1975, ISBN: 0380002914

[EAN: 9780380002917], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: New York : Avon], 256 p , ill. In good condition. - Introduction -- Viewing STAGECOACH to- day without understand- ing… Mehr…

[EAN: 9780380002917], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: New York : Avon], 256 p , ill. In good condition. - Introduction -- Viewing STAGECOACH to- day without understand- ing its significance in the evolution of the film might simply leave the viewer yawning. Especially if it is seen on the tiny screen. -- John Ford's STAGECOACH is not just a classic in the annals of Hollywood; it is also a milestone in both the art and Science of motion picture produc -- tion. From it have Sprung innumerable other Westerns-including the raw and raunchy "spaghetti- Western" for which Italy became so famous a few years ago. -- STAGECOACH, it may be said, revolutionized the Western epic by breaking out of the sterile, artificial con- fines of the Hollywood sound stage. In the begin- ning, say 1903, Edwin S. Porter shot his THE GREAT TRAIN ROBBERYon location in the wilds of New Jersey. But, as time passed and film-making became more techni- cally sophisticated, directors headed West-and in- doors-where virtually all "external conditions"could be controlled. Thus, by 1939, Hollywood had discov- ered rear-screen projection and put it to good use; second units would head out for the sage brush and record the proper outdoor scenery, which then would be unreeled to serve as background for the sound stage-bound actors. Thus, most Westerns of that period tended to be rather stagey. -- But in 1939, John Ford wrote finis to this epoch. Not only did he "discover" Monument Valley, he turned it into some sort of private outdoor set that he was to use, time and again, for the next quarter of a Century. Into the valley lumbered Caravans of trucks brimming with equipment and crews, and for about two months, the STAGECOACH Company would work on cue from Mother Nature-often under the most grueling conditions. -- But lest I overemphasize the technical aspects of STAGECOACH'S significance, it must be said here and now that the script, more than the setting,is what makes STAGECOACH such a film classic. -- Together with filmwriter Dudley Nichols, Ford helped forge a human drama unparalleled in any previous Western. Each character in STAGECOACH is meticulously drawn; each contributes a different perspective of the Situation. Indeed, so concisely do Ford and Nichols do their work that by the end of the second reel-about 20 minutes into the film-the audience has such a grasp for the characters that alliances are invariably struck. Even more interesting, from the vantage point of nearly 40 years later, is that for the first time the audience gravitates not necessar- ily to hero and heroine but to the so-called "little people"-the philosophic but alcoholic doctor (Thomas Mitchell), banished from town along with the prostitute with the heart of gold (Claire Trevor), and, of course, the "Ringo Kid" (John Wayne), a good boy gone wrong. -- These characters are balanced against the good but snobbish woman (Louise Platt) and her escort, the town's suave gentleman gambler (John Carradine) and the all-American banker (Berton Churchill) whose flag-waving platitudes seem downright Nixo- nian and Agnewesque-especially in light of the fact that he's absconding with $50,000 of the bank's de- posits. -- About the only "neutral" character in the stagecoach is a liquor salesman (Donald Meek), whose dual function in the film seems to be that of keeping Thomas Mitchell sloshed and taking the first Indian arrow at the Start of the near-climactic siege. Inevitably, Ford and Nichols also provide us with the archetypal sheriff (Curley, played by George Ban- croft) and the screechy stage driver (Buck, played by Andy Devine). -- Compared with many other Westerns that have followed STAGECOACH, the Ford-Nichols play seems both dated and hackneyed. Despite our involvement with the characters, after all is said and done, we can almost predict the outcome of the story-so accus- tomed have we become to this formula. But re- member that it started here, with STAGECOACH, and consider also how deliciously satisfying the story actually is, seen in the wake of Watergate: the scorned, dumped-upon characters triumph; the sanctimoni- ous, upstanding, uptight banker is hauled off to the pokey. -- THE POSEIDON ADVENTURE, EARTHQUAKE, TOWERING INFERNO, and others in the currently-popular genre of disaster films may come and go, but STAGECOACH may actually be more harrowing in terms of sustained adventure. Nichols' people weren't one-dimensional. Their lines were written to serve almost as background to the external happenings. Ford's camera remains sensitive to all the personality traits of Nichols' characters and their inward and outward struggles in the face of ever-present dangers. -- Moreover, Ford wasn't going to play tricks with fancy camera angles and movements. In bringing to life the continuity, Ford was direct and to the point and at times even down-right frugal. When he might have given us the seemingly-obligatory shots of Indians preparing for their attack, he doesn't. Indians are, in fact, spoken of and pointed at throughout the film, but it isn't until they mount their steeds in the next-to-last reel that we get our first glimpse of as- sembling Indians. Up to that point, the closest we ever came were some shots of distant mountains and ominous smoke Signals. I was left with the distinct feeling that all those long shots of the stagecoach snaking its way through the desert were actually through the eyes of an unseen but omnipresent enemy. ISBN 9780380002917 Sprache: Englisch Gewicht in Gramm: 756, Books<

1975, ISBN: 0380002914

[EAN: 9780380002917], Gebraucht, sehr guter Zustand, [PU: New York : Avon], 256 p , ill. In good condition. - Introduction -- Viewing STAGECOACH to- day without understand- ing its signif… Mehr…

