The film centers on the socially awkward yet lovable character of Monsieur Hulot and his quixotic struggle with postwar France’s infatuation with modern architecture, mechanical efficiency and consumerism. As with most Tati films, Mon Oncle is largely a visual comedy; color and lighting are employed to help tell the story. The dialogue in Mon Oncle is barely audible, and largely subordinated to the role of a sound effect. The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The complex soundtrack also uses music to characterize environments, including a lively musical theme that represents Hulot’s world of comical inefficiency and freedom.
The Robot vs. the Aztec Mummy (originally La momia azteca contra el robot humano) is a 1958 Mexican film directed by Rafael Portillo, starring Ramón Gay and Rosa Arenas. It blends elements of science fiction and horror. The film is the sequel to The Aztec Mummy and The Curse of the Aztec Mummy, both released earlier that year, and a large portion of the film consists of an extended recap of the first two entries in the series.
The film is also known as The Aztec Mummy Against the Humanoid Robot or Aztec Mummy vs. the Human Robot.
George Kelly (Charles Bronson), dubbed “Machine Gun” by his partner in crime Flo Becker (Susan Cabot) because of his obsession with Thompson submachine guns, pulls off a bank robbery and eventually becomes Public Enemy #1. Discord grows among his inner circle, and Kelly, deathly afraid of being jailed or killed, is dominated and ridiculed by the tough-talking Flo.
A botched robbery causes one of their partners, Michael Fandango (Morey Amsterdam) to lose an arm. Kelly, goaded on by Flo, kidnaps the daughter of a wealthy businessman for ransom. Fandango fingers him to the police, but is killed by one of Kelly’s gang as the house is surrounded.
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Kelly intends to surrender, if only to receive a more lenient sentence and avoid execution. Flo again questions his nerve, whereupon Kelly slugs her with his fist, knocking her unconscious. Both are taken away to jail.
Showdown at Boot Hill is a 1958 American Western film directed by Gene Fowler, Jr. and written by Louis Vittes. The film stars Charles Bronson, Robert Hutton, John Carradine, Carole Mathews, Fintan Meyler and Paul Maxey. The film was released on May 1, 1958, by 20th Century Fox.
The Lineup, directed by Don Siegel in 1958 is the big screen version of the police series that ran on CBS radio in the early 1950’s and on CBS television from 1954 to 1960. This production has many scenes shot on location in San Francisco, including shots of the Embarcadero Freeway and the Sutro Baths as well as many other Bay area landmarks.
The Lost Missile is a 1958 science fiction film distributed by United Artists. It was directed by William A. Berke, who also executive produced the film and wrote the story on which it was based. The screenplay was co-written by John McPartland and the longtime science-fiction writer Jerome Bixby, and starred a young Robert Loggia.
A low budget film that relied heavily on stock footage of military forces and civil defense exercises, it carried a Cold War-era message of the importance of the work done by scientists and the military in protecting the nation from external threats.
The Screaming Skull begins with a voiceover explaining that the film is so frightening it may kill members of the audience, and that American International Pictures is prepared to pay for any burial services and funeral costs. During the voiceover, the camera pans inside an empty casket containing a note that reads “Reserved for you”.
The narrative portion of the film begins as newlyweds Jenni and Eric return to Eric’s palatial country home. Jenni is Eric’s second wife; his first wife Marion died when she hit her head and drowned in a decorative pond on the estate. At the home they meet Eric’s friends, the Reverend and Mrs. Snow, as well as Mickey, the eccentric and patchily-bearded gardener, played by the director, Alex Nicol.
When she begins to hear unexplained screaming noises and see unexplained skulls around her house, Jenni begins to believe the ghost of Marion is haunting her. However, it is also revealed that Jenni has spent time in an asylum, that she has a great personal fortune Eric would inherit if she died, and that Mickey the gardener dislikes Jenni (and, moreover, was childhood friends with Eric’s first wife). Possible explanations of the film’s central mystery seem fourfold:
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As the haunting continues, the first possibility is proved to be true, as the audience sees Eric planting a skull and then pretending to see nothing when Jenni points out that a skull is present. Eric’s tactics begin to look like they will be effective, as Jenni is increasingly unnerved.
However, in subsequent scenes, it is revealed that the real ghost of Marion, who was murdered by Eric, is out to get him. Aware that his plans are unraveling, Eric prepares a noose and then throttles Jenni with his bare hands. But the ghost of Marion interrupts him, dressed in the clothes of his ex-wife. In the final scenes of the film, Eric is pursued by ghostly screaming skulls into the decorative pond where a skull (presumably of Marion) bites his neck and kills him. Jenni survives her strangulation and is initially traumatized by the experience, but leaves the house soberly in the company of the Reverend and Mrs. Snow.
Classic 1950s sci-fi, monster flick. The year is 1973, the planet is Mars. A spaceship has crashed on Mars. They have found only one survivor, Col. Edward Carruthers. He is suspected of having killed everyone else on board to save rations for himself. Carruthers pleads his innocence, blaming the deaths of his colleagues on the unknown creature they encountered on the planet.
Frankenstein’s Daughter (1958) was the third of four drive-in films crafted by producer Marc Frederic and director Richard E. Cunha in the late 1950s. In it, Victor Frankenstein’s grandson repeats his grandfather’s grisly experiments. https://youtu.be/6d7bQdUEKZE