#harry horner

[gatutor]

Anthony Quinn-Katy Jurado "Un revolver solitario" (Man from Del Rio) 1956, de Harry Horner.

[lifeisalivinghelloyd]

What if... (pt 2 I guess)

What if young Dick looked like this... And he lied (for the first time) to save Cliff's ass. Now this cutie patootie's lil heart is about to explode.

What if young Chandler looked like this... I can vividly see this bratty young officer made senior detectives (almost) cry. Yeah I'm sure this thing happened more than once.

What if young Davide looked like this... And people kept asking him why aren't you seeing anyone, he just smiled and answered "Making Film is my only passion."

What if young George Garea looked like this... And he met some artist guy at a bar, didn't have a clue that guy will be love of his life...

What if young Frank Burton looked like this... waiting for back-up, severely hurt, and counting numbers again and again to not lose conscious.

Lastly, young James Tyrone must be this hot. No wonder why people called him matinee idol.

Pt 1: Harding, Otto, Ricardo, Armand

[of-fear-and-love]

Eartha Kitt in New Faces (1954)

[sesiondemadrugada]

The Driver (Walter Hill, 1978).

[espantajerias]

Beware, My Lovely (1952) Harry Horner.

[illiana-mystery]

Every Time Fred was a Journalist/Writer

[heythereimashley]

bebe

[gregorygalloway]

Beware, My Lovely premiered in New York City on 12 September 1952 (on a bill with eight vaudeville acts).

Mel Dinelli adapted his 1945 short story, “The Man “(which he had adapted in 1950 as a stage play) for the screen for Collier Young’s production company, The Filmakers, which was also co-owned by Young’s then wife Ida Lupino (the couple divorced shortly after Beware, My Lovely had finished filming). The film was Harry Horner’s directorial debut.

Cinematographer George E. Diskant had worked with Lupino and Robert Ryan in On Dangerous Ground, and is known for his work in film noir: They Live by Night (1949), The Narrow Margin (1952), Kansas City Confidential (1952).

Beware, My Lovely was shot in under 3 weeks in July/August 1951 and was ready for release, but RKO owner Howard Hughes refused to release the picture (Robert Ryan believed the delay was due to Ryan’s outspoken liberal politics). After the New York screening, Hughes released it on “programmer status,” which meant that theaters could determine how to show the film (as either the “A” picture, or “B”). Mostly it was ignored.