Robert Aldrich [11/06/2006] (Director)
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Robert Aldrich [11/06/2006] (Director)
Robert Aldrich
The critical reputation of Robert Aldrich, scion of the Eastern establishment and graduate of the best finishing schools in Hollywood, burst out of Europe with la politique des auteurs. As early as 1957, Aldrich became No. 7 of the "Les Grands Créateurs du Cinéma" series of director monographs published by the Belgian Club du Livre du Cinéma, which followed studies of Robert Bresson, John Huston, Jean Renoir, Vittorio De Sica, Luis Buñuel, and Marcel Carné. This was certainly heady company for a new American director, not yet forty years old. Aldrich's relatives included politicians and bankers - the Rockefellers were both - but the first and last favor he asked from any of them was when an uncle at Chase Bank helped him get his first job as a production clerk at RKO. From there he progressed through the ranks of assistant directors and graduated to directing television in the early 1950s. Although a lifelong liberal and the co-worker of many blacklistees, Aldrich's only brief period as persona non grata in Hollywood was because of a disagreement with Harry Cohn on the Columbia project The Garment Jungle (1957). Aldrich was active in the Directors Guild of America throughout his career and ultimately served as its president, overseeing the negotiation of a break-through contract in terms of creative rights in 1978. Ironically for a director seldom regarded as an artist by American critics, Aldrich's union activism on behalf of directors' prerogatives alienated studio heads and cost him work at the end of his career.
If there is a core to Aldrich's worldview as expressed over the course of thirty feature films, it would simply be the oft-confessed proclivity for "turning things upside down." Aldrich conforms to the traditional narrative requirements of heroes and villains, but within that he often skirts the issue of good and evil in favor of personal codes and moralities. "He didn't divide the world up into good and evil," Abraham Polonsky said of Aldrich, "he didn't see it that simply. He found himself as someone who knew that his idea of himself was why he existed; and that his self-esteem and respect for himself could never be jeopardized by any compromise that involved that deep portion of himself." (2)
Perhaps the best example of this process is Aldrich's adaptation of Kiss Me Deadly (1955). A quest for the Grail, in the sense that social historian Mike Davis describes as "that great anti-myth usually known as noir," (3) Kiss Me Deadly is equally what Borde and Chaumeton call a "dark and fascinating close" (4) to the noir era, whose main character is an "anti-Galahad" in search of his "great whatsit." This tension between myth and anti-myth, between hero and anti-hero, is the key to Aldrich's work. Hammer is a radically different character than many who preceded and followed him in Aldrich's work, equally unlike the defiant warrior Massai in Apache (1954) and the tormented Charlie Castle in The Big Knife (1955). But all these characters inhabit the same cinematic milieu, a world where men's greed for land, money and power challenge the individual to survive. "I guess you have a weakness for a certain kind of character," Aldrich readily admitted; "It's the same character in a number of pictures that keeps reappearing, characters that are bigger than life, that find their own integrity in doing what they do the way they do it, even if it causes their own deaths." (5) Although they are culturally quite different, both Massai and Charlie Castle appealed to Aldrich because of their idealistic struggle. As supporting characters remark, Massai cannot give up his fight and Charlie cannot sustain his; both are fatally imperiled by "doing what they do the way they do it." From Aldrich's earliest work, cynicism and idealism combined to create violent, angst-ridden outbursts of existential despair. Little wonder that such a thematic outlook should give Aldrich a cutting edge status with European observers. As a filmmaker, Aldrich always came straight on, usually with more visual style than Ray, more raw energy than Fuller, and more social consciousness than Losey.
Aldrich's films concentrate on the most basic situation: man attempting to survive in a hostile universe. Like most filmmakers, Aldrich uses and reuses such general devices as narrative tension between subjective and objective viewpoints and the frustration or fulfillment of the audience's genre expectations. In order to survive, certain Aldrich heroes can be more consistently vicious, self-centered and cynical than any villain. Christina's assessment of Hammer - "You're the kind of person that has only one true love: you" - in Kiss Me Deadly is echoed in the admission by Zarkan in The Legend of Lylah Clare (1968): "I'm not sick, I'm in love...with me." Others like Massai in Apache, Joe Costa in Attack! (1956), and Phil Gaines in Hustle (1975) are driven by an irreducible and essentially idealistic personal code. In following it, their behavior becomes even more extreme than either Hammer's or Zarkan's. Characters who are in narrative terms antagonists, like Joe Erin in Vera Cruz (1954) and Karl Wirtz in Ten Seconds to Hell (1959), reflect on and try to explain their compulsive destructiveness by telling essentially the same story: learning from and eventually murdering a father figure who had taught them to look out for number one.
In films such as these, the presence of a ruthless pragmatism in one of the two principals would normally promise a clear-cut alignment into hero and villain, into Erin versus Ben Trane, Wirtz versus Eric Koertner, black versus white. The actual result is ambiguous. Each film is less than absolute in its definition of a moral man yet is absolute in its definition of morality. In Vera Cruz and Ten Seconds to Hell, the protagonist does finally defeat the antagonist; but the triumph is more societal than personal. In The Flight of the Phoenix (1966) and Too Late the Hero (1970), the moral distinctions among the members of a group are so finely drawn that the chance or haphazard manner deciding which of them live and which die constitutes the pervasive irony of the films. As Major Reisman counsels the prisoner Wladislaw early in The Dirty Dozen (1967), innocence or guilt, reward or condemnation, are purely matters of circumstance. "You only made one mistake," he says, pausing by the cell door and grinning back at the man sentenced to death, "you let somebody see you do it."
In this sense, Aldrich is a rigorous determinist. His fables about bands of outsiders remain remarkably consistent across generic lines. Attack!, Ten Seconds to Hell, The Flight of the Phoenix, The Dirty Dozen, Too Late the Hero, Ulzana's Raid (1972), The Longest Yard (1974), and Twilight's Last Gleaming (1977), adventure films, war films, and Westerns - all isolate a group of men in a specific, self-contained and threatening universe. The core plots are diverse: soldiers behind enemy lines; a bomb disposal unit in post-World War II Berlin; passengers on a plane down in the Sahara; inmates of a prison; ex-convicts in a missile silo. Yet in each situation, the characters undergo the same, inexorable moral reduction. And often both the idealists and the cynics - the social extremists - perish.
Usually, these conflicts are between men and nature and between men and other men. All three war films as well as The Flight of the Phoenix and Ulzana's Raid have effectively no women characters at all. In The Longest Yard and The Choirboys (1977), the restricted perspective of convicts and cops respectively reduces women to objects, and unattractive ones at that. In the few films that do focus entirely on them, The Killing of Sister George (1968), What Ever Happened To Baby Jane? (1962) or Hush...Hush, Sweet Charlotte (1964), many of the women are deviate or psychotic. Notably, Baby Jane and Sister George are performers, personas behind which some women retreat in a male-dominated society. Even more notably, Frennessey in World for Ransom (1954) and the title character in The Legend of Lylah Clare are also performers and bisexuals. For both, Lesbianism is an alternative to the men who love them obsessively and want desperately to control their behavior. The societal assumptions which make relationships between men and women so difficult are most clearly addressed - and left unresolved - in Hustle. The man is too alienated to make a commitment; the woman is forced to separate sex from love by working as a prostitute. For Aldrich, the gender of his protagonists was less important than their struggle: a film is only "'masculine' in the sense that it was done by a majority of masculine players. In theory, it was supposed to be metaphorical. In practice, it wasn't that important." (6) Beyond Westerns and war films, Aldrich's films have a generic breadth matched by few other filmmakers. Aldrich's work ranges widely from the self-described "classy soap opera" Autumn Leaves (1956) to the "sex and sand epic" Sodom and Gomorrah (1963) to the "desperately important" political thriller Twilight's Last Gleaming. In between, there are a few comedies and several noir films, as well as the occasional psychological melodrama and the neo-Gothic. There are prison pictures, cop pictures, sports pictures, and pictures about people who make pictures. The interior consistency of theme and style in Aldrich's films resists classification according to genre. Erin and Wirtz recount their twisted, nearly identical histories in the context of an adventure Western and a return-from-the-war melodrama respectively. Zarkan is a retired film director, Hammer is a private detective: yet their self-love, their egocentric disdain for the lives and feelings of others, and their inability to rectify this attitude even when presented with second chances are traits which mark them as sibling personalities from radically different genre backgrounds.
Aldrich's visualization also transcends the conventions of genre. Strong side lighting, the camera placed in an unusually high or low position, foreground clutter, and staging in depth appear as frequently in his Westerns, war pictures, neo-Gothic thrillers, even in his television work, not just where they might be expected in a '50s film noir like Kiss Me Deadly or the richly colored frames of a Hollywood melodrama like The Legend of Lylah Clare. Transmuting and expressing in sensory terms the physical and emotional make-up of the situation, of the characters caught in these frames, remains the basic dynamic of an Aldrich picture regardless of genre. Aldrich's camera may capture a figure crouching behind a lamp, like Charlie Castle in The Big Knife, or lurking at the edge of a pool of light, like Lily Carver in Kiss Me Deadly. Grimacing faces or dark objects will suddenly intrude into the foreground of medium long shots, disturbing previously flaccid compositions, possibly in anticipation of a violent turn in plot events. Recurring high angle medium shots peer down from behind ceiling ventilators in every type of film, World for Ransom, The Angry Hills (1959), Hush...Hush, Sweet Charlotte, and Too Late The Hero, so that the dark blades slowly rotating above the characters' heads become an ominous shorthand for the tension whirring incessantly inside them. Conversely, the hissing sound of man's life leaking out in Kiss Me Deadly or a postmortem burst of gunfire in Attack! become objective correlatives to the dissipation of the audience's tension. In a subjective manner, the characters sometimes "choose" to situate themselves within the frame. For the guilt-ridden Charles Castle, the lamps about the room have a symbolic value which unconsciously draw him back to them again and again. Or characters may be placed objectively: Lily Carver at the edge of the light in Kiss Me Deadly is simultaneously in a figurative darkness appropriate to her mental state.
