Titanic 1953 [Adventure Drama][1080p HD] Clifton Webb, Barbara Stanwyck & Robert Wagner

Stuck in an unloving marriage, rich socialite Julia Sturges (Barbara Stanwyck) boards the Titanic with her two young children with the intent of divorcing her husband, Richard (Clifton Webb), when she arrives in the States. At the last minute, Richard discovers her plan and manages to get on board the ship in an attempt to convince her to stay with him. Their marital problems take a backseat, however, when the Titanic collides with an iceberg and begins its descent into history.

Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley (1965), wherein she played Victoria, and from the hit drama The Colbys (1985). But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years.

Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York, to working class parents Catherine Ann (McPhee) and Byron E. Stevens. Her father, from Massachusetts, had English ancestry, and her Canadian mother, from Nova Scotia, was of Scottish and Irish descent. Stanwyck went to work at the local telephone company for fourteen dollars a week, but she had the urge (a dream–that was all it was) somehow to enter show business. When not working, she pounded the pavement in search of dancing jobs. The persistence paid off. Barbara was hired as a chorus girl for the princely sum of $40 a week, much better than the wages she was getting from the phone company. She was seventeen, and was going to make the most of the opportunity that had been given her.

In 1928 Barbara moved to Hollywood, where she was to start one of the most lucrative careers filmdom had ever seen. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden (1932) and Stella Dallas (1937), to thrillers, such as Double Indemnity (1944), one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night (1940) and The Lady Eve (1941). Another genre she excelled in was westerns, Union Pacific (1939) being one of her first and TV’s The Big Valley (1965) (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series The Thorn Birds (1983), which did much to keep her in the eye of the public. She turned in an outstanding performance as Mary Carson.

Barbara was considered a gem to work with for her serious but easygoing attitude on the set. She worked hard at being an actress, and she never allowed her star quality to go to her head. She was nominated for four Academy Awards, though she never won. She turned in magnificent performances for all the roles she was nominated for, but the “powers that be” always awarded the Oscar to someone else. However, in 1982 she was awarded an honorary Academy Award for “superlative creativity and unique contribution to the art of screen acting.” Sadly, Barbara died on January 20, 1990, leaving 93 movies and a host of TV appearances as her legacy to us.

– IMDb Mini Biography By: Denny Jackson

Trivia

During the boarding of the lifeboats, Norman changes seats with a woman who arrives at the last moment when the boat was completely full. This was inspired by the action of a Mexican passenger in first class named Manuel Uruchurtu, who did the same thing to a woman from second class who was refused a seat on the lifeboat. After he gave up his seat to her, he asked her to travel to Mexico, if she survived, and tell his wife what happened. His body was never found.

The filming of the disaster had a powerful effect on Barbara Stanwyck, who recalled: “The night we were making the scene of the dying ship in the outdoor tank at Twentieth, it was bitter cold. I was 47 feet up in the air in a lifeboat swinging on the davits. The water below was agitated into a heavy rolling mass and it was thick with other lifeboats full of women and children. I looked down and thought: If one of these ropes snaps now, it’s goodbye for you. Then I looked up at the faces lined along the rail – those left behind to die with the ship. I thought of the men and women who had been through this thing in our time. We were re-creating an actual tragedy and I burst into tears. I shook with great racking sobs and couldn’t stop.

To ensure authenticity, the producers recruited a former captain of the Queen Elizabeth as a technical consultant, and no background music was played during the feature film-the only music heard was that of the musicians aboard the ship.

The character of Maude Young, portrayed in this motion picture by Thelma Ritter, was obviously based upon Mrs. J.J. “Unsinkable Molly” Brown of Denver, Colorado. Even though the actual names of some of the other passengers were used in the film, Mrs. Brown’s was not. It has been suggested that there was some dispute between 20th Century Fox and the Brown estate over the use of Molly Brown’s character. Therefore, Molly Brown of the Denver, Colorado gold silver mining fortune became, for this motion picture, Maude Young of Montana lead mining.

Opening credits prologue: All navigational details of this film — conversations, incidents and general data — are taken verbatim from the published reports of inquiries held in 1912 by the Congress of the United States and the British Board of Trade.

Some of the original Titanic survivors were invited to a tear-filled special screening of the film in New York.

