Jeff Chandler - IMDb
Tyson Cleotis Chandler (born October 2, ) is an American professional basketball player . On February 17, , Chandler was traded to the Oklahoma City Thunder in exchange for Chris Wilcox, Joe . In January , Chandler was named an NBA All-Star for the first time in his year career, earning selection as. Broken City is a American neo-noir crime drama film directed by Allen Hughes and written Helped by his assistant, Katy Bradshaw (Alona Tal), Taggart learns that Cathleen is seeing Paul Andrews (Kyle Chandler), the campaign manager of Valliant reveals that Andrews was scheduled to meet Todd Lancaster. From your trusted AZ Family weather team, configure the interactive radar to see what's most important to you. © Mapbox .. Chandler City Hall (Chandler).
No criminal charges were filed against him. However, after being questioned at the police station, Lee grabbed a gun from an officer's holster and attempted suicide. In light of these events, Lee is reluctant to commit to the guardianship and unwilling to move back to Manchester, where the locals treat him as an outcast. He begins planning for Patrick to move to Boston with him.
Patrick is deeply rooted in the Manchester community and strongly objects to the idea. Lee commits to staying only through the end of the school year.
Over time, Patrick and Lee re-establish their bond, despite conflicts about Joe's boat, Patrick's girlfriends, and their future living arrangements. Through flashbacks, Patrick's mother Elise is shown to have had substance abuse problems and abandoned the family, so Lee is opposed to Patrick reconnecting with her.
Even so, Patrick emails Elise about Joe's death, and she invites him to have lunch with her. He is unsettled further when Jeffrey emails him, insisting on being an intermediary in any future communication between Patrick and his mother. Lee's subsequent positive comments about Elise's sobriety lead Patrick to believe his uncle is trying to get rid of him, assertions Lee denies.
In response to this strain in their relationship, Lee takes steps to possibly extend his stay in Manchester, and begins to seek ways to spend more time with Patrick. One day Lee runs into his ex-wife Randi, her newborn Dylan, and her friend Rachel. After Rachel leaves to get the car, a sobbing Randi expresses remorse for her treatment of Lee during their divorce and asks him to have lunch.
Lee deflects her apology, feeling that he does not deserve it. When she insists that they reconnect and pleads with him not to "just die," he leaves before he can become emotional. As in that film, the story concerns a conspiracy to murder. Ex-Foreign Legion soldier Julien Tavernier Maurice Roneta veteran of French military misadventures in Algeria and Indochina, is planning to kill his boss, who is also his lover's husband.
On paper, the plan is seamless — Tavernier secures his alibis and enters his victim's office unseen, by means of a rope — but things soon get messy.
On returning to the crime scene to retrieve a key piece of evidence, Tavernier finds himself trapped in the elevator, leaving his car parked outside with the keys in the ignition. Although its elements point towards nailbiting tension, this isn't so much what Lift to the Scaffold is about; it draws more on the blanket fatalism of film noir rather than the savage irony so often associated with the genre.
Key to this is Jeanne Moreau as Tavernier's lover, Florence; in the film's signature sequence her man fails to turn up, so she walks the streets trying vainly to find him. Filmed on the fly without professional lighting, accompanied only by Miles Davis's brilliant, melancholy score, these few minutes capture the bleak and beautiful essence of Malle's film.
It's one of the greatest, in fact: Except that when Martins arrives, Lime turns out to be dead. At least that's the prevailing wisdom at his funeral. To say anything else about the mystery that Martins unravels would be to jeopardise some of the zesty surprises of this year-old masterpiece. Is there a statute of limitations on spoilers? But then The Third Man is about more than plot. The morally fermented atmosphere of Vienna mapped out by Graham Greene's screenplay based on his own story is sustained beautifully by Robert Krasker's cinematography, with top notes of mischief introduced by Anton Karas's sprightly zither playing.
