2020 Blind Spot Series: The Grapes of Wrath

Based on the novel by John Steinbeck, The Grapes of Wrath is the story of a family who deal with the loss of their farm during the Great Depression as they move to California to become migrant workers as they deal with the new reality of their lives. Directed by John Ford and screenplay by Nunnally Johnson, the film is an exploration of a family dealing with a loss that is bigger than themselves as they struggle to adapt to their new reality as they also learn they’re not alone in what had been lost. Starring Henry Fonda, Jane Darwell, John Carradine, Dorris Bowdon, John Qualen, and Eddie Quillan. The Grapes of Wrath is a haunting yet majestic film from John Ford.

The film revolves around a farming family who had lost their land due to the circumstances of the Great Depression as they move from their home in Oklahoma to California to become migrant workers as they deal with not just the harsh reality of their situation but also the fact in how mistreated they are as well as many others who are going through similar situations. It’s a film that follows this family as they deal with not just losing their land that they lived for many years but also trying to start a new life that has little to offer as they’re forced to go on the road. Nunnally Johnson’s screenplay is largely straightforward as it is told largely through the perspective of Tom Joad (Henry Fonda) as a man who had just been paroled from prison after a four-year stint for killing a man in a fight as he returns to his family home to realize it had been abandoned with his parents living at his uncle’s home with the rest of the family. The first act is about the Joad family and Tom’s discovery of what is happening as old family friend Muley Graves (John Qualen) reveals what happened to him as his family had already left for California and why the Joad family has decided to move to California.

The trip from Oklahoma to California would be one of loss, revelation, and adversity as the Joad family would also learn that a lot of people as far as Arkansas have been making the journey to California and have suffered the same trials and tribulations the Joad had endured. Joining the Joad in this road trip is the former preacher Jim Casy (John Carradine) who would have his own revelations of his own in what he sees as it relates to the injustices migrant workers have to face such as wages being decreased and not having a lot of say in what they can do. There are also these moments where there are characters who have to do things they’re not proud of for money as it play into Tom’s own awareness of what is happening as he would go into his own revelations in the film’s third act upon the moment he and his family would go to work camps as it is more about the quality of life and the needs of those who want to work and have a good life.

John Ford’s direction doesn’t aim for anything glossy nor wanting to romanticize the period of the Great Depression as he just goes full-tilt into the harshness of the Dust Bowl and life in the American Midwest and in California during these tough times. Shot on various locations in Oklahoma, New Mexico, Arizona, and California and on the legendary Route 66 which is a major character in the film. Ford uses the wide shots to get a scope of these locations but also in this idea that California is this land of promise though Grandma Joad (Zeffie Tilbury) has a different opinion. Ford also play into this optimism that is carried in the film but it does get replaced with an air of cynicism until he finds a balance between the two as it would play into Tom’s development. Even as he is someone that already has a criminal record and can be short-tempered who is trying to maintain control but starts to seethe in rage over the injustices that is happening around him.

Ford’s usage of the medium shots and close-ups also play into a lot of the drama including a conversation with a former migrant worker who left California as he reveals what the Joads would face as the reality of their surroundings and these camps are in terrible condition. Ford would often have scenes on the road as well as a shot of the Joads driving through these camps as it has this stark tone that feels real as opposed to something extravagant that would expected in a Hollywood film. The direction also has Ford play into this idea of communism but it’s only briefly hinted as it is more about Tom and what he sees as well as the need for not wanting any more trouble. Still, he can’t un-see all of the injustice he suffers as the film does have bleak elements but Ford provides these touching moments that are defiant in the human spirit. Overall, Ford crafts a visceral yet rapturous film about a farming family moving to California to find a new life during the Great Depression.

Cinematographer Greg Toland does incredible work with the film’s black-and-white photography as it play into this stark naturalism of some of the scenes in the camps as well as its usage of available and low-key light as well as shadows for some of the interior/exterior scenes set at night as it is a major highlight of the film. Editor Robert L. Simpson does amazing work with the editing as it is largely straightforward yet it allows shots to play into some of the drama and suspense while maintaining a rhythm to help heighten up some intense moments. Art directors Richard Day and Mark-Lee Kirk, with set decorator Thomas Little, do brilliant work with the look of the camps as well as the homes of the Joad as well as the agriculture camp in the third act

Costume designer Gwen Wakeling does fantastic work with the costumes as it play into the ragged look of the characters as well as a refined look for some of the people in authority. The sound work of Roger Heman Sr., Edmund H. Hansen, and George Leverett do superb work with the sound as it play into the atmosphere of the locations as well as sounds of trains and gunfire as it help play into the suspense. The film’s music by Alfred Newman is terrific for its usage of folk-inspired instruments as much of the score is based on the traditional song Red River Valley with the accordion and harmonium as the basis for the score while its music soundtrack largely consists of folk songs of the time with consultation from the folk music legend Woody Guthrie.

The film’s wonderful ensemble cast as it feature some notable small roles from Ward Bond as a policeman, Selmer Jackson as an inspection officer, Joseph Sawyer as a ranch foreman, John Arledge as a young man who drives a caterpillar tractor to destroy Graves’ home because he needs the money, Daryl Hickman and Shirley Mills in their respective roles as the young Joad children in Winfield and Ruthie, Frank Darien as Uncle John Joad, Frank Sully as John’s son Noah, Zeffie Tilbury and Charley Grapewin in their respective roles as Grandma and Grandpa Joad, Eddie Quillan as Rose’s husband Connie, and O.Z. Whitehead as Tom’s younger brother Al. John Qualen is superb as family neighbor Muley Graves as a man who had lost his home and had been hiding at the old Joad home as he deals with what he lost and why he has no interest in going to California. Russell Simpson is superb as Pa Joad as a man who is filled with hope and optimism about going to California as he is forced to deal with reality while trying to maintain some hope for everyone else in the family.

