The Horrors of New York: On The Sentinel () - thefreeemoticons.info
Each movie will have some sort of connection to the one before it, be it cast . for the ending as the citizens of hell start flooding the apartment. The Horrors of New York: On The Sentinel () It's the same attention to the relationship between urban landscape and character Winner. By the time he made The Sentinel, which he also co-wrote the At the end of the film, you learn that Lerman did, indeed, have his wife killed .. their relationship ( you can tell what their relationship is from the very minute you.
The strange neighbors, the noises coming from the empty apartment above, the piercing migraines, the blackouts, the hallucinations. And just what is it with the blind priest on the top floor who sits all day at the window, seemingly watching all the events unfold? What does it all mean? Finding out the answers to these questions makes for devilishly good, often unpleasantly gross-out, entertainment.
Sylvia Miles and Beverly D'Angelo play Gerde and Sandra, a quirky lesbian couple residing in the mysterious brownstone. You get scared, you jump, sometimes you have to cover your eyes, other times you laugh - but through it all there's a great great time to be had, provided you don't take any of it too seriously.
Photographer Jeff Goldblum offers assistance to a headache-plagued Cristina Raines while concerned friend and fellow model Deborah Raffin looks on. Here's a tip for budding screenwriters: We don't take models seriously. For starters, nobody considers what they do to be real work, secondly, deep down we're all slightly envious or resentful of their genetics-based charmed lives and therefore tend to harbor secret hopes that terrible fates befall them.
Pretty much sounds like what they had in mind with the casting of the lovely but largely unknown Cristina Raines in her first major screen role. Raines possesses an overall impassive countenance, a somewhat flat speaking voice, and a very un model-like way of walking and standing, yet in spite of all this, I found myself being totally won over by her in this movie.
Aside from liking the whole preachy Catholic thing used as a basis for horror, Raines is the main reason I've seen The Sentinel so many times. Cristina Raines registers rather stronger in the scenes of her character's decline than she does in the film's earlier scenes, as such, she makes for an appealingly vulnerable protagonist in the war between good and evil. Sarandon has proven himself to be a wonderful character actor, but I'm afraid he makes for a stiff, blank, leading man.
Clockwise from top left: Um, you're already sitting down. Well, I need to get up and then sit down again—you know, for dramatic effect—because my knees have turned into a flavourless, gelatin-like substance.
I know what you're going to say next. But, no, I'm afraid Beverly D'Angelo, her supple lower half sheathed in the tightest pair of red pantyhose money can buy, doesn't play the aforementioned female fashion model.
Don't be sad, though. After all, her character is mildly deranged, too.
Anyway, if you're somewhat discouraged by the film's opening scene which, like I said, features elderly priests doing priestly junk in a dingy-looking building in northern Italydon't fret, because Christina Raines is about to get her Eyes of Laura Mars on. If you don't know what getting your "Eyes of Laura Mars on" entails, that's okay. It simply means that she is about to be featured in a series of shots that are designed to enhance her innate chic-appeal.
Even though the music that plays over the opening credits isn't disco enough for my taste, it has leggy posing, artful posing, outdoor posing and stairway posing. If all that posing sounds a little redundant, we're shown brief flashes of Christina Raines and Chris Sarandon doing stuff couples used to do in New York City back in the mid-to-late s: You can tell almost immediately that The Sentinel wasn't made by some hack by the way the scene where fashion model Alison Parker Christina Raines and lawyer Michael Lerman Chris Sarandon look for apartments was edited together.
Oh, and if you're wondering why Alison and Michael were apartment hunting separately they are, after all, supposed to be a couple in loveit's complicated. Nonetheless, the editing does a perfect job of encapsulating the unmistakable tension that plagues their relationship throughout the film. While attending a wake for her recently deceased father, Alison, who is wearing jet black nylons with her equally jet black dress, can't help but think about the time she tried to kill herself after she caught her father having a bizarre threesome with two women.
Personally, I didn't think it was that bizarre. But I guess some might think their use of a cake was a tad on the strange side as far as threesomes go. Either way, the sight of her father's boney ass in the throes of pastry-fueled passion with a couple of not-so boney ladies causes her daughter, who is wearing a Catholic school girl uniform, to run to the bathroom to slit her dainty wrists.
Oh, wait, before she runs to the bathroom, her father, who is naked and covered in cake crumbs, knocks over a birdcage and slaps Alison hard across the face.
Did I mention that Alison is wearing jet black nylons as she recalls this disturbing memory? Okay, did I mention that Alison is still traumatized by this event? Well, judging by her frazzled body language, I'd say Alison remains haunted by what occurred on that fateful afternoon.
So much so that a ghostly version of her father shows up again in a scene that caused this jaded viewer to jump in their seat; I often forget sometimes that these movies are meant to be scary. Determined not to end up like her mother i. A fully-furnished unit only twenty minutes from downtown the vines covering the building's facade were the real selling point for meAlison agrees, despite the presence of a creepy blind priest who lives on the fifth floor, to take the place.
While recovering from the pool side photo shoot incident in her new apartment, Alison meets one of her new neighbours, a garrulous busybody named Charles Chazen Burgess Meredith. Don't forget his pet budgie Mortimer and cat Jezebel. Oh, yeah, he's got a yellow bird on his shoulder and is carrying a black and white cat with indigestion. Don't get me wrong, I loved the off-kilter energy Burgess Meredith was putting out there as the chatty neighbour, but I would much rather be focus my attention on the sight of a deaf mute Beverly D'Angelo masturbating in red tights.
Why is that, you ask? Oh, I don't know, it's only one of the greatest movie scenes ever.
The Horrors of New York: On The Sentinel (1977)
Introduced to her downstairs neighbours, Gerde Sylvia Miles and Sandra Beverly D'Angelotwo thigh-stroking enthusiasts in leotards, Alison gets an up close refresher course on how enthusiastic Gerde and Sandra actually are when it comes to thigh-stroking. When Gerde leaves the room to make coffee, Sandra stares directly at Alison and starts pawing at her leotard ensnared crotch with a pronounced vigor. Even though she's probably already made the assumption that they're dancers of some kind, Alison asks them what they do for a living anyway.
To her surprise, however, Gerde, without missing a beat, tells her: And I would love to have a career where fondling Beverly D'Angelo on a daily basis was part of my job description. Speaking of job descriptions, you could view The Sentinel as the tale of one woman's struggle to land her dream job. Now, you're probably thinking to yourself: What could better than being a fashion model? It's true, the life of your average fashion model does seem pretty glamorous.
Yet, you have to admit, there isn't much as far as job security goes.
The Sentinel () - IMDb
Guarding the gateway to hell, on the other hand, is something that always needs doing. So, what you're saying is, The Sentinel is basically a film about the world's creepiest job interview?
Yeah, that sounds about right. I've read that the casting of real life circus performers to play the deformed denizens of hell caused some controversy at the time.