Richard Egan - Gale Page - Stephen McNally would have celebrated birthdays today #botd
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Character actor Stephen McNally as the cop
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Mara Corday-Stephen McNally "El hombre de Bitter Ridge" (The man from Bitter Ridge) 1955, de Jack Arnold.
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The Side Look of a Barcelonese #1 966 : A lone wind shaped tree In a peaceful landscape Hanging on in life © Stephen McNally :
The Side Look of a Barcelonese #1 966 :
A lone wind shaped tree
In a peaceful landscape
Hanging on in life
© Stephen McNally :
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Apache Drums (Hugo Fregonese, 1951)
Apache Drums (Hugo Fregonese, 1951)
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Woman in Hiding
Ida Lupino didn’t want to make Michael Gordon’s WOMAN IN HIDING (1950, Criterion Channel), and though it’s far from monkey dump, it’s easy to understand why. One of the toughest women on screen was being asked to play a near total victim, and she must have known the casting was wrong. At least the picture gave her a new husband and a chance to learn more about directing from Gordon before she embarked on her second film as director.
The film opens with Lupino’s car plunging into a river. As her grieving husband (Stephen McNally) watches the police drag the river, her voiceover says, “That’s my body they’re looking for.” That leads into an extended flashback revealing that McNally had courted the wealthy Lupino after her father’s death at the factory he owned and McNally ran. On her honeymoon, she’s confronted with McNally’s mistress (Peggy Dow, also cast against type) who reveals that her ex- and Lupino’s current had killed her father. Lupino takes off in the car only to learn the breaks have been cut. Back in the present, she decides to let everyone think she’s dead (which makes about as much sense as McNally’s plot to murder her) and takes off to find Dow, whose testimony can help her convince the police to arrest McNally. On the road, she meets Howard Duff, who starts following her around out of concern or lust or maybe greed (there’s a reward for finding her). So, yes, the plot is a lot of nonsense, though it’s interesting in that it’s clearly based on patriarchal power; nobody will believe a woman shouting murder.
Lupino is fine when she has lines, and the scenes of her burgeoning relationship with Duff are quite strong (they fell in love on the production and married a year later). But when she has to react in silent horror, it’s all wrong. She falls back on tired tricks like clutching her pearls and whipping her head around, and it’s hard to watch McNally manhandle an actress who in other roles would have smacked the snot out of him. Fortunately, Gordon, whose promising career would soon be cut short by the blacklist, has a great visual sense. He frames some terrific shots and the finale, in a deserted factory at night is a shadowy delight, shot by William H. Daniels. Joe Besser is a conventioneer, Peggy Castle a waitress and Tony Curtis the voice of a bus driver.
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Stephen McNally, Susan Cabot, and Audie Murphy during the filming of Don Siegel’s THE DUEL AT SILVER CREEK (1952)
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Lex Barker-Mara Corday-Stephen McNally "El hombre de Bitter Ridge" (The man from Bitter Ridge) 1955, de Jack Arnold.
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