#robert weston

[nofatclips]

Red by Uzeda from the album Quocumque jeceris stabit

[zef-zef]

Shellac (Steve Albini, Robert Weston, Todd Trainer) April 26, 2022, Dolans Warehouse, Limerick, Ireland

source: thethinair © 📸: Ian Davies

[musiconspotify]

Robert Weston - Won’t Settle Down (2023) … country singer and songwriter …

[haveyouseenthismovie-poll]

[Note: This poll is a re-do of an older poll, as the original poll for it received less than 2,000 votes.]

[vath-and-such-vinluv-s-stuff]

Invincible is just Human Sonichu

[coolthingsguyslike]

[aria-baerose]

[clemsfilmdiary]

How to Lose a Guy in 10 Days (2003, Donald Petrie)

10/14-15/24

[nofatclips]

Soap by Uzeda from the album Quocumque jeceris stabit - Video by Guido Celli

[iicraft505]

Made this letterboxd list of everything various House actors are in (that is found onn Letterboxd)

[nerds-yearbook]

Short circuit 2 premiered on July 6 1988. The robot Johnny 5 went to the city where criminals wanted to take advantage of him. Tim Blanely returned as the voice of Johnny Five and Fisher Stevens as Ben (in the last movie, the last name was Jabituya changed to Jahveri), but Steve Guttenberg passed on coming back as Newton Crosby. SS Wilson and Brent Maddock returned as writers as well. This was Jack Weston's last film. ("Short Circuit 2" Film Event)

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A New Leaf (1971) Elaine May

June 1st 2024

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[twittercomfrnklin2001-blog]

I Want to Live!

With its near-documentary depiction of the workings of the gas chamber and clear anti-capital punishment stance, Robert Wise’s I WANT TO LIVE! (1958, TCM) was quite the shocker in its time. Even knowing the film’s outcome, the final act dealing with the appeals and denials in the case of convicted killer Barbara Graham (Susan Hayward) are almost unbearably suspenseful. Yet from a contemporary view the picture also has a strong sentimental strain simply in the way the filmmakers bend over backwards to make Graham appear innocent, the victim of yellow journalism, lying confederates and her own bad choices. There’s also an interesting feminist angle in that the toughness the press exploits to tar her image during the trial is later explained as the product of her rough childhood. Strength in a woman is an aberration, yet it’s one of Hayward’s most appealing characteristics. My favorite moments are the times she sasses people who think they’re trying to help her.

The film starts with Hayward as a part-time prostitute and full-time party girl who hangs with some shady characters, including two who ask for an alibi that leads to her doing time for perjury. After her ,marriage to a drug addict goes bad, she’s back with her criminal cohorts, which leads to her being arrested with them for the murder of an elderly woman. With her criminal record and an ill-advised attempt to buy an alibi, her conviction is a given, as is the death penalty. That starts a harrowing chain of events as Hayward’s lawyer (Joe De Santis), a sympathetic psychiatrist (Theodore Bikel) and the reporter (Simon Oakland) who had originally helped smear her fight to get her conviction overturned.

The film’s opening feels somewhat choppy and contrived. When Hayward informs her criminal colleagues she’s going straight and getting married, one is building a house of cards that he knocks down as soon as she leaves. Wise then cuts to a fierce argument between Hayward and her husband (Wesley Lau) as their baby screams non-stop. In these scenes, Hayward seems to be rehashing the “tough broad with a heart of gold” persona she had developed in movies like DEADLINE AT DAWN (1946) and THE LUSTY MEN (1952). At one point she even takes the fall for a married man who’d paid her for sex just because she likes a picture of his family. Once she’s charged with murder, however, the film takes flight. Where Hayward had earlier been playing movie star realism (her hair gets slightly disheveled, but she always has perfect makeup), she starts digging deep and offers a fiercely committed portrait of a desperate woman. And it’s not all snarling. When a friend from her party-girl days comes to visit and offer support, the scene is a wonder of subtle reactions to the only person showing her kindness at that point. The supporting actors have the wisdom to play for subtlety without making Hayward look out of place, and Oakland is particularly fine. Johnny Mandel wrote the jazz score, making generous use of Gerry Mulligan’s combo. If you’re good you’ll spot small roles played by John Marley, Raymond Bailey, Dabbs Greer, Stafford Repp, Gavin MacLeod, Peter Breck, Brett Halsey, Hope Summers and Jack Weston.