Tag: Barbara Bel Geddes

Robert Mitchum in BLOOD ON THE MOON Available on Blu-ray From Warner Archive

Robert Mitchum in BLOOD ON THE MOON is available on Blu-ray From Warner Archive. Ordering info can be found HERE

Robert Mitchum and Barbara Bel Geddes star in this taut Western thriller about a gunslinging drifter who realizes he’s been hired to be a villain. Out on the Texas frontier, Jim Garry (Mitchum) rides into town, quickly getting caught in a simmering confrontation between homesteaders and cattle ranchers. After accepting employment from an old mercenary friend, Tate Riling (Robert Preston), Garry comes to realize that Riling has been manipulating the tensions between rancher John Lufton (Tom Tully) and the local settlers in a bid to swindle the Luftons out of their livestock. Garry becomes torn between his conscience and his greed until he finds himself falling for John Lufton’s daughter, the formidable Amy (Bel Geddes). Soon, the two old friends will face off in a bloody showdown from which only one will leave alive. Based on the novel Gunman’s Chance by Luke Short.

Director Robert Wise is at the helm as Robert Mitchum, Robert Preston, and Barbara Bel Geddes star in this taut Western thriller about a gunslinging drifter who realizes he’s been hired to be a villain. Out on the Texas frontier, Jim Garry (Mitchum) rides into town, quickly getting caught in a simmering confrontation between homesteaders and cattle ranchers. After accepting employment from an old mercenary friend, Tate Riling (Preston), Garry comes to realize that Riling has been manipulating the tensions between rancher John Lufton (Tom Tully) and the local settlers in a bid to swindle the Luftons out of their livestock. Garry becomes torn between his conscience and his greed until he finds himself falling for John Lufton’s daughter, the formidable Amy (Bel Geddes). Soon, the two old friends will face off in a bloody showdown from which only one will leave alive. Often cited as a true “Noir Western,” this lost classic aptly demonstrates both Robert Mitchum’s and Robert Wise’s rapidly rising talents, elevating a superb shoot ’em up to something that sits with the viewer long after watching. Long unavailable on Home Entertainment, Blood on the Moon rides in looking better than ever thanks to this brand new 2020 1080p master on Blu-ray Disc. Based on the novel Gunman’s Chance by Luke Short.

Alfred Hitchcock’s VERTIGO ‘Classics in the Loop’ Series at The Tivoli March 16th

” One final thing I have to do… and then I’ll be free of the past.”

Classics on the Loop at The Tivoli happens Mondays at 4 pm and 7 pm This week, March 16th is Alfred Hitchcock’s VERTIGO (1958)!.Admission is just $7.The Tivoli is located at 6350 Delmar Blvd, St. Louis, MO 63130. A Facebook invite for the screening can be found HERE

Let’s state this right from the top: VERTIGO is one of the greatest films ever made. It’s not simply hyperbole that notables such as Leonard Maltin and Martin Scorsese have called the film Hitchcock’s masterpiece. To paraphrase Scorsese, rarely have we seen the complexity of a man’s thoughts and feelings portrayed so beautifully and compellingly onscreen. Everything in VERTIGO – from the costumes to the location scenery to the performances of its lead actors is quite simply, perfect. Hitchcock had long wanted to film a story in the City by the Bay, and with the French novel FROM AMONG THE DEAD, he had the framework for his most personal and revealing film. The San Francisco backdrops contribute greatly to the overall dreamlike quality of much of the film, with the Spanish architecture, redwood forests, and of course, the Golden Gate. The plot of VERTIGO is famously convoluted, but suffice to say that Hitch had yet another morally ambiguous lead character in Scottie (the always solid Jimmy Stewart, here playing against his all-American every guy type), and a plethora of dualities in almost every character – and then some. Madeleine (the wonderful Kim Novak) is not really Madeleine, but Judy. And Midge (Barbara Bel Geddes) wants to be Madeleine, but paints a portrait of herself as Carlotta. The old college buddy is really a calculating murderer. Hitchcock uses paintings, reflections, mirrors, and shadows to show us these dual personas constantly throughout the film.

