “respectable” rich do not . this isn’t a film that romanticizes poverty , but it does portray the “have nots” as possessing a kind of inherent decency and heroism , a common representation not just in hong kong , but cinemas worldwide .
one jump ahead of the bushrangers . . . two jumps ahead of the law
check out highlights from some of the best recent trailers including mandy , the predator , zoe , and the king of thieves .
' bad films ' : one - and - a - half - star ( out of five ) film ratings by ' the motion picture guide ' ( jay robert nash and stanley ralph ross , cinebooks , inc . ; 1927 - 1983 )
reunited with ford and mitchell , wayne stepped away from his usual western roles to become a swedish seaman in the long voyage home ( 1940 ) . the film was adapted from a play by eugene o & apos ; neill and follows the crew of a steamer ship as they move a shipment of explosives . along with many positive reviews , the movie earned several academy award nominations .
’s final reel where the underlying message of the film becomes apparent . the story essentially boils down to a morality tale about taking responsibility for your life , leaving a life of crime behind , and getting a real job to become a useful person in society . it’s a message that hasn’t gone out of style : those who have seen stephen chow’s
- ayun halliday had the dynamite magazine with bruce lee on the cover . follow her @ ayunhalliday
when a wagon train is wiped - out by the yaqui indians , the surviving guide jim harvey is accused of desertion and cowardice but jim escapes the town jail in search of the truth .
meanwhile , at hung’s factory , the workers ( mostly women ) decide to strike in order to get better working conditions . hung’s duplicitous son , chiu ( series creator yuen wo - pan ) has other ideas and decides to disrupt the peaceful sit - in by hiring flying blade lee and his den of thieves to vandalize the factory . not only is chiu planning to set up the workers to take the blame , but he also wishes to double - cross flying blade lee as well . in this world of adult problems can ten - year - old kid cheung help save the day ? well , the movie
yuan bou - wan ( 袁步雲 , also written as yuen po - wan ) was a hong kong manhua artist and movie actor . he created several notable characters for newspapers , such as ' kid cheung ' and ' miss lau ' . both have also been adapted into movies .
the main attraction of the movie , of course , is “the kid” himself , bruce lee . although his role is more limited than you might expect ( considering the title ) , whenever the ten - year - old bruce lee is onscreen , he’s quite the little charmer . while there are some mildly amusing bits scattered throughout the picture , one standout scene occurs when ah cheung entertains his little siblings with a comedy routine that pokes fun at his grade school experiences . although only a child , lee’s ineffable charisma is surprisingly present , not to mention his trademarked gestures – the compulsive thumbing of the nose and the jutting out of his lower jaw to look tough ; it’s all there . he also overacts a bit , a bad habit that he wouldn’t exactly shake , even as he matured into adulthood .
open culture editor dan colman scours the web for the best educational media . he finds the free courses and audio books you need , the language lessons & movies you want , and plenty of enlightenment in between .
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a 10 - year - old bruce lee stars as kid cheung , an orphan boy who sells comics in a little stall in the slums to survive . he and his two siblings are looked after by his uncle ho , a teacher . when the wealthy hung pak - ho surveys the slums to build a school for orphans , he is robbed by the vicious blade lee and his gang . cheung helps blade lee escape and earns his friendship , but uncle ho convinces him to return the gold necklace lee stole . hung rewards ho by hiring him as his private secretary .
“the men who control the big studios today are stock manipulators and bankers . they know nothing about our business . they ' re in it for the buck . ”
factually absurd and fairly lame in its pat psychological theorizing , but still a fascinating take on billy the kid , not only because audie is simply perfect for the role ( the budding fresh - faced american killer myth inhabiting the elder ) but also because of the dissonance built into an unusually elastic classical hollywood approach that seeks all at once to honor the messiness of a legendary violence but also build up a likable young star ( a transient , implacable 2d historical marker , pat garrett is thoroughly marginalized here , granting billy the dual role of angel / demon ;
. . . and left his final judgement to god
the last words to ring out in voice - over over billy ' s grave ) creating a startling mesh of images like so :
before the civil war , lt . jed sayre ' s efforts to conciliate the cavalry and the navajo are undermined by his racist c . o . and confederate sympathizers .