Even an off-beat, particular icon, such as a ceiling fan, can become a variable metaphor. In World for Ransom the slowly turning overhead blades in the room where Mike Callahan is interrogated by an underworld figure are not only a distracting influence at the frame's center but cast multiple shadows on the surrounding walls. This de-focuses the reading of the shot away from the human figures to create a visual confusion equivalent to Callahan's mixed emotions. In The Angry Hills, a crane down to eye level from an opening position behind a similar fan diminishes the object's importance as a distraction and suggests an unwinding, an impending détente rather than a knotting up of plot events. In both these pictures, Aldrich adapts the photographic styles of film noir to make specific visual statements about characters and events. In Callahan's initial movements through the somber streets, alleys, and stairwells of Singapore, angle and editing shift the wedges of light and the dim boundaries of narrow passageways as if he were traveling through a dark maze, anticipating for the audience the uncertainty of his actual, emotional condition. From early films as narratively diverse as Attack!, Autumn Leaves and The Angry Hills, Aldrich's characteristic low light and side light cast long shadows on interior walls and floors and form rectangular blocks to give the frame a severe, constricting geometry which can symbolise the director's moral determinism.
While Aldrich's definition of milieu may be superficially realist - must be so, in fact, as the overall context of the films themselves is superficially realist - selection of detail is the most readily applicable method by which figurative meaning may be injected. In The Legend of Lylah Clare, the contrast between Barney Sheean's office and Lewis Zarkan's home, between autographed black and white photos of various stars on the walls and lustrous oil paintings of Lylah, between evenly distributed fluorescent light on flat white surfaces and candelabras glistening off the broken texture of wood paneling - all this is not merely a contrast of setting, but of sensibility as well. Both are established within a stylised conception of "producer's office" and "director's home" that is ambivalent, being both serious and satirical, descriptive and analytical. Subject/object split when viewing reality, genre preconceptions, and sensory input are all in play. Decor and camera angle inform character, character affects angle and decor; and the recognition of type reconciles or estranges the audience to the aptness or inaptness of these interactions.
If there is an indisputable cynicism in Aldrich's presentation of figures like Zarkan and Sheean, it is bifocal, acting as both authorial opinion and authorial conjecture of what the world's opinion of such men might be. If there is any vulgarity in the way they are presented, it is less a formal deficiency than an appropriate reflection of the lifestyle in which they are trapped. Ultimately, characterization and caricature, like all of Aldrich's thematic and stylistic components, refocus on the basic question: survival.
In Hustle, Lt. Phil Gaines' partner remarks as the two watch pornographic home movies featuring a suicide victim that her action was rash because "her survival wasn't threatened." Gaines's reply is: "It depends on how you define survival." Reflecting this personal belief, Aldrich's judgment of Ben Trane or Eric Koertner, of Zarkan or Joe Costa is more severe than the judgment he passes on characters less idealistic or with less sense of honor. The former are foolish enough to place their faith in societal institutions, which collapse around them or betray them. They repress personal values for the vaguely postulated good of society at large; their disillusionment and sometimes fatal alienation is the price that must be paid. Not that the "mealy-mouthed" compromisers from the self-immolating Charlie Castle to the craven Captain Cooney in Attack! fare any better. Aldrich and most of his heroes are caught in a dichotomy between natural and artificial, between chaotic and ordered, between instinctual and institutionalised conduct that impels the unaware or unprepared into indecision and that can short-circuit a saving or creative act into an impotent or deadly one. The ending of Ten Seconds to Hell is a montage of the introductory close-ups of the men of the unit intercut with shots of the rebuilt city. A quick reading might be that those who died did so meaningfully, for a reconstructive purpose. The conclusion of Ten Seconds to Hell is echoed in The Dirty Dozen which uses similar shots of the commando unit at the dinner celebration before the mission that will kill most of them. The same reiteration of the "male unit" takes place in the end credits of The Choirboys.
"What really gets you is the idea that maybe you're wrong" is the accusation aimed at Frank Towns in The Flight of the Phoenix. It could be hurled at many other Aldrich heroes as well. Trane and Koertner, Towns and Lt. DeBuin in Ulzana's Raid survive their mistakes and misjudgments. For others, the rectification of error comes too late. For none is it easily accomplished. Being wrong is not a moral deficiency in Aldrich's work. It neither mitigates nor insures salvation. What it does is make the "offenders" into outsiders, because, as Reisman tells Wladislaw, it is getting caught, not being wrong, that creates the violation of acceptable social conduct. When circumstances put the protagonist in an untenable situation, any solution is permitted. What separates the amoral Hammer from the self-righteous Costa are not just personal codes of conduct. Each protagonist also has an experiential notion of how society will react to his behavior, whether it will validate or condemn it. That is what separates Reisman from Wladislaw.
"Pilot error" is what Frank Towns ultimately enters into his log as the cause of the crash in Flight of the Phoenix. Most of Aldrich's films, in their own genre contexts and particular plots, are explorations of the infrastructure of error. What each makes progressively clearer is the conditional limitations of attributing blame. A frustrated Towns takes solace in his bitter and defensive accusations of Moran: "If you hadn't made a career of being a drunk, if you hadn't stayed in your bunk to have that last bottle, you might have checked that engineer's report and we might not be here." Blaming another gives way gradually to the resignation of Fenner in The Grissom Gang (1971), McIntosh in Ulzana's Raid, or Crewe in The Longest Yard. Some early characters like Koertner anticipate the grim assessment of McIntosh in Ulzana's Raid: "Ain't no sense hating the Apaches for killing, Lieutenant. That'd be like hating the desert 'cause there ain't no water on it." This is a conscious expression of the capricious causality at work in Aldrich's pictures. For the reasons for the crash in the Sahara in The Flight of the Phoenix are as arbitrary, as free of pure causality, as the military assignments in Too Late the Hero or Ulzana's Raid.
From Mike Callahan's rejection by the perverse and aptly named Frennessey in World for Ransom through the fatalistic freeze-frames at the end of The Legend of Lylah Clare and The Grissom Gang to Gaines's offhanded death in Hustle, the one constant in Aldrich's work is that ultimately no one is untouched by the savagery of the surrounding world. For those who expose the more visceral layers of their psyche to it, the risk is intensified. It is not merely annihilation but also, what may be worse, a descent into an unfulfilled, insensate existence. If, in the final analysis, Aldrich's sympathy resides most with individuals who are anti-authoritarian, with anti-heroes like Reisman in The Dirty Dozen or Crewe in The Longest Yard, it resides there because these are persons who survive. They survive by resolving all the conflicting impulses of nature and society, of real and ideal, of right and wrong, in and through action.
1. Aldrich quoted in David Sterritt, "Films." Los Angeles Herald-Examiner, California Living Magazine, May 30, 1976, p. 4.
2. Abraham Polonsky speaking at the Directors Guild of America memorial for Aldrich, December 7, 1983.
3. Mike Davis, City of Quartz. New York: Vintage, 1992, p. 37.
4. Raymond Borde and Étienne Chaumeton, Panorama du Film Noir Américain, Paris: Éditions de Minuit, 1983, p. 277.
5. Pierre Sauvage, "Aldrich Interview." Movie, Winter, 1976-1977, p. 55.
6. Harry Ringel, "Up to Date with Robert Aldrich." Sight and Sound, Summer, 1974, p. 167.
http://www.sensesofcinema.com/contents/ ... drich.html
Robert Aldrich by Alan Silver
The critical reputation of Robert Aldrich, scion of the Eastern establishment and graduate of the best finishing schools in Hollywood, burst out of Europe with la politique des auteurs. As early as 1957, Aldrich became No. 7 of the "Les Grands Créateurs du Cinéma" series of director monographs published by the Belgian Club du Livre du Cinéma, which followed studies of Robert Bresson, John Huston, Jean Renoir, Vittorio De Sica, Luis Buñuel, and Marcel Carné. This was certainly heady company for a new American director, not yet forty years old. Aldrich's relatives included politicians and bankers - the Rockefellers were both - but the first and last favor he asked from any of them was when an uncle at Chase Bank helped him get his first job as a production clerk at RKO. From there he progressed through the ranks of assistant directors and graduated to directing television in the early 1950s. Although a lifelong liberal and the co-worker of many blacklistees, Aldrich's only brief period as persona non grata in Hollywood was because of a disagreement with Harry Cohn on the Columbia project The Garment Jungle (1957). Aldrich was active in the Directors Guild of America throughout his career and ultimately served as its president, overseeing the negotiation of a break-through contract in terms of creative rights in 1978. Ironically for a director seldom regarded as an artist by American critics, Aldrich's union activism on behalf of directors' prerogatives alienated studio heads and cost him work at the end of his career.
If there is a core to Aldrich's worldview as expressed over the course of thirty feature films, it would simply be the oft-confessed proclivity for "turning things upside down." Aldrich conforms to the traditional narrative requirements of heroes and villains, but within that he often skirts the issue of good and evil in favor of personal codes and moralities. "He didn't divide the world up into good and evil," Abraham Polonsky said of Aldrich, "he didn't see it that simply. He found himself as someone who knew that his idea of himself was why he existed; and that his self-esteem and respect for himself could never be jeopardized by any compromise that involved that deep portion of himself." (2)
Perhaps the best example of this process is Aldrich's adaptation of Kiss Me Deadly (1955). A quest for the Grail, in the sense that social historian Mike Davis describes as "that great anti-myth usually known as noir," (3) Kiss Me Deadly is equally what Borde and Chaumeton call a "dark and fascinating close" (4) to the noir era, whose main character is an "anti-Galahad" in search of his "great whatsit." This tension between myth and anti-myth, between hero and anti-hero, is the key to Aldrich's work. Hammer is a radically different character than many who preceded and followed him in Aldrich's work, equally unlike the defiant warrior Massai in Apache (1954) and the tormented Charlie Castle in The Big Knife (1955). But all these characters inhabit the same cinematic milieu, a world where men's greed for land, money and power challenge the individual to survive. "I guess you have a weakness for a certain kind of character," Aldrich readily admitted; "It's the same character in a number of pictures that keeps reappearing, characters that are bigger than life, that find their own integrity in doing what they do the way they do it, even if it causes their own deaths." (5) Although they are culturally quite different, both Massai and Charlie Castle appealed to Aldrich because of their idealistic struggle. As supporting characters remark, Massai cannot give up his fight and Charlie cannot sustain his; both are fatally imperiled by "doing what they do the way they do it." From Aldrich's earliest work, cynicism and idealism combined to create violent, angst-ridden outbursts of existential despair. Little wonder that such a thematic outlook should give Aldrich a cutting edge status with European observers. As a filmmaker, Aldrich always came straight on, usually with more visual style than Ray, more raw energy than Fuller, and more social consciousness than Losey.