Dorris Bowdon is fantastic as Rose of Sharon as Tom’s cousin who is hoping to start a new life as she struggles with her pregnancy but also hopelessness. John Carradine is brilliant as Jim Casy as a former preacher who joins the Joads on the road as he does what he can to help them while also coming to terms with the many injustices he sees in his journey. Jane Darwell is phenomenal as Ma Joad as Tom’s mother who tries to comprehend everything that is happening around her while being this glue to the family as well as a moral compass as there’s a radiance to her performance that includes the film’s final monologue as it just this touching yet powerful moment in the film. Finally, there’s Henry Fonda in a tremendous performance as Tom Joad as a man who had just been paroled as he tries to stay away from trouble as well as help his family any way he can while dealing with a lot of the prejudice and injustice that he sees as he feels compelled to wanting to do something not for himself but for those who are suffering as it is an iconic performance from Fonda.

The Grapes of Wrath is a magnificent film from John Ford that features great performances from Henry Fonda, Jane Darwell, and John Carradine. Along with its supporting ensemble cast, Greg Toland’s ravishing cinematography, emphasis on realism, and its study of inhumanity during the Great Depression. It is a film that explore a period in time when people are trying to find work and survive only to realize that they’re not alone in this endless cycle of movement and having to find work while realizing that they have the power to make their own decisions during those dark times. In the end, The Grapes of Wrath is an outstanding film by John Ford.

© thevoid99 2020

Boxcar Bertha

Based on the book Sister of the Road by Ben L. Reitman, Boxcar Bertha is the story of two train robbers/lovers who become fugitives when the titular character is charged with the murder of a gambler while they deal with the plight of railroad workers in the American South. Directed by Martin Scorsese and screenplay by Joyce H. Corrington and John William Corrington, the film is a low-budget crime drama produced by Roger Corman that play into the exploit of two lovers who rob trains while wanting to maintain a life without complications. Starring Barbara Hershey, David Carradine, Barry Primus, Bernie Casey, John Carradine, Harry Northup, and Victor Argo. Boxcar Bertha is an exciting and compelling film from Martin Scorsese.

The film is about a young woman who meets a union organizer as they fall in love and later rob banks with a couple of friends following the murder of a gambler. It’s a film that is a dramatic take of the real life criminal who gets involved with crime accidentally as she has a resentment of those who control the railroad and the rich who didn’t suffer as it all takes place during the Great Depression. The film’s screenplay by Joyce H. Corrington and John William Corrington is largely straightforward in its narrative and how the titular character (Barbara Hershey) was brought into crime after her brief encounter with the union organizer Big Bill Shelly (David Carradine) who helps her settle matters relating to her father while later meeting up with a gambler in Rake Brown (Barry Primus) as she accidentally kills another gambler in defending Brown. Bertha, Brown, Shelly, and a friend in Von Morton (Bernie Casey) would start a gang to rob trains and banks though they would get the unwanted attention of H. Buckram Santoris (John Carradine) who wants to stop the gang.

Martin Scorsese’s direction is largely simple in its approach to the direction while he would make some unique compositions throughout the film. Shot on location in Arkansas, the film does play into a period of time during the Great Depression in the American South where everyone is struggling as Scorsese uses a lot of wide shots to get a look at the surroundings that the characters venture into. Scorsese’s direction emphasizes more on close-ups and medium shots to get to know the characters and their situation while using some stylized moments in the compositions. Notably in some of the film’s violent moments where it has bits of style in the way characters are killed but there’s also a sense of drama into the situations that happen. Even in the third act where Santoris’ power starts to come into play where things get serious but there is also moments where Bertha endures not just loss but also uncertainty as she tries to figure out a life after crime and chaos. Overall, Scorsese creates an exhilarating and captivating film about a young woman who takes part in a series of robberies as a way to stick up for the railroad workers.

Cinematographer John Stephens does excellent work with the film’s cinematography as it is largely straightforward in terms of the visuals with its usage of natural lighting for many of the daytime exteriors with some low-key lighting for the interior/exterior scenes set at night. Editor Buzz Feitshans does nice work with the editing as it does have some stylish moments in a few jump cuts for some of the action while maintaining some rhythmic cuts for some of the drama. Sound mixer Donald F. Johnson does terrific work with the sound as it’s straightforward in capturing some of the atmosphere of the locations as well as the sounds of gunfire. The film’s music by Gib Guilbeau and Thad Maxwell is fantastic for its mixture of folk, blues, and country music to play into the period of the times as it has elements of traditional music and contemporary pieces.

The film’s superb cast include some notable small roles from Harry Northup as a gambler that Bertha and Brown encounter whom the former would kill, Victor Argo and David Osterhout as a couple of law enforcers trying to go after Bertha and her gang, and John Carradine in a wonderful performance as the lawman H. Buckram Santoris as a man who is trying to protect the financial interests of the railroad and uphold the law where he would have his own encounters with Bertha and her gang. Barry Primus is fantastic as the gambler Rake Brown as a gambler from the north who befriends Bertha as he is reluctant to take part in robberies only to see the financial benefits of the trade. Bernie Casey is excellent as Von Morton as a friend of Bertha who is loyal and cunning where he helps out Shelly in getting out of jail and take part in the robberies.

David Carradine is brilliant as Big Bill Shelly as a union organizer struggling to help the railroad workers as he endures abuse from the law prompting him to venture into crime while falling for Bertha whom he wants a good life with. Finally, there’s Barbara Hershey in an incredible performance as the titular role as a young woman who is trying to find her way following her father’s death where she finds herself becoming a criminal to support herself as well as go after those that was doing some injustice towards those trying to make a decent living.

Boxcar Bertha is a marvelous film from Martin Scorsese. Featuring a great cast, a compelling story, nice visuals, and a superb music soundtrack, it’s a film that has Scorsese exploring the world of crime but in a different setting while using the limited resources he has to stray from some of the conventions of the B-films that producer Roger Corman is known for. In the end, Boxcar Bertha is a remarkable film from Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – (Mean Streets) – Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York – American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas – Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo (2011 film) - The Wolf of Wall Street - (The Fifty Year Argument) – The Silence (2016 film) - (The Irishman (2019 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2018

The Invisible Man (1933 film)

Based on the sci-fi novel by H.G. Wells, The Invisible Man is the story of a scientist who tries to reverse an experiment he conducted where he became invisible as he deals with his condition. Directed by James Whale and screenplay by R.C. Sheriff, with un-credited contributions from Philip Wylie and Preston Sturges, the film is about a man trying to fix his condition only to deal with the chaos of his experiments as the titular character in Jack Griffin is portrayed by Claude Rains. Also starring Gloria Stuart, William Harrigan, Dudley Digges, Una O’Connor, Henry Travers, and Forrester Harvey. The Invisible Man is a riveting and compelling film from James Whale.

