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I've not seen Papillon or The Cincinnati Kid either. I remember seeing a bit of The Great Escape on telly some years back, and I love The Thomas Crown Affair, Bullitt and The Towering Inferno (one of my all time faves actually). I'll get to these again soon. McQueen has a sort of laid back ruggedness which comes across very naturally onscreen. He doesn't appear as though he's acting it.
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Play Misty for Me (1971)
Speaking of naturally rugged blokes, I had an opportunity to view this Eastwood debut directed thriller for the first time yesterday. This is basically a simple violent stalker flick. Jessica Walter plays the obsessed fan of a local disc jockey (Eastwood) who shows increasingly violent & psychotic tendencies when her advances are not reciprocated in kind. Death and mayhem ensue. The film has a claustrophic feel whenever Walter is onscreen which mirrors her behaviour, which is a bit terrifying - it's almost like being suffocated. I can see how films like Basic Instinct and Fatal Attraction in particular may have been influenced by this. Like McQueen, Eastwood radiates a cinematic cool combined with a coiled strength resting just beneath. He has a bit more emotion on the surface in comparison, but both are all time macho greats. Donna Mills has a small role as the girlfriend.
This one's a real nail biter. One of my favorites of the last five years.
Same here. Great direction, and everything just works and keeps you interested from start to finish.
Excellent film, early French nouvelle vague that also launched the great Jeanne Moreau’s career.
Now I just need to watch Split before Glass next month.
Looking at TV listings for Xmas, it's on about a dozen times, but I always watch it at this time of year and it looks great on blu ray.
Burton and Clint, rousing score from Ron Goodwin, great stuntwork from legendary Yakima Canutt, great villains in Patrick Wymark and Ferdy Mayne (love his voice, he also stars in my other personal Xmas favourite, 'Dance of the Vampires'), big action set pieces (the cable car fight and the final escape in the bus are terrific) plus Ingrid Pitt in traditional low cut bavarian garb as the cherry on top! Great entertainment, never fails!
Probably my own favourite WWII movie Creasy. Bit of trivia, director John Landis, (An American Werewolf in London, The Blues Brother's) started out behind the scenes on it!
I saw Clint's latest yesterday. I must say I rather enjoyed this one. Kind of a light crime drama, with doses of humor throughout.
Eastwood, at 88 looks pretty good, if not slightly frail. The longer hair really helps, IMO making him look like an aged SUDDEN IMPACT era Dirty Harry.
I'll probably end up getting a copy of this one once it's released on Blu-ray. Great supporting cast.
It's difficult for me to rank later era Clint. I certainly preferred this to MILLION DOLLAR BABY, and to a degree, GRAN TORINO, but I have my doubts this would be nominated for Best Picture come Oscar time.
I never saw TROUBLE WITH THE CURVE, and will eventually get to it.
Still, I'm glad to have caught this in the cinema. It's rare these days to see a new Eastwood starring film. I certainly hope this wasn't his last.
Very cool, I didn't know that at all. That's a damn fine way to get started in the business, that's for sure. Can't go wrong with placing this as your #1 WWII film, either, it's such a great adventure every time I watch it.
If you haven't seen it, you should really check out Eastwood's The Beguiled. The movie was a total failure at the box office, which begs the question why did Sofia Coppola decide to remake it last year? The reason for it's failure can be attributed to Universal Studios poor distribution of the movie, plus audiences didn't really want to see Eastwood as the victim. A brave career move back in 1971 for an actor. As opposed to 2017 where every actor now loves playing the victim, off-screen and on.
One of my all time favourite war movies, never tire of seeing this movie.
It's a violent film with plenty of physical aggression, but for me, the most disturbing aspect is psychological and has to do with the kidnapped husband. That's upsetting even forty-something years after the film was made.
There is a moment that's ingrained in my mind. The beginning of this scene:
https://youtube.com/watch?v=ze9xnzQ5KrY&t=24s
The payoff itself is good but the buildup with the music and McQueen walking is magnificent. Amazing that just a few years before movies were much more restrained in terms of sex and violence. That's what makes this era very interesting for me.
I was a bit disappointed at first that the reviews were mixed but then I thought, this is Clint Eastwood, who gives a damn what the critics say? I'm sure it will be a good one. Here it comes out in January. Looking forward to a theater visit.
@Mathis1 I think you'll find it was Kelly's Heroes not Where Eagles Dare that Landis was production assistant on. :)
I stand corrected! You're totally right Leonardpine! Considering this and Where Eagles Dare are Director Brian G. Hutttons most famous movies, I got mixed up. Thanks for the correction!
That's a great and very tense scene. Almost 'western-like' in its setting and approach, and the final shootout similarly. I've read criticisms of Quincy's score, but I quite liked it too.
Regarding the husband, it was a tragic situation but honestly I found that entire storyline a bit superfluous and a bit 'hick' (for lack of a better word) - like padding. I suppose it's because I was just so engrossed in the plotline of the leads & didn't want any distractions. Al Lettieri was great though.
Exceptional film and my favourite war entry as well. I think what really makes it work for me is the tinge of espionage flavour that's interspersed with the military elements. It's almost Bondian at times (particularly the fantastic cable car sequence and the opening jump from the plane). Burton and Eastwood are the icing on the cake.
BATMAN RETURNS
One of my local cinemas screened an original print of this last night, and the inner completist in me couldn't pass up the chance to see it on the big screen, especially after seeing a 70mm print of BATMAN last year.
A mental piece of work from Burton that, despite its flaws, is still quite a fabulous film. It's extremely exciting to see films on the big screen in their original format after being accustomed to watching them on DVD for most of my life. With the first film last year, the big screen gave me a newfound appreciation for Keaton's performance as Bruce Wayne. With RETURNS, the same thing happened with Pfeifer's Selina Kyle. She's really quite incredible in this film and is still the best Catwoman by quite a margin.
People say THE DARK KNIGHT is, well.....dark. But even that didn't have a villain plot that would have resulted in the mass genocide of small children. RETURNS is a peculiar piece of work, and while I wish we had gotten a third Keaton film, I do understand why Warner Bros. were crapping their pants about how dark Burton's sequel was. Nevertheless, it remains a favourite of mine and I don't really care if this was originally released in July - this is a great Christmas film.
Favourite war film overall though I think would be Das Boot.
There is a scene towards the end that involves a momentary absence of sound that is one of the most effective uses of sound to imply an action.
I love it. The best outside the Nolan trilogy.
I liked it well enough. Different from the first.
Never knew Brad Bird provided the voice for Edna.