Aldrich's films concentrate on the most basic situation: man attempting to survive in a hostile universe. Like most filmmakers, Aldrich uses and reuses such general devices as narrative tension between subjective and objective viewpoints and the frustration or fulfillment of the audience's genre expectations. In order to survive, certain Aldrich heroes can be more consistently vicious, self-centered and cynical than any villain. Christina's assessment of Hammer - "You're the kind of person that has only one true love: you" - in Kiss Me Deadly is echoed in the admission by Zarkan in The Legend of Lylah Clare (1968): "I'm not sick, I'm in love...with me." Others like Massai in Apache, Joe Costa in Attack! (1956), and Phil Gaines in Hustle (1975) are driven by an irreducible and essentially idealistic personal code. In following it, their behavior becomes even more extreme than either Hammer's or Zarkan's. Characters who are in narrative terms antagonists, like Joe Erin in Vera Cruz (1954) and Karl Wirtz in Ten Seconds to Hell (1959), reflect on and try to explain their compulsive destructiveness by telling essentially the same story: learning from and eventually murdering a father figure who had taught them to look out for number one.
In films such as these, the presence of a ruthless pragmatism in one of the two principals would normally promise a clear-cut alignment into hero and villain, into Erin versus Ben Trane, Wirtz versus Eric Koertner, black versus white. The actual result is ambiguous. Each film is less than absolute in its definition of a moral man yet is absolute in its definition of morality. In Vera Cruz and Ten Seconds to Hell, the protagonist does finally defeat the antagonist; but the triumph is more societal than personal. In The Flight of the Phoenix (1966) and Too Late the Hero (1970), the moral distinctions among the members of a group are so finely drawn that the chance or haphazard manner deciding which of them live and which die constitutes the pervasive irony of the films. As Major Reisman counsels the prisoner Wladislaw early in The Dirty Dozen (1967), innocence or guilt, reward or condemnation, are purely matters of circumstance. "You only made one mistake," he says, pausing by the cell door and grinning back at the man sentenced to death, "you let somebody see you do it."
In this sense, Aldrich is a rigorous determinist. His fables about bands of outsiders remain remarkably consistent across generic lines. Attack!, Ten Seconds to Hell, The Flight of the Phoenix, The Dirty Dozen, Too Late the Hero, Ulzana's Raid (1972), The Longest Yard (1974), and Twilight's Last Gleaming (1977), adventure films, war films, and Westerns - all isolate a group of men in a specific, self-contained and threatening universe. The core plots are diverse: soldiers behind enemy lines; a bomb disposal unit in post-World War II Berlin; passengers on a plane down in the Sahara; inmates of a prison; ex-convicts in a missile silo. Yet in each situation, the characters undergo the same, inexorable moral reduction. And often both the idealists and the cynics - the social extremists - perish.
Usually, these conflicts are between men and nature and between men and other men. All three war films as well as The Flight of the Phoenix and Ulzana's Raid have effectively no women characters at all. In The Longest Yard and The Choirboys (1977), the restricted perspective of convicts and cops respectively reduces women to objects, and unattractive ones at that. In the few films that do focus entirely on them, The Killing of Sister George (1968), What Ever Happened To Baby Jane? (1962) or Hush...Hush, Sweet Charlotte (1964), many of the women are deviate or psychotic. Notably, Baby Jane and Sister George are performers, personas behind which some women retreat in a male-dominated society. Even more notably, Frennessey in World for Ransom (1954) and the title character in The Legend of Lylah Clare are also performers and bisexuals. For both, Lesbianism is an alternative to the men who love them obsessively and want desperately to control their behavior. The societal assumptions which make relationships between men and women so difficult are most clearly addressed - and left unresolved - in Hustle. The man is too alienated to make a commitment; the woman is forced to separate sex from love by working as a prostitute. For Aldrich, the gender of his protagonists was less important than their struggle: a film is only "'masculine' in the sense that it was done by a majority of masculine players. In theory, it was supposed to be metaphorical. In practice, it wasn't that important." (6) Beyond Westerns and war films, Aldrich's films have a generic breadth matched by few other filmmakers. Aldrich's work ranges widely from the self-described "classy soap opera" Autumn Leaves (1956) to the "sex and sand epic" Sodom and Gomorrah (1963) to the "desperately important" political thriller Twilight's Last Gleaming. In between, there are a few comedies and several noir films, as well as the occasional psychological melodrama and the neo-Gothic. There are prison pictures, cop pictures, sports pictures, and pictures about people who make pictures. The interior consistency of theme and style in Aldrich's films resists classification according to genre. Erin and Wirtz recount their twisted, nearly identical histories in the context of an adventure Western and a return-from-the-war melodrama respectively. Zarkan is a retired film director, Hammer is a private detective: yet their self-love, their egocentric disdain for the lives and feelings of others, and their inability to rectify this attitude even when presented with second chances are traits which mark them as sibling personalities from radically different genre backgrounds.
Aldrich's visualization also transcends the conventions of genre. Strong side lighting, the camera placed in an unusually high or low position, foreground clutter, and staging in depth appear as frequently in his Westerns, war pictures, neo-Gothic thrillers, even in his television work, not just where they might be expected in a '50s film noir like Kiss Me Deadly or the richly colored frames of a Hollywood melodrama like The Legend of Lylah Clare. Transmuting and expressing in sensory terms the physical and emotional make-up of the situation, of the characters caught in these frames, remains the basic dynamic of an Aldrich picture regardless of genre. Aldrich's camera may capture a figure crouching behind a lamp, like Charlie Castle in The Big Knife, or lurking at the edge of a pool of light, like Lily Carver in Kiss Me Deadly. Grimacing faces or dark objects will suddenly intrude into the foreground of medium long shots, disturbing previously flaccid compositions, possibly in anticipation of a violent turn in plot events. Recurring high angle medium shots peer down from behind ceiling ventilators in every type of film, World for Ransom, The Angry Hills (1959), Hush...Hush, Sweet Charlotte, and Too Late The Hero, so that the dark blades slowly rotating above the characters' heads become an ominous shorthand for the tension whirring incessantly inside them. Conversely, the hissing sound of man's life leaking out in Kiss Me Deadly or a postmortem burst of gunfire in Attack! become objective correlatives to the dissipation of the audience's tension. In a subjective manner, the characters sometimes "choose" to situate themselves within the frame. For the guilt-ridden Charles Castle, the lamps about the room have a symbolic value which unconsciously draw him back to them again and again. Or characters may be placed objectively: Lily Carver at the edge of the light in Kiss Me Deadly is simultaneously in a figurative darkness appropriate to her mental state.
Even an off-beat, particular icon, such as a ceiling fan, can become a variable metaphor. In World for Ransom the slowly turning overhead blades in the room where Mike Callahan is interrogated by an underworld figure are not only a distracting influence at the frame's center but cast multiple shadows on the surrounding walls. This de-focuses the reading of the shot away from the human figures to create a visual confusion equivalent to Callahan's mixed emotions. In The Angry Hills, a crane down to eye level from an opening position behind a similar fan diminishes the object's importance as a distraction and suggests an unwinding, an impending détente rather than a knotting up of plot events. In both these pictures, Aldrich adapts the photographic styles of film noir to make specific visual statements about characters and events. In Callahan's initial movements through the somber streets, alleys, and stairwells of Singapore, angle and editing shift the wedges of light and the dim boundaries of narrow passageways as if he were traveling through a dark maze, anticipating for the audience the uncertainty of his actual, emotional condition. From early films as narratively diverse as Attack!, Autumn Leaves and The Angry Hills, Aldrich's characteristic low light and side light cast long shadows on interior walls and floors and form rectangular blocks to give the frame a severe, constricting geometry which can symbolise the director's moral determinism.
While Aldrich's definition of milieu may be superficially realist - must be so, in fact, as the overall context of the films themselves is superficially realist - selection of detail is the most readily applicable method by which figurative meaning may be injected. In The Legend of Lylah Clare, the contrast between Barney Sheean's office and Lewis Zarkan's home, between autographed black and white photos of various stars on the walls and lustrous oil paintings of Lylah, between evenly distributed fluorescent light on flat white surfaces and candelabras glistening off the broken texture of wood paneling - all this is not merely a contrast of setting, but of sensibility as well. Both are established within a stylised conception of "producer's office" and "director's home" that is ambivalent, being both serious and satirical, descriptive and analytical. Subject/object split when viewing reality, genre preconceptions, and sensory input are all in play. Decor and camera angle inform character, character affects angle and decor; and the recognition of type reconciles or estranges the audience to the aptness or inaptness of these interactions.
If there is an indisputable cynicism in Aldrich's presentation of figures like Zarkan and Sheean, it is bifocal, acting as both authorial opinion and authorial conjecture of what the world's opinion of such men might be. If there is any vulgarity in the way they are presented, it is less a formal deficiency than an appropriate reflection of the lifestyle in which they are trapped. Ultimately, characterization and caricature, like all of Aldrich's thematic and stylistic components, refocus on the basic question: survival.
In Hustle, Lt. Phil Gaines' partner remarks as the two watch pornographic home movies featuring a suicide victim that her action was rash because "her survival wasn't threatened." Gaines's reply is: "It depends on how you define survival." Reflecting this personal belief, Aldrich's judgment of Ben Trane or Eric Koertner, of Zarkan or Joe Costa is more severe than the judgment he passes on characters less idealistic or with less sense of honor. The former are foolish enough to place their faith in societal institutions, which collapse around them or betray them. They repress personal values for the vaguely postulated good of society at large; their disillusionment and sometimes fatal alienation is the price that must be paid. Not that the "mealy-mouthed" compromisers from the self-immolating Charlie Castle to the craven Captain Cooney in Attack! fare any better. Aldrich and most of his heroes are caught in a dichotomy between natural and artificial, between chaotic and ordered, between instinctual and institutionalised conduct that impels the unaware or unprepared into indecision and that can short-circuit a saving or creative act into an impotent or deadly one. The ending of Ten Seconds to Hell is a montage of the introductory close-ups of the men of the unit intercut with shots of the rebuilt city. A quick reading might be that those who died did so meaningfully, for a reconstructive purpose. The conclusion of Ten Seconds to Hell is echoed in The Dirty Dozen which uses similar shots of the commando unit at the dinner celebration before the mission that will kill most of them. The same reiteration of the "male unit" takes place in the end credits of The Choirboys.
