Hell Really Exists

Hell Really Exists

Koonika Miidu is the author and the creator of this helpful program. The author of this program wants to show you that the Hell really exists and no one can change that reality. Though, he believes there's a way you can be saved from it and that is exactly what this program is all about. The program contains a lot of information to help you discover the confirmed facts about hell. There are testimonies from people that have visited hell and come back. Those are the people that want to show you the reality and also advise you to stop gambling with your soul. It is very easy to be convinced that this program is for Christians only. Hell is not for a specific religion. As a matter of fact, every person regardless of their religious background should take caution. The Hell Really Exists program is available in downloadable PDF formats. This means you need an Adobe Acrobat reader so you will be able to download and read it. As a matter of fact, you will get some other DVD format programs with testimonies from over 70 people that wishes to help you along the way. Read more...

Hell Really Exists Summary


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Assimilation and Separatism in Anthony Manns Devils Doorway

In the year 1950, a postwar revival of the Western genre marked a major shift in the way Hollywood represented Native Americans, with the release of Delmer Daves's color production of Broken Arrow in July and Anthony Mann's first Western, Devil's Doorway, a few months later. Both films examine and then negate the possibility of cross-racial romance, setting that romance in the immediate post-Civil War period and featuring a male hero who is a returning Civil War veteran. Although Devil's Doorway has received considerably less critical attention than Broken Arrow, it is by far the more radical film in its depiction of frontier politics. Unlike Broken Arrow's optimism about peaceful resolutions, Devil's Doorway confronts viewers with corruption and failure in frontier land negotiations. If Broken Arrow uses its Apache characters to sanction the negotiation and treaty process and to legitimate both assimilationist policies and the reservation system, Devil's Doorway aggressively denies...

Conclusion Devil and the Politics of Friendship

While Easy's body is Devils most significant cinematic vehicle, several other bodies play important roles in the film's delivery of its political sensibility. Easy's emerging location in a network of bodies provides a context for discerning the politics of the distribution of the film's bodies. Crucial to an appreciation of the politics of Devil is a comparison of two of Easy's queries, one to Albright at the beginning of the film and one to Easy's friend, Odell, at the end. During his initial meeting with Albright in Joppy's bar, Easy asks about the kind of work Albright does. The response, after a hesitation, is, I do favors for friends. At the end of the film the issue of friendship comes up again when Easy asks Odell if it is all right to retain the friendship of some Two aspects of film form articulate Devil's politics of friendship. In the first, the viewer is made aware of good versus false friends through what Deleuze calls affection-images, consisting primarily of close-ups...

Welcome To The Underworld

The underworld of crime, the 'city under the city', is a shadowy world, full of unpleasant, untrustworthy people. But for some reason, crime movies hold a special place in cinema audiences' affections. Many of the highest-grossing, most popular US films of all time fall into this category The Godfather films, Pulp Fiction, and various stellar, all-action cops and robbers movies, often depicting the perfect crime. Something about breaking the law and getting away with it seems to appeal to everyone. The loveable outlaws Butch Cassidy and the Sundance Kid (1969), incarnated by Paul Newman and Robert Redford, were equally loveable when updated to thirties Chicago conmen in The Sting (1973), with equal boxoffice success.The aim of this book is to discover and enjoy this enduring appeal.

Modern Historys Doorway to Hell

Films about contemporary crime and fictional gangsters had been popular since D. W. Griffith's Musketeers of Pig Alley (1913), but it was only in the late 1920s, and with the conversion to sound, that high-profile gangster films began to script the historical trajectory of crime and advertise the lives of real gangsters and bootleggers. This desire to capture and document the real aspects of Chicago and other postwar elements of American life grew as the public recognized their impending obliteration by the law. Capone's era was ending. Many of the more famous gangsters were dead, in jail, or in court. The 1920s had passed so quickly that already its most famous newspaper personalities were becoming relics. Journalists such as Walter Noble Burns, Fred Pasley, and John Bright had spent so many years covering Chicago crime stories that they now transformed them into histories (Burns's The One-Way Ride) and biographies (Pasley's Al Capone and Bright's Hizzoner Big Bill Thompson) 3, Even...

Anatomy of Hell

Finally we will look at the opening of Anatomy of Hell. Anatomy of Hell follows four nights of a sexual encounter between a woman (Amira Casar) and a homosexual (Rocco Siffredi). The end of the scene acknowledges the possibility of sexual intercourse between this man and woman, but their exchange of true feelings occurs in the opening. The woman is at a club. She is alone and seems unhappy in the midst of the sensual noise and dancing. She goes to the bathroom, where she slices her wrists. The homosexual enters and intervenes. He takes her to a doctor, who bandages her arms. She offers a kind of

The Devil Probably

Like every feature Robert Bresson has directed, The Devil, Probably is a drama of faith so uncompromising as to border on the absurd. Chic yet austere, as flat and stylized as a medieval illumination, The Devil, Probably is a vision bracketed by the void. It's a movie that begins (and ends) in total darkness, presenting itself as an interlude during which abstract creatures flounce purposefully in and out of frame. As these Yves St. Laurent angels flit through Paris on predestined missions of celestial mystery, the youthful hero, Charles (Antoine Monnier), rushes headlong toward his end suicide or murder in the star-studded P re Lachaise cemetery. Viewers may find him insufferable because, in implacably rejecting the social order, he's repudiating them as well. On the other hand, however mopey and sanctimonious, he's transfigured by the purity of his adolescent rejection. Press reports suggest that when first released in France, The Devil, Probably was seen as so dangerous an...

FOCUS International Art Cinema Auteurism

The film's claim to postmodern status (even pre-eminence) has not been made by the director. He just called it a 'road movie', admitting it was made quickly from fragments of ideas while production of Fallen Angels was stalled. Nonetheless, possibly because of the production circumstances, there are clearly elements within the film that speak of the dreaded 'po-mo'. Most notably there is the use of insouciant bricollage in the structure, design - indeed in the diegesis - of the film. The sense of real unreal and the any thing-goes atmosphere is heightened in a Scorsesean manner by popular culture cross-referencing especially in the soundtrack. Chungking Express utilises Hong Kong versions of Western pop music 'Dream Person' (a cover of Chungking Express has been followed by Happy Together (1997) -lauded at Cannes - and Fallen Angels (1998). Wong Kar-wai's style has continued to develop and mature - as has his profile as darling of the critics - with the release of the masterful,...

Missionaries martyrs and fighter pilots

Holy men (and women, occasionally) featured in a plethora of cinematic settings, affirming the church's protective role either in the Cold War specifically or in Western society more generally. Recanting American subversives would often turn to priests for help, especially if they were doubly guilty of rejecting the church in favour of the communists, like Mollie O'Flaherty (Barbra Fuller) in Republic's The Red Menace (1949).24 In Elia Kazan's On the Waterfront (1954), the moral support given by Karl Malden's quintessential liberal Catholic priest, Father Barry, to the trade-union informant Terry Malloy (Marlon Brando) had the effect, according to one historian, of converting a Judas figure into a symbol of Christ.25 The butch William Holden starred as an unlikely priest in Leo McCarey's Satan Never Sleeps (1961), a tale of missionary heroism during the Chinese Civil War. Meanwhile, Second World War adventure movies like John Huston's Heaven Knows Mr Allison show trials of the late...

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Samuel Spade broke Bogart's typecasting as a villainous gangster and like occasional moments in High Sierra introduced something deeper and more virtuous to his character. Hammett's description of Spade is very similar to Bogart's physiognomy, with the exception that in the book he's blond 'His chin a jutting V under the more flexible V of his mouth. His nostrils curved back to make another smaller V. the V motif was picked up again by thickish brows .He looked rather pleasantly like a blond satan.' Hammett later notes, 'He smiled without separating his lips. All the V's in his face grew longer', which just as aptly described a Bogart smile. In 1953, Huston and Truman Capote adapted James Helvick's novel 'Beat the Devil' into a parody of genre films like The Maltese Falcon, set in Italy in Porto Vento (actually shot in Revello). It features a caricature of Greenstreet's Fat Man, with Robert Morley as Peterson, a criminal who arrives in town to rendezvous with his three accomplices -...

FOCUS Genre the War Film Cinema Spectacular

The film is saturated with such emblematic words and images Kilgore's cavalry stetson an aborted Playmates show in the middle of the jungle a lamb being raised high into the air by a helicopter a television crew directing the soldiers' movements as they land on the beach young soldiers sunbathing, water-skiing, smoking dope and firing machine guns to the army radio broadcasts of the Doors and the Rolling Stones Willard emerging from the waters of the Mekong river, like a demon who may prove to be Kurtz's nemesis or just his heir-in-waiting.

Toms Gutierrez Alea b Havana Cuba December d April

He explored a wide range of genres and styles throughout his long career, making documentaries, comedies, and historical and contemporary dramas. His historical pieces Una Pelea cubana contra los demonios (A Cuban Fight Against Demons, 1972) and La Ultima cena (The Last Supper, 1976) are among the finest examples of

The Woman in the Room

The Woman in the Room came about as a result of, well, what year would that have been 1981, I think. I think this was after I had just worked on Hell Night. My friends and I the same friends that worked with me on that film thought we should make a film. We should make a short film, not a Super-8 mm film like we made in high school. (That was back in the days when 8 mm actually meant film. Now it means something else.) But we thought we should make a real 16-mm movie with real actors in it, et cetera. I had read this fantastic short story by Steve King, a very moving short story that he had written as a result of his own experience with his mother, who died of cancer. That's what this story dealt with. I sat down, wrote a little adaptation of this short story, wrote him a letter, and said, Dear Mr. King, my goofy friends and I would love to make this as a short film. We never really actually expected that we would be given the right to do that. But Steve, as it turns out, has this...

