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A mere matter of semantics . We call it the Tanakh now . The writers of the New Testament , in plagiarizing parts of " the readings , " were attempting to duplicate their function . § " The Sleep of Reason Produces Monsters . " §

Very minor Spaghetti Western with a dreary plot , generally uninspired treatment ( by journeyman director Brescia ) and an underwhelming lead in Richard Wyler ( despite the frequent close-ups of his blue eyes ) . Typically , we get a stranger whose arrival in a town controlled by an unscrupulous man causes upheaval - - the latter's lackeys start dropping like flies , while the previously spineless citizens decide to make a stand ( even so , for a quartet of brothers , this only leads them to be buried up to their necks in sand . . . though they get to show their true mettle by the end ) . Aiding the boss is a gang of Mexican outlaws led by an uncouth yet rambunctious Fernando Sancho . Unusually , the score ( always a crucial element to this type of film ) is uncredited here - - which suggests that it may have been compiled out of cues from various other such efforts : as a matter of fact , I did recognize Texas , ADIOS ( 1966 ) ' s memorable main theme ( which is heard numerous times throughout ) ! The film's highlight is the casual demolition of a gun-shop in a fistfight involving Wyler and a handful of the boss ' men ; that said , the busy climax has the wily hero pitting town boss against Mexican bandit - - which is followed by a genuinely unexpected , thus effective , final twist revolving around a character depicted up to that point as merely benign ( and who's given an ironic come-uppance to boot ) . Incidentally , the American title of this one is utterly meaningless ; then again , the translated original - - TURN . . . I'LL KILL YOU ( actually spoken by Sancho only seconds before expiring ) - - is equally lame !

True : ) For that I think you'll need a different magazine , maxim never goes naked completely . Why are you screaming ? I haven't even cut you yet .

You cannot be trying to bring back up the Aswan Dam . You had your ass handed to you on that thread . § " The Sleep of Reason Produces Monsters . " §

muriel , Shahrukh has a bit role in ' King Uncle ' and for a kids movie , it's got a lot of sex , esp . the shower scene . It's really a bad ripoff of ' Annie ' . " a tulawin "

bump , finished product guys . Can't fit anymore people on their , so if you feel I missed anyone , then I'm going to have to make a whole other one for new characters . . . 1 , 2 Guess who's coming for you .

Every one of you are neglecting the issue of canon , which ought to be the centerpiece for ' Pauline skepticism . ' But not a one of you have any clue about the real nature of kanon . Do share with us the fullness of your knowledge , oh wise one . § " The Sleep of Reason Produces Monsters . " §

That is casuistic reasoning at its finest , designed to neutralize a teaching that one is uncomfortable with . The exchange is artificial anyway ; Jesus and the rich man are constructs , designed to impart someone's idea of an official teaching ; one cannot pretend that it was only for the individual , accidentally overheard and placed in the narrative . To hammer the point home , Jesus is made to expand the statement to his disciples , to say that it is hard for a rich man to get into heaven . It wasn't meant just for " him . " The thief is a different matter , a borrowing from a text in Josephus . § " The Sleep of Reason Produces Monsters . " §

Is the cemetery on the island , or off it ? Before they board the ferry , they stop at a cemetery for Jessica to take gravestone rubbings . It's here that she first glimpses the bandaged emaciated mute girl . Later , the cemetery ( complete with mute girl ) is shown as being within walking distance of the old Bishop place . It's where they find the " mole , " right ? Someone in post-production just didn't pay enough attention cutting sequences together ; for it to work , they'd just need to put the first cemetery scene after the ferry crossing . They probably didn't think audiences would notice the inconsistency , just like they didn't think the audience would know the difference between a mole and a black mouse . El sueño de la razón produce monstruos .

I wouldn't read too much into it . Chances are there will be an unrated version , kind of like Friday the 13th , which had a ' Killer Cut ' . But his answers didn't really convince me any which way . He's being very secretive . 1 , 2 Guess who's coming for you .

