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Showing content with the highest reputation since 09/18/2018 in all areas

  1. 6 points
    One hundred years ago today, five orchestral pieces named for the planets -- musical creations by the British composer Gustav Holst (1874-1934) -- were first performed in public. The performance, conducted by Adrian Boult, was held at Queen's Hall in London for 250 invited guests. Holst added two more movements to "The Planets" -- and the suite has endured, influencing the popular culture over the years. The overall pieces are (the selections in bold were performed on September 29, 1918): "Mars, the Bringer of War" (1914). "Venus, the Bringer of Peace" (1914). "Mercury, the Winged Messenger" (1916). "Jupiter, the Bringer of Jollity" (1914). "Saturn, the Bringer of Old Age" (1915). "Uranus, the Magician" (1915). "Neptune, the Mystic" (1915) In Philip Kaufman's "The Right Stuff" (1983), the re-creation of American astronaut John Glenn's historic liftoff from Cape Canaveral on February 20, 1962 used snippets from "Mars" (0:25), "Jupiter" (1:32) and "Neptune" (2:35). Bill Conti won the Academy Award for Best Original Score for his own contributions to the film. Glenn was portrayed by actor Ed Harris. John Williams' composition "The Imperial March" from "Star Wars: Episode 5 -- The Empire Strikes Back" (1980) is said to have been inspired by "Mars." "Mars" apparently also influenced the score of "Gladiator" (2000), which earned an Academy Award nomination for Hans Zimmer. The British-based Gustav Holst Foundation certainly thought so, and filed suit in London -- declaring that part of the movie's soundtrack -- including "The Battle" -- infringed the copyright on "Mars." Here's a fascinating report from NPR's Tom Huizenga about the anniversary: https://www.npr.org/artists/91322541/gustav-holst
  2. 6 points
    His behavior shows that he does not have the temperament to serve on the Supreme Court of the United States of America for 30 years. The American Bar Association had serious questions about him when he was nominated to be a federal judge. He is not just opinionated and a conservative, his publications, courtroom behavior and other actions have shown him to be disrespectful to those who disagree with him or say things he does not wish to hear. He is neither fair nor judicious in the manner in which he runs his court and is unwilling to grant due process and due diligence to others. The hope is that the FBI investigation and the continuing to point out his multitude of historical bad behaviors and deceit will convince the Republicans to go back to the well and get a better candidate. He will set American Justice, Freedom and Fair Play back 50 years. Unless you are a super wealthy white male, your life will be affected for the worse by Kavanaugh's votes on the Supreme Court. Yes, I know it takes 5, but he may pressure 4 to join him.
  3. 6 points
    I watched The Gangster last night, live even, which is pretty rare for me. I am not sure what to think of this film. It was definitely interesting. I agree with Eddie Muller re: Belita. I had never even heard of Belita, so when I saw that this film starred Barry Sullivan, Belita and Joan Lorring, I thought, "who is this Belita? and why is she only a one-name person?" When she came on screen, she definitely wasn't what I was expecting. Her acting was serviceable. She wasn't bad, but wasn't amazing. Joan Lorring was more interesting. I liked Barry Sullivan's character, he was definitely different in this film than he was in previous films I'd seen. I must have been confusing Sullivan with Barry Fitzgerald, because when Sullivan came on-screen, I was relieved. Overall, I think I liked the film. I liked Sullivan's character, even with the wild name of Shubunka. I wonder what the significance of the name was. Muller stated that Sullivan's character had an indistinguishable ethnicity. The name "Shubunka" would definitely lend to that characterization. Sullivan himself looks like he could pass as a variety of ethnicities as well. I am trying to determine why having a character of an indistinguishable ethnicity would be important--perhaps so audiences couldn't assign pre-determined character traits (based on stereotypes) to the main character? I liked that Sullivan seemed almost tortured throughout the film. He wanted to get out of his small-time racket and thought that hooking up with Broadway star Belita would be his ticket. He offered protection to Akim Tamiroff but wouldn't protect John Ireland, which infuriated cashier Lorring. I think it was because Ireland's character had it