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September 13th, 2010, 11:29 PM | #331 |
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Remarkable little film. Makes you think twice about that nice family man down the street, doesn't it? Lemorne reminds one of the real life monsters out there, such as John Wayne Gacy and the like.
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September 14th, 2010, 12:00 AM | #332 |
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September 14th, 2010, 07:26 PM | #333 |
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im not going back through 36 pages to check if my villian has already been mentioned many times.... but as a bond fan.. it has to be christopher lee's portrayal of 'scaramanga' in The Man with The Golden Gun. total bad bad villian,. no sign or context of remorse.. just a guy doing a job for the money he thinks he deserves. even has the audacity to tempt bond into chasing him, so confident is he that he's so much better at his job than bond.
fool...!!!! everyone knows its in the script that bond will win... how else would he be able to make the next movie if the main character died...!!!!?????
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September 15th, 2010, 07:19 PM | #334 |
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September 17th, 2010, 09:33 PM | #335 | |
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Saw the remake tonight, and while it's a good action movie, it's not the original...
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September 17th, 2010, 10:32 PM | #336 |
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September 18th, 2010, 03:39 AM | #337 |
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If they were the villains in "Bonnie and Clyde", who were the heroes?
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September 18th, 2010, 07:25 AM | #338 |
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Sir Alec Guinness as Prof Marcus in The Ladykillers. Totaly incompetent but quietly menacing. Another superb role from Guinness.
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September 18th, 2010, 07:51 AM | #339 |
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http://www.youtube.com/watch?v=oP5Aq...eature=related Another marvellous set-piece which fleshes out the spare and pitiless dialogue with a menacing ballet of body language and ferocious silent acting. It is almost a mime, a real showcase for the extraordinary talent of Sergio Leone, the director. The way Clint Eastwood is suddenly just there when the smoke evaporates is genuinely spooky; he is like Mephistopheles coming to collect Gian Maria Volante's Faust now that the day of reckoning is upon him. No wonder Ramon Rojo steadily loses his nerve as The Man With No Name keeps getting up after being shot again and again. Just superb. Edit Note: Youtube removed the original link so I had to replace it and this was the best I could find. It at least conveys the sheer menace of Clint Eastwood's silent appearance after the explosion and the answering silent ferocity of Volante's character and his gang. That musical theme is just spine chilling.
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October 31st, 2010, 02:57 PM | #340 |
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Edward G Robinson
Robinson was a beneficiary of the switch to sound technology at the end of the 1920s. With that very used looking and crumpled face of his, he was never going to be a matinee idol, but his voice conveyed great strength of will and was equally useful whether he played a villain (Rico in Little Caesar 1931 was his first star performance) or a law-enforcement officer, another speciality of his.
Robinson, in villain mode, was quite something to see. It wasn’t only the voice; it was the whole imperious carriage of his head and rather diminutive body which enabled him to dominate scenes effortlessly and exert unquestionable authority over physically bigger and tougher-looking actors in the scene. He could be a chillingly pitiless brute, but was always more than a mere brute, always a thinking man’s monster. A Robinson villain was a villain with brains, cunning and great charisma, and a man who intuitively understood and played on the psychological weaknesses of other people. Although he is memorably squalid, devious and despicable in The Ten Commandments (1956), the treacherous Dathan wasn’t Robinson’s finest villain, not even Rico, or Mr Brown/Johnny Rocco in Key Largo, though all of these are really splendid outings in films well worth seeing. My pick for Robinson’s nastiest villain is Wolf Larsen, captain of the floating hell-ship Ghost in the little seen and obscure 1941 Michael Curtiz film, The Sea Wolf, a screen adaptation of a Jack London novel by the same name. It isn't Robinson's best film but it is a really interesting character study, which shows Robinson's strengths as a screen villain. It also features very good supporting acts by Lupino, Garfield and by Alexander Knox. Robinson's Wolf Larsen radiates evil energy and power, and if he explicitly said (he never does) that he had sold his own soul to Satan just because he wanted to, you wouldn’t hesitate to believe it. He is Captain Ahab on a budget, palpably damned and taking huge satisfaction in the knowledge of it. Although the film ostensibly explores the adventures of his crew and shipwreck-survivor passengers, who are ambiguously his guests and his prisoners, all the action is really about Larsen himself and the way he torments the people aboard his ship with all the callous and detached cruelty of an Olympian God. There is a very telling scene where Robinson’s Wolf Larsen allows escaped convict Ida Lupino, who is among the handful of survivors from a ferry destroyed in a collision in thick fog, and who is no better than she should be, to pass herself off as a gentlewoman before the gutter-sweepings who are his crew. He then unmasks her as a liar and a hypocrite, in a masterstroke of calculating malice; of course, she is an excaped convict trying to get away, but the humiliation cuts much deeper than this. She is also an attractive woman cast adrift among dangerous criminals and the imposture was a flimsy attempt to protect herself. Robinson’s thinly concealed exasperation when John Garfield’s character, himself no angel, realises what is at stake for the helpless Ruth Webster and steps forward to protect her, is palpable, and acts as a driver for the subsequent action, because all manifestations of simple humanity and kindness are a direct challenge to Larsen’s monomaniac obsession with the evil of the human race. Under no circumstances must it be conceded that people will ever defend one another out of kindness, loyalty or friendship, because the mere existence of human virtue fundamentally undermines Larsen’s entire credo. The bleak and uncompromising end to this story is superbly played out through Robinson’s steely, unbending relish of the wickedness of his character. With his ship sinking and himself struck blind and mortally wounded, he will not permit Garfield and Lupino, locked below, to escape. The other shipwrecked passenger, Van Weyden deceives him, persuading him to give up the key which releases these two from their certain deaths, but only if Van Weyden will stay and die with Larsen instead. Washed up Mr Van Weyden's willingness to die so that these young people can live is really unsettling to Larsen until he finds out that Van Weyden is also mortally wounded and the bargain has cost him nothing. Rather than being angry or disappointed, he is pleased, feeling that he has been right all along, and he faces his death with complete contentment, relishing the hope that there really is a Hell. Only one of Robinson’s screen villain performances, but it is a personal favourite of mine and it is certainly a showcase of the great man at his best.
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