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Brit Canuck
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"Mask of the Avenger" (Jody Lawrance)
Jody Lawrance has a couple of superb fencing scenes, one in which she takes a lesson and lands a beautiful passata soto against her sparring partner, and the other in which she comes to John Derek's rescue and holds her own against veteran swashbuckler actor Anthony Quinn. Rarely seen on TV, highly recommended.
Friday night, September 21st, at 12:45 AM Eastern (9:45 PM Pacific) on Turner Classic Movies (North America).
Can't wait? The clips are also available in our Clip Contributions forum. (Free membership sign-up required.)
http://com2.runboard.com/bswordswomen.f7.t9125
--- Swordswomen of the Silver Screen
RunSearch Weekly Board of the Week Nominee
http://bswordswomen.runboard.com |
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9/3/2007, 2:50 pm
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Brit Canuck
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Re: "Mask of the Avenger" (Jody Lawrance)
Airing again on TCM North America Tuesday morning, June 3rd at 7:45 AM Eastern (4:45 AM Pacific).
Followed later in the morning by "Prince of Pirates" with Barbara Rush.
"Mask" repeated June 28th at 6 AM Eastern.
Last edited by Brit Canuck, 6/1/2008, 11:09 pm
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5/7/2008, 4:47 pm
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Foster3D
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Re: "Mask of the Avenger" (Jody Lawrance)
BritCanuck,
So supremely sorry to somehow say "hi", however liberally late the dire deduced date, but my horrible hiatus from this hidden hive had me merely making messy jive while I willfully woefully am still alive.
Heedless of my hasty hopeless return, I will readily relate or reveal that the trusty date for a duo of a double feature, found at Turner's Classic Films, fantastically finds fencing by filmed females famously created by Columbia in colour, "Technicolor", to be througly and trustly sure, invariably immodestly I might truely technically talk or absolutely assidiously add. Derek is directed or detailed to deliberately destroy or evict the essence of the egregious enveloping evil eviscerating the entire environs.
However, I hasten to harrangue you that the talk taken in the mass of the marketing made for the film finds it stating that in "The Mask of the Avenger", Miss Jody Lawrence was liberally likened to quiet Mr. Quinn with a quietus thrust to the quick. This ending is essentially evidenced in the book, "Swordsmen of the Screen", where we it is written that Mr. Derek is decked and nearly dead by Quinn's quick cruel luck, Miss Lawrance tacitly takes up the blade and toys with Quinn before killing him quietly.
I initially insipidly intuitively felt the feature film followed the assigned and aligned American ending in all ascribed countries (Derek is knocked out and Miss Lawrance lustily takes the sword to stop Quinn, but Derek wakes up and wilfully and wily wakes to woefully wound and kill Quinn.), but I curiously contemplatively and came to the count that the ending in England, might have had this alternative ascribed attendent ending?
Also, I have noticiably and naturally noted that the foreign titles to the Mask of the Avenger is often oriented and translated as "Sword of Monte Cristo", but this title is taken in America and England by Fox's "Sword of Monte Cristo" with Paula Corday. It seems, as I have studiously stated in several previous and prior posts, that there was the tenacious fight for first fencing rights to whomever we will warrant was first to finish their film. The Title: Sword of Monte Cristo, seems to have had the particular and proscribed potential to pack in the people more prolifically than any alternative asigned title. I have satridently suggested that the rueful rush, and relentless race to be first furnished flaws in both films, but more so in the Paula Corday film (Sword of Monte Cristo, April 1951, where the essentially entirely experimental film stock (Super CineColor) strikingly and surely needed much more movie tweaking than the trusty technicolor technique used in both Mask of the Avenger (51) and Prince Of Pirates (53).
Last edited by Foster3D, 6/2/2008, 5:00 pm
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6/2/2008, 3:42 pm
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drace68
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Re: "Mask of the Avenger" (Jody Lawrance)
Glad you've returned, Foster3D.
For all the murkiness (film processing) and failings of "The Sword of Monte Cristo," it featured PAULA CORDAY. No matter how more skilled with a sword Miss Lawrence may be (and I treasure the clips of her posted by Brit_Canuck), Miss Lawrence doesn't fire my imagination as does Miss Corday (into her 30s at the making of the film, I believe).
drace68
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6/3/2008, 12:50 pm
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bgrsman
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Re: "Mask of the Avenger" (Jody Lawrance)
I echo the setiments here.....good to hear from Foster3D again!!