"What really gets you is the idea that maybe you're wrong" is the accusation aimed at Frank Towns in The Flight of the Phoenix. It could be hurled at many other Aldrich heroes as well. Trane and Koertner, Towns and Lt. DeBuin in Ulzana's Raid survive their mistakes and misjudgments. For others, the rectification of error comes too late. For none is it easily accomplished. Being wrong is not a moral deficiency in Aldrich's work. It neither mitigates nor insures salvation. What it does is make the "offenders" into outsiders, because, as Reisman tells Wladislaw, it is getting caught, not being wrong, that creates the violation of acceptable social conduct. When circumstances put the protagonist in an untenable situation, any solution is permitted. What separates the amoral Hammer from the self-righteous Costa are not just personal codes of conduct. Each protagonist also has an experiential notion of how society will react to his behavior, whether it will validate or condemn it. That is what separates Reisman from Wladislaw.
"Pilot error" is what Frank Towns ultimately enters into his log as the cause of the crash in Flight of the Phoenix. Most of Aldrich's films, in their own genre contexts and particular plots, are explorations of the infrastructure of error. What each makes progressively clearer is the conditional limitations of attributing blame. A frustrated Towns takes solace in his bitter and defensive accusations of Moran: "If you hadn't made a career of being a drunk, if you hadn't stayed in your bunk to have that last bottle, you might have checked that engineer's report and we might not be here." Blaming another gives way gradually to the resignation of Fenner in The Grissom Gang (1971), McIntosh in Ulzana's Raid, or Crewe in The Longest Yard. Some early characters like Koertner anticipate the grim assessment of McIntosh in Ulzana's Raid: "Ain't no sense hating the Apaches for killing, Lieutenant. That'd be like hating the desert 'cause there ain't no water on it." This is a conscious expression of the capricious causality at work in Aldrich's pictures. For the reasons for the crash in the Sahara in The Flight of the Phoenix are as arbitrary, as free of pure causality, as the military assignments in Too Late the Hero or Ulzana's Raid.
From Mike Callahan's rejection by the perverse and aptly named Frennessey in World for Ransom through the fatalistic freeze-frames at the end of The Legend of Lylah Clare and The Grissom Gang to Gaines's offhanded death in Hustle, the one constant in Aldrich's work is that ultimately no one is untouched by the savagery of the surrounding world. For those who expose the more visceral layers of their psyche to it, the risk is intensified. It is not merely annihilation but also, what may be worse, a descent into an unfulfilled, insensate existence. If, in the final analysis, Aldrich's sympathy resides most with individuals who are anti-authoritarian, with anti-heroes like Reisman in The Dirty Dozen or Crewe in The Longest Yard, it resides there because these are persons who survive. They survive by resolving all the conflicting impulses of nature and society, of real and ideal, of right and wrong, in and through action.
1. Aldrich quoted in David Sterritt, "Films." Los Angeles Herald-Examiner, California Living Magazine, May 30, 1976, p. 4.
2. Abraham Polonsky speaking at the Directors Guild of America memorial for Aldrich, December 7, 1983.
3. Mike Davis, City of Quartz. New York: Vintage, 1992, p. 37.
4. Raymond Borde and Étienne Chaumeton, Panorama du Film Noir Américain, Paris: Éditions de Minuit, 1983, p. 277.
5. Pierre Sauvage, "Aldrich Interview." Movie, Winter, 1976-1977, p. 55.
6. Harry Ringel, "Up to Date with Robert Aldrich." Sight and Sound, Summer, 1974, p. 167.
http://www.sensesofcinema.com/contents/ ... drich.html
Robert Aldrich by Alan Silver
Última edición por Coursodon el Dom 11 Jun, 2006 16:03, editado 1 vez en total.
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"Four Star Playhouse" | Star Performance (USA) | 1952 | 30' | |
Tay Garnett, Robert Aldrich David Niven (as Various Characters (1952-1956)), Charles Boyer (as Various Characters (1952-1956)), Dick Powell (as Various Characters (1952-1956)), Ida Lupino (as Various Characters (1952-1956)) This show featured four rotating stars, Charles Boyer, David Niven, Ida Lupino and Dick Powell in individual episodes consisting of everything from comedy to drama. IMDb | ||||
No hay enlaces disponibles | English |
"The Doctor" | 1952 | 30' | ||
Warner Anderson (as Host) Warner Anderson seldom acted in any of the episodes of this medical anthology, which were mostly concerned with emotional problems; he always presented the stories and provided commentary after their presentation. IMDb | ||||
No hay enlaces disponibles | English |
Big Leaguer | 1953 | 71' | ||
Edward G. Robinson (as John B. 'Hans' Lobert), Vera-Ellen (as Christy), Jeff Richards (as Adam Polachuk), Richard Jaeckel (as Bobby Bronson), William Campbell (as Julie Davis), Carl Hubbell (as Himself), Paul Langton (as Brian McLennan), Lalo Rios (as Chuy Aguilar), Bill Crandall (as Tippy Mitchell), Frank Ferguson (as Wally Mitchell), John McKee (as Dale Alexander), Mario Siletti (as Mr. Polachuk), Al Campanis (as Himself), Bob Trocolor (as Himself), Tony Ravis (as Himself) John Lobert runs a training camp in Florida for the New York Giants. Every year, he evaluates the 18-22 year old hopefuls to pick the best for a minor league contract. They all have dreams and talent, but the elimination whittles them down to a lucky few who will get the $150 a month contract. This year John's niece comes down from the home office in New York and is attracted to tall quiet Adam. IMDb | ||||
No hay enlaces disponibles | English |
Vera Cruz | Veracruz | 1954 | 94' | |
Gary Cooper (as Benjamin Trane), Burt Lancaster (as Joe Erin), Denise Darcel (as Countess Marie Duvarre), Cesar Romero (as Marquis Henri de Labordere), Sara Montiel (as Nina (as Sarita Montiel)), George Macready (as Emperor Maximillian), Ernest Borgnine (as Donnegan), Morris Ankrum (as General Ramírez), Henry Brandon (as Capt. Danette), Charles Bronson (as Pittsburgh (as Charles Buchinsky)), Jack Lambert (as Charlie), Jack Elam (as Tex), James McCallion (as Little-Bit), James Seay (as Abilene), Archie Savage (as Ballard) Un antiguo combatiente confederado se traslada a México con la intención de poner sus conocimientos militares al servicio del mejor postor en la revolución; no será el único norteamericano allí. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: Vera.Cruz.(1954).by.Minyatur.-.Dual.(Esp-Eng).-.DVDRIP.-.DivxClasico.avi Subtítulos: (Subtitulos.-.Subtitles).Vera.Cruz.(1954).by.Minyatur.-.8.Languages.rar Enlaces encontrados en eMule: Vera.Cruz.(1954).avi Vera Cruz - Gary Cooper, Burt Lancaster & Sara Montiel (1954).avi [%E9%BE%99%E8%99%8E%E4%B9%BE%E6%88%88).Vera.Cruz.1954.DVDRip.DivX-LiGHTNiNG.avi 1954 Vera Cruz.mpg Charles Bronson - Vera Cruz - 1954.avi Charles Bronson - Vera Cruz.mpg Subtítulos encontrados en eMule: Vera Cruz - 1954.srt Vera Cruz 1954.srt vera_cruz.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por ShooCat Subtítulos Descarga Directa English por Croakerbc Subtítulos Descarga Directa English por Bobalote Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Bobalote | English |
Apache | Apache | 1954 | 91' | |
Burt Lancaster (as Massai), Jean Peters (as Nalinle), John McIntire (as Al Sieber), Charles Bronson (as Hondo (as Charles Buchinsky)), John Dehner (as Weddle), Paul Guilfoyle (as Santos), Ian MacDonald (as Clagg), Walter Sande (as Lt. Col. Beck), Morris Ankrum (as Dawson), Monte Blue (as Geronimo) Después de la rendición del indio Jerónimo, las guerras apaches parecen haber llegado a su fin. Sin embargo, la conducta de las tropas hace cambiar de opinión al último de los cabecillas aún libres, Massai, un hombre hasta entonces pacífico y partidario de pactar con los blancos. Ahora, convencido de que la fuerza es el único modo de defender sus derechos y los de su tribu, se lanza a la guerra, desencadenando a su paso el pánico y la destrucción, iniciando de nuevo una campaña bélica en la que se suceden los más feroces enfrentamientos. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico Apache.(1954).(DVDrip).Dual.(Spa-Eng).por.Marc27.(divxclasico).avi [/br]]Subtítulos Descarga Directa Español por Marc27 Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Danelush Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Danelush | English |
World for Ransom | 1954 | 82' | ||
