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The Man Who Dared to Fill John Wayne’s Boots – My Blog

The lanky, long-faced Mr. Cord actually bears a closer resemblance to Tom Tyler, who played the Ringo Kid’s gun-slinging nemesis, Luke Plummer, in the John Ford film, than he does to the towering, barrel-chested Wayne. Under Douglas’s direction, Mr. Cord creates a less charismatic but more approachable Ringo.In the original film, Ford introduces Wayne with a highly uncharacteristic visual flourish: the camera darts toward Wayne in a rapid dolly shot, as the actor, standing in front of what appears to be a projected background, twirls his rifle in a grand, theatrical gesture. The shot briefly goes out of focus as Ford’s cinematographer, Bert Glennon, struggles to keep up with the change in scale — an effect that may have been accidental, but which grants Wayne an almost supernatural aura, as his face emerges from the blur to fill the screen in a dominating close-up.This is mythmaking, pure and simple. Douglas, by contrast, discovers Mr. Cord’s Ringo sitting by the side of the road, in a roomy, wide-screen composition that fully integrates the actor with natural environment. In the background, a rushing waterfall imparts some of its strength and wonder to the character, but Douglas soon moves to a higher angle that eliminates the waterfall from the image, and actually seems to diminish Ringo’s stature by looking down on him, hemmed in by a cluster of trees.

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There’s no Homeric apotheosis here, just a frank appraisal of a man who lives within the limits of the natural world. The comparison illuminates the difference between two films and two filmmakers working from what is essentially the same script (although the rewrite, by Joseph Landon, expands some scenes and eliminates others, large passages of Dudley Nichols’s original dialogue are recycled).While Ford was indisputably the greater artist, Douglas has put his finger on one of the weaknesses of “Stagecoach”: Ford’s determination to make a sort of meta-western, a film that deals in archetypes rather than individuals, and epic themes rather than genre conventions. With “Stagecoach,” Ford’s return to the genre after 13 years of more “prestigious” material, the western achieves self-consciousness, an awareness of itself as America’s official foundation myth.
Douglas almost literally brings the material back to earth, shifting the action from the black-and-white, lunar landscape of Monument Valley (“Stagecoach” was the first film that Ford shot among its eerie promontories) to the fecund greenery of a Colorado mountain range. Ford, in Andrew Sarris’s famous phrase, keeps his eye on the horizon line of history; Douglas, whose sensibility is at once more pessimistic and humanistic than Ford’s, concentrates on the immediate problems facing the characters in the foreground.

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Mr. Cord with Ann-Margret, his romantic partner in the film.
Mr. Cord with Ann-Margret, his romantic partner in the film.Credit…Twentieth Century Fox Home Entertainment
Mr. Cord with Ann-Margret, his romantic partner in the film.
The 1966 “Stagecoach” is an intriguing anticipation of the disaster-film cycle that would begin in earnest with “Airport” in 1970. An all-star cast (for 1966, at least — Ann-Margret, Red Buttons, Mike Connors, Bing Crosby, Robert Cummings, Van Heflin, Slim Pickens, Stefanie Powers) faces an apocalyptic threat (provided in “Stagecoach” by some uncharacterized Indians, the weakest element in both movies) while trapped within a restricted environment, much like the casts of “The Poseidon Adventure” and “The Towering Inferno.”But what at first seems a threat becomes a sort of therapy, as some characters reveal their hidden weaknesses (Cummings’s smiling, sanctimonious banker has a satchel full of stolen cash), others discover their hidden strengths (Crosby’s alcoholic doctor sobers up long enough to deliver a baby), while the frayed social network pulls more tightly together.The 1970s disaster films would add a theological dimension (remember the inverted Christmas tree in “The Poseidon Adventure”?) that remains quite foreign to Douglas’s pragmatic personality. There is nothing metaphorical or metaphysical about the violence in “Stagecoach,” which retains the shocking, graphic immediacy that Douglas pioneered in films like “Kiss Tomorrow Goodbye” (1950) and “Them!” (1954).In Ford’s film, the great set piece is the Indian attack on the stagecoach as it crosses an open stretch of desert. Douglas, no doubt wary of trying to surpass one of the most famous sequences in film history, almost throws away the scene. He covers Ford’s epic vistas with a single helicopter shot and quickly moves the chase into a wooded area, where it ends, not with the magnificent sense of release and deliverance of Ford’s film, but in a squalid shootout.Instead, Douglas concentrates on Ringo’s last-reel showdown with Luke Plummer, a scene played so perfunctorily by Ford that it seems like an anticlimax (though a brilliant one, I think). For Douglas, the darkened western town, with its deserted streets and little pools of light, becomes an urban jungle right out of one of his early films noirs, and Ringo’s confrontation with a vigorously characterized, actively sadistic Plummer (Keenan Wynn) is brutal and personal.When John Wayne’s Ringo rides off with his newfound love (Claire Trevor, as the “saloon girl” with a heart of gold), Ford seems to imagine them as a new Adam and Eve, whose children will populate an American Eden of freedom and democracy. Alex Cord’s Ringo enjoys a more prosaic fate, but perhaps a less burdensome one: when he rides away with his saloon girl (a young and impossibly lush Ann-Margret), we see a couple of kids escaping an adult world that has become too corrupt and confining for them.“Stagecoach” did not make Cord a star, but it didn’t destroy him: he moved into Euro-westerns and television (including a long run as a star of the CBS series “Airwolf”) and today raises horses and writes novels. That seems to me a happy ending, too. (Twilight Time, available exclusively through screenarchives.com, $19.95)