Why only the first half ? Does the sight of women giving Stuntman Mike the ass-kicking he so richly deserves threaten your manhood on some level ? I've watched the film with a number of friends who had that reaction to it , and that was pretty much the reason why . It made them uncomfortable . § " The Sleep of Reason Produces Monsters . " §

That was so corny , it was actually funny . Hehe . On April 30th , the Nightmare returns .

http www bollywoodhungama com broadband video Down the memory lane S QXYAO7 / 3 / Down - Memory - Lane - Shyam - Benegal . html : ) ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Thanks for the recommendation ! § " The Sleep of Reason Produces Monsters . " §

Anthony Franciosa was in The Long , Hot Summer w / Orson Welles who was in A Man for All Seasons w / York Next : Anna Lee

She's a terrific actress . For more examples of her fine acting watch ' Muriel's Wedding ' , ' My Son the Fanatic ' and ' Hilary and Jackie ' . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Christ was simply another one of numerous dying / rising gods , a solar deity . This is why Christianity merged so easily with the cult of Sol Invictus , the Unconquered Sun , adopting the day associated with the birth of the Sun with Jesus . Twelve disciples , twelve houses of the Zodiac . Correlations can be made between Jesus and the sign of Pisces . Pisces , meaning fish , is a water sign . There is much water and fish symbology in the Bible stories about Jesus , such as Jesus calling fishermen as disciples , being on the sea several times , calming the storm at sea , helping the disciples catch fish , performing miracles in feeding people with fish , walking on water , his baptism in water , and his talk with Nicodemus about being born again by " water and spirit . " A symbol commonly used among Christians was the icthys . The Gospels were exoteric texts which were meant to conceal esoteric truths . http members cox net deleyd religion index htm § " The Sleep of Reason Produces Monsters . " §

This is yet another outstanding effort from Oliveira , which remains sadly inaccessible to most film buffs – despite the director’s considerable reputation among the Art-house crowd , to say nothing of his current unique standing as the oldest ever active hand in the business ! Once again , the reception of the Italian TV channel during transmission wasn’t optimal – though not quite as detrimental as had been the case with PAST AND PRESENT ( 1972 ) . It’s a defiantly theatrical experiment akin to Carl Theodor Dreyer’s GERTRUD ( 1964 ) ( complete with three-act structure ) on a distinctly philosophical theme that , afforded a deliberately stylized mise-en-scene , proves a generally mesmerizing experience – if essentially heavy-going and , at 106 minutes , an emotionally draining one in the long run . Consequently , the acting is inherently stolid – bringing to mind the largely non-professional casts in the ( similarly spiritual ) work of Robert Bresson . As can be surmised from the title , the narrative concerns a teenager who suddenly finds herself inexplicably impregnated ( for the record , the contemporaneous A VIRGIN NAMED MARY ( 1975 ) – a low-brow but nonetheless interesting Italian comedy – was somewhat similar ) ; her relatives ( including a cousin / fiancé ) and closest associates ( maid , doctor , parish priest ) grill her for the truth about the identity of the possible father . The presence of the village idiot ( never actually seen , but his creepy wailing is the very first thing we hear on the soundtrack . . . which , as it happens , also features a rather ominous score ) around the house brings them to suspect him – while , to save appearances , the cousin confesses to having taken advantage of the girl while sleepwalking ( a condition she suffers from ) . However , the heroine claims that this ' immaculate conception’ is an act of God ( she admits to being drawn at night by a blinding light in the woods ) – which causes her misanthrope father to doubt the girl’s sanity , especially since her own mother died a lunatic ! The first act sees the maid alerting the doctor and priest as to Benilde’s mysterious pregnancy ; in the second , the doctor tells the girl’s aunt to have a talk with her – which later also involves her son , the heroine’s intended ; finally , the aunt approaches her brother ( the girl’s father ) where all the various suppositions come to a head ( the boy is willing to marry her regardless ) . . . except that Benilde has a fainting spell and eventually informs all that God is calling her to Him ! As I said , the film obviously has a deeply religious tone to it – yet it isn’t overly pious , but rather considers every possible angle and then lets the audience make up its own mind ; however , therein perhaps lies its problem . For one thing , we come out of it not really knowing whether Benilde’s visions and subsequent benediction were real or not ( i . e . if she was genuinely inspired or else merely deranged ) . Besides , while the whole ' miracle’ premise evokes Dreyer’s own ORDET ( 1955 ) – not to mention Benilde’s misunderstood personality paralleling that of Joan Of Arc ( the subject of a 1928 masterpiece by that same Danish film-maker ) – its ending denotes a resignation to the mystery of spiritual life as opposed to an affirmation of religious faith . The child is not even allowed to be born , whereas the outside world remains blissfully unaware of the deed after all – an ' oversight’ which can even be directed at THE EXORCIST ( 1973 ) , to which I’d propose the film under review as the perfect anti-dote ! P . S . Having just been impressed by this and PAST AND PRESENT ( not forgetting Oliveira’s disarming debut feature ANIKI BOBO ' [ 1942 ] – a paean to childhood innocence which had actually served as my introduction to his work a few years back ) , I hope some adventurous company takes it in stride to release the centenarian Portuguese film-maker’s hard-to-see yet vintage and decidedly important legacy on DVD : no time would have been more ideal than the present , but let’s hope this is a situation which is " Never Too Late To Mend " . . .