Many of the sets (including the ship model) were reused for several other films after this such as Dangerous Crossing (1953) and in particular the dining room, cabins, grand staircase, lounge, radio room, boat deck, promenade deck and the deck chairs. Gentlemen Prefer Blondes (1953) used the ship model (remodified), the dining room walls, the lounge, the promenade deck, and the deck chairs again. A Blueprint for Murder (1953) the ship model (remodified), the dining room, promenade deck and deck chairs were all reused again. Then finally in Woman’s World (1954), which also starred Clifton Webb only the dining room walls were used. The ship model is displayed at the Marine Museum of Fall River in Fall River, Massachusetts.

The Illusionist – Full Movie

Set in early 1900s Vienna, illusionist extraordinaire Eisenheim (Edward Norton, “American History X”) falls for an aristocrat (Jessica Biel, “Total Recall”) well above his social standing. The master magician employs his powers to win her love and his daring scheme creates tumult within the monarchy and ignites the suspicion of Chief Inspector Uhl (Paul Giamatti, “Sideways”).

It is based loosely on Steven Millhauser’s short story “Eisenheim the Illusionist“. The film tells the story of Eisenheim, a magician in turn-of-the-century Vienna, who reunites with his childhood love, a woman far above his social standing. The film also depicts a fictionalized version of the Mayerling incident.

In 1900s Vienna, mesmeric entertainer Eisenheim’s magical abilities are wowing the crowds, with an act that ranges from mere tricks to an apparent capacity to raise the dead. However, he has also long been in love with Duchess Sophie von Teschen, which puts him in dangerous competition with the violent, scheming Crown Prince Leopold, who jumps at the opportunity to have the magician arrested grounds of necromancy.

Millhauser was born in New York City, grew up in Connecticut, and earned a B.A. from Columbia University in 1965. He then pursued a doctorate in English at Brown University. He never completed his dissertation but wrote parts of Edwin Mullhouse and From the Realm of Morpheus in two separate stays at Brown. Between times at the university, he wrote Portrait of a Romantic at his parents’ house in Connecticut. His story “The Invention of Robert Herendeen” (in The Barnum Museum) features a failed student who has moved back in with his parents; the story is loosely based on this period of Millhauser’s life.[1]

Until the Pulitzer Prize, Millhauser was best known for his 1972 debut novel, Edwin Mullhouse. This novel, about a precocious writer whose career ends abruptly with his death at age eleven, features the fictional Jeffrey Cartwright playing Boswell to Edwin’s JohnsonEdwin Mullhouse brought critical acclaim, and Millhauser followed with a second novel, Portrait of a Romantic, in 1977, and his first collection of short stories, In The Penny Arcade, in 1986.

Possibly the most well-known of his short stories is “Eisenheim the Illusionist” (published in “The Barnum Museum”), based on a pseudo-mythical tale of a magician who stunned audiences in Vienna in the latter part of the 19th century. It was made into the film, The Illusionist (2006).[2]

Millhauser’s stories often treat fantasy themes in a manner reminiscent of Poe or Borges, with a distinctively American voice. As critic Russell Potter has noted, “in (Millhauser’s stories), mechanical cowboys at penny arcades come to life; curious amusement parks, museums, or catacombs beckon with secret passageways and walking automata; dreamers dream and children fly out their windows at night on magic carpets.”[3]

Millhauser’s collections of stories continued with The Barnum Museum (1990), Little Kingdoms (1993), and The Knife Thrower and Other Stories (1998). The unexpected success of Martin Dressler in 1997 brought Millhauser increased attention. Dangerous Laughter: Thirteen Stories made the New York Times Book Review list of “10 Best Books of 2008” .[4]

https://en.wikipedia.org/wiki/Steven_Millhauser

https://en.m.wikipedia.org/wiki/The_Illusionist_(2006_film)

Satori & The Band From Space live @ Fort Louvois for Cercle

BiographyWhat is Satori, you say? Music created by this artist, is exactly what his name represents-

— Enlightenment and Energy.

We are born in a chaotic age, all looking for our own space.
A space that exists beyond ideas of what’s right and what’s wrong.
A space where we can surrender, and find ourselves. Satori helps us find our way.

Satori is inspired to capture electronic world music, where he combines endless blends of seductive trance and mind-altering earthy tones. It is not defined by any-one genre.