wayne portrayed an aging gunfighter dying of cancer in his final film , the shootist ( 1976 ) , with jimmy stewart and lauren bacall . his character , john bernard books , hoped to spend his final days peacefully , but got involved one last gunfight . in 1978 , life imitated art with wayne being diagnosed with stomach cancer .
out of school , wayne worked as an extra and a prop man in the film industry . he first met director john ford while working as an extra on mother machree ( 1928 ) . with the big trail ( 1930 ) , wayne received his first leading role , thanks to director raoul walsh . walsh is often credited with helping him create his now legendary screen name , john wayne . unfortunately , the western was a box office dud .
actor john wayne was born marion robert morrison on may 26 , 1907 , in winterset , iowa . ( some sources also list him as marion michael morrison and marion mitchell morrison . ) one of the most popular film actors of the 20th century , john wayne remains a popular american icon to this day . he was already a sizable presence when he was born , weighing around 13 pounds .
finally , ' hot - tempered leung ' was originally a pre - war newspaper column by yan wu - fa for the red green daily . the 1947 movie adaptation by yu leung in turn resulted in a two - volume comic book by yuan bou - wan in that same year . yuan bou - wan was furthermore an actor in a great many hong kong film productions between 1947 and 1995 .
louis xvi was the last king of france ( 1774–92 ) in the line of bourbon monarchs preceding the french revolution of 1789 . he was executed for treason by guillotine in 1793 .
winning a football scholarship to university of southern california ( usc ) , wayne started college in the fall of 1925 . he joined the sigma chi fraternity and continued to be a strong student . unfortunately , after two years , an injury took him off the football field and ended his scholarship . while in college , wayne had done some work as a film extra , appearing as a football player in brown of harvard ( 1926 ) and drop kick ( 1927 ) .
wayne made his directorial debut with the alamo ( 1960 ) . starring in the film as davy crockett , he received decidedly mixed reviews for both his on - and off - screen efforts . wayne received a much warmer reception for the man who shot liberty valance ( 1962 ) with jimmy stewart and lee marvin and directed by john ford . some other notable films from this period include the longest day ( 1962 ) and how the west was won ( 1962 ) . continuing to work steadily , wayne refused to even let illness slow him down . he successfully battled lung cancer in 1964 . to defeat the disease , wayne had to have a lung and several ribs removed .
a well - known conservative and anticommunist , wayne merged his personal beliefs and his professional life in 1952 & apos ; s big jim mclain . he played an investigator working for the u . s . house un - american activities committee , which worked to root out communists in all aspects of public life . off screen , wayne played a leading role in the motion picture alliance for the preservation of american ideals and even served as its president for a time . the organization was a group of conservatives who wanted to stop communists from working in the film industry , and other members included gary cooper and ronald reagan .
wayne worked with o & apos ; hara on several films , perhaps most notably the quiet man ( 1952 ) . playing an american boxer with a bad reputation , his character moved to ireland where he fell in love with a local woman ( maureen o & apos ; hara ) . this film is considered wayne & apos ; s most convincing leading romantic role by many critics .
the late actress patty duke won an academy award in 1963 at age 16 for her portrayal of helen keller in ' the miracle worker ' —becoming the youngest oscar recipient at the time . she later starred in an array of tv movies and became a mental health activist .
the clunkiest gay western i ' ve ever seen . an unaware audie , in his first year in hollywood , is made the butt of one faggot joke after the next . should have been directed by fassbinder .
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the son of napoleon bonaparte , who named him as his successor , napoleon ii never actually ruled france , but was considered the titular emperor .
amusing with good characterizations and a good cast to start out with , but pretty flat in plot and in camerawork , though by no means predictable . the characters pretty much do not change at all over the course of the movie , but they are interesting enough to begin with . there were perhaps too many people involved although it made for straightforward condemnation of corrupt , selfish , and stingy business owners throughout , which the film indicts as being much more criminal than actual riffraff lawbreakers , some of whom are war veterans with no other means . charming to see 10 - year - old bruce lee in a pretty prominent role though , and his father plays in this as well . i also really liked susie and the other kids .
was lee’s first breakout motion picture as an adult , in truth , the now legendary icon starred in about twenty hong kong - made films as a youth before eventually relocating to the united states at the age of eighteen . in this , his fifth movie , lee plays ah cheung , the title character .
albert , first duke of prussia and last grand master of the teutonic knights , is known chiefly for ending the teutonic knights ' government of east prussia .
in honor of his charitable work in the fight against cancer , wayne & apos ; s children established the john wayne cancer foundation in 1985 . the organization provides support to numerous cancer - related programs and to the john wayne cancer institute at saint john & apos ; s health center in santa monica , california .
