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#lee garmes
sesiondemadrugada · 6 months
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Scarface (Howard Hawks & Richard Rosson, 1932).
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gatutor · 2 years
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Joanne Dru-John Ireland "Territorio prohibido" (Hannah Lee: An american primitive) 1953, de John Ireland, Lee Garmes.
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bigspoopygurl · 2 years
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Gone with the Wind (1939)
“No, I don't think I will kiss you, although you need kissing, badly. That's what's wrong with you. You should be kissed and often, and by someone who knows how.”
Directors: Victor Fleming, George Cukor, Sam Wood
Cinematographer: Ernest Haller, Lee Garmes
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filmy420 · 3 months
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Confederate Propoganda Film
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thebrownees · 8 months
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For almost sixty years he was the ONLY director whose film WON Best Picture (Grand Hotel 1932) but he was NOT nominated for Best Director.
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holymovies · 4 months
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Douglas Fairbanks, Rita Hayworth in ANGELS OVER BROADWAY, 1940. Directed by Lee Garmes
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nine-frames · 4 months
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The Desperate Hours, 1955.
Dir. William Wyler | Writ. Joseph Hayes & Jay Dratler | DOP Lee Garmes
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byneddiedingo · 8 months
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Gregory Peck and Jennifer Jones in Duel in the Sun (King Vidor, 1946)
Cast: Jennifer Jones, Gregory Peck, Joseph Cotten, Lionel Barrymore, Herbert Marshall, Lillian Gish, Walter Huston, Charles Bickford, Harry Carey, Tilly Losch, Butterfly McQueen. Screenplay: David O. Selznick, Oliver H.P. Garrett, based on a novel by Niven Busch. Cinematography: Lee Garmes, Ray Rennahan, Harold Rosson. Production design: J. McMillan Johnson. Film editing: Hal C. Kern. Music: Dimitri Tiomkin.
This is a bad movie, but it's one distinguished in the annals of bad movies because it was made by David O. Selznick, who as the poster shouted at moviegoers, was "The Producer Who Gave You 'GONE WITH THE WIND.'" Selznick made it to showcase Jennifer Jones, the actress who won an Oscar as the saintly Bernadette of Lourdes in The Song of Bernadette (Henry King, 1943). Selznick, who left his wife for Jones, wanted to demonstrate that she was capable of much more than the sweetly gentle piety of Bernadette, so he cast her as the sultry Pearl Chavez in this adaptation (credited to Selznick himself along with Oliver H.P. Garrett, with some uncredited help by Ben Hecht) of the novel by Niven Busch. Opposite Jones, Selznick cast Gregory Peck as the amoral cowboy Lewt McCanles, who shares a self-destructive passion with Pearl. Both actors are radically miscast. Jones does a lot of eye- and teeth-flashing as Pearl, while Peck's usual good-guy persona undermines his attempts to play rapaciously sexy. The plot is one of those familiar Western tropes: good brother Jesse (Joseph Cotten) against bad 'un Lewt, reflecting the ill-matched personalities of their parents, the tough old cattle baron Jackson McCanles (Lionel Barrymore) and his gentle (and genteel) wife, Laura Belle (Lillian Gish). Pearl is an orphan, the improbable daughter of an improbable couple, the educated Scott Chavez (Herbert Marshall) and a sexy Indian woman (Tilly Losch), who angers him by fooling around with another man (Sidney Blackmer). Chavez kills both his wife and her lover and is hanged for it, so Pearl is sent to live with the McCanleses -- Laura Belle is Chavez's second cousin and old sweetheart -- on their Texas ranch. It's all pretentiously packaged by Selznick: not many other movies begin with both a "Prelude" and an "Overture," composed by Dimitri Tiomkin in the best overblown Hollywood style. It has Technicolor as lurid as its story, shot by three major cinematographers, Lee Garmes, Ray Rennahan, and Harold Rosson. But any attempt to generate real heat between Jones and Peck was quickly stifled by the Production Code, which even forced Selznick to introduce a voiceover at the beginning to explain that the character of the frontier preacher known as "The Sinkiller" (entertainingly played by Walter Huston) was not intended to be a representative clergyman. There are a few good moments, including an impressive tracking shot at the barbecue on the ranch in which various guests offer their opinions of Pearl, the McCanles brothers, and other things. Whether this scene can be credited to director King Vidor, who was certainly capable of it, is an open question, because Vidor found working with the obsessive Selznick so difficult that he quit the film. Selznick directed some scenes, as did Otto Brower, William Dieterle, Sidney Franklin, William Cameron Menzies, and Josef von Sternberg, all uncredited. The resulting melange is not unwatchable, thanks to a few good performances in secondary roles (Huston, Charles Bickford, Harry Carey), and perhaps also to some really terrible ones (Lionel Barrymore at his most florid and Butterfly McQueen repeating her fluttery air-headedness from GWTW).
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thorraborinn · 2 years
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Other than Garm and like the obviousl wolf motifs and stuff in Nordic mythology are there any mythological connections to domesticated dogs and hounds. Any runes that might technically represent them. I know the “Vikings” had domestic dogs for hunting. But they don’t seem as prominent as wolves, ravens, horses, boar, snakes, and cats.
In what is normally referred to as "mythology," not really, but there are a few notable dogs in medieval Scandinavian literature.
Saurr ('dirty') is a dog who is briefly king in Þrándheimr (Trondheim) in Heimskringla. Eysteinn illi of Uppland conquered Trondheim and asked whether they would rather be ruled by his slave or his dog. They chose the dog, because that seemed no different from self-rule to them. They used seiðr to imbue him with the wisdom of three men and a small amount of ability to talk. He seems to have been actually pretty good as kings go, and died defending their livestock from wolves. A dog-king also occurs in Chronicon Lethrense (note that in this translation, "Lee" and "Snio" are Hlér and Snær, jötnar, the former being an alternate name for Ægir in most Norse mythology from Iceland, the latter whose name is 'snow,' normally the grandson of Ægir's brother Kári the wind and father of Þorri, whom my blog is named after).
