#mantees

[slack-wise]

[skincareroutine]

also crazy how manatees have NO natural predators like did the entire animal kingdom have a board meeting and decide they were chill bros and did everyone else go along with it?

[inbarfink]

[ramisxbogart88]

Steven Buchners wedding Dress

Here’s Steven Buchners wedding Dress for his wedding to his husband Duke Mantee

[frank-o-meter]

Paul Mantee is best known for his starring role in “Robinson Crusoe on Mars” (1964). (It’s actually pretty good but the “science” doesn’t hold up very well.)

About 10 years early when he returned from the Korean War, Mantee modeled for physique photos under his real name Paul Marianetti.

[same-picture-of-a-rock-every-day]

Rock 😔✊

quite. 😔✊

[fourorfivemovements]

Films Watched in 2023: 95. The Manitou (1978) - Dir. William Girdler

[pandapalzarts]

Another sticker design coming soon!

[multiversecute23]

duke is in love

alan: your in love duke arnt you

Duke mantee: yeah

[jhsharman]

Close, no cigar

Still got his name wrong.

[periwinkle-the-11th]

I love reading fics that take place in Florida that were written by people who have very clearly never been to Florida

Cold out? In march? babygirl it is sweltering by 6am.

He's worried about... sharks? in the canal? .... you're about 2 million times more likely to run into a heard of manatees. (srsly they travel in pack of like 2-6 and they'll come up and surround your kayak! its so cool, happened to me a few times)

60 degrees??????????? it is not december??? what???

i don't mean any of this in a mean way or anything it just makes me giggle!

[esonetwork]

Embryo & The Manitou | Episode 428

New Post has been published on https://esonetwork.com/episode-428/

Embryo & The Manitou | Episode 428

Clay Sayre returns to join Jim for a first for the podcast – A MONSTER ATTACK! Double Feature, featuring 1976’s “Embryo,” starring Rock Hudson, Barbara Carrera, Diane Ladd, Anne Schedeen, John Elerick, and Roddy McDowall, along with 1978’s “The Manitou,” starring Tony Curtis, Susan Strasberg, Michael Ansara, Stella Stevens Jon Cedar, Ann Southern Paul Mantee, and Burgess Meredith. It’s true “Double Feature” fare as Jim and Clay talk about these two cult films from the 70’s and it’s all ahead on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

[twittercomfrnklin2001-blog]

Day of the Animals

“Vultures and rattlers and bears, oh my!” could have been the tagline for William Girdler’s DAY OF THE ANIMALS (1977, Shudder) had anybody on the film been honest about how ridiculous it was. The depletion of the ozone layer creates a virus that affects animals and some humans (well, one that we see) in higher altitudes, which doesn’t bode well for Christopher George’s wilderness survival expedition. It doesn’t do much for the audience either unless you’ve got someone to laugh with you. Sadly, my dog and cat were not so inclined. It takes almost 30 minutes to get to the first animal attack, and many of them are laughably staged. Instead, we get a lot of forced drama as we meet the people foolish enough to book the expedition as some form of vacation fun. There’s a news anchor (Linda Day George) who wants to experience life rather than talk about it, an advertising executive (Leslie Nielsen) looking for people to treat rudely, a single mother (Ruth Roman) trying to bond with her 12-year-old son (played by a short 25-year-old stuntman with a gratingly high voice), a squabbling couple, a dying football player (Paul Mantee), a college professor (Richard Jaeckel) and two young innocents (Andrew Stevens and Susan Backlinie, the first victim in 1975’s JAWS) with no apparent motivation. Jaeckel  and Christopher George (and the bear) had co-starred in the director’s previous film, GRIZZLY (1976), and Day came along to work with her husband. Their courtship scenes are among the film’s few saving graces, and it’s rather sad that not all their films together gave them the opportunity to demonstrate their easy rapport. The rest seem to be whoever needed to pay the rent on casting day. As the one human driven mad by ozone depletion, Nielsen fares the worst. He starts as a jerk and ends up an uneasy combination of Captain Ahab and Wolf Larsen. Lalo Schifrin did the score, and his attempts to build suspense by accompanying closeups of stalking animals with screeching strings and low piano notes get some of the film’s biggest laughs.