[EAN: 9780380002917], Gebraucht, sehr guter Zustand, [PU: New York : Avon], 256 p , ill. In good condition. - Introduction -- Viewing STAGECOACH to- day without understand- ing its significance in the evolution of the film might simply leave the viewer yawning. Especially if it is seen on the tiny screen. -- John Ford's STAGECOACH is not just a classic in the annals of Hollywood; it is also a milestone in both the art and Science of motion picture produc -- tion. From it have Sprung innumerable other Westerns-including the raw and raunchy "spaghetti- Western" for which Italy became so famous a few years ago. -- STAGECOACH, it may be said, revolutionized the Western epic by breaking out of the sterile, artificial con- fines of the Hollywood sound stage. In the begin- ning, say 1903, Edwin S. Porter shot his THE GREAT TRAIN ROBBERYon location in the wilds of New Jersey. But, as time passed and film-making became more techni- cally sophisticated, directors headed West-and in- doors-where virtually all "external conditions"could be controlled. Thus, by 1939, Hollywood had discov- ered rear-screen projection and put it to good use; second units would head out for the sage brush and record the proper outdoor scenery, which then would be unreeled to serve as background for the sound stage-bound actors. Thus, most Westerns of that period tended to be rather stagey. -- But in 1939, John Ford wrote finis to this epoch. Not only did he "discover" Monument Valley, he turned it into some sort of private outdoor set that he was to use, time and again, for the next quarter of a Century. Into the valley lumbered Caravans of trucks brimming with equipment and crews, and for about two months, the STAGECOACH Company would work on cue from Mother Nature-often under the most grueling conditions. -- But lest I overemphasize the technical aspects of STAGECOACH'S significance, it must be said here and now that the script, more than the setting,is what makes STAGECOACH such a film classic. -- Together with filmwriter Dudley Nichols, Ford helped forge a human drama unparalleled in any previous Western. Each character in STAGECOACH is meticulously drawn; each contributes a different perspective of the Situation. Indeed, so concisely do Ford and Nichols do their work that by the end of the second reel-about 20 minutes into the film-the audience has such a grasp for the characters that alliances are invariably struck. Even more interesting, from the vantage point of nearly 40 years later, is that for the first time the audience gravitates not necessar- ily to hero and heroine but to the so-called "little people"-the philosophic but alcoholic doctor (Thomas Mitchell), banished from town along with the prostitute with the heart of gold (Claire Trevor), and, of course, the "Ringo Kid" (John Wayne), a good boy gone wrong. -- These characters are balanced against the good but snobbish woman (Louise Platt) and her escort, the town's suave gentleman gambler (John Carradine) and the all-American banker (Berton Churchill) whose flag-waving platitudes seem downright Nixo- nian and Agnewesque-especially in light of the fact that he's absconding with $50,000 of the bank's de- posits. -- About the only "neutral" character in the stagecoach is a liquor salesman (Donald Meek), whose dual function in the film seems to be that of keeping Thomas Mitchell sloshed and taking the first Indian arrow at the Start of the near-climactic siege. Inevitably, Ford and Nichols also provide us with the archetypal sheriff (Curley, played by George Ban- croft) and the screechy stage driver (Buck, played by Andy Devine). -- Compared with many other Westerns that have followed STAGECOACH, the Ford-Nichols play seems both dated and hackneyed. Despite our involvement with the characters, after all is said and done, we can almost predict the outcome of the story-so accus- tomed have we become to this formula. But re- member that it started here, with STAGECOACH, and consider also how deliciously satisfying the story actually is, seen in the wake of Watergate: the scorned, dumped-upon characters triumph; the sanctimoni- ous, upstanding, uptight banker is hauled off to the pokey. -- THE POSEIDON ADVENTURE, EARTHQUAKE, TOWERING INFERNO, and others in the currently-popular genre of disaster films may come and go, but STAGECOACH may actually be more harrowing in terms of sustained adventure. Nichols' people weren't one-dimensional. Their lines were written to serve almost as background to the external happenings. Ford's camera remains sensitive to all the personality traits of Nichols' characters and their inward and outward struggles in the face of ever-present dangers. -- Moreover, Ford wasn't going to play tricks with fancy camera angles and movements. In bringing to life the continuity, Ford was direct and to the point and at times even down-right frugal. When he might have given us the seemingly-obligatory shots of Indians preparing for their attack, he doesn't. Indians are, in fact, spoken of and pointed at throughout the film, but it isn't until they mount their steeds in the next-to-last reel that we get our first glimpse of as- sembling Indians. Up to that point, the closest we ever came were some shots of distant mountains and ominous smoke Signals. I was left with the distinct feeling that all those long shots of the stagecoach snaking its way through the desert were actually through the eyes of an unseen but omnipresent enemy. ISBN 9780380002917 Sprache: Englisch Gewicht in Gramm: 756, Books<

1975, ISBN: 9780380002917

Taschenbuch

[PU: Avon], 256 S. Taschenbuch Gebrauchs- und Lagerspuren. 1. Auflage. Aus der Auflösung einer renommierten Bibliothek. Kann Stempel beinhalten. 41703689/203, DE, [SC: 3.00], gebraucht; … Mehr…

[PU: Avon], 256 S. Taschenbuch Gebrauchs- und Lagerspuren. 1. Auflage. Aus der Auflösung einer renommierten Bibliothek. Kann Stempel beinhalten. 41703689/203, DE, [SC: 3.00], gebraucht; gut, gewerbliches Angebot, 1st Flare Printing., Banküberweisung, Kreditkarte, PayPal, Klarna-Sofortüberweisung, Internationaler Versand<

ISBN: 9780380002917

Avon Books. Paperback. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library… Mehr…

Avon Books. Paperback. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library copy, will have the markings and stickers associated from the library. Accessories such as CD, codes, toys, may not be included., Avon Books, 2.5<