The film follows a scientist who had become invisible as he hides in a hotel trying to find the formula to reverse his condition while succumbing to madness. It’s a simple premise that plays into a man’s obsession as he would use his condition to wreak havoc on a small town as its people would upset him as he’s trying to work forcing him to reach towards an old friend for help only to create more problems. The film’s screenplay by R.C. Sheriff does play into Jack Griffin’s troubled state where he arrives to this inn hoping for a room to stay and not be bothered as he’s trying to work on an antidote. Yet, he’s interrupted by the people running the inn as he gets upset while they learn who he is as he causes trouble while there are those in Griffin’s life such as his former fiancée Flora Cranley (Gloria Stuart) who is concerned about his whereabouts and state of mind. Even when her father and Griffin’s former employer Dr. Cranley (Henry Travers) reveals that Griffin might have used a substance that has contributed to his troubled behavior.

James Whale’s direction does emphasize on simplicity in terms of the compositions that he creates yet it is in the way he builds suspense and intrigue as it relates to Griffin’s condition that gives the film an edge in its approach to suspense. Shot largely at the studio lots in Universal Studios in Hollywood, Whale would create a world that is set in England where it’s set largely at a small town where there aren’t any cars except for those who are rich. Whale would use some wide shots to establish the locations but emphasizes more on medium shots and close-ups for a look into the inn that Griffin would stay in as well as some of the moments in which Griffin would reveal his condition to those who are trying to bother him. Notably in a sequence where he scares the innkeeper Mr. Hall (Forrester Harvey) while wreaking havoc in the street as he’s invisible and naked.

When a manhunt for Griffin emerges, Whale’s compositions play into the chaos as well as Griffin’s willingness to outsmart them as there is an element of humor into the film. Even as it play into the fact that there’s people trying to capture Griffin but they can’t see him and he’s playing around them as they can’t see him. The element of trickery that Whale creates with the help of his special effects team as well as scenes of Griffin shedding his clothes and bandages to unveil what he’s like as an invisible man. The film’s third act that plays into the manhunt but also Griffin’s increasingly mad behavior where he takes advantage of his condition and creates disarray in cities and small towns. Even as some welcome this element of anarchy that Griffin is bringing but it would eventually become deadly prompting action from those close to Griffin to stop him in embracing his role as the invisible man. Overall, Whale crafts a rapturous and haunting film about an invisible man trying to find an antidote for his condition.

Cinematographer Arthur Hedeson does excellent work with the film’s black-and-white cinematography as it play into usage of low-key lights and moods for the scenes set at night while being straightforward for the scenes set in the day. Editor Ted J. Kent does terrific work with the editing with its stylish usage of transition wipes as a montage as well as rhythmic cuts to play into the suspense. Art director Charles D. Hall does brilliant work with the look of the inn as well as the town exteriors and the home of Dr. Cranley and the home of one of Griffin’s friends.

The special effects work of John P. Fulton and Frank D. Williams is brilliant for the unveiling of the titular character as well as how objects move and what he’s like when he’s wearing one or two articles of clothing. The sound work of Gilbert Kurland is superb for the sound as well as the scenes that play into the chaos that Griffin creates. The film’s music by Heinz Roemheld is wonderful for its orchestral score that play into the suspense with soaring string arrangements as well as a few somber pieces for the drama.

The film’s incredible cast include some notable small roles from Dudley Digges as a chief inspector trying to outwit Griffin, John Carradine as an informer who claims to have seen Griffin, E.E. Clive as Constable Jaffers who immediately dismisses the idea of the invisible man until he sees it for himself, Forrester Harvey as the innkeeper Herbert Hall, Una O’Connor as Hall’s wife, and Henry Travers as Dr. Cranley who is concerned about Griffin’s well-being but also is aware of what Griffin used for his experiment believing it’s the cause of Griffin’s troubled behavior. William Harrigan is excellent as Griffin’s colleague and friend Dr. Arthur Kemp who reluctantly lets Griffin hide out to continue the experiments only to be troubled by Griffin’s behavior leading to Griffin to wanting to save himself.

Gloria Stuart is brilliant as Flora Cranley as Griffin’s former fiancée who is worried about him as she wants to help him get better. Finally, there’s Claude Rains in a phenomenal performance as Jack Griffin as a man trying to find an antidote for his condition while wreaking havoc when he’s completely invisible and naked as Rains spends much of the film hiding under masks and bandages while doing a lot of the talking as it is an iconic performance from Rains.

The Invisible Man is a spectacular film from James Whale that features a great performance from Claude Rains as the titular character. Along with its ensemble cast, dazzling visuals, bombastic score, and lively special effects that were primitive for its time. It’s a film that play into the idea of a man who is given powers to create mayhem as he struggles with his sanity to try and fix himself only to deal with the implications of his experiments. In the end, The Invisible Man is a sensational film from James Whale.

Related: The Invisible Man (2020 film)

James Whale: (Journey’s End) – (Hell’s Angels) – (Waterloo Bridge) – Frankenstein - (The Impatient Maiden) – (The Old Dark Horse) – (The Kiss Before the Mirror) – (By Candlelight) – (One More River) – Bride of Frankenstein - (Remember Last Night?) – (Show Boat (1936 film)) – (The Road Back) – (The Great Garrick) – (Sinners in Paradise) – (Wives Under Suspicion) – (Port of Seven Seas) – (The Man in the Iron Mask (1939 film)) – (Green Hell) – (They Dare Not Love)

© thevoid99 2018

Cheyenne Autumn

Based on the novel The Last Frontier by Howard Fast, Cheyenne Autumn is the story of a cavalry captain who reluctantly takes part on a mission to track down a tribe of migrating Cheyenne. Directed by John Ford and screenplay by James R. Webb with contributions from Mari Sandoz, the film is Ford’s final western as it play into a man being forced to take down a Native American tribe as it play as an elegy for the West and for Native Americans who had been mistreated by the American government. Starring Richard Widmark, Carroll Baker, Ricardo Montalban, Gilbert Roland, Sal Mineo, Dolores del Rio, Edward G. Robinson, Karl Malden, Arthur Kennedy, and James Stewart as Wyatt Earp. Cheyenne Autumn is a majestic and sprawling film from John Ford.

