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Martin Corona (Infante) and Eulalio Gonzalez "Piporro" are local heroes that help the poor, the unfortunate and women in need. But Carmen Linares and Rosario Medina - double character - performed in by Sara Montiel won't fall for Martin Corona's charms. Infante sings "Cuando el destino", "Copa tras copa" and "Carta a Eufemia". Jose Alfredo Jimenez sings "Paloma Querida" and "El Corrido de Martin Corona".
Here Comes....Piporro!!
Martin Corona,a Kind of Mexican Robin Hood or Don Quijote is performed by Pedro Infante in this film, with Eulalio Gonzalez "Piporro" as his old loyal squire in his first important role in his career and he does not demerit ,however have such important star as Pedro Infante at the top of his career, together made a very sympathetic couple and support the good office of Miguel Zacarias to get ,maybe his most important movie with Pedro Infante among the seven that they filmed together.
Zacarias got(maybe without intention)several memorable points in favor of his movie, for example to join for second time the international Spain actress Sarita Montiel and Infante(both had worked together for Miguel Zacarias in Necesito Dinero),to have the most popular song writer at that time, even acting in the movie(obviously almost an extra!),Jose Alfredo Jimenez, to give the opportunity of a young and charismatic actor interpreting an old man,Piporro, and the prestigious cinematographer Gabriel Figueroa with his beautiful views, all these ingredients more than its predictable plot made this film almost unforgettable.
Silver has been found on comanche territory and the government accomplished a peaceful agreement with the indians. When James 'Jim' Bowie comes into the scene he finds the white settlers living near by planning to attack the indians although they know about that agreement and the beautiful Katie seems to play a leading role in this intrigue.
Jim Bowie and Davy Crocket tangle with charming shrewish spitfire over treaty with Comanches
Before Maureen O'Hara got spanked on film by John Wayne for her shrewish behavior, she got kicked in the behind several times by Macdonald Carey(as newcomer Jim Bowie), while pinned under a table in a saloon fight. This was in retaliation for her general hostile attitude toward him and her refusal to cash his bank draft as president of the bank or as owner of the saloon in the frontier town of Crooked Tongue in Comanche territory, presumably somewhere in Texas in the 1830s. Probably, the town name had the same meaning to the Comanche as 'forked tongue': their impression of most Europeans. Well, Maureen, as character Katie Howard, had a right to be angry with this stranger, 'cause he busted up her show of riding from one end of town to the other without spilling 2 mugs of beer on a tray she was holding. He claimed it was accidental, but it didn't look that way to me or her. Also, he addressed her as 'a lady', which she took offense to(apparently preferring to be thought of more like a man). The give and take between Carey, or sometimes another, and Maureen provides most of the humorous aspects of this colorful Technicolor Western. I say colorful because Maureen is quite colorful in both a physical and personality sense. She even gets to sing a folk song in a saloon setting. In addition, the abundant outdoors scenes were mostly shot in the colorful Oak Canyon region, near Sedona, AZ. In several shots, the postcard Cathedral Rocks are clearly in the background.
You won't find a character listed in the credits as Davy Crocket, so why do I claim such in my title? One of the main characters is Daniel Seeger, played by Will Geer. In his eastern formal dress and top hat, he doesn't look anything like Fess Parker's later coonskin-capped film Davy Crocket. But he claims to be a long time frontiersman, Indian fighter/trader and sometimes congressman, and sports what looks like a Kentucky rifle. What historical figure who went to Texas and became a friend of Jim Bowie fits this description? Will Geer was quite a diverse character, with a degree in horticulture, a sometimes folk singer and always a willing advocate for radical political reform. In consequence, he would soon be blacklisted as a result of congressional communist witch hunting. But not before acting as Don O'Connor's buddy in the pirate spoof "Double Crossbones".
You may not be familiar with Carey as a Western leading man. I was not. He rather reminds me of Ray Milland. He may have lacked the larger-than-life physical image of the top Western leading men, but he proved a scrappy adversary of the evil and wrong-headed elements in this story, and his character eventually managed to make a friend out of Maureen's belligerent character, sealed in the parting shot, which you will like.
