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Richard Fleischer (1916–2006)

Autor de Tora! Tora! Tora!

61+ Obras 1,673 Miembros 32 Reseñas 1 Preferidas

Sobre El Autor

Créditos de la imagen: wikimedia.org

Obras de Richard Fleischer

Tora! Tora! Tora! (1970) — Director — 244 copias
20,000 Leagues Under the Sea [1954 film] (1954) — Director — 234 copias
Soylent Green [1973 film] (1973) — Director — 145 copias
Conan - The Complete Quest (2006) — Director; Director — 107 copias
Doctor Dolittle (1967) — Director — 100 copias
The Vikings [1958 film] (1958) — Director — 92 copias
Conan the Destroyer [1984 film] (1984) — Director — 90 copias
Fantastic Voyage (1974) — Director — 75 copias
Red Sonja [1985 film] (1985) — Director — 64 copias
Barabbas [1961 film] (1961) 58 copias
The Jazz Singer [1980 film] (1981) — Director — 54 copias
Compulsion [1959 film] (1959) — Director — 32 copias
TCM Greatest Classic Films Collection: Sci-Fi (2009) — Director — 27 copias
The Boston Strangler [1968 film] (1968) — Director — 21 copias
50 Movies: Dark Crimes (2012) — Director — 19 copias
Amityville 3-D [1983 film] (1983) 17 copias
Mandingo [1975 film] (2008) 13 copias
Mr. Majestyk [1974 film] (1974) — Director — 12 copias
Trapped [1949 film] (1949) — Director — 11 copias
Ashanti [1979 film] (1979) — Director — 9 copias
See No Evil [1971 film] (2003) 9 copias
The Amityville Horror Collection (2007) — Director — 8 copias
The Prince and the Pauper [1977 film] (1901) — Director — 7 copias
Film Noir Classic Collection, Volume 2 — Director — 4 copias
Between Heaven and Hell [1956 film] (1956) — Director — 4 copias
The Girl in the Red Velvet Swing (2007) — Director — 4 copias
Bodyguard [1948 film] (2015) — Director — 2 copias
The Last Run [1971 film] (2011) 2 copias
20 (1991) 1 copia
Che! [DVD] 1 copia
Che! [1969 film] (1969) 1 copia

Obras relacionadas

Etiquetado

Conocimiento común

Nombre canónico
Fleischer, Richard
Nombre legal
Fleischer, Richard Owen
Otros nombres
Fleischer, Dick
Fecha de nacimiento
1916-12-08
Fecha de fallecimiento
2006-03-25
Género
male
Nacionalidad
USA
Lugar de nacimiento
Brooklyn, New York, USA
Lugar de fallecimiento
Woodland Hills, California, USA
Lugares de residencia
New York, New York, USA
Educación
Brown University (BA)
Yale University (MFA)
Ocupaciones
film director
producer
screenwriter
Relaciones
Fleischer, Max (father)
Fleischer, Dave (uncle)

Miembros

Reseñas

The Narrow Margin is another taught and exciting crime film from director Richard Fleischer. Based on a story written by Jack Leonard and Martin Goldsmith, Earl Felton’s tight screenplay is executed with nail-biting flair by director Fleischer. Suspense builds, and a twist is thrown at the viewer before it is finally over, making this “B” sleeper one of RKO’s best from this period. A thriller set on a train bound for California, the viewer is aboard for a tense and action-filled ride they won't soon forget.

His partner is killed while picking up the wife of a mob boss set to testify before a Grand Jury, and Sgt. Walter Brown (Charles McGraw) is determined to get her from Chicago to Los Angeles by train in one piece. He knows he has been followed, however. His only advantage being that the killers sent after his charge don't know what she looks like. Not enamored of the kind of woman who would hook up with a gangster, he is a by-the-book cop, and keeps the somewhat trampy wife (Marie Windsor) stashed in his compartment while he plays cat and mouse with at least two men sent to kill her. He is impeded along the way by a bratty kid named Tommy (Gordon Gebert), who turns out to be not so bad after all. Tensions escalate, however, when Tommy’s pretty mother, Ann (Jacqueline White), is mistaken for their target.