Wes Craven Filmography

Last House on the Left (1972) Stranger in Our House (TV, 1978) The Hills Have Eyes (1978) Deadly Blessing (1981) Swamp Thing (1982) Invitation to Hell (TV, 1984) A Nightmare on Elm Street (1984) Chiller (TV, 1985) The Twilight Zone (TV series, multiple episodes, 1985) The Hills Have Eyes Part II (1985) Casebusters (TV, 1986) Deadly Friend (1986) The Serpent and the Rainbow (1988) Shocker (1989) Night Visions (TV, 1990) The People Under the Stairs (1992) Nightmare Caf (TV series, 1992) New Nightmare (1994) Vampire in Brooklyn (1995) Scream (1996) Scream 2 (1997) Music of the Heart (1999)

The Films of Phillip Noyce

Born in Griffith, New South Wales, Australia, Noyce moved to Sydney at the age of twelve. As a teenager, he was introduced to underground films produced on shoestring budgets, as well as mainstream American movies. He was seventeen when he made his first film, the fifteen-minute Better to Reign in Hell, utilizing a unique financing scheme selling roles in the movie to his friends.

The Films of Frank Darabont

He first worked as a production aide on the 1981 film Hell Night, at which time he met another aspiring filmmaker, Chuck Russell. Together, they established themselves as screenwriters with the scripts for A Nightmare on Elm Street 3 Dream Warriors and the 1988 remake of the 1950s horror film The Blob. Darabont also shared screenplay credits on The Fly II, the sequel to David Cronenberg's 1986 classic.

The Sixties And Seventies

What Ever Happened to Baby Jane (Warner Bros., 1962) It's a good-sister-versus-bad-sister romp through hell as these two old biddies worry about losing their home. These two have had a twisted relationship since childhood, but now they find themselves doing the best they can to manage their Hollywood Hills lifestyle. Neither one has worked in Watch this movie if only for the segment about publicity. Here, homage is paid to all the beauty parlors and barbershops across the country, for they are the center of American cultural exchange, and it is there that the buzz is planted about Stanley Belt, the new kid extraordinaire. This montage shows how simple it was to plant information in the right person's ear so the buzz would be generated among the right demographic. Creating the buzz is a phrase used today to describe the generating of interest for a project that may or may not be worthy of the attention just the mere fact that it is getting talked about is what publicity is all about....

Crime Wave stCentury Cops

One of the best and most distinctive recent crime movies is City of God (2003 -originally called Cidade de Deus), directed by Fernando Meirelles. Set in Rio de Janeiro's worst slum, cynically christened 'City of God', it tells the story of street gang violence and drug turf wars, which ravaged the city in the seventies. The main character is Winston Rodrigues, known as Rocket, a young man who dreams of being a photographer, a career that will allow him to escape the slums. His brother, a hood, is killed early in the film his other contemporaries 'get religion' or work honestly, but most end up joining street gangs and being swept into crime. The most notorious and bloodthirsty of the gangstas is L'il Ze and his level-headed partner Bene, who sell drugs in town. Their only competition is 'Carrot', who teams up with Knockout Ned, a local hero, to stand up to L'il Ze. With stories entitled 'The Story of the Tender Trio', 'Flirting with Crime' and 'The Story of Knockout Ned', and Rocket's...

The Risks of Filming Modern History

However, this deepening historical consciousness may have triggered the PCA's growing criticism of gangster films. The Public Enemy was subject to far more scrutiny and demands for censorship than Zanuck's earlier efforts, Doorway to Hell and Little Caesar. The PCA undoubtedly forced Zanuck and his script polisher, Thew, to alter many of the historical characters populating Bright and Glasmon's book Al Capone was removed as a potential character in the film narrative, as were O'Bannion and Weiss.43 Yet Zanuck's faith in the historical elements of this film was not mere camouflage for the PCA. Zanuck invested the script with a historical consciousness that the novel conspicuously lacked. In spite of Beer Late in Public Enemy's production, Zanuck, in collusion with Thew, Bright, and Glasmon, added one more element a projected text foreword resembling those beginning more traditional historical and biographical film subjects of that era (The Great Meadow, Cimarron, Alexander Hamilton)....

Buffalo Bill and the Indians Or Sitting Bulls History Lesson

We got all the actors up there and we started rehearsing, and every day the actors had to go ride for an hour and get used to the horses. One day Geraldine Chaplin, who was playing Annie Oakley, and five or six other actors came back from their daily ride. They were waiting while one of them opened a fence, and the girth on Geraldine's saddle just broke and she fell off and broke her shoulder. So, immediately everybody wants to know who I am going to recast her with. Well, the hell with that, I said I wasn't going to recast her and she could just work with a broken shoulder and I would work it into the script. I figured that Annie Oakley could fall off a horse and break her shoulder just like anyone else. Now, because Geraldine broke her right shoulder, that meant she would have to shoot left-handed, which was historically incorrect. But it was a great boost, I think, to the whole cast and crew. They felt good that we didn't throw Geraldine out just because of an accident. It was...

FOCUS Film as Art Film as a Social Document

Once underground, we see the workers in action, their choreographed rhythmic movements making them at one with the great machine that they tend. We see a worker collapse at his station the pressure gauge rises and there is an explosion. Workers' bodies fly through the air, which is swathed in steam. Out of the steam Frieder's symbolic vision of 'Moloch' - the Canaanite idol to which children were sacrificed - is slowly revealed. The great machine retains the same lines and overall shape but now we see at its centre a huge sphinxlike structure, the entrance to a temple of hell. The workers are now represented as bound slaves being whipped up the steps and thrown into the great demonic mouth at the heart of the machine. Slowly the images of sacrifice fade and we see the great machine once more, as the bodies of the dead and wounded are removed on stretchers and the work goes on. It is through the juxtaposition of such images that the tyranny at the heart of Metropolis is made clear. The...

Star Brands The Sometimes Elusive Franchise

The system is designed to be of mutual benefit to star and studio. The studios are particularly keen to keep as much as possible of the film business within their compass, to maintain oligopoly power and hedge their bets, as demonstrated by their efforts to absorb the more profitable elements of the independent sector. In some cases, 'first look' or other such deals have led to stable and productive long-term relationships, such as that developed between Clint Eastwood's Malpaso and Warner since 1975. Elsewhere, however, and including the Overbrook-Universal arrangement, the benefits for the studio have been less tangible. A glance through the history of films in which Will Smith has appeared helps to demonstrate the difficulties involved for studios seeking privileged access to the star-image brand, one that is far more difficult to tie down than some other types of in-house franchise. Columbia appears, to date, to have gained by far the largest access to the career of Smith as a...

Schneider Davis and Ellsberg Mavericks at the movies

In March 2003, director Michael Moore used his Oscar acceptance speech for Bowling for Columbine to attack President George Bush, Jr., just days before the outbreak of war in Iraq. It was not the first time the Academy Awards had witnessed a controversial anti-war protest from one of its winners.11 Close to three decades earlier, producer Bert Schneider's response to receiving an Oscar for the searing Vietnam documentary Hearts and Minds (1974) was to read out a statement of 'friendship' from the Viet Cong delegation then negotiating peace in Paris. Schneider's words triggered uproar among the tuxedos and tiaras on the floor boos and cheers rang out. Back stage, all hell broke loose. Co-host and pro-war activist Bob Hope 'pinned' the show's producer, Howard Koch, against the wall and demanded that a rebuttal be read. The actress and peace campaigner Shirley MacLaine yelled back, 'Don't you dare ' A little while later, prior to making his Best Writer presentation, the singer-actor...

Vietnam the semiinvisible war

However, Hollywood did play some part from the late 1940s through to the mid-1960s in educating the public about why Vietnam was important, thus helping to lay the ground for the subsequent despatch of more than 500,000 troops. Starting with Paramount's Saigon in 1948, all fourteen feature films made about Vietnam during this period exhibited a strong anti-communism. Most echoed John Foster Dulles' influential Domino Theory and emphasised the threat posed by Mao Tse Tung's China to the whole of Southeast Asia. A few, like Sam Fuller's romantic adventure China Gate (1957), anticipated The Green Berets in its use of an innocent boy to connote America's responsibility to Asia's youth. Twentieth Century-Fox's 'B' melodrama Five Gates to Hell (1959) combined Hollywood's well-worn 'yellow peril' theme with images of evil mercenaries employed by Red China kidnapping and raping nuns and Red In 1965, the government's Vietnam propaganda campaign was ratcheted up several notches, as Vietnam...

Final Look at The Foundation

Their characters and relationship are developed. Surely if the two improvisers simply call each other honey and then go on to describe the cabin for fifteen minutes, we're in for a hell of an evening. So far, we've discussed referencing the past and identifying patterns. However, it's important to remember that the routine of The Foundation does not exist solely in the past. It exists in the present moment. It is where we meet the characters. It is not enough to explain the routine The Foundation must demonstrate, reinforce, and advance the routine through an active series of Cause and Effect events and dramatic Substantial Scenes. When the characters in The Foundation do nothing but explain the routine, the play begins to stagnate for want of dramatic action. Notice how our husband and wife are not just sitting around discussing their marital problems rather, they are engaged in a Substantial Scene in which one is trying to leave and the other is trying to convince her to stay.

