Scorpio 1 Film

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Scorpiois a 1973 American spy film directed by Michael Winner and written by David W. Rintels and Gerald Wilson. It stars Burt Lancaster, Alain Delon, and Paul Scofield. Delon plays the title character, a hitman hired by the CIA to assassinate his mentor (Lancaster), a former agent suspected of treason. The film's score was composed by Jerry Fielding.

Cross is an experienced, but retiring Central Intelligence Agency (CIA) agent and assassin who is training freelance hitman Jean Laurier, alias Scorpio, to replace him. Cross is teaching him as much about protecting himself from his patrons and never trusting anyone as how to get away clean.

The CIA tells Scorpio to kill Cross for suspected treason and collaboration with the Soviets, but Cross gets to him first and pays him a large sum of money. Scorpio travels back to the US with Cross, where Cross visits his wife and Laurier visits his sister and girlfriend, who are roommates. The CIA continue to pressure Scorpio into assassinating Cross, but he proves reluctant until the CIA break into his apartment and frame Laurier with a narcotics charge. His only choice is to take the job and terminate Cross. Understanding that the CIA wants him out, Cross flees to Vienna in disguise and reunites with his Soviet opposite and friend, Sergei Zharkov who provides him a safehouse. Scorpio follows Cross' trail to Vienna. Cross intends to bring his wife out from the US and get out of the spy business. Despite blown covers and many failed CIA attempts to ambush him, Cross manages to stay one step ahead of his pursuers.

In a failed break-in at Cross's home, CIA agents shoot and kill his wife Sarah, causing Cross to return to America. He rejects protection from Zharkov, whose agency wants to know secrets he knows as a senior field agent. Zharkov helps Cross to cover his tracks and reach America. Cross evades capture by the CIA and manages to kill McLeod, the agency director responsible for his wife's death. CIA wants Cross' head on a platter and contracts Scorpio again.

The new CIA director and Scorpio's handler Filchock shows him evidence that Cross might have collaborated in the past with other foreign agents and was able to make a hefty sum from it. Following surveillance video of a potential meet up between Cross's wife and accomplice at the Library of Congress, Scorpio sees his girlfriend walking out as well and comes to realization that she is working with Cross.

Enraged by this, Scorpio corners Cross and Susan and kills his girlfriend instantly without remorse. Cross says she was a Czech courier and he is just a middleman between their agency for staying in the game and did not betray Scorpio. Scorpio finishes off Cross after hearing his last words of wisdom. Moments later, Scorpio is also shot by a mysterious assailant, as Cross had earlier predicted.

The film was based on a script by David W. Rintels which had been bought by Walter Mirisch, who had a deal with United Artists. Michael Winner came on board to direct but wanted a rewrite. Mirsch disagreed so Winner dropped out. Then United Artists decided to remove Mirisch from the project and gave control over to Winner (although Mirisch kept a producer credit.) It would be one of the last films made by Mirisch for United Artists.[4]

Winner said he agreed to do the film because it was a more serious spy film in the vein of The Spy Who Came in From the Cold. "And it has a good plot," he added. "Unexpected things happen." He was also attracted to the theme "the problems of men who have opted out of normal society to make their own way." He says many of his movies dealt with this.[8]

Filming took place in Washington, Vienna and Paris. Filming began May 29, 1972 and went until mid August.[1] The unit filmed at the Watergate Hotel and were staying there the night of the notorious break in.[9]

Despite a script which showed the CIA assassinating people and involved with various nefarious plots, Winner was given permission to shoot in the CIA Headquarters in Langley, Virginia. Scenes at Cross's home were actually filmed at then CIA Director Richard Helms's home in NW Washington D.C. Arnold Picker, Chairman of United Artists, was surprised that the CIA would allow such a thing and insisted that Winner show them a copy of the script before shooting began. He did so and approval was granted, making Scorpio the first movie ever shot on location at their Headquarters.[10]

On Rotten Tomatoes, the film holds a 59% rating from 22 reviews with the consensus: "Burt Lancaster and Alain Delon add some much-needed weight, but Scorpio doesn't offer much that spy thriller fans haven't already seen before."[14]

The final book in the Queer Film Classics series is R. L. Cagle's take on Scorpio Rising (1963), Kenneth Anger's avant-garde short film that about gay Nazi bikers preparing for a race. The film marked Anger's spectacular return to the US underground cinema scene after an absence of nearly ten years. Scorpio Rising resonates with the thrill and energy Anger discovered as he mingled with young Americans on the beaches and under the boardwalk at Coney Island. He stuffs his film -- one of the first to feature an all rock'n'roll soundtrack -- with the symbols of their generation -- motorcycles, transistor radios, comic books, matinee idols -- until it literally explodes onscreen.