Set in the late 19th Century, the film is based on the real-life Northern Cheyenne Exodus of 1878-1879 where a group of Cheyenne decide to leave their reservation in the Oklahoma Territory to return to their homeland in Wyoming due to a promise that wasn’t fulfilled by the U.S. government. It plays into this cavalry officer who is order to pursue a tribe of migrating Cheyenne and take them back to the reservation as he doesn’t want to harm them but knows the mission is futile. Adding to this in this pursuit is then Secretary of the Interior in Carl Schurz (Edward G. Robinson) who trying to prevent violence happening while some in the press are spreading lies into what the Cheyenne has done when the reality is that the death toll of soldiers were actually small. James R. Webb’s screenplay is largely told from the perspective of Captain Thomas Archer (Richard Widmark) who talks about his pursuit as well as wanting to keep the peace knowing that he’s tried to help the Cheyenne anyway he can and was angry that a meeting between a major government official and the Cheyenne didn’t take place because the former didn’t keep his promise.

Captain Archer tries to ensure two of its chiefs in Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland) to stay in the reservation despite its poor condition so he can reach out and give the Cheyenne what they want. With their head chief in poor health, Little Wolf and Dull Knife make the decision to return to Wyoming as they’re aided by the schoolteacher Deborah Wright (Carroll Baker) who is concerned for the children as the Cheyenne allow her to travel with them. Wright is Captain Archer’s lover as he would learn that she had fled with the Cheyenne making his reluctant pursuit personal as well as wanting to ensure that no harm comes to her. The film also showcase others encountering the Cheyenne including Wyatt Earp and Doc Holliday (Arthur Kennedy) in a comedic moment in the film as it play into this exaggeration of the press. Much of the film’s second half is about this divergence between Little Wolf and Dull Knife over their journey with the latter seeking shelter where things don’t go according to plan which angers Captain Archer and Wright forcing the former to turn to Schurz for help.

John Ford’s direction is definitely grand for the way he captures the world of the American West as it is shot largely on Monument Valley at the Arizona-Utah Border to play into not just some of the desolation of the location but also into a world that is ever-changing. Ford’s usage of the locations has him use a lot of wide shots with some precise compositions such as the scene of the Cheyenne waiting for the government official as they remain still with Captain Archer and his superior waiting as they would learn that the man won’t show up prompting the Cheyenne to leave. Ford’s usage of the wide shots doesn’t just play into the beauty of these locations but also in how vast the number of the Cheyenne as well as Captain Archer’s troops who are trying to pursue the Cheyenne but don’t want to create any conflict that could get both parties killed. The attention to detail in the compositions says a lot of what Ford wanted to say about the West and its mistreatment towards Natives including the Cheyenne.

While there are some intimate moments in the close-ups and medium shots that include a brief detour in a scene at a small town where Earp and Holliday are first seen playing cards and then get involved in a scuffle with the Cheyenne that is a comical moment in the film. It’s a scene that does seem out of place but it does play into this air of exaggeration the press will make in order to stir trouble and sell newspapers though there is a scene of one newspaper that wants to tell the truth. It all play into Ford’s need to have the Natives tell their side of the story as well as their mistrust towards whites with the latter wanting to make amends for their past sins. Though the eventual meeting between Schurz and the Cheyenne chiefs is presented in an awkward backdrop, it is a key moment that would create a step forward into a peaceful settlement between the Cheyenne and the American government. Overall, Ford crafts an evocative and mesmerizing film about the real life Northern Cheyenne Exodus.

Cinematographer William H. Clothier does brilliant work with the film’s Technicolor cinematography as it captures the beauty of the locations as well as the great attention to detail for many of the colors including some of the interior lighting for scenes set at night. Editor Otho Lovering, with additional work by David Hawkins, does excellent work with the editing as it is straightforward to play into the action and suspense. Art director Richard Day and set decorator Darrell Silvera do amazing work with the look of the town where Wyatt Earp and Doc Holliday were playing poker as well as the look of some of the cavalry forts. Costume designers Frank Beetson Jr. and Ann Peck do fantastic work with the costumes for the look of the cavalry uniforms and the lavish clothes for the people at the small town as well as clothes of the Cheyenne. The sound work of Francis E. Stahl is terrific for its natural approach to sound as well as the way it captures gunfire and war drums from afar. The film’s music by Alex North is wonderful for its sweeping orchestral score that play into the sense of adventure and suspense along with the usage of percussions for some of the bombast as well as low-key moments for the drama.

The film’s superb ensemble cast include some notable small roles and appearances from Judson Pratt as a mayor, George O’Brien as Captain Archer’s superior Major Braden, Sean McClory as the fort doctor O’Carberry who tends to a young Cheyenne girl, Mike Mazurki as 1st Sergeant Stanislus Wichowsky who helps out Captain Archer later in the film, John Carradine as Major Jeff Blair who plays poker with Earp and Holliday, Elizabeth Allen as a woman trying to flirt with Earp, and Patrick Wayne as 2nd Lieutenant Scott as a young cavalry officer eager to kill some Cheyenne yet has to endure some humility.