Now, what's all this talk about treaties between the US government and the Comanches? Remember, Texas at this time was still part of Mexico and would not become part of the US for another decade. Nonetheless, Sam Houston did arrive in Texas in 1833 to try to arrange a treaty between the US and Comanches. Mexican authorities were not amused and booted him out for a while. All the shenanigans in the film about disappearing and prospective treaty papers are pretty silly, although they form an important part of the plot.
What's all the fuss about a big silver strike in Comanche territory, that also is the central issue in the plot? I'm not aware of any such historical silver strike. However, it does have a slight historical basis. The real Jim Bowie did lead an expedition to central Texas in search of some diggings by Native Americans and , later, Mexicans, reputed to have yielded silver. But, nothing of consequence resulted. The screenplay story is quite different.
Overall, I found this quite an enjoyable film, with lots of humor, colorful characters, both hostile and friendly relations with Comanches, and insider, as well as outsider, badman elements. Most of the Comanches looked like real NAs. Probably, Quisima: the chief, is a corruption of the name of the last free Comanche chief: Quanah, historically relevant not for several decades later. The firearms generally had the look of the flintlocks of this period.
Along with "Against All Flags", released a couple years later, Maureen's character in this film allows her to be at her most charming shrewish spitfire self, and thus my favorite incarnations of her. Rather reminds me of my wife. Her spars with favorite leading man John Wayne in "The Quiet Man" and the much later "McClintock" may be much better known, but I prefer these two much shorter Universal films, which are now available as parts of cheap DVD sets of some lesser known films of that era.
A drifter lands a job as an officer in Mexico City's elite motorcycle police unit. Once there, he falls in love with a girl, who is also courted by his commanding officer. Both policemen try to avoid this from interfering with their friendship and profession.
Where have all the good movies gone?
It's rather joyful, sad, interesting and shameful to see that a movie made more than 50 years ago (in 1951) is much more appealing to see (and to see it all the way through) than those made within this year or for the past 5 years here in México.
I'm generalizing. True. But this kind of productions seem to be made with almost no effort (or budget) and still capture the attention of viewers.
Maybe because it stars two of the most sought of stars in those years: Pedro Infante and Luis Aguilar.
Maybe because Ismael Rodríguez directed it (one of the most prolific Mexican directors).
The movie sways through almost unbelievable coincidences and situations, but its two main actors charm saves whatever fault the script may have.
I'm beginning to realize I enjoy more and more old "Golden Age" Mexican movies. Like "Macario", or "Dos tipos de cuidado" (with Infante too), or "El rebozo de soledad", or the worldly acclaimed "Los olvidados" (by Luis Buñuel). It's just those types of movies you can rely on to have good heavy well rounded movie experiences.
Valdez López, Monterrey, México
Women wait anxiously at a minehead in Capodarso, Sicily. Their men are underground. The mine is closing and the miners refuse to come up unless the owner relents. After three days, they give up in despair... In a bar in town, Ciccio is recruiting workers for jobs in France. He can get people over the border - for L20,000 a head. Enough people to fill a bus sell their belongings to pay the fee, including Saro and his 3 young children, and Barbara and her man Vanni, in trouble with the law and desperate to flee Italy. After reaching Naples by train, Ciccio tries to slip away but is grabbed by Vanni. Vanni tells Barbara where to meet at the border if anything should go wrong. In Rome, Ciccio points out Vanni to the police. In the shoot-out, both Vanni and Ciccio escape. The others are arrested. They are ordered by the police to return to Sicily or be charged with "illegal expatriation". With Saro as leader, and nearly out of money, they head north instead. Hardship draws Saro and Barbara...
Sicilian miners and their families make their way to France in search of work and a better life
I have the honor of being the first to review this superb film.
The story opens with workers in a Sicilian sulfur mine on strike 400 meters below the earth's surface. The mine is no longer profitable and they have no other source of income. We come to know them and their women folk, as they decide to be guided to France where there is the promise of work. Raf Vallone plays Saro, their unofficial leader. He is the widowed father of 3 children. Joining their group is Barbara, a young unmarried woman living with the disreputable Vanni who is a lawbreaker. There is the older accountant, and a young couple who marry just before departing. And there are several young men, including a singer and guitarist.