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john wayne was born may 26 , 1907 , in winterset , iowa . he received his first leading film role in the big trail ( 1930 ) . working with john ford , he got his next big break in in stagecoach ( 1939 ) . his career as an actor took another leap forward when he worked with director howard hawks in red river ( 1948 ) . wayne won his first academy award in 1969 . he died of cancer in 1979 .
shortly before his death , the u . s . congress approved a congressional gold medal for wayne . it was given to his family in 1980 . in the same month as the duke & apos ; s passing , the orange county airport was renamed after him . he was later featured on a postage stamp in 1990 and again in 2004 and was inducted into the california hall of fame in 2007 .
the oldest of two children born to clyde and mary
molly
morrison , wayne moved to lancester , california , around the age of seven . the family moved again a few years later after clyde failed in his attempt to become a farmer .
, even though the two films are separated by a gulf of almost sixty years .
' miss lau ' deals with the adventures of a pretty maid and the men who pursue her . this character was also the subject of a movie , which broke box office records when it premiered in 1949 . among yuan ' s other notable creations are ' arrogant chiu ' , originally published in red green daily , and ' wong chai ' . the latter starred a spineless young man who cowers before his wealthy uncle , and gave the artist ' s satirical look at the gap between hong kong ' s upper and lower classes .
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“i ' ve played the kind of man i ' d like to have been . ”
hiding in the mountains from the law , father and son break wild horses until a lost female lawyer joins them to help clear their name , but some would rather see them dead .
an agent sent from washington in 1874 takes charge of an apache reservation and has the oppressive us army back off , which creates conflicts and causes the indians to have great respect for him .
with jurassic world : fallen kingdom now in cinemas , we take a look at how imdb users rated the films of the franchise . plus , browse exclusive lego® jurassic world playsets , presented by lego .
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a newspaper publisher and his asian valet / martial arts expert battle crime as the feared green hornet and kato .
tex kinnane ( jock mahoney as jock o ' mahoney ) , posing as a stage driver , goes to australia to investigate a series of robberies at goldstar . he makes friends at the saloon with baldy muldoon ( alex kellaway ) and barmaid stella grey ( veda ann borg ) . lawyer vincent moller ( douglass dumbrille ) , the leader behind the robberies , learns tex ' s real identity , and frames a plot to blame the crimes on tex .
when whites hunger after the gold on ute indian land , a bigoted young man finds himself forced into a peacekeeping role .
around this time , wayne made the first of several movies with german actress and famous sex symbol marlene dietrich . the two appeared together in seven sinners ( 1940 ) with wayne playing a naval officer and dietrich as a woman who sets out to seduce him . off - screen , they became romantically involved , though wayne was married at the time . there had been rumors about wayne having other affairs , but nothing as substantial as his connection to dietrich . even after their physical relationship ended , the pair remained good friends and co - starred in two more films , pittsburgh ( 1942 ) and the spoilers ( 1942 ) .
lee plays a young man who comes under the tutelage of a convict and must make hard choices about his life ' s direction .
: eight years ago ? well , that ' s ridiculous . the boy couldn ' t have been more than twelve years old !
it’s during this little bit of sightseeing that both hung and his young daughter are pick - pocketed by a local rascal named flying blade lee ( director feng feng ) . while fleeing the scene of the crime , flying blade takes refuge in ah cheung’s cramped little dwelling . instead of turning the thief in for a reward , ah cheung helps him escape , a gesture which immediately garners flying blade’s respect and friendship .
bruce lee has remarkable staying power . forty years after his untimely death , he ' s still celebrated as a charismatic and influential lethal weapon . remember how pelé ushered in america ' s soccer craze ? bruce did the same for kung fu . for those of us who came of age in the 70 ' s , he was evel knievel , the fonz , and sylvester stallone ' s rocky rolled into one .