[ramisxbogart88]

on tonight’s episode of Into The Haroldverse

Crossing the Bogartverse! Starring:

Rick Blaine (Cafe Owner) marries Egon Spengler (Ghostbuster)

Ricks Twin Brother Leland (Captain) Blaine Married Egons Twin Brother Elon (Ecoterrorist) Spengler

Ricks Cousin Steven Jordan married Egons hippie cousin Russell Ziskey who recently got up to some shenanigans in Czechoslovakia

Ricks other Cousin Sam Spade (Detective) married incredibly creepy other cousin of Egons Officer Friendly, who just sits in a corner staring at everyone all at once. also a narc

Ricks Lawyer Cousin Andrew Morton married Moe Green, who isn’t actually related but always turns up regardless and no one ever has the heart to make him leave

Ricks Uncle Charlie allnut married Egons Uncle Harris, the only normal person in the room, and his son Child Seth Rogen, who is touching everything, playing pranks on all the adults and driving Elon up a wall

Ricks Grandpa Eddie Willis Married Egons Grandpa Adam, distributor of the weed Eddie Serenaded Adam with a Rose he Received in a Boxing match

Ricks Criminal Cousin Duke Mantee Married Egons Yuppie Cousin Steven who was metrosexual decades before it became cool and never shuts up about the stock market & Being Part of His Husbands team

Ricks Other Cousin Frank Taylor Married Egons Cousin Mort, who has a dental practice, though no one is 100% sure if he ever actually graduated from dental school

[forthegothicheroine]

One of my favorite negative reviews

I can’t find a full text of it online, so I’m going to copy out some big chunks of Stephen Hunter’s retrospective on Gone with the Wind, which apparently resulted in lots of angry letters to the editor.

Long, stupid, ugly and, alas, back for the sixth time (in theaters, innumerable television showings have preceded this rerelease), it is probably the most beloved bad movie of all time, as its adjusted box office gross of $5 billion makes clear. If you love it, that is fine; but don’t confuse its gooeyness, its spiritual ugliness, its solemn self-importance, with either art or craft, for it boasts none of the former and only a bit of the latter. It is one of the least remarkable films of that most remarkable of American movie years, 1939. In fact, far from being one of the greatest American films ever made, I make it merely the twenty-eighth best film of 1939! It may not even have been the best movie that opened on December 15, 1939! It is overrated, overlong, and overdue for oblivion.

Of the various characters and actors:

It’s profoundly misogynistic...the secret pleasure of the film is watching Scarlett O’Hara being punished for the sin of selfhood. The movie delights in her crucifixion, even to the point of conjuring the death of a child as apt punishment for her ambitions. Her sin, really, is the male sin: the pride which goeth before the fall...

Leslie Howard was a great actor and a brave man, who raced home to join his unit when World War II broke out, thereby missing the famous December Atlanta premiere. He was killed in 1943 when the Nazis shot down a plane he was in. Let us lament him as we lament all the men who gave their lives to stop that evil. That said, the truth remains that on screen, he was a feathery creature, best cast as the foil to Bogart’s brutish Duke Mantee in The Petrified Forest, where his cathedral-abutment cheekbones gave him the look of an alabaster saint in the wall of an Italian church. But he was about as believable as a sexual object as he would have been as Duke Mantee...

The wondrous Olivia de Havilland was an actress of spunk and pizazz, and she gave as good as she got, even across from such hammy scene stealers as her longtime costar Flynn. But she, too, is trashed by Gone with the Wind as sugary Melanie Wilkes, a character of such selfless sweetness she could give Santa Claus a toothache.

Of the film as art:

Too much spectacle, not enough action. David O. Selznick, who produced the film and rode it to immortality, didn’t understand the difference between the two. Thus the film has a fabulous but inert look to it; the story is rarely expressed in action but only in diorama-like scenes. It is curiously flat and unexciting. Even the burning of Atlanta lacks dynamism and danger; it’s just a dapple of flickering orange filling the screen without the power and hunger of a real fire. And the movie’s most famous shot- the camera pulling back to reveal Scarlett in a rail yard of thousands of bleeding, tattered Confederate soldiers- makes exactly the wrong point. It seems to be suggesting that Scarlett has begun to understand that the war is much bigger than she is. And yet she never changes. The shot means nothing in terms of character; it’s an editorial aside that really misleads us.