James Stewart and Arthur Kennedy are terrific in their brief appearances in their respective roles as Wyatt Earp and Doc Holliday with the two legends who provide some humor in their roles but also prove to be capable badasses that no one should mess with. Dolores del Rio is terrific in a small role as Spanish Woman as a Cheyenne who is a liaison for the Cheyenne and Wright as she sees good intentions in Wright but also know there is trouble going on. Sal Mineo is wonderful as Red Shirt as the son of a chief who has immense disdain towards the white people as he would often get the Cheyenne into danger while he pines for a chief’s wife. Karl Malden is fantastic as Captain Oscar Wessels as a cavalry fort captain who takes in a portion of the Cheyenne for shelter until he is given the order to take them back to their reservation as tries to instill his idea of order.

Ricardo Montalban and Gilbert Roland are excellent in their respective roles as Little Wolf and Dull Knife as two Cheyenne chiefs who both share the same views about White people only to diverge over ideas of survival as they would both struggle to maintain their friendship. Edward G. Robinson is brilliant as Carl Schurz as the then-Secretary of the Interior who is trying to maintain some order as well as securing a peaceful resolution with the Cheyenne as well as discredit any kind of news that puts them in a bad light. Carroll Baker is amazing as Deborah Wright as a Quaker schoolteacher who joins the exodus to watch over the children and help them as she deals with the troubles of the journey. Finally, there’s Richard Widmark in an incredible performance as Captain Thomas Archer as a cavalry officer who is trying to ensure a peaceful resolution with the Cheyenne as he reluctantly pursues them where he becomes aware of Wright with them as he tries to ensure that he and his troops don’t kill anyone.

Cheyenne Autumn is a remarkable film from John Ford. Featuring a great cast, gorgeous visuals, an exhilarating film score, amazing action, and a compelling story. The film is definitely one of Ford’s finest westerns as well as a touching elegy to Native Americans who were often depicted in an unkind light in the genre. In the end, Cheyenne Autumn is a marvelous film from John Ford.

© thevoid99 2018

2013 Blind Spot Series: Stagecoach

Based on the short story The Stage to Lordsburg by Ernest Haycox, Stagecoach is the story of a group of strangers riding on a stagecoach through strange circumstances as they trek through the dangerous Apache territory. Directed by John Ford and screenplay by Ben Hecht and Dudley Nichols, the film is a thrilling tale involving nine people going on a journey hoping to survive in the American west as it’s considered one of the definitive films of the western genre. Starring Claire Trevor, John Wayne, Thomas Mitchell, John Carradine, Andy Devine, and George Bancroft. Stagecoach is an exciting yet powerful film from John Ford.

The film revolves around a group of different people riding on a stagecoach from the small town of Tonto in the Arizona territory to Lordsburg in New Mexico as they have to trek through the dangerous territory where the Apache wreaks havoc. Yet, the film is more about the people that is riding a stagecoach that includes a prostitute, a drunken doctor, a whiskey salesman, a gambler, a banker, and the pregnant wife of a cavalry officer as they ride with two men driving the stagecoach to get through this treacherous journey. They’re later joined by a criminal known as the Ringo Kid (John Wayne) who helps them as have to endure some circumstances including the Apache led by Geronimo (Chief White Horse).

The film’s screenplay has a unique structure where the first act is about these six different passengers and two stagecoach drivers as they’re all very different while being aware about the Ringo Kid who just escaped prison and is seeking revenge against another criminal. While the passengers know about the Ringo Kid and his reputation, he’s a character that doesn’t fit the mold of what is expected in a criminal as he’s a man of honor as he tells one of the stagecoach drivers in Marshal Curly Wilcox (George Bancroft) that he will go back to prison after getting his revenge. The second act is about these characters including Ringo seeking shelter at a place run by a Mexican named Chris (Chris-Pin Martin) where they have to wait for the Apache to see if they will go after them knowing they’re in Apache territory.

One of the interesting aspects of the film’s screenplay are the characters that are present in this story. Aside from Ringo, the Marshal, and the Marshal’s dim-witted but sweet stagecoach driver Buck (Andy Devine), there’s these six passengers who sort of know each other but don’t want anything to do with each other. Dallas (Claire Trevor) is a prostitute who is driven out of Tonto because of a woman’s league while Lucy Mallory (Louise Platt) is a pregnant cavalry officer’s wife who dislikes Dallas because of what she is. There’s also a drunken doctor named Doc Boone (Thomas Mitchell) who is driven out of town because of his drunken behavior as he befriends the whiskey salesman Mr. Peacock (Donald Meek) who is part of stagecoach trip. There’s also this Southern gambler named Hatfield (John Carradine) who served in the Confederate army as he knows Mallory while the banker Henry Gatewood (Berton Churchill) is a man that just embezzled $50,000.

While they’re aware of what they have to do to reach their destination, not everyone is on board as it plays into the desperation of the characters until they stop at this shelter where nearly everyone bands together to not only help the pregnant Lucy but also hide from a possible attack from the Apache. It is in these moments that everyone forgets their differences and work together where Ringo makes an offer to Dallas about a life that she could have. While the third act involves a climatic chase scene involving the stagecoach and the Apache, it also plays into the sense of honor that Ringo has towards the people’s he’s with and what he needs to do once he reaches Lordsburg.

The direction of John Ford is truly sensational in not just the sense of intimacy he creates in the drama but allowing to balance it with something that is sprawling and vast in some of the location settings he provides for the scenes in the stagecoach. Shot in the Arizona-Utah border as well as parts of Monument Valley that would become a playground for Ford for many years. The film has this look that is very broad where Ford can create something that is sweeping and epic though it’s only presented in the Academy full-frame theatrical aspect ratio as the widescreen format wasn’t invented at the time.

While Ford is able to maintain something that is thrilling and vast in many of the scenes with the stagecoach including some stylized hand-held shots, tracking shots, and other stylized camera work to play up that intensity. Ford also knows when to slow things down so that he can get the chance for the audience to get to know the characters and how they have to survive the sense of impending danger. One of the interesting aspects of Ford’s direction is where he puts the actors in a frame such as a scene where the passengers sit on a table to eat lunch where it plays to the sense of tension between the characters. It’s a very simple yet poignant scene to establish these differences until later in the film where everyone bands together as Ford uses some wide and medium shots along with some close-ups to help intensify the drama.