Cagle reads Anger's film intertextually, bringing together a corpus of materials that includes Anger's pre-1963 works, feature films, pop music, and popular cultural icons. The book places the film in the larger social context of articulating gay identity in ways that reflect both "gay" sensibility (camp) and contemporary popular media theories.

Launched in 2009, Queer Film Classics has been a critically acclaimed film book series, publishing books on 19 of the most important and influential films about and by LGBTQ people, made in eight different countries between 1950 and 2005, and written by leading LGBTQ film scholars and critics.

i dont know if i can spell art skool tedious rite but i saw the film when it was new , thank god they turned the sound track down , nobody listened to that crap , chuck berry little richard jerry lee lewis et al the gays might have admired the rockers from afar but to lump them with this shirt tail lifter of a film is missing the point , i went to see rock around the clock and jail house rock , and the suede shoe boys had nothing to do with the rocker myth , and it was a myth , the only people that could afford to do the rocker myth were the fishermen of grimbsy they were the real teddy boys of the time , i guess its like the hippies of frisco a myth and we should not do lip service to it

I am in no way associated with the National Film Registry, the National Film Preservation Board, the National Film Preservation Foundation, the Library of Congress, the Academy of Motion Picture Arts and Sciences, the International House of Pancakes, or any other government agency or film organization. Like so many other Americans, I'm just a guy on the internet who watches movies.

What this film should be is one on a simple budget as far as location and cast, but beautiful. None of this gloom/drab/boring tone Hollywood set for The Hunger Games, we want an island that looks gorgeous, and we want 90% of the budget to be spent on these mystic horses that emerge from the ocean, and the race scenes to be out of this world. We want a soundtrack that all by itself would make us stand up from our seats in excitement. Give it to us, and we will fill your box office and throw you our money. Fingers crossed.

Join us for a presentation of the dark and incredible feature O FANTASMA, preceded by the equally dark and incredible short film SCORPIO RISING on an archival print courtesy of the UCLA Film and Television Archive.

Content Advisory: O FANTASMA begins with an intense depiction of sexual violence. Viewer discretion is advised

When you are in your home or at your office, you want to feel relaxed and comfortable. When the sun is beating down on your windows, our film window coatings are designed to block out UV rays, glare, and heat.

In its 28-minute running time, the experimental film ostensibly follows a group of young motorcycle aficionados as they prepare for a night on the town. A race, which seems to take place after the nocturnal events but could just as likely have happened before, concludes the picture. While there is no strict narrative to speak of, nor even remotely fleshed-out characters, there is a sense of forward progression: motivation, preparation, getting ready for something, rising, ascending. Anger has explained that the zodiac sign of the Scorpio rules sex organs and machinery, so the title of the film, and its sexual and mechanical content, is fitting and significant. According to astrological interpretation, Scorpio ascendant individuals also demand attention. They are intimidating, with a determined, naturally powerful presence that provokes respect and fear.

Indeed, in Scorpio Rising, appearances are everything. But appearances can be deceiving. What starts as a sort of reconstruction process, where we see the mechanics of the bikes, their various intricate parts and elements, their makeup and their structure, then broadens to a wider representation of individual creation. In this, the film becomes preoccupied with objectification, with a focus on certain tools, embellishments, or articles of clothing, often to the point of attaining significance beyond a mere existence.

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These movies are illuminating and opening up sensibilities and experiences never before recorded in the American arts; a content which Baudelaire, the Marquis de Sade, and Rimbaud gave to world literature a century ago and which Burroughs gave to American literature three years ago. It is a world of flowers of evil, of illumination, of torn and tortured flesh; a poetry which is at once beautiful and terrible, good and evil, delicate and dirty.

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