Reign of Destruction

Reign of Destruction

Gojira, known in the West as Godzilla, first thundered into Japan’s movie houses on November 3, 1954. Six and a half decades later, the monster presides over an international entertainment franchise, having starred in thirty-two feature films produced in Japan and three (so far) in Hollywood, and top-lining three anime features, two animated television series, comic books, TV commercials, and more. Godzilla has transformed over time from powerful atomic allegory to children’s superhero and back again, and with the dawn in 2019 of the Reiwa era, the monster’s career spans the reigns of three Japanese emperors: Hirohito, Akihito, and now Naruhito. But it is the Godzilla films made during Showa (1926–89), the era denoting the reign of Emperor Hirohito, Japan’s wartime ruler and postwar figurehead, that defined the kaiju eiga—the uniquely Japanese brand of giant-monster cinema—and the creature-on-the-loose parameters of Godzilla filmdom. Bookended by Ishiro Honda’s 1954 masterpiece, Godzilla, and Honda’s last movie, Terror of Mechagodzilla (1975), the fifteen Showa-era films took Godzilla far and wide, with many of them playing theatrically not only in Japan but also across North America, Europe, Latin America, and other territories, before going into television syndication for many years, establishing Godzilla as an enduring icon that still endures today as today I talk about this legend today.

Image result for godzilla 1954I was little boy when I first learned of Godzilla as me n my younger brother used adore watching them together as he was huge fan of them. I am a huge fan of ’m a big fan of Godzilla, and of kaiju movies in general since my first time seeing the Godzilla movies as a child as now I simply adore these fun little gems of popcorn movie that is something to enjoy to watch anytime. I can remember watching on my TV these poorly dubbed movies that were simply fun to watch anytime upon the screen.

 

The original Godzilla is Honda’s lament for the nuclear age. The original Godzilla was produced amid a months-long public crisis that occurred after fishermen aboard a tuna boat christened the Daigo Fukuryu Maru (Lucky Dragon No. 5) unwittingly strayed dangerously close to a U.S. hydrogen-bomb test at Bikini Atoll in the South Pacific in March 1954 as also to address feelings of Japan at time. The lucky dragon incident seriously strained U.S.-Japan relations for the first time since the postwar occupation had ended in 1952; many citizens likened the fishermen’s fate to a third nuclear strike on Japan, and a national protest calling for a ban on nuclear testing arose among those in Japan. Honda’s film hints at these tensions: the opening scene, in which Godzilla invisibly attacks a salvage ship, is an unmistakable reference to the Lucky Dragon and the fear it inspired among people in Japan. 

Godzilla is also a Cold War movie with an awareness of Japan’s geographic entrapment between two superpowers engaged in a deadly arms race as Honda does not point the finger at the U.S. for having awakened the monster with its H-bomb tests as its about the brewing nuclear arm race of cold war as shows also Japan inserting its own place in world again after the second world war. The Godzilla movies of the sixties show evidence of Japan’s continuing economic growth as they show Japan’s rise again as player on world stage.  It’s a very wonderful film that I think anyone should anytime.

The first series of Godzilla films is the one which saw the franchise’s greatest metamorphosis from grimly serious allegory of atomic devastation to a happy-go-lucky monster who defends Earth, and even teaches his son how to stop bullies as each film shows a change form film to film in its tone of each movie in the series. The movies were my entry into the world of keiju-eiga cinema as my favorite era of him as i adore them all so much. This series includes “Gojira” (aka “Godzilla: King of the Monsters”, 1954), “Godzilla Raids Again” (aka “Gigantis: The Fire Monster”, 1955), “King Kong vs. Godzilla” (1962), “Mothra vs. Godzilla” (1964), “Ghidorah: The Three-Headed Monster” (1964), “Invasion of Astro-Monster” (aka “Godzilla vs. Monster Zero” (1965), “Ebirah, Horror of the Deep” (aka “Godzilla vs. the Sea Monster” 1966), “Son of Godzilla” (1967), “Destroy All Monsters” (1968), “All Monsters Attack” (aka “Godzilla’s Revenge”, 1969), “Godzilla vs. Hedorah” (aka “Godzilla vs. the Smog Monster” 1971), “Godzilla vs. Gigan” (aka “Godzilla on Monster Island”, 1972), “Godzilla vs. Megalon” (1973), “Godzilla vs. Mechagodzilla” (aka “Godzilla vs. the Cosmic Monster” 1974), and “Terror of Mechagodzilla” (aka “Revenge of Mechagodzilla”, 1975). 