Here’s the rest of the Classics in the Loop lineup: 

March 23            THE WIZARD OF OZ  

March 30            BREAKFAST AT TIFFANY’S

 April 6                 STEAMBOAT BILL JR.  

April 13               CASABLANCA

Alfred Hitchcock’s VERTIGO Screens at Webster University May 3rd

“You shouldn’t keep souvenirs of a killing. You shouldn’t have been that sentimental.”

vertigo3

Alfred Hitchcock’s VERTIGO screens at Webster University’s
Moore Auditorium (470 East Lockwood) Friday May 3rd at 7:30pm. A Facebook invite for the screening can be found HERE. 

vertigo2

Let’s state this right from the top: VERTIGO is one of the greatest films ever made. It’s not simply hyperbole that notables such as Leonard Maltin and Martin Scorsese have called the film Hitchcock’s masterpiece. To paraphrase Scorsese, rarely have we seen the complexity of a man’s thoughts and feelings portrayed so beautifully and compellingly onscreen. Everything in VERTIGO – from the costumes to the location scenery to the performances of its lead actors is quite simply, perfect. Hitchcock had long wanted to film a story in the City by the Bay, and with the French novel FROM AMONG THE DEAD, he had the framework for his most personal and revealing film. The San Francisco backdrops contribute greatly to the overall dreamlike quality of much of the film, with the Spanish architecture, redwood forests, and of course, the Golden Gate. The plot of VERTIGO is famously convoluted, but suffice to say that Hitch had yet another morally ambiguous lead character in Scottie (the always solid Jimmy Stewart, here playing against his all-American every guy type), and a plethora of dualities in almost every character – and then some. Madeleine (the wonderful Kim Novak) is not really Madeleine, but Judy. And Midge (Barbara Bel Geddes) wants to be Madeleine, but paints a portrait of herself as Carlotta. The old college buddy is really a calculating murderer. Hitchcock uses paintings, reflections, mirrors, and shadows to show us these dual personas constantly throughout the film.

vertigo-9

On its surface, VERTIGO is about trying to change someone you love. Haven’t we all tried this to some extent at some point in our lives? The danger, as it is here, is that it can become an obsession – this power we have to transform someone. To take the point even further, isn’t it the movies themselves which transform reality for us? It would also be easy to dismiss VERTIGO as one of the darkest and most cynical portrayals of romantic love ever filmed. But Hitchcock actually has a genuine affinity for romance. Look at the scene where Scottie finally molds Judy into the Madeleine he loves. As she enters the room, bathed in an ethereal light, Bernard Herrmann’s lush romantic score swells to a crescendo, and Scottie’s face transforms as he embraces her as Hitch shoots in a full 360 dolly (Notice how the background changes, reflecting Scottie’s memories.) Has there ever been a more beautifully rendered sequence showing a man and woman in love? Many directors would have ended the film right there, but of course, Hitch is not most directors. With its themes of the conflicts inherent in romantic love, its obsessive power to transform reality, and its dark impulses that we both fear and are drawn to, VERTIGO abides as a unique look into the mind of one very special genius.

Vertigo-1958-Wallpapers-8

Admission is:

$7 for the general public
$6 for seniors, Webster alumni and students from other schools
$5 for Webster University staff and faculty

Free for Webster students with proper I.D.

Don’t Look Down! Hitchcock’s VERTIGO Back on the Big Screen March 18th & 21st

Fathom Events, Turner Classic Movies and Universal Pictures team up to screen Alfred Hitchcock’s classic VERTIGO (1958) on the big screen Sunday, March 18th – 2:00 p.m. and 7:00 p.m. (local time) and Wednesday, March 21st – 2:00 p.m. and 7:00 p.m. (local time). Ticket information and a list of participating theaters can be found HERE

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Widely considered one of Alfred Hitchcock’s greatest cinematic achievements, the dreamlike, mesmerizing Vertigo returns to movie theaters across the country in celebration of its 60th anniversary on Sunday, March 18, and Wednesday, March 21, as part of the yearlong TCM Big Screen Classics Longtime fans and moviegoers who have never experienced the film’s dark secrets will be dazzled by the unforgettable sights and sounds of Vertigo.

