Here, to mark the Thanksgiving holiday, is a terrific behind-the-scenes shot (from Life) of the crew of The Plymouth Adventure (1952) putting their model of the Mayflower through a storm.
Here’s hoping your holiday is smooth sailing all the way.
God only knows how many blog posts will have that subject today.
But being that this is May 4th, the Star Wars day, here’s a post dedicated to my daughter Presley, who went Star Wars nuts over the last year.
The Empire Strikes Back (1980) is our favorite, so here are some location shots from the Hoth scenes.
It had been a while since I’d seen Diamonds Are Forever (1971), Sean Connery’s last entry in the “official” Bond series, and the followup to my favorite 007 movie, On Her Majesty’s Secret Service (1969), which starred the one-Bond-only George Lazenby.
Much of the picture was shot in and around Las Vegas, so for us in the States, it doesn’t have the exotic, globe-hopping angle the series tends to have. However, it offers a terrific Panavision and Technicolor look at Sin City in the early 70s. Many of the casinos you see in it are now gone.
Another slight disappointment is the absence of Bond’s Aston Martin (either the DB5 from Goldfinger or the DBS seen in OHMSS). He drives a red 1971 Ford Mustang Mach 1 instead.
Another vehicle is the prototype moon buggy Bond swipes from Willard Whyte’s place.
Connery practiced his golf swing on the moon simulation set. (Actually, judging from behind-the-scenes photos, it looks like he practiced everywhere.)
Connery’s co-star was the lovely Jill St. John. Here they are with an ice cream bar.
And between takes on the offshore oil rig.
Here are Bruce Glover (as Mr. Wint) and Putter Smith (as Mr. Kidd) on location in Amsterdam.
Lastly, dig this preliminary poster design from the great Robert McGinnis.
Diamonds Are Forever, in a way, hints at the tone of the Roger Moore Bonds that were to follow. Guy Hamilton, who directed this and Goldfiinger (1964), would do the first two Moore pictures, Live And Let Die (1973) and The Man With The Golden Gun (1974).
Here are some behind-the -scenes shots of the terrific model work for The Poseidon Adventure (1972).
Getting ready for the wave to tip over the model ship.
What it looks like in the finished film.
A diver works on the model, post-wave.
It’d been years since I’d seen it, and my entire family watched it the other night. It holds up well — the movie, not the ship. One of the things that really makes the movie work, aside from performances that help us get past the soap-opera first couple reels, are the incredible upside-down sets. They sent me looking for some making-of images immediately, but about all I found were these model images.
I’ve always loved Bonnie And Clyde (1967) — and always been fascinated by how it all came about.
Here’s Arthur Penn, Gene Hackman and Warren Beatty — obviously shooting the scene where Buck Barrow gets shot.
This one spares me the trouble of writing anything.
This is the scene where Bonnie and Clyde meet C.W. Moss (Michael J. Pollard).
The real Bonnie and Clyde robbed the bank in Ponder, Texas. The Ranchman Cafe ran this ad after the movie people came to town. The cafe is still there — and they claim John Wayne ate there, too.
One of the great achievements of Bonnie And Clyde, as I see it, is how well it captures the rural Texas way of life. My grandparents lived in Strawn — not far from the National Guard Armory in Ranger, robbed by Bonnie and Clyde. Aside from all the shooting, the movie feels a lot like my summer visits to towns like Strawn, Breckenridge and Albany.
It (and The Beverly Hillbillies) also introduced me to bluegrass.
I was lucky enough to attend a special screening of A Bridge Too Far (1977) here in Raleigh, North Carolina, when it first opened. I was 13. The guy James Caan played, Staff Sergeant Dohun, was there — and he was not happy that Caan dropped an F Bomb in one scene.
Plastic commandoes ready to litter the bridge.
Watching and waiting — something that happened in both 1944 and 1977.
(Sir) Michael Caine (as John Ormsby Evelyn ‘JOE’ Vandeleur) and director (Sir) Richard Attenborough.
Shooting the harrowing sequence where Robert Redford (as Major Julian Cook) and his men cross the river in flimsy assault boats. “Hail Mary, full of grace…”
I’ve always had a soft spot for A Bridge Too Far. It’s one of the last truly epic war movies, with a few jaw-dropping scenes here and there. And it was a huge moviegoing experience for me. Cornelius Ryan’s book is terrific, too.
Clint Eastwood has always been very good about giving credit to Don Siegel for mentoring him. Coogan’s Bluff (1968) was their first film together. They made four more: Two Mules For Sister Sara (1970), The Beguiled (1971), Dirty Harry (1971) and Escape From Alcatraz (1979).
Obviously, Eastwood got some hands-on training along the way. Here he’s operating the camera during the fight in the pool hall.
That’s Don Stroud on the right. As always, he’s the bad guy.
It all ends with a great motorcycle chase, with Eastwood riding a Triumph Bonneville.
Getting an insert shot over Stroud’s shoulder.
I have a real soft spot for Coogan’s Bluff. There’s something about Siegel’s films from the 60s and into the 70s that I love.