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phillipsdan83's Replies
BTW, the Italian-American group that picketed the movie and protested THE UNTOUCHABLES was a Mafia front group.
And within forty years of when the movie was set, goombahs using their own product helped weaken the Mafia.
He knew Hudson was gay...he just didn't give a crap what people did with their private lives just so long as they did keep it private. He also worked with bisexual Laurence Harvey on THE ALAMO and George Takei (who admired Wayne) on THE GREEN BERETS.
If you were any more of a troll, you'd be trying to eat the Three Billy Goats Gruff. Either that, or you're legally blind.
Actually, in CURSE Frankenstein NEVER gives any explanation for his work past simply wanting to create life...he makes the claim that he's helping Mankind in the sequels (including FRANKENSTEIN MUST BE DESTROYED, where he's a wanker of such proportions that the Victor of this film is lovable in comparison). It's pretty clear that you're SUPPOSED to root for Paul. But the thing is Cushing conveyed such a delight in transgressing the laws of God and Man alike in this film that Paul looks like a wet blanket in comparison. ANY reason to like Victor in CURSE OF FRANKENSTEIN is due solely to the charisma of Peter Cushing.
I'll go for the 1933 KING KONG. However, KING KONG ESCAPES is worth a watch as there are tributes to it in both KONG: SKULL ISLAND and GODZILLA VS. KONG, and is the first Kong film where Kong is the hero and there's a bond between him and a human.
It's not the best Universal horror film by a country mile, BUT the makers of the movie were aware that this was the end of the line for the classic Universal Monsters when they made it, so there's both homages to what came before mixed in with using scientific explanations for Dracula's vampirism and Lawrence Talbot's lycanthropy that brought something new to the mix. Add Onslow Stevens' Dr. Edelmann who doesn't start out as insane, and the hunchback assistant being an otherwise pleasant and attractive woman and this manages to justify it's existence as a movie. It and HOUSE OF FRANKENSTEIN make a nicely contrasting pair: HOUSE OF FRANKENSTEIN is a thrill ride, and HOUSE OF DRACULA is a low key mood piece.
There were plenty of blacks out West and most cowboy slang is derived from Spanish. In fact there were notable black gunfighters such as Bass Reeves and Willie Kinnard and the Mexican American Elfego Baca was one of the toughest customers of his era. Where wokeness comes in is that while there were plenty of Asian immigrants out there they were mostly miners and railroad workers with Tong members in the big cities. None were gunfighters as we understand the term. And a Native American gunfighter was likely to be from modern day Oklahoma...a Comanche warrior would have been shot on sight even by the black and Latino members of this particular Magnificent Seven.
On the one hand, Wayne and Stewart WERE too old for their roles. However, Doniphan and Stoddard were written around their established personas and no one else COULD have played those parts and have them mean what they do in the finished movie. John Wayne for the only time in a Ford film is doing "John Wayne", but the point Ford is making with the character is that a Wayne character is necessary for taming a frontier or winning a war but can't function in a settled environment. Stewart is resurrecting his 30s persona, with the point THERE being that he's as necessary to settling the West as Wayne is, but CAN function in a stable society. However, over time such a character is going to lose much of his former idealism.
Ford is playing a guy who wasn't the life of the party to begin with, who's spent 38 years gnawed by grief and loss...on those terms it's a good performance.
If anything, the show applied whitewash to it's Chinese and North Korean characters for the most part which would be near to impossible to do today. And Hawkeye in more than a few of the later episodes WAS that far left that he would have given his right hand to make the North Koreans happy.
It's relatively recently come out about Wayne that he was accepted into the OSS...only he used his first wife's address as his mailing address. Although they later had a better relationship, Jopsephine Saenz at that point way understandably bitter about how he'd dumped her for another woman. Wayne never recieved the acceptance letter.
Whichever network would give him the most money and airtime.
Luke restores hope to a faltering cause. Taylor is dying and so disgusted with the world that he decides it's time to end it all. But both movies DO go in an unexpected direction.
The thing is that the 2014 GODZILLA was an attempt to make a Godzilla movie that would appeal to a general audience and GODZILLA, KING OF THE MONSTERS and GODZILLA VS KONG amount to Japanese kaiju films with mostly American casts and modern special effects. Which ones you prefer are a matter of taste.
Johnson was as much of a cowboy in real life as he was in movies...you tend to get a little weather beaten. And Johnson was a fan of Roger Spottiswoode's work as an editor...he took this without looking at the script. And this probably met his bare minimum for doing a movie...no bad language or gratuitous sex. He was as much of a rancher and property developer in real life at that time as he was an actor and prospering at both...he didn't NEED to do this.
That was meant for Costumer (2690).
Yep.
Don't tell me you think Godzilla and Kong should sing "Kumbaya"? No one's going to see this to learn life lessons...it's aimed at people who want:1# Godzilla to enjoy "sopa de macaco". 2# Kong to win "because he monke" or 3# the two beating each other dopey before taking on the real Big Bad.
Pay close attention to the scene where Luv kills Lt. Joshi...that's when Luv finds out where K went, using Joshi's corpse on face recognition technology.