Dan Duryea (as Mike Callahan aka Corrigan), Gene Lockhart (as Alexis Pederas), Patric Knowles (as Julian March), Reginald Denny (as Major Ian Bone), Nigel Bruce (as Governor Sir Charles Coutts), Marian Carr (as Frennessey March), Arthur Shields (as Sean O'Connor), Douglass Dumbrille (as Insp. McCollum), Carmen D'Antonio (as Dancer), Keye Luke (as Wong), Clarence Lung (as Johnny Chan), Lou Nova (as Guzik) Made by the same production set-up on the same lot that was producing the 1953-54 "China Smith/Captain China" TV series that starred Dan Duryea as soldier-of-fortune China Smith, using many of the same players that were regulars on the TV series, including Douglass Dumbrille, as head of the British Intelligence, and the same "Singapore", British Colony colonials and China sets used on the series. In this instance, they had the good grace to actually make a "new" film rather than just paste two of the TV episodes together and sending it out as a "new" movie as many of the TV production companies were doing at the time, i.e., the producers of the "Ramar of the Jungle" and Guy Madison's "Wild Bill Hickok" series. And changed the role names of Duryea and Dumbrille, but the Duryea character is still "China Smith." And hired a good director. This time out China Smith...uh.....Mike Callahan (Dan Duryea), because of his friendship with Julian March (Patric Knowles),becomes involved with a plot to kidnap a nuclear scientist who is one of the three men in the whole wide world who knows how to detonate an H-Bomb and evidently carries most of the makings around with him. March is in league with Alexis Pederas (Gene Lockhart, less lovable than usual)and his henchman Guzik (former boxer Lou Nova and mean as usual), planning to do some blackmailing on a global scale. Lots of killing, kidnappings, crosses and double-crosses, fights and pursuits follow, plus some bit of footsie between March's wife, Frennessy (Marian Carr) and Callahan. Nothing much happens in that area either as she departs Singapore and Callahan both when neither are of further use to her. Better than the TV series because of director Robert Aldrich. And Marian Carr, who Aldrich would use later on. IMDb | ||||
No hay enlaces disponibles | English |
The Big Knife | El Gran Cuchillo | 1955 | 111' | |
Jack Palance (as Charles Castle), Ida Lupino (as Marion Castle), Wendell Corey (as Smiley Coy), Jean Hagen (as Connie Bliss), Rod Steiger (as Stanley Shriner Hoff), Shelley Winters (as Dixie Evans), Ilka Chase (as Patty Benedict), Everett Sloane (as Nat Danziger), Wesley Addy (as Horatio "Hank" Teagle), Paul Langton (as Buddy Bliss), Nick Dennis (as Mickey Feeney), Bill Walker (as Russell), Michael Winkelman (as Billy Castle (as Mike Winkelman)) Tras una etapa trabajando para unos importantes estudios de Hollywood, el actor Charles Castle se niega a renovar su contrato. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: The Big Knife - Robert Aldrich - (Film-Noir) 1955.avi Audio:el gran cuchillo a 25fps.mp3 | English |
Kiss Me Deadly | El Beso Mortal | 1955 | 106' | |
Ralph Meeker (as Mike Hammer), Albert Dekker (as Dr. G.E. Soberin), Paul Stewart (as Carl Evello), Juano Hernandez (as Eddie Yeager), Wesley Addy (as Lt. Pat Murphy), Marian Carr (as Friday), Maxine Cooper (as Velda), Cloris Leachman (as Christina Bailey), Gaby Rodgers (as Gabrielle (aka Lily Carver)), Nick Dennis (as Nick), Jack Lambert (as Sugar Smallhouse), Jack Elam (as Charlie Max), Jerry Zinneman (as Sammy), Leigh Snowden (as Cheesecake, Girl at Pool), Percy Helton (as Doc Kennedy) One dark night, sleazy private eye Mike Hammer picks up a girl on the highway, wearing only a trenchcoat. Soon his car is run off the road; while he's semiconscious, the girl is tortured to death. Telling the police nothing, Hammer pursues the killers himself despite threats, bribes, and bombs. He encounters strange clues, a stranger young lady, and at last an extremely deadly secret. IMDbDIvXClásicoDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: Kiss me deadly (el beso mortal) Robert Aldrich 1955 dvdrip DUAL SPA-ENG divxclasico.com por dersu-uzala.avi Audio: El beso mortal audio en español.mp3 Subtítulos: El beso mortal (Robert Aldrich) español.srt Enlace DXC: DIvXClásico kmd-vh-prod.avi Kiss me deadly Fr ESp subs.rar Enlaces encontrados en eMule: Kiss me deadly- El beso mortal Spanis subs Dvdrip Xvid by Laughton Subtítulos encontrados en eMule: Kiss.Me.Deadly.1955.SubPack.ENG.FR.GER.ESP.ITA.NL.GRK.rar Kiss me deadly - Dual.esp.srt CINE NEGRO -El beso mortal- ( Robert Aldrich 1955) Español DVDrip DivX por Tritón.avi Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Ephes Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Dersu-Uzala Subtítulos Descarga Directa Español por Figure8 Subtítulos Descarga Directa Español por Atomix | English |
Autumn Leaves | The Way We Are (USA) (working title) | 1956 | 107' | |
Joan Crawford (as Millicent Wetherby), Cliff Robertson (as Burt Hanson), Vera Miles (as Virginia Hanson), Lorne Greene (as Mr. Hanson), Ruth Donnelly (as Liz), Shepperd Strudwick (as Dr. Malcolm Couzzens), Selmer Jackson (as Mr. Wetherby), Maxine Cooper (as Nurse Evans), Marjorie Bennett (as Waitress), Frank Gerstle (as Mr. Ramsey), Leonard Mudie (as Colonel Hillyer), Maurice Manson (as Dr. Masterson), Bob Hopkins (as Desk clerk), Nat 'King' Cole (as Off-Screen Vocalist - Closing Titles) Milly, a lonely older woman, marries Burt Hanson, a much younger man. But after the wedding, Milly discovers that Burt has been mentally unhinged by the discovery, some time before, of his first wife Virginia in the arms of his father. The reappearance of his father and former wife in Burt's new life throws him into deep mental distress, and Milly must decide whether to have him committed to a mental institution. IMDb | ||||
No hay enlaces disponibles | English |
Attack | Attack | 1956 | 107' | |
Jack Palance (as Lt. Joe Costa, Fox Co.), Eddie Albert (as Capt. Erskine Cooney, CO, Fox Co.), Lee Marvin (as Lt. Col. Clyde Bartlett, CO, White Battalion), Robert Strauss (as Pfc. Bernstein), Richard Jaeckel (as Pvt. Snowden), Buddy Ebsen (as Sfc. Tolliver, Fox Co.), Jon Shepodd (as Cpl. John Jackson, Fox Co. (communications)), Peter van Eyck (as SS Captain), James Goodwin (as Pfc. Ricks (as Jimmy Goodwin)), Steven Geray (as Otto, German NCO), Jud Taylor (as Pvt. Jacob R. Abramowitz (radioman) (as Judson Taylor)), Louis Mercier (as Brouise (French blacksmith)), Henry Rowland (as German with Binoculars), Holly Bane (as Soldier with binoculars (as Mike Ragan)), Ron McNeil (as Pfc. Jones) Diciembre de 1944, los rumores se suceden entre los fatigados soldados de la compañía Fragile Fox: se les va a enviar a la retaguardia. Pero estos rumores desaparecen cuando los ataques se acercan y los alemanes desencadenan por sorpresa un contraataque salvaje. La Batalla de Bulge está en marcha. IMDb Culturalia DIvXClásico | ||||
Enlace DXC: DIvXClásico Attack (Ataque) (1956) by Minyatur-DVDRip - (Spanish-English).avi Attack (7 Languages Subtitles) by Minyatur.zip Enlaces encontrados en eMule: attack.1956.robert.aldrich.xvid-vigilante.avi Subtítulos encontrados en eMule: Attack.(1956).DVDRip.-.ViGiLANTE.srt.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por ShooCat Subtítulos Descarga Directa English Hearing Impaired por ShooCat Subtítulos Descarga Directa English por TheWildBunch22 Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por ShooCat Subtítulos Descarga Directa Español por Marlowe62 (para el DVDRip de Vigilante) Subtítulos Descarga Directa Español por Muninn Subtítulos Descarga Directa Español por Muninn | English |
The Garment Jungle | Garment Center (USA) | 1957 | 88' | |
Lee J. Cobb (as Walter Mitchell), Kerwin Mathews (as Alan Mitchell), Gia Scala (as Theresa Renata), Richard Boone (as Artie Ravidge), Valerie French (as Lee Hackett), Robert Loggia (as Tulio Renata), Joseph Wiseman (as George Kovan), Harold J. Stone (as Tony), Adam Williams (as Ox), Wesley Addy (as Mr. Paul), Willis Bouchey (as Dave Bronson), Robert Ellenstein (as Fred Kenner), Celia Lovsky (as Tulio's mother), Suzanne Alexander (as Joanne), Dick Crockett (as Miller), Diane DeLaire (as High Fashion Model), Ellie Kent (as Stephanie), Jon Shepodd (as Alredi), Jud Taylor (as Latzo), Dale Van Sickel (as Helper) IMDb | ||||
No hay enlaces disponibles | English |
The Angry Hills | Traición En Atenas | 1959 | 105' | |
Robert Mitchum (as Mike Morrison), Stanley Baker (as Conrad Heisler), Elisabeth Müller (as Lisa Kyriakides (as Elisabeth Mueller)), Gia Scala (as Eleftheria), Theodore Bikel (as Dimitrios Tassos), Sebastian Cabot (as Chesney), Peter Illing (as Leonides), Leslie Phillips (as Ray Taylor), Donald Wolfit (as Dr. Stergion), Marius Goring (as Col. Elrick Oberg), Jocelyn Lane (as Maria Tassos (as Jackie Lane)), Kieron Moore (as Andreas), George Pastell (as Papa Panos), Patrick Jordan (as Bluey), Marita Constantinou (as Cleopatra) Un periodista americano afincado en Grecia durante la Segunda Guerra Mundial vende información al servicio de Inteligencia Británico. Los nazis le persiguen por Europa cuando descubren sus actividades. IMDb Culturalia | ||||