Tony Scott Filmography

(1976) The Hunger (1983) Top Gun (1986) Beverly Hills Cop II (1987) Revenge (1990) Days of Thunder (1990) The Last Boy Scout (1991) True Romance (1993) Crimson Tide (1995) The Fan (1996) The Hunger, TV series, episode The Swords (1997) Enemy of the State (1998) Spy Game (2001) The Hire Beat the Devil (2002) Man on Fire (2003) Editors note Since completing this interview Scott has directed The Hire Beat the Devil (2002) and Man on Fire (2003).

Irving Thalberg b Brooklyn New York May d September

Thalberg also had an excellent eye for filmable properties (often pre-sold projects such as successful plays and novels) and a superlative sense of casting (drawing from among MGM's ''all the stars there are in the heavens''). The film industry admired him for maintaining high production values and ''good taste.'' While an executive who assigned films to a team of producers, Thalberg also worked directly on several successful films, collaborating with creative personnel at every stage. He personally supervised as much as one-third of the studio's annual output, including The Big Parade (1925), Ben Hur A Tale of the Christ (1925), Flesh and the Devil (1926) with Greta Garbo, and Grand Hotel (1932). Sometimes Thalberg required extensive, costly reshooting and recutting of films after negative previews, and he famously dismissed Erich von Stroheim from the post-production of Greed (1924). was not financially independent. His production companies always relied heavily on bank loans and...

From Classical Hollywood To Counterculture

Another classical genre with more direct influence on the modern road movie is film noir, which codes the road as a menacing threat, a perpetual detour from which one may never escape. Much of the road movie's cynicism (as well as its B-movie, low-budget, on-the-run look) derives from the 1945 classic Detour, where a man's crosscountry sojourn to marry his girl gradually spirals into a nightmare of crime and murder. Detour emphasizes the journey as the undoing of the protagonist's very identity, suggested also in Desperate (1947). Like Detour, The Devil Thumbs a Ride (1947) and The Hitch-Hiker (1953) establish fear and suspense around hitchhiking They Live By Night (1948) and Gun Crazy are exemplary of outlaw couple road film noir. The attraction of road film noir lives on in contemporary neo-noir movies like The Hitcher (1986), Delusion (1991), Red Rock West (1992), and Joy Ride (2001).

Hollywood and the Cold War militaryindustrial complex

Ever since the 1920s, the US armed services had shown themselves to be more than willing to offer logistical help with film productions that portrayed their activities positively. This suited both parties movie producers got access to military bases and equipment, while the military benefited from free adver-tising.9 During the 1930s, some of the biggest names behind and on screen owed their fame at least in part to movies made with the cooperation of the armed services. The director Frank Capra, for example, collaborated on a trilogy of films with the US Navy and Marines Submarine (1928), Flight (1929) and Dirigible (1931). The actors Jimmy Cagney and Pat O'Brien established their popular screen partnership with the help of the same services in Lloyd Bacon's Here Comes the Navy (1934) and Devil Dogs of the Air (1935).10 'I have never found such a group of wholehearted, willing, patriotic people trying to do something for the government,' Colonel K. B. Lawton, chief of the Army...

The Aesthetics Of Hunger

The history of Cinema Novo can be divided into three phases linked to major political events. The first phase lasted until the coup of 1964. It was a formative period dominated by a sense of political urgency aptly captured by neorealist, documentary-style narratives that went out to the streets to film popular subjects. Pereira dos Santos's Rio 40 graus (Rio 40 Degrees, 1955) and Rio zona norte (Rio Northern Zone, 1957) followed the daily life of peanut-seller boys and a samba composer in the slums of Rio, while Rocha's Barravento (The Turning Wind, 1962) laid bare the alienating function of religion and its clash with modern ideas in a traditional fishing community. Several seminal films were released in 1963, many of them located on the sertao, the mythical locus of uncontaminated Brazilianness in the Northeastern backland dos Santos's Vidas secas (Barren Lives), Guerra's Os fuzis (The Guns), and Rocha's Deus e o diabo na terra do sol (Black God, White Devil). Although Carlos...

Other Mean Streets in Manhattan

Presidential candidate, possibly with the intent to assassinate him, and how to track down Iris (Jodie Foster), the child prostitute. He seems unperturbed when he picks up a nameless fare (Martin Scorsese) who seems intent on murdering his unfaithful wife. This passivity in the face of an imminent crime would undoubtedly make Travis a criminal accomplice. As he shops in a convenience store, an armed robber threatens the cashier, but without trying to disarm the holdup man, Travis calmly shoots him in the head. Finally, in the bloody climax of the film, he takes his illegal weapons and engages his enemies within this dark underworld in an explosion of violence worthy of Armageddon. In Taxi Driver the cultural conflict lies not in the struggle between the mob, comprised mainly of Italian Americans from Little Italy and law enforcement agents, who are mainly WASP or Irish, but between social classes. On one side of Broadway lies the underclass caught in its criminal ghetto. On the other...

Thematic criticism analysis Roman Polanski

In terms of Polanski's second main theme, that of a violent contemporary world, Telotte and McCarty do not only relate it to the theme of isolation, but also outline Polanski's attitude towards it ' Polanski is able to assume an ironic, even highly comic attitude towards the ultimate and, as he sees it, inevitable human problem - an abiding violence and evil nurtured even as we individually struggle against these forces' (p. 390). The isolated individuals struggle against the violence and evil of the contemporary world, but at the same time they nurture what they struggle against. This complex theme is epitomized in one of Polanski's most famous films - Rosemary's Baby. 'The basic event of Rosemary's Baby - Rosemary's bearing the offspring of the devil, a baby whom she fears yet, because of the natural love of a mother for her own child, nurtures - might be seen as a paradigm of Polanski's vision of evil and its operation in our world' (pp. 389-90).

Brad Sykes Nightfall Pictures Los Angeles

Brad has continued to make his mark with more recent projects like Death Factory and Demon's Kiss. Many of his films have been distributed worldwide at Cannes, AFM, and MIFED and can be found at rental outlets such as Blockbuster and Hollywood Video. Brad's films have also been reviewed in, among others, Fangoria, Rue Morgue, Videoscope, LA Weekly, and the French Mad Movies. Brad is known for pushing the horror genre into new and challenging directions while still delivering maximum thrills and chills. His latest film, Goth, is a psychological thriller that delves into the underbelly of the Goth subculture. Brad lives in Los Angeles with his wife, screenwriter Josephina Sykes.

Contemporary Action Sequence

Raiders The Last Ark Horse

The film tells the story of adventurous archeologist Indiana Jones and his pursuit of the Ark. He is competing with a French archeologist and his financiers, the pre-war Nazis, who believe that the Ark has supernatural power. Only Indiana Jones and his associates can prevent the Ark from falling into unfriendly hands. The chase occurs in the latter third of the film after the Ark has been excavated from an ancient Egyptian city. The Nazis have the Ark, and Indiana Jones wants to retake it. As the scene opens, he is on foot, and the Ark is on a truck. When asked what he will do to retake it, he responds that he doesn't know and he's making it up as he goes along. This devil-may-care flippancy is key because it alerts the audience that, in keeping with the rest of the film, Jones will find himself in danger but will be inventive in eluding destruction. The fun comes in watching him do so. This is the spirit of the chase sequence (Figure 17.4). Another element that seems similar in both...

International Fame on the Road beyond Neorealism La strada Il bidone and Le notti di Cabiria

After La strada won for Fellini the Silver Lion at Venice in 1954 and his first Oscar for Best Foreign Film in 1956 (not to mention dozens of other awards), still continuing his interest in the fundamental psychological changes of conversion that would come about from an act of secular grace in ever more complex individuals, Fellini next shot Il bi-done (1955), casting Broderick Crawford in the leading role of a con man named Augusto who often poses as a priest. Il bidone means the swindle in Italian, and Fellini had originally thought of Humphrey Bogart for the leading role, but Crawford was perhaps equally as suitable, since he was associated by audiences all over the world with Hollywood gangster pictures. With Il bidone, Fellini took a traditional Hollywood genre and gave it a special Fellinian twist, for the plot of the film represents a variation of the Christian story of the good thief, the character near Christ on the cross, and traces Augusto's descent into a personal hell...

The Silence Of The Lambs And The Rise Of Jodie Foster

Foster's goes the whole distance, steadfast, controlled, heartbreakingly insightful, a fine addition to her gallery of characterizations.' Other reviewers tended to agree with Benson while always highlighting the 'demonic' quality, 'quiet energy', 'pinched elegance' and 'vicious fun' of Hopkins' performance, they also noted the 'disciplined mix of reserve and revelation' through which Foster 'matches' Hopkins 'step by step', reaching 'the dizzying upper limits of acting' (David Denby, New York, 18 February 1991 60 Jami Bernard, New York Posl, 14 February 1991 53 Jan Stuart, Newsday, 14 February 1991 74 David Ansen, Newsweek, 18 February 1991 64).

The Last Good Time We Ever

Who the hell is talking to you like this How old is he The author is 52 and he loved the decade of the 1970s and its movies. We had movies then that you had to watch. Many of them had unfamiliar shapes, new narrative structures or strategies. They began late. They switched course. And they did not end well or happily or comfortably. Sometimes they broke off in your hands, or your mind.2

Sound time and place fritz langs M

M is the story of a child murderer, of how he paralyzes a German city, and of how the underworld finally decides that if the police can't capture him, they will. The criminals and the police are presented as parallel organizations that are interested primarily in self-perpetuation. Only the capture of the child murderer will allow both organizations to proceed with business as usual. We are introduced to the murderer in shadow (Figure 2.4) when What follows is the famous scene of parallel action where Lang intercut two meetings. The police and the criminal underworld meet separately, and the leaders of both organizations discuss their frustrations about the child murderer and devise strategies for capturing him.