series favorites

“King Kong vs. Godzilla” (1962) as Godzilla had already fought another monster (“Barugan”) in the previous movie (“Godzilla Raids Again”), but this one is more fondly remembered due to the pairing of two iconic international monsters that made it one of iconic of the movies of series as one of my favorites of series. It’s something such fun to watch this movie. It’s a pure popcorn fun movie. 

“Destroy All Monsters” (1968).


It is Arguably the best of the later Showa series with a colorful assortment of monsters (old & new), a colorful ‘future’ setting of 1999, a moonbase (shades of 1975’s later “Space: 1999”), an alien conspiracy, and the first G-film to feature “Monster Island as simply the endgame of series as such wonderful fun to watch it from start to finish. 

“Gojira” (1954).

it is Still the best of the Godzilla movies As tonally different from subsequent Godzilla movies as possible as its as darker, somber, and very adult with themes that make it one of best of whole era of the series as its issues still key to date today in this wonderful classic gem.

 

This is a movie franchise that has shadowed me throughout my life, from watching them form the videotapes as boy to now as i simply adore these wonderful classics. Many of the films are admittedly cheesy and laughable (see: Mystery Science Theater 3000’s brilliant skewering of “Godzilla vs. Megalon”), but even those films still possess a goofy charm about them that is hard to deny as they are such fun movies. Godzilla is Monster, guardian, savior and icon as he has been all of these things at one time or another, often within the same film as he is the icon that I think will last ages to come as today’s talk by me was form my heart about this wonderful icon.

The African queen

The African queen:an american classic 

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Today I talk about The African queen which frankly is one of my favorite movies all time as this American classic is something special to watch anytime you pop it into the screen. Over the course of a 26 year career that encompassed more than 75 movies, Humphrey Bogart made only five color films. The first and most respected of those was 1951’s The African Queen, the last of five pictures he made with his good friend, director John Huston. The African Queen also represented the only time Bogart was paired with Hollywood legend Katharine Hepburn as today I talk about this film that the duo made together for a review for the Katharine Hepburn and Spencer Tracy Blogathon hosted by my good friend Crystal Kalyana Pacey whom has has truly wonderful blog as i review this classic for it today.

THE SPENCER TRACY AND KATHARINE HEPBURN BLOGATHON

The African queen:an american classic 

The African queen has Humphrey Bogart and Katharine Hepburn two of the most iconic figures in Hollywood history create a formidable duo in John Huston’s adaptation of C.S. Forester’s The African Queen. Set in the early days of WWI, The African Queen stars Hepburn as prim and proper English lady, Rose Sayer. Left all alone after the passing of her Methodist preacher brother (Robert Morley), she hitches a ride upstream from boozing Canuck Charlie Allnut (Humphrey Bogart), the captain of river boat, The African Queen.

 

At first glance, Charlie Allnut and Rose Sayer is an awful match. He’s all dirt and booze, while she’s all bible verses and proper grammar as this pairing has them united by events of her brother’s death by the Germans as they unite down the river we are treated to some very remarkable acting by the duo Humphrey Bogart and Katharine Hepburn that makes for the joy of this movie. The film manages to escape that trap, carrying us into a deep and full relationship we can scarcely believe with the same strident assertiveness as they both find their bond is very much real n raw as i think this duo’s acting makes for one of best duo pairings together in film.