Donahue & Hudson were in The Tarnished Angels NEXT - Judith Anderson

Tommy Lee Jones was in Black Moon Rising w Keenan Wynn who was in The Hucksters w Gardner next - Andrea Roth

It does look like another lousy Yashraj-Chopra type candyfloss . I'll watch the pirated version only for Kajol . Does Johar really think India is THAT ugly that his movies are always set abroad ? ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

In my review of Corbucci's THE GREAT SILENCE ( 1968 ) , I had written that it was " superior " to this one ; well , having re-acquainted myself with DJANGO now ( which , incidentally , I chose to do on my 30th birthday ! ) - and bearing in mind that my viewing of the former was only the first - I can say that it edges the latter only slightly , as I thoroughly enjoyed Corbucci's most famous Spaghetti Western featuring star Franco Nero's signature role ! ! While I was disappointed in Blue Underground's DVD transfer , with occasional color fluctuation and rather more severe print damage than I was expecting ( considering that it was reportedly taken directly from the original negative ) , the film really stood up to its reputation as one of only a handful of titles ( among them , of course , THE GREAT SILENCE itself ) to challenge Sergio Leone's supremacy in the Spaghetti Western subgenre ! Anyway , with respect to the film's terse plot line , it wasn't anything novel or even special : a mysterious loner turns up at a ghost town ( in which only the saloon is operative , also lending the service of prostitutes to passing bands of renegade soldiers and Mexican bandits ) who , while antagonizing the former , assists the latter in stealing Army gold ( which he later runs off with but eventually loses in quicksand ! ) ; however , he also finds time to aid a beautiful woman who falls for him ( but whom he shuns because of his devotion to a dead spouse ) . The handling , however , is extremely stylish marking a definite improvement from previous ( and largely lackluster ) Spaghetti Western efforts by Corbucci , of which I've watched two - the utterly routine MASSACRE AT GRAND CANYON ( 1965 ) and the tongue-in-cheek RINGO AND HIS GOLDEN PISTOL ( 1966 ) ! The film is also noted for its brutality - a man's ear is graphically slit ( anticipating RESERVOIR DOGS [ 1992 ] by a quarter of a century ! ) and fed to its owner , Nero's bloody smashed hands ( giving rise to a uniquely memorable climax inside a graveyard ) , not forgetting the soldiers ' callous massacre of Mexican peasants ( whom they keep behind a fence and release one by one , like cattle , only to gun them down ! ) and a striking bar-room fight filmed with a hand-held camera - and some genuinely surreal touches in the script , such as the presence of its coffin-carrying hero ( with a large machine-gun device concealed within it ! ) and KKK-type villains ( amusingly , assistant director Ruggero Deodato - whom I met at the 2004 Venice Film Festival , by the way - claims that the crew covered the characters ' faces because they were saddled with ' leftovers ' to feature as extras ! ) . Besides , the grimy deserted setting is highly effective while Luis Enrique Bacalov's melancholy and haunting theme tune gave me goose-pimples the first time it came on ( ! ) - and the acting is above-average as well : Nero emerges as the most satisfactory Clint Eastwood substitute the Italians came up with ; he's ably supported by the likes of Eduardo Fajardo ( as the villainous Major Jackson ) , Jose ' Bodalo ( the bandit chief ) , Loredana Nusciak ( the woman ) and Angel Alvarez ( the saloon-keeper ) . While not as bountiful perhaps as a cult classic such as this would seem to be worthy of , the extras prepared by Blue Underground are certainly well done . These include a short but informative featurette ( in which Nero and Deodato are interviewed separately ) , talent bios for both Corbucci and Nero , an extensive still and poster gallery and the film's theatrical trailer ( as well as those , in the form of an Easter Egg , for DJANGO , KILL ! [ 1967 ] , RUN , MAN , RUN [ 1968 ] and MANNAJA : A MAN CALLED BLADE [ 1977 ] - which had formed , along with the original Blue Underground single-disc release of DJANGO , " The Spaghetti Western Collection " Limited Edition Box Set ) . As for the short THE LAST PISTOLERO ( 2002 ) , included on a mini-disc with this re-issue , it is reviewed individually elsewhere . I haven't watched this film's belated official sequel - DJANGO 2 : IL GRANDE RITORNO ( 1987 ) - which has been on Italian TV a number of times and , as far as I can tell , have only managed to catch two of the myriad releases to which the iconic title character has been attached - DJANGO SHOOTS FIRST ( 1966 ) and DJANGO , KILL !