Roger Corman b Roger William Corman Detroit Michigan April

Womens Prison Caged Womens

Corman continued to look to hot-button issues to exploit, including integration in the South with The Intruder (1962), one of his few financial failures. For The Wild Angels (1966) he worked with members of The Hell's Angels, and prior to his film about the drug culture, The Trip (1967), Corman experimented with LSD. Both films initiated long-lived exploitation cycles. Corman (b. 1926) and Herman Cohen (1925-2002), AIP released dozens of low-budget films with titles like Day the World Ended (1956), I Was a Teenage Werewolf (1957), Dragstrip Girl (1957), Reform School Girl (1957), and High School Hell Cats (1958). The term exploitation In the climate of auteurism of the 1960s and early 1970s several sexploitation filmmakers were singled out for their distinctive styles. Topping the list was Meyer, whose sharp cinematography and rapid-fire editing made his tales of amply proportioned yet sexually frustrated women and their square-jawed, dimwitted men instantly recognizable. Metzger's...

Rules governing the relation between the particular and the general

In a review of Rosemary's Baby (Roman Polanski, 1968), Andrew Sarris discussed the implicit nature of themes. He argued that ' t he qualities of a good plot are simplicity, directness, and an oblique treatment of essentials. Rosemary's Baby can be synopsised in one sentence as the adventures of an actor's wife, delivered to the devil and his worshippers by her ambitious husband so that she might bear the devil's baby, which she does. The beauty of the plot is that it virtually conceals its real subject. On the surface Rosemary's Baby seems merely the reversal of Mary's baby' (1970 374). Sarris

Religion politics and Cold War propaganda

Official and unofficial propagandists in the West were equally quick to play the religious card in the early years of the cultural Cold War. In the immediate aftermath of the Bolsheviks' rise to power, sections of the American and British press denounced communists as murderous blasphemers, while theatrical productions such as R. Grahame's The Bolshevik Peril, staged in London in 1919, warned of the spiritual and sexual depravity inherent in communist rule.7 After 1945, the persecution of religion under 'godless communism' became one of the most emotive themes of Cold War discourse in the United States. Many American policy-makers assumed a missionary mentality, seeing the Soviet Union as not just an enemy but something akin to the anti-Christ.8 In 1950, John Foster Dulles, a Presbyterian minister's son and US Secretary of State 1953-9, decried the 'materialistic' bent of American society, and called instead for a 'righteous and dynamic faith' in the nation's fight against communism....

The Aesthetics Factor

Although the commercial independent cinema of the 1980s had provided the platform for the release of a small number of films that dealt with representations of gays and lesbians (Lianna Sayles, 1983 Desert Hearts Deitch, 1986 Parting Glances Sherwood, 1986 Longtime Companion Rene, 1990 ), in the early 1990s there was an explosion of independently produced films that offered such representations. My Own Private Idaho (Van Sant, 1991) Poison (Haynes, 1991) Paris is Burning (Livingstone, 1991) Young Souls Rebels (Julien, 1991) The Hours and Times (Munch, 1991) RSVP (Lynd, 1991) Swoon (Kalin, 1992) The Living End (Gregg Araki, 1992) and Zero Patience (Greyson, 1992) all sprang from a vibrant independent film festival scene (with the Toronto and Sundance Film Festivals at the forefront). The release of all these films within the 1991-2 period led film critics to approach them as a distinct body of work within the context of contemporary American independent cinema to which B. Ruby Rich...

The Mature Auteur La dolce vita and a New Subjective Film Narrative

Satyricon Fellini Banquet Scene

It was specifically as a means of combating a creative mental block connected to the abortive production of Mastorna, as well as the physical crisis brought on by his life-threatening illness, that Fellini took a step he always preferred to avoid He agreed to make a film based upon a literary work not of his own creation. Literature, Fellini always claimed, could at best only provide the cinema with a general narrative plot, since for Fellini the cinema was primarily a visual, not a literary, medium, with light, and not words, as its means of communicating ideas or emotions. Thus, he shot Toby Dammit in the episodic film Tre passi nel delirio but changed the storyline so drastically that almost only one element of the literary source (the decapitation of the main character after placing a bet with the devil) remained from Edgar Allan Poe's original. In Fellini's version, the protagonist becomes a drug-dazed Shakespearean actor down on his luck who is hired by the Vatican to make a...

The Carceral Archipelago and the Panoptical Regime

It would be difficult to name a television show that appeared before The X-Files and Millennium in which a greater number of governmental departments, agencies, projects, and entities were either directly represented on screen or alluded to in the course of the action. I confess to never having had the patience to compile a comprehensive list of them, but even a cursory review of a few episodes of The X-Files and Millennium provides a prolific number of encounters with or references to the FBI, Department of Justice, Department of the Treasury, Department of State, Department of the Interior, Department of Agriculture, Department of Transportation, Department of Defense, Secret Service, CIA, NSA, OSS, BATF, DIA, U.S. Army, U.S. Air Force, U.S. Navy, U.S. Marines, U.S. Coast Guard, Navy SEALS, Strategic Air Command, NORAD, U.S. Customs Service, INS, NTSB, FAA, CDC, NASA, NIH, IRS, DEA, EPA, USPS, SEC, Federal Reserve, U.S. Census Bureau, U.S. Marshals, National Parks Service, U.S. Fish...

Norman McLAREN b Stirling Scotland April d January

Norman McLaren was one of the most innovative and influential figures in animation. Throughout his life McLaren worked in any number of techniques, including painting, drawing, and scratching directly onto film pixellation (the frame-by-frame animation of staged live-action movement) stop-motion chalk drawing multiple compositing hand-drawn soundtracks cut-outs and 3D object animation. Beyond the implicit influence of his work, he also nurtured other artists, and maintained a pacifist, left-wing, humanitarian agenda in his creative practice, evidenced early in his student film, Hell UnLtd (1936).

Stanley Kubrick b New York New York July d March

Bronx July 1976

With little patience for formal education, Kubrick spent most of his adolescence in the Bronx, New York, frequenting chess clubs and taking photographs for Look magazine. Using his savings from a Look photo-essay on boxing, Kubrick made his film debut, Day of the Fight (1951), a sixteen-minute documentary on boxer Walter Cartier. This early short demonstrates two of Kubrick's stylistic trademarks elaborately choreographed hand-held camera work and the use of available light. Kubrick's first independent features were Fear and Desire (1953), a psychosexual war thriller that he subsequently disowned, and the hard-boiled, occasionally surreal Killer's Kiss (1955). His remaining eight films are uncompromising studies of violence, sexual pathology, and the limitations of rationality. Lolita (1962) and Eyes Wide Shut (1999) examine the sexual frustrations that drive their ostensibly cultivated male protagonists to ruin. Dr. Strangelove (1964) and Full Metal Jacket (1987) offer devastating...

The Life of Al Capone

While Zanuck was in the process of organizing The Public Enemy, Howard Hughes was developing his own idea for a modern biopic. A multimillionaire and son of a Texas industrialist, Hughes began investing in motion pictures in the mid-1920s. In 1928 he produced his first gangster picture. The Racket began in 1927 as a Broadway hit by former Chicago crime reporter Bartlett Cormack and featured Edward G. Robinson in his only stage gangster role.62 The character of Nick Scarsi was loosely based on Al Capone, but Cormack refrained from depicting real events in Chicago history or Capone's life, marginalizing Scarsi's role in favor of an incorruptible cop, McQuigg. The film script, directed by Lewis Milestone, also avoided condemnation by focusing on the tribulations of the honest cop and killing the magnetic Scarsi in the final scenes. It was successful, but Hughes wanted to produce something more daring-something with more basis in history. In his first sound film, Hell's Angels (1930), he...

Jack Bauer Noir Protagonist

Most significant for present purposes is the fact that Jack Bauer fits the profile of the noir hero. Characteristic of noir is the presence of a strong male protagonist, a hardened but sympathetic figure who struggles, sometimes unsuccessfully, against violence and corruption. Conventionally a detective or an individual otherwise involved in the investigation of crime, the classic noir protagonist tends to be an intense but emotionally guarded individual whose integrity is put to the test by circumstance. Typically, this figure is plagued not only by external threats but also by internal demons and his redemption if it is to be achieved requires the overcoming of both. Stereotypically, the noir hero enters into a relationship with a femme fatale whose influence either causes his downfall or, in the very, least frustrates his success. Classic examples of the noir hero include Bogart's Philip Marlowe and Sam Spade more contemporary ones are William Hurt's Ned Racine (Body Heat, Lawrence...

Marlene Dietrich b Maria Magdalene von Losch Berlin Germany December d

Marlene Dietrich Destry Rides Again

In 1930 she followed Josef von Sternberg, the director of The Blue Angel, to Hollywood. For five years at Paramount, von Sternberg and Dietrich collaborated on six films, from Morocco (1930) to The Devil Is a Woman (1935), establishing her as a screen goddess. The films experiment with expressionist lighting and texture even as they explore the nature of femininity. Dietrich learned a great deal from von Sternberg about constructing her own image, and although she could devise her own lighting arrangements for the most suitable effects, she could mock it too, as in Fritz Lang's Rancho Notorious (1952) and, memorably, in Orson Welles's noir masterpiece, Touch of Evil (1958).