The San Francisco-set thriller is a unique combination of ghost story, mystery and romance. James Stewart stars as John “Scottie” Ferguson, a detective with a crippling fear of heights who is hired to trail – but falls in love with – the secretive Madeleine Elster (Kim Novak). When he witnesses Madeleine fall to her death, Scottie is despondent … until he crosses paths with a woman who seems eerily familiar. With a haunting score by Bernard Herrmann, Vertigo is a cinematic milestone that has lost none of its ability to captivate audiences six decades after it was made.

Vertigo-1958-Wallpapers-8
To further unravel the enigma of Vertigo, TCM host Eddie Muller will present newly produced commentary both before and after the film.

Alfred Hitchcock’s VERTIGO Screens at The Hi-Pointe This Saturday Morning

vertigo-header

“You shouldn’t keep souvenirs of a killing. You shouldn’t have been that sentimental.”

vertigo3

Alfred Hitchcock’s VERTIGO screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s  Saturday, March 11th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, MO 63117. The film will be introduced by Harry Hamm, movie reviewer for KMOX. Admission is only $5

vertigo2

Let’s state this right from the top: VERTIGO is one of the greatest films ever made. It’s not simply hyperbole that notables such as Leonard Maltin and Martin Scorsese have called the film Hitchcock’s masterpiece. To paraphrase Scorsese, rarely have we seen the complexity of a man’s thoughts and feelings portrayed so beautifully and compellingly onscreen. Everything in VERTIGO – from the costumes to the location scenery to the performances of its lead actors is quite simply, perfect. Hitchcock had long wanted to film a story in the City by the Bay, and with the French novel FROM AMONG THE DEAD, he had the framework for his most personal and revealing film. The San Francisco backdrops contribute greatly to the overall dreamlike quality of much of the film, with the Spanish architecture, redwood forests, and of course, the Golden Gate. The plot of VERTIGO is famously convoluted, but suffice to say that Hitch had yet another morally ambiguous lead character in Scottie (the always solid Jimmy Stewart, here playing against his all-American every guy type), and a plethora of dualities in almost every character – and then some. Madeleine (the wonderful Kim Novak) is not really Madeleine, but Judy. And Midge (Barbara Bel Geddes) wants to be Madeleine, but paints a portrait of herself as Carlotta. The old college buddy is really a calculating murderer. Hitchcock uses paintings, reflections, mirrors, and shadows to show us these dual personas constantly throughout the film.

vertigo-9

On its surface, VERTIGO is about trying to change someone you love. Haven’t we all tried this to some extent at some point in our lives? The danger, as it is here, is that it can become an obsession – this power we have to transform someone. To take the point even further, isn’t it the movies themselves which transform reality for us? It would also be easy to dismiss VERTIGO as one of the darkest and most cynical portrayals of romantic love ever filmed. But Hitchcock actually has a genuine affinity for romance. Look at the scene where Scottie finally molds Judy into the Madeleine he loves. As she enters the room, bathed in an ethereal light, Bernard Herrmann’s lush romantic score swells to a crescendo, and Scottie’s face transforms as he embraces her as Hitch shoots in a full 360 dolly (Notice how the background changes, reflecting Scottie’s memories.) Has there ever been a more beautifully rendered sequence showing a man and woman in love? Many directors would have ended the film right there, but of course, Hitch is not most directors. With its themes of the conflicts inherent in romantic love, its obsessive power to transform reality, and its dark impulses that we both fear and are drawn to, VERTIGO abides as a unique look into the mind of one very special genius.

Vertigo-1958-Wallpapers-8

The Hi-Pointe’s site can be found HERE

http://hi-pointetheatre.com/