all, a good job (CPA), a wife and presumably was able to make a decent living. He then became addicted to gambling, which led him to stealing from his wife's family's business. Presumably, Ireland probably isn't working as a CPA. If this is indeed why Sullivan didn't want to help Ireland, I can sympathize with him. It's sometimes hard for me to have sympathy or empathy for someone who is in trouble due to something they did. I was somewhat disturbed by Sullivan and Belita's relationship. It very much seemed like they were in an emotionally abusive relationship--one that Belita couldn't seem to escape from. However, by the end of the film, I wasn't sure if I had that same opinion. The ending of the film Lorring made it clear that she wanted Sullivan to get his just desserts. I don't think that was fair. He was punished for a crime he didn't commit. Though, I suppose that could be the price you pay for being involved in the line of work you're in. Muller mentioned all the recognizable bit players throughout the film. While Harry Morgan had a supporting role, not a bit role, but I recognized his voice from M*A*S*H. I also recognized Sid Melton who plays Alf Monroe in Green Acres and Sophia Petrillo's deceased husband Sid (in flashback scenes) in The Golden Girls. I also recognized Shelley Winters in her small part as the cashier, Hazel, who replaces Lorring after she quits. I also recognized Sheldon Leonard (who plays Cornell, the gangster trying to take over Sullivan's racket), from his turn on I Love Lucy as the salesman who gets Lucy to buy the "Handy Dandy Vacuum Cleaner." He was also in the Errol Flynn film, Uncertain Glory. If there were more people I was supposed to recognize, then I guess I failed. Overall, I think I liked The Gangster, but I don't know if it's a film I'd need to watch over and over.
  4. 6 points
    Lawrence you're nuts! You don't annoy ANYONE and I'd venture to say most enjoy your regular "reviews". I often marvel at your dedication, how many films you can actually watch! (could be why you're lonely?) It just goes to show that as members of this board we all can find our "niche": Lawrence is our mega reviewer, Ohio is our record keeper, I'm the movie star first home/last home/location tourist! Then we have an entire group of professional aficionados of particular companies, stars & production. Those pros "in the biz" never come off as know-it-alls, only the wannabes do. 🦄
  5. 6 points
    Here are the TCM premieres for October, as determined by MovieCollectorOH’s report published on September 11. Note that on Saturdays TCM is featuring the premiere of the 1939 Mandrake the Magician serial along with selected cartoons, so these are listed separately. Oct 4 - Desert Pursuit (1952) Oct 4 - College Swing (1938) Oct 6 - Let's Make It Legal (1951) Oct 7 - The Mummy's Ghost (1944) Oct 7 - The Mummy's Curse (1944) Oct 7 - Pauline at the Beach (1983) Oct 8 - Once You Kiss A Stranger (1969) Oct 8 - Danger Route (1967) Oct 9 - Beautiful People (1974) (Doc.) Oct 9 - Gizmo! (1977) (Doc.) Oct 9 - A Brief History of Time (1991) (Doc.) Oct 14 - The Green Ray (1986) Oct 15 - Treasures from the Disney Vault Magician Mickey (1937) (animated) The Little Whirlwind (1941) (animated) Flight of the Navigator (1986) Pluto's Sweater (1949) (animated) The Last Flight of Noah's Ark (1980) Oct 18 - Eight on the Lam (1967) Oct 19 - Nurse on Wheels (1963) Oct 19 - Raising the Wind (1961) Oct 19 - Dead Sleep (1990) Oct 20 - The Hunted (1948) (repeat on the 21st) Oct 20 - The Wanderers (1979) Oct 22 - The Strange Life of Dr. Frankenstein (2018) (Doc.) (2 showings) Oct 23 - The Story on Page One (1959) Oct 24 - Night Monster (1942) Oct 24 - The Human Monster (1940) (aka The Dark Eyes of London) Oct 25 - Gilda Live (1980) Oct 26 - The Moonshine War (1970) Oct 26 - The Devil's Eight (1969) Oct 26 - The Hand (1981) Oct 27 - Gun Law Justice (1949) Oct 29 - The Frozen Dead (1966) - Saturdays: Mandrake the Magician serial Oct 6 - Mandrake, the Magician Ch. 1: Shadow on the Wall (1939) Oct 13 - Mandrake, the Magician Ch. 2: Trap of the Wasp (1939) Oct 20 - Mandrake, the Magician Ch. 3: City of Terror (1939) Oct 27 - Mandrake, the Magician Ch. 4: Secret Passage (1939) - Saturdays: cartoons Oct 6 - MGM Cartoons: Captain's Pup (1938) Oct 6 - Popeye: King of the Mardi Gras (1933) Oct 13 - MGM Cartoons: Screwball Squirrel (1944) Oct 13 - Popeye: Adventures of Popeye (1935) Oct 20 - MGM Cartoons: One Droopy Knight (1957) Oct 20 - Popeye: The Spinach Overture (1935) Oct 27 - MGM Cartoons: Who Killed Who? (1943) Oct 27 - Popeye: Vim, Vigor & Vitaliky (1936) Thanks as always to MCOH!
