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hesawifebeaterdanusethegun · 2 months

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The Scientific Method

Part 1 Part 2

Part 3 Part 4

Part 5 Part 6

Part 7

Part 8

The next night, Daniel reported to the Strangers’ lair as usual when he was pulled aside by Mister Hand, a particularly sinister Stranger he’d always found more repugnant than the others. Mister Hand had been the one who had ordered him to reproduce John Murdoch’s memories. The creature had come up with a plan to inject himself with John’s would-be memories in order to track where the man might go and apprehend him. Daniel took some small pleasure in causing one of the monsters pain in the form of an imprinting while awake, but it did little to ease the apprehension he felt. They were closing in on John Murdoch, he knew, and he still hadn’t been contacted by John since their last violent encounter. His duties completed, he hurried to meet Kat.

She was to meet him at the bathhouse that night. She’d argued against it at first.

“Daniel, it’s a men’s bathhouse. I can’t go in there.”

“I’ll take care of that, I have special privileges, remember,” he assured her. They’d meet outside regular hours, the attendant would allow them in, he often showed up there alone during off hours and paid extra for the privacy in the form of a small “donation” to the young man working out front before the boy clocked off.

It was safer there, surrounded by water, he told her, and he had a feeling that John Murdoch would choose tonight to reveal himself again. Finally, reluctantly, she agreed. His pistol weighed heavily on her coat pocket and her mind. Would she be able to point it at another person when the time came? She supposed she would, if it came down to it. It had taken this long to finally accept that she would do anything for Daniel, if he asked. He was waiting for her outside when she got there. The attendant gave them a knowing look that made her cheeks redden as they entered and Daniel passed him some cash for looking the other way, not daring to look at her from under the hat he had pulled low.

They sat in the changing area behind a stone partition within sight of the pool. They didn’t wait long before a shadow detached itself from around the corner and approached. Kat took a deep breath. The strong blue bite of chlorine stung her nostrils, and she breathed out. They were actually doing this. This was real. She let go of Daniel’s hand that she hadn’t realized she’d been holding and shoved her hand in the pocket of her coat, wrapping it around the chilly handle of the small gun. It warmed quickly in her palm.

“Doctor Schreber,” John greeted him.

“I knew you’d come eventually,” Daniel told him.

“Don’t you think it’s about time you started giving me some answers?” John asked.

“Yes, yes of course. Won’t you please sit down?” Daniel answered almost amiably.

When they were both seated, Daniel explained all he could to John in the fleeting time they had. He signaled Kat by resting a hand on her arm, squeezing it gently before dropping it into his bag, removing the syringe he’d been hiding inside. She pulled out the gun, pointing it at John.

“I’m sorry about this, I truly am, but we do not have much time and I cannot afford the luxury of doing this the right way. Everything you need to know, all the answers are in this syringe, I need you to let me inject you, it’s the only way to make you understand.”

John seemed way too calm about all this as he responded.

“You’re kidding right?” he said.

Inspector Bumstead appeared behind Daniel, gun in hand and pointing just behind the Doctor’s ear.

“Put down the gun,” he told Kat. She complied.

“Okay just please, don’t hurt him,” she pleaded.

“Kat, no!” Daniel whispered to her, knowing she had no choice but to do as the detective told her, just as he would have no choice were their roles reversed.

John plucked the syringe from Daniel’s hand quickly as Bumstead tossed their gun into the water.

“You do not know what you are doing,” Daniel hissed at him, desperation evident in his voice.

“What exactly is in this, Doctor?” John asked, gesturing with the syringe.

“All the answers you’ve been looking for John, I swear to you,” he answered.

“I guess I’ll just hold onto it for safekeeping, if you don’t mind.” John tucked the syringe into his jacket’s breast pocket. The look of defeat on Daniel’s face broke Kat’s heart.

John and the inspector herded them at gunpoint outside to the inspector’s car.

“Where are we going?” asked Daniel.