Unsurprisingly , this turned out to be an inferior sequel - - looking somewhat half-hearted in black-and-white ( it was probably rushed into production and treated pretty much as a ' B ' picture ) . That said , here , we're able to see the fly make-up in greater detail than in the first film ( where it was kept hidden most of the time ) ; on the other hand , however , the fly with the human head doesn't work quite so well this time around ( similarly , the two hybrids of human and guinea pig were pretty hilarious ) ! The plot , at least , brings some novelty value to the table in the character of the duplicitous partner intent on selling the secret formula ( I was wondering how the son would eventually turn into a fly , since he seemed determined not to repeat his father's mistake - - though the deliberate manner in which it happens is perhaps too nasty ! ) , the fact that the monster goes on a rampage ( rather than have the scientist simply lock himself away and pity his own fate ) , not to mention how it all manages to work its way to a happy ending ( which is a rare commodity in horror films even to this day ! ) . Brett Halsey is a handsome lead but merely O . K . in the role ( though he would return to the genre a number of times ) , while David Frankham makes for an ineffectual villain ; however , Dan Seymour is a welcome presence as Frankham's equally unscrupulous associate ( amusingly using the funeral business as a cover a ' la that underrated British noir gem , THEY MADE ME A FUGITIVE [ 1947 ] ! ) . As for Vincent Price , he comes across as rather too wimpish ( a characteristic which would actually infuse many subsequent roles , particularly the Poe-inspired films of Roger Corman and other stuff he made for AIP ) - - but , then , how tough can a man be when his brother and nephew are insects ? !

To call this would-be ' with it ' caper comedy muddled is a gross understatement - - indeed , Bernard Girard the director should have fired Bernard Girard the writer because an admittedly ingenious premise has only resulted in a relentlessly dull movie ! Hero James Coburn , with a permanent grin on his face , is involved in so many schemes on his way to rob Los Angeles ' LAX airport ( which brought back memories of my stay in the city three years ago , extending to the similarity of hotel interiors ) : in fact , he dupes a variety of people during the course of the narrative - - including lovely leading lady Camilla Sparv ( already ex-Mrs . Robert Evans by the time the film was released and who won a Golden Globe for Best Newcomer , over Candice Bergen and Lynn Redgrave [ ! ] , even if her career seemed to wither soon after ) ; consequently , it's all needlessly ( indeed painfully ) stretched to 107 minutes ! To add to the confusion ( not to say dejection ) , we get a dreary subplot revolving around the visit of a Russian official to the United States and the elaborate ( though not always successful ) security measures American agencies - - led by Robert Webber and assisted by an impossibly youthful Todd Armstrong ( from the Ray Harryhausen opus JASON AND THE ARGONAUTS [ 1963 ] ! ) - - have to undertake for this purpose . As with many films of its ilk from this ' anything goes ' era , the title is a reference to nothing in particular - - to be sure , it surfaces in the plot as the name of a book ostensibly written by Coburn ( under one of the innumerable aliases he hides behind ) ; again , typically , the criminals ( also including Aldo Ray in an underwritten part ) are allowed to get away with it . . . though there's a nice ironic final twist when the author - - who has unaccountably gone ' missing ' but , apparently , truly existed - - is found to have left his vast fortune to bewildered ' bride ' Sparv ! This was my third effort from its little-known director in a relatively brief period of time - - the first was intriguing but invincibly low-key , THE MIND SNATCHERS ( 1972 ) , the second a Godawful ( and barely-released ) Western spoof called GONE WITH THE WEST ( 1975 ) ; the " Leonard Maltin Film Guide " , then , awards DEAD HEAT ON A MERRY-GO-ROUND a very respectable - - hence , it ranks as yet another disappointment ! Incidentally , the star made innumerable films in this vein during the 1960s and 1970s - - where his narcissistic and arrogant personality comes off as overbearing and , therefore , alienating : up next , in fact , is DUFFY ( 1968 ) which , despite rating an even lower , it's one I'd long been curious about in view of its rather interesting credentials . . .

Lada Edmund , Jr was in For Those Who Think Young w James Darren Let No Man Write My Epitaph w Shelley Winters who was in The Greatest Story Ever Told w Donald Pleasence next - Lily Tomlin

There was a part in the script that explained his hat and glove , but it was deleted . Hey bynon , Pm'd ya . On April 30th , the Nightmare returns .

