Last Train from Gun Hill has the star power to help back up a storyline that is, on the surface, seemingly too straightforward: a Marshall (Kirk Douglas) finds that his wife has been killed. When he finds out that it is the son of a cattle baron (Anthony Quinn), despite his old friendship with the baron, he decides to bring the son to justice, holding him by gunpoint in the town hotel until the train comes to take them off to jail- while the baron has his men outside with their guns poised. There's a touchy element to who the son (played as a snidely little kid in Earl Holliman) killed, which was that the Marshall's wife was a Native American. But more impressive in the script, and through John Sturges's steadfast professionalism, is how there's the tension between law and the personal, the immediate draw of a gun draw to solve anything, and the bitterness of real vengeance (watch Douglas's Marshall tell Rick about how he'll be the only one to hear his own brain cry out as he hangs dying, perfectly acted).Although it's likely that Douglas and Sturges were in or made better westerns, this is the kind of work that doesn't age in much a way that cheapens the questions poised or the invigorating style. It's a fairly violent film too, with a couple of deaths by the train tracks at night all the more effective from the taunting build-up and the pay-off in one shotgun fired off, and always the threat much more tension-filled than the result. Granted, when a big fire ends up happening, it looks very much like it's on a sound-stage and without a whole lot of suspense (save for the typical but strong 'who will get the gun first' moment between the Marshall and Rick in the bedroom), but it's the ambiance of the characters, the dread over this dangerous mix of volatile father and townsman- a better than average Quinn without being too hammy- and a good man driven to vengeance in bad-ass Douglas, and the determined woman (Carolyn Jones) that makes it so compelling. There's even a slight feeling of unpredictability in the situation- in a town where reputation trumps what is good and decent, but also where emotions run high as can be, the stakes are high for chance.By the very end it feels like it should be more formulaic, and there are bits where the dialog does come off as brawny ol' western genre jargon (look simply at some of the quotes on the IMDb page as example). But if you happen to come across it on TV one Sunday afternoon, as I did, it's worth the time to sit and get absorbed by a well done star vehicle.
Although I don't generally like Westerns, I have reviewed quite a few on IMDb. That's because although this is a tired and unoriginal genre in general, when it is original and offers something worth seeing, I take notice! This is not my favorite Western, but it's in my list of top 10.However, I would not put Kirk Douglas' and Anthony Quinn's other Western movie Gunfight at the OK Corral on this list, as this famous fight has been beaten like a dead horse! Too many movies glamorizing an insignificant event in US history until the true story is completely lost! No, this movie differs because it somehow takes a familiar formula but makes it seem new and unique. Not the same old stuff, that's for sure! The movie starts with a rape and murder or Marshall Kirk Douglas' wife. He finds out that one of the men responsible is the son of an old friend. The old friend, Quinn, is a big shot in a nearby town and seemingly he is above the law. It's obvious that bringing Junior to account for his sins will not be easy! See the rest of the film to see how this is resolved, and to see brilliant writing and acting.A few other exceptional Westerns I recommend because of excellent writing and because they have something original to say: The Big Country, The Gunfighter, Yellow Sky, Hondo, The Ox-bow Incident and The Fastest Gun Alive.
The Wachowskis pitched the script to Warner Bros. who were initially skeptical of its philosophical musings and tricky SFX for the time. They then decided to bring on board underground comic book artists Steve Skroce and Geof Darrow to storyboard the entire film, shot-by-shot. Warners were impressed and the rest, as they say, is history.
The origins of this spec screenplay are just as creepy as the film. As Reddick recounts, he was given the idea by a real-life story of a woman whose life was saved by her mom who warned her not to take a flight that wound up crashing. Reddick then wrote the script as an X-Files spec but was advised by a friend to reshape it into a feature.
This script was born purely out of budgetary restrictions as writers Whannell and Wan deliberately wanted to write a horror film as cheaply as possible. One that they could finance themselves. Inspired by low-budget movies such as Pi and The Blair Witch Project, they decided on the concept of two actors, one room, and one dead body. Easily one of the best screenplays to read for horror writers.
Actor background .feature film. . need. Me for feature film. Episodic. .or work actor related contact me #414-737-6180. Verdugomarceloalejandro2280@Gmail.comLike to work with you. And or post me some scripts.