The film’s chase scene involving this band of Apache warriors led by Geronimo is certainly one of the most thrilling moments of the film. It is followed by a sequence where Ringo learns what Dallas really does as well as the fact that he’s going to embark on a showdown. The suspense does build up very slow where Ford knows what he needs to show and what he doesn’t need. Notably as it shows what kind of man Ringo is as someone who is a man who always gives his word as even someone like the marshal knows that he’s someone that does good. Overall, Ford creates a very sensational film about a band of people working together to survive against danger.

Cinematographer Bert Glennon does excellent work with the film‘s black-and-white photography to play up the sense of beauty for many of the exterior scenes including some of the shots in Monument Valley along with low-key lights in some of the film‘s interior scenes. Editors Otho Lovering and Dorothy Spencer do brilliant work with the editing with its tight yet rhythmic approach to cutting in the film‘s action scenes while being very straightforward with its approach to drama and suspense. Art director Alexander Tubuloff does superb work with the set pieces from the look of the stagecoach and shelters to the look of the towns the characters go to.

The costumes of Walter Plunkett is terrific for the look of the different clothes the men wear as well as the dresses the women wear. The sound work of Frank Maher is fantastic for the atmosphere it creates including the sound of coyotes and gunfire in the desert. The film’s fantastic music consists of many traditional pieces adapted by Gerard Carbonara that includes some sweeping orchestral scores and some more mid-tempo country-folk pieces.

The film’s cast is truly remarkable for the ensemble that is created that includes appearances from Chris-Pin Martin as the Mexican shelter owner, Chief White Horse as Geronimo, Tim Holt as a cavalry lieutenant who accompanies the stagecoach in the film’s first act, and Tom Tyler as the criminal Ringo is going after upon his arrival to Lordsburg. Berton Churchill is very good as the very suspicious and cowardly banker Gatewood while Donald Meek is terrific as the kind whiskey salesman Mr. Peacock. Andy Devine is very funny as the sweet-natured stagecoach driver Buck while George Bancroft is superb as Marshal Curly Wilcox who leads the stagecoach while being wary of the Ringo Kid. Thomas Mitchell is brilliant as Doc Boone as a drunk doctor who might seem incompetent but turns out to be a complete professional.

Louise Platt is wonderful as Lucy Mallory as a woman who is uncomfortable with Dallas’ presence until she realizes how much she needs her help as they become friends while being intrigued by Hatfield. John Carradine is excellent as Hatfield as a gambler who is fascinated by Mallory while helping out Ringo and the marshal handle the Apache as he becomes Lucy’s protector. Claire Trevor is amazing as Dallas as a woman who has to find a new home as she deals with what she has to face as well as the offer that Ringo has as it’s a very complex yet engaging performance from the actress. Finally, there’s John Wayne in a truly spectacular performance as the Ringo Kid from the way he’s introduced from that zoom shot to the way he handles things. It’s definitely a performance where Wayne gets to prove himself to be the badass as well as the everyman that audiences can identify with as it’s certainly a performance for the ages.

Stagecoach is an outstanding film from John Ford that features a magnificent performance from John Wayne. Along with a great supporting cast and amazing technical work, it’s a film that definitely has many elements into why the western is such a beloved genre. It’s also a film that is very entertaining as well as engaging about the way people work together and put their differences aside with help from a criminal who has a sense of honor. In the end, Stagecoach is a phenomenal film from John Ford.

© thevoid99 2013

The Ten Commandments (1956 film)

Based on the books Pillar of Fire by Joseph Holt Ingraham, On Eagle’s Wings by A.E. Southon, and Prince of Egypt by Dorothy Clarke Wilson, The Ten Commandments is the story of how the Hebrew-born Moses who is raised by Egyptian royals as he would become the leader of the Hebrews as he leads them to the Promised Land. Directed and narrated by Cecil B. DeMille and screenplay by Aeneas MacKenzie, Jesse J. Lasky Jr., Jack Garris, and Fredric M. Frank. The film is a dramatic take on the story of Moses as he would become the leader of the Hebrews and defy the Pharaoh. Playing Moses is Charlton Heston in one of his most iconic performances. With an all-star cast that includes Yul Brenner, Anne Baxter, Edward G. Robinson, Yvonne de Carlo, Debra Paget, and John Derek. The Ten Commandments is a sprawling yet engrossing epic from Cecil B. DeMille.

After the Pharaoh Seti I (Sir Cedric Hardwicke) orders the death of first-born Hebrew boys based on a prophecy, a woman named Yoshebel (Martha Scott) takes a baby to the Nile as her young daughter Miriam watches to see as the baby named Moses is given to the arms of Pharaoh’s sister Bithiah (Nina Foch) who will raise the child. Many years later, Moses becomes the Pharaoh’s pride and joy after leading a victory against Ethiopia and later build a city with the princess Nefretiri (Anne Baxter) in awe of Moses though Pharoah’s son Rameses (Yul Brenner) is filled with jealousy towards Moses as he seeks to find the Hebrew who would lead the slaves to rebel. Still, Moses is content with his life until Nefretiri learns from the maid Memnet (Judith Anderson) the truth about who Moses is as he asks Bithiah if it’s true. Notably as he would follow her to the home of Yoshebel as he recognized as the woman whose life he had just saved.

After learning about his true roots, Moses decides to become a slave to see how they live where he learns about their struggle. After master builder Baka (Vincent Price) takes the beautiful slave girl Liliah (Debra Paget) for his own where her lover Joshua (John Derek) tries to reclaim her. Moses come to their aid where the corrupt Hebrew overseer Dathan (Edward G. Robinson) learns the truth about Moses. After telling the news to Rameses who would reward Dathan, Moses is captured as he’s brought forth by Seti who is heartbroken over what Moses is as he denies him. Rameses has Moses be banished to the desert as Moses eventually finds shelter in a Bedouin sheik named Jethro (Eduard Franz) whose daughter Sephora (Yvonne de Carlo) becomes Moses’ new love. After a life of herding sheep and gaining a son in Gershom (Tommy Duran), Moses still seeks answers about his life when Joshua appears prompting Moses to climb Mount Sinai where he returns with a new role.

