#yvonne mitchell

[theolikeworld]

[myfavoritepeterotoole]

Peter O'Toole - Ride a Cock Horse -

Caption: Peter O'Toole is pictured at the rehearsal for a new stage play , Ride a Cock Horse with playwright actress Yvonne Mitchell (left) who plays one of his mistresses , Barbara Jefford (centre) who plays his wife , and Wendy Craig who plays another of his mistresses . It is written by Yorkshire author David Mercer . / May 1965

*** https://myfavoritepeterotoole.tumblr.com/post/621404316019916800/peter-otoole-yvonne-mitchell-barbara-jefford

[meril-tospen]

Crazy that this is the only universe in the entirety of the Multiverse where Julia & Winston Smith didn't get to live happily ever after 💔

[letterboxd-loggd]

Yield to the Night (1956) J. Lee Thompson

January 1st 2024

[erstwhile-punk-guerito]

[troublewithangels]

turn the key softly (1953)

🖤🖤🖤🖤🖤

[ennaih]

Every Film I Watch In 2023:

46. The Queen Of Spades (1949)

[mourningmaybells]

the person that allegedly had a heart attack because they were watching BBC's 1984 didn't die because of the scary scenes it was actually because Peter Cushing and Yvonne Mitchell had an implied sex scene in the woods and, well, it was the 50s

[ozu-teapot]

Nineteen Eighty-Four | TV | Rudolph Cartier | 1954

[clemsfilmdiary]

The Queen of Spades (1949, Thorold Dickinson)

1/19/23

[sistergeorge]

turn the key softly (1953)

[nicholasletchford]

[sluttish-armchair]

Julia as portrayed by Yvonne Mitchell: The fun aunt who lets you eat ice cream for breakfast and generally breaks all your parents’ rules

Julia as portrayed by Suzanna Hamilton: Art student who sketches people on public transportation and sometimes gives their work away

[scifipinups]

Yvonne Mitchell Nineteen Eighty-Four (1954)

[twittercomfrnklin2001-blog]

Yield to the Night

The sight of Diana Dors crossing a dance floor as a piano plays “The Very Thought of You” is enough to make even straight women and gay men forget those little ordinary things that everyone ought to do. That’s not her look through most of J. Lee Thompson’s YIELD TO THE NIGHT (1956, Criterion Channel through last night), released here as BLONDE SINNER, and the film is far from a daydream. Although it opens with the glamorous star committing murder, it then switches to her time on death row with no makeup, her natural hair color and her hair pulled back starkly. It’s an amazing transformation, but that would be just showmanship if she didn’t have the acting chops to back it up. She delivers a harrowing performance as a woman waiting to find out if she’s been granted a last-minute reprieve. J. Lee Thompson’s direction focuses on details, starting with the murder, depicted through shots of walking feet, a key in a lock, packages in a car, etc. He doesn’t cut to a closeup of Dors until she pulls out the gun. In prison, he focuses on every detail of her cell and the matron attending her. Thompson’s wife, Joan Henry, had been in prison and captured the mind-numbing routine and lack of privacy in her original novel and the screenplay she co-wrote. Those details are foremost in Dors’ mind, as relayed in voice overs. Thompson’s direction is fluid, with some great cuts and camera angles. At the same time, it often feels this is all to cover up the threadbare murder plot. Dors’ life before prison seems like a cautionary tale for young women apt to fall for the wrong man. She leaves her husband for pianist Michael Craig, only to have him dump her for a wealthy socialite. The film’s focus, however, is on the dehumanizing effect of prison life and, even though Dors is unrepentant, the inhumanity of making her pay for the crime with her life. Still, the dice are loaded in her favor. Not only can we see how Craig’s ill treatment has damaged her psyche; we also barely get to know the victim, and there are hints throughout that she treated Craig even worse than he treated Dors. The supporting cast is wonderful, with Yvonne Mitchell as a sympathetic matron, Marie Ney as the prison governess, Mona Washbourne as Craig’s landlady and the radiant Athene Seyler as a woman campaigning for prison reform and visiting inmates simply to offer them some comfort. The film is so good it’s hard to believe Thompson would later direct unmitigated schlock like MACKENNA’S GOLD (1969) and HAPPY BIRTHDAY TO ME (1981). It’s hard to believe he could even stomach pictures like that.

[troublewithangels]

yvonne mitchell in crucible of horror (1971)