  6. 6 points
    How about doing a Noscar (No-Oscar) Month. All the films that are renowned today that either, didn't win, or didn't even get nominated for the Oscar, while their Oscar winning competition are completely forgotten?
  7. 6 points
    Some real breaking news: From the New Yorker: Another woman has accused Supreme Court nominee Brett Kavanaugh of sexual misconduct, according to a new report. According to The New Yorker, 53-year-old Deborah Ramirez alleges Kavanaugh exposed himself to her at a party when they were both students at Yale University in the 1980s. The newest allegation published Sunday night comes as another Kavanaugh accuser, Christine Blasey Ford, is expected to testify Thursday before the Senate Judiciary Committee. The newest allegation also comes as attorney Michael Avenatti tells CBS News' Paula Reid he is representing yet another woman who knew Kavanaugh in high school -- although it's unclear what that woman's claim might be. Avenatti tweeted Sunday that he is representing a woman with "credible information regarding Judge Kavanaugh and Mark Judge," a friend of Kavanaugh's. In The New Yorker story by Ronan Farrow and Jane Mayer, Ramirez claims the incident happened during a drinking game at a college party. Ramirez said that while she was drunk, a male student pointed a plastic **** at her. At that point, Kavanaugh allegedly put his **** in front of her face, and she accidentally touched it as she pushed him away. "I wasn't going to touch a **** until I was married," she told The New Yorker. "I was embarrassed and ashamed and humiliated." She said she remembers Kavanaugh laughing and pulling up his pants. "Somebody yelled down the hall, 'Brett Kavanaugh just put his **** in Debbie's face,'" she said. "It was his full name. I don't think it was just 'Brett.' And I remember hearing and being mortified that this was out there." End of news quote. This is starting to sound like your basic frat boy rapist tactics. Go to a place with plenty of alcohol where your victim will be hesitant to come forward or else answer questions about what she was doing there. It is time to put this entire thing on hold and call in the FBI. There is now more than one data point. Ronan Farrow strikes again!