God and Gary Cooper Are Dead

Episode 1 ( The Pilot ) of season 1 begins with Tony Soprano waiting to meet Dr. Jennifer Melfi (Lorraine Bracco) for his first session of psychotherapy. Tony is the embodiment of underworld machismo. He has summoned the courage to attend these sessions in order to combat the severe panic attacks that have led to his collapse on several prior occasions. Tony is soon established as a man of power, someone whose profession requires control and the ability to manipulate others. He interprets his malady as merely one of physical infirmity, and Tony is highly reluctant even to concede this degree of weakness. He is not willing to go beyond this admission to the further conclusion that his panic attacks may also be a symptom of these virtues are decaying, in both spheres of his life. He has neither religious faith nor trust in the law to govern his decisions and actions. In addition, the usual supports of family and friendship have become increasingly fragile. Tony's family life is more...

Ian mackillop and neil sinyard

The origin of this book is an event which took place on Saturday, 5 December 1998 at the British Library in London. It was a study day consisting of lectures about British cinema in the 1950s most of these are printed here, with an equal number of new essays which have been written since. In the evenings of the week preceding the study day, seven films were screened. They appeared under the headings of 'Festive Fifties' (The Importance of Being Earnest, in a sparkling new print), 'Community Fifties' (John and Julie and The Browning Version), 'Tough Fifties' (Women of Twilight and Hell Drivers) and 'Women's Fifties' (My Teenage Daughter and Yield to the Night). It would not do to over-state the achievement after all, it is a period in which directors such as Alberto Cavalcanti, Thorold Dickinson, Carol Reed and Robert Hamer (as Philip Kemp persuasively demonstrates in this collection) for the most part failed to deliver on the promise they had shown in the late 1940s. It is also a...

Sequence Analysis Of The Saraghina Sequence

Gramma Uninhibited

Next we see Guido in meditation over the mummified remains of a decaying female saint. In confession he is asked if he is aware that Sara-ghina is the devil. His ordeal over at last, he kneels before a statue of the Virgin Mary, perhaps asking forgiveness. But despite the strong measures the church has taken to curb Guido's sexuality, Guido is drawn back to sinful). Not surprisingly, when she visits him at the spa, he is too tired to make love to her. Sex is only permissible (and hence pleasurable) with bad or degraded women, women who have gone to the devil. Gui-do's mistress, the plump, voluptuous Carla, is a tamed and refined but not too refined version of Saraghina. In an earlier episode of 8 1I2 when Carla begins to sound too much like a wife, Guido makes her up to look like a whore and tells her to pretend that she has wandered into his room by mistake. A subtle and moving bit of symbolism occurs when Guido kneels before the statue of the Virgin Mary after his confessor has told...

Personal Books and Reference Books

Other essayists on the crime film take pains to dissociate themselves from academic criticism or indeed any pretense to objectivity. In introducing The Devil Thumbs a Ride and Other Unforgettable Films (1988), a series of a hundred alphabetically organized essays, all originally written for Mystery Scene magazine, Barry Gifford acknowledges that he guarantees only the veracity of the impression each film made on him.70 The poet Nicholas Christopher provides an equally personal traversal of film noir in Somewhere in the Night (1997).71 Still more recently, Eddie Muller's impressionistic, supercharged Dark City (1998) declares its independence from the academy in its opening dialogue, a parody of The Asphalt Jungle (1950)

Mean Streets of Brooklyn and Queens

The Mafia has eased its membership requirements to a certain extent, and in a sense has compromised its traditions. It is a passing of the old ways that Scorsese notes with some regret. He seems to look back on the past with nostalgia, when the Mafia's elegant Sicilian customs still regulated the behavior of the mobsters, as it does in Coppola's romanticized version of the criminal underworld. His four years in prison have enabled Henry to form a good business relationship with a supplier in Pittsburgh, and after his parole, he has a ready-made operation to expand to the outside world as an independent businessman. He bypasses Paulie and keeps all the profits for himself. When Paulie hears of Henry's extracurricular activities, he tells Henry to give up the drug business, not for any lofty moral purpose but simply because federal officials come down hard on an entire organization when they find any member engaged in drug trafficking Gribbs another boss got twenty years just for saying...

From Comedy to Horror

Market to be targeted because of their relative wealth in terms of disposable income and interests in music, film and fashion. Hammer's last film was To the Devil a Daughter (Peter Sykes, 1976) and the company, suffering a decline shared by much of the film industry in the 1970s, went bankrupt in 1980.

American Comic Books On Film

Movies as major summer releases, beginning in 1978 with the version of Superman by Richard Donner (b. 1930), starring Christoper Reeve, and its assorted sequels. The superhero blockbuster was elevated to another level in 1989 with the version of Batman by Tim Burton and its three sequels in the 1990s and a fourth in 2005. Both film series were financed by Warner Bros., a division ofTimeWarner, and based on characters published by DC Comics, another division of TimeWarner. These synergistic films set the standards for future superhero movies and were followed by a host of imitators, many of which were inspired by lesser-known characters published by smaller comic book companies. These included The Crow (1994), Tank Girl (1995), Judge Dredd (1995), Barb Wire (1996), Men in Black (1997), Spawn (1997), The League of Extraordinary Gentlemen (2003), and Hellboy (2004). book series. Other adult-targeted works based on comics in nontraditional genres include the Jack the Ripper story, From...

New Wave Theory In Practice

In The 400 Blows, true to the spirit of Alexandre Astruc's conception of the camera stylo, Truffaut creates a film language to translate subtle nuances of feelings and ideas into film, thereby demonstrating that film can be as emotionally and intellectually evocative and complex as a work of literature. The film itself is not a literary adaptation. Truffaut himself wrote the story and adapted it for the screen, with the collaboration of Marcel Moussy, who helped in the creation of the dialogue. The story of the film was patently autobiographical, based on Truffaut's own childhood experiences. Not all New Wave films, nor all of Truffaut's films, were autobiographical. Many of them were even based on literary works. Most New Wave films were personal, however, in that the directors usually worked from their own screenplays, and the films reflected their own personal styles and thematic preoccupations. The 400 blows of the film's title comes from the French idiom faire les quatre cents...

Disintegrating Indian Nations

In Devil's Doorway, the successfully assimilated Indian is rejected by whites in power, and those Indians who have gone to the reservation are driven in desperation to leave it, saying, We will die, but we will never go back to the reservation. This is the double bind that Devil's Doorway presents Indians cannot assimilate and cannot be contained, but instead are forced into a hopeless and violent conflict with the settler community. In the film, prejudicial laws and attitudes bar Lance from participating in the American Dream and the frontier economy of masculinity that are so central to the traditional hero of the Western genre. Indians are prohibited from buying alcohol, owning or homesteading land, and living away from the reservation even legal recourse is nearly beyond their means. Territorial Wyoming is no longer the egalitarian society in which the assimilated Lance can build his cattle business. Devil's Doorway reveals white-initiated violence and racism to be institutional...

Criminal Anxieties Criminal Jokes

Scarface And Pile Cocaine

(One False Move Heat, 1995), a continued updating of the neo-noir tradition in the erotic thriller (Basic Instinct, 1992 Body of Evidence, 1993), a postmodern renewal of the gangster film (Reservoir Dogs, 1991 Pulp Fiction, 1994), a return of the unofficial detective (Devil in a Blue Dress, 1995) and the innocent man on the run (The Fugitive, 1993), and the reemergence of the lawyer film (the John Grisham industry, with its prodigious influence on popular fiction as well as popular film).

The United Artists Revival

Krim and Benjamin approached United Artists in January 1951. After demonstrating to the two remaining shareholders, Mary Pickford and Charlie Chaplin, that the company was only a step away from bankruptcy, they convinced the two owners to allow them to manage the company as trustees for their combined stock for a period of ten years. If United Artists showed any profit at the end of any of the first three financial years under their management, Krim and Benjamin would be invited to acquire 50 per cent of the company's stock for just 8,000.32 With the two remaining owners finally agreeing to stay away from the day-to-day operations of the company, Krim and Benjamin's regime commenced its battle to save UA from liquidation and potentially become co-owners with Pickford and Chaplin. Preminger's first film for UA under the banner of his company Carlyle Productions was the controversial The Moon is Blue (1953), which the distributor released without PCA approval after resigning from the...

Establishing Shot through a Wide Angle Lens

Other cities have similarly achieved iconic status, just like New York, but they tend to connote a single, more narrowly focused personality for moviegoers. New Orleans, the Big Easy, has its Bourbon Street, jazz, Mardi Gras, and steamy, menacing underworld. San Francisco's hills outnumber Rome's, and they provide a perfect setting for police car chases with the Golden Gate Bridge in the background. Chicago offers gangsters from the Depression era, but they are quite different from Miami gangsters, who are drug traffickers and wear pastels and pony-tails. Hollywood's Tinseltown image comes naturally enough from its leading industry Beverly Hills with its shops on Rodeo Drive redefines the term conspicuous consumption. The neighborhoods of greater Los Angeles, however, provide dreary anonymity for petty criminals and alienation for lovers amid its palm tree lined streets, slightly run-down stucco houses, and endless tangles of freeways. A mention of Boston with its Beacon Hill or...

The laws of organic composition

Alternate montage includes another figure, no longer parallel, but concurrcnt or convergent. The passage from S to S' takes place through the intermediary of A, the decisive action, most often placed very close to S'. The synsign must contract into a binomial or duel in order for the powers which it actualises to be redistributed in a new way, to be pacified or to recognise the triumph of one of them. The second law therefore governs the passage from S to A. Now the decisive action or the duel can only arise if, from various points of the encompasser, lines of action emanate converging on this occasion to make possible the ultimate individual confrontation, the modifying reaction. These are the lines of action which arc the object of alternate convergent montage, the second figure of montage in Griffith. But perfection was, perhaps, achieved by Lang, in M (which, in fact, prepared Lang's departure for America). It is in analysing the convergent montage of this film that Noel Burch...

