The Twilight Zone:What Do We Fear?

The Twilight Zone:What Do We Fear?

In the 60 years since the first episode of “The Twilight Zone” aired on TV. The Twilight Zone explored certain fears during its original run. Even though it was back in the 1950’s and 60’s, these fears are still relevant today because they center on the unknown as the famous series would explore many of our fears.

The Twilight Zone:What Do We Fear?

Watching The Twilight Zone today it’s striking how complex satirical and thought-provoking it all is. While the tales include such fantastical imagery that can create haunting fears such as the powerful fear of the unknown as the fear of the other. “The tools of conquest do not necessarily come with bombs and explosions and fallout,” as Sterling muses as the episode draws to its end. “There are weapons that are simply thoughts, attitudes, and prejudices to be found only in the minds of men. The show talk’s fears of how future tech can change us but our Rapid social and technological change can also still have our same biases. It’s the power of this show us that our fears can play upon our unknown.Image result for The Twilight Zone street sign

The Monsters Are Due on Maple StreetImage result for The Monsters Are Due on Maple Street"

The Monsters Are Due on Maple Street,” Rod Sterling wrote a suburban Lord of the Flies, a parable about the fragility of civilization, paranoia and the susceptibility of nice folks to manipulation as we can be played upon fears of the other as we always fear that fear even now. a moral object lesson that plays as freshly today as it did during its post-McCarthy Era debut as the fear of the red scare was the idea for its time but now could be the fear of other or unknown.  A moral object lesson that plays as freshly today as it did during its post-McCarthy Era debut that fears can play us to do things we shouldn’t do normally. The “twist that aliens have been lazily tinkering with the lights and cars, and that they’ve concluded that the easiest way to destroy mankind is to let us destroy ourselves by our own fears. Its simply an amazing story.

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Eye of the Beholder contains a poignant commentary on the cruel, ineffective methods utilized by the state when dealing with undesirables” who, having been arbitrarily classified as such, are often relocated to artificially erected communities to avoid interfering with the lives of so-called ordinary people it’s The quintessential episode of The Twilight Zone, “Eye of the Beholder” suggests that the value of a human being can never be assessed by superficial measures alone. Also commendable is Janet’s reveal in the final sequence which is one of the greatest reveals in TV show history. Which, though somewhat predictable in some-ways does play upon our societies ideals of expecting us be a contain way or the fear of the other. It’s simply a story that you should see today

The Invaders”Image result for the invaders twilight zone

An absolutely gorgeous in every aspect, this episode is a near-wordless masterwork of fear about tiny intruders who terrorize an elderly wife (Agnes Moorehead). Despite being the size of mice, they torment and injure her until she fights back, killing one and following the other to the flying saucer that landed on her roof. Since we never hear her speak, it’s a shock when we hear the tiny alien as its twist.

The Obsolete Man

You walk into this room at your own risk, because it leads to the future, not a future that will be but one that might be. This is not a new world, it is simply an extension of what began in the old one. It has patterned itself after every dictator who has ever planted the ripping imprint of a boot on the pages of history…since the beginning of time. It has refinements, technological advancements, and a more sophisticated approach to the destruction of human freedom. But like every one of the super states that preceded it, it has one iron rule: logic is an enemy and truth is a menace. This is Mr. Romney Wordsworth, in his last forty-eight hours on Earth. He’s a citizen of the state but will soon have to be eliminated, because he’s built out of flesh and because he has a mind. Mr. Romney Wordsworth, who will draw his last breath…in the Twilight Zone.”

For the second season closer Sterling turned in this Orwellian horror story of a machine-like society that disposes of anyone or anything deemed unnecessary by the all-powerful forces of the State as the story shows us that the powerful forces can choose to hate upon those it feels not right for society. The story suggests that the value of a human being can never be assessed by superficial measures alone as we cannot just judge upon what makes society great based on our fears. The idea that the state can change things is played upon our fears of dictatorship which can happen in any state when it betrays its ideals. It’s a wonderful story that shows you the power of this show to enlighten us to our fears.

Rod Sterling did it with 156 episodes of the ground-breaking anthology series The Twilight Zone, thanks to his commitment to enhancing the twists by showing humanity in both its angelic and monstrous forms that was such bold commentaries upon our world that addressed our fears n desires in his show that was such bold commentaries upon our world. It always was about talking our world and its raw nature i hope you enjoyed my talk today on it.