  8. 6 points
    What's goin' on, my fellow noiristas ? It used to be, within a few minutes of Eddie's noir airing for the week, this thread would be "hot" with all the posts people'd make here. Now, for the second week in a row, hours after The Stranger has screened, we've got more crickets than a New England meadow. I don't want to always be the first to comment here, it's like being the one who's always a little too early for a party. But then again, maybe sometimes it's those early birds who get the party going. Ok, where's the punch? I'll start. Loved The Stranger ! Funny thing is, I've seen it twice before, and both those other times it left me kind of cold. But this time, I thought it was great ! (exclamation points warranted. ! ) Maybe it had something to do with this is the best print of it I'd ever seen. But also, I seemed to get a lot more out of it this time around. SPOILERS SPOILERS SPOILERS ( You've been warned.) The Stranger grabbed my attention right from the opening credits and never let go. Even though it's not particularly action-packed and there are no rain-swept urban streets or glitzy nightclubs, just a little old New England town with trees, a cemetery, a town clock, and a gossipy old checker-playing gent who runs the local convenience store ( or its equivalent), I loved the setting. I was interested to hear Eddie inform us that it was all literally a set on the Universal (I think?) backlot. And that crazy medieval clock, virtually a major character in the film, was designed by Welles and built especially for the movie. How did they do that angel and devil thing ?? Were they models based on actual medieval clock statues? Oh well, doesn't matter, it was enormously effective. Sometimes noir movies have obscure, even meaningless titles. (I think Vautrin's pointed this out once or twice.) But The Stranger is a perfect title for this odd and disturbing noir. I like the way it has multiple meanings: there are three strangers: the ex-Nazi, that doleful little man who knocks on Loretta Young's lacy curtained door; there's Edward G. as the government Nazi investigator. And there's the real stranger, Loretta's husband. That's of course what the title is really referring to, and despite the sweet little town setting and all the kindly family and friends there, The Stranger explores an extremely dark and classically noir theme: how an ordinary woman (or man) can love and marry an evil person. To me, that's the crux of the biscuit of this story: Innocent decent Loretta Young marries the frighteningly deceptive Orson Welles, believing him to be the innocent decent history professor he's posing to be. The most compelling aspect of this film is her gradual realization that the man she married is a vile Nazi war criminal. And this happens in stages: First, she is told by her husband that the odd little man who came to their home that day she was hanging curtains ( the same day they were married ), was a blackmailer, and that he (Charles Rankin is the name he goes by) paid him off and got rid of him. That in itself is disturbing and unsettling to her, the idea that her adored husband is hiding something. Then, stage two: he admits to her that he in fact murdered this man, claiming that he wanted to spare her and her family from scandal. Get your head around that, Loretta ! THEN, as if that's not enough, she's told by her own family - beloved father and brother, people she absolutely trusts - as well as Eddie G., that the man she married and is in love with is a monstrous Nazi war criminal, responsible for some of the worst atrocities of the Holocaust. It's these revelations in stages that I find interesting, and Loretta does a really good job of showing her dawning realization of who exactly she's married to in her face. First dismay, then disbelief, then confusion, then horror. And don't forget, these two have just returned from their honeymoon. She has to deal with the fact that she's been physically intimate with a Nazi war criminal. I love the way this is suggested, never openly talked about. But we get a sense of it when Charles, admitting to her that he killed the "little man" who (he falsely claims) was blackmailing him, says something like "Yes, my darling, these very hands that caressed you the night before strangled that little man." Plus, when she finally recognizes to herself just who her husband is, she tells him to go ahead and kill her, but to do it without touching her : "Just DON'T PUT YOUR HANDS ON ME ! !" Sorry to go on so long about that, but it just struck me this time around that that whole aspect of the story and Loretta's character is key to what makes The Stranger a fascinating film, and also one that belongs in the noir canon. This is really loooong, so I'll just wind up (ha! an unfortunate pun !) by saying that I love all the clock stuff. And that dramatic final scene is fantastic ! I know it's kind of over-the-top, but in a good way. And it's so perfect that it's the clock's angel, and not its demon, that finally kills Franz Kindler. An avenging angel indeed, and heaven's justice wrought on earth. Well, something like that.
  9. 6 points
    "The Roman Spring of Mrs. Stone" - Jose Quintero - 1961 - When her wealthy, older husband dies, an aging actress (Vivien Leigh) decides to retire and move to Rome. For some strange reason, she finds herself at a loss. She seems to have no interests - no hobbies. She becomes "fixated" on having sex with young men. She is introduced to a "candidate" (Warren Beatty) by a procurer, Lotte Lenya. But Mrs. Stone (Vivien Leigh) is somewhat reluctant to begin a "liasion". Eventually, she succumbes to his obvious charms. But their relationship is skin-deep - she provides the money, he provides the sex. Meanwhile, a filthy street urchin (Jeremy Spenser) has been following her. He is hoping to capture her attentions. "What do you want?", she cries out. Eventually, Mrs. Stone loses her "boy-toy" - he becomes attracted to a much younger woman. And Mrs. Stone falls into the arms of the filthy street urchin. The film, which has many fine and memorable moments, is dominated - and weakened - by the parched performamce of Vivien Leigh, who seems to be struggling for air. When she falls into the arms of Jeremy Spenser, you just know that the end is not far off. The film is basically a hard-hitting testimony to the inescapable fact that love for sale is not an beneficial enterprise for anyone - the buyer or the seller Lotte Lenya's formidable, terrifying performance captures the forbidding soul of this movie.
