Streaming El hombre de negro (1969) Online
Thursday, July 31, 2014 by watchstream
Thursday, July 31, 2014 by watchstream
Posted in: 1969 | 0 comments | |
by watchstream
A free-wheeling comedy, Zur Sache Schaetzchen chronicles a day in the life of Martin, a witty yet lazy songwriter who'd rather not get out of bed. During the opening sequence, Martin watches a break-in on the other side of the street. In the morning, his friend Henry forces him to report it to the police, yet Martin gets bored with the cops and flees. The two of them spent the rest of the day escaping the law, in the Munich zoo and a public bath, were Martin meets Barbara. Block, the record company executive, needs Martin's new song lyrics right away, and Martin, who continually cranks out mad random remarks, comes up with a ridiculous sailor song. In the end, Martin's playful- ness collides with the authority the police represents. The movie is certainly not plot based; it draws its superior humor from one-liners and the hilarious, carefree insanity of its protagonist.
A Movie That Simply Won't Age (Unlike Uschi Glas)
To contradict an earlier user comment, this movie is to me pretty much the opposite of "tedious avant-garde". I mean it's avant-garde in the good sense -- innovative but without foot-stepping some dogma that has been decreed by the Cahiers du cinéma -- and it certainly isn't tedious. Spils and Enke (the director and the male hero of the movie, who made this movie as a real-life couple) have done an exceptional, almost documentarian, job of capturing the mood of the times by condensing it into several outstanding characters.
If you have become used to the established Hollywood version of "The Sixties", where it's the Fifties in one scene, and then, bang!, the Sixties, cue "Turn! Turn! Turn!" from The Byrds and roll out the flowery shirts and nappy hairdos, then you're in for a surprise. It's the revolution, all right, but our heroes wear long-sleeved buttoned shirts, properly combed hair, the Vietnam war seems to be a hundred years in the offing, and the banjo-whistely soundtrack would have made Jimi Hendrix run for his tour bus.
Munich-Schwabing, where most of this movie was shot, had been Germany's political hotbed for some years, and in 1967 "the action" had just moved on to other cities. You can smell a whiff of the eternal Bavarian revolutionary credo in the air: "A bissl was geht allerwei!" -- which may be instantly congenial but is, unfortunately, completely untranslatable.
By the way, my favorite scenes are when the different characters enter the elevator and meet its inhabitant, an obscure studenty character who apparently lives there, and spends his time reading, writing, drinking coffee and smoking. Slightly embarrassed and nervous glances are exchanged, no explanation is ever given.
Posted in: 1968 | 0 comments | |
by watchstream
A police captain (Aldo Ray) is caught between businesses operating on the Los Angeles Sunset Strip who don't like the punks hanging out, and his belief in allowing the kids their rights. But when his daughter (Mimsy Farmer) gets involved with an unruly bunch, his attitude starts to change.
Sam Katzman's take on L.A. 60s youth culture, has some good elements to it
This legendary film is most legendary for its music scenes by the Standells(whose versions of the two songs they do are different from the ones appearing on the soundtrack album!) and the Chocolate Watchband (who are a VERY exciting live band and whose appearance totally justifies their devoted cult following). The actual movie has a kind of "Dragnet" feel, minus Jack Webb's patented hard-boiled ambience. With an actor as impressive as Aldo Ray in the lead--as a fair-minded police chief with a complex family situation who is drawn into the melodramatic situation that provides the film's plot--at least we are provided with a solid performance in a central role. And the young Mimsy Farmer's LSD dance is as bizarre as I'd heard it was. The rest of the film plays like a TV episode with a little extra sleaze added. Director Arthur Dreifuss was no stranger to exploitation films, having directed Black-cast and teen-oriented quickies in the 1940s AND directing the 60s classic The Love-Ins. Producer Sam Katzman had attempted to cash in on youth culture in the mid-50s with his two Bill Haley films and in the early 60s with his two Chubby Checker films (Don't Knock the Twist was excellent!). Frankly, this film takes the same youth/adult conflicts shown in those films and transposes them into 1967 Los Angeles. The difference is that the music is not the main element here-- it's only a backdrop to the Adult/Youth conflict. This film actually means well and presents a fair-minded analysis of the situation, and Ray is quite sympathetic and convincing, but the overall effect is reduced by weakly written roles for the (overage) teenagers and a "riot" that is anti-climactic and a conclusion that seems abrupt. Still the music scenes with the Standells and the Chocolate Watchband are GREAT, as are the songs by the exciting band who performs "Jolene" or something like that in a club scene. Perhaps this could be put on a DVD double-bill with another 60s AIP teen-exploitation flick?
Posted in: 1967 | 0 comments | |
by watchstream
filmed in Torremolinos; possibly the end of an epoch
I'm in agreement with this way of making films, trying to focus on a few simple things: the simplicity of the essence is always very close to the beauty. This movie has the "face" very clean, just told you the facts directly, without pretending to sell you a vacuum cleaner. It's very true, you can touch with your hand the beautiful hair of Cristina Galbó too, or swimming the Mediterraneo with them. Some script ideas are as good as originals.