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‘Australia’s most sexually active woman’ reveals outrageous bedroom goal for 2025

A woman who has been dubbed the “most sexually active woman” in Australia has set her sights on a big goal for 2025.

You’ve probably heard of Bonnie Blue and Lily Phillips attempting to break outrageous records in the bedroom – and Annie Knight has now thrown her hat into the ring too.

“When I watched that clip of Lily crying and everyone was saying, ‘Oh my god, this poor girl,’ I just thought, well, she’s been getting railed all day by 100 different guys… imagine putting your body through that,” Knight told Metro.

“Yes, it’s emotionally taxing, but isn’t that like any job?” she added. “Everyone has moments where they’re like, ‘I don’t know if I can do this anymore.’ You do get really stressed. She’d be exhausted; her body would be exhausted. When you’re tired, your emotions are high.”

Knight also noted that some of the men involved in Phillips’ session were reportedly rude to her, emphasizing that dealing with negativity can be challenging in any profession.

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Sophia Loren timeless beauty

Enjoy in timeless beauty of Sophia Loren:

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3738621 Sophia Loren (b/w photo); (add.info.: Sophia Loren (b.1934) Italian actress); © SZ Photo; .

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Justin Baldoni Responds to Bombshell Blake Lively Lawsuit

In a surprising turn of events in the entertainment industry, actor and director Justin Baldoni has addressed the recent lawsuit filed by actress Blake Lively. The legal battle has become a hot topic among fans and media alike, stirring discussions about celebrity relationships, professional ethics, and the implications of such lawsuits in Hollywood.

### Background of the Lawsuit

Blake Lively, known for her roles in popular series such as “Gossip Girl” and movies like “A Simple Favor,” has made headlines not only for her acting career but also for her high-profile marriage to actor Ryan Reynolds. The lawsuit reportedly stems from a conflict regarding alleged contractual obligations and personal disputes related to an upcoming project that both actors were involved in. Details of the suit indicate it revolves around claims of breach of contract and defamation, which have raised eyebrows in the industry.

### Justin Baldoni’s Response

Responding to the ongoing situation, Baldoni, who is recognized for his roles in “Jane the Virgin” and his directorial work, expressed his thoughts on social media. “I believe in the power of dialogue and resolution,” Baldoni stated in his post. He emphasized the importance of addressing conflicts in a constructive manner, stating, “This industry is filled with passionate people, and sometimes passions lead to misunderstandings. I hope we can all find a way to resolve this amicably.”

In his response, Baldoni also highlighted the significance of mental health, reinforcing that navigating legal disputes can take a toll on the individuals involved. He encouraged fans to be supportive rather than speculative, urging them to focus on the positive aspects of the artistic community rather than sensationalism.

### Industry Reactions

The news of the lawsuit and Baldoni’s response have generated mixed reactions across social media platforms. While many fans have rallied behind both actors, showing support and understanding, others have expressed concerns about the potential fallout from such legal disputes in an industry already facing scrutiny for various ethical concerns.

Industry insiders have noted that lawsuits in Hollywood are not uncommon but underscore deeper issues related to relationships between collaborators and the pressures of fame. Several celebrities have come forward expressing a desire for more transparency and communication within the industry to avoid such conflicts.

### Conclusion

As the situation unfolds, both Justin Baldoni and Blake Lively have their supporters, and the outcome of this lawsuit remains uncertain. For now, the entertainment industry watches closely, hoping for a resolution that not only reflects mutual respect but also encourages healthier collaborations in the future. In an age where public perceptions can shift rapidly, the importance of handling disputes with grace and dignity is more crucial than ever.

The legal proceedings will likely continue to attract attention, and audiences are left to wonder what this means for future collaborations in Hollywood. As fans await further developments, the emphasis lies on understanding and the potential for growth from this challenging chapter in both actors’ careers.

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