  10. 6 points
    Conjunction Junction from Schoolhouse Rock
  11. 6 points
    Me neither. I'm usually above ground when I watch.
  12. 5 points
    I just saw this, and thought some around here would be interested, for a variety of reasons: Trailer: Peter Jackson’s “They Shall Not Grow Old” The trailer has been released for “They Shall Not Grow Old,” Peter Jackson’s World War I documentary which features some superbly restored century-old film footage shot during The Great War. Jackson and his team took black and white footage from the BBC and Imperial War Museums’ archives, cleaned up the prints and digitally colorised it – the result showing details that have never been seen before. The clip shows comparisons of the original and restored footage as well. Jackson uses the voices of the men involved in the film which shows the grim realities of war on the front line as well as the soldier’s attitudes towards the conflict. “They Shall Not Grow Old” is set to premiere on October 16th in the U.K. with a special Q&A with Jackson and then opens to European theaters. http://www.darkhorizons.com/trailer-peter-jacksons-they-shall-not-grow-old/
  13. 5 points
    This is exactly why so many women do not report attempted rapes or rape. Because they and their own morality are put on trial instead of the crime the actual crime itself. We have thought that we have gotten past this point where every woman who comes forward to say a man has sexually assaulted her has to have her entire sex life on trial because women are held to a different standard than men. Rape and attempted rape is not about sex-- it's about power and control. It's about humiliation, degradation and it's a felony. If somebody knocks you down and takes your money people don't ask you how much money you have in the bank or if you know how to handle your money or hold on to your money. Simply it's a crime and the person who committed the crime should be investigated. You don't have to be a saint to come forward to the police and report being raped. You only have to be a human being who has been violated.
  14. 5 points
    Most of them? All of them? We'll never know will we. I find it ironic that people talk about the Founding Fathers and what they did or believed. For example, Jefferson never served in the military and he was anticlerical. In fact, after lengthy study of the teaching of Jesus, he firmly believed in and established separation of church and state. He believed "that religion is a matter that lies solely between Man and his God." Note his God. Therefore it is logical to assume that abortion would be between a woman and her God.
  15. 5 points
    A few final tidbits about Operation Eichmann, then I will shut up: Werner Klemperer’s take on his role was as follows: “I took the role with only one reservation. I wanted to make sure there was nothing in the script which looked like justification for the man’s behavior. I try to portray him not as an almost neurotic, insane personality, but as a rational thinking being. I won’t use the word human, it cannot be. When I play him that way, the monstrosity of his crime is that more apparent. One can always excuse a sick being. I think it’s important that people are reminded of what happened and what could happen again. We’re doing a picture showing Eichmann to be what he is. He represents the most evil cancer I can think of.” Karl Lindt was cast to play Heinrich ****. A few days before filming, Lindt quit the part. “The more I thought of it, the more it sickened me.” He was replaced by Luis Van Rooten, who had once played **** in The Hitler Gang.
  16. 5 points
    Kavanaugh's brutal and belligerent performance during the hearing certainly reinforces Dr. Ford's description of his character and behavior.