“Shell beach,” answered Bumstead, still pointing his gun at them. “Now get in.” He poked the doctor in the back. Daniel scoffed but did as he was told. They climbed into the car silently, Kat joining Daniel in the backseat while John and the inspector sat up front.

“Please let her go, she has nothing to do with this,” Daniel pleaded with the two men. They ignored him. He tried refusing to tell them how to get where they wanted to go (or where they thought they wanted to go). John’s eyes flashed silver and he looked at the Doctor. Daniel grunted in pain, almost silently screaming and clutching his head.

“Daniel! Stop it, you’ll kill him!” she shouted at John. He stopped.

“You were saying, Doctor?” he said smugly.

Tears shone in the Doctor’s eyes as he straightened his glasses. She took his face in her hands and turned him towards her.

“Oh my God, are you okay, Daniel?” she asked, the panic in her voice mirroring the panic that was in his that night he found her on the floor in the hallway of his office. He nodded weakly. The tears in her eyes matched his. She really couldn’t stand to see others in pain. His heart swelled with love for her at that moment. He leaned forward, his eyes darting to her lips for a moment when the car screeched to a stop. They both turned to see where they had arrived before getting out with John and Inspector Bumstead.

They’d pulled up to a dock by the larger of the two rivers that ran through the city. Kat could hear and smell the water before she could see it gently lapping at the concrete buildings surrounding it, the lights of the city reflected in it. John and Bumstead led them to a relatively large rowboat, big enough for the four of them. After boarding the Doctor tried again in vain to convince them to let Kat go, that she was innocent. When he couldn’t convince them or even get a response from either of them, he stepped in front of John roughly to help Kat into the boat. They sat next to each other as Bumstead took the oars and began to row.

Daniel told them all that he had told her what seemed so long ago. He answered their questions patiently. He clutched Kat’s hand as he told them of the Strangers forcing him to delete all memory of his own life. She leaned against him, squeezing his hand back to remind him he wasn’t alone.

They arrived at another dock, disembarking and walking the rest of the way through a maze of back alleys before arriving at a nondescript brick building with a crooked doorway cut into the stone. They hadn’t seen any other people in their travels to the edge of the City.

“We’ve taken you this far, you don’t need us anymore. I won’t go any further unless you at least leave Kat behind,” he spoke with more conviction than he felt, and he still hadn’t let go of her hand.

“Fine, get outta here,” Bumstead said to her, waving her away with his gun. Daniel turned to her and spoke quietly.

“Go hide, please. Don’t let them find you when they come.” She didn’t have to ask who “they” were, she understood. The Strangers were coming. She hugged him tightly, but not nearly long enough for either of them, before turning to go.

“Be safe,” she told him. “Please.” He could tell she was trying not to cry. It ripped his heart out to have to leave her like this, but he had no other choice, they weren’t going to let him go until he got them to what they were looking for. He turned to lead them inside the building.

Kat knew she needed to hide quickly, but she watched them leave through the doorway, waiting until they were out of sight to conceal herself around a corner, behind a few wooden pallets and other debris she piled up.

She was barely out of sight when she heard the footsteps of a group approaching. The Strangers. She covered her mouth to keep herself from breathing too loudly and waited for them to pass. This was the first time she’d seen these creatures since Daniel had told her of them. They were pale, almost bone white, and had no hair at all, not even eyebrows. There was something unnatural in the way they moved as a group. There were four of them. They followed the path Daniel had taken with the two men when he reluctantly left her, entering the crooked doorway in and climbing the stairs beyond one after the other.

There was nothing beyond the walls of the city, she knew. There was no beach, no ocean, nowhere to go that wasn’t dark and damp and made of concrete in this place. She had hoped that they would be able to change that with John’s help, but that plan hadn’t worked out so well. He still didn’t understand, even after all he’d been told. Without the injection, all the information in the world wouldn’t make him understand, she thought. Now their focus would simply be to survive the night.

