Don't spend huge amount of money on U.S Criterion edition- this one is fine! The seeming assurance of Kastle’s debut was greatly aided by cameraman Oliver Wood, who helped him realize his ideas and figured out how to work with available light; after a long hiatus, Wood went on to shoot several big-budget Hollywood movies. I know this movie very well. Yet Cotten’s lethal prototype, the twentieth-century Bluebeard, Henri Désiré Landru, generates slapstick homicide in Charlie Chaplin’s Monsieur Verdoux (1947) and wry fatalities in Claude Chabrol’s Landru (1963). Still gotta give Lobianco and Stoler credit for working well under the pressure and contraints of a one-take/low budget project. He would go on to play dozens of tough guys with multiple vowels in their last names, in such films as The French Connection (1971), The Seven-Ups (1973), F.I.S.T. Barbara Stanwyck and Fred MacMurray are a chilling pair in Double Indemnity, but not for a moment do we forget that they are familiars cocooned in glossy Hollywood starlight. Kastle credited Wood for the film’s semi-newsreel look; between the naturalistic gray light and the director’s claustrophobic interiors, the picture resembles the approach of such late-sixties documentaries as the Maysleses and Charlotte Zwerin’s Salesman and Frederick Wiseman’s Titicut Follies. Yet along with Stoller and Kastle, his film work peaked at the beginning. He wrote an appreciation of Allen Baron’s film Blast of Silence in Sean Phillips’s comic book Criminal (Phillips did the a. But, this DVD must have been made from a very inferior source. The Honeymoon Killers, in black and white, first caught my attention when I noticed it on cable. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. It also analyzes reviews to verify trustworthiness. Most successful was John Cassavetes’s Faces, a triumph of the autonomous glamour-free cinema. Patton Oswalt is a stand-up comic, the instigator of the Comedians of Comedy tour, and voice star of Pixar’s Ratatouille. Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Except for this paroxysm the movie is otherwise tame in terms of violence---the subsequent murder of a little girl was fortunately not shown. At the heart of a work whose fans have included Michelangelo Antonioni and François Truffaut is Kastle’s clever script, the blueprint for a film that is convincing, inven- tive, efficient (note the montage of letters that bring Martha and Ray together), and, in most respects, historically accurate. That shot ends with a sharp transition, presumably by Kastle, who soon took command of the film, to Martha’s foot, kicking a child’s wagon from her path. Adept at making much out of little, she consistently worked in film and TV until shortly before her death in 1999. Janet Fay (a superb characterization by the radio veteran Mary Jane Higby) succumbs to one of the longest and grisliest deaths this side of Torn Curtain. The following excerpt from director Don Siegel’s autobiography, “A Siegel Film,” published by Faber and Faber, is read by actor and director Hampton Fancher. But by then the film has already disposed of her humanity, mining for laughter her penny-pinching deceits and Jesus icons, defying the most saintly among us to forswear thoughts of homicide every time she chirps, “Innat cuuuute?”. Watching and rewatching The Honeymoon Killers (originally titled Dear Martha) is like boarding a roller coaster: it rouses and deflates you in the same way every time. Whoever shot them, it’s interesting to note how characteristic they are of Scorsese’s mature style. Here you will find no glitz, sex appeal, fiddle music, or Aesopian moral about the dehumanization of violence. Reviewed in the United Kingdom on June 24, 2014. Martha Beck (Shirley Stoler) is sullen, overweight, and lonely. Only Lina Wertmüller’s Seven Beauties (1975) gave her a part nearly as good—though she must have been something playing the widow Charlotte opposite Donald Sutherland’s Humbert in Edward Albee’s disastrous 1981 Broadway adaptation of Lolita. Se ve y se oye con claridad y eso es mas que suficiente habida cuenta de que lo importante es la historia que cuenta. There's a problem loading this menu right now. Yet Cotten’s lethal prototype, the twentieth-century Bluebeard, Henri Désiré Landru, generates slapstick homicide in Charlie Chaplin’s Monsieur Verdoux (1947) and wry fatalities in Claude Chabrol’s Landru (1963).
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