White Stain in the Midst of Blackness

Devil in a Blue Dress begins with a powerful evocation of the spatio-tempor-ality of post-World War II black-white relations. The year is 1948. Easy Rawlins (Denzel Washington), having just lost his job in an airplane assembly plant, is sitting in Joppy's Bar in a black section of Los Angeles reading the employment pages of the newspaper's classified section. While at the individual level the scene introduces Easy's personal problem, at a collective level Mosley's opening provides ideal visual imagery for a cinematic treatment of a racially segregated L.A. in which the war service of African American GIs has failed to affect practices of racial exclusion. As Easy looks up from his newspaper, his first-person narration says It is evident, then, that the literary version of crime fiction articulates a spatial map. This is the case in nineteenth-century novels, for example in Dickens's Our Mutual Friend, where one encounters a middle class caught between the fraudulent arrogance of the...

Broken Arrows Clear Talk

Bride, Sonseeahray, played by Debra Paget) attempting to heal social rifts through their union, but peace comes only when the bond is broken and the Native American partner is sacrificed. Although the film's successful peace talks allude to the possibility of both assimilation and cultural tolerance, dual tensions of the conformist 1950s and the breakdown in cross-cultural communication toward the end of the film, along with the end of the cross-racial marriage through the death of Sonseeahray, complicate the film's verbal pro-assimilation message.11 In contrast to Devil's Doorway, the events of Broken Arrow act as a ceremony of purification for Jeffords, who is sick and tired of all this killing. Through his relationship with Sonseeahray and through her death, both Jeffords and his community are reborn as a nation in harmony with itself and its conquered peoples.12 Several critics have addressed the relationship of voice-over and dialogue to the film's function as representation....

Not as Fake as You Think The Real and the

Barbed Wire Land Mine Double Hell Time Bomb Death Match'. ECW, under the This subcultural (and wilfully 'stupid') dimension is taken further in Backyard & Wrestling, the current folk devil of parent's groups, in which teenagers with camcorders slam each other through burning tables.6 Backyard wrestling tapes make a virtue of their 'amateur' status through a lo-fi aesthetic (camcorder on screen counters, fuzz and dropout, single camera set-ups) and homemade

The Meese Commission And The Sex Warsdiscourses On Pornography

Violence, had no measurable ill effects. Beginning in 1986, during President Reagan's last two years of office and into the first Bush administration, the Commission on Pornography, headed by Attorney General Edwin Meese, made significant strides in prosecuting and demonizing pornography. Ostensibly, new laws and an Obscenity Task Force were aimed at child pornography, but the elaborate new record-keeping requirements (combined with extensive legal fees) were intended to drive producers of sexually explicit materials out of business. Established in 1987, the National Obscenity Enforcement Unit attempted to eliminate as much sexually oriented material as possible. Frequently the unit would force plea bargains and settlements on defendants who wished to avoid prosecution in one instance, plea negotiations with the Adam & Eve Company demanded that the company stop selling even mild soft-core porn, including marriage manuals like The Joy of Sex (1972). A federal circuit court ultimately...

Paranoia Detection and Crime Scene Investigation

In film noir, paranoia is part of the atmosphere and everyone takes it in, like the air they breathe. But paranoia is more than a mood. It is also a way of thinking, and it helps to explain why so many noir protagonists give expression to the thought that whichever way you turn, Fate sticks out a foot to trip you up (Detour Edgar G. Ulmer, 1945 ). Paranoia takes other forms as well, but in film noir it is typically combined with, or a component of, this notion of fate or determinism that is central to the conception of a fragmented, divided, and therefore inefficacious agency or will. The ineffective will, the inability to prevail against something from out of the past that exerts a kind of constraint, is a noir idea because the response to the dark force against which all attempts are doomed to failure is to fear it, and such fear can become paranoid.26 In this respect, TV noir series as apparently unlike one another as The Fugitive, The Prisoner, Crime Story, and The X-Files share...

The Romance of the Silent Criminal

Higher budgets to lure bigger audiences, the rapid rise of largely immigrant audiences, the criminalization of drinking through Prohibition, and the alliance of Hollywood studios with organized crime all combined to shift the romance of criminals from the menace they posed to innocent victims to their own personal mystique. Josef von Sternberg's Underworld (1927) retains the redemptive structure of Alias Jimmy Valentine while granting its lead criminal, Bull Weed (George Bancroft), a much more glamorous life from which to be redeemed.8 Underworld gives Bull the best of all worlds by making him

Ufa Universum Film Aktiengesellschaft

From this thesis he developed his reflection theory of Germany's fall, seeing in the myriad monsters created in Ufa's Babelsberg studios the precursors to the bureaucrats operating the concentration camps. David Stewart Hull, on the other hand, places Ufa at the center of the Filmwelt, a world in a vacuum where the overriding concern was continuance of the artistic status quo and to hell with politics'' (p. 7). Most film historians have taken one of these two positions while more liberal writers have viewed Ufa as a bogeyman of the German right, bent on ideologically battering the German electorate, conservative historians have described Ufa as an apolitical free-trade zone catering to the desires of German film buffs. Most recently, Klaus Kreimeier has tried to move beyond this dichotomy, arguing that Ufa was always a massive bundle of contradictions and functioned precisely because it was able to bring under one roof German Realpolitik and expressionistic dreams, monopolistic studio...

Edgar G Ulmer b Olmiitz Austria Hungary September d September

One of Ulmer's earliest efforts, The Black Cat (1934), is considered one of his best. Although the movie boasted Universal's first teaming of Boris Karloff and Bela Lugosi, it was made quickly, on a B budget. Ulmer gave the bizarre tale of vengeance and necrophilia a sleek modern look that suggested spiritual corruption. He pulled a sympathetic performance from Lugosi and made Karloff, as a devil-worshipping architect, a genuinely malevolent figure. The Black Cat still ranks as an early horror classic. Lower budgets meant that exposition tended to be handled in a more overt, at times ham-fisted, manner than in A films, in which it could be delivered more subtly over a longer running time through character behavior. Dialogue was the most expedient way to transmit crucial plot information. In PRC's The Devil Bat (1941), the vengeful mad scientist Bela Lugosi greets the jumbo creation of the title by telling it, ''Ahhh, my friend, our teeory ov glandular stimooolation through electrical...

Cinematic and Extra Cinematic Space

Despite missing some of the opportunities in Mosley's pervasively color-coded story for a cinematic semiotics, Franklin's film version does effect the spatial narrative with historical depth that is central to Mosley's novel. Easy reluctantly accepts Albright's assignment to find Daphne Monet. Although the perils of Easy's assignment are treated within the moving frames of Devil, a discernment of the politics of the law-crime-race interrelationships requires us to heed what Noel Burch has famously distinguished as two different kinds of cinematic space . . . that included within the frame and that outside the frame. 35 First and foremost, as Easy's early voice-over informs us, there is a mayoral election underway. It makes its way into the frame in several separate framing shots, both when close-ups of newspaper headlines about the mayor's race are shown and in one tracking shot when the motorcade of mayoral candidate Matthew Terrill is shown passing through a black section of L.A....

Marxism And Early Cinema

Post-World War I European cinema, especially that of Germany, showed both the effects of the war and the alienated and helpless condition of people under the German class system. Expressionist horror films such as Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari, Robert Weine, 1920) conveyed a modernist sense of humanity's twisted, tormented situation under the standing economic order. Fritz Lang's pioneering science-fiction masterpiece Metropolis (1927), with its seminal vision of an ornate city resting atop the underworld city of the workers who maintain it (a notion derived from H. G. Wells's 1895 novel The Time Machine), would foreground anxieties over the class struggle that had propelled Russia's October 1917 Revolution. Indeed, the Soviet Union after the October Revolution would produce the key films extolling the virtues of socialism and communism these films would also become landmark contributions to the development of the cinema. Lenin, the leader of the Bolshevik...

Crossing the East River

Room for other identifiable ethnic groups, for working people, or for the severely impoverished. Chinatown, Hell's Kitchen, Little Italy, and Spanish Harlem don't exist. If he deals with people who are not up to his standards, he locates them in New Jersey (Broadway Danny Rose, Small Time Crooks, Purple Rose of Cairo) or in Brooklyn (Radio Days or Annie Hall in his two nostalgic trips back to his childhood). The exceptions to this sanitized version of the City are rare. The Italian gangsters in Bullets over Broadway, the Chinese cameraman in Hollywood Ending, the Chinese herbalist in Alice, or even the prostitute and porn queen (Mira Sorvino) in Mighty Aphrodite are stock comic characters from other movies, not from New York life. They function as props and foils for the central figures, who are Allen-style Manhattanites.

Michelangelo Antonioni b Ferrara Emilia Romagno Italy September

Antonioni is synonymous with the notion of art cinema. His film career began in 1942 when he worked on Roberto Rossellini's Un Pilota ritorna (A Pilot Returns) and Marcel Carnes Les Visiteurs du soir (The Devil's Envoys), and, despite suffering a stroke in the 1980s, Antonioni has remained sporadically active.