She waited about 15 minutes before she heard noises coming from the stairway the Strangers had disappeared through. They marched out with Daniel and John in their custody, Inspector Bumstead nowhere to be seen. One of the Strangers was also missing. She assumed they were dead, though she had no way to know. Kat stayed hidden until after they’d passed her and moved around a corner, carefully following at a distance. After everything they’d been through, she wasn’t about to leave Daniel now.

She followed them to a dead end alley, hiding around a corner in the shadows and watching as the Strangers manifested a door in the brick wall that ended the street. They went inside and the door dematerialized behind them, leaving her on the wrong side of it. She ran to where the door had been, pounding on the stone with her fist.

“Oh, no no no no. Come on, come back!” She cried.

Part 9

#dark city #doctor daniel schreber #kiefer sutherland #kieferposting #my writing #sci fi

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glitchartistscollective · 10 months

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John Bumstead - Untitled - 22/06/2023

Source: Glitch artists collective - Facebook

#glitch art #digital art #glitch artists collective #glitch aesthetic #glitchartistscollective #glitchart #glitch

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byneddiedingo · 5 months

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Barbara Stanwyck, Walter Huston, and Judith Anderson in The Furies (Anthony Mann, 1950)

Cast: Barbara Stanwyck, Walter Huston, Wendell Corey, Judith Anderson, Gilbert Roland, Thomas Gomez, Beulah Bondi, Albert Dekker, John Bromfield, Wallace Ford, Blanche Yurka. Screenplay: Charles Schnee, based on a book by Niven Busch. Cinematography: Victor Milner. Art direction: Henry Bumstead, Hans Dreier. Film editing: Archie Marshek. Music: Franz Waxman.

The Furies takes place in a West that never was: Would any real cattleman name his ranch "The Furies"? But that's because the film aims at the mythic, and darn near succeeds. The Furies of myth were goddesses of vengeance, also known as the Eumenides, which means "the gracious ones" -- they were so terrible that humans tried to placate them by calling them by a nice name. In the film, all of the women are to some degree vengeful: Barbara Stanwyck's Vance Jeffords chafes against the notion that because she's a woman, she can't run a ranch; Judith Anderson's Flo Burnett tries to get her hooks into Vance's father and bypass Vance's claim to his estate; Beulah Bondi's Mrs. Anaheim is the real power behind her banker husband; and the most vengeful of them all, Blanche Yurka's Mother Herrera, seeks justice for the hanging of her son. For a Western, it's also awfully talky, with some lines that sound like film noir: "I don't think I like love," says Vance. "It puts a bit in my mouth." Others are obvious attempts to sidestep cliché: Vance's father, T.C. (Walter Huston), tells her she has a "dowry if you pick a man I can favor, one I can sit down at the table with and not dislodge my chow." I suspect that a lot of the dialogue, as well as a lot of the slightly overcomplicated plot, comes from its source, a novel by Niven Busch, adapted by Charles Schnee: Busch knew his way around tough dialogue, having written the screenplay for one of film noir's classics, The Postman Always Rings Twice (Tay Garnett, 1946). Anthony Mann keeps the action from overwhelming the talk and the mythologizing, greatly helped by Stanwyck and Huston (in his final film) as the sparring but inextricably bonded Jeffordses. The movie could have used a stronger love interest than Wendell Corey as Rip Darrow, the man who wants to get the better of T.C., and woos Vance as part of the plot. Corey and Stanwyck don't strike sparks; she's more in tune with Gilbert Roland as Juan Herrera, the squatter on The Furies who has been her friend since childhood -- a subplot that's in some ways more interesting than the financial struggles to get hold of the ranch. Initially a box office failure, the film has grown in stature over the years as a showcase for some of the best work of Stanwyck, Huston, and Mann.

