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#prison films
mabusecaligari · 5 days
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The Ghost that Never Returns (Privideniye, kotoroye ne vozvrashchayetsya, 1930) - Abram Room
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Untamed Youth
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Mamie Van Doren helped bring rock and roll to the movies and burlesque to rock and roll. When she performs “Obala Baby” in Howard W. Koch’s UNTAMED YOUTH (1957, TCM, YouTube), the camera dwells on her posterior as she shakes in rhythm to the song. She’s not a bad singer, but in most numbers she’s more contralto than belter, which puts her a step or two away from Mrs. Miller (look it up, you young whippersnappers!). Of course, nobody came to hear her sing. They came to watch her wriggle through her numbers, most of her steps, according to her, improvised. She performs four of the film’s five songs, with the other done by Eddie Cochran, who would go on to become an acclaimed rocker but here seems like a bad Elvis Presley imitator. Most of the songs are extemporaneous performances while the untamed youth of the title relax after a hard day’s work on a cotton farm. They’ve been sentenced there by a local judge (Lurene Tuttle) who provides unpaid labor to farmer John Russell in return for certain, shall we say, intimacies. They’re not all that intimate — this is the 1950s, after all — and she has trouble even getting him to share a drink with her since he’s also using his position to extort sex out of the female inmates. At one point he says, “I don’t like tramps — male or female,” which might suggest he’s not limiting his attentions to the women, but this being a 1950s movie we’d never know if he were. It’s all pretty flatly written and directed except for the dance scenes and an opening escape attempt played under the credits. Some of the dancers are quite good, and Jered Barclay has a funny bit as an inmate who refuses to give in to the rock and roll magic. There’s some good photography of the Bakersfield locations, and cinematographer Carl E. Guthrie gets some nice noir effects in the night scenes. Van Doren plays the young innocent here, which doesn’t quite go with her dancing style, and Tuttle has horrible material with which to work, but Lori Nelson, as Van Doren’s sister, has some good tough girl moments that show she could be more than a perpetual ingenue. The closing number, “Go, Go Calypso” is such an arrant piece of cultural appropriation — with lines like “If I’d known you were coming, I’d have baked a…rum cake” and “Me talkie funny. I take de money. I get de jiggles. Everything wiggles!” — it could be considered an act of international aggression.
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k-wame · 3 months
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JACOB ELORDI He Went That Way (2023) dir. Jeffrey Darling
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weaponizedducks · 3 months
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consuming media with my family i'm the only one that knows all media is gay
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Arthouse Muppets
The Prisoner featuring Fozzie, Statler And Waldorf
Art by Bruce McCorkindale
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365filmsbyauroranocte · 2 months
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Manhunter (Michael Mann, 1986)
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3zethe3zr · 3 months
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Working on a stp au, so take the designs of the protagonists: two dysfunctional and amnesiac detectives and their equally dysfunctional amnesiac client! This surely can't go horribly wrong!
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gothsugarbunnidisco · 2 months
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just two men as god had made them i guess
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zanephillips · 1 year
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Miguel Herrán in Modelo 77 (2022)
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mrs-sharp · 3 months
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I miss him.
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respectthepetty · 5 months
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Maison is french from "home"
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And the two horror anthologies Mork and Day watched were about being confined to one space.
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4BIA - The first story deals with a lonely woman with a broken leg stuck in her apartment and communicating with a stranger via text.
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The story they were watching was about a princess haunting a flight with only one other passenger after dying from an allergic reaction which that passenger caused.
Phobia2 - The first story deals with a boy being sent to a remote temple for his misdeeds for which he can't escape. Another story is about a boy who breaks his legs from being careless and being admitted in a hospital overnight for which he can't escape.
So for the most part, although they are all confined to one space, the protagonists are the reason they are stuck in that one space.
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Like a prison of their own making.
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Good thing this isn't a horror film though.
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for @dribs-and-drabbles
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theazkabandreamer · 18 days
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If you want to kill Harry, you'll have to kill us too.
Ron Weasley in the Shrieking Shack.
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The Miseducation of Cameron Post
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The neo-liberal version of the classic prison film is probably the gay conversion camp story. That’s not necessarily a bad thing. The stock characters — the innocent newbie, the rebel, the stoolie, the sadistic warden/matron/guard/whatever — serve such stories well and provide familiar touchstones for contemplating the horrors of attempting to cure something that’s not an illness. Two examples of the sub-genre came out in 2018, Joel Edgerton’s BOY ERASED and Desiree Adhavan’s THE MISEDUCATION OF CAMERAON POST, which leaves The Criterion Channel July 31. Chloe Grace Moritz stars as an orphaned teen whose sexual experimentation with her best friend gets her sent to God’s Promise, a conversion camp run by ex-gay John Gallagher, Jr. and his sister, possibly the world’s worst therapist, played by Jennifer Ehle without a trace of actor’s vanity. THE MISEDUCATION OF CAMERON POST lacks the star wattage of BOY ERASED, but that also means it lacks the other film’s sense of star determinism, the thought that actors we admire will come out on top. As a result, there’s a great deal of suspense as to whether Moritz will give into the training at God’s Promise or rebel. Adhavan directs with simplicity and humanity.  We never laugh at the students, even the most brainwashed, and Gallagher, who completely embodies his character, offers a very sad picture of someone who’s sacrificed his true nature. One could make the case that Ehle is too much of a villain There’s only one hint, rather late, that she has any doubts or insecurities. The rest of the time, she’s the spokesperson for the ignorance and hatefulness behind anti-gay movements. It’s very satisfying to yell at her when she says things like, “Would you let drug addicts throw parades for themselves?” But when Moritz’s aunt and guardian (Kerry Butler, who does a lot with very little screen time) tells her she has to stay at the camp because “Don’t you want to have a family some day?” the ignorance is chilling, particularly when you think of its consequences in U.S. life and politics.
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oopsdevil · 13 days
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since im shadowbann*d on tiktok ;((
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kpfun · 2 years
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Mysterious thing, time. Powerful, and when meddled with, dangerous. HARRY POTTER AND THE PRISONER OF AZKABAN 2004 • dir. Alfonso Cuarón
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Arthouse Muppets: Statler And Waldorf
Art by Bruce McCorkindale
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