When they get to Rome, they run into police problems due to Vanni's presence. Later they must face and surmount yet other obstacles as their guide has abandoned them.
The screenplay has 2 credits and the story has 3 credits, including Frederico Fellini and the director Pietro Germi. They miss no opportunity to draw out the human element, often in small bits and pieces of action, and these small details are what contribute to making this a great picture. But really the larger bits of action equally add to the impact. There are no moments of screen time in which we are not involved intensely with some revelations of character, or the social conditions, or the human conditions. There is enormous understanding and empathy going into what we see on the screen. Even more amazing is that the direction and cinematography bring this out in the acting, which is always completely natural. The film editor has known exactly when to show us a hand, an eye, a look, a stare, a smile, a tear, a panorama, a knife, and for how long to show them. And the music score fits them.
A great deal of the picture is filmed outside studios, in town, city, farm, pastoral and mountain locales. While it is all natural, the filmmakers have evidently exercised great care in composing the shots to heighten the communication and impact. The same is the case for the interior shots, and they use deep focus photography quite often, with figures in the foreground and background being shown with subdued lighting. Evidently, great skill was used in creating what we see on the screen. Neo-realism is not merely filming reality. It actually is the creation of a new heightened experience that uses a palette of the real.
The overall effect is highly emotional. Adding to it are the background reactions of the supporting actors to the main actions. These are always of interest and utterly natural, even when or especially when the children are involved. The directing is excellent.
The gripping nature of this film and perhaps all neo-realist films of the period may be arising from the unpredictable course of the story. In that respect, it mirrors life itself. There are several occasions in this story when surprise "switches" occur that turn the action 180 degrees in an opposite direction for at least some of the characters, and yet these switches are entirely natural and not concocted. We come to moments where a decision has been taken, it seems, and yet just as naturally, the opposite occurs within a few moments as people change their minds. Or else, we come to places where we can't predict what a person will do, and we wait to see what he or she is going to decide. And we are involved with them as this happens.
This is really a stupendous film and a tremendous credit to Italian neo-realism. There is a temptation to compare it with other such great works like "La Strada" and "Open City", but rather than succumb to that, I'd rather just say that this cinema, this body of work, is very simply all a treasure for viewers and for filmmakers of today and tomorrow.
Once, magnate Major Singleton ran the Royles out of the Kingsmont tobacco country for daring to make lowly cigarettes. Now in 1894, Brant Royle, last of his name, is back. Forceful and macho, Brant intends to re-establish his family no matter what it takes. Two lovely women have waited for him: bordello keeper Sonia, with love; Singleton's daughter Margaret, with hatred and desire. As automation rears its head, the struggle attains an epic quality. Will Royle Cigarettes flood the market? Will Brant pick the wrong woman?
Coop and the tobacco industry
This 1950 film starred Gary Cooper, Lauren Bacall and Patricia Neal in the leading roles and brought drama within the tobacco industry, although in the 50s it was okay to smoke. Doubt this film could make it this day and age.
Interesting to see real-life lovers Cooper and Neal tear up the scenery with their love scenes. Cooper seemed a bit on the reserved side even though he was out for revenge. But, that's Coop. He's a master of do nothing on the screen and manages to hold his own. Spencer Tracy is another one of those dynamic actors. Here he plots to take over the tobacco industry from a man (splendidly played by that veteran character actor of distinction, Donald Crisp) who in the past had run him out of town for kissing his daughter (yes, just kissing) played by the lovely Patricia Neal.
In the meantime Coop courts long time girl friend, Lauren Bacall, somewhat miscast in this, for money to start up a cigarette making factory invented by Jeff Corey, another great actor. Lauren doesn't look her best in this. How can we forget all those marvelous Bogart/Bacall films with her slinky hair and sultry body. In this her hair is up and curled and her gowns of the period don't look good on her. Bring Baby back. She doesn't have the chemistry with Cooper as she did with Bogart. And obviously the chemistry was flying with Neal and Cooper instead.