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happy 80th birthday to wizard of oz.

The timeless masterpiece that is THE WIZARD OF OZ transcends far beyond just mere entertainment or sweeping musical fantasy as it’s a historical piece of art, the face of cinema, and remains as both the most influential and the greatest film of all-time. A wondrously dazzling Technicolor dream that entrances with its iconic imagery, delightful music, opulent sets, compelling themes, endlessly quotable dialogue, frequently frightening atmosphere, and irresistibly warm, comforting charm, the film miraculously gets even better with age as each year goes by i recall how much i adored wizard of oz as boy as i recall my frist time seeing it when i was little boy as watched it each year it aired on CBS as also on tape as i may have worn tape out but i watched it so much that i knew each line by heart as i adore this classic as its simply so special to me with all my heart as i wouldn’t love movies without it as I wish it a happy 80th birthday.  So today I talk this classic

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happy 80th birthday to wizard of oz.  

wizard of oz factsThe Wizard of Oz

An early makeup test photo of Ray Bolger as the Scarecrow, showing a dramatically different look than seen in the finished movie.(these facts come off Warner bros site)Ray Bolger as the Scarecrow

The Wizard of Oz began filming on October 13, 1938 under the direction of Richard Thorpe, but he left the production after less than two weeks. Although all of Thorpe’s footage was reshot and none of it appeared in the final film, some publicity stills taken during this period still exist. Note the different hair and makeup on Margaret Hamilton as the Wicked Witch, and the differently styled blond hair of Judy Garlandas Dorothy!Margaret Hamilton as the Wicked Witch and Judy Garland as DorothyImmediately after the departure of Thorpe, MGM stalwart George Cukor came aboard the project for a brief period. Although he did not shoot any footage, he made some key changes to the appearance of several characters, the most important of which was Dorothy. This wardrobe test photo shows Judy Garland’s hair back to its natural color, wearing simpler makeup, and a different dress much closer to the one ultimately chosen. Fifteen years later, Cukor and Garland would reunite at Warner Bros. for A Star Is Born.

In New York City, some of the actors who will portray the Munchkins sit aboard a bus bound for MGM Studios in California.

Munchkins sit aboard a bus bound for MGM Studios in CaliforniaVictor Fleming was ultimately chosen as the director of The Wizard of Oz. One of MGM’s most reliable directors, here he can be seen directing one of the apple trees that prove so hostile to Dorothy, Toto, and the Scarecrow.

Victor Fleming

Producer Mervyn LeRoy, Judy Garland, Victor Fleming, Toto, and many Munchkin extras stand on the Yellow Brick road on the enormous Munchkinland set.

Producer Mervyn LeRoy, Judy Garland, Victor Fleming, Toto

In February 1939, it was announced that Victor Fleming would be leaving The Wizard of Oz to take over the direction of another troubled production, Gone with the Wind. Director King Vidor, who had helmed such previous MGM classics as The Big ParadeThe Crowd, and The Champ, came in to finish the film in its final weeks. Vidor is seen here on the set of 1938’s Best Picture Oscar nominee The Citadel.

Victor Fleming

Vidor’s work on the movie included most of the Kansas footage that bookends the film, and possibly some Technicolor pick-up footage. Most importantly, he helmed perhaps the most famous song ever put on celluloid, Judy Garland’s rendition of “Over the Rainbow.”

Judy Garland’s rendition of Over the Rainbow

Judy Garland, wearing a dress designed by The Wizard of Oz costume designer Adrian, stands in front of the flower shop opened by her mother (with some likely help from the MGM publicity department) on Wilshire Blvd. in Los Angeles.

Judy Garland wearing a dress designed by The Wizard of Oz costume designer Adrian

Mickey Rooney and Judy Garland board a train in Pasadena, CA to take them to a series of promotional appearances on the East Coast.

Mickey Rooney and Judy Garland

The Capitol Theater in New York decked out for the opening of The Wizard of Oz with a live pre-show from Rooney and Garland on August 17, 1939.

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The Wizard of Oz is one of my favorite films of all time. It has very special place in my heart as I always recall about seeing as boy every year it aired on CBS as it’s quite possibly the pinnacle of cinema as it’s such a wonderful movie form start to finish with such wonderful acting and musical numbers you always want revisit oz. The Wizard of Oz is often cited as one of the greatest achievements in cinema history.