Satori is here to satisfy any meditative music-lover by provoking a spiritual journey through his infinite sound-garden. Listen as you take on new dimensions of his musical
world, where movement, dreaming and creativity are endless. Let the sound live in your heart, harvesting every last memory of dance and rhythm. Satori’s sound is more than just a switch on a soundboard; he is the man behind the instrument, creating melodies from the piano, kora, kalimba, and guitar in combination with a deeper form of electronic music.

Whenever you’re ready, Satori will meet you there, to the place one can only dream of.

Current LocationNijmegen, Netherlands

Booking Agentpete@wearee.nl

Satori and The Band From Space playing live in the magnificent Fort Louvois for Cercle. Subscribe our channel for more videos: http://bit.ly/2BINQUh Subscribe our Spotify playlist: Cercle.lnk.to/Spotifyplaylist

https://www.facebook.com/pg/satoriofficialpage/about/?ref=page_internal

Noir Quotes – In a Lonely Place (1950)

Noir Quotes – In a Lonely Place (1950) Dixon Steele (Bogart): I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.

Humphrey Bogart & Gloria Grahame. Selected to the US National Film Registry. IMDB: http://www.imdb.com/title/tt0042593/ HQ Picture: http://img829.imageshack.us/img829/89…

In a Lonely Place Analysis

“In a Lonely Place” (1950) film analysis. Spoilers.

Background

Brub (Frank Lovejoy) demonstrates on Sylvia a possible murder method

When Edmund H. North adapted the story, he stuck close to the original source and John Derek was considered for the role of Dix because in the novel the character was much younger. North’s treatment was not used. Andrew Solt developed the screenplay with regular input from producer Robert Lord and director Nicholas Ray, and the end result is far different from the source novel. Solt claimed that Bogart loved the script so much that he wanted to make it without revisions – Solt maintains that the final cut is very close to his script – but further research shows that Ray made regular rewrites, some added on the day of shooting. In fact, only four pages of the 140-page script had no revisions. The film was produced by Bogart’s Santana Productions company, whose first film was Knock on Any Door (1949), which was directed by Ray and starred Bogart and Derek in the leading roles.

Louise Brooks wrote in her essay “Humphrey and Bogey” that she felt it was the role of Dixon Steele in this movie that came closest to the real Bogart she knew. “Before inertia set in, he played one fascinatingly complex character, craftily directed by Nicholas Ray, in a film whose title perfectly defined Humphrey’s own isolation among people. In a Lonely Place gave him a role that he could play with complexity because the character’s pride in his art, his selfishness, his drunkenness, his lack of energy stabbed with lightning strokes of violence, were shared equally by the real Bogart.”[7] Apparently, on one voyage in their yacht Santana, Bogart showed an inexplicable burst of rage that frightened his wife Lauren Bacall.

The original ending had Dix strangling Laurel to death in the heat of their argument. Sgt. Nicolai comes to tell Dix that he has been cleared of Mildred’s murder but arrests him for killing Laurel. Dix tells Brub that he is finally finished with his screenplay; the final shot was to be of a page in the typewriter which has the significant lines Dix said to Laurel in the car (which he admitted to not knowing where to put) “I was born when she kissed me, I died when she left me, I lived a few weeks while she loved me”. This scene was filmed halfway through the shooting schedule, but Ray hated the ending he had helped write. Ray later said, “I just couldn’t believe the ending that Bundy (screenwriter Andrew Solt) and I had written. I shot it because it was my obligation to do it. Then I kicked everybody off stage except Bogart, Art Smith and Gloria. And we improvised the ending as it is now. In the original ending we had ribbons so it was all tied up into a very neat package, with Lovejoy coming in and arresting him as he was writing the last lines, having killed Gloria. Huh! And I thought, shit, I can’t do it, I just can’t do it! Romances don’t have to end that way. Marriages don’t have to end that way, they don’t have to end in violence. Let the audience make up its own mind what’s going to happen to Bogie when he goes outside the apartment.”[8]

Bacall and Ginger Rogers were considered for the role of Laurel Gray. Bacall was a natural choice given her off-screen marriage to Bogart and their box-office appeal, but Warner Bros. refused to loan her out, a move often thought to be in reaction to Bogart having set up his own independent production company, the type of which Warner Bros. were afraid would jeopardize the future of the major studios. Rogers was the producers’ first choice but Ray believed that his wife Gloria Grahame was right for the part. Even though their marriage was troubled, he insisted that she be cast. Her performance today is unanimously considered to be among her finest.