wayne won his first academy award for best actor for true grit ( 1969 ) . he played rooster cogburn , an eye - patching drunkard and lawman , who helps a young woman named mattie ( kim darby ) track down her father & apos ; s killer . a young glen campbell joined the pair on their mission . rounding out the cast , robert duvall and dennis hopper were among the bad guys the trio had to defeat . a later sequel with katherine hepburn , rooster cogburn ( 1975 ) , failed to attract critical acclaim or much of an audience .
in 1956 , wayne starred in another ford western , the searchers , and again showed some dramatic range as the morally questionable civil war veteran ethan edwards . he soon after reteamed with howard hawks for rio bravo ( 1959 ) . playing a local sheriff , wayne & apos ; s character must face off against a powerful rancher and his henchmen who want to free his jailed brother . the unusual cast included dean martin and angie dickinson .
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outraged by redleg atrocities , the james and younger brothers along with kit dalton join quantrill ' s raiders and find themselves participating in even worse war crimes .
with a six - shooter . . . fists . . . or bowie knife . . . no one gets the jump on him ! ( original poster )
there is some shooting , but nobody is hit . there are a couple of fight scenes , with characters delivering some punches and rolling around on the ground .
unjustly accused of robbing the train he was riding home , bill doolin re - joins his old gang , participates in other robberies and becomes a wanted outlaw .
an academy award - winning director , john ford is considered to be one of the best filmmakers of all time . he is best known for directing westerns .
to kill time , i diged hard into my library . and i found an interesting item i got years ago . a lesley selander one . a western , of course . it seems to be a sort of mix up between western and modern adventure . we don ' t see cars but i feel that this story takes place not so long ago ; the buildings , furniture and so on . . . anyway , this is the story of a private investigator - see ? - who is sent from usa to australia to catch a criminal , robber and killer . the lead character is played by jock mahoney . from that , there is nothing unusual . the classic fists and gun fights , stagecoach robbery - in australia , i recall - and little romance between mahoney and the gal . i forgot her name . a good little suspenser to waste time .
prince rupert , a 17th century soldier , statesman and scientist , is best known for his talent as a royalist commander of the english civil war ( 1642 - 1651 ) .
when the thief departs , he leaves behind a stolen necklace , and ah cheung and uncle ho immediately return it to hung . that expensive piece of jewelry actually belongs to hung’s young daughter , and thanks to some earnest convincing on her part , both ah cheung and his uncle get rewarded : uncle ho becomes hung’s private secretary and the young girl’s tutor , while ah cheung is allowed to enroll in a good school . unfortunately , ah cheung is teased by the other students and gets expelled for fighting , a turn of events which eventually leads him to join up with flying blade lee’s band of merry men . uncle ho is disheartened by ah cheung’s descent into thievery , and the two have a terrible falling out .
“i would like to be remembered , well , the mexicans have a phrase , ' feo fuerte y formal . ' which means he was ugly , strong and had dignity . ”
bruce lee was around nine years old when he made this melodrama , playing a poor boy who becomes the protege of a neighborhood gangster . here his uncle confronts him about his new life .
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fugitive bank robber joe maybe steals the identity of a marshal and rides into a town whose judge asks joe to act as town marshal but an old flame almost betrays his real identity forcing joe to claim she ' s his wife .
settling in glendale , california , wayne received his distinctive nickname
duke
while living there . he had a dog by that name , and he spent so much time with his pet that the pair became known as
little duke
and
big duke ,
according to the official john wayne website . in high school , wayne excelled in his classes and in many different activities , including student government and football . he also participated in numerous student theatrical productions .
tex kinnane ( jock mahoney as jock o ' mahoney ) , posing as a stage driver , goes to australia to investigate a series of robberies at goldstar . he makes friends at the saloon with baldy muldoon . . . see full summary »
raised alongside his two younger siblings by his uncle ho ( yee chau - shiu ) , ah cheung is an orphan boy living a life of poverty in the slums of hong kong . his life takes a dramatic turn when a wealthy factory owner named hung pak - ho ( played by lee’s real - life father , lee hoi - chuen ) moseys into the ghetto to look for a proper place to build a new school - a political promise he actually has no intention of honoring .
