When you think actresses, the name Helen Thimig doesn't pop right up. But here for a crippled old lady she's scary as heck. And what's this with her daughter Rosemary whose portrait looks like a dolled up version of Laura (1944). Poor Sergeant Johnnie, he's back from the war all bunged up, but can't wait to meet the portrait girl who sent him such beautiful letters but has since gone missing. Meanwhile he has to content himself with the lovely Dr. Leslie (Grey) who's got her own problems being a woman doctor in a man's profession. And finally there's poor Ivy (Barrett) who acts like a frightened bird, frightened even of herself let alone her employer Mrs.
Blake (Thimig). Actually, Barrett and Thimig are alumni of the great Val Lewton's horror series, so it's not surprising that their compelling turns form the movie's gripping core. Director Mann's noirish touches are evident throughout and perfectly suited to the dark subject matter. Something's up with Blake and daughter Rosemary, but what.
That's the crux of the plot. Also, I like the way we get a feel of how the war is affecting the home front, while the obscure William Terry makes a good happy-go-lucky GI in contrast to the sinister mansion. I expect the movie remains obscure because of its sub-60-minute runtime and lowly Republic pedigree.
But there's a lot of talent involved in a suspenseful story, making this a minor noirish gem.
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Credit Anna Parini SUNBURN By Laura Lippman 292 pp. William Morrow. A June evening in Belleville, Del., an unremarkable little town surrounded by cornfields and chicken farms. No one stops in Belleville. It’s a place people drive through, heading somewhere else: the coast, the city.
And yet here they are, two strangers who find themselves on neighboring stools at the local bar slash restaurant, the High-Ho. Both are nursing secrets. Polly Costello is on the run, not from one past but several, and Adam Bosk is hunting for something, though perhaps not the thing he thinks. Straightaway he notices Polly’s sunburn.
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“Why would a redhead well into her 30s make such a rookie mistake?” It’s the first of many unspoken questions. “Sunburn” is full of characters who at critical moments fail to ask the obvious: people who hold back because they’re reluctant to betray their position; or because showing interest might encourage someone to fall in love with them; or because they aren’t smart enough to be curious; or because they dread having their fears confirmed.
But this is all in the future. For now, Adam and Polly sit on their stools with their secrets and their drinks (he orders red wine, and regrets this when it comes refrigerated; she has whiskey — on the rocks, of course), sizing each other up. Adam “doesn’t go in hard. He’s not that way. Doesn’t have to be, if that doesn’t sound too vain. It’s just a fact: He’s a Ken doll kind of guy, if Ken had a great year-round tan.” (I’ll admit I faltered here.
Would any man claim comparison to a Ken doll?) Soon the pair are exchanging wisecracks and put-downs familiar from those black-and-white afternoon movies where characters speak more to conceal than to reveal, even as they fall for each other. As neither is in a hurry to leave town, it’s fortunate that the High-Ho is hiring, and soon the new waitress and the new short-order cook — wouldn’t you know it, Adam has formidable kitchen skills — are passing order slips and plates of steak to each other, building up to something that isn’t exactly Photo. Laura Lippman’s “Sunburn” may be set in 1995, before Google searches made it a whole lot harder to vanish and start afresh elsewhere, but it takes its inspiration (as Polly does, explicitly), from ’40s noir: Polly and Adam’s relationship observes the conventions. It’s ill advised, passionate and doomed. How could it be otherwise?
The reader knows from the start that Polly has done something unforgivable: She has walked away from her husband and 3-year-old daughter at the beach, left a note in their holiday rental and hitched a ride into an unknown future, jumping out at Belleville when the driver tried to put a hand on her knee. Tvs rp 3160 driver for windows 7 32bit. We know her husband is a heel, we can forgive her for running away from him — but a child? And if Adam is able to overlook this, how do we feel about that? Advertisement Polly yearns for a quiet life (“All she has ever wanted is a home, a place with things that bring comfort. Thick towels, deep chairs, soft rugs. That doesn’t necessarily mean having money, but it means having more money than she’s ever had.
So far”) but she won’t find one in Belleville. All the shadows she hoped to leave behind — police corruption, arson, insurance scams, confidence tricks and, inevitably, murder — are catching up with her. If these elements of the plot drag a little, perhaps that’s because Lippman wants us to examine our assumptions. Why are these crimes somehow less compelling, less appalling, than Polly’s act of maternal desertion? Unpicking this, the reader is shown something unexpected. The last scenes may belong in a different, more sentimental novel, but by this point you will want difficult, damaged Polly to find her happy ending. So “Sunburn,” though cool and twisty, has more heart than expected.
It’s generous in other ways, too. The particular atmosphere of unlovely Belleville is deftly conveyed: its motel and trailer park, its emptied-out Main Street and, of course, the High-Ho, where regulars gather to watch “the inevitable Orioles game on the inevitable TV with the inevitable shimmy in its reception.” Yet there is beauty here too. You see the huge red sun sinking into the cornfields; you feel the dew underfoot. Now and then a tangential character who in another novel might only merit a line or two is given a vivid chapter of his or her own. Here’s a recently dumped gay P.I. Who’s fussy about chef’s salads; a video-store clerk who prides himself on his staff picks; a housewife who has a marble-topped kitchen island and white roses in a milk-bottle vase; and her sister, who has none of those things. People move in and out of the narrative with their own baggage and preoccupations.
What they choose to tell us is very subjective and not always directly relevant, and this clamor of voices gives the novel satisfying depth and texture. There’s a sense here that we’re brushing up against many lives, many versions of the truth. “Stories are like dough,” Polly thinks, reflecting on the slippery business of family myth. “Put your hands in your stories, work them, but don’t overwork them.”.
Strangers in the Night (with original subtitle A Double Live Album) is a live album by the British rock band UFO, first released in 1979 on the Chrysalis label. The original double LP album was recorded in autumn 1978 at shows in Chicago, Illinois and Louisville, Kentucky. This was UFO's last concert recording with guitarist Michael Schenker before the band's reunion in 1993. Schenker left the band during this tour; this led to the band having to recruit former bandmate Tracklist Track number Play Loved Track name Buy Options Duration Listeners 1.
Unfortunately, this concert album is often overlooked when discussions of the great live rock albums of the '70s arise. 's deserves to be right up there with ' and 's, based on the excitement the group and its audience generate and due to the quality of the hard rock compositions.
This is a band at its peak, with its prime lineup (led by German guitar-monger ) and all of its best songs. The group paces itself at the beginning, opting for some lesser material, but begins to hit a stride on the early track 'Doctor Doctor.' 'Mother Mary' and 'This Kids' combine all the elements of 's best rock (concise riffs, mammoth drumming, etc.), while the introduction to 'Love to Love' displays the talent of the instrumentalists.
'Lights Out' is probably the band's best-known song, while the guitar solo-soaked 'Rock Bottom' was an oft-requested fan favorite. Closes their set with the let-the-good-times-roll singalong 'Too Hot to Handle' and the then-state-of-the-art heavy metal of 'Let It Roll.'
Strangers In The Night
The group may have been at its peak at the time of, but had a falling out with singer (whose vocals bear a resemblance at times to 's ) soon after the album's completion, and promptly left. Pursued pop-metal in the '80s with / (plus very short stints with both and ), while never recovered from losing him and sank into obscurity. Although the group is rarely mentioned anymore in America, 's mark has been left on bands such as, and. A long-lost hard rock classic.
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Ufo Strangers In The Night
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