#The Furies #Anthony Mann #Barbara Stanwyck #Walter Huston #Judith Anderson

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of-fear-and-love · 3 months

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Interiors from Blindfold (1966) Art Direction by Henry Bumstead and Alexander Golitzen Set Decoration by John McCarthy Jr. and George Milo

#blindfold 1966 #rock hudson #claudia cardinale #anne seymour #jack warden #hari rhodes #angela clarke #60s tech #reel to reel #tiffany lamp #vintage tech #interior design #60s furniture #set design #60s fashion

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zoi-no-miko · 8 months

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All chapters complete! <3 Please join John and I in heaping molestations adorations onto the Best Bunny Boy <3 ~~~~~~~~~ Fandom: Dark City (1998) Rating: Explicit Characters: John Murdoch/Daniel Schreber, Frank Bumstead, Officer Husselbeck, Anna, May (Dark City) Summary: Fixing the holes in the city - while keeping Daniel away from the attention of his adoring fans - proves more difficult than John had expected. And left with even more questions about himself, John realizes that he can't move forward without answers... no matter what the consequences of those answers may be. Additional Tags: Canon Compliant, Post-Canon, Awkward Flirting, Library Sex, Hurt/Comfort, Healing, Past Sex Work, Discussion of Power Imbalance, aliens didn't make them do it but they definitely fucked with them

#dark city #dark city 1998 #kiefer sutherland #rufus sewell #dark city fanfic #my writing #John's near-omnipotent powers and awkward flirting honestly make him a perfect audience surrogate lol #Yes I do have wanted to magically fix this bunny and smother him with love #but I too would be such a fucking disaster doing it XD #john x daniel #daniel schreber #john murdoch

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if-you-fan-a-fire · 2 years

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"Scenes as Residents of St. Vincent and Sydenham Leave New Tank Range," Owen Sound Sun-Times. October 1, 1942. Page 6. --- The northern tips of St. Vincent and Syndenham Townships are today a new Canadian Army tank range. Rolling farm-lands which for years have been devoted to feeding Canadians are now serving another purpose, being used to train men to guard Canadians against the loss of those things they prize more than life itself. All residents of the area have now departed for their new homes. Here are scenes as the evacuation was in full swing. Upper left, Carol Jane McKee, aged 7, and Yvonne McKee, aged 9, 4 sit the steps of the Balaclava school, their books in their arms, as they any well to this school house. They are the daughters of Mr. and Mrs. Russell McKee and will reside near Allenford. Top centre is a view of a Sydenham group, helping Mrs. Margaret Eagles pack her belongings into a truck for removal to her new home at Owen Sound. From left to right are Jimmie Lemon, Carewood White, Miss Katherine Lemon, M. Donald Lemon, Mrs. Margaret Eagles and Clifford King. Upper right is scene familiar in the district in the past few weeks, a truck-load of hay. Standing on the hood of the truck is Rae Bumstead, while at the left is the owner of the hay, John Cathrae, who is moving to a farm in Keppel Township. Lower left is sbown one of the warning signs erected along the boundaries of the area. The man on the right Josh Gammon of Hawkestone, Ont., who was directing William Briggs and Geedon Hedekinson of Meaford in the work of erecting barriers across the roadway. Lower right is a picture of S.S. No. 12, St. Vincent, closed because it stands four rods inside the tank area, although eleven of the school's fourteen pupils reside outside the area and will now have to go as far as five miles to St. John's school. Standing is the school door in the picture is George Moire, a member of the school board of S.S. No. 12 - Sun-Tunes Staff Photo

#meaford #meaford military camp #camp meaford #tank range #canadian army #armored warfare #tank regiment #military training #moved by the state #forced migration #farming in canada #toronto #rural canada #bruce peninsula #canada during world war 2 #land expropriation #world war ii

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kevinsreviewcatalogue · 1 year

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Review: Dark City (1998)

Dark City (1998)

