News: See Eastwood's latest, THE 15:17 TO PARIS, coming on DVD May 22!

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Messages - KC

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General Discussion / Re: All the prostitutes in Eastwoodland
« on: March 10, 2018, 11:33:08 PM »
The Image Below  "Julie Hoopman"  Photo is actually a different Actress although the resemblance is amazing it is "Tara Frederick" ... Your Friend HalfGoofy Chief Editor and Site Director of see the IMDB Link   or the WDW/FIX link

HalfGoofy, are you saying that these two role photographs are of the same person? ???

"Girl with whip" in Tightrope, 1984

"Little Sue" in Unforgiven, 1992 (billed as "Tara Dawn Frederick")

I'm sorry, but I find that hard to accept. According to the IMDb as of today's date, at least, both Belle in Honkytonk Man and "Girl with whip" in Tightrope were played by Rebecca Clemons. (Not "Clemens," as Matt misspelled it on the previous page.) She's also said to have played "Buxom Bess" in Any Which Way You Can ... anyone have an idea who that could be?

Off-Topic Discussion / Re: Dreams
« on: March 08, 2018, 09:27:16 PM »
That does sound like Holden, though! Wanting to see a bunch of (to other people) really bad movies, instead of a football game! ;D

Off-Topic Discussion / Re: THE ENDLESS, POINTLESS thread
« on: March 08, 2018, 09:25:43 PM »
I'm glad you're feeling better, Matt! :)

Off-Topic Discussion / Re: The Weather Thread
« on: March 01, 2018, 11:10:45 PM »
We're supposed to get one to three inches tomorrow. After a downpour of rain. March is not for sissies.

Off-Topic Discussion / Re: Happy birthday, palooka!
« on: February 28, 2018, 08:16:43 AM »
Happy Birthday! 8)

Whenever you celebrate ... have a wonderful day! :)

Questions & Answers / Re: Looking for location
« on: February 26, 2018, 09:52:04 PM »
Hi, BrianS, these sources would seem to confirm that you are correct:

Monte Verde Lake is near Angel Fire Village, New Mexico.  Sorry no one answered this question earlier, but thanks for posting, and please feel free to post more! :)

Off-Topic Discussion / Re: What was the last CD you bought ?
« on: February 24, 2018, 05:45:46 AM »
Not a big Debussy fan ... but his opera, Pelléas et Mélisande, is very nice, if a little weird.

Off-Topic Discussion / Re: 2017 Movie Discussion
« on: February 19, 2018, 07:42:23 PM »
^ The book was over-the-top, but thrilling, maybe the best of the Harry Hole series. I didn't see the movie ... as I recall, reviews made it clear that it departed quite drastically from the book. Besides, it was shot in English with a mostly Hollywood cast. Why bother to film in Norway if you're not going to cast Norwegians?

I saw a play last night called Having Our Say. It's based on a true story, which was turned into a bestselling book of oral history back in the 1990s. The book and the play present the reminiscences of Bessie and Sadie Delany, African-American sisters (they prefer the old-fashioned term "colored") who were born around the year 1890 and were both over 100 at the time their story was written down. Their father was born into slavery, but grew up to become the first African-American to be elected a bishop in the Episcopalian church in the U.S. Their mother was the child of a free black woman and a white farmer, who were a devoted couple although they were prevented by law from marrying. (The same "miscegenation" laws that wouldn't be overthrown until the Loving case in 1967, which was celebrated in the movie of the same name that Gant reviewed for us in the "2017 Movie Discussion" thread today.)

The sisters eventually moved to New York and both became professionals, Sadie a teacher and Bessie a dentist. They had long and successful careers and were active in the women's rights and civil rights movements. It was fascinating to hear them tell their stories, without bitterness or rancor at all the slights and racism they'd experienced over the course of a century, and with a great deal of pride in their life choices and their accomplishments.

Besides the book and the play (which was on Broadway in 1995; this was a very small-scaled production in a tiny "pop-up" performance space), there was a TV movie with Diahann Carroll and Ruby Dee, but this was the first time I'd encountered the story. I probably wouldn't have gone on my own, but I was very grateful to my friend who suggested it.

How would the drinking game work? Every time they take a selfie ... drink? :D

Cmon Brendan ... tell us how you really felt! :D

Seriously, if a longtime Clint lover like you thinks it was that bad ... it makes me curious to see it. Worse than The Rookie, huh?

Maybe I'll catch it on the holiday Monday.

(Nice to see you posting again, by the way, even it it's to tell us this!)

Did it play with no intermissions or breaks between scenes? ;)

The Dirty Harry Films / Re: RC Car Chase in The Dead Pool
« on: February 17, 2018, 09:21:42 AM »
I almost got run down by a remote-controlled car when I was out running in Central Park a couple of weeks ago. I don't think there was a bomb attached, but you never know.

Off-Topic Discussion / Re: Baby on the way!
« on: February 13, 2018, 09:44:02 PM »
I think that's a wise decision. Yes, if you wouldn't mind PMing me a picture, I'd like to see her! 8)

By the way ... my grandmother's name was Ella. :)

Nice to read some more positive opinions.. Any early box office hey ?

Domestic Total as of Feb. 11, 2018: $12,554,286

Clint Eastwood's The 15:17 to Paris pulled into third place with an estimated $12.6 million, finishing within tracking, but short of Mojo's forecast. The film wasn't necessarily well received by opening day audiences either, receiving just a "B-" CinemaScore. Opening weekend demos saw the audience nearly split along gender lines, leaning slightly female at 51%, and overall 86% of the total audience was 25 years of age or older.

Internationally, 15:17 to Paris debuted in 23 overseas markets with an estimated $5.3 million. Italy was the highest grossing foreign market, delivering an estimated $1.5 million followed by snow-covered France with $1.4 million.

