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Registered: 02-2006
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Re: OLD FENCING TYPE MOVIE


thank you britt that is the movie that i was looking for
Jan/10/2007, 7:01 pm Link to this post Send PM to speak3766
 
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Re: OLD FENCING TYPE MOVIE


"Bgrsman",

Yes, the film from which the featured fencing event occurred was: "The Spanish Main" (1945) Binnie Barnes was the brash, bold, brave prime and perfectly performing Piratess. However, it is not fully fair to factually or fatefully say that she lost to the 2 men and was rudely and ruthlessly run through because she could not completely or competantly cope with a 2-on-1 contest.


She, we can say, solely and sorely lost the deathly dramatic duel because her sword was solidly struck by the men's swords in such a way that her own sword was bitterly and banefully borne-in-two and basically broken. Only when she could no longer facundly flick or felecitiously fend off the ferocious flurry of feverish foils, so that that her small, slender, shortened shive of a shriven shorn shrunken sword would no longer warrant as a way to wistfully ward off the blood-thirsty thrusts, did she shockingly succumb to their twin, two-faced, transfixing and terrible twists behind their fiendish fatal force of their raging riping rapiers as they readily razed and riposted right through her chest.

Last edited by Brit Canuck, Mar/24/2007, 7:33 pm
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* The Swordsman *

Registered: 09-2005
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Re: OLD FENCING TYPE MOVIE


An accurate but somewhat needlessly graphic description.
Pardon the intrusion, but I had to remove one word from the previous prior preceeding post, as female members of the board may take offence.
 emoticon
Mar/24/2007, 7:36 pm Link to this post Send PM to Brit Canuck Blog
 
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Re: OLD FENCING TYPE MOVIE


"Britcanuck",

If you ever see the need, then wryly apply any sort of change which will correctly comply with the selected range.

Sorry, if I supremely violated the set "Spoilers" situation. Also, I did not messily mean to make anyone aggrived or anxious, with my unsettling, unsubtle, utterly graphic, gory, gruesome commentary.

I was merely wanting to avoid any minor mistaken misunderstanding that the critical character created by Miss Binnie Barnes "bought the farm" because she was merely outnumbered. I was accordingly attempting to allay the appearant assumption that she could not face more than a single swords-Man at a time and still win. I was un-talentedly trying to topically say that she was bettter than bastardly or dastardly "Dirty bilge Rats", (From the script) who wickedly wrought her death.


Mayhap, my most maladroit medium of an idiom invariably, insipidly, idiotically, and incompetantly led me to make the major mistake! Sorry!

Oh, I just remarkably realized that you thought that the "R@p3" word was the whole source of the perceived prohibitive problem! Sorry, I was not salaciously or sordidly using it in the sexual sense, I was direclty and decidedly employing it in the other definational meaning (To take or to destroy--as in the rude r@pe of Rome.)! This does not mean that I disagree with your decision to delete the in-delicate word, but I waywardly wanted or wished you to ultimetely understand my uncreative underlaying rationale.


This is not to tacitly say that I was not thinking of the decidedly dual duel meaing, but double-entendres are actually one astute way to genuninely garner and gain the attention. However, I was mainly making or managing to find a term with which fortunately finally fit my limited languid lassitudes in attenuated alliterative associations. Meaning: I regretfully readily ran out of readily reliable and responsible words with which to entreat or engagingly employ in my contrived cruel commentary.

Dr. Carl Jung was reputedly incitefully increadiably interested in duality and in dual meanings made for mnemonic mental measures, and he was intuitively and intently interested in

Last edited by Foster3D, Mar/26/2007, 4:04 pm
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* The Swordsman *

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Re: OLD FENCING TYPE MOVIE


All is forgiven. emoticon
Mar/25/2007, 1:23 pm Link to this post Send PM to Brit Canuck Blog
 
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Re: OLD FENCING TYPE MOVIE


"BritCanuck",

There is an additional acute aspect in perfect play with this principle production, and since you were sincerely or somehow sensing that this terteriarily testy topic was too tainted, then I will worrily warrant a-way from it if you deign to disagree with the dire or debateable area it indecently impinges upon?

The tangential but topical topic or thread I see being beligerently made by this timely theme is the perceived potential problem of the bundled buckets of bloody blood selectly seen in swashbucklers today, or otherwise ordinarily the otherwise or opposite is more overtly the case in early swashbucklers, and augustly as we will watch or as found in "Old Fencing Films", which we will find is the fortunate foundation of this foolish or factually facile facisimle?


