ohtani's jacket

I feel bad for OJ sometimes. The lot of us are stumbling about in seas that he's been sailing in for years. Don't feel too bad. I hadn't seen this match until the set dropped and checked luchawiki to see who was champion.

Chicana was the champion going in.

Since there's even bigger funk fans than me on this board, does anyone recognise the song Caswell Martin comes to the ring to in this match from Germany?

Some of this World Pro footage makes for neat extras:

Gran Cochise, Villano III y Rayo De Jalisco Jr. vs. Fishman, Mocho Cota y Tony Bennetto (11/30/84) was another match where I was seriously questioning the date as both the Cota/Cochise hair matches are listed as being from '83.

So much of it was left on the cutting room floor that it's hard to tell how good it was, but if you were expecting an epic bloodbath then you'll be disappointed as from the clips it looks like a workrate trios.

BABY DOLL (Elia Kazan) -- not Tennessee Williams' best play and not Elia Kazan's best film. Eli Wallach steals the show with an almost Joe Pesci like performance as the Sicilian cotton farmer looking to get revenge on Karl Malden by seducing his teenage bride. Malden is pretty good as well, though after watching him play so many bit parts in the 50s it was kind of surreal to see him thrust into a lead role. It was literally like watching the saloon owner from a 50s western take centre stage all of a sudden. LOLA MONTES (Max Ophuls) -- if we did stock picks on these sort of things, Ophuls stock would be going down for me. This was another case of style over substance and the funny thing is it didn't even look that good. I wasn't overly impressed by his use of colour and the set pieces in his earlier films were far better. Won't factor on my ballot. EARLY SUMMER (Yasujiro Ozu) -- when I first watched this I thought it was one of Ozu's less interesting films having only just hit the high points of Late Spring and Tokyo Story, but this time it really hit home with me. I'm not sure I've ever liked Hara Setsuko more than I did here and he ending choked me up in the usual Ozu fashion. Wonderful film and surprising modern in terms of it's views on women and marriage. THE BROWNING VERSION (Anthony Asquith) -- brilliant film starring Michael Redgrave as a classics teacher at an English public school who comes to the slow realisation that he's failed as both a husband and teacher. Painfully emotional at times, the film also delivers a savage critique of the public school system and is deftly handled by Asquith who manages to transform it into more than just a filmed stage play. Redgrave is outstanding. The whole production is really. Exploring British film in the 50s would be a project unto itself, but there was a lot of high quality cinema being rolled out. THE QUATERMASS XPERIMENT (Val Guest) -- really fun British sci-fi film that stands toe-to-toe with the best American stuff from the decade. The acting is crap, but the cinematography is beautiful. For comic book fans, it reminded me somewhat of Alan Moore's Miracleman without the dark 80s twists. A group of astronauts return from space with two dead and the other catatonic and a mystery unfolds over what was responsible. There's a great scene where they're looking at camera footage from the shuttle that's shot so beautifully. Great fun. TIGER BAY (J. Lee Thompson) -- little Hayley Mills plays a tomboy who witnesses a murder then becomes friends with the killer in this interesting twist on the suspense thriller. Mills really was one of the best child actors of all-time and lights up the screen every time she has a big scene, and there's enough twists and turns in the plot to keep it interesting even though you know that the moral code of the 1950s will win out in the end, but the music... there's 50s films where the string sections swell with melodramatic fury and then there's this film. Boy do I never wanna hear strings again. DEATH OF A CYCLIST (Juan Antonio Bardem) -- This is hailed as a social realist film, but it's surprising how much of it was like a cross between an Alfred Hitchcock murder mystery and a film noir romance. Really beautiful photography and some of the best jump cuts I can remember seeing, and Lucia Bose was drop dead gorgeous. The ending you could see a mile off, but there was plenty to see and do on the journey there. The only thing holding it back was that it wasn't particularly original even if the different threads were weaved together well. As a Franco critique, there's been plenty better, but I enjoyed this all the same.

Those Mascara Sagrada botches on disc 7 are horrendous. I've never felt so bad for a base in all my viewing years.

Y'know, for about 15 seconds I wondered if you were ripping on Herb Kunze.

I don't know about that but it's definitely his brother.

Graham is right. Looks like Alfredo's match list is wrong.

There are some spelling errors in the match lists too. The Brazos often get called del oro for example.

I WANT TO LIVE! (Robert Wise) -- setting aside the fact that as a factual true story it's all bullshit, this is a quality bit of noir with a commanding performance from Susan Hayward and some solid directing from one of Hollywood's most reliable hands in the 1950s. I actually thought it would be a bit campier, but nope. A STAR IS BORN (George Cukor) -- personally I found the use of stills and outtakes a bit jarring even if they were necessary to piece back together the plot, and some of that stuff should have been cut in the scripting not on the editing floor. Still, what's left is a tour de force from Garland. The film seems to epitomise her. You've got the drugs, the weight issues, the illnesses real and imagined, all the warts there on the screen to go with the immense talent and idiosyncratic singing style. It was quite mesmerising at times. Mason plays second banana, but he's not a bad second banana. I usually hate Cukor films, but this time I didn't really notice I was watching one. This will be a contender for my ballot because of Garland. THE PROWLER (Joseph Losey) -- takes a while to get going, but when it does it's as compelling a noir as any other from the decade and a nice twist on Double Indemnity. A really decent attempt at fleshing out the psychology behind the crime too. I fucking love Van Heflin. DEATH OF A SALESMAN (Laslo Benedek) -- filmed stage play, bladdy blah blah... I kind of thought Fredric March's performance in this was a bit dated or maybe it was just the way Benedek handled the hallucinations/flashback scenes. The climax was good, especially the confrontation between father and son, but otherwise this was very stagey.