Deciding to return to Egypt with his family and Joshua, he learns that Rameses is the new Pharaoh as he asks Rameses to release the Hebrews. Rameses refuses as a series of plagues occur while Nefretiri tries to renew their relationship but Moses spurns her. Even as she would later plead to his wife to flee Egypt to save her child only to learn that next plague will kill all Egyptian first-born men and boys. Rameses gives in as all of the Hebrews leave including Dathan while Bithiah also joins Moses on their way to the promised land. Yet, the grief-stricken Nefretiri would tell Rameses to attack the Hebrews as they reach towards the Red Sea where Moses would make a miracle that will lead to him gaining God’s laws about the way to live.

The film is essentially the tale of Moses of how he was this prince of Egypt who was adored by many including the Hebrew slaves. Then once his true background is revealed, he is shunned only to return to live up to the prophecy that his adopted uncle feared only to deal with the man he once called brother. All of it told in a grand storyline that lives up to the epic films of the 20th Century as Cecil B. DeMille and his screenwriters explore the life of Moses. Particularly in the key moments of his life such as the Exodus to the Promise Land, telling Rameses to let his people go, and the presentation of the Ten Commandments. Still, it also explores Moses as a man unsure of the role he played as well as the fact that he is a Hebrew raised as a prince with two different mothers.

Cecil B. DeMille’s direction is truly a marvel to watch from the way he creates a film that is ambitious in its set pieces while utilizing wide depth-of-field shots to capture the large crowd shots for the film. Shooting on location in parts of Egypt along with studio shots set in Los Angeles for some of the film’s interior set pieces. DeMille is able to create scenes where he utilizes the wide shots that often accompanied by sweeping crane shots that move back to see how big the crowds are. There’s also shots that is quite intimate to display the drama that occurs between a few characters to express the situation that occurs in the film. Particularly as DeMille wants to maintain the situation that occurs which includes the haunting Angel of Death scene as Moses and his family watches a mist appear.

For some scenes that requires visual effects including background scenes due to inability of what DeMille wasn’t able to do. Using superimposed shots for the background as well as a few visual effects moments. The look of it is quite primitive since it was made of the 1950s. Notably the visual effects moments that involve the parting of the Red Sea or some of the visual tricks that Moses try to display to deal with Rameses. Still, there is something quite engaging to the way it looks as it’s meant to look otherworldly. Overall, DeMille creates a film that is all about spectacle to tell this amazing story about Moses and the Hebrews in their search for the Promised Land.

Cinematographer Loyal Griggs does brilliant work with the film‘s lush, Technicolor look of the film to capture the vibrant colors of some of the film‘s interior settings including Nile River along with some wonderful exterior shots for some of the film‘s landscape scenes. Editor Anne Bauchens does excellent work with the film‘s editing by creating wonderful transitional dissolves as well as utilizing straight rhythmic cuts to play up the film‘s action and dramatic moments to maintain its tight, methodical pacing. Art directors Albert Noziak, Hal Pereira, and Walter H. Tyler, with set decorators Sam Comer and Ray Moyer, do amazing work with the set pieces such as interior palace designs that the Egyptian royals live in to the lavish tents where Moses meets Jethro. Sound recorders Gene Garvin and Harry Lindgren do wonderful work in the sound to capture the crowds as well as the intimate moments in some of the film‘s set pieces.

The film’s score by Elmer Bernstein is magnificent for the soaring yet sweeping score that he provides filled with bombastic string and brass orchestral arrangements. Notably in creating themes that play up to the grandeur of the film while slowing things down to serene pieces to play up some of the drama and romance in the film. It is truly one of Bernstein’s most essential film scores of his glorious career.

The casting by Bert McKay is superb for the ensemble that is created as it would feature appearances from Woody Strode as the Ethiopian king, Fraser Heston as the baby Moses, John Miljan as the blind man in the Exodus to the Promised Land sequence, Julia Faye as Aaron’s wife Elisheba, Eduard Franz as Sephora’s father Jethro, Tommy Duran as Moses’ son Gershom, Eugene Mazzola as Rameses’ son, Oliver Deering as Moses’ sister Miriam, Babette Bain as the young Miriam, Judith Anderson as Bithiah’s maid Memnet, John Carradine as Moses’ brother Aaron, Vincent Price as the brutish master builder Baka, and Martha Scott as Moses’ real mother Yoshebel. Other notable supporting roles include Nina Foch as Moses’ foster mother Bithiah and Sir Cedric Hardwicke as Pharaoh Seti I who adores Moses only to be heartbroken over Moses’ true persona.

Debra Paget is pretty good as the beautiful slave girl Liliah who deals with her role as being a slave for Dathan while maintaining her love for Joshua. John Derek is excellent as the courageous slave Joshua who impresses Moses for his determination as he would become Moses’ right-hand man in aiding the Exodus to the Promised Land. Yvonne De Carlo is wonderful as Moses’ wife Sephora who teaches him how to herd sheep while aiding him in his new role as God’s messenger. Anne Baxter is great in the role of Nefretiri who loves Moses only to feel spurned where Baxter gets to chew up the scenery when she goads Rameses to seek vengeance. Edward G. Robinson is brilliant as the corrupt Dathan who tries to weasel his way into anything situation and defy Moses in any way he can.

Yul Brenner is terrific as Rameses for the way he maintains an intimidating presence while displaying a sense of jealousy towards Moses for taking away what should’ve been total love from his father. Finally, there’s Charlton Heston in what is definitely the performance that will be the performance of his career as Moses. It’s a role where Heston really gets to play a man that is lost about his destiny and true persona while later become this commanding presence as he asks Rameses to let his people go.

The Ten Commandments is an extraordinary epic from Cecil B. DeMille that features a towering performance from Charlton Heston. Along with an amazing ensemble that includes Yul Brenner, Anne Baxter, Yvonne De Carlo, and Edward G. Robinson and fantastic technical work. The film is truly a textbook of how epics are supposed to be made for its ambition and storytelling. Particularly for a story as universal that provides many discussions about faith and power. In the end, Cecil B. DeMille’s 1956 version of The Ten Commandments is a marvel of a film that is accessible and engaging.