Great movie romances aren’t easy to accomplish, and the best ones tend to think outside of the box. Here we have two relatively older people from opposite walks of life falling for each other in a surprisingly short amount of time. It shouldn’t work, but it does. And as time goes on, The African Queen’s many breaks from typical romances only make it seem more modern and fresh that makes for such a fun watch as this movie has such remarkable direction n work on it that shows a love n detail by John Huston to craft out such a remarkable picture upon the screen. It’s a movie you should watch any-time upon the screen.

Night of the Hunter: a masterpiece of American cinema

Night of the Hunter: a masterpiece of American cinema

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Today I talk about The Night of the Hunter which is a classic Gothic fairy-tale classic that may be one of cinema’s great travesties is that Charles Laughton only directed one official film. So poorly received, both critically and commercially, was The Night of the Hunter that Laughton never helmed another film again as this film is simply a masterpiece for the ages as I talk it for The Shelley Winters Blogathon which is hosted by poppitytalksclassicfilm whom has a simply wonderful blog you should check out for the others in event n blog daily for its wonderful work.  Let’s honor Shelley Winters whom may be one of the finest actresses of any era with a look upon this classic movie.

the Shelley Winters Blogathon

Night of the Hunter: a masterpiece of American cinema

The Night of the Hunter is a classic Gothic fairy-tale: an evil being charms an unsuspecting parent, while only the children are aware that things are not what they seem. It was only while watching the film you are enthralled but also deeply unsettled, that I fully realized just how insidiously terrifying the stories of our childhoods as this deeply moving fairy-tale classic takes to the tradition of a Gothic fairy-tale from the pages of grim’s fairy-tales to bring to live a movie unlike anything you will see any again on the screen.

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Based on a Davis Grubb novel and a James Agee script, The Night of the Hunter is the Bible-soaked, Depression-era tale of a “false prophet” named Harry Powell (Robert Mitchum). Tall and handsome, with a deep voice that easily lends itself to familiar hymns, Powell is, nonetheless, a serial killer who believes his crimes are ordained by God. He leaves a trail of dead women at the movie’s start, moving on to a recent widow (Shelley Winters) and her two children, John and Pearl (Billy Chapin and Sally Jane Bruce). Powell has learned that the man of the house (Peter Graves) stashed $10,000 somewhere before he died, and Powell plans to find it by any means necessary.

Part folk tale, part horror story, the film’s amalgamation of moods and methods proves arcane, even off-putting upon first assessment. Based on Davis Grubb’s novel, the film changes perspectives between characters from the point of view of a child to that of a murderer; and with these dramatic tonal switches, the stylistic approach shifts as well—in sometimes abrupt transitions: deep contrasts with noirish photography give way to bright rural landscapes from a storybook that paints such a dark gothic fairy-tale upon the screen with wonderful direction and acting. The effect upon viewing this movie you will be amazed it was his only movie as a director as you see him capture such richness n depth that matches any other great film-makers of his day.  Motion pictures this distinctive have a way of mesmerizing an audience with their mysteries of style and narrative, instilling a seed that germinates over time and springs into an emergent affection that lingers in the viewer’s unconscious. As a result, audiences and critics alike dismissed the picture in 1955, and yet slowly, over time, the film has gained esteem so that today it is hailed as one of cinema’s greatest treasures over time to be often hailed as something that may be simply a masterpiece in film.

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That The Night of the Hunter was Charles Laughton’s first effort as a director is remarkable, but that it was his only film behind the camera is also one of cinema’s most unfortunate tragedies. Laughton made a picture that does not wallop the viewer upon first viewing, rather cultivates with memory and time. The effect is comparable to Orson Welles’ Citizen Kane, in that with Laughton’s directorial debut he constructed a film so masterful, so complex, it could not be fully appreciated in its day. Each aspect of the film’s production—from the idyllic cinematography to the incredible performances, to the contrary uses of cinematic stylization and narrative presents an interplay of opposing ideas through a sophisticated, haunting, and strangely buoyant whole. It endures as an enchanting American folk tale ripe with intricate melodrama and mythic symbolism, one that no moviegoer will soon forget upon watching it anytime. I hope You liked my talk today about this classic movie.

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.

Eye of the Beholder”Image result for eye of the beholder twilight zone

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.

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.