We will waywardly recall that Paul Henreid plays the principle prime pirate captain in "The Spanish Main", whom we will find prospectively protrays the purported "Love Interest" of both Binnie Barnes (Anne) and as well as Maureen O"Hara in the film. As to the terribly sad scene showing Binne Barnes being run-through, it inescapably and invariably will be the point from which the following will flow.


Well, I will warrant that we do not willfully wickedly witness this pointed precise point (Binne Barnes bravely being run-through), in point of fact! Thus, this is the terribly tendentious theme that I will willfully want to look into with this track. You see, well you did not see the sword slide or slice into her side, and that is the point! We witnessed the wicked lunges lined to lay her low, but the perceived precise point of contact is overtly and obviouly obscured by the bodies of the beastly, bestial, bilious blackgards who did the dire and dirty deed. Thus, the tricky theme of this tremulous trenchart thread takes is tenuously thrust.


Back to the bleary blighted scene, we see just after Binnie is bodily brought down, Henreid heroically hastens to abruptly advance and appear talking to his team of teeming men whilist woefully wiping his winning sword with what widely and assuredly appears to be a revealed red rag, but it basically beyond assertively doubt it assuredly appears to be that there is no bloody blood to be found anywhere in the blessed film! Not a drip of a dry dram of a drop.

We wholesomely and wistfully will not woefully find any big blob of blood to be found in any factual fencing film probably or prosepctively prior to the Korean War. We wierdly witness that no bleeding or blood is to burden us to somehow be seen in any annointed aspect of War, Gangster, or Western film invariably or invidiously involving any sort of injury to any perceived performer prior to well after waining days of WWII. As to the almost absolute absence of blood, we will whimsically be lucky if we see some sort of old theatrical tricks with blood being bestowed upon the victims, but this beastly beetling benighted bloodstain, even the small ammount similarly seen in some stage plays is not something we find very often in films.

Mayhap, a most minor mark of maroon on the clearly celebrated channeled corner of the mouth, but blood befalling or benefitting the supposed serious injury invariably inflicted upon a crucial character so as to certainly cause their complete collapse and critical injury is certainly not to be caught in any cinematic film during the early part of the past century.

Now, I should readily and remonstratively remind you all that the basic blame for blighting the films with the blessed, blow-up "blood-squib" really dates from the later 1950's. We find Sam Fuller's film "Run Of The Arrow" from 1957 to be the first film to fortunately use the dangerous detonating devices, then there was "The Left Handed Gun", and all of this led to the blow-by-blow in supreme slow-mo bringing bludgeoning blood-baths by Sam Pecinpah, with his profoundly painful pioneering by virtue of his innovative interesting insertion of perceptively thick peanut butter in the blood squibs so as to caustically create the cinematic surrealistic sembalence of shocking exploding internal body parts profusly propelled from the persons body.

I will waggishly walk away from this theme or thread by saying that the true surprising source of the salacious blood squib or blood capsule crushed in the mouth was from the old Roman Gladiators, whom we will note were as much or more manifest actors than kiltering, knavish, un-Kultered killers. They usually used or utterly employed collected counterfeit chicken or pigs blood based in bags of intestinal bladders which beneficently burst or broke open when cut or pierced by a proturbuance penetrating the precise proscribed point.

I will winnow or add a wistful wizard's wink to the crew comprising "Sword of Monte Cristo", which we witness did try to enthusiastically and engagingly employ several magician or illusionist tricks to facilitate the special e-FFects in the facinating fencing format of a film. One tried and true trick tactifully and terrifically employed by the talented crew consciously contained the profound and prodigious piercing of a person with a sword by mindful methodic means of a tight, thin, tricky wire (warily coated to wistfully make it waywardly invisible in the light) pulled through a hidden holstered harness hitched around honored person with the wire winnowed tenuously tied or tackled to the tip of the sword with which or while we see them being sorely spontaneously spitted with the flexible swaying sword.


Thus, the tip of the sword surely seems to sprout from out of the chaste and charming centre of the character's chest, or invidiously inserted into the inscribed indivuduals chest and compulsively come out of their corrupt and corpulant back (The Mayor). In the film, they terrifying took both approaches, but then they tore their thrilling terrific touch to this technique by eliminating the bood from the scenes. Thus, they bolted or balked and turned their backs on the whole purpose of the entire effect by eliminating the need to somehow shockingly show that SupercineColor film did not "Bleed", as the term is technically taken, when primary colours were placed in cover or consistently close proximity to one another.

