It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
I loved it when I was 9 when it came out. It didn't age well but I did like the song.
Deeper Underground is a good track I have it on I forget which Jamiroquai Album, I have all there Albums.
The design of Godzilla years later really does not work.
The problem with this Godzilla is that it wasn't really Godzilla but something closer to the Jurassic Park T-Rexes.
I still somewhat like the film as one of those enjoyable failures. But I agree it hasn't aged well.
I agree that was my first thought when it emerged from the Ocean and walked in the city. The baby Godzillas borrowed slightly from the Raptor design in Jurrasic Park.
Among hardcore “G” fans, the 1998 version of Godzilla is known as GINO – Godzilla In Name Only!
There is a great scene in “Godzilla:Final Wars” (2004/Toho), where the “real” Godzilla makes quick work of the 1998 version and one of the film’s characters remarks: “I knew that tuna eating monster was good for nothing.”
:))
We did get a good cartoon out of the 98 movie, though.
Directed by: Joseph H. Lewis,
Cinematography by Russell Harlan
Screenplay by Dalton Trumbo as “Millard Kaufman”)
Annie Laurie Starr: Bart, I've been kicked around all my life, and from now on, I'm gonna start kicking back. I want a lot of things - big things!
Forgive me fellow MI6’ers for the length of this post, but I’ve fallen completely in love with this film.
Over the past several years I’ve become a fan of “Film Noir”, and even purchased several books on the subject, including Taschen’s “Bibliotheca Universalis.” Appropriately, actress Peggy Cummins (as Gun Crazy’s Annie Laurie Starr) is on that book’s cover.
While not a hit on its’ release in early 1950 (under the title “Deadly Is the Female”), this film has obtained cult status over the years and the character of Annie Laurie Starr is now recognized as one of Noir’s all-time fem-fatales.
At its’ heart, Gun Crazy can be seen as a precursor to 1967’s “Bonnie and Clyde” (**) in that we have a crime spree undertaken by two young lovers (Annie “Lourie” Starr and John Dall’s Bart Tare) that eventually leads to their – quite fatal - downfall. What is notable, however, is that in “Gun Crazy” the female character is the main protagonist. While Bart loves guns, due to a childhood incident he doesn’t want to actually hurt or kill anyone. Annie, as we soon learn, doesn’t operate under those self-restrictions. Bart may be a top marksman, but once Annie raps him around her little fingers, he is under her spell and his fate is sealed.
For a movie filmed in 1949, I was surprised by the “sexualization” of Annie and Bart’s exploits. For example, the scene where Bart (John Dall) first meets Annie - at the carnival where she entertains as a sharp shooter. Here, their shooting contest works as a kind of sexual foreplay as they measure each other up. And later, after they drive off after a bank robbery, the look on Annie’s face is almost one of arousal.
Is Annie evil? Well not really. While she wants money and excitement, her love for Bart is sincere. There is a scene after their final robbery, where they agree to split up for a few months in-order to evade the law. Driving off in separate cars, Bart and Annie go a short distance, and then simultaneously turn back and embrace. They have decided to meet their fate – together – because they genuinely love each other and neither can live without the other. Because of now well this noir incorporates their romance into the story, I’ll admit, that there were times when I was hoping that they would get away. The film code of the day, however, wouldn’t have permitted that, so we know it won’t end well for these kids. I won’t spoil the ending, but lets’ just say that Bart does ultimately kill someone before he, himself, is gunned down.
While “Gun Crazy” was typical low-budget Hollywood “b-movie” of that period, it – surprisingly - has a polished first class look. Part of that is due to the first-rate cinematography of Russell Harlan (“Red River” (1948), “Rio Bravo” (1959), “To Kill a Mockingbird” (1962) are among his many credits.) Also, unlike many film-noirs, a lot of the action takes place during the day time and was filmed on-location.
The other factor that makes this film so memorable is the two leads: Peggy Cummins and John Dall. To quote a tweet made during its’ most recent showing on Turner Classic Movies: “The chemistry and contrasts between Cummins and Dall is extraordinary. One is in complete control, command and scorching hot. The other, edgy and wrestling himself.”
John Dall (1920 – 1971, “Rope” (1948), “Spartacus” (1960)) had a short film career, but he is well cast here as the somewhat reluctant partner in crime. He has just the right balance of “golly gee” innocence and wisdom to know that he is now living a nightmare. Peggy Cummins (1925 – 2017), also had a short film career ("Night of the Demon" (1957) being her other standout role), but here….WOW, just WOW. She is electric!!! Born in Wales, she normally played “good girls”, so this role gave her an opportunity to play against type and she ran with it…….