Rated R for violent images and some sexuality

Score: 4 out of 5

Dark City is a film that failed at the box office in its time and, despite a critical reevaluation as one of the hidden science fiction gems of the '90s, still gets overlooked quite often nowadays, for one simple reason: despite its mind-bending plot and creative visual design homaging classic '40s/'50s film noir, it had the misfortune of coming out just a year before The Matrix, a sci-fi masterpiece with very similar themes about what we think of as reality being just an illusion designed to control us. This film was a much more cerebral thriller whose effects shots, while no less visually impressive, were a lot less punchy and action-packed, instead feeling like if the first half-hour of The Matrix got stretched to feature length, given a retro gloss, and focused mainly on Keanu Reeves slowly peeling away the layers of his world, saving the big action sequence for the very end. It's a moody, foreboding film that built up to a great reveal while slowly imbuing the viewer with a paranoid suspicion that their own world may not be "right", and while the finale wrapped things up a bit too neatly and conventionally for my tastes with a rather silly-looking confrontation, the meat of the film was still a slick and highly effective tale that I won't forget anytime soon -- ironic, given what the villains here like to do to people.

The film takes place in an unnamed city with vaguely mid-20th-century technology, aesthetics, and feel, specifically the kind lifted out of a Raymond Chandler novel, a place where the streets are always cloaked in shadows even during what feels like it should be the daytime -- and hey, while you may have childhood memories of sunny days, when's the last time you saw the sun, anyway? We start with a man who wakes up in a hotel room with no memory, only figuring out that his name is John Murdoch from the ID in his wallet, surrounded by the corpses of dead prostitutes that he probably killed, which is not a situation that most of us would want to stick around for so they can calmly explain everything to the police. On the run from the law and searching for both Emma, a cabaret singer who he finds out was his wife, and Dr. Daniel Schreber, who he finds out used to be his psychiatrist, John gets pulled into a twisted web as he's pursued by the Strangers, mysterious, inhumanly pale-skinned men in hats and trenchcoats who he soon finds aren't entirely human, and who seem to control the city from the shadows and regard him as a threat to their plans. Meanwhile, Inspector Frank Bumstead sets out hot on the tail of the suspected murderer, not knowing exactly what he's getting himself into.

I can't really go into much more detail about the plot. Like a lot of old-fashioned mysteries, this is a movie where part of the fun is piecing the puzzle together yourself and then the film revealing how close you came to the truth, albeit one that puts a sci-fi twist on the usual noir story. I can, however, speak to the production values and writer/director Alex Proyas' sense of style, and on that front, I was at once pulled into the film's world and wondering what awful truths lay outside it. The city is the kind of seedy place you'd set a hardboiled detective story, exaggerated to the point where it feels like a warped parody thereof and creating an unsettling feel that this place should not be. Some of the supporting cast members having spotty American accents (this was shot in Australia), something I'd normally ding a film for, only lent to the uncanny valley feel of the city, as did countless other little quirks that made the place feel like somebody trying to draw a picture of a mid-century East Coast metropolis without any reference points as to what that would look like beyond old movies. And that's before you get to the Strangers who are after John, who wear conspicuous trenchcoats and have names like "Mr. Book", "Mr. Hand", and "Mr. Sleep" that sound like somebody tried to come up with ordinary-sounding "John Smith" names to blend in and... didn't pull it off, on top of their general weirdness and stilted manner of speaking calling to mind the G-Man from Half-Life. While it takes a while to get to the "why" of the titular dark city, the film lets you know rather quickly that this is not a normal city, and even before we get to the big special effects shots, Proyas did a great job right off the bat heightening its artifice and pale imitation of humanity. More than anything, it felt like I was watching the darkest possible film adaptation of The Sims, predating the first game by a couple of years but otherwise, without spoiling anything, taking some of the series' central concepts and playing them for paranoid horror.