Also in the cast are Jack Carson, in a small and not so well written role that wasted this fine actor. Gladys George (remember her in MADAME X) was also wasted in a thankless role.
However, it's fine drama of the time and good to see the stars playing out their roles.
I prefer to remember Coop in such films as SERGEANT YORK, FOR WHOM THE BELL TOLLS, SARATOGA TRUNK, FOUNTAINHEAD, HIGH NOON and ALONG CAME JONES.
A gentleman by the name of Bachi dies but can't be admitted into heaven because of an evil action committed during his lifetime. He is given the opportunity to return to the living for a half day. Finding himself embroiled in an amorous relationship, the gentleman forgets what he had permission to come back to the living for. Back at the gate of Saint Peter's, he feels he has lost his last chance and is doomed. Instead he discovers that that half day, and its chance to love, has redeemed him.
The U.S. government recognizes land grants made when the West was under Spanish rule. This inspires James Reavis to forge a chain of historical evidence that makes a foundling girl the Baroness of Arizona. Reavis marries the girl and presses his claim to the entire Arizona territory.
Price is excellent in an off-beat role for him
"Baron of Arizona" is a quirky,excellent film. The fact that the main character is based upon an actual one-time real person makes it even more interesting. Price is excellent in the title role and makes you almost want him to succeed.....I emphasize almost! The supporting cast,especially Drew,also perform well. This is an overlooked,but well done film. Of course,with Samuel Fuller in charge,that's not unusual. The action is not really what draws one to watch this film; the story itself is enough to make it an interesting and watchable film. Many of the characters add a great deal to the story itself,even though at times one gets the impression that some of them are there for continuity more than realism.HIGHLY recommended.
A good-for-nothing sailor walks out on his young family leaving them to fend for themselves in the Liverpool slums. They make a go of their lives and the eldest daughter, now a woman, is none too pleased at her father's attempted return.
Lack Of Versimilitude does not hamper well acted film
Given that this film was set in Liverpool what one has to ask is why are the actors all using different accents.For some reason the director clearly equates anywhere up North with a mancunian accent instead of the scouse accent.Of course dear old Robert Newton eyes rolling in anticipation of his part as Long John Silver,veers from Cockney to mumerset.Newton was such a fine actor your attention is drawn to him from beginning to end.He is supported by such a great cast.A very young Richrad Burton as a jobless ships engineer,Kathleen Harrison as the usual harassed mother and Kenneth Griffiths playing what one assumes to be a spiv.The camera work is first class particularly eye catching being the fight outside the pub.One could almost call this a British film noir.This film is sadly neglected and doesn't get any showing on TV.
Left alone after her mother runs off with another man and her father kills himself, Elena attempts to make a new life for herself in a new city. Believing he's a friend, Elena goes to dinner with "Pretty Boy" Lucio, but he drugs her champagne and sells her to Rosaura, who runs a brothel out of her nightclub. Elena becomes a sensation as a dancer, but all the while she nurtures plans of revenge against those who have conspired against her.
A camp classic
The best known in a series of lurid "Rumbera" films, a genre peculiar to Mexican Cinema which combines noir and musical numbers, and usually takes place in the underworld of nightclubs and gangsters. Starring Cuban actress Ninón Sevilla and directed by Alberto Gout who directed her in other similar films with names such as "Perdida" and "Sensualidad". Over the top photography and acting has to be seen to be believed. The image of the star in her "pineapple hat" is memorable. A campy stage show was created in the 1990's based on the film and is still running today in Mexico City. The great Andrea Palma appears in her later, matronly, manifestation as the "madam".
A dog's life...for performers in provincial theatres.
(Spoilers included) I would characterize this film as a delightful discovery for me. It is a comedy-drama about a troupe of third-string variety-act performers who tour Italy's provinces putting on shows in decrepit movie theatres.