Before our modern movies were even ideas in head of people wizard of oz was enchanting many of those future movie-makers we love today as this beloved classic had all the charm it needed without anything we have today. There was an absence of original storytelling or compelling characters. When The Wizard of Oz won the hearts of audiences, it wasn’t purely because of that legendary moment Dorothy opens the door to a world of Technicolor, nor was it The Wizard’s terrifying large, holographic face. These special effects were truly groundbreaking, but the movie stands out as a good piece of cinema even without the famous effects as the fact when it first came on screen it wasn’t a hit.

Many films have tried to capture the magic of the wizard of oz.  An attempt to recreate the perfectly executed quest formula is evidenced by subsequent fantasy movies like The Labyrinth and The Never Ending Story, where young protagonist must also defeat evil on a journey, with the help of friends they make along the way, before they can safely return home. However few films have delivered this plot quite as perfectly at The Wizard of Oz but they didn’t have same charms as wizard of oz. The moment anyone watches 16-year old Judy Garland sings ‘Somewhere over the Rainbow’ for the first time is always very special. The young actress’ heavenly vocals are spellbinding, and mark the humble scene as one of the most memorable from the movie. MGM originally considered casting an 11-year old actress in the role of Dorothy, to reflect the young age of original book’s character as it seems mgm didn’t quite trust it as much as we do today. . It’s safe to say no one on the production team could have regretted this casting decision. Few, if anyone, could have played Dorothy quite like the charming Garland. Her convincing portrayal of Dorothy as brave, kind, determined and innocent propelled her into stardom.

The Wicked Witch of the West (Margaret Hamilton) insantly brings you fear as the wicked witch but her perfomance is landmark and amazing.  Bert Lahr(Lion), Ray Bolger (Scarecrow), Jack Haley (Tin Man) both are the perfect friends as they both give out such wonderful performances. Frank Morgan became a sort of hero to me, not just as the Wizard, but as the travelling charlatan Professor Marvel. The American Godfather of all such characters is how he was such a wonderful character actor. . Billie Burke as Glinda the Good Witch brought Broadway glamour  as she truly gives out a wonderful performance.

The Wizard of Oz is quite possibly the pinnacle of cinema, as it lifts our dreams, our fears, our longing, and our connection to a projected image to a height of heavenly nirvana. No matter where you watch it, you can feel the beauty and the truth radiating from the screen. Honestly, there’s really no excuse to dislike this movie, mainly because it has everything you could want in a piece of cinema; an engaging story, likable characters, flawless direction, vivid and luscious colors, scrumptious costume design, untouchable pacing, emotional revelations, amazing set design, impeccable atmosphere as everything is amazing in this movie.

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There was a contain lady that i remember seeing as a boy. her name was Judy garland, not a day goes by i do not love Judy garland, she truly captured me since Dorothy entered the land of oz ,I think I loved her so highly, thanks Judy garland as i think she was my first childhood crush as  no matter how far i go in life cannot say highly enough how much i love Judy garland for all she did in my life is not only made me a lover of movies, she sparked it forever since she entered into the land of oz in wizard of oz when i saw it as boy ,I think that’s where my love began truly for the art of movies as today is special to me to honor this classic on its 80th birthday as I hope you enjoyed this today as i honor the most beloved movie all time to me.

 

The Gorgon:an under-rated hammer horror classic

‘The Gorgon:an under-rated hammer horror classic

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Hammer Films THE GORGON (1964) reunited stars Peter Cushing and Christopher Lee with director Terence Fisher for the first time in five years, as they hadn’t made a movie together since THE MUMMY (1959) in a classic as Terence Fisher crafts out an under-rated classic that may be one of most overlooked hammer horror films all time. The plot was inspired by the legend of the Gorgon from Greek mythology which was about creatures that stare you turn you to stone. Director Terence Fisher, the lynchpin of Hammer’s success, is on top form and creates a film of unexpected beauty in this over-looked classic.

gorgon 1964 hammer lee and cushing

Peter Cushing who often portrays the hero in such Hammer Film classics as The Mummy and The Curse of Frankenstein and The Horror of Dracula this time reverses roles and plays our villain and a welcome change it is too as he makes the role into something truly special. He brings a sympathetic appeal to the character of Namaroff despite his stoic and calculating nature in which he gives a good performance for his role. As Professor Meister it is evident that Lee thoroughly relished the opportunity the role gave him to create such a memorable eccentric who, like Van Helsing who seems quite capable of tracking and capturing any beast, creature, or phantom he happens to find in a scientific way as he gives out such a performance. Barbra Shelly is wonderful as Namaroff’s assistant, Carla. Her motivations for acting strange throughout the film are wonderfully ambiguous and once it’s revealed. Patrick Troughton puts in an appearance as the representative of the constabulary as he gives a good performance in his supporting role.