Enlaces encontrados en eMule: Robert Mitchum - The Angry Hills (1959).avi The Angry Hills (1959 - Robert Mitchum, Stanley Baker) @dap-jsTVcap@.avi | English |
"Adventures in Paradise" | 1959 | 60' | ||
Robert Aldrich (episode "The Black Pearl") (episode "Safari at Sea") Gardner McKay (as Capt. Adam Troy (1959-1962)), Weaver Levy (as Oliver Lee (1959-1961)), Linda Lawson (as Renee (1960-1961)), Henry Slate (as Bulldog Lovey (1960-1961)), James Holden (as Clay Baker (1960-1962)), George Tobias (as Trader Penrose (1959-1961)), Sondi Sodsai (as Sondi (1960-1961)), Lani Kai (as Kelly (1960-1962)), Guy Stockwell (as Chris Parker (1961-1962)), Marcel Hillaire (as Inspector Bouchard (1961-1962)) Adam Troy was an American Korean War veteran who stayed in the Pacific after the war. As captain of the schooner "Tiki III", Troy drifted from adventure to adventure while carrying passengers and cargo anywhere from Hong Kong to Pitcairn Island. His original partner was Chinese-American Oliver Lee, and he was assisted by first mates Clay Baker and later Chris Parker. IMDb | ||||
No hay enlaces disponibles | English |
Ten Seconds to Hell | The Phoenix | 1959 | 93' | |
Jack Palance (as Erik Koertner), Jeff Chandler (as Karl Wirtz), Martine Carol (as Margot Hofer), Robert Cornthwaite (as Franz Loeffler), Virginia Baker (as Frau Bauer), Richard Wattis (as Major Haven), Wesley Addy (as Wolfgang Sulke), Dave Willock (as Peter Tillig), James Goodwin (as Hans Globke (as Jimmy Goodwin)), Nancy Lee (as Ruth Sulke), Charles Nolte (as Doctor) At the end of the Second World War six German ex-soldiers return to Berlin and set up as a bomb disposal group. The pressure of the dangerous work starts to affect them, the more so as they have agreed to pool half their pay so that if only one survives he takes it all. Casualties and friction are inevitable, and having to handle British 1000lb bombs seems particularly bad news. IMDb | ||||
No hay enlaces disponibles | English |
The Last Sunset | El Último Atardecer | 1961 | 112' | |
Rock Hudson (as Dana Stribling), Kirk Douglas (as Brendan O'Malley), Dorothy Malone (as Belle Breckenridge), Joseph Cotten (as John Breckenridge), Carol Lynley (as Missy Breckenridge), Neville Brand (as Frank Hobbs), Regis Toomey (as Milton Wing), James Westmoreland (as Julesburg Kid (as Rad Fulton)), Adam Williams (as Calverton), Jack Elam (as Ed Hobbs), John Shay (as Bowman), José Frowe (as Man at Cock Fight), Margarito Luna (as Jose), José Torvay (as Rosario), Manuel Vergara 'Manver' (as Man at Cock Fight) Un pistolero huye del hombre que pretende cazarle. Aunque ambos saben que, inevitablemente, habrán de enfrentarse en duelo, cada uno de ellos intenta aprender de la experiencia del otro. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico El último atardecer (1961) (SATRip) XviD.MP3 (Español) por Marc27 para www.fdl.es.mn.avi | English |
Sodom and Gomorrah | Sodoma Y Gomorra | 1962 | 154' | |
Stewart Granger, Pier Angeli, Stanley Baker, Anouk Aimée, Rossana Podestà, Rik Battaglia, Giacomo Rossi-Stuart, Scilla Gabel, Daniele Vargas, Feodor Chaliapin Jr., Gabriele Tinti, Claudia Mori, Vittorio Artesi, Antonio De Teffè, Liana Del Balzo, Enzo Fiermonte, Giovanna Galletti, Alice Kessler, Ellen Kessler, Emilio Messina, Roberto Messina, Primo Moroni, Mimmo Palmara, Massimo Pietrobon, Aldo Silvani, Andrea Tagliabue, Mitsuko Takara, Francesco Tensi En Sodoma y Gomorra predomina la corrupción y la traición, mientras el pueblo hebreo vaga de unas tierras a otras buscando un lugar de pasto para poder asentarse y vivir en paz. Cuando llegan a la ciudad de Sodoma son recibidos por su soberana que les permite vivir en sus tierras a cambio de un dinero. Con Lot al frente de este pequeño pueblo, pronto las tierras darán su fruto. IMDb CulturaliaDIvXClásicoDIvXClásico | ||||
Enlace DXC: DIvXClásico Sodoma.y.Gomorra.(Robert.Aldrich,1962).DVDRip.Spanish.by_gelus.avi Banda Sonora: Miklos Rozsa - (1962) - Sodom And Gomorrah (-Lon-) Covers 192 Kbs.rar Enlace DXC: DIvXClásico Sodoma.y.Gomorra.(francoamapa-divxclasico).avi Enlaces encontrados en eMule: Sodoma y Gomorra.avi | Italian |
4 for Texas | Cuatro tíos de Texas | 1963 | 124' | |
Frank Sinatra (as Zack Thomas), Dean Martin (as Joe Jarrett), Anita Ekberg (as Elya Carlson), Ursula Andress (as Maxine Richter), Charles Bronson (as Matson), Victor Buono (as Harvey Burden (President, Galveston Savings & Trust)), Edric Connor (as Prince George (carriage driver)), Nick Dennis (as Angel), Richard Jaeckel (as Pete Mancini), Mike Mazurki (as Chad (Zack's bodyguard)), Wesley Addy (as Winthrop Trowbridge), Marjorie Bennett (as Miss Emmaline), Virginia Christine (as Elya Carlson's maid), Ellen Corby (as Widow), Jack Elam (as Dobie) Frank Sinatra plays a tough guy who hooks up with fellow rat packer Dean Martin to open a casino in this western. IMDbDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: 4 for Texas (1963) Cuatro Tios de Texas Dual (Eng-Spa) DVDRip by_gelus.avi Subtítulos 4.for.Texas.Subtitle.zip Enlaces encontrados en eMule: 4 For Texas - Frank Sinatra, Dean Martin, Charles Bronson - 1963 - Divx 4.1.2-97 Kbps).avi Cuatro Tios de Texas.avi Subtítulos encontrados en eMule: 4 for Texas (1963).Esp.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Tosi Subtítulos Descarga Directa English por Zitor Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Zitor | English |
Hush... Hush, Sweet Charlotte | Canción de Cuna para un Cadáver | 1964 | 133' | |
Bette Davis (as Charlotte Hollis), Olivia de Havilland (as Miriam Deering), Joseph Cotten (as Dr. Drew Bayliss), Agnes Moorehead (as Velma Cruther), Cecil Kellaway (as Harry Willis), Victor Buono (as Samuel Eugene ("Big Sam") Hollis), Mary Astor (as Mrs. Jewel Mayhew), Wesley Addy (as Sheriff Luke Standish), William Campbell (as Paul Marchand), Bruce Dern (as John Mayhew), Frank Ferguson (as Walter Blake, newspaper editor), George Kennedy (as Foreman), Dave Willock (as Taxi driver), Michel Petit (as Gang leader (as Michael Petit)), John Megna (as New boy) Charlotte Hollis, wealthy southern spinster, is shunned by her community for the grizzly murder some 40 years prior of her intended, John Mayhew. Even though her guilt in the matter was never proven, the townspeople liken her to a modern-day Lizzie Borden. The murders are similar in nature and the children even taunt her with cruel rhymes. For this reason she lives a life secluded from the mainstream of society. Her needs are cared for by her faithful servant, Velma. Now, progress in the guise of new highway construction threatens the Hollis plantation, her home and the family domicile since Civil War times. She refuses to leave when she is issued an eviction notice by the Sheriff and even takes pot shots at the highwaymen when they encroach upon her property line. Charlotte summons "Cousin Miriam" to fight the public battle to save her home. To her chagrin, Miriam has come with the intention of assisting with the packing -- not to save the mansion from the bulldozers. After Charlotte, Miriam is the sole heir to the Hollis estate. This is motive enough for Miriam to have Charlotte committed for her strange and reclusive behavior. But, is Charlotte insane? Doctor Drew seems to feel she may need some help across the threshold of insanity. IMDb DIvXClásicoDIvXClásicoDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: Hush... Hush, Sweet Charlotte (Canción De Cuna Para Un Cadáver) (1964) (DVDRip-XViD-AC3) (Dual ENG-ESP) - divxclasico.avi Subtítulos Subpack: Hush... Hush, Sweet Charlotte (Canción De Cuna Para Un Cadáver) (1964) - divxclasico_SUBPACK (ENG-ESP).zip Subtítulos SRT (ESP-ENG): Hush... Hush, Sweet Charlotte (Canción De Cuna Para Un Cadáver) (1964) - divxclasico_SubtÃtulos SRT (ENG-ESP).zip Subtítulos SRT (ESP-ENG) [TITLES]: Español / English Enlace DXC: DIvXClásico Película: Hush.Hush.Sweet.Charlotte.1964.DVDRip.XviD-TeamRPM.avi Subtítulos: Hush.Hush.Sweet.Charlotte.1964.DVDRip.XviD-TeamRPM.rar Audio Español sincronizado (Fuente VHS): Audio En Castellano sincronizado Canción De Cuna Para Un Cadáver 64k CBR.mp3 Enlace DXC: DIvXClásico Canción de cuna para un cadaver SATRip ny nordlingen avi Enlaces encontrados en eMule: Cancion de cuna para un cadaver, BETTE DAVIS Robert Aldrich 1964.avi Subtítulos Descarga Directa English: Subtítulos Descarga Directa English Hearing Imparied por ShooCat Subtítulos Descarga Directa English por Wittgenstein Subtítulos Descarga Directa English por marlowe62 Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Wittgenstein | English |
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Última edición por Coursodon el Dom 11 Jun, 2006 17:23, editado 5 veces en total.
