Taza, Son of Cochise
Three years after the end of the Apache wars, peacemaking chief Cochise dies. His elder son Taza shares his ideas, but brother Naiche yearns for war...and for Taza's betrothed, Oona. Naiche loses no time in starting trouble which, thanks to a bigoted cavalry officer, ends with the proud Chiricahua Apaches on a reservation, where they are soon joined by the captured renegade Geronimo, who is all it takes to light the firecracker's fuse...
- Stars:Rock Hudson, Barbara Rush, Gregg Palmer, Rex Reason, Morris Ankrum, Eugene Iglesias, Richard H. Cutting, Ian MacDonald, Robert Burton, Joe Sawyer, Lance Fuller, Bradford Jackson, James Van Horn, Charles Horvath, Robert F. Hoy,
- Director:Douglas Sirk,
- Writer:George Zuckerman (screenplay), Gerald Drayson Adams (story), Gerald Drayson Adams (adaptation)
Three years after the end of the Apache wars, peacemaking chief Cochise dies. His elder son Taza shares his ideas, but brother Naiche yearns for war...and for Taza's betrothed, Oona. Naiche... . You can read more in Google, Youtube, Wiki
Taza, Son of Cochise torrent reviews
(ca) wrote: I love New York, and I'd love to live there someday, if only for a year. But I will never raise my children there, especially not by putting them (and my whole family) through the humiliating process of applying for an "elite" private pre-school. This doc is a real eye-opener as to the lengths some parents will go to get their kid into the best nursery schools in the city, which feed into the best kindergartens, etc, so their kid will eventually end up at Harvard. Sorry, I don't buy it. Some of these families thankfully do seem to have common sense, but I really wanted to throw popcorn at my television when the filmmakers featured the snobbier families.
(jp) wrote: The beginning is intriguing, she's much older and is a writer. She tells the story in a narrating way, reflecting back on how she saw things at a young age. Coming for a dysfunctional family, the older brother is abusive and the mother only paying attention to the older brother, instead of her/smaller brother. She one days meets this older Chinese man (early 30's), while saying she is 17 but is only 15. For her this man is a distraction from all of her problems back home. At the same time I question what sort of love he felt for her. Saying he loved her but trouble letting go of his family wealth. Takes her to this room that is located in a busy street and noisy. Probably because he had a different idea on how he saw white females, while living in France. The only thing I saw is how he was nervous/vulnerable when he met her on the ferry, probably with that instant attraction. Other than that, from afar it looked like an older male seducing a child that doesn't know what she is doing because of her family problems. Either way, I did enjoy the movie and that was because of the narrator on how she felt expressed herself through this story.
(kr) wrote: 8/21/2015: I loved Garfield as a kid, but was very disappointed in the movie. Not many funny moments.
(ag) wrote: Very good "home front", type war movie, touching and positive!
(it) wrote: Lovable coming of age movie with a terrific soundtrack
(fr) wrote: Simple is right. Unbelievably poor acting. At the beginning I thought the characters were in a play on stage...Horrible
(jp) wrote: thought it was very underrated, great actors
(ru) wrote: The production design evokes all the wonder and peril that should come with a mysterious carnival, and the characters are engaging enough, if straight off the conveyor belt from the Coming-of-Age Factory. (Also, this is one of those movies that spends loads of time pondering the joys and melancholic trappings of boyhood and fatherhood, but curiously has nothing to say about girls or women.) There's at least one memorable setpiece involving tarantulas - it's the type of sequence that became a rarity after the PG-13 rating came along and ruined the great kid-horror movie mashup genre. The scene also doesn't make sense and seems almost like an obligation to ensure they had something interesting to put in the commercials. What also doesn't make sense is the abrupt ending. Still, there are worse ways to spend a lazy Sunday evening than watching a movie that is less scary than when you first watched it from behind a pillow at age 5.
(ca) wrote: Seriously, a kick B-movie! I loved it! Especially since the things this "mad scientist" does in his move are quite plausible, makes it all the creepier.
(ca) wrote: Having only recently been made aware of the Japanese sexploitation films I made this my second purchase after Sex & Fury. Unfortunately, as much fun as nympho, lesbian nuns sound the story was incredibly dull. The sadistic sex scenes were everything but sexy and I couldn't tell one nun from the other. On the plus side I liked the way they alluded a long session of oral sex with just their hands!
(jp) wrote: this is a great kids war and irish film
(es) wrote: Gloria Wandrous wants to be loved. To be more than a teasing sex bomb with a soft spot for clinging white lingerie. But, being a high-class prostitute nearing thirty, she doesn't know how to be anything besides the real-world exemplification of a wet dream - all her life she's been the town tramp, the girl young men go to before settling down with the girl next door, the girl old men go to when their wives no longer carry a youthful, sexual spark. "Face it," she moans to her mother after admitting that she's looking for a change in her life. "I was the slut of all time." Being the slut of all time hasn't much fazed Gloria through the years - she'll never really stop getting off on the constant attention she receives from the opposite sex - but when she falls in love with a married millionaire, she finds herself ready to give up her life of shallow pleasure-seeking in favor of the domesticity that's always hung around in the back of her pretty little head. She's too infatuated to realize that her lover most likely will never leave his wife, though; and that, much as we wish she would accept it, will destroy her. In 1960, Elizabeth Taylor wasn't all that different from Gloria, at least in the eyes of the prying public. In just two years, she had gone from grieving widow to seductive home wrecker, famously stealing matinee idol Eddie Fisher from the beloved Debbie Reynolds (with whom he had two children) following the plane crash death of her third husband, Mike Todd. "BUtterfield 8," produced chiefly as a contract obligation, was famously detested by Taylor; it cashed in on the public's hissy reception to her newfound, mangled public persona. But she won the Oscar for her performance as Gloria Wandrous, anyway, famously beating out Shirley MacLaine for her work in "The Apartment," Billy Wilder's tragicomic ode to alienation in the Big Apple. Many, including Taylor herself, consider the win to have been more a result of sympathy voting than actual merit - shortly before the ceremony did she suffer a near lethal pneumonia scare - but "BUtterfield 8," regardless of its quality, hosts one of her greatest performances. As Gloria, Taylor is conniving but vulnerable, sexually confident but romantically anxious; underneath her maintained faade of availability and self-possession is a very real sense of eroding conviction. Taylor is the most authentic thing about "BUtterfield 8," which is otherwise a standard soaper only elevated by its leading lady and its visually pleasing A-treatment. It deviates greatly from John O'Hara's novel of the same name, which was set during the height of the Great Depression and sneakily used the overwhelming anxiety of 1930s America as a way to parallel Gloria's own romantic paranoia. It cheapens our heroine's quandary of self-identity with a conclusion characterized by unconvincing tragedy. But like a B-level Bette Davis vehicle, "BUtterfield 8" nonetheless entertains, its shoddiness hardly mattering because it's too over-the-top to leave us bored, because Taylor, always beguiling, is at the top of her game, terrifically sexy and incomparably riveting. Support lent to her by Laurence Harvey, as her married suitor, and Fisher, as her supportive best friend, is concrete, and Mann's direction maintains a nice foundation between camp and dowdy glamour. One can't blame Taylor for despising "BUtterfield 8" - how low it was for MGM to use her personal life as a way to further its own status - but it's soap opera of the gratifying kind, with all the monologues and all the romantic interludes necessary to moisten our most hushed down guilty pleasures. It's a tawdry, mink covered, diamond wearing, time capsule.
(mx) wrote: Actually Quite Good. Ignore the Tomato meter.
(kr) wrote: 150917: Purchased DVD from Beaumont Dollar Tree.