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#phyllis crawford
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ladies of Hannibal
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mistikfir · 1 year
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Coquilles
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hannikin-grahamkin · 2 years
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Jack referring to Bella as Phyllis in the book feels wrong, I know that's her name but god damn it, it's Bella. 🥺
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wildweinerbug · 4 months
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nobody did it like them
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autumncottageattic · 2 years
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The Women is a 1939 American comedy-drama film directed by George Cukor. The film is based on Clare Boothe Luce's 1936 play of the same name
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llhmua · 1 year
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US Vogue September 1991 "Great Lengths" Models: Cindy Crawford  Photographer: Irving Penn Stylist: Phyllis Posnick Hair: Oribe Canales Makeup: Kevyn Aucoin
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cannibalovers · 22 days
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canarywithapen · 3 months
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ropertplant · 5 months
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if we're being real the most fuckable person in nbc hannibal is my queen phyllis bella crawford but whatever. her and will graham should not physically exist and yet. here we are. it's a miracle jack still has a pulse tbh. they took that into account during the internal investigation and it helped a lot actually. who can blame him
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bitter69uk · 1 year
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Premiered in the US fifty-five years ago today (11 January 1968): ultra-kitsch Joan Crawford hagsploitation horror film Berserk (1967). Never was a film more aptly titled! Highlights: 1) 62-year-old Crawford is on fearsome scary diva form as hard-as-nails circus mistress Monica Rivers (a serial killer is gruesomely picking-off her circus’ performers one by one). Crawford’s portrayal can be summarized as “lipstick over concrete.” And don’t even get me started on the insane auburn wiglet Crawford wears, or the special “glamour lighting” that ensures a flattering dark shadow is always cast under her chin. 2) Anytime impossibly hunky Ty Hardin takes his shirt off. (Hardin is so devilishly handsome he’s like a homoerotic Tom of Finland illustration came to life). Note also that Hardin’s death-defying tightrope act involves him wearing a face-obscuring hood, which enables a stuntman to do it all on his behalf! 3) Zaftig British sex goddess Diana Dors’ juicily bitchy performance (and her straw-like bouffant hairstyle) in a supporting role. 4) The plot is considerably padded-out with circus performance footage (which you see in all its plodding entirety), but Phyllis Allan and her Intelligent Poodles are delightful! 5) Not a spoiler, but the abrupt, lunatic ending (just after the murderer exclaims, “I killed them ALL! I HAD to! Now I’m going to kill YOU!”) ensures the scriptwriters are freed from explaining how any of this could have been feasible! I really need to find a way to screen Berserk at my monthly Lobotomy Room film club. (I just realized I’m posting this a day late, but fuck it - this anniversary is just too culturally significant!). 
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sherlocksbag-of-thumbs · 11 months
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I noticed something when I watched The Shining yesterday.
(Spoiler?) When Wendy and Danny are walking with Mr. Hollorann, he says “Mrs. Torrance, your husband introduced you as Winifred. Now, are you a Winnie or a Freddie?” Wendy replies “I’m a Wendy”
In Hannibal, Hannibal has invited Jack and his wife over for dinner. Hannibal asks Bella “Mrs. Crawford, your husband introduced you as Bella. Now, are you an Isabelle or an Annabelle?” To which she replies “I’m a Phyllis”.
(Jack Crawford and Jack Torrance… just noticed they have the same name.)
I thought this was a little “interesting”. But, I do know that Bryan Fuller is a fan of The Shining.
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mistikfir · 2 years
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“Œuf” (Deleted dialogue) ~  “Coquilles”
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Thunder on the Hill
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Whenever I see a ‘50s or ‘60s actress posture her way through a role that requires a little more grit than the standard studio-trained contract player could muster, I tend to think how much better Beverly Garland or Carolyn Jones would have been. I felt like a prophet when I read the AFI notes on Douglas Sirk’s THUNDER ON THE HILL (1951, Criterion) and saw Garland had played Ann Blyth’s role in a TV adaptation opposite Phyllis Thaxter. I don’t expect anybody would be upset were I to suggest that Garland probably did a better job, so I’ll drop the other shoe and say that Thaxter likely was more effective than Claudette Colbert. Colbert is a nun running a convent hospital. When a flood strands the police escort for a condemned murderess (Blyth) there, Colbert becomes convinced the woman is innocent and sets out to prove it, despite opposition from the authorities and her mother superior (Gladys Cooper). This is early Sirk, before he found his perfect producer in Ross Hunter, so there’s not enough kitsch to liven things up, and when Colbert and Blyth get all emotional, it gets rather hard to watch. They indicate emotion as if they were acting for the first time. Maybe the film would be more ironic in Technicolor with Jean Louis gowns and nun’s habits. That’s not to diss William Daniels’ cinematography. He and Sirk do great work with light and shadow, and there are even some camera angles that anticipate the director’s later, more delirious framing. And at least when the leading ladies’ emoting gets too much, you can marvel in the more detailed, naturalistic work of Anne Crawford as a doctor’s wife with a secret, Connie Gilchrist as the convent cook, Michael Pate as the village idiot and Norma Varden as Blyth’s female guard (so good, I kept watching her even when she was out of focus). The film plays more as melodrama than murder mystery. Instead of following Colbert as she attempts to figure out whodunnit, we see lots of scenes without her that eventually let us solve the case before she does. There’s also a lot of emphasis on women’s roles, which is another element anticipating Sirk’s later films. The nuns are condemned to lives of servitude, while the doctor’s wife is a virtual prisoner of domesticity. The view of religion also reads false, which may be some Sirkian irony at work. Were a lesser actress than Cooper cast as the mother superior, the religious life might seem totally absurd.  As it is, Cooper is so authoritative you may not realize until afterwards what a hypocrite the character is. She fully supports Colbert’s take-charge attitude in running the hospital, but when the sister’s attempts to exonerate Blyth cause trouble with the police, Cooper decides the same attitudes are signs of serious spiritual shortcomings.