Strictly speaking , the only one who would be justified in being riled up over the insinuation would be Gendo . What are all the others ' emotional investment in it ? Do they personally know for a fact that it isn't true ? ( I doubt it . ) They aren't being called racists . Brandon and the dork lord are in this simply because it's Chx . They and a couple of others never turn down an opportunity for a public stoning of Chx . § " The Sleep of Reason Produces Monsters . " §

John Saxon has a memorable role as a black-faced , gun-crazy soldier who volunteers for solitary nightly ambushes on the enemy until he finally cracks up completely and wants to be left behind in Korea . The film also marked the screen debuts of Robert Redford ( as the clean-cut rookie hero who stands up to Saxon’s fearsome grip on his unit ) , Sydney Pollack ( a rare early acting stint for him as a sympathetic sergeant ) and Tom Skerritt ( as a cheerful sergeant ) ; of course , the latter would later appear in the ultimate Korean War movie , Robert Altman’s M . A . S . H . ( 1970 ) . Other cast members include Tommy Matsuda ( as an orphaned Korean boy taken under Saxon’s wing and unwisely befriended by Redford ) , Charles Aidman ( as the Captain who often covers for Saxon’s insubordination given the importance of the information he gathers from his nightly rounds ) and Gavin MacLeod ( who advises Redford to steer clear of the highly-strung Saxon ) . Being set during the final days of the Korean War , the film features the deceptive and ironic musical interludes played on loudspeakers by the teasing enemy prior to the inevitable combat ; despite its obviously modest budget and low-key nature , it is effectively shot in gritty , black-and-white by veteran cinematographer Ted McCord and nicely scored by Bud Shank . On the other hand , co-producer Terry Sanders was an award-winning documentarian who seemingly brought to the film an unusually sensitive and anti-militaristic outlook , while his brother Denis was an occasional feature film director – including the sci-fi / exploitation flick INVASION OF THE BEE GIRLS ( 1973 ) – who had previously co-written the screenplay for Raoul Walsh’s WWII epic THE NAKED AND THE DEAD ( 1958 ) . Trivia note : reportedly , Francis Ford Coppola appears uncredited as a truck driver ; also , the film’s associate producer ( Noel Black ) later became an erratic director himself – most notably of PRETTY POISON ( 1968 ) .

I noticed that Toki insisted that when fish with human faces showed up on the beach , a tsunami would follow , and she was right ! She represented a landlubber's point of view ; the very antithesis of Fujimoto . Both she and Fujimoto were mistaken in their extremes . I didn't find Toki's resistance pointless - it was her final heroic effort to resist the strange man from the sea , only to discover that he ( and the sea ) wasn't so bad after all . § " The Sleep of Reason Produces Monsters . " §

Thanks man , good to hear . He's been giving me an earful about " Stealing his scene " , when they are very different . And I am glad you liked it ! We still have six more minutes to play .

A thoroughly bland title hides a surprisingly tolerable and rather effective ( if belated ) change-of-pace which could well have been advertised as " Elvis goes Screwball " . Arguably modeled on the popular series of Rock Hudson-Doris Day romantic comedies , the central situation , in fact , is basically a virtual retread of Howard Hawks’ BRINGING UP BABY ( 1938 ) , with leading lady Michele Carey ( from , appropriately enough , Hawks’ own EL DORADO [ 1966 ] ) – playing a ditzy artist / socialite disrupting Elvis’ life at every turn ; actually , Hawks had recently successfully reworked the formula with Rock Hudson himself in the underrated MAN’S FAVORITE SPORT ? ( 1964 ) but the best tribute to the 1938 classic would be paid the following decade in Peter Bogdanovich’s hilarious , WHAT’S UP , DOC ? ( 1972 ) . Anyway , The King plays a fashion photographer here – not that he’s liable to dispel memories of David Hemmings from BLOWUP ( 1966 ) , you understand ! As far as the beachside setting / advertising environment goes , I guess this owes its inspiration to the neglected Tony Curtis / Alexander Mackendrick comedy DON’T MAKE WAVES ( 1967 ) but , as I said earlier , for all its derivations , it’s not a bad star vehicle at all and Elvis even gets to sing during a lightly surreal dream sequence – with Carey’s mastiff assuming human characteristics and acting as his guide ! Elvis and the dog have a great rapport , which is just as well since it was his own pet in real life , Brutus ! I also liked the fact that the film offers nice supporting parts to two Hollywood veterans – Rudy Vallee ( who was a crooner himself and a Preston Sterges regular back in the day ) and Don Porter ( who is perhaps best-remembered for playing the male lead in the infamous SHE-WOLF OF London [ 1946 ] ) . While the film may be more engaging than most other Elvis vehicles of its time , nowadays the film is perhaps most notable for introducing the unlikeliest of Elvis hits , " A Little Less Conversation " , a remixed version of which became a worldwide chart-topper in 2002 . . after a very disappointing showing in the charts when originally released ! Surprisingly enough , Presley only has three songs throughout the film ( " Edge of Reality " is another good one ) which might disappoint his more hardened fans and indeed have them clamor for " a little less conversation , a little more action please " ! For the record , this happened to be the last of 9 Presley films directed by Hollywood veteran Norman Taurog who specialized , appropriately enough , in comedies and musicals having handled in his prime George M . Cohan , Maurice Chevalier , Bing Crosby , Fred Astaire , Mickey Rooney and Judy Garland , Mario Lanza , Dean Martin and Jarry Lewis , etc . – not to mention having been the youngest ( and probably most forgotten ) of Oscar-winning directors !