There's also Sámr, the extraordinarily intelligent dog in Njáls saga (warning: he dies); and also Snati the dog from Bárðar saga Snæfellsáss who is also super-intelligent, and said to be as helpful in battle as four men. Bárðar saga is borderline mythology, it's usually classified along with the Icelandic family sagas (Íslendingasögur) but much more closely resembles a fornaldarsaga or even a fairy tale.
There are other named but mostly mundane dogs in sagas, and I'm probably missing some.
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mykristeva · 2 years
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Cinematographer Lee Garmes won an Academy Award in his category for Shanghai Express, 1932.
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sesiondemadrugada · 7 months
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Scarface (Howard Hawks & Richard Rosson, 1932).
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gatutor · 1 year
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Thomas Mitchell-Constance Worth "Ángeles sobre Broadway" (Angels over Broadway) 1940, de Ben Hecht, Lee Garmes.
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victvideo · 1 year
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Shanghai Express (1932)
Directed by Josef von Sternberg Cinematography by Lee Garmes Starring Marlene Dietrich, Anna May Wong, Clive Brook
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Image description: Shanghai Lily (Marlene Dietrich) looks inside through a window, with her face visible and her left hand touches the glass.
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filmy420 · 3 months
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Fuck the Confederacy
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Douglas Fairbanks Jr, Constance Worth and an unidentified man in the back row, and Rita Hayworth, Thomas Mitchell, and John Qualen seated in front in a publicity still for Angels Over Broadway (1940) written and directed by Ben Hecht, co-directed by Lee Garmes.
This is Ben's third honorable mention, after The Scoundrel and The Specter of the Rose.
This is Lee's fifth honorable mention, after cinematography credits for Jungle Book, Cobra Woman, Since You Went Away, and Lady in a Cage.
Ben and Lee collaborated on an entry among my best 1.001 movies: Crime without Passion.
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project1939 · 2 months
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100 Films of 1952 
Film number 99: Actors and Sin 
Release date: May 29th, 1952. 
Studio: United Artists 
Genre: drama/comedy 
Director: Ben Hecht, Lee Garmes 
Producer: Ben Hect 
Actors: Edward G. Robinson, Eddie Albert, Marsha Hunt 
Plot Summary: This is actually two short films back-to-back. The first is Actor’s Blood, a melodrama about a father and daughter’s changing fortunes in the theater, and the second is A Woman of Sin, about a Hollywood agent who discovers the author of a hot new screenplay is a nine-year-old girl. 
My Rating (out of five stars): ** 
Yikes, this one was bad. (Or these two, I suppose, given it is two films in one?) The first film asks the question “What if we merged All About Eve and Sunset Boulevard in the worst possible way?” The second one is essentially a 45-minute joke. “Knock knock!” “Who’s there?” “Stupid!” “Stupid who?” “Hollywood producers are so stupid they would think a screenplay written by a 9-year-old is a masterpiece!” 
The Good: 
Eddie Albert was at least somewhat amusing as the Hollywood agent in the second section. 
Edward G. Robinson. He definitely overacted in a ridiculous melodramatic way, but I think that was probably the direction he was given. In any case, I love him, and his presence on the screen makes me happy, no matter how bad the material is. 
The film did a lot of name dropping of real Hollywood producers- Mayer, Warner, Goldwyn, Selznick, etc, which was kind of fun. The best part, though, was when a character said, “Selznick called,” but the subtitles read “Sweitzer called.”!!? 
The Bad: 
The quality of both films was not very good, and the split format didn’t work for me. The juxtaposition was jarring, and the only thing the two had in common was a seedy cynical look at the entertainment industry. 
The writing was terrible. I expected much better from Ben Hecht. The dialogue was pompous and stilted- it was trying way too hard to sound witty and sophisticated, and it failed. It was cringy. 
Was the first section supposed to be funny? I expected the opening scene of the film to turn out to be a parody, and I was horrified to realize it wasn’t. At least not obviously. I don’t really know how much humor I was supposed to find in it, but it didn’t succeed at either melodrama or dramedy. 
Marsha Hunt as Marcia Tillayou. Tillayou was an awful character with an awful name, and Hunt was pretty awful herself. I kept thinking it was meant to come off like All About Eve, but Hunt was the most inferior Margot Channing you could find. Nothing about her was appealing.  
The transparent predictability of the first film. I called the “murderer” from literally the first scene! 
The characters in the first film were all bland, undeveloped, and uninteresting. 
The second section was essentially a way too long drawn out joke- it might have worked as an SNL skit, but not as a 45 minute film. It was all one note really, and the kid gag got old very fast. 
There were running “jokes” of the Hollywood agent suddenly making out with his secretary that were kind of awkward and gross. 
Fat shaming a kid, really? The agent called a 9-year-old girl “fat” a couple of times. She was literally like a bean pole, for goodness sake! 
I don’t want to heap criticism on a child actor, but the girl who played Daisy in this was not good enough to carry a film of this length. She wasn’t bad, but it would have been funnier with a more skilled actress. But she was also the director/producer/writer’s kid in real life. So yeah. 
The ending of the second film was extremely unfunny. It was just a cringy cap on a cringy film. 
The title. Actors and Sin would be silly enough, but it is technically Actor’s and Sin, given that it’s an abbreviation of Actor’s Blood and A Woman of Sin. But part of my soul will literally die if I actually type Actor’s and Sin without an explanation! 
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