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montgomery wrote:Sorry, my response was needlessly aggressive, but I do think the premise of your question was vaguely misogynistic, or at least cynical. I would just assume that she has the best of intentions; it was her husband after all. And though you may not know much about her, she seems sincere and intelligent in the article - not the Anna Nicole Smith type. Of course, who the hell really knows? Whether the finished product is great or horrible, and whether it's her fault or not, we can never really know - but there's no reason to assume, based on the article, that she's exploiting him. (I've seen her interviewed on Criterion discs, and she's also in Lightning Over Water, and she does not seem to be an evil, manipulative spouse. I don't know, maybe she hated his guts, but I won't assume anything bad unless and until there's a reason).

Cold Bishop wrote:Fantastic! An OAR Wind Across the Everglades! This leaves Run for Cover as the only Ray still unavailable in a decent version.

Wild Side s'apprête à sortir La Forêt interdite (Wind across the Everglades) dans sa collection 'Classic Confidential'. Le DVD (inédit et en exclusivité mondiale) sera accompagné du livre, Le Paradis perdu. Un ouvrage inédit signé Patrick Brion.

Caractéristiques techniques du DVD :
- Format Image : Master restauré – Couleur – 1.33, 4/3
- Format son : Anglais & Français Mono - Sous-titres : Français
- Durée : 1h29

Suppléments du DVD :
- Entretien avec Bertrand Tavernier et Bernard Eisenschitz (26‘)
- Galerie de photos rares

Contenu du livre :
- 80 pages
- Photos exclusives et documents d’archives rares

Prix annoncé de l'édition livre + DVD : 29,99 Euros

Date de sortie : 8 juin 2011

domino harvey wrote:There's a Spanish release, david hare gave it good marks

11:00 PM
We Can't Go Home Again (1976)
Dir: Nicholas Ray
BW-0 mins,

1:00 AM
Making of We Can't Go Home Again (2011)
BW-0 mins,

Re "King of Kings": Loved the shot with the camera attached to the crucifix!

knives wrote:Funny this gets brought back when TCM is doing their Ray retrospective. Tonight seems to be interesting backstory to failures night with the tedious The True Story of Jesse James and now Wind Across the Everglades. The later actually has a lot going for it even if it's not a success by any measure. The use of colour is the only sensible thing here.

domino harvey wrote:So I finished my biblical marathon with King of Kings today and I thought it had its share of interesting choices. I liked how Ray handled the Salome subplot, playing up the sexual undertones of Wilde's play even if Hollywood would never have let the audience see her take it to its conclusion by laying a wet one on Robert Ryan's decapitated head! The film has a skeptic's focus, which generally works, but I did resent the way Ray set up the Last Supper as a proto-Manson Family cult meeting. Jeffrey Hunter is mostly creepy as Jesus but Rip Torn is pretty much the perfect Judas. Loved the shot with the camera attached to the crucifix!

Handsome Dan wrote:DVR'd Party Girl from TCM the other night and finally caught up with it yesterday. It's not quite Johnny Guitar or anything, but it had enough of the usual Ray virtues for a fun night in. Stuff like Guys and Dolls and Some Like It Hot must have instilled some expectation in me that '30s gangsters in '50s movies are all buffoonish, lunkheaded comic relief, because I was actually surprised at how violent and scary Lee J. Cobb and John Ireland & co. were here, particularly

Spoiler

all that business with the acid, as well as the scene of Cobb beating the guy with the silver pool cue, which seems to have inspired some similar business in '87 Untouchables).

Biggest shock of the movie comes early on, though, when

Spoiler

Cyd Charisse discovers her roommate's body in the bloody tub! I actually jumped at this a bit; I can only imagine how this played on a giant screen to a 1958 audience unaccustomed to extremes in cinematic gruesomeness.

It's kind of a violent, shocking movie in general, with more "BOO!"s than I'm used to from films of this era. It must have seemed to be in very bad taste at the time.

Charisse's two dance numbers were swell, though they felt sort of shoehorned in - "Cyd Charisse is here, I guess we may as well let her dance for a scene or two." They certainly weren't important to the story in and of themselves, and I didn't get the sense that they expressed anything about the character or made any kind of hay about the movie's theme or anything. But, eh, as obligatory scenes go, not bad.

It's general stylistic stuff that seems to have stuck with me more than the plot, though. It was fun to see the usual sprawling use of the wide format; even for a movie with so many interior scenes of just two people talking, Ray found inventive ways to move the actors around the frame. Charisse's outrageously red costumes were great as well (especially near the end when she was on the train "to the coast", where you'd think she wouldn't want to be noticed!). I love the '50s color palette, and it seems like Ray did as well; again, I can only imagine what this looked like when first projected from a new print in a large format.

I may pick up the Warner Archives disc of this if it's not a total disaster. Is it at least a measurable improvement over the VHS copies that are likely floating around in junk shops across the US?

knives wrote:I'm having a tough time deciding if We Can't go Home Again is one of his best or worst, because this movie goes to such an extreme that it sure can't be middle of the road. Anyone else catch it? It's like if Altman and Roeg directed Wicked, Wicked.

Fred Holywell wrote:

Re "King of Kings": Loved the shot with the camera attached to the crucifix!

So did William Wyler when he did the same thing two years earlier in "Ben-Hur". Don't know if Ray cribbed it himself, or somebody else (Philip Yordan? Sam Bronstein?) stuck it into "K of K".

JonasEB wrote:

Fred Holywell wrote:

Re "King of Kings": Loved the shot with the camera attached to the crucifix!

So did William Wyler when he did the same thing two years earlier in "Ben-Hur". Don't know if Ray cribbed it himself, or somebody else (Philip Yordan? Sam Bronstein?) stuck it into "K of K".

That's not true. The King of Kings shot, later used in The Last Temptation of Christ, was the original, the Ben-Hur crucifixion is entirely different. In Ben-Hur, the camera is only behind the cross as it is being raised, not attached to it as it is in King of Kings.

As to the quality of the respective crucifixion scenes, I didn't have a problem with either. what I love about King of Kings is that the crucifixion, for once, seems less significant to the subject than other significant moments in the life of Jesus. The sermon on the mount is given the greater position in the film.