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The Flight of the Phoenix | El Vuelo Del Fénix | 1965 | 142' | |
James Stewart (as Capt. Frank Towns), Richard Attenborough (as Lew Moran), Peter Finch (as Capt. Harris), Hardy Krüger (as Heinrich Dorfmann (as Hardy Kruger)), Ernest Borgnine (as E. 'Trucker' Cobb), Ian Bannen (as 'Ratbags' Crow), Ronald Fraser (as Sgt. Watson), Christian Marquand (as Dr. Renaud), Dan Duryea (as Standish), George Kennedy (as Mike Bellamy), Gabriele Tinti (as Gabriel), Alex Montoya (as Carlos), Peter Bravos (as Tasso), William Aldrich (as Bill), Barrie Chase (as Farida) Un aeroplano ha tenido que realizar un aterrizaje de emergencia en medio del desierto del Sahara debido a una tormenta de arena. El avión está averiado, dos pasajeros han muerto, no llevan provisiones, y tienen agua para sobrevivir unos once días. Los supervivientes unirán esfuerzos para reconstruir el avión. IMDb CulturaliaDIvXClásicoDIvXClásico | ||||
Enlace DXC: DIvXClásico El.vuelo.del.fenix.1965.Robert.Aldrich.(DVDrip.CVD).Spanish.by.alfon.mpg Enlace DXC: DIvXClásico El vuelo del fénix (1965)(dvdrip.dual.spa-eng)(divxclasico.com)por arteta.avi Subtítulos en English Subtítulos en Español Enlaces encontrados en eMule: James Stewart - Flight of The Phoenix (1965).avi Subtítulos Descarga Directa English: Subtítulos Descarga Directa English Hearing Impaired por ShooCat Subtítulos Descarga Directa English por ShooCat Subtítulos Descarga Directa English por Codres Subtítulos Descarga Directa English por Veverica Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Veverica Subtítulos Descarga Directa Español por ShooCat | English |
The Killing of Sister George | El Asesinato De La Hermana George | 1968 | 138' | |
Beryl Reid (as June 'George' Buckridge), Susannah York (as Alice 'Childie' McNaught), Coral Browne (as Mercy Croft), Ronald Fraser (as Leo Lockhart), Patricia Medina (as Betty Thaxter), Hugh Paddick (as Freddie), Cyril Delevanti (as Ted Baker), Sivi Aberg (as Diana), William Beckley (as Floor Manager), Elaine Church (as Marelen), Brendan Dillon (as Bert Turner), Mike Freeman (as Noel), Maggie Paige (as Maid), Jack Raine (as Deputy Commissioner), Dolly Taylor (as Tea Lady) June es una actriz que da vida a un curioso personaje, la hermana George, una alegre enfermera en un serial televisivo de la BBC. Su personaje es eliminado de la serie y su novia Childie tiene una aventura con un agresivo productor de televisión. Su vida empieza a desmoronarse poco a poco mientras es traicionada tanto en el plano personal como profesional. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: The Killing of Sister George (Robert Aldrich, 1968) DVDRip DivXClasico.com.avi Subtítulos: The Killing of Sister George Subpack English French and Spanish.rar The Killing of Sister George Spanish Subtitles.rar Subtítulos en Descarga Directa: Subtítulos Descarga Directa Enlaces encontrados en eMule: The Killing Of Sister George (1969).avi Subtítulos encontrados en eMule: The Killing of Sister George Spanish Subtitles.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Codres Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por BlueGardenia | English |
The Legend of Lylah Clare | La Leyenda de Lylah Clare | 1968 | 130' | |
Kim Novak (as Lylah Clare/Elsa Brinkmann), Peter Finch (as Lewis Zarken), Ernest Borgnine (as Barney Sheean), Milton Selzer (as Bart Langner), Rossella Falk (as Rossella), Gabriele Tinti (as Paolo), Valentina Cortese (as Countess Bozo Bedoni), Jean Carroll (as Becky Langner), Michael Murphy (as Mark Peter Sheean), Lee Meriwether (as Young girl), James Lanphier (as Legman #1), Robert Ellenstein (as Mike), Nick Dennis (as Nick), Dave Willock (as Cameraman), Coral Browne (as Molly Luther) An unknown actress is hired for a movie being made about Lylah Clare, a famous actress who died mysteriously. When shooting starts, she seems to become possessed by the spirit of the dead actress. IMDb DIvXClásico | ||||
Enlace DXC: DIvXClásico La leyenda de Lylah Clare-SatRip.avi | English |
Too Late the Hero | Comando en el mar de China , Suicide Run (USA) (TV title) | 1970 | 144' | |
Michael Caine (as Pvt. Tosh Hearne), Cliff Robertson (as Lt. (j.g.) Sam Lawson), Ian Bannen (as Pvt. Jock Thornton), Harry Andrews (as Col. Thompson), Ronald Fraser (as Pvt. Campbell), Denholm Elliott (as Capt. Hornsby), Lance Percival (as Cpl. McLean), Percy Herbert (as Sgt. Johnstone), Patrick Jordan (as Sergeant Major), Sam Kydd (as Colour-Sergeant), William Beckley (as Pvt. Currie), Martin Horsey (as Pvt. Griffiths), Harvey Jason (as Signalman Scott), Don Knight (as Pvt. Connolly), Roger Newman (as Pvt. Riddle) A WWII film set on a Pacific island. Japanese and allied forces occupy different parts of the island. When a group of British soldiers are sent on a mission behind enemy lines, things don't go exactly to plan. This film differs in that some of the 'heros' are very reluctant, but they come good when they are pursued by the Japanese who are determined to prevent them returning to base. IMDbDIvXClásico | ||||
Enlace DXC: DIvXClásico Película: Too.Late.the.Hero.1970.lordH.classic-links.net.CD1.avi Too.Late.the.Hero.1970.lordH.classic-links.net.CD2.avi Audio en Español: Too Late the Hero - Audio en Español.mp3 Enlace DXC: DIvXClásico Comando en el mar de China CD1 Comando en el mar de China Cd2 Enlace DXC: DIvXClásico Película: Too.Late.the.Hero.(1970).divx.lordH.CD1.avi Too.Late.the.Hero.(1970).divx.lordH.CD2.avi Subtítulos: Too.Late.the.Hero.(1970).divx.ENG.subs.zip Too.Late.the.Hero.(1970).divx.ESP.subs.zip Too.Late.the.Hero.(1970).divx.FR.subs.zip Enlaces encontrados en eMule: Belica.Comando en el mar de China.(Too late the hero).(Spanish).Divx5.2.1.avi Michael Caine - 1970 - Too Late The Hero - Cliff Robertson.avi Banda Sonora: Soundtrack - 1970 Too Late The Hero (128) Gerald Fried - OST BSO BOF - Mr. Yusseply.zip Subtítulos encontrados en eMule: Too.Late.the.Hero.(1970).divx.ESP.subs.zip Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Lord_Hevonen Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Lord_Hevonen | English |
The Grissom Gang | La Banda De Los Grissom | 1971 | 128' | |
Kim Darby (as Barbara Blandish), Scott Wilson (as Slim Grissom), Tony Musante (as Eddie Hagan), Robert Lansing (as Dave Fenner), Connie Stevens (as Anna Borg), Irene Dailey (as Gladys 'Ma' Grissom), Wesley Addy (as John P. Blandish), Joey Faye (as Woppy), Michael Baseleon (as Frankie Connor), Ralph Waite (as Mace), Hal Baylor (as Chief McLaine), Matt Clark (as Joe Bailey), Alvin Hammer (as Sam), Dots Johnson (as Johnny Hutchins (as Dotts Johnson)), Don Keefer (as Doc Grissom) Una joven de la alta sociedad es secuestrada por unos matones con el objeto de obtener un sustancioso rescate. IMDb CulturaliaDIvXClásico | ||||
Enlace DXC: DIvXClásico The Grissom Gang (Robert Aldrich, 1971) DVDRip DivXClasico.com.avi Película: The Grissom Gang Spanish Subtitles.rar Subtítulos: Descarga Directa Enlaces encontrados en eMule: The Grissom Gang R.Aldrich 1971.avi The Grissom Gang -(R.Aldrich)(dvd by VGE)(TOP).avi Subtítulos encontrados en eMule: The Grissom Gang Spanish Subtitles.rar Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por ShooCat Subtítulos Descarga Directa Español por BlueGardenia | English |
Ulzana’s Raid | La Venganza De Ulzana | 1972 | 105' | |
Burt Lancaster (as McIntosh), Bruce Davison (as Lt. Garnett DeBuin), Jorge Luke (as Ke-Ni-Tay (army scout)), Richard Jaeckel (as Sergeant), Joaquín Martínez (as Ulzana (as Joaquin Martinez)), Lloyd Bochner (as Capt. Charles Gates), Karl Swenson (as Willy Rukeyser (settler)), Douglass Watson (as Maj. Cartwright (CO, Ft. Lowell)), Dran Hamilton (as Mrs. Riordan), John Pearce (as Corporal), Gladys Holland (as Mrs. Rukeyser), Margaret Fairchild (as Mrs. Abbie Ginsford), Aimée Eccles (as McIntosh's Indian woman (as Aimee Ecclés)), Richard Bull (as Ginsford (settler)), Otto Reichow (as 'Dutch' Steegmeyer (Indian Agent, San Carlos Reservation)) Enfurecidos por el trato abusivo recibido por parte de los americanos, un grupo de Apaches escapa de la reserva y provocando muertes y destrucción a su paso. IMDb CulturaliaDIvXClásicoDIvXClásico | ||||
Enlace DXC: [/br]]DIvXClásico La.venganza.de.Ulzana.(1972).de.Robert.Aldrich.TVrip.divx.5.0.5..por.sync.avi Enlace DXC: DIvXClásico Película: La.Venganza.de.Ulzana(Ulzana's.Raid)(1972)(DVDrip.Dual).avi Subtítulos: La.Venganza.de.Ulzana(Ulzana's.Raid)(1972).srt Descarga Directa Enlaces encontrados en eMule: Ulzanas Raid 1972 Dvdrip Xvid-Ellroy.avi Ulzana's Raid.avi DVIX_WESTERN.-.La.Venganza.De.Ulzana(1972).avi La venganza de Ulzana (1972).avi La venganza de Ulzana(by Macaco & Cochinillo).mpg Robert Aldrich -- La venganza de Ulzana.AVI Subtítulos encontrados en eMule: Ulzanas.Raid.1972.DVDRip.XviD.Subpack-ellroy.rar 1972 - La Venganza de Ulzana.Ulzana's Raid.DVDrip.Dual.ESP.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por ShooCat | English |
Emperor of the North Pole | El Emperador del Norte | 1973 | 118' | |
Lee Marvin (as A no. 1), Ernest Borgnine (as Shack), Keith Carradine (as Cigaret), Charles Tyner (as Cracker), Malcolm Atterbury (as Hogger), Simon Oakland (as Policeman), Harry Caesar (as Coaly), Hal Baylor (as Yardman's helper), Matt Clark (as Yardlet), Elisha Cook Jr. (as Gray Cat (as Elisha Cook)), Joe Di Reda (as Dinger (as Joe di Reda)), Liam Dunn (as Smile), Diane Dye (as Girl in Water), Robert Foulk (as Conductor), James Goodwin (as Fakir) It is during the great depression in the US, and the land is full of people who are now homeless. Those people, commonly called "hobos", are truly hated by Shack (Borgnine), a sadistical railway conductor who swore that no hobo will ride his train for free. Well, no-one but "A" Number One (Lee Marvin), who is ready to put his life at stake to become a local legend - as the first person who survived the trip on Shack's notorious train. IMDbDIvXClásico | ||||
