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Black Gold (also known as Day of the Falcon and Or noir) is a 2011 epic historical war film, based on Hans Ruesch's 1957 novel South of the Heart: A Novel of Modern Arabia (also known as The Great Thirst and The Arab). It was directed by Jean-Jacques Annaud, [4] produced by Tarak Ben Ammar and co-produced by Doha Film Institute.
A Date with the Falcon (a.k.a. The Gay Falcon Steps In and A Date With Murder) is the second in a series of 16 films about the suave detective nicknamed The Falcon.The 1942 sequel features many of the same characters as the first film, The Gay Falcon (1941). [2]
In his review of The Falcon in Hollywood, Bosley Crowther wrote, in The New York Times, "A mild intra-mural excursion around a movie studio is the only intriguing feature of RKO's 'The Falcon in Hollywood,' latest in the well-worn mystery series, which came to the Rialto yesterday. For otherwise this obvious whodunnit about murder on a studio ...
The Falcon Takes Over (also known as The Falcon Steps Out), is a 1942 black-and-white mystery film directed by Irving Reis.Although the film features the Falcon and other characters created by Michael Arlen, its plot is taken from the Raymond Chandler novel Farewell, My Lovely, [1] with the Falcon substituting for Chandler's archetypal private eye Philip Marlowe and the setting of New York ...
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 100% based on 1 review. [15] In his review of Falcon series, Bosley Crowther wrote, in The New York Times, that, "There must be a "Falcon" series; RKO seems determined on that." [16] The Gay Falcon made a profit of $108,000. [17]
Tom Cicero (art director, late 1980s–2001): My first New York job was at Michael’s Thing, [a] gay [magazine]. Every Thursday, we’d hit the bars and deliver the magazines, collect fees.
Anthony Oliver Scott (born July 10, 1966) is an American journalist and cultural critic, known for his film and literary criticism. After starting his career at The New York Review of Books, Variety, and Slate, he began writing film reviews for The New York Times in 2000, and became the paper's chief film critic in 2004, a title he shared with Manohla Dargis.
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