Last edited by bgrsman, 6/3/2008, 8:29 pm
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6/3/2008, 8:28 pm
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Brit Canuck
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Re: "Mask of the Avenger" (Jody Lawrance)
Welcome back to our favorite swordswomen historian. 
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6/4/2008, 5:33 am
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seattle1
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Re: "Mask of the Avenger" (Jody Lawrance)
Is there actually in existence a print of the alternative ending in Mask of the Avenger, of A.Quinn meeting his maker as he's run through by Ms. Lawrence. Would'nt that be a great post? Signed Seattle1
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6/4/2008, 11:18 am
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Brit Canuck
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Re: "Mask of the Avenger" (Jody Lawrance)
It's possible that Lawrance defeating Quinn to save Derek was scripted, but changed before filming in order to give Derek more to do at the end of the movie. Perhaps at the time, the producers thought the original ending was unconventional for 1950's Hollywood.
Star power may have something to do with the rewrite, too. Bear in mind that in "The Sword of Monte Cristo", George Montgomery is billed as the top star, even though it's Paula Corday who does most of the work during the movie. The biggest star in your cast is the one who usually gets top billing, in order to draw in more audiences. Jack Nicholson as the Joker getting billing above Michael Keaton playing the title role in the 1989 version of "Batman" is one example; Arnold Schwarzenegger was billed above Brigitte Nielsen for "Red Sonja", even though Nielsen played the title role.
Whatever the reason for such a rewrite, it's just a question of politics in Hollywood, and back in those days, in the opinions of the studio executives, it was the man who was supposed to be doing the rescuing of the lady, not the other way around. That said, I would welcome a remake where the original ending is restored.
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6/4/2008, 7:42 pm
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seattle1
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Re: "Mask of the Avenger" (Jody Lawrance)
Thanks for the scoop. Along with you, I too would welcome the alternative ending, watching A.Quinn recieve his comeupaeance with J.Lawrence's rapier dispatching him as J.Derek watches with admiration @ his rescuer. Signed Seattle1
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6/5/2008, 8:46 am
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Foster3D
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Re: "Mask of the Avenger" (Jody Lawrance)
As an astute matter of fact, I fundmentally found this featured film's promotional piece professing or promising this prospective payoff (Miss Jody Lawrence/Lawrance's literal and liberal really real or reel running through of Quinn quite quietly quoted) from the producers to the theatrical theater owners (Exhibiters exclusive or expansive and entertaingly expressive press book). Decidedly, I duely deemed it too delightful a declaration to deny duplicating or disseminating the discriptive details.
Demonstratably, I distinctly discovered the dire displacement of the designated Director first a--ffixed for the film, "Mask Of The Avenger"; thus, the thought that there truely took these things and turned them out. Ebay even evidenced a prophetically proscribed photo prospectively produced when we were warily told that the first Director was distinctly designated these details.
The providentially placed photo prospectively placed for purchase and properly processed or professed to basically be a behind the scenes shot saliently strategic shot showing the Director deeply discussing the distinct directions with the captivated collected cast and crew. Interestingly, the implied impart or imported implication indicated in the inscribed insert is that the film was faithfully or fully being filmed and it surely somehow seemed or strongly suggested that the film was within a wisker of wistifully being fully or finally finished? Tellingly, the tracking truck usefully utilized in this utilitarian undertaking looked literally and liberally dusty, dinted, and dingy demonstratably cdetailing that it was well...well used, and an assumed acessment that the truck had heroically happened to have horses heaving hoofs of dirt and dust all over the detailing of the dingy dented truck.
Thus, the tagential tertiary thought that they thanklessly turned out a tempestuously and possibly or passibly posited or produced a prospective film version or variant which was widely at vigiliant variance with the volumnious furnished final film version maybe very valid?
Sympathetically, I see someone sorely suggested that Miss Corday's certified correct age at the accessed time the theatrical film was finally shot was somewhere supposedly set somewhat steeply or highly in her haggard thirties? This telling troubling thought is totally un-true! Miss Corday was wistfully wholly 28 when she was wisely a-warded the theatrical tip top role in the rare reel real reproduction.
Basically by virtue of being born essentially evidentially East of Bali in French Tahiti in Nineteen Twenty on or about October Twenty. So, she should statistically be about an assumed 30 when the final film first found an attentive assembled audience.
