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Duel in the Sun
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Directed by King Vidor.
In David O. Selznick's Duel in the Sun, Jennifer Jones stars as half-breed Pearl Chavez, whom everyone has tagged as a "bad girl" foredoomed to an unhappy end. She is taken into the home of wealthy, greedy rancher McCanles (Lionel Barrymore) and his kindly wife Laura Belle (Lillian Gish), who'd once been the sweetheart of Pearl's recently executed father (Herbert Marshall). Almost immediately, Pearl becomes the object of an emotional tug-of-war between McCanles' virtuous son Jesse (Joseph Cotten) and wicked ne'er-do-well offspring Lewt (Gregory Peck). After killing a man (Charles Bickford) who'd tried proposing to Pearl, Lewt becomes a fugitive, secretly working to undermine the railroad that threatens to cut across McCanles' land. The level-headed Jesse tries to negotiate with the railroad men, and as a result is ordered from the ranch by McCanles. While all this is going on, Pearl, sick to death of being told what a bad job she is, decides to become the Jezebel everyone assumes she is. Duel in the Sun was based on the novel by Niven Busch, who'd written the work hoping that his wife Teresa Wright would play Pearl--but that was before Selznick fell head over heels in love with Jennifer Jones. ~ Hal Erickson, All Movie Guide
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theunemployedshortstoptheunemployedshortstop Re:A new pack of RESERVOIR DOGS ...
by theunemployedshortstop in Filmgaming
hasn't rated it.
"The Epic Tale of "The Wolves of Gomorrah Gorge." The Conceit: Due to a trans-dimensional rift caused by the AWESOMENESS of the Inglorious Bastards screenplay Quentin Tarantino is able to jump into a dimension where the world is perpetually in the early fifties. The impish auteur (also great collaborator) is eager to see what some of his favorite directors and writers would do with his material. He gives a vague outline of Reservoir Dogs to Carl Foreman. Bitter over the HUAC hearings of 1947, Forman takes the idea of the mole cop and turns it into a commentary on witch hunting (like the Crucible set in the American West… with action and no weeping, whining, or three hour yawn-fest… just kidding). Production: The studio loved the concept and saw Anthony Mann as the director. His surprising presentation of the morally grey double agents in T – Men and his success as a visual director of both noir and westerns would yield a fantastic visual motif. Forema ... " [More]
HairyLimeHairyLime Over the top western funfest
by HairyLime in HairyLime Blog
liked it.
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"Lush, beautiful, grand and outrageous, Duel in the Sun feels like one of those huge budget costume melodramas like 'Gone With the Wind', with 3 scenery chewing costars that read like a who's who of Old Hollywood royalty. Barrymore, Gish, Huston, and we haven't even gotten to the big names yet. Gregory Peck has fun in an unusual 'bad guy' role, and Joseph Cotton is stuck yet again in the 'nice guy who doesn't get the girl' role that he was so great at, with those sad hound dog eyes and wounded 'aw shucks' tone of voice. Not quite the ending I was expecting, which made it all the more fun, as the two 'bad' (sinful) characters get what's coming to them, yet still manage to leave the audience with a satisfactory romantic ending. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Appropriately nicknamed "Lust in the Dust," Duel in the Sun is a wacky, grandiose melodrama, famous for its sexual innuendo. Producer David O. Selznick was attempting to top his success with Gone With the Wind, and though it did make quite a lot of money, Duel never matched the level of public and critical adulation of his previous film. It's still good fun to watch, especially the riotous ending. Despite starring the producer's second wife, Jennifer Jones, and a host of other big names (Gregory Peck, Lillian Gish, Joseph Cotten, Lionel Barrymore), the film relegates the performers mostly to the background -- as they are in the final shot. Selznick was so keen on producing the "biggest movie ever" that, in 1946, Duel was the most expensive film ever made. The producer's meddling in the filmmaking process drove director King Vidor from the picture, and five other uncredited directors would work on the film after him, including Josef von Sternberg and William Dieterle. ~ Brendon Hanley, All Movie Guide
 



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