The cast also did great in making this world feel just the right mix of real and artificial. Rufus Sewell as John, Jennifer Connelly as Emma, and William Hurt as Bumstead all felt like they could've been lifted out of a real 1940s film noir, while Kiefer Sutherland played Schreber as a character wholly unlike the take-charge heroes he's been coded as since 24, a dweebish doctor who serves as the main characters' bridge between the world they know and what's really going on through his exposition. The special effects were not the focus, but they were astonishing to watch for a fairly low-budgeted '90s film, especially a key sequence where we witness the city's buildings shifting around as the Strangers' true power over the city is made clear. Only at the very end did it feel like Proyas ran out of ideas, as John's final confrontation with the Strangers after unlocking his true power ended with them shooting beams of light at each other with their minds while buildings crumbled around them. It all felt pretty goofy, like they needed to find a way to wrap this up and have the hero prevail, even though if I was writing this, there are some seriously dark directions I could've taken the story. The ending, I feel, underlines the big reason why The Matrix was the big late '90s sci-fi movie about reality being a lie that everybody remembers; when it did similar battles between the good guys and bad guys, they came in the form of epic shootouts and martial arts sequences straight out of Hong Kong.

The Bottom Line

Dark City is a film that doesn't get talked up nearly enough, even if I can't really say much more in a non-spoiler review. Ending aside, it makes a great companion to The Matrix as a more cerebral and noir-tinged take on very similar concepts, one that will, at the very least, make it very difficult for you to play The Sims the same way again. A big thank you to Popcorn Frights for screening it last week. Check it out.

#dark city #1998 #1998 movies #science fiction #mystery #crime movies #sci fi movies #alex proyas #rufus sewell #kiefer sutherland #william hurt #jennifer connelly #richard o'brien #ian richardson #melissa george

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anotherkindofmindpod · 2 years

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I relistened to the HDYS and it reminded me of reading an excerpt in Beatle books and some Paul books where he is portrayed as a Machiavellian sociopathic character starting when he was a kid. It was so contrary to what I see. Your comments about the John followers helped clarified where and why it started, but most importantly of why it continues.

Hi Robin! Thank you so much, we're glad you enjoyed the HDYS episode and got something out of it! :) If you haven’t already checked it out, I would also recommend our newest episode with Dr. Allison Bumstead which details the common themes of most of the 70’s criticism, and shows how Paul was essentially rewritten in the 70s as a Sissy Villain. This trope is powerful and has reverberated for decades, spilling into numerous Beatles books. We inexplicably still see pushback about this topic, especially from Beatles fans who dislike Paul and are loathe to defend him for any reason, even if it's in support of things they ostensibly cannot defend (i.e homophobia and toxic masculinity) and even though we provide ample receipts at how ubiquitous this coding was. But it's important to realize that Beatles authors (especially those older ones from the previous decades) don't have to be intentionally or even consciously coding Paul in this way; tropes and archetypes are powerful specifically because they are so deeply and easily internalized and then subliminally attached to people/ideas. Anyway, we wish this subject was taken more seriously in Beatle World, and that fans weren't so emotionally reactive/defensive about it! Thanks again

#AKOM #Another Kind of Mind #paul mccartney #john lennon #sissy villain

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jamesusilljournal · 2 years

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BADGPU024, John Bumstead (@RDKLInc), 2022

#Glitch Art #Databending #Abstract Art #Glitch #New Aesthetic #John Bumstead #RDKLInc

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myopinionisimportant · 2 years

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Film Reroll Episodes I Would Kill For

Scott Pilgrim vs. The World

This movie is basically perfect as reroll-fodder. It’s got action, it’s got drama, it’s got weird little rabbit-holes that aren’t fully plumbed, it’s a movie but because it’s based on a comic it has that expanded universe goodness just like Oz did, and all the side-characters have their own plots going on which would be really fun to dig into further.

Also I would love to see what happens if Scott just gets killed by Matthew Patel before the plot even really gets going!

Dark City

I loved the multiple storylines in Halloween 3, the betrayals and the confusion and the chaos...now imagine if one of the player characters were actively hunting one of the others, and interrogating the third while she is just trying to get by as a nightclub singer?

And then of course the aliens and the psychic powers and the spaceship and the apocalypse. Also, the movie is just obscure enough that some of the rerollers might not have seen it, which is absolutely ideal.