We will warrant that the thrilling theatrical release really ran mostly on March 1 (World Premiere), but a beneficently bigger wide distrubtion distinctly debuted on the date of March 3, 1951.
Thus, the telling time the film was somehow shot seems set at and about the suggestive situated space of Spring to early Summer of 1950 . The take of the trees and floral found fully flourishing on the set strongly suggests essentially an estimated early Summer, at the latest, for the really rather dry region a-round Los Angeles at the assertively assigned or assignated area of the "Motion Picture Center", but I befuddingly betrayingly found some select sources say that the theatrical filming was firmly fixed from sometime between September 11--October 6, 1950.
The thought of the theoretical timing surely seems like late Spring or shortly after Summer started when one warily or wisely looks at the opening scenes showing scores of springingly spring-like leaves and the like literally lightly a-ttached to the thongs of trees. The shades of growing green generally gives the intense and implicit impression of Spring and early Summer in
Southern California.
I have implicitly inveighed and introduced interesting information informing one of the odd problems in the production involving the initial introduction of SuperCine Colour coming with this film. So, I suspect that the persistent problem with the film frought forth a frightening fundmental and decided detrimental delay in determining or deducing the solution to the serious situation with the film not properly producing the colour Purple for the final film. You see, as I have solicitiously said somewhat earlier, the entire film was formulated to forthrightly prove that Super CineColour completely and competently solved the serious problems pertaining to and produced by the convoluted complexities contained in the chemistry of the CineColour process.
Principally, that Cinecolour could not create or re-produce the prospective colour "Purple". As an astute observer might ordinarily ordain, Miss Corday's "Cavalier" costume was centrally conceived in the context of primarily a purely purple paladin. All the available attainable posters protray her person performing her prodigious physical presentations for the public while we willfully pleasantly and presently see her presented in a purple paladin/Cavalier costume creation. It is indeed interesting in investigating all the assorted assembled aspects of a conceivably consistuted costume Miss Corday certainly and certifiably was seen wearing while the final costume was certified. It is invariably indicated that the theoretical Super Cine-Colour could not re-create the colour Purple properly or as posited in the pre-production press presentations. Thus, the filming formally and un-fortunately followed a far longer and frustruating path than was wisely or practically planned for.
Therefore, the telling time taken to tacitly and truely tape the theatrical film for final filming followed a fitful and frustratingly froughtful path to produce. Placidly, I will perceptably and prophetically phrase or tell that the thoughtful and timely average ammount allocated to prospective pre-production planning in this period a-ppears to place her conceivable contract coupling to the creative cinematic situation set aside for Sword of Monte Cristo should have happened or been brought about by the late Summer of 1949. So, I suggest the situated signature for her to heroically hail as the "Sword of Monte Cristo" should have been when we will wager she was still somewhere around and approximately 28?
By the way, I warrant or wager no-one obligingly or observantly nicely noted or necessarily noticed that the "Hood" worn by Miss Corday was curiously conferred or contained or heroically hid her clearly charming copious coppery champagne curls confining or containing her cascading coiled coiffure?
She stridently and strikingly slid on her simpy silky lovely lithesome locks what we will reliably refer to as a "Rapier Hood", respectfully relegated to hide her healthy hair and neat, nice, notefully noble neck. Referentially, "Rapier Hoods" were responsibly relegated to throughly and topically protect the head when we witness horrible hurts hatched on one's head by a hail of hits when faithfully fencing in fun with friendly favored foes.
Thus, the telling thoughtful transcendent touch of taking a thread of the timely fencing garb and generally, if not with a true touch of given genius, genuninely generate and gamely garner the gear from the effective era, and essentially encapsulate it introspectrively in effective evidence in the enticing entertaining epic is indeed interesting in its effective use of creative compelling costuming. The conscious concept centrally adds an astute aspect that truely suggests some sense of what wise and wistful wardrobe would work and what would be best used by someone setting out to... secretly be something of a beneficently brilliant and brave masked avenger.
There is truely too much about this telling film which I find fully facinating, but I basically betray a thoughtful thread that I will walk about at a literally little later in time. Some such sayings I have happened to highly hark upon already, but if it is indeed instilled that sometimes it is inspired inspiration to talk twice about truely telling tales.
Last edited by Foster3D, 10/17/2008, 12:07 am
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10/15/2008, 12:09 am
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