Robert Siodmak
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Based on the novel "Waltz Into Darkness" by Cornell Woolrich (who also wrote "Phantom Lady" and the short story that inspired "Rear Window"), the film is presumably supposed to be a steamy erotic thriller about a man so in love with a woman that his judgment about her is clouded, thus potentially endangering his life.
Pirates of the Caribbean: At World's End (2007)
Directed by Gore Verbinski
influenced by The Crimson Pirate (1952)
He may never be Burt Lancaster in “The Crimson Pirate,” yet Bloom blooms well, and as a slinky sea witch Naomie Harris also expands, like Eartha Kitt chasing Moby Dick.
It also includes references and allusions to a variety of other sea-faring stories, from "Captain Blood" to "The Crimson Pirate" to "Titanic."
A History of Violence (2005)
Directed by David Cronenberg
influenced by The Killers (1946)
Themes Dialogue
More formally and narratively conventional than 2002’s Spider (or anything in the Canadian auteur’s oeuvre, for that matter), but nonetheless similarly preoccupied with bifurcated identities, personality reinvention, and the constantly shifting borderline between reality and fantasy, Cronenberg’s latest begins, like Robert Siodmak’s The Killers, with the arrival of two thugs at a Norman Rockwell-esque small-town U.S.A diner.
In an electrifying sequence that begins like the opening bravado-dialogue section of Ernest Hemingway’s “The Killers,” then escalates with the flaunting of a gun and the manhandling of a terrified waitress, the soft-spoken Tom hurls boiling hot coffee in one assailant’s face and springs over the counter to seize his gun, which he swiftly uses to kill both men.
With both its urban and rural-cornfield milieus marked by consuming bleakness, Looper harkens back to both Blade Runner and The Killers while nonetheless crafting its own unique spin on noir fatalism.
Master and Commander: The Far Side of the World (2003)
Directed by Peter Weir
influenced by The Crimson Pirate (1952)
Themes
Master and Commander: The Far Side of the World desperately wants to be the kind of swashbuckling adventure that Errol Flynn and Burt Lancaster (in Robert Siodmak's vastly undervalued The Crimson Pirate) used to make.
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by Gore Verbinski
influenced by The Crimson Pirate (1952)
Themes
The movie itself is a wild take on the old Errol Flynn (whom Orlando Bloom slightly resembles) swashbucklers done with a great sense of the genre's history, complete with the appropriate purple-dialogue exchanges during swordfights, and even an obvious tip of the plumed chapeau to Robert Siodmak's Burt Lancaster pirate-romp The Crimson Pirate.
Bruckheimer readily admits he loved old pirate films such as "Treasure Island"(1934), "Captain Blood" (1935) and "The Crimson Pirate" (1952), and he has created a film with the flavor and fun of those wonderful Hollywood classics.
As a terrorized heroine, she doesn't evoke the immediate sympathy of actresses like Ingrid Bergman in "Gaslight," Dorothy McGuire in "The Spiral Staircase," Audrey Hepburn in "Wait Until Dark" or Mia Farrow in "Rosemary's Baby."
The movie, of course, pokes good-natured fun at its famous predecessors, things like Doug Fairbanks's "The Black Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Sea Hawk" (1940).
The movie, of course, pokes good-natured fun at its famous predecessors, things like Doug Fairbanks's "The Black Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Sea Hawk" (1940).
The Pirates! In an Adventure with Scientists! (2012)
Directed by Peter Lord
influenced by The Crimson Pirate (1952)
Characters
But give me Errol Flynn as “Captain Blood,” Burt Lancaster as “The Crimson Pirate,” or more recently the listing port-to-starboard Johnny Depp in any of the “Pirates of the Caribbean” movies, and I’m ready to grab a tankard of hot buttered rum and sing sea chanteys.
Its allusions to lots of movies—Walter Hill’s The Driver, Taxi Driver, Bob le flambeur or The Killers, as well as Sixteen Candles (according to Refn ), even The Maltese Falcon and Treasure of the Sierra Madre, are more substantive than the hero’s emotional or moral trajectory.
All the same, Hossein Amini’s adaptation of James Sallis’ short novel feels more threadbare than bracingly terse; he's clearly aspiring to the sort of spare muscularity in crime writing pioneered by Hemingway in The Killers and subsequently employed by many others.
The movie, of course, pokes good-natured fun at its famous predecessors, things like Doug Fairbanks's "The Black Pirate" (1926) and Errol Flynn's "Captain Blood" (1935) and "The Sea Hawk" (1940).
This is less of a self-consciously clever Quentin Tarantino-Guy Ritchie maneuver, and more in the poker-faced, un-ironic spirit of classic older films that inspired them, like "The Killing" and "The Killers" and "Criss Cross" (another armored car-focused crime thriller, remade by Steven Soderbergh as "The Underneath").
The hallucinatory force of "Face/Off's" central idea recalls the peak film noir stories of the '40s (films like "Dark Passage," "The Dark Mirror" or "Kiss of Death").
Breathless (1960)
Directed by Jean-Luc Godard
influenced by The Killers (1946), Criss Cross (1949)
Characters
Burt Lancaster, be it in Criss Cross or The Killers, was never able to shake off the inevitability of fate.
In that sense, Michel is no different than the sappy Burt Lancaster of Criss Cross or the sadistic Lawrence Tierney of Born to Kill.
Director Chuck Russell (The Mask) claims to love films like The Adventure of Robin Hood and The Crimson Pirate.
Little more should be said about the plot, which at some point takes a sharp turn into the noir terrain Soderbergh plumbed in his 1995 Criss Cross remake, Underneath.
An atmospheric throwback to such classic thrillers as "The Cat and the Canary" and "The Spiral Staircase", "The Others" has much to commend it - not least the sight of farceur Eric Sykes, playing a sinister gardener who has more on his mind than Kidman's hydrangeas.
Reiner's easy pace and camera style hearken back to "The Crimson Pirate" or the Curtiz-Flynn "Robin Hood."
But the witness is murdered in spite of Bullitt's best precautions, gunned down by two professional hit men right out of Hemingway's "The Killers," complete with shotguns.