Stirring, raging, beating, brooding, bleeding... we witness an immense romance born from ever-continuing selfless acts, diluted by public gossip and major social class chasms, yet hidden in ominous secrecy combined with melodrama spiked to maddening heights; Under Capricorn is peak Hitchcock. Characters flee countries for better tomorrows while others are forced to do the same as punishment for their crimes, in serving the non-convicts, ex-convicts, and emancipators settling down to stake claims. The independence and dependence of characters in love,…
It's nice to be married to someone who can help others - even save their lives.
The Paradine Case by Alfred Hitchcock is maybe the best example of a director flaunting his skills in his less-spoken about but easily comparable skillset of one genre, in lieu of the other. In my review of Marnie, I highlight this assertion by talking about these skills working in tandem. Hitchcock is and should be known as The Master of Romance. His suspense put…
Collab Catch-Up Project #27/66
Is it bizarre I was never aware of the fact Ron Howard has a brother who acts and I’ve apparently seen him in over twenty different film/TV entries?
Is it also bizarre that based on the poster I was totally expecting Kurtwood Smith to be the actor and not this Clint guy?
Where do I even begin?
Other reviews are chalking up the awful-acting as part of the major “cheesiness” occurring here, somewhere between made-for-TV B films…
Viewed with the Amazing Edith’s *Collab Film Group*.
Kihachi Okamoto’s Kill!, not to be confused with Kill! Kill! Kill! Kill! (1971), is a relatively light-hearted romp of the murder and betrayal that can be found in the samurai way of life. The beginning rolls in with a windstorm in a ghost town, reflecting the metaphor of transience the yakuza and samurai fully embrace. There is plenty of tongue-in-cheek occurring which actually feels like the most interesting and detrimental aspects to the…
Fall in love.
Fall in love with all your might.
Nobuhiko Ôbayashi has given the world such a unique collection of criminally underseen films. From House to Labyrinth of Cinema, he is a surrealist auteur. Then, his entire 80’s output is incredibly digestible, straight-forward saccharine-soaked melodramas. These parts of the movie spectrum seem so far away from each other, but it really begins to make so…
Trivia: In the home release commentary director Piers Haggard states that stars Oliver Reed and Klaus Kinski hated each other so much during production. Reed would constantly provoke and prank Kinski until he would lose his temper.
Wrestlemania, Shakespeare, or the Gods of Greek Mythology could not have dreamed of two larger egos aligning such as this. The amount of hostility amplified by the off-screen shenanigans of madman Klaus Kinski and overly vain Oliver Reed is fascinating to behold in…