Entre Ficheras Anda El Diablo. Murieron a Mitad del Rio. Search Results - Entertainment - msn.com. Son tres cuentos que se desarrollan paralelamente 1) El promotor de una exposici. El nuevo Prodigy MSN, tu colecci Find trailers, reviews, synopsis, awards and cast information for Entre Ficheras Anda El Diablo (1987) - Miguel M. Delgado on AllMovie - An all-star cast of popular Mexican comics La Pulqueria 3: Entre ficheras anda el diablo Online 1984 . En la pulqueria sigue la pura vida. Entre Ficheras Anda El Diablo / DVD Spanish Version, Subtitled / Drama, Foreign-Spanish / 735978412318. Movie Details Entre Ficheras Anda el Diablo. Jorge Rivero, Sasha Montenegro, Carmen Salinas, Rafael Inclan, Alfonso Zayas, Manuel Valdez, Luis DeAlba, Ana Luisa Peluffo.ENTRE FICHERAS ANDA EL DIABLO. Tercer t? Bien, las ficheras es el nombre con el que se le conoce al g. Me refiero a Jaimito el personaje, no a Alvaro Vitali (recuerden que cualquier pel. Todo ello aderezado con numeritos musicales de revista con sus Vedettes y sus plumas, como si se tratara de uno de esos v.
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Atari 2600 Magnavox Odyssey 2 Bally Astrocade Sega Genesis Sega Game Gear Atari 7800 Sega Master System Featured image All Image latest This Just In Flickr Commons Occupy Wall Street Flickr Cover Art USGS Maps Metropolitan Museum Top. Title: Re: Name That Movie - Pictures Post by: Nukie 2 on October 15, 2008, 06:55:33 PM Scum of the Earth? Title: Re: Name That Movie - Pictures Post by: Rev. Powell on October 15, 2008, 08:59:16 PM. Paid In Full Workprint This version contains no alternate footage but it contains an alternate soundtrack in places and some very slight changes to the voiceover. After I completed the rarity rating in the CED Title Database, a common question I received was how soon would it include a dollar value for each title. Sometimes I even get lists of CED titles requesting that I assign a dollar value to each title. I was comfortable doing. King Kong (1. 93. Wikipedia, the free encyclopedia. King Kong is a 1. American pre- Codemonster film. The screenplay by James Ashmore Creelman and Ruth Rose was from an idea conceived by Cooper and Edgar Wallace. The movie one week was Akira Kurosawa’s The Seven Samurai, and I decided to watch it mainly because samurai were cool.It stars Fay Wray, Bruce Cabot and Robert Armstrong, and opened in New York City on March 2, 1. It has been ranked by Rotten Tomatoes as the greatest horror film of all time. The film tells of a gigantic, prehistoric, island- dwelling ape called Kong who dies in an attempt to possess a beautiful young woman. King Kong is especially noted for its stop- motion animation by Willis O'Brien and a groundbreaking musical score by Max Steiner. In 1. 99. 1 it was deemed . It has been remade twice, in 1. Kong: Skull Island, is set for release in 2. In New York Harbor, filmmaker Carl Denham, famous for making wildlife films in remote and exotic locations, charters Captain Englehorn's ship Venture for his new project, but is unable to secure an actress for a female role he has reluctantly added to the script. Due to set sail that night, Denham searches the streets of New York for a suitable woman. He meets penniless Ann Darrow and convinces her to join him for what he proposes as the adventure of a lifetime. The Venture quickly gets underway and, during the voyage, the surly first mate, John Driscoll, gradually falls in love with Ann. After weeks of secrecy, Denham finally tells Englehorn and Driscoll that their destination is Skull Island, an uncharted land shown on a map in Denham's possession. Denham also cryptically alludes to some monstrous creature rumoured to dwell on the island, a legendary entity known only as . A landing party, including the filming crew and Ann, witnesses a group of natives prepare to sacrifice a young maiden as the . The intruders are spotted and the native chief angrily stops the ceremony. When he sees the blond Ann, he offers to trade six of his tribal women for the . They rebuff him and return to the Venture. That night, a band of natives kidnap Ann from the ship and lead her through a huge wooden gate in the wall. Tied to an altar, she is offered to Kong, who turns out to be an enormous gorilla- like ape. Kong carries her off into the jungle as the Venture crew, alerted to Ann's abduction, arrive. They open the gate and Denham, Driscoll and some volunteers enter the jungle in hopes of rescuing Ann. They soon discover that Kong is far from the only giant prehistoric creature on the island when they are charged by a Stegosaurus, which they manage to kill. After constructing a raft in order to cross a swamp, a Brontosaurus capsizes their supplies, killing several of the men. Fleeing through the jungle, they soon encounter Kong, who tries to stop