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Rascar-Capac (45)
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Klaus Kinski in an early supporting role…
Probably the best entry in the German Wallace-Krimi-Series
Countdown list of Sword Fights, Part 1 – from so-so to quite good
Countdown list of Sword Fights, Part 1 – from so-so to quite good
Countdown list of Sword Fights, Part 1 – from so-so to quite good
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Another scoop not to be refuted – thank you for sharing. Looks like Trumps-supporters dislike to reply to your post directly. Instead they are busy reposting older threads to reclaim their suggested Fifty shades of Election-fraudulence ...
Generally speaking, it is an established part of our cinematic culture that villains of all kind miss the opportunity of killing the hero immediately, once he has been overpowered. This is not only a standard element of narration in swashbucklers but in the adventure and action genre throughout. I just recall how often James Bond has been caught but managed to escape, because his opponents either were satisfied with him being imprisoned or they wanted to create an especially gruesome and fearful death for him but failed.
I think it mostly depends on the skills of the script writers, wether at that point we are able to relate to the villains decision or not. As for TAORH, I never thought, that Gisborn made an inexplicable mistake here, given that he is the governmental exponent of law and order and Robin Hood is the Outlaw. To have Robin sentenced in a court trial and afterwards executed in public emphasizes his authority: Common people would fear him furthermore, noble men would respect him, since he did not violate the law.
Flora Robson as Queen Elizabeth I. in "The Sea Hawk". She wasn‘t the female lead but should have won an academy award for best supporting role in 1940.
Most faithful adaption:
Le Comte de Monte-Cristo (1979), french TV mini-series, starring Jaques Weber as Edmond Dantes.
This is as close to the novel as you could imagine. That said, I wouldn‘t rank it as the best adaption. Weber is a good choice for the lead role, but of the other parts, some are not performed good. The direction is quite stiff, production values reflect the medium budget the series was given. No real highlights here. Besides, the DVD Set I own displays a poor picture quality.
As for the more commonly known 1998 series with Gerard Depardieu: Although it is even longer than the 1979 version, it stays close only to parts of the novel. It‘s story telling is nothing but absurd, as the first half of the book nearly has been skipped. The conspiracy and betrayal and twenty years of suffering in Chateau d‘If are condensed to aproximately five minutes of short flashbacks! To the contrary Dumas‘ (over)complicated revenge scheme is faithfully shown here with minor parts omitted. But even here the producers fail with a script that invented another female character (Camille), completely untrue to Dumas and the film ends with a very, very different twist.
Actually I can't figure out, where I did read about that subject, but as far as I remember, Ernest Lehmans original script as well as storyboard sketches had a shot inserted from within the planes cockpit. That would have shown the pilot in trouble with the controls malfunctioning. However Hitchcock abandoned a switch to the enemies point of view. So every scene was shot earthbound if not from Thornhills perspective. When you watch the final seconds of the flight before the crash, the plane wobbles awkwardly. I guess, that is what was left from the scripted breakdown.
The best example IMO still is Ralph Bates and Martine Beswick. When watching them in "Dr Jekyll and Sister Hyde" (1971), I thought their resemblance was stunning, like they were fraternal twins. Excellent casting from Hammer Film Productions.
Edmond: "If you‘ve ever loved me, don‘t rob me my hate! It‘s all I have.“
Mercédes: "Let it go, Edmond, … let it go!"
For me it‘s that scene when Dantès inner demons are swept away from feelings, he thought were buried for all time.
Also listen to Ed Shearmur‘s magnificent music here. An overwhelmingly sad cello tune, until it finally changes, evoking new hope and salvation.
Die seltsame Gräfin (The strange Countess, 1961)
Pictures a lunatic, who is stalking and terrifying a young woman with his diabolic phone calls.
Der Zinker (The Squeaker, 1963)
In the role of a henchman to a blackmailer and murderer. Displays a strange obsession to snakes and other wild beasts.
The Great Silence (1968)
Sadistic Bounty Hunter. Iconic in his final duel with Silence. A motionless fair-haired Angel of Death amidst falling snow flakes.
What about some of these ...?
https://moviechat.org/tt0093779/The-Princess-Bride/61d863d16a02ba1ccbc93e60/Countdown-list-of-Sword-Fights-Part-1-from-so-so-to-quite-good
Don‘t forget it‘s a silent movie, released back in 1922! I highly doubt, the Audience from that event will still be able to share their experience here at Moviechat. You are looking for a person, who would by now approximately be at least a 115 or 120 years old! Then again: Age has no significance for Vampires! So beware, if someone here on the board claims to have seen it initially …
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