Barbara Shelley as Carla Hoffman in “The Gorgon”

this is an absolutely gorgeous looking film that’s ripe with Gothic atmosphere and some stunning visuals that take you form one place to another. The sets for the castle are fantastic and the use of color that Fisher and his associates employ throughout the film really helps keep our eyes darting from one fantastic looking shot that is truly something you can enjoy anytime. Instead of a bloodthirsty Count leaping over a table and hurling his vampire mistress to the floor, you get a snake-headed woman lurking the shadows and staring at her victim as the creepy monster of the gorgon really will creep you out as she is a force of nature that feels such a fun force of nature that makes the movie feel such fun to watch.

The Gorgon is not a fan favorite but the movie does really make you want watch more with its very wonderful cinematography and production design and its very wonderful looking creature that will creep you out. John Gilling (The Plague of the Zombies) penned the screenplay for Fisher and based it on the myth of the 3 Gorgons of Greek myth. In the film there is one of the 3 Gorgons (In myth they are Medusa, Stheno, and Euryale. Magaera, from Fisher’s film is actually one of the Furies) lurking and killing off men and women in Vandorff as its what drives the plot forward.He did this and in place of Medusa, he renamed the gorgon Magaera ( one of the three Furies in mythology The Gorgon” went on to become Hammer’s first female monster.James Bernard here delivers a simple yet somber piece that evokes heart and deep complexity. Something he did similarly with his score to The Devil Rides Out. The Gorgon herself is a horrible apparition with snakes and a red eyed glare that is simply shocking and rendered completely with fear and murkiness. Her visage has to be terrible to those who gaze upon her and Fisher makes sure that his leading lady or should I say leading Gorgon really makes the movie feel so special.

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Like all of the Hammer Studio films, The Gorgon contains richly detailed settings and beautiful colorful cinematography. James Bernard provides a mysterious score to enhance this mythological tale and implemented an early electronic keyboard, the Novachord, to create the effect of the Gorgon’s call. It was most dreamlike and bewitching movie that you will enjoy to watch anytime.

The psychological western

The psychological western

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In the troubled aftermath of world war II as we had a more bleak outlook upon the world as the world shifted in tone so did the western to a darker outlook asborrowing elements of film noir to present a very different kind of hero to the one who had ridden West that may been a darker and more brutal hero of the wild west. Obsessive, violent and often masochistic, these angry, alienated protagonists lent the films psychological depth and moral complexity, helping to reinvigorate the genre and better enable it to grapple with the socio-political concerns of the Cold War era that changed the western forever. The shift in sensibility that darkened and reoriented the Hollywood western when, tentatively at first, it entered its ‘psychological’ phase in the 1940s can be illustrated by contrasting two images of John Wayne – from Stagecoach (1939) and The Searchers (1956) which are separated by 17 years and a cataclysmic era in American life as we changed so did the western.

The Searchers (1956)

In stagecoach as john ford introduced Wayne’s Ringo Kid spinning his Winchester in his right hand to flag down the Lordsburg-bound stage, with a dolly shot that loses focus as it becomes a close-up as shows the , sweat-streaked face of a prairie Adonis who has had to shoot his lame horse and been stranded on foot in hostile Apache country; the ominousness in his voice indicates he’s not as naive as he looks, but his greeting to the driver is genuinely friendly and welcoming. Knowing Ringo is travelling to New Mexico Territory to kill three brothers, the marshal riding shotgun arrests him as the marshal riding shotgun arrests him (partly to protect him), but lets him board the coach un-handcuffed. He agrees with the driver that Ringo is a fine boy, which Ringo proves with his treatment of of the prostitute Dallas (Claire Trevor), who has been ostracized by some of their uppity fellow passengers as he shows her kindness which others do not show her at all. When, after much danger, Ringo and Dallas are sent on their way to keep “safe from the blessings of civilization as he is safe and sound as he was treated kindly as anyone else on the couch.