Enlace DXC: DIvXClásico El Emperador del Norte (DVDRip + Audio Sat) (by Jafiras).avi Enlaces encontrados en eMule: 1973 Emperor of the North Pole.mpg 1973 Emperor of the North Pole (El emperador del norte) - Robert Aldrich, Lee Marvin, Ernest Borgnine - (DVDrip) (XviD 640x352x25) (MP3 sat spanish).avi Emperor of the North Pole - Lee Marvin & Ernest Borgnine & Keith Caradine - 1973.avi Emperor Of The North Pole.avi Subtítulos encontrados en eMule: Emperor.Of.The.North.Pole.1973.srt Torrent encontrado en eMule: Emperor of the North Pole.avi.torrent | English |
The Longest Yard | El Rompehuesos | 1974 | 121' | |
Burt Reynolds (as Paul Crewe), Eddie Albert (as Warden Hazen), Ed Lauter (as Captain Knauer), Michael Conrad (as Nate Scarboro), James Hampton (as Caretaker (as Jim Hampton)), Harry Caesar (as Granville), John Steadman (as Pop), Charles Tyner (as Unger), Mike Henry (as Rassmeusen), Jim Nicholson (as Ice Man), Bernadette Peters (as Miss Toot, Warden's Secretary), Pervis Atkins (as Mawabe), Tony Cacciotti (as Rotka), Anitra Ford (as Melissa Gaines), Michael Fox (as Announcer) A football player-turned-convict organizes a team of inmates to play against a team of prison guards. His dilemma is that the warden asks him to throw the game in return for an early release, but he is also concerned about the inmates' lack of self-esteem. IMDbDIvXClásicoDIvXClásico | ||||
Enlace DXC: DIvXClásico El.Rompehuesos.(Burt.Reynolds,Robert.Aldrich,1974).DVD+Sat.by_gelus.avi Enlace DXC: DIvXClásico Película: El.rompehuesos.DVDrip.Dual.(ZonaRippers.para.Elitefreak.net).by.Cerni.avi Subtítulos: Elrompehuesossubs.rar Enlaces encontrados en eMule: The Longest Yard CD1 (1974).avi 1974 - The Longest Yard CD2.avi The Longest Yard DVD Rip Xvid 1974.avi Subtítulos encontrados en eMule: The.Longest.Yard.(1974).DVDRip.Xvid.AC3.ellroy.POR.srt Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por ShooCat Subtítulos Descarga Directa English por Cernickalo Subtítulos Descarga Directa Español: Subtítulos Descarga Directa Español por Cernickalo Subtítulos Descarga Directa Español por ShooCat | English |
Hustle | Destino Fatal | 1975 | 120' | |
Burt Reynolds (as Lieutenant Phil Gaines), Catherine Deneuve (as Nicole Britton), Ben Johnson (as Marty Hollinger), Paul Winfield (as Sergeant Louis Belgrave), Eileen Brennan (as Paula Hollinger), Eddie Albert (as Leo Sellers), Ernest Borgnine (as Santuro), Jack Carter (as Herbie Dalitz), Sharon Kelly (as Gloria Hollinger), James Hampton (as Bus Driver), David Spielberg (as Bellamy), Catherine Bach (as Peggy Summers), Chuck Hayward (as Morgue Attendant), David Estridge (as Albino), Peter Brandon (as Minister) Phil Gaine, un policía de carácter rudo y algo cínico, se encuentra inmerso en la investigación del oscuro caso de suicidio de una joven actriz de cine porno. Mientras, su vida personal está marcada por los problemas que le ocasiona su relación con una prostituta de lujo. IMDb Culturalia | ||||
Subtítulos Descarga Directa English: Subtítulos Descarga Directa English por Ellroy | English |
The Choirboys | 1977 | 119' | ||
Charles Durning (as Spermwhale Whalen), Louis Gossett Jr. (as Calvin Motts), Perry King (as Baxter Slate), Clyde Kusatsu (as Francis Tanaguchi), Stephen Macht (as Spencer Van Moot), Tim McIntire (as Roscoe Rules), Randy Quaid (as Dean Proust), Chuck Sacci (as 'Father' Sartino), Don Stroud (as Sam Lyles), James Woods (as Harold Bloomguard), Burt Young (as Scuzzi), Susan Batson (as Sabrina), Cheryl Smith (as Tammy), Claire Brennen (as Carolina Moon), Gene Chronopoulos (as Card player) A group of Los Angeles cops decide to take off some of the pressures of their jobs by engaging in various forms of after-hours debauchery. IMDb | ||||
No hay enlaces disponibles | English |
http://usuarios.lycos.es/gelusftp/alertamisiles.jpg/ | Twilight's Last Gleaming | Alerta, Misiles | 1977 | 146' |
Burt Lancaster (as Gen. Lawrence Dell), Roscoe Lee Browne (as James Forrest), Joseph Cotten (as Arthur Renfrew), Melvyn Douglas (as Zachariah Guthrie), Charles Durning (as President David Stevens), Richard Jaeckel (as Towne), William Marshall (as William Klinger), Gerald S. O'Loughlin (as O'Rourke), Richard Widmark (as Gen. Martin MacKenzie), Paul Winfield (as Willis Powell), Burt Young (as Augie Garvas), Charles Aidman (as Bernstein), Leif Erickson (as Ralph Whittaker), Charles McGraw (as Gen. Crane), Morgan Paull (as Lt. Cannellis) A renegade USAF general, Lawrence Dell, escapes from a military prison and takes over an ICBM silo near Montana and threatens to provoke World War 3 unless the President reveals details of a secret meeting held just after the start of the Vietnam War between Dell and the then President's most trusted advisors. IMDb DIvXClásico | ||||
Enlace DXC: DIvXClásico Alesrta misiles DvdRip by Gelus | English |
The Frisco Kid | No Knife | 1979 | 122' | |
Gene Wilder (as Avram Belinski), Harrison Ford (as Tommy Lillard), Ramon Bieri (as Mr. Jones), Val Bisoglio (as Chief Gray Cloud), George DiCenzo (as Darryl Diggs (as George Ralph DiCenzo)), Leo Fuchs (as Chief rabbi), Penny Peyser (as Rosalie Bender), William Smith (as Matt Diggs), Jack Somack (as Samuel Bender), Beege Barkette (as Sarah Mindl Bender), Shay Duffin (as O'Leary), Walter Janovitz (as Old Amish man (as Walter Janowitz)), Joe Kapp (as Monterano), Clyde Kusatsu (as Mr. Ping (railroad work crew)), Clifford A. Pellow (as Mr. Daniels (as Cliff Pellow)) A rabbi (Wilder) from Poland goes to America to lead a Jewish community. When he arrives in America he is highjacked and has to work his way across the country. On the way he meets up with a bank robber (Ford) and they form a friendship, have many (mis)adventures including being captured by Indians. IMDb Culturalia | ||||
Enlaces encontrados en eMule: the frisco kid.avi | English |
...All the Marbles | Chicas con Gancho | 1981 | 113' | |
Peter Falk (as Harry Sears), Vicki Frederick (as Iris), Laurene Landon (as Molly), Burt Young (as Eddie Cisco), Tracy Reed (as Diane, Toledo Tiger), Ursaline Bryant (as June, Toledo Tiger), Claudette Nevins (as Solly, Woman Promoter), Richard Jaeckel (as Bill Dudley (Reno referee)), John Hancock (as Big John' Stanley, TTs Promoter), Lenny Montana (as Jerome, Eddie's Bodyguard), Charlie Dell (as Merle LeFevre, Open-air Fair Promoter), Chick Hearn (as Himself - TV Reporter), Cliff 'Fatty' Emmich (as Obese Promoter), Clyde Kusatsu (as Clyde Yamashito, Japanese Promoter), Joe Greene (as Himself - Football Player) Harry manages The California Dolls, a female wrestling tag team endlessly touring America. He is also romantically involved with one of them. Their fortunes seem on the slide (particularly when Harry accepts an engagement involving mud wrestling!) but then the big grudge match beckons. IMDb | ||||
No hay enlaces disponibles | English |
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Última edición por Coursodon el Dom 11 Jun, 2006 17:25, editado 5 veces en total.
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Grande Aldrich, grande Coursodon .
Te pongo un enlace de El emperador del norte, posteado por Jafiras.
Saludos.
Te pongo un enlace de El emperador del norte, posteado por Jafiras.
Saludos.
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- Vigorito
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No había textos en castellano para la introduccion a la filmo del Aldrich?
Bueno pues eso que voy a criticar un poquito, esta bien y te lo agradezco por la recopilación de sus elinks! pero que todo la introduccion en inglés es una lástima
para incultos como yo!!
Un Salu2
Bueno pues eso que voy a criticar un poquito, esta bien y te lo agradezco por la recopilación de sus elinks! pero que todo la introduccion en inglés es una lástima
para incultos como yo!!
Un Salu2
No te dejes
Arriba los pobres de Honduras
Arriba los pobres de Honduras
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No los encontré Solpo. Sí que había reseñas críticas pero ningún estudio o introducción interesante en castellano. Yo tengo libros sobre Aldrich pero no tengo escáner y soy muy vago para copiar un tocho de introducción.
La próxima filmo que haga prometo poner la intro en la lengua de Cervantes.
La próxima filmo que haga prometo poner la intro en la lengua de Cervantes.
It makes no difference what men think about war, said the Judge. War endures... War was always here. Before man was, War waited...
Blood Meridian - Cormac McCarthy.
Blood Meridian - Cormac McCarthy.
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Filmografía actualizada con el enlace de thefunhouse que podéis ver aquí en este hilo
It makes no difference what men think about war, said the Judge. War endures... War was always here. Before man was, War waited...
Blood Meridian - Cormac McCarthy.
Blood Meridian - Cormac McCarthy.
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Magnifica filmo A mi me sorprendio gratamente "The Killing of Sister George" por su tono intimista, a ratos parecia de Wyler.
SolPolito el problema es que la mayor parte de la informacion de calidad que encuentras por la red esta en ingles. Traducir todo el material que encuentras por lo menos duplica o triplica el tiempo que te lleva hacer una introduccion, por breve que sea. Personalmente siempre lo traduzco porque se que poca gente se lo va a leer si esta en ingles. Bueno, y en castellano tampoco creo que lo lean demasiados
Yo agradezco mucho las filmos con introduccion aunque sean en swahili.
SolPolito el problema es que la mayor parte de la informacion de calidad que encuentras por la red esta en ingles. Traducir todo el material que encuentras por lo menos duplica o triplica el tiempo que te lleva hacer una introduccion, por breve que sea. Personalmente siempre lo traduzco porque se que poca gente se lo va a leer si esta en ingles. Bueno, y en castellano tampoco creo que lo lean demasiados
Yo agradezco mucho las filmos con introduccion aunque sean en swahili.
"In Europe, film making is perceived as an art form with marginal business possibilities, and in the US, film making is a business with marginal artistic possibilities."