With a story by " Carry On " alumnus Eric Barker , this is a fairly weak entry in the series - - and , as I said with respect to ANTS IN THE PANTRY ( 1936 ; The Three Stooges short which preceded it ) , going through a succession of films featuring the same actors , one becomes rather weary of the repetition . In this case , it's the characterization of individual members which hardly changes from one outing to the next ( particularly at this early stage in the series , when the style of comedy more or less followed established rules rather than going all the way for double entendres and general tastelessness ) ! For instance , Sid James is once again the flustered authority figure who has to mould his underlings - - these are forever eager but incompetent , led by know-it-all Kenneth Williams and nervous Kenneth Connor ( who , invariably , is given a hesitant romantic attachment ) ; their effeminate usual cohort , Charles Hawtrey , is absent here but his replacement is the resistibly goofy Lance Percival as the new chef on James ' ship . In fact , what drowns the film ( pardon the pun ) is the latter's schtick - - as well as the presence of diminutive and dotty old lady Esma Cannon ( also seen in CARRY ON REGARDLESS [ 1961 ] and CARRY ON CABBY [ 1963 ] ) . It doesn't help , then , that the most prominent actresses during this early phase of the " Carry Ons " - - Hattie Jacques and Joan Sims - - are also missing from this one . . . though it must be said that the two young female leads ( Liz Fraser - - also from REGARDLESS and CABBY - - and Dilys Laye , who proves to be a surprisingly adept comedienne ) are highly appealing . Incidentally , this was the first film in the series to be shot in color and , as such , has added curiosity value - - even if the overall quality isn't really up to the usual standards .

Janet McTeer was in Hawks w Timothy Dalton who was in Lie Down with Lions ( TV ) w Omar Sharif who was in Lawrence of Arabia w Rains next - John Enos - III

Experience with this board has armed most of us , the regulars at least , to hold our own in discussions of religion . I find that most people I encounter in the real world are ill-prepared for such a discussion ; most of the opinions they hold are merely something they grew up with , and otherwise unexamined . I don't bring such discussions to them , but if they bring one to me , I'll participate , and try not to take undue advantage . We've all seen what happens when a newbie wanders in here , and gets quickly out of their depth . It isn't pretty . § " The Sleep of Reason Produces Monsters . " §

Oliver was in BUtterfield 8 w / Elizabeth Taylor who was in Father's Little Dividend w / Spencer Tracy who was in Dr . Jekyll and Mr . Hyde w / Ingrid Bergman who was in Joan of Arc w / Ferrer NEXT - - Noah Berry Jr

Jean Reno was in French Kiss w Kevin Kline who w s in In & Out w Joan Cusack whow as in Married to the Mob w Dean Stockwell next - Candice Bergen

