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The One Show - (Mar 29th)
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War can do strange things to a man. The end of the Civil War is nigh and one last pocket of Confederate resistance is holed up at Jacob's Gorge. Knowing their time is up they hoist the white flag in surrender. Union Colonel Owen Devereaux sees the white flag but orders the attack anyway. Returning home with his friend and colleague, Capt. Del Stewart, Devereaux grows ever more erratic by the day, his friends, his loves and all who cross him, are sure to pay if they can't rein in his madness. Starring Glenn Ford as Devereaux and William Holden as Stewart, directed by Henry Levin, The Man from Colorado, from a story by Borden Chase, is an intriguing psychological Western. The story follows the theme of a man ravaged by war and his inability to let go of the anger and mistrust gnawing away at him. Perfectly essayed by Ford as Devereaux (great to see him donning some bad guy boots), the film is rather grim in context. Light on action (no bad thing here at all) it's with the dialogue driven characters that Levin's film really triumphs. Having both become lawmen, it would have been easy for all to just play out a standard oater as the two friends are driven apart by not only their different levels of sanity (Holden's Stewart is an excellent counter point to Ford's blood thirst), but also the love of a good woman (Ellen Drew's petite Caroline Emmet). However, Chase's story has other elements to keep it from ever being formulaic. There's a deep political thread involving power and those entrusted with it, while the treatment of returning soldiers is firmly given prominence. Here the "boys" return after 3 years of being knee deep in blood and bone, to find that their claims are no longer valid. Snaffled by a greedy corporate type, thus as the "boys" look to the law for help?... As a story it has substance of depth, how nice to also find that there are smart technical aspects to harness the screenplay. The Simi Valley location work is fabulous, most appealing. William E. Snyder's cinematography work is top draw, arguably his best work in the Western genre. It's fair to say that even a "c" grade Western can look nice if given a good transfer, but when the Technicolor print is good, you can tell the difference big time, and this piece is first rate. The dusty orange and browns of the scenery fabulously envelopes the blue uniforms, while the green and gold glow lamps are vivid and shine bright as if extra characters in the piece. Even Ford's greying temples have a classy sheen to them, almost belying his characters anger. All Western fans simply must hone into High Definition TV because although we always knew how fabulous these pictures looked, now it's another dimension of rewards unbound. As the finale comes in a blaze of fire welcome to hell!), The Man from Colorado has achieved the two essential Western requirements if it wants to be taken seriously - one is that it looks gorgeous, the other is that it has strong thematics to drive it forward - this has both. Hooray! 8/10
Firemen brothers Brian and Stephen McCaffrey battle each other over past slights while trying to stop an arsonist with a diabolical agenda from torching Chicago.
Set in the South just after the US Civil War, Laurel Sommersby is just managing to work the farm without her husband, believed killed in battle. By all accounts, Jack Sommersby was not a pleasant man, thus when he suddenly returns, Laurel has mixed emotions. It appears that Jack has changed a great deal, leading some people to believe that this is not actually Jack but an imposter. Laurel herself is unsure, but willing to take the man into her home, and perhaps later into her heart.
A mysterious story of two magicians whose intense rivalry leads them on a life-long battle for supremacy - full of obsession, deceit and jealousy with dangerous and deadly consequences.
An awkward, telekinetic teenage girl's lonely life is dominated by relentless bullying at school and an oppressive religious fanatic mother at home. When her tormentors pull a humiliating prank at the senior prom, she unleashes a horrifying chaos on everyone, leaving nothing but destruction in her wake.
Bandit Cheyenne Harry reforms because of the faith placed in him by Molly Young and her father. Soon, however, Harry is lured from the straight and narrow when he meets his old friend Ben Kent and consents to participate in Kent's plan of robbing a stagecoach.
Freddy Heflin is the sheriff of a place everyone calls “Cop Land” — a small and seemingly peaceful town populated by the big city police officers he’s long admired. Yet something ugly is taking place behind the town’s peaceful facade. And when Freddy uncovers a massive, deadly conspiracy among these local residents, he is forced to take action and make a dangerous choice between protecting his idols and upholding the law.
A psychiatrist becomes romantically involved with the sister of one of his patients, but the influence of her controlling gangster husband threatens to destroy them both.
Marshall Jed Cooper survives a hanging, vowing revenge on the lynch mob that left him dangling. To carry out his oath for vengeance, he returns to his former job as a lawman. Before long, he's caught up with the nine men on his hit list and starts dispensing his own brand of Wild West justice.
Murderesses Velma Kelly and Roxie Hart find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.
An ordinary funeral procession moves along its path from church to cemetery. Observing, you slip from reality into a place where time has lost its linearity, looping through the odd images thrown off by a distorted reality. Images of non-existence, of varying reflections of death issuing from both past and future, concrete yet abstract, horrible yet desirable. A family asks a young psychiatrist to be their guest for a while to untangle the circumstances of their father's illness. He's developed a suicidal fixation for ropes and knots among other things. While deeply involved in analyzing the patient's delirium, the doctor begins to lose track of what is taking place. The task of "how to help" is twisted into "who am I? Doctor or patient? Chance guest, member of this suffering family, or a catholic priest who has dreamed this all up?" In order to get a handle on it all, it's best to start from the beginning, but why do things keep shifting, changing?
After narrowly escaping a bizarre accident, a troubled teenager is plagued by visions of a large bunny rabbit that manipulates him to commit a series of crimes.