This movie is quite, because the big error of most actual filmmakers it's to relate a lot of tales in a very fast way in order to avoid the public to get bored, when the key is one another. Pedro Olea with this opera prima got some beauty feelings without the typical manipulation of professionals. The camera don't be at a loss between all that beautiful sea and sun and it could capture an instant. Possibly the end of an epoch.
It was filmed in Torremolinos at the "Costa del Sol", now it's an acquaintance tourist centre of high development, and the magic of that "old color" has been lost, but it will be always alive in this movie thanks to the work of an illuminate young team.
By the way, I got the DVD at a news stand, it comes with a paper.
Posted in: 1968 | 0 comments | |
by watchstream
A young man from Boston heads west to join the California gold rush with the hopes of restoring his family fortune, but his dedicated butler sets out to find him and bring him home.
Innocents Abroad In San Francisco
Playing the title role of Bullwhip Griffin is Roddy McDowell, a gentleman's gentleman and guardian to heirs Bryan Russell and Suzanne Pleshette from Boston. It seems as though their father has died and the family fortune isn't quite what they've been led to believe. Never mind that, young Russell has lived on an intellectual diet of dime novels and is convinced that he can go to California and strike it rich with the Gold Rush.
The Adventures Of Bullwhip Griffin has a Mark Twain feel to it and it's not too bad, I think Mr. Clemens might have approved of it in his younger and less cynical days. The chief villain of the piece is Karl Malden playing a confidence man who goes by the name of 'Judge' Griffin. He's a man full of tricks, he's a lot like the 'king' and 'duke' characters from Huckleberry Finn. Twain would have really relished Malden's performance.
As for Roddy McDowall he's as innocent as those Americans going abroad for the first time as tourists in Innocents Abroad. In point of fact San Francisco and the gold fields of California were a whole continent away and might as well been a foreign country. In fact McDowall would have been more at home in London than in San Francisco had he gone east instead of west.
But this is America and it's the land of no titled classes. McDowall dares dream he too could win the hand of Suzanne Pleshette who has shaken her proper eastern upbringing to sing in Harry Guardino's Barbary Coast saloon. Guardino is another villain playing his part with relish, he's interested in Pleshette for more than her singing career.
Highlight of the film is McDowall taking on Mike Mazurki in a prize fight. Only in the movies would you think that McDowall could beat Mazurki in a fight. Still it's a very funny sequence.
The cast looks like they're having a real good time making this film and the enthusiasm is infectious. The Adventures Of Bullwhip Griffin is one of the better products to come from the Magic Kingdom in the Sixties.
Posted in: 1967 | 0 comments | |
by watchstream
Joanna is in a touring girl's choir and Mark is a struggling architect. when they first meet on the road in Europe. The film follows their life together --- through courtship and marriage, infidelity and parenthood --- all on the road in a variety of cars through a score of time-shifting vignettes.
Standing the test of time
Thank God that Audrey Hepburn made this film before slipping off into an extended temporary retirement. Was she too old for this movie? Not for the segments that deal with the latter part of the married relationship. The movie spans eleven years and, yes, it is a bit of a visual stretch to see a 37 year old Audrey portraying a 22 year old college woman, but her performance throughout was nothing short of brilliant. This film was a tremendous departure for her. In Two for the Road she does not play the part of the doe-eyed delicate creature of her earlier movies. She even abandoned, reluctantly, her trademark Givenchy wardrobe to sink her teeth into a gritty, visceral part. Many critics of the time remarked on its art house appeal, due in large part to the back and forth sequence editing and the clever juxtaposition of similarities, parallels and contrasts in scenes spanning eleven years. The film must have been incredibly fresh and jarring in its day, abandoning a linear narrative approach to the history of a marriage. Even today it comes across as very "contemporary." Albert Finney delivers an equally strong performance. There is genuine chemistry between Finney and Hepburn. The viewer sees all that is wonderful and horrible about the dynamics of a couple that comes to realize that despite mutual infidelity they still love each other and belong to one another.
Posted in: 1967 | 0 comments | |
by watchstream
Django arrives in the town of Santa Anna at the behest of a man named Sanders who'd been trying to buy safe passage for his cargo from a Mexican bandit named El Santo. Django finds that Sanders has been killed and that his rival, a man named Thompson, is now trying to deal with El Santo. Django, after a brief involvement with a beautiful young widow named Linda -- who has information on a lost gold mine -- becomes entangled in this situation by agreeing to escort a shipment through El Santo's territory.
A predictable collection of the usual ingredients
Once again we have the taciturn stranger who comes into an isolated frontier town and quickly becomes involved in various feuds which, apparently, can only be resolved through violence. There's a villain, of course -- actually several villains -- and then there's a pretty girl with whom the stranger dallies. There's nothing wrong with these ingredients but this "Django" movie strings them together so routinely and with so little regard for logical plot progression that the result can best be summarized as "forgettable." George Eastman, one of the better "spaghetti western" stars, makes an adequate leading man and though, as you might expect, he has two scenes in which he's subjected to savage beatings, he has no scene in which he takes off his shirt. (Eastman's bare-chested torture scene in "Belle Starr" is a classic!) The English-dubbed tape which is the basis for this review ran about 94 minutes but some jerky editing and a few gaps in the plot indicate that the original work may have been longer.
Posted in: 1967 | 0 comments | |
Copyright 2011 | All Rights Reserved. Home | DMCA | Privacy Policy