Farewell, My Love (2000 TVM/DTV)

US / 90 minutes / color / Frontline, Montage, World International Dir & Scr: Randall Fontana Pr: Deverin Karol, Eric Weston, William Ewart, David Peters Cine: Rex A. Nicholson Cast: Gabrielle Fitzpatrick, Phillip Rhys, Brion James, Ed Lauter, Mark A. Sheppard, Steffen Gregory Foster, Sarah Wynter, Adam Baldwin, Robert Culp, Hamilton Mitchell, Constance Zimmer, Craig Aldrich, Kimberlee Peterson, Catherine McGoohan.

Years ago, the criminous Russian Karpov family—Peter (Foster), George (Mitchell), Natalya (Wynter) and patriarch Sergei (Lauter)—paused in their journey across Europe at the small Pyrenean vineyard of the Fauré family, where they murdered M. Fauré (uncredited), gang-raped and murdered Mme. Fauré (McGoohan) and left the Faurés’ adolescent daughter Brigit (Peterson) severely injured. Brigit was saved by the timely arrival of a neighbor, Renault (James, who is surely rocker Richard Thompson moonlighting; wrong accent, though).

Brion James as Renault.

Now the Karpovs live a life of organized crime in LA, which is where an older, harder Brigit (Fitzpatrick) has just arrived, athirst for vengeance. Renault is Continue reading

Bad and the Beautiful, The (1952)

US / 118 minutes / bw / MGM Dir: Vincente Minnelli Pr: John Houseman Scr: Charles Schnee Story: “Memorial to a Bad Man” (1951; Ladies’ Home Journal) by George Bradshaw Cine: Robert Surtees Cast: Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Barry Sullivan, Gloria Grahame, Gilbert Roland, Leo G. Carroll, Vanessa Brown, Paul Stewart, Sammy White, Elaine Stewart, Ivan Triesault.

A love letter to Hollywood—or, at least, a letter expressing a love/hate relationship—with a very noirish cast and some noirish flourishes; it’s occasionally listed as a film noir, although that’s a classification that seems hard to justify.

Shields (left) and Fred find Georgia sloshed at the Crow’s Nest.

Movie mogul Harry Pebbel (Pidgeon) gathers together three major figures in the industry in an attempt to persuade them to participate in a new project that the producer Jonathan Shields (Douglas) is trying to float. All three of them have good reasons to tell Shields to get lost because of the way he treated them in the past, and in three extended flashbacks we learn what those reasons were: Continue reading