Of the film’s message:

From its opening credits, which characterize the South as a lost land of lords and ladies, to its final images of Tara nestling among the Georgia dogwood, the movie buys into a myth that completely robs the region of its truth. Love it or hate it, it’s a land (as Faulkner knew) in which the nobility of its heroism lived side by side with the ugliness of its Original Sin: slavery. I’m not attacking the South here, just Margaret Michell and Selznick’s version of it. Other movies or 1939 were beginning to find the courage to express some subtle ideas. One of them was John Ford’s Young Mr. Lincoln.

Of its comparison to other 1939 movies:

I found 797 titles from the year 1939, had seen fewer than a tenth of them, and even on that small list there were 27 that struck me as fundamentally better than Gone with the Wind, movies that I would watch again with utter delight. They are: Allegheny Uprising, Another Thin Man, Babes in Arms, Beau Geste, Confessions of a Nazi Spy, Dark Victory, Dodge City, Drums Along the Mohawk, Golden Boy, Gunga Din, Juarez, The Light that Failed, Made for Each Other, Mr. Smith Goes to Washington, Ninotchka, Of Mice and Men, The Private Lives of Elizabeth and Essex, The Real Glory, The Roaring Twenties, Stagecoach, The Story of Alexander Graham Bell, The Three Musketeers, Union Pacific, The Wizard of Oz, The Women, Wuthering Heights, and Young Mr. Lincoln.

Dammit, my dear, I’m just being frank.

[fallenwhumpee]

LEA LEA LEA think about it. A mafia setting. The boss (a doctor) had taken in a child who became the Demon Prodigy and the youngest mafia executive at 15. He's a genius okay. But the boss has abused him, tortured him and had him subjected to such training also using mefical ministrations on him almost on a daily basis. Now this boy takes in another child. He is 17, the child he decided to protect was 15. This right hand (demon prodigy) begged the boss to keep the child alive because he would make a good asset to the mafia and that he would train him himself. So he trains the boy brutally, which makes him land up in the infirmary almost after every session. The prodigy's partner, the boy, everyone think he is so harsh and too brital with him. But boss isn't satisfied and asks him along with his mentee to come to his office. The mentee for the first time sees his brutal, cruel, stoic mentor on his knees bowing submissively. Thr boss takes his prodigy's clothes off, and the mantee sees the scars littering his mentors body. No matter how cruel or harsh, his mentor had never left scars on him. He watched as the boss whipped his mentor. He vould do nothing. The prodigy quietly took everything regardless of feeling the gaze of his mentee on him. He tells him after the punishment session that this should never leave the room and should absolutely not reach his partner's ears.

I know its a lil confusing so here are the characters again

1. Boss also a doctor

2. Demon Prodigy/Mentor/Right hand are the same people.

3. Partner is Demon Prodigy's partner.

4. The mentee is prodigy's mentees.

An🍨 for your thoughts?

~ 🐈‍⬛ <3

No no no don't give me any training whump I love those so much you'll give me ideas :)

Boss knows the limits of the body too well for the prodigy to get a break. Sick? They can go on until their fever became dangerous. Bleeding out? Boss knows that they still have time. Exhausted? Hydrate and continue. Everything will be patched up personally after the training. A neverending cycle of being hurt and treated but never severe enough to compromise them in the field.

Over the years, perhaps the prodigy wanted only one thing from the boss. They hadn't begged for their own, but they readily begged for the life of their mentee. They were desperate to ensure the mentee's survival, maybe because they saw so much of themselves in the mentee, or maybe simply because they didn't want the child to die.

And they kept the child alive with the only way they knew. But they weren't boss, they didn't know the limits too well. At least from experience, they knew what would scar or not. So they tried to train mentee, and they also tried not to mark mentee. Mentee wasn't theirs. Not the way they were boss'.

But as always, the boss wasn't pleased with the prodigy. And boss now had another excuse, mentee, to punch the prodigy. It's not really apparent to mentee until the boss decides that mentee has to learn what happened when one failed to use the given chance.

I have a feeling that mentee will be crying in partners' arms about what's happening to prodigy, which will soften partner's opinion about prodigy. Partner may try to make subtle attempts to soothe prodigy or go confront prodigy directly. In any way, prodigy will feel betrayed by mentee for that.