THANK YOU SO MUCH! I was looking for a PDF of the script for The Others and found your page. Reading the titles of the scripts you have culled here made my heart sing with the love of cinema that started my long journey into the film biz. Recently I have been pessimistic and disheartened about the lack of quality films coming out these days. But looking at these titles made me feel totally invigorated and optimistic.
Great resource, but sadly no musical genre section, *sniff. If anyone has the script for the musical film CHICAGO (not the stage musical), then I would be eternally grateful if you could please forward! Email: firstname.lastname@example.org
Hi, I really need Stonewall movie script. Can you help me how to get that? I am having difficult where I can get that. I am gona make analyze about that film as my rules to graduate at mu school. You can email me email@example.com
Hamburger Hill is a 1987 Vietnam War film that was one of the competing 'Nam movies following 1986's Platoon. This film was released in August of 1987, only a few weeks following the release of Full Metal Jacket and only a few months following Platoon's Academy Award win for Best Picture. As a result of this, there were invariably many comparisons to these other bigger budget films. While Hamburger Hill did not achieve the same success as Platoon, it did respectably at the box office.
Since Hollywood does everything in groups, Hamburger Hill was part of a slew of Vietnam War-themed movies released in the mid-1980s. Uncommon Valor (1983) was one of the early successes of these strings of movies, but generally, these films were either critically acclaimed "A-list" movies, like Platoon (1986) or low budget "B action films" like Missing in Action (1984).
Hamburger Hill refers to the infamous 'Hill 937' in the A Shau Valley, Thua Thien province, which was a major point of supply by the enemy from the north. At the north end of the A Shau Valley was a major North Vietnamese Army (NVA) staging area known as Base Area 611. Hill 937 is so named because the number lists the number of meters above sea level (hills with identical heights are given additional name identifiers, but there were few hills that had the exact same height in Vietnam).
Though the film shows a majority of the platoon being killed in the ascent to the summit, the 101st Airborne actually suffered 4% KIA during the 10 day assault. It is interesting to note that many motion pictures depict much greater casualties than actually occurred during an historical battle (Gallipoli is a stark example).
The majority of the 101st Airborne troopers in the film carry mockups of XM16E1 Rifles, the interim variant of the M16 rifle which combined the 3 prong flash hider with the A1-style upper receiver. In reality, the 101st AB, at this stage of the war, did NOT carry the XM16E1, but had the M16A1 with birdcage flash hider, a fact pointed out by Hamburger Hill veterans when the film was released. The rifles, while featuring the older flash hiders, have full magazine fences, which were not on actual XM16E1s, but rather on later M16A1s.
Soldiers in the beginning of the film have ModelGun Corp replica MGC M16s slung to their backs as they load wounded onto helicopters. One of the giveaways is the 'blued' 20 round magazine (the real 20 round magazine is anodized aluminum), the shape of the pistol grip, and the rear sling swivel. The most obvious detail is not seen here is the fake forward assist of the replica rifle.
Other than the milled receiver AK-47s (which are probably Poly-Technology Legend series rifles), there are obvious stamped receiver Norinco Type 56 style AK rifles with underfolder spike bayonets (aka "Pig-Sticker". This variant has a stamped receiver, the version in the film has a milled receiver.)
The M60 machine gun is used by Duffy (Harry O'Reilly) and then by both Gaigin (Daniel O'Shea) and Bienstock (Tommy Swerlow). NVA forces are also seen using the M60 in defense of the hill. This is not somewhat inaccurate as Viet Cong forces used captured American weapons, and some could have easily have found their way into the NVA arsenal as well.
A variety of "lemon grenades" are seen on soldier's web gear throughout the film. They are often seen from a distance on webbing or in men's hands as they are thrown. In real life, they are supposed to be M61 Grenades (virtually identical to the M26A1 lemon grenades most associated with Vietnam), however, these have a slightly unusual shape, implying that they are some sort of "trainer" grenade that is not often used to impersonate the M26/M61 series of grenades.
Throughout the film, the enemy uses what appear to be Chinese Type 67 stick grenades. These weapons typically were an oval pineapple-style grenade attached to the top of a short wooden stick and noticeably shorter than the famous German Model 24 Stielhandgranates of World War II vintage. 2b1af7f3a8