Alienation and Moral Ambiguity

Classic noir espionage films such as Ministry of Fear (Fritz Lang, 1944) and The Third Man are precursors to TV noir espionage series whose most conspicuous and distinguished example is Secret Agent. The mid-1960s series pits British agent John Drake, an independent-minded antihero who masquerades as artist, writer, travel agent, and milquetoast teacher against spies, terrorists, blackmailers, and assorted denizens of the international criminal underworld. Its black-and-white episodes were stylishly directed (some by Peter Yates, who would go on to direct the noir textured Steve McQueen hit Bullitt 1968 , and others by Don Chaffey, who would also direct episodes of The Prisoner). Sets simulating such locales as Paris, Vienna, Singapore, Beirut, and Hong Kong achieved verisimilitude with admirable economy. Skoble argues that The Fugitive is a counterexample to this standard view it demonstrates moral clarity insofar as Richard Kimble is consistently shown making tough decisions about...

Leo Braudy And Mark Crispin Miller

SP I would say I've made films that are not precisely in that category Three Days of the Condor 1975 is more of a narrative film, a film which is carried more by narrative drive, let's say and They Shoot Horses, Don't They 1969 has a certain sort of visual energy and style and is an ensemble kind of a picture, although the leading characters are very much the leading characters and it does rely on those performances. I think that's again because of my background as an acting teacher, and so the areas I was most comfortable in initially were areas of performance. What I had to learn when I went to Hollywood was which end of a camera to look through. I used to ask for close-ups with the feet in them. I didn't know what the hell a camera was about when I started. It took me a long time to learn that. But what I was always comfortable with was working with the actors. dress on. But if you say to me, 'You're never going to work again,' I think I'd probably put the dress on. That's really...

The Crisis in Hollywood Crime

Better than anyone else before or since, Bogart incarnated the romantic mystique of the doomed criminal. He never played the nobly redeemable crook of Sternberg's Underworld or the dashing outlaw who flouts unjust laws - a figure popularized by Mae West (She Done Him Wrong and I'm No Angel, both 1933) and Errol Flynn (The Adventures of Robin Hood, 1938). Instead, Bogart's protagonists were ambivalent. Bogart villains like Roy Earle were sympathetic despite (or because of) their guilt, Bogart heroes like Sam Spade (in The Maltese Falcon, 1941) Fig. 6 tainted with guilty knowledge. Bogart continued to trade on the mystique of the soulful criminal and the hero with a shady past, even when cast against type as the aging sailor Charlie Allnut in The African Queen (1951) or the obsessive Captain Queeg in The Caine Mutiny (1954). On the eve of John Huston's pivotal caper film The Asphalt Jungle (1950), Bogart would close the forties by starring When the inevitable reaction against the...

The Outline Treatment

4 British headquarters, Jerusalem, 1878. Drinks on table. Officers look at Sinai maps. bagley worries that the Turks may have palmer and the gold will be lost. franklyn suggests he is already dead. bagley, decisively There will be hell to pay if the story gets out. Palmer must be found.

Editor Sight Sound UK

Quotidian hell in the hinterland of Naples rendered realistically and therefore nihilistically. That said, the parts restricted to the Secondigliano housing estate are at times like a sci-fi spaceship-in-peril film, except that death comes swiftly without drama. A laconic crime epic for anti-romantic times. The Lie of the Land (Molly Dineen, UK)

Critic After Dark Philippines Altar Rico Ilarde Philippines

Microscopic attention spans of hardcore gorehounds. His latest no-budget effort mixes Latin spells and demonic possession with a hero straight out of John Ford's The Quiet Man and a sidekick with the warmth and earthy humour of Sancho Panza. The results are distinctively Ilardean and altogether inimitable. Hellboy II The Golden Army (Guillermo del Toro, USA Germany) Big-budget comic-book adaptation aside, this is easily the mainstream film of the year precisely because so much of it isn't mainstream. Where else can you find a movie where the emotional highlights are the passing of a forest god and the singing of a Barry Manilow song Where else can you find such esoteric and eclectic CGI creations And where else can you find as sharp a workplace comedy tucked away inside a multimillion-dollar digital extravaganza (essentially The Office, with supernatural forces at work)

Directing the Camera

The visual look of Breillat's work tends to be romantic. The opening of Sex Is Comedy and the opening of Romance both have an aesthetically pleasing set design, as does Anatomy of Hell. But this is where performance and visuals begin to collide. The actors are miserable on the beach in Sex Is Comedy. Marie is profoundly frustrated with her boyfriend in Romance. A woman attempts suicide in Anatomy of Hell. In this sense, the visual look of the films makes the unhappiness of the characters ironic. And we are curious as to why. the narrative. Exerting power, whether the sexual power of an adolescent over her sibling or the male-female power struggle, always leads to the same place the violent resolutions of conflict that affirm that women are the victims of men rather than their partners. Fat Girl takes us as far from romantic love as we can travel. We are left with the director's idea to ponder our own idealizations and demonizations of sexuality. This is where Breillat's films take us.

Case Study in Good Directing Michael Manns Collateral

In Collateral the narrative is simple. The main character, Max, is a black man who has been cabbing in Los Angeles for 12 years and dreams of owning his own luxury limousine company. The evening begins simply with a young attorney as his fare. She is concerned about how long it will take to reach her office. Max remains low key and confident, and by the end of the ride the two have formed a bond. The next fare is far more direct when he asks Max if he wants to make 600. All he has to do is drive him to five meetings. Max agrees and the night from hell begins. His fare, Vincent, is a hit man, and as Max will learn target number five is the young attorney who will be prosecuting a case against a drug kingpin the next day. The others are the witnesses, and the hit man must kill them all.

To View This Figure Please Refer To The Printed Edition

Most controversial and most influential of all the independently made, low-budget films was Easy Rider (1969) (Figure 47). It was genuinely born of the new drug counter-culture - its two creators, Dennis Hopper and Peter Fonda, were central players in the Haight-Ashbury scene from 1966 onwards. Fonda had starred in a motorcycle film, the rather stilted The Wild Angels (1966), in which genuine Hell's Angels feature on their customized Harley Davidsons. Easy Rider held up a mirror to the new counter-culture in America and presented an avant-garde, low-budget film that featured dope smoking, cocaine

If you meet this man cross the road

At the start of the film, we learn that a documentary team working for the American broadcaster BDC-TV has failed to return from filming in the jungles of South America. The team consists of Alan Yates his girlfriend, Faye Daniels Jack Anders and Mark Tommaso. They have worked together before, and are famed for their raw and shocking documentaries. The company organizes a search party, led by New York University anthropologist Professor Harold Monroe. Once in the jungle, Monroe's group makes contact with the Yacumo people, who greet them with fear and suspicion. They discover that the Yacumo, who are not cannibals, believe that Yates' team had cast an 'evil spell' over the jungle and its peoples as Monroe's guide Chako suggests, their unusual behaviour is actually part of a 'religious . ceremony to chase evil spirits out of the jungle - white men's spirits'. However, o once convinced that they mean no harm, the Yacumo guide them to the Tree People or Yamamomo, who indeed are...

Introduction Administering Illegalities

In his Discipline and Punish, Michel Foucault charts the emergence of a productive relationship between modern policing and the delinquent milieu. Many of the consequences of this emergence, in which policing authorities suborn criminal informants to make use of their insider knowledge, are elaborated in twentieth-century hard-boiled detective fiction and in its cinematic film noir realizations. However the law-delinquency relationship requires a different political sensibility when one takes into account the historical trajectory of America's racial-spatial order. For example, in terms of both its narrative and its imagistic (often dysnarrative) moments, Carl Franklin's Devil in a Blue Dress, which incorporates many features of the hard-boiled detective genre, supplements the familiar detective story with a politically inflected emphasis on the connection between the administration of legalities and America's black-white relations. on the one hand and the distribution of criminal...

Identity Disturbances

A complex articulation of identity, space, and politics drives the narrative in Devil. What must be understood first is the historical heritage of African American creativity. As Houston A. Baker, Jr., summarizes it, All African American creativity is conditioned by (and part of) a historical discourse that privileges certain economic terms. The creative individual (the black subject) must perforce come to terms with 'commercial deportation' and the 'economics of slavery.' 20 As a result, Baker notes, African American writing invariably involves an encounter with economic signs 21 as the characters in their stories seek to effect the historical transition from having been, or having descended from, people who were commodities to being economically effective actors. The fraught relationship of the African American to eco A film story that focuses primarily on the paradoxes occasioned by a law-identity problematic (whether Hegelian or Lacanian) would require a parallel montage in which...

Selznicks Return to the Past

Her name is unrecognizable, and she has no real part in film history. Beyond the red carpet, a mother explains the maze of cement monuments to her daughter, and the script calls for close-ups of the slabs belonging to Norma Talmadge, Douglas Fairbanks, and William S. Hart, all with inscriptions of name and year. 39 John Blakeley also has one of these monuments, but neither the mother nor the little girl remembers who he was. Blakeley watches them, an anonymous figure in the crowd. Soon after this sequence, a reporter approaches Blakeley, down and out and finished in Hollywood, and asks him to consider writing and serializing his memoirs. Like Lew Ayres's doomed gangster in Doorway to Hell, his life truly comes to an end when someone asks for his biography. The message is that when you become historically valuable in Hollywood, your career is finished. But beyond these historical traces in the opening sequence, Hollywood Boulevard ignores Hollywood's past. There are no text inserts or...

Conducting Interviews

Another strategy for interviewing, notes Boyd Estus, is for the person asking the questions not to look at the interviewee as a source of information but to get them involved in a conversation, which often involves playing devil's advocate. 'I really don't understand why this is better than that. Can you explain that to me ' So the person's engaged, as opposed to spouting a pat answer.