Though the film is shot nearly entirely aboard a train, the interiors work in the film’s favor, adding a claustrophobic feel as Brown must stay alive so he can protect someone for whom he doesn’t have much use. Marie Windsor is excellent as Mrs. Neall, who may have a few tricks up her own sleeve — and a secret. Jacqueline White, so pretty opposite William Lundigan in Mystery in Mexico, another solid RKO “B” entry, is very nice as Tommy’s mother. When an attempted bribe comes into play, it is unclear just who the honest cop can trust. A fat man who always seems to slow him down and a car shadowing the train keep the viewer guessing. Plus, there’s a final twist coming you won't see coming.

Moving as quickly as the train it is set on, Fleischer’s film is a bona-fide classic in the suspense and crime thriller genre. Shot on a meager budget, it packs a bigger wallop than many films with a better pedigree, proving that money alone does not a good film make. A fun ride.
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Denunciada
Matt_Ransom | otra reseña | Nov 24, 2023 |
William Lundigan had two of his finest “B” hours at RKO with Robert Wise’s Mystery in Mexico, and the marvelous little film, Follow Me Quietly, directed by Richard O. Fleischer. All the flair and pacing of The Narrow Margin which were soon to give Fleischer his reputation are already in evidence in this terrific little mystery. Ideas tossed around by Anthony Mann and Francis Rosenwald were crafted by Lillie Hayward into a tightly written screenplay; nice touches of secondary conversations adding color and zip to the main action and plot. Lundigan today gets a bad wrap but in this fun mystery, perhaps even more so than in Mystery in Mexico, you can see it was only the material he was often given which held him back. He’s solid and likable here, reminiscent of Alan Ladd.

Ann Gorman (Dorothy Patrick) braves the rain hoping to pop in the local police hangout and get the scoop on a strangler the cops can't seem to stop. Lundigan is Lt. Harry Grant, who wants no part of her or tabloid rag she works for. Catching the “Judge” as he has been named by the papers is his only priority. The Judge only kills on rainy nights, and it’s been raining a lot lately. Grant’s frustration comes to a head in this breezily paced mystery when he helplessly watches the editor of a local paper dictate his own final story after becoming the killer's seventh victim to date.

Some nice back and forth between Grant and Ann enlivens things as she begins to grow on him. An excellent scene where it is Grant who undresses and readies himself for bed after Anne has finagled her way into his apartment is a nice reverse twist which and adds spark to the couple’s pleasant budding romance.

With tons of evidence yet no real clues, Grant gets the idea of making a dummy with all the killer’s characteristics except a face, to aid police in their search. While it sounds corny, it is done quite well and Lillie Hayward’s script has a dynamite scene of Grant talking to the life-size mannequin that is not to be missed. A magazine dropped at the scene of the eighth victim and an exciting chase where Grant nearly bites the dust punctuating the mystery.

William Lundigan and Dorothy Patrick work nicely together in this one, and Jeff Corey is solid as Lundigan’s pal, Sgt. Collins. Marlo Dwyer contributes a nice turn also as a waitress who may have unknowingly served a killer.

Nicely photographed by Robert de Grasse, with an excellent screenplay from Lillie Hayward and fine direction from Fleischer, this is an enjoyable way to kill an hour on a Saturday afternoon or pass the time on a rainy night when you can’t sleep. A “B” film for sure, but the kind of find that makes up for all the “B” films that didn’t live up to the grade. This one gets ten stars where I'm concerned. Fans of the genre who pick this one up will be delighted. Highly recommended!
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Denunciada
Matt_Ransom | Nov 22, 2023 |
2023 movie #153. 1971. An American getaway driver (Scott) now retired in Portugal, decides to take one last job, delivering a prison escape to France. Started off strong, and Scott is good in this, but kind of petered out in the end.
 
Denunciada
capewood | Sep 23, 2023 |
This is one of the best Hollywood autobiographies I've read. Fleischer, a director of minor note, with a few gems to his credit, gives the inside scoop on several films he worked on and, in doing so, gives real insight into what the movie-making process is like. It's interesting how almost every story ends up with people doing Fleischer wrong, or him being the person whose original ideas were right after all. But Fleischer isn't particularly off-putting as the self-defined "white hat" in his own story. While a bit covertly self-righteous, he does in fact seem to have had a fine head for the work he did, and his tales of egotism and hubris in Hollywood are nothing if not fascinating. I highly recommend this book.… (más)
 
Denunciada
jumblejim | otra reseña | Aug 26, 2023 |

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Estadísticas

Obras
61
También por
4
Miembros
1,673
Popularidad
#15,361
Valoración
½ 3.5
Reseñas
32
ISBNs
85
Idiomas
4
Favorito
1

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