It bears a great deal of resemblance to VARIETY LIGHTS, Fellini's first film (co-directed by Alberto Lattuada), which was made around the same time. The troupe leader, as well as singer of comedic songs, is Nino Martoni (Aldo Fabrizi) who must use every resource available to him to have his company stay afloat. And times are tough
insufficient box office, mounting company debts, no money to pay performers, train fares, hotels, restaurants.
Much of the film involves the lives of three of the women performers. There's Franca (Tamara Lees) who is engaged to Carlo (Marcello Mastroianni in one of his earliest appearances). She leaves him to attempt to find fame and fortune in show business. There's Vera (Delia Scala) who finds true love during the course of the movie, and Margherita (Gina Lollobrigida) who has show business in her blood, is devoted to Martoni during good times and bad, and ends up by film's end with a first rate company. Franca, on the other hand, in marrying a rich industrialist for his money, and realizing she has lost her true love in the process, commits suicide by jumping out a window.
The cast is an incredibly good array of the Italian screen's top performers. Fabrizi's weaselly manner is a wonder to behold, and his scene with a hotel manager unwilling to accept a check in payment for the troupe's stay is a little masterpiece. Nino Rota did the nice musical score as well as providing some of the song numbers, along with Fabrizi and Mario Ruccione. They have real appeal.
Directed by Mario Monicelli and Steno (Stefano Vanzina), both major directors of comedy for many decades to follow, the movie deserves to be resurrected and shown in "commedia all'italiana" programs.
The U. S. Marine Corps hymn starts with"From the halls of Montezuma to the shores of Tripoli", and this film's story purports to be the reason why, and is give or take a few incidents in this movie: It is 1805 and the Tripoli pirates have challenged America's right to freedom of the seas---all of them, anywhere---so United Stares warships were sent to that port to bottle up their fleet and set the riff-raff right concerning who could sail where. (History begins to suffer a bit along about this point.) A U. S. Marine unit, headed by Lieutenant O'Bannon, was sent to attack them from the rear. He organized his unit around Hamet, Pasha of Tripoli, in exile after being overthrown by his brother. In Hamet's court was Sheila D'Arneau, a diploma's daughter, who disguises herself as a dancing girl, and joins the group of eight U. S. Marines and Hamet supporters in their march across the Libyan desert. O'Bannon and Shelia argue all the way to Tripoli.
nerdy americana
kenneth roberts deserves credit as the author of a book made into two separate movies: (a) Lydia Baily a serious movie which explores the racial conflict in the haitian rebellion when Afro-French (Haitians) claimed the rights of Frenchmen to Liberte Egalite et Fraternite and (b) regrettably Tripoli, america's war with certain peoples of a near eastern background, the radicals of their time belonging to a certain religious grouping.
the movie is nerdy in its presentation of american fighting men confronting the culture of the exotic near east. particularly the movie makes LT O'Bannon into a sexually repressed nerd, unable to speak in the presence of beveiled women.
I gave this movie a six instead of the zero it deserves because the young american republic is so poorly represented in the cinema.
Kim, a young boy living on his own on the streets of India, is actually the son of a British officer. He meets a lama, a holy man, and devotes himself to his tending. But when British administrators discover his birthright, he is placed in a British school. His nature, however, is opposed to the regimentation expected for the son of a British soldier, and he rebels. His familiarity with Indian life and his ability to pass as an Indian child allows him to function as a spy for the British as they attempt to thwart revolution and invasion of India. Rejoining his holy man, Kim (with the help of daring adventurer Mahbub Ali) takes on a dangerous mission.
Grand retelling of wonderful story, Flynn still shines
This is a grand retelling of a wonderful story, with Flynn still shining through, though he is not in fact the main character in the tale. Young Dean Stockwell is the person who is on camera on almost every scene and he shows swagger and plumb that indicates a real talent and understanding of his part. While Flynn was certainly nearing the end of his career, he still showed he still possessed his outstanding ability to play parts such as his "horse trader" in this costumer, which no actors alive today, save Peter O'Toole or Sean Connery - who not surprisingly made another outstanding Kipling piece into the movie - "The Man Who Would Be King", are able to match. The movie is highly entertaining and the supporting players are veterans all and play their parts very well.