Grahame and Ray’s marriage was starting to come apart during filming. Grahame was forced to sign a contract stipulating that “my husband [Ray] shall be entitled to direct, control, advise, instruct and even command my actions during the hours from 9 AM to 6 PM, every day except Sunday … I acknowledge that in every conceivable situation his will and judgment shall be considered superior to mine and shall prevail.” Grahame was also forbidden to “nag, cajole, tease or in any other feminine fashion seek to distract or influence him.” The two did separate during filming. Afraid that one of them would be replaced, Ray took to sleeping in a dressing room, lying and saying that he needed to work on the script. Grahame played along with the charade and nobody knew that they had separated. Though there was a brief reconciliation, the couple divorced in 1952, when Ray found Grahame in bed with his thirteen-year-old son.[9][10]

The film was one of two Nicholas Ray films to be scored by avant garde classical composer George Antheil (1900–1959). The production began on October 25, 1949 and ended on December 1, 1949. Wiki.

In A Lonely Place (1950) – Ending Scene (3/3)

When he gets home, Dix checks up on Laurel. He finds she is an aspiring actress with only a few low-budget films to her credit. They begin to fall in love and, with Laurel assisting him, Dix finds new energy and goes back to work with enthusiasm, much to his agent’s delight.

Dix remains notoriously erratic, however; sometimes he behaves strangely. He says things that make his agent Mel and Brub’s wife Sylvia (Jeff Donnell) wonder if he did kill the girl. Lochner sows seeds of doubt in Laurel’s mind, pointing out Dix’s long record of violent behavior. When he learns about this, and that Laurel has not told him of her meeting with Lochner, Dix becomes furious and irrational. With her a terrified passenger, he drives at high speed until they sideswipe another car. Nobody is hurt in the collision, but when the other driver accosts him, Dix beats him unconscious and is about to strike him with a large rock when Laurel stops him.

Laurel gets to the point where she cannot sleep without taking pills. Her distrust and fear of Dix are becoming too much for her. When he asks her to marry him, she accepts, but only because she is too scared of what he might do if she’d refused. She secretly makes a plane reservation and tells Mel she is leaving because she cannot take it anymore. Dix finds out and becomes violent, almost strangling her before he regains control of himself. Just then the phone rings. It is Brub with good news: Mildred’s boyfriend (named Henry Kesler, the same as the film’s associate producer) has confessed to her murder. Tragically, it is too late to salvage Dix and Laurel’s relationship.

Cast[edit]

In A Lonely Place (1950) – Car Scene (2/3)

Dixon “Dix” Steele (Humphrey Bogart) is a down-on-his-luck Hollywood screenwriter who has not had a hit, “since before the war.” While driving to meet his agent, Mel Lippman (Art Smith), at a nightclub, Dix’s explosive temper is revealed when, at a stoplight, he engages with another motorist in a confrontation that almost becomes violent.

At the nightclub, Mel cajoles him to adapt a book for a movie. The hat-check girl, Mildred Atkinson (Martha Stewart), is engrossed in reading the copy meant for Dix; since she only has a few pages left to go, she asks to finish before passing it on to Dix. Dix has a second violent outburst when a young director bad-mouths Dix’s friend Charlie (Robert Warwick), a washed-up actor.

Dix claims to be too tired to read the novel, so he asks Mildred to go home with him, ostensibly to explain the plot. As they enter the courtyard of his apartment, they pass a new tenant, Laurel Gray (Gloria Grahame); Dix and Laurel are clearly intrigued by each other. As soon as Mildred is convinced that Dix is not trying to seduce her, she describes the story, in the process confirming what he had suspected—the book is trash. He gives her cab fare to get home.

The next morning, he is awakened by an old army buddy who is now a police detective, Brub Nicolai (Frank Lovejoy), who takes him downtown to be questioned by Captain Lochner (Carl Benton Reid). The coat check girl Mildred was murdered during the night and Dix is a suspect. Laurel is brought to the police station, she confirms seeing the girl leave Dix’s apartment alone and unharmed but Lochner is still deeply suspicious. Although Dix shows no overt sympathy for the dead victim, on the way home from the police station, he anonymously sends her two dozen white roses. https://en.wikipedia.org/wiki/In_a_Lonely_Place