(Do I want Joz as John Murdoch? Definitely yes. Jon as Inspector Bumstead? For sure. Which can only mean Kara Strait as Emma Murdoch! CAN YOU IMAGINE)

Lock, Stock & Two Smoking Barrels

Okay listen. I know it’s already a comedy and that makes it a tricky reroll. I know it’s very driven by coincidence and odd character decision-making and the collision of about five different schemes. I know it’s way more suited to something like Fiasco than it is to GURPS.

But consider: who would play Big Chris? Who would play Hatchet Harry? Who would play Soap?

Any possible answer is hilarious.

#film reroll #scott pilgrim #dark city #lock stock and two smoking barrels #if you have your own wishlist add it here! I want to hear about it!

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hesawifebeaterdanusethegun · 13 days

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What would you pick as furry version of the cast of "Dark City". I think Mr. Hand would be a stoat or a weasel.

I took a while to answer this I e because I really wanted to think about it and here's what I came up with:

Doctor Schreber: rabbit

Detective Bumstead: bloodhound

John Murdoch: German shepherd

Mrs Murdoch: black cat

Mr Hand: stoat

Now I want to draw this but idk if I have the skill to do it justice, I'd want it in the style of the Blacksad comics (if you've never heard of that look it up, they're really good detective comics with furry characters)

#dark city #sci fi #furry #asks

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nahasjungle · 2 years

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Academy award movies from 2017

#ACADEMY AWARD MOVIES FROM 2017 PROFESSIONAL#

nominated for Best Actress in a Supporting Role ( Janet Leigh).nominated for Best Writing, Story and Screenplay - Written Directly for the Screen ( Ernest Lehman).nominated for Best Film Editing ( George Tomasini).nominated for Best Art Direction-Set Decoration, Color.nominated for Best Sound ( George Dutton).nominated for Best Art Direction-Set Decoration, Black-and-White Or Color ( Hal Pereira & Henry Bumstead).nominated for Best Art Direction-Set Decoration, Color ( Hal Pereira).nominated for Best Costume Design, Color ( Edith Head).nominated for Best Writing, Screenplay ( John Michael Hayes).nominated for Best Sound, Recording ( Loren L.nominated for Best Cinematography, Color ( Robert Burks).nominated Best Cinematography, Black-and-White ( Robert Burks).nominated for Best Actress In A Supporting Role ( Ethel Barrymore).nominated for Best Writing, Original Screenplay ( Ben Hecht).nominated for Best Actor In A Supporting Role ( Claude Rains).nominated for Best Effects, Special Effects ( Jack Cosgrove).nominated for Best Cinematography, Black-and-White ( George Barnes).nominated Best Actor In A Supporting Role ( Michael Chekhov).nominated for Best Writing, Original Story ( John Steinbeck).nominated for Best Cinematography, Black-and-White ( Glen MacWilliams).nominated for Best Writing, Original Story ( Gordon McDonell for " Uncle Charlie").nominated for Best Picture ( Alfred Hitchcock).nominated for Best Music, Scoring Of A Dramatic Picture ( Franz Waxman).nominated for Best Writing, Original Screenplay ( Charles Bennett & Joan Harrison).nominated for Best Picture ( Walter Wanger).nominated for Best Effects, Special Effects ( Paul Eagler & Thomas T.nominated for Best Cinematography, Black-and-White ( Rudolph Maté).nominated for Best Art Direction, Black-and-White ( Alexander Golitzen).nominated Best Actor In A Supporting Role ( Albert Bassermann).nominated for Best Writing, Screenplay ( Robert E.nominated for Best Music, Original Score ( Franz Waxman).nominated for Best Film Editing ( Hal C.nominated for Best Effects, Special Effects ( Jack Cosgrove & Arthur Johns).nominated for Best Director ( Alfred Hitchcock).nominated for Best Art Direction, Black-and-White ( Lyle R.nominated for Best Actress In A Supporting Role ( Judith Anderson).nominated for Best Actress In A Leading Role ( Joan Fontaine).nominated for Best Actor In A Leading Role ( Laurence Olivier).recipient of the 2008 Honorary Academy Award for his work as a Production Designer.won Best Music, Original Song for the song " Whatever Will Be, Will Be (Que Sera, Sera)" ( Jay Livingston & Ray Evans).won Best Cinematography, Color ( Robert Burks).won Best Music, Scoring Of A Dramatic Or Comedy Picture ( Miklós Rózsa).won Best Actress In A Leading Role ( Joan Fontaine).won Best Cinematography, Black-and-White ( George Barnes).In 2008, the honorary Academy Award was presented to 98 year old production designer Robert F. In 1968, Alfred Hitchcock was presented with the Irving G. The annual Oscar presentation has been held since 1929. They are intended for the films and persons the Academy believes have the top achievements of the year. The votes have been tabulated and certified by the auditing firm PricewaterhouseCoopers for 72 years, since close to the awards' inception.