It was pretty cruel since Team New Zealand had the Cup won a week ago with a 1500m lead but couldn't complete the race in the 40 min time limit due to low winds. There were a couple of other races called off where TNZ were in the lead and then postponements of races that gave Oracle time to spend millions of dollars to make their boat go faster. Mind you, if TNZ had won, Oracle would have probably dragged the whole thing through court.

I'm frankly amazed this made the cut. Who's my partner in good taste? Moi. Regarding Paris is Burning, I watched as many documentaries as I could from this decade with any rep. I basically like a documentary that teaches me something and Paris is Burning was about a sub-culture I would have otherwise had no clue about whatsoever. I found it intensely interesting.

I'm watching this at the moment and the still photographs weren't part of the original film. Warner Brothers execs made over 40 minutes of cuts to the original version because they were afraid the running time would limit the number of daily showings. In 1983 the film was "reconstructed" with surviving audio and the still photos. It's kind of annoying but there's some obvious plot holes in the Warner edit. Some of the audio must have been missing as well as you never see her screen test. She's on her way to the test and the next thing you know she's signed a contract.

All right, back into the fray... NO WAY OUT (Joseph L. Mankiewicz) -- one of the first films to deal with racial discrimination directly. Comes on strong with its message, but doesn't pull any punches when it comes to bigotry or violence. Notable for giving Sidney Poitier his first starring role. I thought Richard Widmark misfired a bit in his role as the bigot, but I've seen his performance praised elsewhere. Will caution that it's not really the noir it's made to be despite some swank photography. More of a social message, 50s melodrama. Probably more interesting as a pioneering film than a timeless classic. THE HARDER THEY FALL (Mark Robson) -- Bogie's last film before he died and not a bad one to go out on. Boxing melodramas suit the film noir style to a tee and this one uses the Primo Camera scandal to expose the sordid underbelly of prizefighting. Bogie plays an out of work sportswriter hired by a bent promoter, Rod Steiger, to put over an Argentinian lump whose fights Steiger is fixing to create a draw card. Wrestling fans ought to identify with that immediately and Camera himself went into wrestling as I'm sure a few of you are aware. The contrast between Bogie and Steiger's acting styles is intensely fascinating whenever they're on screen together. ATTACK (Robert Aldrich) -- I can't remember if I wrote about this on the old board, but a Robert Aldrich war film with Lee Marvin and Jack Palace? Totally B grade and doesn't really click, but fuck it if Palace doesn't have some cheesy monologues and he takes on a tank all by himself. Check out the trailer: MURDER BY CONTRACT (Irving Lerner) -- existential hitman noir that's like French New Wave before the French New Wave. This was really fucking cool. Awesome soundtrack, awesome low budget, quirky noir. You must check this out. MISTER ROBERTS (John Ford and Mervyn LeRoy) -- this is kind of disappointing given the cast of Henry Fonda, James Cagney, William Powell and Jack Lemmon, but once you get over that it's a decent enough story of life on a US Navy cargo ship during the waning days of the war. As a comedy-drama it didn't really hit all the buttons for me and how much you enjoy it depends on how much you like a really Henry Fonda, Henry Fonda performance, but It was pretty harmless and the ending was effective if not completely Hollywood-ish. DEVDAS (Bimal Roy) -- continuing my journey through classic Bollywood. This was long. It took me a couple of weeks to finish it, to be honest, as I watched it in chunks. Probably the most interesting thing about 50s Bollywood is how unimportant the songs are compared to what Bollywood would become. This was more like classic Hollywood drama with a real focus on literary adaptions. The story here didn't really move me much, but the photography was gorgeous. ASHES AND DIAMONDS (Andrzej Wajda) -- I watched this a long time ago when I was first introduced to foreign films through Bergman and Kurosawa and so on. Decided it needed a rewatch since I was wondering if it was top 10. I was kind of torn on this. It's interesting and exquisitely shot given the space it uses to tell its story, but without really understanding how the Polish people felt at the end of the war a lot of the prevailing sentiments were lost on me and the main relationship was Hiroshima Mon Amour in its distance and aloofness from the audience. But I still really liked it. That's a good thing, I guess.

I don't think anything tops this:http://youtu.be/-4aHWG7aqPMI dig Oscar Brown Jr. too: http://youtu.be/YpewUVqowHEEtta Jones has one of my favourite female voices: http://youtu.be/08IR-eq-RMc Betty Carter too:

http://youtu.be/CuDvseB4Yhwhttp://youtu.be/D3Ili2VvtvUhttp://youtu.be/8ZzccKp7FWUhttp://youtu.be/zYxKHo6oek8

http://youtu.be/EhR1JCwQMg4http://youtu.be/GJDPz4guxOQhttp://youtu.be/u37vi8d2_BMhttp://youtu.be/zwoKq6HPwkEhttp://youtu.be/n8zylMB7pIM

http://youtu.be/3RzQlpAM5rUhttp://youtu.be/2MMntuWZ5o4http://youtu.be/U799LH7w8Zkhttp://youtu.be/WGT4ca2fxtwhttp://youtu.be/X1kH4gptS20

Sent! Apologies in advance for all the one vote films.

I'm still working on mine in between work and a headache.

http://youtu.be/cBW9Gt2ha44http://youtu.be/RGkMyWWcQTEhttp://youtu.be/jAv_P2Z-5LUhttp://youtu.be/XPkd9ZQOtbIhttp://youtu.be/4zWyj3eQ8wE