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<blockquote data-quote="Crimson" data-source="post: 351356" data-attributes="member: 5079">My early chuckles aside -- elicited by Michael Caine&#039;s Southern accent -- I didn&#039;t think HURRY SUNDOWN (1967) was campy at all.&nbsp;&nbsp; Over-the-top and florid, yes.&nbsp; I love Southern Gothic melodrama, from Tennessee Williams downward.&nbsp;&nbsp; I loved everything about this movie.&nbsp; I should have known, just based on the director; I usually like Preminger&#039;s stylized realism.I admit, I made it through the entire movie not realizing it was set in the mid-40s;&nbsp; I thought the story was contemporaneous to the mid-60s.&nbsp; (Hollywood in the 60s absolutely could not do &#039;the past&#039;.)&nbsp;&nbsp; The film&#039;s reviews look, in retrospect, inexplicably hostile.&nbsp; I suspect this movie cut a little to close to home for the late 60s.&nbsp; Sure it&#039;s Hollywood&#039;s over-heated imaginings of &quot;the South&quot;, but its brutally frank, naked racism is, if not realistic, at least realistic-adjacent.&nbsp;&nbsp; And that&#039;s about the best Hollywood could ever do.Dunaway is terrific in her small role: fresh-faced and exuberant.&nbsp; I find myself wishing now that I had done this retrospective in chronological order.&nbsp; &nbsp; Faye was so versatile and diverse in the early years of her career.&nbsp; At some point, by the late 70s, her style and mannerisms seem to have become cemented.&nbsp;&nbsp; I&#039;m curious if I would have pinpointed when.I don&#039;t care much for Jane Fonda from the 70s onward, but gosh she was glorious in the 60s.&nbsp; How did she go from being so dynamic and vivid, to so uptight?&nbsp; I demand answers.Shifting between movies of the late 60s and 70s, it&#039;s clear how much the visuals of films took a hit in the 70s.&nbsp; HURRY DOWNDOWN, like BONNIE AND CLYDE and THE THOMAS CROWN AFFAIR, is a beautiful looking film with lush , crisp colors.&nbsp; Why did all all the movies in the 70s look hazy and muddy?[ATTACH=full]43094[/ATTACH]</blockquote>

[QUOTE="Crimson, post: 351356, member: 5079"] My early chuckles aside -- elicited by Michael Caine's Southern accent -- I didn't think HURRY SUNDOWN (1967) was campy at all. Over-the-top and florid, yes. I [I]love [/I]Southern Gothic melodrama, from Tennessee Williams downward. I loved everything about this movie. I should have known, just based on the director; I usually like Preminger's stylized realism. I admit, I made it through the entire movie not realizing it was set in the mid-40s; I thought the story was contemporaneous to the mid-60s. (Hollywood in the 60s absolutely could not do 'the past'.) The film's reviews look, in retrospect, inexplicably hostile. I suspect this movie cut a little to close to home for the late 60s. Sure it's Hollywood's over-heated imaginings of "the South", but its brutally frank, naked racism is, if not realistic, at least realistic-adjacent. And that's about the best Hollywood could ever do. Dunaway is terrific in her small role: fresh-faced and exuberant. I find myself wishing now that I had done this retrospective in chronological order. Faye was so versatile and diverse in the early years of her career. At some point, by the late 70s, her style and mannerisms seem to have become cemented. I'm curious if I would have pinpointed[I] when[/I]. I don't care much for Jane Fonda from the 70s onward, but gosh she was glorious in the 60s. How did she go from being so dynamic and vivid, to so uptight? I demand answers. Shifting between movies of the late 60s and 70s, it's clear how much the visuals of films took a hit in the 70s. HURRY DOWNDOWN, like BONNIE AND CLYDE and THE THOMAS CROWN AFFAIR, is a beautiful looking film with lush , crisp colors. Why did all all the movies in the 70s look hazy and muddy? [ATTACH type="full" width="679px" alt="4dd5f73a528f3f354d3afc826992af97.jpg"]43094[/ATTACH] [/QUOTE]

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