#ACADEMY AWARD MOVIES FROM 2017 PROFESSIONAL#

The Academy Awards, popularly known as the Oscars, are the most prominent film awards in the United States and most watched awards ceremony in the world.Īcademy Awards are granted by the Academy of Motion Picture Arts and Sciences, a professional honorary organization.

#Academy award movies from 2017

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byneddiedingo · 9 months

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Robert De Niro in Cape Fear (Martin Scorsese, 1991)

Cast: Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Ileana Douglas, Fred Thompson. Screenplay: Wesley Strick, based on a novel by John D. MacDonald and a screenplay by James R. Webb. Cinematography: Freddie Francis. Production design: Henry Bumstead. Film editing: Thelma Schoonmaker. Music Elmer Bernstein.

Steven Spielberg originally planned to film this remake of J. Lee Thompson's 1962 Cape Fear, but when he decided it wasn't exactly his thing, he traded with Scorsese for the rights to make Schindler's List (1993). (Which in turn makes me wonder what Scorsese's version of List would have been like: Would Robert De Niro have played Oskar Schindler or Amon Goeth?) I'm not sure why anyone wanted to remake this specific material (James R. Webb's screenplay based on a novel by John D. MacDonald, revised here by Wesley Strick) since the premise of the film, an ex-con takes revenge on the man he blames for sending him to prison, is such a staple of melodrama. The only real twist to the premise is that the object of revenge is not the prosecuting attorney or the judge who sentenced Max Cady (De Niro), but his own defense attorney, Sam Bowden (Nick Nolte). Cady, while studying law in prison, learned that Bowden had suppressed evidence that he might have used at least to get a lighter sentence for Cady. (Bowden had been revolted by his client's rape and battery of a young woman.) Scorsese's version of the story is certainly watchable -- Scorsese has yet to make a film that isn't -- but it's just a melodrama ratcheted up to the heights. Scorsese has Freddie Francis film some dialogue scenes in closeups, with the camera slowly pulling in even closer on faces as the characters talk. But the one time Scorsese decides not to do this is actually the best scene in the film: when Cady talks with Bowden's daughter, Danielle (Juliette Lewis) on the stage of her high school's theater. Here the distance the camera keeps from them at first allows for a tension that grows in intensity, until finally the camera draws nearer. De Niro pulls out all the stops in a performance that earned him an Oscar nomination, but at times verges on self-parody, especially the Southern (?) accent that he adopts (and occasionally drops). Nolte and Jessica Lange (as Leigh, Bowden's wife) are fine, as one expects them to be, but the best performance is given by Lewis, who was 18 and makes Danielle a credible 15-year-old, her rebellious streak reinforcing her attraction to Cady at the same time that she knows to be wary of him. It earned her an Oscar nomination and launched her career. Robert Mitchum and Gregory Peck, the Cady and Bowden of the first film, appear in cameo roles -- a gimmick, and not an especially effective one.

#Cape Fear #Martin Scorsese #Robert De Niro

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