them from crossing a ravine by shaking them off a fallen tree that bridges it. Only Driscoll and Denham, on opposite sides, survive. A Tyrannosaurus threatens Ann, but Kong kills it after a colossal battle. Driscoll continues to shadow Kong and Ann while Denham returns to the village for more ammunition. Upon arriving in Kong's lair in a mountain cave, Ann is menaced by a snake- like Elasmosaurus, which Kong wrestles and kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Driscoll reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, they let go and fall unharmed into the water below. They run through the jungle and back to the village, where Denham, Englehorn and the surviving crewmen are waiting. Kong, following, breaks open the gate and murderously rampages through the village. On shore, Denham, now determined to bring Kong back alive, knocks him unconscious with a gas bomb. Chained and shackled, Kong is presented to a Broadway theater audience as . Ann and Jack are brought on stage to join him, followed by an invited group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose as the audience flees in terror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. Carrying her in his hand, he rampages through the city. He wrecks a crowded elevated train and ultimately climbs up the Empire State Building. At its top, he is met by four military Curtiss Helldivers. Kong sets Ann down and battles the planes, managing to down one of them, but he finally succumbs to their gunfire and falls to his death. Ann and Jack are reunited. Denham arrives and pushes through a crowd surrounding Kong's body in the street. When a policeman remarks that the planes got him, Denham tells him, . It was Beauty killed the Beast. In such films, scientific knowledge could be turned topsy- turvy at any time, and it was this that provided the genre with its vitality, appeal, and endurance. At the turn of the 2. Lumi. Jungle films were launched in the United States in 1. Beasts in the Jungle, a film that mixed live actors with lions, a tiger, and other animals. The film's popularity spawned similar pictures, including a few about . In 1. 91. 8, Elmo Lincoln starred in Tarzan of the Apes. Campbell specialized in monkey- themed films with Monkey Stuff and Jazz Monkey in 1. Prohibition Monkey following in 1. King Kong producer Ernest B. Schoedsack had earlier monkey experience directing Chang: A Drama of the Wilderness in 1. Merian C. Cooper) and Rango in 1. Capitalizing on this trend, Congo Pictures released the hoax documentary. Ingagi in 1. 93. 0, advertising the film as . Although Cooper never listed Ingagi among his influences for King Kong, it's long been held that RKO green- lighted Kong because of the bottom- line example of Ingagi and the formula that . Cooper's fascination with gorillas began with his boyhood reading of Paul Du Chaillu's Explorations and Adventures in Equatorial Africa (1. Africa while filming The Four Feathers. Douglas Burden's The Dragon Lizards of Komodo, he fashioned a scenario depicting African gorillas battling Komodo dragons intercut with artificial stand- ins for joint shots. He then narrowed the dramatis personae to one ferocious, lizard- battling gorilla (rather than a group) and included a lone woman on expedition to appease those critics who belabored him for neglecting romance in his films. A remote island would be the setting and the gorilla would be dealt a spectacular death in New York City. Selznick brought Cooper to RKO as his executive assistant, and, to sweeten the deal, promised him he could make his own films. Cooper began immediately developing The Most Dangerous Game, a story about a big game hunter, and hired his friend and former film partner, Ernest B. Schoedsack, to direct. A huge jungle stage set was built, with Robert Armstrong and Fay Wray as the stars. Once the film was underway, Cooper turned his attention to the studio's big- budget- out- of- control fantasy, Creation, a story about a group of travelers shipwrecked on an island of dinosaurs. The film employed special effects wizard Willis O'Brien. It was at this time Cooper probably cast his gorilla as a giant named Kong, and planned to have him die at the Empire State Building. The RKO board was wary about the project, but gave its approval after Cooper organized a presentation with Wray, Armstrong, and Cabot, and O'Brien's model dinosaurs. In his executive capacity, Cooper ordered the Creation production shelved, and put its crew to work on Kong. Cooper understood the commercial appeal of Wallace's name and planned to publicize the film as being . Wallace conferred with Cooper and O'Brien (who contributed, among other things, the . He completed a rough draft called The Beast on January 5, 1. Cooper thought the draft needed considerable work but Wallace died on