© thevoid99 2012

Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask)

Based on the book by Dr. David Reuben, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) is a series of short stories all about the world of sex. Written for the screen, directed, and starring Woody Allen, the film is essentially a collection of shorts as they each relate to different subjects about sex from perversion to what happens during ejaculation. Also starring Lynn Redgrave, Louise Lasser, Gene Wilder, Tony Randall, Burt Reynolds, John Carradine, and Regis Philbin. Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) is a hilarious comedy from Woody Allen.

In Do Aphrodisiacs Work?, a court jester (Woody Allen) tries to seduce the Queen (Lynn Redgrave) in medieval times as a sorcerer (Geoffrey Holder) gives him a potion to win over the Queen. What is Sodomy? is about a doctor (Gene Wilder) who meets an Armenian man (Titos Vandis) who claims to have fallen in love with a sheep. When the doctor meets the sheep, he falls in love with her. In Why Do Some Women Have Trouble Reaching an Orgasm?, Fabrizio (Woody Allen) tries to figure out how to give his wife Gina (Louise Lasser) as he makes a startling discovery. Are Transvestites Homosexuals? has a middle-aged man (Lou Jacobi) dress up in women’s clothing during a dinner with family.

What Are Sex Perverts? is a game show where Jack Barry asks fellow contestants (Regis Philbin, Robert Q. Lewis, Pamela Mason, and Toni Holt) what perversion does this person have. In Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate?, a researcher (Woody Allen) and a journalist (Heather McRae) meet with the controversial Dr. Bernardo (John Carradine) whose experiments has run amok leading to a large breast terrorizing a small town. In What Happens During Ejaculation?, a man is on a date with woman as a brain operator (Tony Randall) leads a control center filled with various men as they get ready to have sex while a sperm (Woody Allen) starts to worry.

The film is essentially a collection of shorts where Woody Allen answers these questions about sex. Through these seven shorts that Allen creates, he gives each one a different style and presentation to answer these questions in his own style. Do Aphrodisiacs Work? is a medieval times piece where a court jester tries to have sex with the queen with references from Hamlet while What is Sodomy? is a straightforward drama about bestiality where a doctor falls in love with a sheep. Why Do Some Women Have Trouble Reaching an Orgasm has Allen paying tribute to Federico Fellini as he sports sunglasses like Marcello Mastroianni while the dialogue is spoken entirely in Italian as it has this style that is based on Fellini’s films. Are Transvestites Homosexuals? is a straightforward comedy about a guy that just wants to wear women’s clothing where the real answer is that it all depends on the man.

What Are Sex Peverts? has Allen presenting that segment as an old-school 1960s TV game show program with all of these perversions presented in a very silly form. Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate? is essentially a version of Frankenstein with someone as a version of Igor (Ref Sanchez) which reveals a doctor’s insane ideas about sex as a giant tit runs amok forcing a researcher to try and stop the tit. Then it all closes with this hilarious idea of what happens during sex as it’s all controlled by a guy in a NASA-like control center with a switchboard guy (Burt Reynolds) as they all go on a mission for the sex to be successful. The way Allen presents these stories into different genres and in different frames allows him to stretch his creativity as he creates a very funny and intelligent film about sex.

Cinematographer David M. Walsh does an excellent job with the photography that is very colorful for a lot of the sequences while giving the Aphrodisiacs segment a lush look while the Perversion sketch a very grainy black-and-white look. Editor Eric Albertson does a superb job with the editing as it’s presented in a straightforward manner while playing to certain rhythms for certain sketches such as the Orgasm and Ejaculation segments.

Production designer Dale Hennesy and set decorator Marvin March do a great job with the set pieces created such as giant boob in the Research segment along with the control room in the Ejaculation segment. Sound editor John Strauss does a nice job with the sound work to capture the chaos of the control room in the Ejaculation segment while the rest of the film is pretty straightforward. The film’s score by Mundell Lowe is wonderful as it plays to different music styles from medieval folk music for the Aphrodisiacs to more ragtime jazz music throughout as the film opens and closes with Cole Porter’s Let’s Misbehave.

The casting by Marvin Paige is wonderful as it features appearances from Robert Q. Lewis, Pamela Mason, Toni Holt, and a young Regis Philbin as contestants in the Perversion sketch with Jack Barry playing himself and Erin Fleming as the girl in the Ejaculation segment. Other notable small roles include Anthony Quayle as a king and Geoffrey Holder as a sorcerer in the Aphrodisiacs scene along with Titos Vandis as the Armenian man and Elaine Giftos as the doctor’s wife in the Sodomy segment. From the Ejaculation segment, there’s funny appearances from Tony Randall as the control room operator along with Burt Reynolds as the switchboard guy while John Carradine is very funny as Dr. Bernardo in the Research segment along with Ref Sanchez as Igor.

Heather MacRae is very good as the journalist in the Research segment who falls for the young researcher while Lynn Redgrave is very funny as the Queen who takes the aphrodisiac with a big surprise of her own in the Aphrodisiac segment. Allen regular Louise Lasser is excellent as the very sexy Gina in the Orgasm segment while Lou Jacobi is really a joy to watch as the man dressing up in women’s clothing in the Transsexual segment. Gene Wilder is great in a hilarious performance as the doctor who falls for a sheep in the Sodomy segment. Finally, there’s Woody Allen who is amazing in his varied roles for the films as he plays up his own nebbish persona in the segments he appears such as the cool Fabrizio in the Orgasm section while being a sperm in the Ejaculation scene.

Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) is a very witty and whimsical comedy from Woody Allen. The film is among one of Allen’s most absurd and entertaining films of his early period from the late 60s and early 70s. It’s also a film for anyone that is curious about sex will get to see something that is presented with humor and doesn’t dumb things down. Even though the subject of homosexuality and transvestitism is much more complex nowadays and more accepted than it was back in the 1970s. Still, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) is a fun and riotous comedy from Woody Allen.

Woody Allen Films: What’s Up, Tiger Lily? - Take the Money & Run - Bananas - Sleeper - Love & Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer Night’s Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don't Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2011