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florentinevampire · 2 years
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~Vintage Unhinged “Girlboss” Femme Fatale Movie Masterpost~
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These are all movies I’ve seen and enjoyed, I’m sure there are plenty of others out there that are similar so feel free to add on (especially any with WOC). I have a lot of mixed feelings about the femme fatale trope, mostly that a lot of older films allow men to be morally gray anti-heros, but morally gray women are often supposed to be one note “evil” bitches and usually meet a bad end (death, prison, etc). Keeping that in mind here are some gals I really like, despite how the narratives of the films treat most of them. I will reblog this later with more info on where these can be watched and any other films I think of.
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-Joan Crawford as Louise Howell in “Possessed” (1947)- she’s so unhinged in this I love it. Too bad both of the leading men are kind of ugly as far as I remember (your mileage may vary though).
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-Barbara Stanywck as Martha Ivers in “The Strange Love of Martha Ivers” (1946) -she’s a mesmerizing ice queen and has a super fucked up relationship with her husband played by a young Kirk Douglas. One of my fave movies ever (although they are the secondary couple of the piece).
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-Peggy Cummins as Annie Laurie Starr in “Gun Crazy” (1950) - literally one of the best film noir movies ever, the main couple are a sort of Bonnie and Clyde duo who rob people at gunpoint, the film was also known as “Deadly is the Female”.
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-Gene Tierney as Ellen Berent Harland in “Leave Her to Heaven” (1945) She is truly frightening in this, that is all I will say. According to Wikipedia: “It follows a socialite who marries a prominent novelist, which spurs a violent, obsessive, and dangerous jealousy in her.”
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-Barbara Stanwyck as Phyllis Dietrichson in “Double Indemnity” (1944) -one of the more well known films of this genre, my girl Babs kills it (or actually gets a guy to kill her husband for insurance money).
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autumncottageattic · 2 years
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The Women is a 1939 American comedy-drama film directed by George Cukor. The film is based on Clare Boothe Luce's 1936 play of the same name  
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hela2romantikos · 2 years
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hey, me alegra que estés más unido con Jai. que importante conectar con los demás.
qué extraño que la vida sea un montón de conexiones y desconexiones constantes con personas. nunca hay una conexión como constante con alguien. siempre tiene momentos de descubrir lejanías y cercanías inesperadas.
voy bien con alemán. hay cosas muy dificiles. años se dice: Jahre. me fue bien con mis papás. es raro porque ellos me sacan mucho la piedra. ( me hacen dar rabia) siento que a su lado soy más inmadura que con el resto de la gente. Pero los amo mucho. son tiernos.
Apitchapong te gusta?? jajajajja wau. yo lo aprecio, pero es de esas cosas que uno siente fuera del alcance de la concentración, a veces.
No entendí lo que dijiste de no entender una palabra. jajajaja. explícame. la veré.
hace 4 días no reviso instagram. algo bastante normal, pero para mi es un big deal. jajaja. me da miedo abrirlo. siento que es un vórtice de malas emociones. pero me siento obligada a publicar mis creaciones.
Por otro lado. a veces es bueno dejar de pedir ser visto y simplemente observar el mundo.
nuevamente te recomiendo a KAufman. me vi una película de la Reina Isabel I, me vi Big Eyes, una película de una pintora, que no sabría si recomendar, no es muy buena, pero es importante y entretenida. Me empecé a ver una película china de terror, pero me asusté mucho. Me vi el mini documental de James Baldwin en MUBI y me vi la peli de UZUMAKI, no se si ya te había dicho. sería chevere poder mostrarnos todas las películas que vemos. eso se puede hacer en esa app que me dijiste? cómo vas? estás escribiendo un libro??? jajajajajja deberías. yo lo compraría. o robaría d euna librería jajaj me compré un libro de Byung Chul Han donde habla de las falsificaciones chinas. Hegel decía que los chinos eran una cultura embustera y mentirosa. luego te lo presto. HOLA!
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