February 1. Some details from Wallace's rough draft were dropped, notably his boatload of escaped convicts. Wallace's Danby Denham character, a big game hunter, became film director Carl Denham. His Shirley became Ann Darrow and her lover- convict John became Jack Driscoll. The 'beauty and the beast' angle was first developed at this time. Kong's escape was switched from Madison Square Garden to Yankee Stadium and (finally) to a Broadway theater. Cute moments involving the gorilla in Wallace's draft were cut because Cooper wanted Kong hard and tough in the belief that his fall would be all the more awesome and tragic. RKO staff writer Horace Mc. Coy was called in to work with Cooper, and it was he who introduced the island natives, a giant wall, and the sacrificial maidens into the plot. Leon Gordon also contributed to the screenplay in a minimal capacity; both he and Mc. Coy went uncredited in the completed film. RKO head Selznick and his executives wanted Kong introduced earlier in the film (believing the audience would grow bored waiting for his appearance), but Cooper persuaded them that a suspenseful build- up would make Kong's entrance all the more exciting. Rather than explaining how Kong would be transported to New York, for example, she simply cut from the island to the theater. She incorporated autobiographical elements into the script with Cooper mirrored in the Denham character, her husband Schoedsack in the tough but tender Driscoll character, and herself in struggling actress Ann Darrow. Rose also rewrote the dialogue and created the film's opening sequence, showing Denham meeting Ann on the streets of New York. Cooper was delighted with Rose's script, approving the newly retitled Kong for production. She met Kong co- directors Cooper and Schoedsack when cast as Ethne Eustace in The Four Feathers in 1. Cooper cast her in 1. Eve Trowbridge in The Most Dangerous Game. Dorothy Jordan, Jean Harlow, and Ginger Rogers were considered, but the role finally went to Wray who wore a blonde wig in the film and was inspired more by Cooper's enthusiasm than the script to accept the role. According to her autobiography, On the Other Hand, Wray recounts that Cooper had told her he planned to star her opposite the . 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Arguably the greatest of Buster Keaton’s silent comedies, The General begins with a single, brilliantly sustained premise and works it into an engaging story that combines edge- of- your- seat excitement, stunningly conceived stunts and sight gags, spectacular set pieces, touching sentiment, and a rousing finale. Marion Mack, Charles Henry Smith, Richard Allen, Glen Cavender, Jim Farley, Frederick Vroom. Commandeering another train to give chase, Gray winds up sallying deep into enemy territory, riding by the seat of his pants as he confronts obstacles and difficulties at every turn, often with only moments to act and split- second timing needed to avoid disaster. Ironically, though often named one of the best films of the silent era as well as Keaton’s personal best film, The General is not Keaton’s most characteristic film, and was a critical and box- office flop in its own day. A typical Keaton vehicle spends the first two acts with story gags and plot complications, then goes for broke in the last act with a crescendo of amazing stunts and set pieces. Sometimes, as in Steamboat Bill, Jr., plot points are simply throw to the winds in the last act. Keaton’s acrobatics are likewise at the service of the story rather than being showcased by it. The stunts aren’t Keaton’s showiest, but the physics and geometry of Johnnie Gray’s ordeal, involving cannons, fires, fence rails, water towers, and various obstacles on the tracks from railroad ties to free- rolling train cars, are as elegant and precise as anything in Keaton’s oeuvre. Watching Keaton in action, one can easily believe he was one of Jackie Chan’s main inspirations. Yet in his deadpan understatement Keaton was perhaps unique among physical comedians. Perhaps misleadingly nicknamed “the Great Stone Face,” Keaton was in fact a subtle actor, but didn’t go for broad emotion or histrionics. Instead, his characters keep their emotions on a short leash, making them all the more sympathetic. Part of The General’s strength is its historical persuasiveness; the look of the film was meant to evoke Matthew Brady’s Civil War photographs, and though a comedy The General has an authentic period feel unmatched by dramatic Civil War films. The General is a welcome return to basics for Britain's most adventurous and visionary director, who has always stayed faithful to his love of cinema. The General (1927) The General (1927) All. When Northern spies steal the General (and, unwittingly, Annabelle).
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