A dolly shot of Wayne’s Ethan Edwards in The Searchers tells a different story. Seeking his adolescent niece Debbie, who had been abducted by Comanche seven years previously, Ethan arrives at a fort following the 7th Cavalry’s destruction of a Comanche camp as we see the bleak outlook upon the scene its contrasted image that shows a darker look upon the world.Implicitly, the insanity of these three blonde thus the  thus emphatically white – women owes to them having been raped repeatedly in captivity. After Ethan dismisses the recovered captives as no longer white but Comanch he turns away, then looks back sharply at Clifford mewling over the doll, the camera closing in quickly on his face, which, half-shaded by the brim of his hat, burns with hatred upon them. What sets both shots apart is the psychological context. Beyond giving Ringo the need to avenge his father and brother’s murders, there’s no evidence that Ford or Stagecoach’s writer Dudley Nichols gave a jot about his inner life as by the times of 1950’s we had a bleaker outlook as the world had darkened as we learned horrors of the last war we lost our sense of sweetness that shifted the outlaw forever.

Like Howard Hawks’s Oedipally themed Red River (1947) took all the cues from the cold war to bring the western to a more modern focus. Red River deconstructs many of the notions of the western as you see a big shift in way the outlaw is shown upon the screen in red river. The film stars John Wayne and Montgomery Clift and both men are equally impressive but they play such different images of the western notions we seen that we are seeing something feels more out of cold war n modern wars then the west as it’s a hybrid of traditionalist western and psychological western that shows how anxieties about America’s post-war realities had shifted our ideals of right and wrong. Howard Hawks is the kind of director I admire as he managed always have such human characters in his movies that felt so real to capture such real life feeling to them. Red river feels so real and raw as you feel like you’re actually there with the men on the cattle drive. It feels so real as it captures the west in such a way that doesn’t makes it feel more modern. William Wellman’s The Ox-Bow Incident (1943) had indicted mob rule. Raoul Walsh’s Pursued (1947; read more below), which reflected the popularization of Freudian theory in post-war American culture as both show different side of America.

The Ox-Bow Incident (1943)

Though The Ox-Bow Incident is considered the first psychological western involving as it does a son relieving his castration anxiety by exposing the inherent weakness of his pathologically cruel father that is different shift from western as no hero here but a grey area that shows that the west isn’t so kind in this classic must see western movie.

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Fuller’s noirish directorial debut is both a piercing study of the emotional disarray of Jesse James’s killer Robert Ford as breaks down the whole idea of this man as a good man to paint a darker picture of the death to show us how this man was murdered by another man as shows the backstabbing nature of fame that be one of first noir western movies ever as it’s such a good western.

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The documentary-like picture that launched the 1950s cycle of town-taming westerns was a revision of John Ford’s ultra-conservative My Darling Clementine (1946). It reconfigured Ford’s complacent racist Wyatt Earp to the egalitarian, conscientious Sheriff Will Kane. High Noon tragically depicts the failure of democracy: Kane’s stand is resisted by the townsmen as also it does have some notions of the cold war in its story. A film denounced by John Wayne as “the most un-American thing I’ve ever seen as it’s simply a classic that has different outlook to the western.

The Manichaean struggle that characterized Mann’s westerns was rendered most starkly in The Naked Spur, shot entirely outdoors and limited to the shifting dynamics among five marginalized whites. The Naked Spur is a five-piece character drama which excels largely because of Mann’s effortless direction of the shifting allegiances among the central players that is a notion that plays right into the cold war idealism of shifting tides against Americans as we see that play into the story. On top of the sumptuous visuals, this frontier setting also allows the film to focus single-mindedly on the theme of humanity apart from society. Humanity at its most basic level always wants to find a way to live on as even in frontier. It’s a classic western that you will enjoy.

Wellman’s atypical western, his second adapted from a novel by the Nevada writer Walter Van Tilburg Clark following The Ox-Bow Incident, was produced by John Wayne’s company and featured Hedda Hopper’s son William in a supporting part. In Track of the Cat, William A. Wellman sought to create an American myth—the three brothers, each with his own flaws, set out after the titular feline Mcguffin that speaks to the cold war fears that we had this idea that wasn’t really truth but fears brought upon us as it’s a wonderfully acted western with a wonderful cast that is such a good western classic.