Rex Beach's Western tale was much filmed over the years - - including twice during the Silent era , and an early Talkie version co-starring Gary Cooper ; my brother had watched the 1955 color remake , which was O . K . but uninspired . This earlier adaptation , however , stands as a prime example of the genre from the more innocent pre-war era ; in fact , starting from the year after - - with William A . Wellman's THE OX-BOX INCIDENT ( 1943 ) , to be exact - - the Western achieved sudden maturity that would lead to any number of masterworks in various veins ( noir , psychological , elegiac , revisionist ) till it died out towards the late 1970s . Anyway , this is a quite splendid film with all three stars ( Marlene Dietrich , Randolph Scott and John Wayne ) in good form ; incidentally , all of them had just come from impressive individual work in the genre - - DESTRY RIDES AGAIN ( 1939 ) , Fritz Lang's WESTERN UNION ( 1941 ) , and STAGECOACH ( 1939 ) respectively . Having preceded the film by the trio's subsequent ( though lesser ) teaming , PITTSBURGH ( 1942 ) , it was interesting to see Wayne and Scott take turns playing the unsympathetic role ( in the case of the latter here , he emerges to be an out-and-out villain - - if a charming one , and to which he would return for his swan-song two decades later in Sam Peckinpah's RIDE THE HIGH COUNTRY [ 1962 ] ) . Incidentally , in both THE SPOILERS and PITTSBURGH , Scott is clearly depicted as being interested in Dietrich - - but she seems to prefer Wayne ( maybe because she did one other title with the latter , SEVEN SINNERS [ 1940 ] , which is to follow ) . The supporting cast is also quite strong : Richard Barthelmess and Harry Carey ( both of whom had been stars in the Silent era and had since settled in character roles ) appear as Dietrich and Wayne's sidekicks respectively - - the former is shady and the latter hot-headed , and each prefers to settle arguments with a weapon ( Barthelmess a flick-knife and Carey the shotgun he calls " Betsy " ) . Scott's gang of crooked associates is made up of Charles Halton , Samuel S . Hinds and , the latter's niece , Margaret Lindsay ( who was intended to seduce Wayne for the benefit of their scheme , but ends up falling for him - - the actress had been a leading lady of Warner Bros . pictures during the previous decade , but her poignant Other Woman role here is surprisingly well-written ) . The compelling narrative extends to many an exciting ( and , often , action-oriented ) development - - trial , bank robbery , jailbreak , train wreck , various instances where law officers face off or shoot it out with miners , and culminating in the famously brutal lengthy fistfight between the two male stars ( though this is somewhat spoiled { sic } by the obvious use of doubles in longshots ) .

I had always been interested in this one due to a couple of stills from its climax ( thus spoiling Dracula's come-uppance for me all those many years ago ! - - in retrospect , his eventual demise is beautifully set up early on in the cave sequence with the stranded kitten ) and the carping about its unavailability on DVD by fans - - particularly from one HTF member ( you know who you are ) . This is clearly a low-budget horror effort , but rather splendid overall : well-handled , commendably fast-paced , and with effective genre trappings ( special effects depicting mist , Dracula's lack of reflection in a mirror , and his reverting to a skeleton at the end ) and a nice , typically American small-town atmosphere . Francis Lederer is commanding as the Count , at once sinister and magnetic - - even if his demeanor throughout seems merely to alternate between arrogance and contempt ( unexpectedly , he changes into a wolf dog for one attack ) ! ; I had previously been impressed by the actor when he played the ambitious and malevolent manservant in Jean Renoir's THE DIARY OF A CHAMBERMAID ( 1946 ) . Being a film from the late 1950s , it comes as no surprise to find that the heroes are a teenage couple : still , Dracula's interest in the girl is understandable and creates some compelling tension - - she is just as stuck on him in her own way , since he's posing as a visiting uncle from a far-away country with a sophisticated / artistic bent ! - - in a relationship that's comparable to the one between Joseph Cotten and Teresa Wright in Alfred Hitchcock's favorite among his own films , SHADOW OF A DOUBT ( 1943 ) . However , this also means that the young couple are the ones to dispatch Lederer - - rather than the vampire hunter who followed him all the way from his homeland ! The latter gets saddled with the next best thing , though - - the staking of the Count's blind ( ! ) vampire bride , which employs a striking color insert as the blood starts spurting from her wound ( incidentally , the woman's hysterical first death scene also constitutes one of the film's highlights ) . By the way , the religious overtones in the script are rather unusual for the time - - with Dracula offering the heroine the opportunity to " be reborn in me " ! The film has other interesting credentials to its name : independent producers Arthur Gardner and Jules V . Levy , composer Gerald Fried ( PATHS OF GLORY [ 1957 ] - - even if the soundtrack makes particularly inspired use throughout of the brooding medieval hymn " Dies Irae " ) , cinematographer Jack MacKenzie ( ISLE OF THE DEAD [ 1945 ] ) and assistant director Bernard McEveety ( THE BROTHERHOOD OF Satan [ 1971 ] ) . Incidentally , the silly British title given to the film - - THE FANTASTIC DISAPPEARING MAN - - makes the whole sound like a Harry Houdini biopic ( ! ) . . . though the change is certainly understandable , in view of its potentially being mistaken for a follow-up to the current Hammer remake of Dracula ( 1958 ) . Disappointingly , no extras at all are included on the MGM / Fox DVD ; still , THE RETURN OF Dracula has been ideally paired with the same film-makers ' previous ( and even more radical ) bloodsucking effort - - called , simply , THE VAMPIRE ( 1957 ) .

