d. Irving Reis & Nicholas Ray
c. USA
y. 1949
description:
"The saga of the Hatfield-and-McCoy feud is romanticized in Samuel Goldwyn's Roseanna McCoy. Newcomer Joan Evans stars as the title character, whose elopement with Johnse Hatfield (Farley Granger) serves to further fuel the flames of the deadly mountain feud. The opposing patriarches, Devil Anse Hatfield and Old Randall McCoy, are vividly realized by Charles Bickford and Raymond Massey. In West Virginia and Kentucky, the debate still rages over what started the hostilities, but there's no question that the end result was tragedy for all concerned. In Goldwyn's version, the feud comes to a halt because Roseanna and Johnse demand it; would that real life were this simple and clear-cut. Based on a novel by Alberta Hannum, Roseanna McCoy was released through the distribution channels of RKO Radio." (AMG)
IMDB... 5.8 (49)
_AMG... 2.5 / 5.0
size: 760MB
qlty: ?
subs: n/a
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Roseanna McCoy
Hot Blood
d. Nicholas Ray
c. USA
y. 1956
description:
"If Hot Blood is remembered at all today, it is for its ludicrous advertising blurb "Jane Russell shakes her tambourines and drives Cornel Wilde!" Set in the gypsy community of contemporary Los Angeles, the film stars Wilde as aspiring dancer Stephen Torino, who is tricked by his brother Marco Luther Adler into an arranged marriage with tempestuous Annie Caldash Jane Russell. Annie is willing to give the union a go, but Torino wants none of it. Several risque complications and lively musical numbers later, Torino changes his mind. Nicholas Ray imbues Hot Blood with the same erotic/neurotic energy he brought to such earlier cult favorites as Johnny Guitar and Rebel without a Cause, but the magic just isn't there this time." (AMG)
IMDB... 5.6 (67)
_AMG... 1.5 / 5.0
size: 1530MB
qlty: DVD
subs: n/a
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We Can't Go Home Again
d. Nicholas Ray
c. USA
y. 1976
description:
"This is a mind-boggling film made with his students at SUNY Binghamton, a film which challenges most cinematic conventions of narrative (and technique) without coming off as merely "an experiment". The final "shooting" of the film alone is worthy of an essay: instead of optically printing and collaging the material, which was shot on various formats (35mm, 16mm, video), Ray and his dedicated crew actually rented a soundstage, set up a series of different projectors, and literally _performed_ the film live on a screen surrounded by an intermittently changing photographic "frame". The result completely prefigures the emergence of "film performance" artists in the decades to follow and surely makes We Can't Go Home Again the only feature film by a major director to be constructed in such a fashion." (IMDB Comment)
IMDB... 5.7 (30)
_AMG... n/a
size: 700MB
qlty: VHS
subs: n/a
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