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The last event western of the 1950s brought the genre’s engagement with McCarthyism to its high-water mark. Edward Dmytryk’s Warlock, so abundant in richly drawn characters and moral ambiguity that shows the grey areas of the west in a way that many westerns dont show us.The moviue is deconstruction of western tropes beginning with the heroic stranger riding into a troubled town. Indeed, when the stoic and implacable Clay Blaisedell (Henry Fonda) shows up in Warlock, armed with his famous pair of gold-handled Colt pistols and his loyal sidekick, Tom Morgan (Anthony Quinn) Despite Clay’s seemingly honorable intentions, he’s certainly no hero, but rather a mercenary who trades law and order as a commodity as playing upon another notion of money that capitalism has elements of greed upon it. In Edward Dmytryk’s ’Scope Western, the mining town of Warlock is at the mercy of a band of rogue cowboys that truly is such a special western classic I hope You liked my talk today about the western.

The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick

The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick

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One of films greatest sins was its way it had women shown in the past in classic movies is that women was taking to backseat to men in that era as  Natural, the Alice Guy-Blache documentary, and Mallory O’Meara’s book, The Lady From the Black Lagoon is the shattering of these assumptions that men were the creators of classic Hollywood myth. These books show women are responsible for far more of classic Hollywood’s glitz as in fact in case with The Lady From the Black Lagoon, a woman is the entire reason we love one of Universal’s most unique monsters.

Mallory O’Meara is an author with passion for her subject. The Lady From the Black Lagoon isn’t strictly a biography on Milicent Patrick, although the artist’s life is written out from birth to death it addresses many issues about the problems women faced in the golden age as the book has social commentary on the sexism of that era as also it details the story of the hunt for the information which also has many layers of sexism in that quest too for the information on this woman as many said a woman couldn’t have done this stuff she is suggesting she did.  O’Meara’s argument is that the sexism Patrick experienced in the industry, and the eventual destruction of her career by Universal makeup overseer Bud Westmore, isn’t unique as it goes deep into the me-too movement of sexism now as we see mirrors to our time now.

The Lady from the Black Lagoon main Focus on Patrick herself is where The Lady from the Black Lagoon is strongest point for me as you learn about life of this remarkable woman. Mallory O’Meara traces her origins to Hearst Castle, where her father Camille was the chief architect. Milicent walked to the beat of her own drum which led to her family disowning her as it mirrors that of many classic movie noir women that are strong women that men think about as the rebel or bad woman eventually Milicent would be drawn to Hollywood to work for Walt Disney as an animator and being a background extra for features that shows her talent as she would later move to universal that would be the game changing movement as her creation of the Gill-Man costume was game-changing and Universal knew that, right down to putting her on a cross-country road tour to promote the Creature butt because Universal makeup man Bud Westmore refused to let people believe he didn’t create everything he purposefully sabotaged Patrick’s career that in turn ruined her name forever. The Lady From the Black Lagoon is worth reading for its examination of the woman at its center as it talks about an amazing woman that i feel history overlooked for shameful reasons.

 

 

‘The Trouble with Angels:the female gaze

‘The Trouble with Angels:the female gaze

The Trouble with Angels (1966) was the last film that Ida Lupino directed, coming at the tail end of her long period as a television director. In many ways, it represents a sharp departure from the socially conscious noirs that she’s best known for, and yet for fans of the film, it feels like an apt continuation of the gendered critiques of women. I talk about this movie today.

The Trouble with Angels:the female gaze

The Trouble with Angels via Quintessence

Hayley Mills rebellious teenager is sent to boarding school and grows to appreciate the calling of the nuns who teach her a better way. Its a coming of age that follows the exploits of two adolescent girls as they traverse three years at St. Francis Academy that shows them getting into trouble. Veteran actress / director Ida Lupino who’s current gig was directing Gilligan’s Island was a natural choice to bring this movie to screen as she shows us a diffrent look upon women that is not the natural order of women. Its about a series about women. Hayley Mills plays the entitled brat, Mary, with just the right amount of mischievousness to make her likable to her role as she sees the death of elderly families as she doubts things.  Rosalind Russell brings her considerable acting chops to the role of Mother Superior. One would say ida’s gaze upon the camera as she has her talents look upon the female gaze of how women are expected fill contain roles in our society.and funny coming of age story from Ida Lupino, the eighth and final of her directed as she has an all female cast give out such wonderful performances but its look may be bit jarring to some as you see this movie trough the eyes of the female gaze what we expect of them in a light tone.