You mentioned Charleen as being your first film and you speak about it as though you like your first film Is that

Well, it's not a good film in many ways. It's shot rather poorly, although the shooting improves as it goes on. The editing is kind of atrocious in the beginning because I didn't know what the hell I was doing, but it gets better as it goes along. One thing it had, thanks to Charleen, is heart and soul, and I think that's what people sensed as they saw it that it was remarkably honest. She's a remarkably interesting woman. It was a very fresh portrait of someone who was very, very willing to open up in front of the camera. And there was more than just talk going on. There was a lot of activity that was very filmable with her kids and the schoolkids she was teaching. So I

Do Strasbergs Performances On Film Illuminate What He Taught

Regarding details, Strasberg taught that the material world (furniture, hand props and objects on the set) provides a bridge to the imaginary world of the play. As he put it, 'A real thing will help to make an imaginary thing real. That's the basic thing in the Method - the way in which you turn on your imagination to believe in, to experience, to live through whatever it is the character's going through' (David Alexander, 'Lee Strasberg', Season Ticket, September 1980). Strasberg grounds Roth in the real world and expresses him through ordinary gestures. Roth watches television and eats a tuna fish sandwich for lunch. Although he celebrates his birthday with leading members of the underworld, he behaves simply, reacting in surprise at the appearance of the cake, cutting it with little ceremony, and joking about his age with his guests. Even in heightened moments, Strasberg uses everyday expressions. As he listens to Corleone's story about a Cuban rebel who commits suicide, Strasberg...

Why This Is Not a Contract Form Book

The distributor who negotiates a distribution agreement with the filmmaker is almost never the same person who drafts the contract. It is easier to come to an agreement when you are concentrating on what the deal is rather than on how to draft the agreement. (That being said, of course crafting the contract matters. The devil is in the drafting, as they say, and the wording of a defined term or a net profit clause may make all the difference.)

Postmodernism and Crime Story

As Miami Vice, 24, Carnivale, and The Sopranos illustrate, a number of the styles and themes found in TV noir extend the models found in classic film noir in their indebtedness to existentialism. But Miami Vice also departs from the existentialist model and can be classed with other series that are determinedly subversive because they owe something to the influence of postmodernist philosophies.23 And just as Miami Vice is noteworthy for its visual realization, showcasing a tropical deco palette in its wardrobe and set design, Crime Story (1986-1988), a series not covered in the essays included in this volume, vividly recalls early-1960s Chicago and Las Vegas. Crime Story combines its site-specific format with a radical postmodernist critique of government power and corruption. The series begins its first season in Chicago where police detective Mike Torello battles his own demons and his personal nemesis, Ray Luca. The master narrative of Crime Story is a Manichean one of the...

Brother Justins Fear and Trembling

He seemed as close to a perfect being as one could imagine goodness and love exuded from his soul. For Zosima, the definition of hell was the suffering of no longer being able to love. 13 As the people pay their respects, however, a horrible thing happens. Father Zosima begins to smell terribly, putrefying much faster than what is considered natural. Doubt begins to set in, and even Alyosha begins to harbor his own mutinies. Why the sudden change in Alyosha's religious sensibilities Is all this really just because your old fellow's gone and stunk the place out his friend asks. Did you really seriously believe that he'd start pulling off miracles 14 Not long after, Alyosha has a mystical experience and fully feels God's message. In Father Zosima's lifetime, he performed not miracles but simple acts of kindness. Like fictional noir priests to come, Alyosha leaves his order behind so he can do God's work and abide in the world. 15

World War Ii And Aftermath

World War II brought the War Information Office, a collaboration between the US government and Hollywood that produced not only newsreels that functioned as propaganda for the Allied effort, but also a variety of fiction and nonfiction films that portrayed the Axis powers as monstrous while overlooking entirely the economic origins of the war. War films such as Bataan (1943) were allowed a surprising amount of sanctioned and savage violence because they demonized the evil Jap. Postwar films such as The Sands of Iwo Jima (1949) portrayed violence as rather bloodless and painless as they lionized sacrificial violence and heroism at the time, this was Hollywood's standard approach to the subject. The war years saw changes within other genres too, such as the crime film. Raoul Walsh's High Sierra (1941) took on the PCA by portraying the gangster as a hero of the people who sympathized with victims of the Great Depression. The gun violence of the alienated gangster in High Sierra was...

Samuel Fuller b Worcester Massachusetts August d October

Fuller's war movies cover World War II (Merrill's Marauders, 1962 the autobiographical The Big Red One, 1980), the Korean conflict (The Steel Helmet, 1951 Fixed Bayonets, 1951), the Cold War (Pickup on South Street, 1953 Hell and High Water, 1954), and an early presentation of the problems in Vietnam, concerning the French colonials versus the Viet-Minh rebels (China Gate, 1957). He also made Verboten (1959, set in postwar Germany) House of Bamboo (1955), about a gang of ex-Army men who organize their criminality along military lines and a story of the native American ''wars,'' Run of the Arrow (1957). Only Merrill's Marauders (1962) is based on a true story, that of Brigadier General Frank D. Merrill, who commanded the first American infantrymen

Defining The War Film

The war film as a genre is best defined as a movie in which a fictionalized or fact-based story is told about an actual historical war. Fighting that war, planning it, and undergoing combat within it should fill the major portion of the running time. This would include biographies of combatants, such as the World War II hero Audie Murphy (1924-1971) (To Hell and Back, 1955), and movies set inside combat but which remove their characters from the conflict through visualized flashbacks (Beach Red, 1967). This definition eliminates the home setting, the war as background or single episode movie, the military camp film, the training camp movie, and the biography that does not contain actual combat.

Catherine Breillat b Bressuire France July

Her first film as writer and director, Une vraie jeune ftlle (A Real Young Girl, 1976), focuses on the sexual experiences and desires of a young woman, but eschews the romanticism often associated with such tales. Instead, the main character shows no particular reaction to the plainly incestuous attention of her father. In contrast, a blue-collar worker's indifference toward her creates an insatiable passion for him. 36fillette (Virgin, 1988) and A ma soeur (Fat Girl, 2003) are also offbeat narratives of young women coming of age. In each of these films, the female protagonists are not viewed as passive victims in a male-dominated society, but as active agents of desire grappling with their feelings, as well as the assumptions and roles that are thrust upon them by society. This is also true of many of the adult women in Breillat's other pictures, such as Romance (1999) and Anatomie de l'enfer (Anatomy of Hell, 2004).

Postcommunist Blues To The Present

Film awards, and Miklos Jancso attained unprecedented popularity at the age of eighty with a series of anarchic comedies. The most influential of contemporary directors, however, is Bela Tarr, whose films Satantango (Satan's Tango, 1994) and Werckmeister harmoniak (Werckmeister Harmonies, co-directed by Agnes Hranitzky, 2000) have attained cult status abroad. Their often inordinate length, however (Satantango is almost seven hours long), their bleak and melancholy atmosphere, and the slow pace filled with lengthy camera movements have generally restricted their appeal to film festivals and showings at cinematheques and film museums. They prove, however, that the tradition of challenging and subversive Hungarian cinema is not yet dead.

Recommended Viewing

(1942), Casablanca (1942), Sahara (1943), To Have and Have Not (1944), The Big Sleep (1946), Dead Reckoning (1947), Dark Passage (1947), Key Largo (1948), The Treasure of the Sierra Madre (1948), Knock on Any Door (1949), In a Lonely Place (1950), The African Queen (1951), The Enforcer (1951), Deadline U.S.A. (1952), Beat the Devil (1953), The Caine Mutiny (1954), The Desperate Hours (1955)

Recognizable Choreographers

Although many early films featured dance, the sequences were generally preexisting acts or social dances. Choreographers or dance directors were not credited, but as narrative film developed in the silent era, choreographers began to fulfill two functions. Films with plots that centered on goings-on backstage, especially those filmed in the New York studios, often showed celebrities and rehearsals led by Broadway choreographers. Cosmopolitan's The Great White Way (1924) showed a Ziegfeld Follies rehearsal with the real dance director Ned Wayburn (1874-1942) setting choreography on Anita Stewart (1895-1961) as Mabel. In Hollywood, directors hired Los Angeles-area concert dance troupes or schools to provide atmosphere. Occasionally they were identified and even publicized for their contributions to the film. The always media-savvy Ruth St. Denis (1878-1968) and Ted Shawn (1891-1972) led their Denishawn dancers on the steps of Babylon in D. W. Griffith's (1875-1948) 1916 masterpiece...

Edward Dmytryk b Grand Forks British Columbia Canada September d July

The only one of the Ten to work primarily as a director, Dmytryk had served a long Hollywood apprenticeship, beginning with B pictures like Television Spy (1939), The Devil Commands (1941), Confessions of Boston Blackie (1941), Captive Wild Woman (1943), and The Falcon Strikes Back (1943). Then, as now, the B movie ''quickies'' were sometimes made by young directors with ambition, and a solidly made, imaginatively shot cheap horror film or series thriller might lead to healthier budgets and more challenging projects. At RKO, Dmytryk was awarded some plums the Ginger Rogers wartime comedy drama Tender Comrade (1943), scripted by another of the Hollywood Ten, Dalton Trumbo and the Raymond Chandler thriller Murder, My Sweet (1944). The film noir style, just then becoming popular, could obviously be turned to social issues which prompted Dmytryk to have Dick Powell track Nazi war criminals in Cornered and to expose Robert Ryan as an anti-Semitic murderer in Crossfire (1947).

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