I only heard about this giallo recently , but it's undoubtedly one of the best examples of the subgenre that I've watched . Besides , from the little I've checked out of Tessari's work so far ( incidentally , I've just recorded his Spaghetti Western A PISTOL FOR RINGO [ 1965 ] - which I'll catch up with soon enough ) , it's easily his most significant effort ; I should also be getting to PUZZLE ( 1974 ) , another giallo of his , in the near future . THE BLOODSTAINED BUTTERFLY ( as ever , the title is only peripheral to the main narrative ) - which opens with an identification of all the major characters - is especially notable for its complex editing structure , with details of plot related throughout in abrupt flashes ( as either part of a lengthy trial sequence , which occupies the majority of its first half , or during troubled lead Helmut Berger's regular fits , which remain unexplained till the finale ) . While characterization is somewhat aloof ( with no real female counterpart to Berger , despite a fair number of women in the cast ) , the principal actors are well chosen and also include such familiar Euro-Cult faces as Carole Andre ' ( playing a murdered victim ) , Evelyn Stewart ( the wife of the suspected killer ) , Silvano Tranquilli ( the police detective assigned to the case ) and Wolfgang Preiss ( the prosecuting attorney ) . The narrative is a bit on the seamy side - encompassing ( if ever so discreetly ) rape , infidelity , paedophelia , pornography , prostitution , etc . - but welcome comedy relief is provided by the interaction between the flustered Tranquilli and his long-suffering junior partner . Unlike many films of its ilk , the audience is kept guessing as to the identity of the villain up to the violent climax ( resulting in a curt but satisfyingly bleak ending ) and , just as thankfully , the script dispenses with the idea ( popularized by Alfred Hitchcock's PSYCHO [ 1960 ] ) of presenting a forced last-minute explanation - wherein a psychiatrist is appointed to dig into the killer's past , in order to extract some lame motive for his misdeeds . Typically , however , the eclectic score ( courtesy of Gianni Ferrio ) is masterful - especially in the way a Tchaikovsky symphony is seamlessly woven into the soundtrack ! The film is available on a bare-bones DVD from both Italy and Spain - but it more than merits a decent release in R1 through , say , Blue Underground ( given their predilection for such " Euro-Cult " offerings ) . . .

25 October 1928 , New York , New York , USA - To a good actor , thinking of you on your birthday .

Yea , that's typically the case . Once you get an understanding and familiarize yourself , it get's pretty fun . On April 30th , the Nightmare returns .

That's the one with Rusty Nail , right ? If so , then yes , I liked it . I like the idea of not showing the killer , and the kind of mysterious ending that they went with . But yeah , the movie was pretty good . 1 , 2 Guess who's coming for you .

Why did you delete your reply ? I didn't get to see it . § " The Sleep of Reason Produces Monsters . " §

I've lost the context of this discussion - it's been too long . Can you enlarge on what you're saying here ? § " The Sleep of Reason Produces Monsters . " §

Rajeev's gift is the longer life , while Amar kept the shorter one . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Many of them were Freemasons . Freemasons believe in God ( as a matter of fact , it's a requirement ) , but eschew sectarian or dogmatic views of the deity , being as broad and ecumenical as they could be . Their form of religious belief is for the most part unacceptable in its particulars among today's Christian evangelicals , who would like to cite them as supporting their position . § " The Sleep of Reason Produces Monsters . " §

01 . Susan Hayward - RAWHIDE 02 . Anthony Quinn - THE BLACK SWAN 03 . James Whitmore - THE EDDY DUCHIN STORY 04 . Charles Laughton - WITNESS FOR THE PROSECUTION 05 . Orson Welles - THE BLACK ROSE 06 . Walter Brennan - THE PROUD ONES 07 . Piper Laurie - THE MISSISSIPPI GAMBLER 08 . Norma Shearer - MARIE ANTOINETTE ( 1938 ) 09 . Eddie Albert - THE SUN ALSO RISES 10 . Loretta Young - CAFÉ METROPOLE 11 . Brian Donlevy - SCHOOL FOR WIVES 12 . Elsa Lanchester - WITNESS FOR THE PROSECUTION 13 . Gale Sondergaard - - THE MARK OF ZORRO next in a few

I love them both ! ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

No , IMO Neha looks much better : ) ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

No , this one has eight IMDB identities that he uses for different boards ; all of them are currently some variation of Mithrandir-Olorin ( he's posting right beside you ) . Because of his frequent misspellings and eclectically chosen Christian fundamnetalist beliefs , some here call him St Jar Jar . Jared has weird fetishes for ancient Rome and Alexander the Great . He is a Tea Party supporter , and generally believes everything Alex Jones says . § " The Sleep of Reason Produces Monsters . " §