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A sweet confection with ambition mainly confined to light comedy, but with undercurrents of the lingering sadness of past lives. the fragility of a human life, that are just perceptible enough to take effect. Not a weighty or complex work, but it takes the time to absorb multiple points of view as we see the many points of view of women that you see how their husbands have died etc as some nuns lose their close friends you see them sad about it its somewhat sad at times as she gazes upon these troubled outlooks of life you see the girls try find something fun out of all the troubles. Its a very sincere outlook upon how women in society are expected fill contain roles but when they change their roles they are considered odd by society.

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This is a story about human connection and decency that shows how humanity has such connections that people feel. . It’s a coming-of-age tale that is not brought on through trial by fire, but mostly through inspiring leadership by example. The Mother Superior is a decent human being who cares about her charges that makes them understand they have better things in life then get in trouble. Gerry Goldsmith’s versatile and evocative score. It turns on a dime from playful to stirring that really is something good to listen to upon the screen. This movie shows power of female friendship with their respective bonds. It’s a very funny film too with the endless pranks proving to be constantly enjoyable when carried out and dealt with by such a talented cast that is simply a joy to watch form start to finish.

westworld:Deprogramming the future

 

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Westworld Had a Really Dark View of What theme-parks were like as its view caused a drop in people at Disneyland. It also had dark view of humanity.  today i talk about this cult classic and the TV show n its respective follow ups about how westworld addresses the bleak future of our world n how tech can really be something evil. so i can talk about it today.

Westworld, set in the American West in the mid-to-late nineteenth century, tells the story of a futuristic amusement park where many of the “cast members” (to borrow a term of Disney-world parlance) are not human, but rather humanoid robots as we see the scary bleak idea of how the future we will have these robots that we don’t trust as these creations can be seen as mirroring those found in theme-parks such as Disney-land. This parallel with Disney, however, can be pushed further. In the 1950s, America was the model nation for the West in a postwar world and Walt Disney became one of its chief emissaries. The park’s creator wanted to imagine a realm of dreams and fantasy. It was the public face of what would become a multibillion dollar corporation and culture-making machine. In the 1970s, the creation of Disneyworld went even further; the decision to open it part of Walt Disney’s desire for full control over his creation (something he lacked in the crowded space of Anaheim). Over time, the multiple parks in the Disney Empire, perhaps not dissimilar to the many different parts of west-world. Re-watching the movie now you would consider it dated but even as TV showed us that we can’t trust these ai in theme-parks how we to know if they can go crazy on us.

 

 

Parallels between humans and androids without actually saying as they simply are life-like robots that even die when shot like real humans. When the androids malfunction, they’re brought to a repair shop. But it’s not made up to look like some futuristic engineering space as repaired then brought to life. Although the death in Medieval World is the moment the humans in charge of Delos lose control, the real tipping point of the movie is when the humans decide to keep guests in a park they know is malfunctioning as the people running care less about safety then anything. Westworld’s world is a reality is shaped by our world’s view on f consumerism which show n other movies expand upon this notion. the worlds that Delos made in the tv show really show things changed from movie version in some ways with new layers building on top of the older ones like sediment in a geology of consumerism that really is scary in way.  It is  why many feared when movie released to go to Disney-land.

The Gunslinger feels like a Terminator more than anything else. but he also feels as human as the living humans in the film, including the West World guests that paid money to kill him over and over again along with many others in this world as made for humans to kill before they go crazy on us. It does also show the dark n grim reality of humanity we are always wanting control over everything as it also mirrors the control Walt wanted over this theme-parks. Writer and director Michael Crichton created an amazign idea that would later have other movie versions of this notion such as, Futureworld (1976), and a short-lived television series, Beyond Westworld (1980).and the TV show n Jurassic Park as the notion giving in Jurassic Park is controlling of dinosaurs as recreating wild-life for public show in a theme-park does address the nature of fear of these places to some as we may be able show you things in these theme-parks that are cool but they can be also scary as we can risk abusing that power too. Westworld’s anachronistic frontier becomes a space of emotional and psychological rebirth for wealthy patrons and park staff as does in many of his other works too this theme can be scary or a good thing as looking upon this today i reflected upon this movie as its a great movie n its follow up movies such as Futureworld (1976), and a short-lived television series, Beyond Westworld (1980).and the TV show n Jurassic Park all are wonderful i hope it does show you an outlook of the things in ways you never seen before. I hope you enjoyed this talk today.