<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Limited Series on Sunday Evening Review</title><link>https://sundayeveningreview.com/tags/limited-series/</link><description>Recent content in Limited Series on Sunday Evening Review</description><generator>Hugo</generator><language>en-us</language><lastBuildDate>Sat, 20 Jun 2026 06:00:00 -0500</lastBuildDate><atom:link href="https://sundayeveningreview.com/tags/limited-series/index.xml" rel="self" type="application/rss+xml"/><item><title>Three Versions of the Same Fear</title><link>https://sundayeveningreview.com/screen/cape-fear-apple-tv-plus-review/</link><pubDate>Sat, 20 Jun 2026 06:00:00 -0500</pubDate><guid>https://sundayeveningreview.com/screen/cape-fear-apple-tv-plus-review/</guid><description>&lt;p>The first version of Cape Fear came out in 1962, directed by J. Lee Thompson, and it starred Robert Mitchum as Max Cady, a man who had just gotten out of prison and had arrived to collect what he believed he was owed. Gregory Peck played Sam Bowden, the lawyer who testified against him, and the film&amp;rsquo;s tension came from that gap: Mitchum knowing exactly what he was there to do, Peck trying to protect his family while working within the law that was supposed to protect them both. Thompson shot it in black and white, which wasn&amp;rsquo;t the default by 1962. Color was widely available. Thompson chose black and white because the story needed it, because the shadows that fall across Mitchum&amp;rsquo;s face in that film are doing actual narrative work. You can&amp;rsquo;t manufacture that in color. &lt;a href="https://sundayeveningreview.com/screen/best-black-and-white-movies/">If you want to understand why the choice of black and white photography is never incidental, I&amp;rsquo;ve explored this at some length elsewhere.&lt;/a>&lt;/p></description></item></channel></rss>