Archive for April 7th, 2009

by Sam Juliano

Just pictures of ten characters from film and TV.  I have picked five from film, Allan has taken five from TV…


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by Sam Juliano

     The ‘Best Films of the 1960’s’ poll has officially launched, and five ballots have already been cast by Ed Howard of Only the Cinema, Ari of The Aspect Ratio, Voting Tabulator Angelo A. D’Arminio, Kaleem Hasan of Satyamshot, and a fellow named Sam Juliano.  As always, voters are asked to list their Top 25 in order of preference, and are offered the option of listing more choices and/or runners-up.  Those with ballots ready only need to click on the “Best Movies of the 60’s’ thread link right under the Wonders in the Dark header.

     The poll’s conclusion is not firm, but is estimated to be the end of May, only a few days after Allan Fish’s Top 50 countdown is complete.

     As per Mr. D’Arminio’s tabulating specification, the #1 choice is awarded 35 points, the #2 30 points, #3 25 points, and then a one-point drop for the remainder on the list.

     It is widely believed that the 60’s may well be the richest period in movie history, and the strongest decade ever for foreign-language cinema.

     We look forward to those lists and thank everyone for their most-valued involvement!

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by Allan Fish

(Spain 1965 87m) DVD2 (Spain only, no Eng subs)

Aka. La Caza

Run, rabbit, run, rabbit…

p  Elias Querejeta  d  Carlos Saura  w  Carlos Saura, Angelino Fons  ph  Luis Cuadrado  ed  Pablo G.del Amo  m  Luis de Pablo  art  Carlos Ochoa

Ismael Merlo (José), Alfredo Mayo (Paco), José Maria Prada (Luis), Fernando Sanchez Polack (Juan), Violeta Garcia (Carmen), Emilio Giuterrez Caba (Enrique), Mariá Sanchez Aroca (Juan’s mother),

There were few more repressive atmospheres for movie-makers than that of Franco’s Spain.  From the thirties through to his death in the seventies, one could count on the fingers of one hand the major films made in Spain during that period.  It now seems almost unthinkable that a nation that currently offers such directors as Almodóvar, Medem, Luña and Aménabar could have once been such a barren desert of cinematic virtuosity.  And that analogy is not idly chosen, for it was in a very real, physical barren desert that one of the few genuinely great Spanish films of the era was set. 

            José and Luis are business partners whose professional relationship is waning and whose marriages are likewise in stormy waters. They invite an old friend, Paco, who they haven’t seen for years and who has become somewhat more successful, to a holiday in the Toledo Desert hunting rabbits.  Once there they realise that what once held them together now keeps them apart, and their individual petty jealousies and insecurities come to the fore as the heat turns them slowly but surely into killing machines, a feeling intensified by the location, where they had once been killing machines in another cause, The Civil War.  (more…)

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