Henry King
13 connections found
View:
Connections, in both directions
And again, while there is no deep, lengthy devotion in the film for portraying the profound loss needed to gain spiritual advancement (on par with, say, “The Song of Bernadette”), when Stu gets blindsided by yet another medical ailment, his turning to God in desperation in a dark night of the soul is a truly powerful, exceptionally well-acted scene.
It’s based on the real Father Stuart Long, with the standard theatrical embellishments (and concepts of suffering to test faith), but none are significant enough to give this picture the profound flavor of “The Song of Bernadette,” or “The Robe,” or “A Man for All Seasons” (or even “My Left Foot” or “The Diving Bell and the Butterfly,” a la the biblical Book of Job).
A History of Violence (2005)
Directed by David Cronenberg
influenced by The Gunfighter (1950)
Themes
Working from a graphic novel by John Wagner and Vince Locke, screenwriter Josh Olson creates a modern-day parallel to all those classic Westerns (from "The Gunfighter" to "Shane" to "The Shootist" to "Unforgiven") in which world-weary gunslingers naively think they can hang up their six-shooters -- at least until, inevitably, their violent pasts catch up with them.
Then they settle down to tell a vivid story of a vengeful, explosive showdown, with echoes of "Shane," "The Wild Bunch" and Henry King's wonderful 1950 Western about a reluctant legend, "The Gunfighter."
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by Andrew Dominik
influenced by Jesse James (1939)
September 8, 2007 - On the heels of the more audience-friendly shoot 'em-up 3:10 to Yuma comes the ponderous but often pretentious epic The Assassination of Jesse James by the Coward Robert Ford -- an intriguing visual poem starring Brad Pitt as the Old West icon and Casey Affleck, Pitt's co-star in the Ocean's films, as James' assassin.
Exodus: Gods and Kings (2014)
Directed by Ridley Scott
influenced by David and Bathsheba (1951)
Themes
Audience members who have been around for a while can’t help but compare the Christian films made by Cecil B. DeMille – The Ten Commandants949), Samson and Delilah (1949), The Sign of the Cross (1932), The King of Kings (1927); Henry King’s David and Bathsheba (1951) and Henry Koster’s The Robe (1953); all far more authentic Bible stories.
Today’s audiences have spent decades watching digital dogfights in Star Wars movies, themselves originally inspired by World War II movies such as Twelve O'Clock High.
War for the Planet of the Apes (2017)
Directed by Matt Reeves
influenced by The Bravados (1958)
Plot
The initial section is basically a revenge story, modeled after Westerns like “The Bravados” or the Sergio Leone spaghetti variants, about an individual tracking the person who killed his family In order to even the score, though here he’s not a solitary avenger.
If you want to see an actor who can fill the role of a “commander” watch the famous scene where Gregory Peck walks into the briefing room and introduces himself to his WWII bomber crews in “Twelve O’Clock High.”
There Will Be Blood (2007)
Directed by Paul Thomas Anderson
influenced by The Gunfighter (1950)
Visuals
In appearance, Plainview looks like Gregory Peck in "The Gunfighter," with his slim physique, flat-brimmed hat, and thick black mustache.
That it is sentimental can hardly be disputed, and the songs are undoubtedly a bit sweet and gooey, but whatever, it works as cinema: much, much better than the stiff and soulless like of My Fair Lady , and considerably better than any of the other films based on Rodgers & Hammerstein's earlier (and mostly superior) shows, ranging from the grimly average ( Carousel ) to the grotesquely unacceptable ( South Pacific ) - I understand that there are those who admire the 1956 movie of The King and I , and good for them.
Garret Dillahunt rolls off of his solid work in "Jesse James" to spin a different bit of simplemindedness, the goofy straight man for Jones's wry observations.
Only someone serious about religion in general and Catholicism in particular could have made "Dogma," but those expecting a modern version of "The Song of Bernadette" or "King of Kings" are going to find themselves dazed and confused.
Blending techniques from "No Country" and "Jesse James," Deakins transports us to stark 1870s Arkansas through an almost sepia-tone prism of leather and wood, muted lighting, and broad landscapes, with the camera sneaking up on characters at times.