An unassuming actor named Orson Welles also puts in an appearance, skulking in a doorway in one of the wittiest of all movie entrances, then delivering a speech full of humble horrors from the vantage point of a ferris wheel overlooking the city.
The key to the picture's genius is undoubtedly the mutually nourishing collaboration between Greene and the director Carol Reed.
Top 10 film noir
Reed is not only alert to every nuance in Greene's writing but adept at finding pointed visual equivalents for his prose. Alamy No one ever smoked and brooded and loomed like Robert Mitchum. And he never did it as definitively as he does in Out of the Past, a stylish and devastating noir that was one of a hat-trick of perfect genre pieces directed by Jacques Tourneur in the s along with Cat People and I Walked with a Zombie.
Viewers not enamoured of the actor's somnambulant manner might take the latter title for a description of what it must be like to act alongside Mitchum. But that would be to miss the bitter, internalised hurt and wounded hope he brings to his performance here; just because he's still, that doesn't mean he's not suffering.
Oh, and shooting him.
It may not be any surprise that when Jeff catches up with the fugitive femme fatale, there is a crackle of attraction between them.
The seductive skill of the movie lies in its masterful evocation of that sensual, fatalistic bleakness crucial to noir.
From Nicholas Musuraca's chiaroscuro cinematography "It was so dark on set, you didn't know who else was there half the time," said Greer to Roy Webb's plangent score and the guarded, electrifying performances, it's nothing short of a noir masterclass.
But the sharpened splinters of dialogue also bear the mark of Cain — James M Cain, that is, the legendary author of noir landmarks The Postman Always Rings Twice and Double Indemnity, who performed vital but uncredited rewrites. According to Mitchum's biographer, Lee Server, it was Cain who expunged Kathie of any traces of lovability.
To which Jeff shoots back: Double Indemnity Duplicitous duo Woody Allen declared it "the greatest movie ever made". Even if you can't go along with that, there can be no disputing that it is the finest film noir of all time, though it was made inbefore the term film noir was even coined. Adapting James M Cain's novella about a straight-arrow insurance salesman tempted into murder by a duplicitous housewife, genre-hopping director Billy Wilder recruited Raymond Chandler as co-writer.
Chandler, said Wilder, "was a mess, but he could write a beautiful sentence".
Noir's visual style, which had its roots in German expressionism, was forged here, though Wilder insisted that he was going for a "newsreel" effect. Fred MacMurray, who had specialised largely in comedy until that point, was an inspired choice to play the big dope Walter Neff, who narrates the sorry mess in flashback, and wonders: But the ace in the hole is Barbara Stanwyck as Phyllis Dietrichson, a vision of amorality in a "honey of an anklet" and a platinum wig.
She can lower her sunglasses and make it look like the last word in predatory desire. And she's not just a vamp: There are few shots in cinema as bone-chilling as the closeup on Stanwyck's face as Neff dispatches Phyllis's husband in the back seat of a car.
Stanwyck had been reluctant to take the role, confessing: Taggart gets drunk, brawling with strangers while walking the city streets. He receives a phone call from Katy and rushes into a murder scene.
Broken City () - IMDb
When Taggart arrives, he learns that Andrews, Valliant's campaign manager, has been found murdered. Taggart tells Fairbanks that he was hired by Mayor Hostetler to investigate his wife. They learn that the candidate Valliant was in Andrews' apartment. A furious Cathleen tells Taggart that Andrews was a close friend of hers, not a lover, and that he had promised her information about Hostetler's plans for the Bolton Village Housing Project.
The deal was expected to enrich both Sam Lancaster and the mayor. Hostetler wanted to find out Cathleen's source, so he manipulated Taggart into tracking her. Taggart decides to investigate Mayor Hostetler for corruption. He goes to Lancaster's construction business and finds workers destroying loads of documents. Stealing some of the documents, he discovers that Bolton Village has been sold in order to build high-rise office buildings, rather than a new housing development. Hundreds of impoverished people will be left homeless while Hostetler and Lancaster make a profit.