Monday, 30 May 2011

Elvis Presley - Love me Tender (1956)

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Love Me Tender is a 1956 American black and white Cinema Scope motion picture directed by Robert D Webb, and released by 20th Century Fox on November 21, 1956. The film, named after the song stars Richard Egan, Debra Paget, and Elvis Presley in his film debut. It is in the Western genre with musical numbers. Because it was Presley's movie debut, it was the only time in his acting career that he did not receive top billing. Love Me Tender was originally to be titled The Reno Brothers, but when advanced sales of Presley's "Love Me Tender" single
passed one million—a first for a single—the film title was changed to match

Elvis Presley Love Me Tender : Inside Love Me Tender
With Colonel Parker, Elvis hams it up for the camera - The Movie Star
Presley plays Clint Reno, the youngest of the four Reno Brothers who stays home to take care of his mother and the family farm as older brothers Vance, Brett and Ray fight in the American Civil War for the Confederate Army. The family is mistakenly informed that eldest brother Vance has been killed on the battlefield. After four years of war, the brothers return home and find that Vance's girlfriend Cathy has married Clint. Although Vance accepts this wholeheartedly ("We always wanted Cathy in the family"), the family has to struggle to reach stability with this issue. As a Confederate soldier, Vance is involved in a train robbery in which he steals Federal Government money. A conflict of interest ensues when Vance tries to return the money against the wishes of some of his fellow Confederates. The film reaches its tragic conclusion with a gunfight between the two Reno brothers, ironically ending with Clint's murder.
Elvis Presley on the set of 'Love Me Tender'. From the book, Inside Love Me Tender
Elvis plays around with a prop knife during the filming of 'Love Me Tender'. From the book, Inside Love Me Tender.
Elvis plays around with a prop knife during the filming of 'Love Me Tender'

Elvis signs an autograph on the set of 'Love Me Tender'. From the book, Inside Love Me Tender
Elvis signs an autograph on the set of 'Love Me Tender'.

Elvis Presley on the set of 'Love Me Tender'. From the book, Inside Love Me Tender
Relaxing on the set of, "Love me Tender."

Richard Egan, Debra paget and Elvis Presley on the set of 'Love Me Tender'. From the book, Inside Love Me Tender
Richard Egan, Debra paget and Elvis Presley on the set of 'Love Me Tender'.

Elvis always had a love for animals. Here, he and co-star Debra Paget take a break from filming 'Love Me Tender'
Elvis always had a love for animals. Here, he and co-star Debra Paget take a break from filming 'Love Me Tender' in 1956 to pet some calves from the set.

Love Me Tender - 20th Century Fox 1956

video

video

The Titfield Thunderbolt (1953)

The first colour Ealing comedy, The Titfield Thunderbolt (d. Charles Crichton, 1953) marked the beginning of the end of the classic cycle, although there was one more glorious success - The Ladykillers (d. Alexander Mackendrick, 1955) - still to come. It was also the last of the three film partnership between director Crichton and writer T.E.B. Clarke.

The film was a moderate success on its release, but it has not aged well. Alexander Mackendrick put his finger on the problem when he told Clarke:

Just about everybody would secretly like to rid themselves of tiresome relatives as in Kind Hearts and Coronets, or get hold of unlimited free whisky [Whisky Galore!], or remove a fortune in gold bars from the Bank of England [The Lavender Hill Mob]. But not so many people have any great desire to run a railway.

Titfield is the mildest of the major comedies, lacking even a hint of the mischief in the previous Crichton/Clarke collaboration The Lavender Hill Mob (1951) or Clarke's earlier Passport to Pimlico (d. Henry Cornelius, 1949). It is Ealing at its most parochial, celebrating an England which has lost the will to rebuild and renew itself which carried the country through the immediate postwar years.

The rural England of the film is one in which the old 'natural order' is restored, with leadership of the countryside back in the hands of the country squire and the vicar, to the satisfaction of all. Its enemies are commercial interests, as represented by the bus company Pearce and Crump Ltd, and, implicitly, the newly nationalised British Rail, which wants to close down Titfield's tiny branch line.

In place of these twin threats, the film prefers the villagers' genial but aimless eccentricity and spirit of plucky amateurishness. The film's triumphant climax comes when the villagers are allowed to run the railway themselves - precisely because their antique steam engine is so slow that it doesn't contravene safety regulations.