“oscar and i have something in common . oscar first came to the hollywood scene in 1928 . so did i . we ' re both a little weatherbeaten , but we ' re still here and plan to be around for a whole lot longer . ”
wayne died on june 11 , 1979 , in los angeles , california . he was survived by his seven children from two of his three marriages . during his marriage to josephine saenz from 1933 to 1945 , the couple had four children , two daughters antonia and melinda and two sons michael and patrick . both michael and patrick followed in their father & apos ; s footsteps michael as a producer and patrick as an actor . with his third wife , pilar palette , he had three more children , ethan , aissa , and marisa . ethan has worked as an actor over the years .
around this time , wayne continued to espouse his conservative political views . he support friend ronald reagan in his 1966 bid for governor of california as well as his 1970 re - election effort . in 1976 , wayne recorded radio advertisements for reagan & apos ; s first attempt to become the republican presidential candidate .
wayne & apos ; s career as an actor took another leap forward when he worked with director howard hawks in red river ( 1948 ) . the western drama provided wayne with an opportunity to show his talents as an actor , not just an action hero . playing the conflicted cattleman tom dunson , he took on a darker sort of character . he deftly handled his character & apos ; s slow collapse and difficult relationship with his adopted son played by montgomery clift . also around this time , wayne also received praise for his work in john ford & apos ; s fort apache ( 1948 ) with henry fonda and shirley temple .
for nearly a decade , wayne toiled in numerous b movies - mostly westerns - for different studios . he even played a singing cowboy named sandy saunders among his many roles . during this time period , however , wayne started developing his man of action persona , which would serve as the basis of many popular characters later on .
bruce lee shined in his first leading role as a - chang in this vivacious social comedy , playing a 10 - year - old orphan who ' s raised by a righteous uncle ( yee ) , groomed by a skilled thief ( fung ) and involved in all sorts of trouble around the factory of a hilariously forgetful miser ( lee hoi - chuen , lee ' s father ) .
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brandon lee : a guy tried to rob me once . . . . big mistake ( rare interview )
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bruce lee shined in his first leading role as a - chang in this vivacious social comedy , playing a 10 - year - old orphan who ' s raised by a righteous uncle ( yee ) , groomed by a skilled thief ( fung . . . see full summary »
hotel transylvania 3 : summer vacation stars plan their dream summer getaways to some memorable movie settings .
13 - year old bruce lee plays san , a child up for adoption . finally accepted by his surrogate parents , he is faced with a dilemma when his real parents show up and want him back .
a young woman from kansas hires la private detective philip marlowe to find her missing brother .
a young man sworn to an oath of non - violence works with his cousins in an ice factory where they mysteriously begin to disappear .
a man visits his relatives at their restaurant in italy and has to help them defend against brutal gangsters harassing them .
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a young gun slinger tries to help a rancher and his daughter , save their land and cattle from an evil , wealthy land owner .
when his father and brother are murdered by a corrupt lawyer and sheriff duo , railroad surveyor clay o ' mara plans his revenge , and is aided by former outlaw whitey kincade .
a beautiful woman with an ulterior motive hires two gunslingers to escort her through indian territory so she can be reunited with her awaiting husband .
: suppose i told you there were half a dozen warrants out for his arrest right now . one for killing a man out of silver city , colorado , eight years ago with a knife . another for killing four chiricahua indians .
: you don ' t judge a rattlesnake by his age . he ' s a rattler whether he ' s got one rattle or a dozen .
8 of 19 people found this review helpful . was this review helpful to you ? yes no | report this
felt a bit clunky . no natural flow . there are certainly better westerns out there
“if i ' d known this was all it would take , i ' d have put that eyepatch on 40 years ago . ”
“when people say a john wayne picture got bad reviews , i always wonder if they know it ' s a redundant sentence , but hell , i don ' t care . people like my pictures and that ' s all that counts . ”
“i ' m an american actor . i work with my clothes on . i have to . riding a horse can be pretty tough on your legs and elsewheres . ”
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henry vii was a 13th century german king and son of frederick ii , who was holy roman emperor .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
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