Updated: 8/16/15; 18:58:03

pedantic nuthatch
Life in a Northern Virginia suburb of Washington, D.C. B.M.A.T.C., and Etruscan typewriter erasers. Blogged by David Gorsline.

Sunday, 22 January 2006

Jazz musicians are covering songs by Björk.

(Thanks to robot wisdom.)

posted: 6:16:24 PM  

Diane runs 21 clicks in the mountains. I'm impressed. Makes my slow, steady, and modest walking regimen seem, well, pedestrian. But I did clock a 37:50 3 miles earlier this week.

posted: 10:37:32 AM  

I've read somewhere that Otto Preminger considered Where the Sidewalk Ends (seen as part of the AFI Silver's retrospective) to be less than his best work. Still, there are a number of wonderful details in this noir from 1950: Ruth Donnelly's irascible matchmaker Martha, owner of the local dive cafe; the belted blanket coat that Gene Tierney wears; the nasal inhalers that top bad guy Gary Merrill (as Tommy Scalise) whiffs in nearly every one of his scenes. In a textbook example of noir doubling, a bandage above the cheek of Ken Paine (Craig Stevens) later reappears as a bandage on the chin of Det. Sgt. Mark Dixon (Dana Andrews), the film's protagonist and Paine's first-act killer.

There's a nifty sequence (that also sets up a small plot point) in a parking garage that is equipped with an elevator for autos. The camera is positioned in the elevator cab, facing out. In one continuous take, the gangsters drive their buggy into the elevator, tires squealing; the doors close; the elevator ascends several floors; and the mugs lurch the car out of the elevator. Props to cinematographer Joseph LaShelle, who worked with Preminger on several other projects.

posted: 10:32:47 AM  

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