Blue and Red or Purple, which is blue and red, are patently perceived to be primary colours, but we will whine when we find that these primary colours basicallly "bleed" when wrongly brought into contact with another source of red or blue. Thus, the Mayor, when he was run through, still was warmly wearing his brilliant bright blue silk waistcoat, but no blobs of bursting blood was brilliantly brought forth following his felonious fatal death, even if we will witness a solemn soldier still seen wiping the supposed--now non-existent, in this very vacilatingly varried version of the scene--blood from the bright blade directly in close-up into the correct centre of the camera. Why still include this surely strident shot if there is nothing there to wipe, unless the initial script had something there before the changes were waywardly wrought?!


The whole basic idea, of using or utilizing blood bursting from such a wretched wanton wound would, under the ulterior motive of directly and dramatically displaying the immense improvements in Super Cine Color, was ultimately and utterly undermined when the comprehenesive colour of the costume worn by "The Masked Cavalier" was crucially changed from Purple to Black (The . Incomplete indications invariably identify that the takes from the initial scenes were supposedly and surredly shot with Miss Corday completely costumed in her conceived "Purple" costume, as we comprehensively, collectively, and correctly see in the composite posters, and a few select surving stills from the initial set.


Irrergardless, I will welcomely wince or whine that this transposing trasfixing trick was tried twice in the film--well at least twice in what, we will say, was the final featured film version?


As I have hastened to hospitably say in several select posts, the final version of "The Sword Of Monte Cristo" was not what was initially intended when it was written or first faultingly filmed. Incidentially, I invariably have not overtly offered out-and-out specific spoliers, but I did banter and blandish a betoken contrived circumspect clue or two.

Last edited by Foster3D, Apr/1/2007, 11:47 am
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Re: OLD FENCING TYPE MOVIE


As attentively attuned to my last leading librative post, I feel the forlorn and forceful need to effusively and exhaustively explain the source of red blood or reality to real reel films.

American films had found and forcefully adopted a "Film Noir" attitude presumptively in the period just prior to WWII, but mainly for Murder Mysteries (Sam Spade sort?). However, we find that after the World War European films had fortunately found a favored fine niche which the American film industry would not willingly walk. This was basically because of the banal basics of the Hayes Code, which we will note made many malign miserable misbehaviors particularily prohibited in film productions.

Thus, the takeover of the European Cinema market by assertive American studios after the World War was bordering on being complete. The neat little niches nary an American Amalgmated film firm could conceivably find a format to film was in the totally tainted "Adult" film market, or it was in a new or nearly nascient supposed strident style of film which American filmmakers would find their way foiled or barred.

This strategic situation set the stage for European Filmmakers--especially those in France and Italy--to try to make readily and really realistic films--blood and guts sort of fudmentally un-finessed films. Thus, the tragic situation was that maybe it was the tremultious troubbling tribulations in the assumed aftermath of the awful War, but maybe it was just the mass marketing made by the restrictive Hayes Code, but it invariably and increadiably resulted in European film makers finding a favored niche which supplied scores of films which we will see included the focus on strident stark stylistic realism.

It boisteriously benefitted and borrowed heavily from the ascertained assorted American Pre-War realistic grim and gritty gun and gunsel oriented "Film Noir".


This terrific term (Film Noir/Black Film) was not conveniently coined or correctly used until after well this period which I am discursively and directly discussing, but it saliently serves a select descriptive purpose, and it is tremendously and trifflingly true that the French follow-on films were immensely influential and instrumental in being used to describe and deliniate or denote the American film which influenced the following French films.


However, I happen to have a ready and reliable reason somehow striding into this setting, and it is invariably in response to the fact that European filmmakers started to include imaginative and illustrative use of more realistic or relatively real looking blood in some of their select scenes in their contrived cinematic conceptions. Invariably, it first instuted itself in the gun and gang oriented Gangster crime genre dramas, but it explosively expanded itself into other genres, and this is why we will see the American film studio reaction. They reflexively responded to out technologize the Europeans. This is typically what the clearly classic continual American or Anglo American approach is, and it is confirmed in the cinematic contraptions created. Thus, we see the bringing of the blood-squib to the scenes or set situations for films.

I might take this theme and try and go backwards in time to directly describe how the decided shift from basic bare bones, seen in Shakesperian times, including his Spanish inspirations; through the trumultious theatrical times of David Garrick, whom we will find creatively and completely changed the role of requesite realism in swashbuckling plays; and complete the liberal longitudinal layout by describing the 19th century sword and swashbuckling plays produced in the period to the first filming of fencing films?

Last edited by Foster3D, Apr/3/2007, 4:28 pm
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