I've been meaning to call attention to another New Yorker review, by their chief film critic Anthony Lane:

The new Clint Eastwood movie, “The 15:17 to Paris,” may be the weirdest film of the year. It’s a thrusting reactionary fable that ends up bumping into the rear of the avant-garde. If the outlaw Josey Wales had put on white makeup and retrained as a mime artist, I couldn’t have been more surprised.

What makes the movie peculiar is not the plot, or the back-and-forth structure, or the staging of the climactic fight, which is done with the clarity and the economy that we have come to expect, over the decades, from the director. (He is now eighty-seven.) The oddity is the cast. There are professional actors in the film, but mostly in lesser roles: Jenna Fischer as Skarlatos’s mother, for example, and Judy Greer as Stone’s. But all the major protagonists, as grownups, play themselves—Stone plays Stone, Sadler plays Sadler, and so on. Most disturbing of all is that Moogalian plays Moogalian. In other words, he has to run down the corridor of a train, pretend to get shot, pretend to collapse, and lie there with fake blood pouring out of a fake hole in his neck, which is being plugged by the fingers of a real compatriot. Looking on is his real wife, Isabelle, who also plays herself; rushing to his aid, before too long, is the same paramedic who originally hurried aboard at Arras and gave him morphine for the pain. But there is no pain, this time. Oh, well, I guess that’s one way to recover from an overwhelming trauma: reconstruct it, down to the last drop.

Yet another highly perceptive and in depth analysis of the new Eastwood movie by Richard Brody. .......illuminating, intelligent and carefully  reasoned.....recommended   :) :)

Thanks, Macpherson. That is indeed an intelligent and insightful piece. I'll quote a couple of paragraphs:

The mark of a classical artist is to meet expectations while defying them, and that’s what Clint Eastwood—eighty-seven years old, and the current American filmmaker whose firsthand links to classical movie traditions are strongest—does in “The 15:17 to Paris,” which opened Friday. It was clear in advance to anyone who has followed Eastwood’s recent career that the movie, based on the true story of the three young American men who thwarted a terrorist attack aboard a train in France, in 2015, would only briefly depict the crucial event itself—that it would mainly be a movie about the young men’s lives prior to that point, the confluence of character traits and actions that led to the climactic act of heroism.

“The 15:17 to Paris” is something of an ingenious cinematic ruse. Its peculiarity, even its uniqueness, is that it’s essentially undramatic. It’s not a bio-pic, not a real-life thriller, not really even much of a story; it’s a thesis. The succession of events doesn’t follow psychological or narrative logic; it follows Eastwood’s own logic, his own conjectures as to which traits were necessary for the formation of the characters of the three people who responded to the attack as they did. The action of the film depicts solely events that, for Eastwood, exemplify these traits. In the guise of its biographical arc, it’s a didactic and philosophical film, a modernist bildungsroman that traces the building of character, as if mapping the landscape of lives and times from Olympian heights. His style, never ornate, is here shockingly simple—its plainness goes beyond mere clarity to a sense of secular revelation.

The three men are able, alluring actors in their roles as themselves. Stone comes off as the big man of the group, the natural leader of the three, with a far-reaching gaze and a contemplative silence beneath his easygoing charm that’s reminiscent of a young John Wayne. Sadler (whose story is the least delineated) is sharp-witted, agile, and funny. Skarlatos is earnest and watchful, with a tense and compact energy. If they have any fear or inhibition on camera, it doesn’t show. How good they’d be at incarnating other characters remains to be seen; I hope that someone gives them a try, separately, in roles where they’d have to get outside themselves a little.

The subject of “The 15:17 to Paris” is a secular miracle, an astounding one-off à trois, and Eastwood’s film conveys it with a brightly ecstatic sense of astonishment—but there’s a peculiar paradox at work in the film, which pushes Eastwood’s lofty idealism in the direction of political advocacy. Just as the movie is built as a long flashback, Eastwood works out his story in reverse, looking at the American society in which the three heroes were raised and seeing particular tendencies that allowed their characters to flourish, even as they floundered, before they had any accomplishments to show for themselves. It’s here that Eastwood crafts a distinctively American tale: a story of second and third chances, of alternate schools and the right to own guns, of casual employment and easy credit, of loose families with tight bonds. If you want a society to produce these types of men, the film suggests, you’d do well to start with this set of conditions. Whether this is true or not is a matter of reasoned argument and evidence, not of faith—yet Eastwood lets the descriptive and prescriptive elements of his story overlap and blend together. Nonetheless, his vision isn’t narrowly optimistic. It’s easy to see, at every step of the action, how much could have instead gone wrong for the angry, isolated, pugnacious, violence-fascinated boys, how much serious trouble they could have caused and got into—and that’s part of Eastwood’s world as well, the proximity of great achievement and great disaster, of heroism and tragedy, in individual characters. In “The 15:17 to Paris,” he doesn’t depict those tragic alternatives, but they are as close to the surface as the virtues that he celebrates.

General Discussion / Re: CLINT PICS!
« on: February 12, 2018, 11:02:22 PM »
^ Nice. In Europe for the Pale Rider publicity tour, I believe. 8)

Eastwood News / Re: The 15:17 to Paris: Production Information and News
« on: February 12, 2018, 08:07:12 AM »
^Very nice! Where should we look for you in the film? 8)

Trivia Games / Re: Clint's Clothing
« on: February 11, 2018, 11:10:29 PM »
Ok,  time to play hardball as you Americans like to say...

In which film is Clint seen wearing a black leather jacket.. ?

Gant, this is a film, not an episode in a TV series, right?

In other words, not this one?

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