With its images of steam trains, country squires, warm beer and village-green cricket, the film seems now like a Party Political Broadcast for the Conservative Party under John Major. Perhaps the then Prime Minister even had the film in mind when, in the mid-1990s, his government rushed through the deeply unpopular re-privatisation of British Rail, the disastrous results of which mean that Britain's trains, like Titfield's, run slowly.

landscape image

landscape image

THE

MONTHLY FILM BULLETIN

Published by

THE BRITISH FILM INSTITUTE

Volume 20, No.231, April 1953, page 51

TITFIELD THUNDERBOLT, THE (1953)

The picturesque village of Titfield is linked to a nearby town, Mallingford, by a single track railway. Unfortunately, the railway loses money and is closed down. The villagers' pride is aroused, and, led by the Reverend Weech, a train enthusiast, plans are laid to run the line independently. A rich, drunken eccentric called Valentine provides the money, and against much jealousy and opposition from the local bus company the new line is opened. The bus company attempts various acts of sabotage, but without success, and are finally driven to wreck the train itself at night. Weech, however, is not to be outdone. The original Titfield Thunderbolt is brought out from the museum, and, with Weech as driver and a visiting Bishop as engine-firer, makes a successful run to Mallingford, passing the approval of the British Railways inspector, who gives this sanction to the line's continuance.

This latest in the succession of Ealing comedies written by T. E. B. Clarke starts, as usual, from an ingenious and attractively anarchistic idea, and from the further advantage that most people enjoy playing with trains. The genial and whimsical characterisations of the villagers, the affectionate gibes at British customs and rituals, are other familiar elements, and here the invention is unfortunately below par. The script itself is disconcertingly short on wit, and some of its invention appears forced, and Crichton's handling fails to supply the charm that could still have been the film's justification. There are amusing moments, the Titfield Thunderbolt itself is a splendid and touching contraption, there are good performances by Holloway, Relph, Tearle, Wayne and the immortal Edie Martin, the Technicolor photography offers some pleasing landscapes, but the total result remains thin.


The Monthly Film Bulletin was published by the British Film Institute between 1934 and 1991. Initially aimed at distributors and exhibitors as well as filmgoers, it carried reviews and details of all UK film releases. In 1991, the Bulletin was absorbed by Sight and Sound magazine.

Brotherhood of Man - 1983

Brotherhood Of Man,Brotherhood Of Man,UK,Deleted,LP RECORD,530817

This album from the corny Brotherhood of Man was released back in 1983 and contains 12 tracks, including, 'Angelo' a song I refer to as the poor man's 'Fernando!'

Angelo
Cry Baby Cry
I Don't Need It
I Love Everybody
Run Like Hell
Too Late The Hero
When The Kissing Stops
It Is Love
What More Can I Say
Heartbreaker
Jukebox Serenade
Hanging On

Sons and Daughters - Episode Three

Fiona arranges for John to take on a new identity. She introduces him to a doctor who comes to remove a plaster cast from her leg, as her nephew, "Scott Edwards". In Melbourne, David thinks John should return to face the music - it's the day of John's birthday, but he isn't with his family to celebrate it. Bill tells David that he has been questioned by the police several times, and he keeps telling them he can't believe John would kill someone. Bill says he almost went back to the warehouse, but didn't because his Mum was ill. Fiona offers to buy John some new clothes, but John doesn't like being a charity-case. Fiona reads John's palm, and John wants to know about his real mother, but Fiona sidesteps the issue.

Angela Hamilton is also celebrating her birthday, at the party organised by her mother.

Fiona cuts John's hair, and gives him a new top as a birthday present. She tells him to remember he's innocent. John goes out to buy some food, and, on Fiona's suggestion, rings his parents from a 'phone box to let them know he is safe. Beryl and David try to persuade John to return home, but he refuses. A policeman appears outside the 'phone box, but he is looking for a lost child, and John heaves a sigh of relief.

The next morning, Wayne reads a newspaper report about Angela's party. There is a picture in the paper of Angela, Patricia and Gordon. Angela asks Wayne when he's going to leave again, and wants to know how Wayne could cheat on Gordon. Wayne says noone will ever know, if Angela doesn't say anything...

John has another dream about the girl on horseback. He is woken up by Jill Taylor, who rents a room in Fiona's boarding house. Jill cooks breakfast and gives John the paper. John spots the picture of Angela and sees that she lives at 'Dural'. He wants to go there.

Kevin Palmer is upset by other kids at school giving him a hard time about John. He asks Beryl why John ran away if he was innocent. He refuses Beryl's offer of some tea, and says he is going next door to see Lynn.

John and Jill are out in the countryside, when John suddenly spots a girl on a horse. He quickly realises it's Angela Hamilton, but Jill doesn't believe him and teases him about it. John starts to tell Jill about his dreams, but suddenly realises Angela has disappeared. He senses that Angela is hurt, and suddenly sees a riderless horse bolting across the field. John and Jill run across the field and find Angela lying on the ground, motionless.