A special note must be made about a quite innovative shot (for 1950, anyway), in which we see them rob a bank – as one long continuous shot. And according to Ms. Cummins, much of the dialog as they drove up to the bank was adlibbed (i.e., the actors really were worried about finding a parking space as they drove up to rob the bank).
I can’t recommend this film enough, especially if you’re a fan of film noir and/or “lovers on the run” movies.
** According to the book “Gun Crazy: The Origin of American Outlaw Cinema” (Eddie Muller, 2014), when Francois Truffaut met with Bonnie and Clyde’s screen writers (Robert Benton and David Newman) to discuss possibly directing that film, “Gun Crazy” was screened for inspiration. By some accounts the real-life exploits of Bonnie and Clyde inspired the screenplay of this film, so things truly came full circle. And, if Faye Dunaway’s signature beret in that film seems a bit familiar, look – again – at the photo of Ms. Cummins above! Also, take note of the movie being played during “Breathless” (1983) is “Gun Crazy” since, according to some accounts, it was influential in the development of the original 1960 film.
Bart Tare and Annie Starr “meet cute”? No, they “meet crazy”!
Annie weaves her web (“I want things…big things, I want a guy with spirit !!!)
And since, YouTube has…everything, a nice musical montage of “Gun Crazy” set to the song “Satellite” by alternative band Oona Ruin:
And just one more of Ms. Cummins….WOW, just WOW!
“All you need to make a movie is a girl and a gun” - Jean-Luc Godard (although he denied saying it). Better still, make it about the girl and the gun like “Gun Crazy”!
If someone had told me five years ago, that I would grow to love film noir my likely response would have been: “Film Noir? What is that?” But, after watching “The Breaking Point” (1950, John Garfield) and “Double Indemnity” (1944, Fred MacMurray and Barbara Stanwyck), I was hooked. Maybe it’s the fatalism of these films that appeals to me.
Thanks for the “Violent Saturday” recommendation. My understanding is that a color film from this era can still be considered film noir – provided that it has the required tone and structure. They are very rare, however. “Party Girl” (1958, directed by Nicholas Ray in part) is the only one that comes to mind – and even that is a weird hybrid.
Looking forward to watching “Sweet Smell of Success (1957)” tonight.
Big fan of noir myself and just got a copy of DOUBLE INDEMNITY recently. Another great noir. OUT OF THE PAST is probably my most favorite noir. Have you seen DETOUR? That's another one of my favorites.
The definitive Secret agent man ? ;)
Alotta Fagina is in it too. I like Alotta Fagina :)>-
Nice Shaguar.......
What's your favourite BBC channel ?
The French Connection A Masterpiece in direction, the grit and character of New York City has rarely been as tangible as it is in the movie.
I was very surprised to see the film on Disney+ (on the new STAR section of the app) though it does requests adult verification to access this new content.
Thanks for your feedback @ToTheRight.
Double Indemnity is – in many ways – the quintessential film noir, in that all of the typical elements are there. It has it all: the fem-fatale, the crime mystery and people giving in to their worst instincts. A classic movie. However, as I discovered during last night’s viewing of Sweet Smell of Success, those elements are not essential for a film to be called “noir.” Its all down to the fatalism and seeing “bad people, doing bad things” IMO. I’ll have more to say about that film in a couple of days!!!
I’ve seen Detour. And like many film noirs, the very lack of production values gives it a certain seedy look that is exhilarating. And Ann Savage’s Vera is one of the great characters in all of noir. The movie is actually in the public domain:
As for Out of the Past, I have about twenty film noirs on my “future purchase” list, and that one is on it.
Looking forward to your review of SWEET SMELL OF SUCCESS.
disaster Movies.
Woody Harrelson is good in 2012, I noticed the film was on Prime not seen the 4K version yet its on my watchlist.
Gilliam has made some great films in the past. As for this one, nothing wrong with it, and Adam Driver, Jonathan Pryce and Olga Kurylenko all give wonderful performances. I was just bored out of my skull, and can hardly remember a thing from it.
I couldn't agree more. Wonderful dialogue.
Alas I have to agree!
After spending so long trying to get it made, the question asked is Was it worth it? And the answer has to be No! So disappointing! After viewing it I watched Time Bandits again to cheer me up!
Decent blood sucker..... >:D<
Time Bandits is one of his better.
THE MAN WHO KNEW TOO MUCH (Alfred Hitchcock, 1934)
It is understandable that he remade this under an American studio in the 50s. One of the weakest and dumbest films I have seen. Rubbish from start to finish.
not a patch on the first film Romancing the stone .
I have never seen it before. And I loved it. The animation is near seamless with the live action. And this was done in 1988, before the major use of CGI. Just excellent.