Friends From College
Frances is a tale of two actresses:
"The Frances Farmer Incident should never have happened at all. This actress was no threat against law and order or the public safety. Something that began as merely a traffic reprimand grew into a case of personal violence, a serious charge, and a jail sentence. And all because a sensitive high-strung girl was on the verge of a nervous breakdown. Miss Farmer, who is no prodigy of emotional stability or sound business management. needed a lawyer one unhappy night last winter. A helping hand might have extradited her immediately from nothing more than a traffic violation. The terrible truth is that she stood alone, and lost"
Charmed is a TV show based on the adventures of three sisters, The Charmed Ones. There were four main women from a sex appeal point of view, Shannen Doherty, Holly Marie Combs, Alyssa Milano and Rose McGowan. Kaley Cuoco spiced things up in the eighth and final season. There was no nudity but plenty that was very easy on the eye. These caps are from the third season and were made in 2001.
Episode 9 Coyote Piper (2001)
Holly Marie Combs
Episode 10 We All Scream for Ice Cream (2001)
Episode 11 Blinded by the Whitelighter (2001)
Episode 12 Wrestling with Demons (2001)
Episode 13 Bride and Gloom (2001)
Episode 14 The Good, the Bad and the Cursed (2001)
Episode 15 Just Harried (2001)
Holly Marie Combs
Some jugs not identified
Wagner and Karolina Lodyga in Kommissarin Heller:
Hitzschlag (2016) in 720p
Pascual in Bromance (2016) in 720p
Wolf in Am Kap der Liebe: Unter der Sonne Uruguays
(2009) in 720p
Griffith in Stormy Monday (1988) in 1080hd
Hershey in The Stunt Man (1980) in 1080hd
It seems strange to look on the list of nominees for best Director in 1980: Martin Scorsese, Robert Redford, David Lynch, Roman Polanski and ..... Richard Rush?
Who the hell is Richard Rush?
Rush wrote and directed The Stunt Man, and he was nominated for a screenplay Oscar as well as for the prestigious Best Director statuette. In fact his film was nominated for three significant Oscars in 1980, but it has since faded into oblivion. And so has he. After his struggle to bring this film to fruition, and after all the awards it earned, he couldn't seem to muster another project. His next film came 14 years later. It was the notorious Color of Night, the film that is best-remembered for Bruce Willis's penis. Leonard Maltin awarded NO stars to Color of Night, although he had given The Stuntman a perfect 4/4 score. How's that for a fall from grace? In my opinion, Color of Night, while not without its faults, is a watchable erotic thriller from the Basic Instinct school of film. On the other hand, most other people agree with Maltin, and the IMDb score is only 5.1.
Back to the topic ...
The Stunt Man is one of the few films to use surrealism effectively.
Our hero is an escaped felon whose flight from the police is interrupted by an inexplicable encounter on a bridge with a seemingly insane man driving a classic Duesenberg. He causes the man to drive off the bridge. A helicopter appears, then disappears. WTF?
The explanation is that he stumbled upon some people filming a movie and accidentally killed the hero's stunt double. The director, seen in the chopper, figures out that the kid is the escaped felon, and offers him an escape. Mr. Director (Peter O'Toole) sees nothing to gain by turning the runaway in to the police. He has a film to do, and he's behind schedule. Since the runaway is the same height and weight as the film's star, he's offered a job as the new stunt double. It works like the Santa Clause - if you kill the stunt double, you have to take his place. Actually, the director simply tells the police that the stunt double didn't die, and that the felon is the same guy. (By the way, the dead stunt man is played by the felon's real-life brother, so there is a resemblance.)
So why did the director harbor an escaped felon? Well, on the surface it's just because he can't afford to stop filming, and he knows the kid can't turn him down. But the kid thinks it must be something else. He gradually becomes obsessed with the notion that the director, in his quest for realism, intends to kill him during a stunt, and film it. His fear becomes heightened when he is put through dangerous stunt after stunt and we, seeing through his POV, think that each is the moment of his death - only to see the camera pull back in long distance to reveal that the stunt is safe, and the director is congratulating him on another job well done.
As we watch the movie within the movie, we never really know what is happening for "real" in our movie and what is a stunt in the inside movie. In pulling off this succession of false deaths, The Stunt Man does for movie magic what Penn and Teller do for stage magic - showing that's its even more fun if you know how it's done.
The dramatic tension comes from the ever-escalating degree of paranoia, because our hero becomes more and more obsessed with the idea that he is to be murdered, to the point where he plans to do the stunts wrong. Therefore, the film alternates between three levels of reality - the distortion of the hero's paranoia, the reality within the war film O'Toole is filming, and genuine reality. As audience members, we often lose track of what is real. Are the German soldiers, extras being played by cops, coming over to him to arrest him, to stab him as in the WW1 script, or to congratulate him on a great stunt?
I think you will find this movie very similar in many ways to that Michael Douglas movie, "The Game". If you liked that one, you'll probably like this as well. I don't normally like that kind of film, but this one pulls it off with panache.
The genius of the movie, besides the charmingly over-the-top concept, resides in an equally charming over-the-top characterization from O'Toole. (Who else would you hire to play "charmingly over-the-top"?). There is some very witty dialogue, or rather monologues from the O'Toole character, on the nature of the movies.
The DVD also includes a full-length movie made in 2000 about the making of this unique film. That film is also rated quite high, and is also sold as a stand-alone. (It was shown at the 20th anniversary of The Stunt Man)
A must-see, if only because there is nothing else quite like it.