  17. 5 points
    There's another thread about often-used titles. What about titles that have never been used before? Using the IMDb search, this is what I'm coming up with: 1. THE TOPBILLED STORY. Sounds like a classic biopic. It's never been done. 2. TOPBILLED MEETS FRANKENSTEIN. A comedy-horror film that's waiting to happen. 3. TOPBILLED OUT WEST. We can just recycle one of those old Maisie scripts or Andy Hardy scripts. 4. TOPBILLED GOES TO WASHINGTON. Sort of a cross between Mr. Smith and Billy Jack. 5. TOPBILLED SINGS THE BLUES. A musical so I can have a hit soundtrack. 6. TOPBILLED DOWN ON THE FARM. I play one of the Kettles' long-lost relatives. 7. TOPBILLED GOES BANANAS. I team up with Herbie the love bug in this one. 8. TOPBILLED IN OUTER SPACE. Featuring a cameo by Robby the Robot. 9. TOPBILLED IN PARIS. So I can get a free trip to Europe. 10. TOPBILLED AND OMELET PRINCE OF DENMARK. A spoof of Shakespeare's great play. Hasn't been done yet. Look it up on the IMDb. You'll see.
  18. 5 points
    Safe in Hell (1931) - Pre-Code melodrama from First National and director William Wellman. Dorothy Mackail stars as Gilda, a New Orleans prostitute who accidentally kills an abusive john. Her sailor boyfriend Carl (Donald Cook), who had been unaware of what she'd been up to while he was at sea, decides to stow her away on his ship and takes her to a remote island to hide out from the law. After he heads back out to sea, Gilda tries to adjust to her new surroundings, staying in a hotel frequented by crooks, outcasts and drunks. Also featuring Ralf Harolde, John Wray, Ivan F. Simpson, Charles Middleton, Victor Varconi, Morgan Wallace, Nina Mae McKinney, Clarence Muse, Noble Johnson, and Gustav von Seyffertitz. I'm not too familiar with Mackail, who was a major star in the 1920's. Looking over her filmography, I've only seen Love Affair (1932) opposite Bogart, and I don't recall much of that one. I was impressed by her here. She shows strength without being off-putting, and she's pretty but not gorgeous, more earthy and world-weary. The movie's plot hinges on some far-fetched coincidences, and the end-game gambit seems a bit over the top, but Wellman's direction is good, the supporting actors are good, and the final shot is memorable. (7/10) Source: FilmStruck
  19. 5 points
    Donning my psychologist hat I would say that the subject of Kavanaugh's virginity does not disqualify him as a potential sexual molester. No doubt he had raging hormones at that age like most young men. His inexperience with women may have frustrated him and he was afraid of women. When he had lots of alcohol in his system he may have been prone to becoming abusive toward them. One classmate said that he was a mean drunk. His view of life and the courts is certainly not aligned with women's rights.
  20. 5 points
    I never tried to rape anyone, if that's what you're asking. That includes holding anyone down, covering their mouth with my hand to stifle protests/screams, while groping them and trying to rip their clothes off against their will. And if any of my friends, or any other person, tried the same at any social gathering I attended, I would have beaten the living **** out of them. But maybe that's just me.
  21. 5 points
    When I was 23 (and before then too) I knew who Chaplin and Keaton were. While the "it's before my time, therefore it's not important" attitude seems prevalent among the latest generation, I've talked to people of all generations who have no interest in anything that happened before they were born. It's sad to me that so many people remain pridefully ignorant of the past. I've read countless Reddit threads (and other forums) where people make the erroneous claim that technology is only getting better, therefore, films are getting better. In some online circles, old films are seen as archaic and unimportant. While yes, the more technical aspects of filmmaking (cinematography, sound, picture quality, special effects, etc.) are improving every year (though I would argue that in some cases, like special effects, it's getting a little too refined, thus looking fake), people are not taking into account the art of filmmaking. Storytelling, camera angles, editing, set decoration, costuming, etc. are classic and can be appreciated in any era.
  22. 5 points
    Some brief words on a few of my top choices: Kill! is a parody of both samurai films and the samurai lifestyle. Tatsuya Nakadai is a stand-out as a cynical former samurai turned gangster who gets mixed up with intrigue involving another samurai clan and a wannabe-samurai farmer. This isn't a broad comedy, but rather a sly poke at the macho conventions of the genre, much in the vein of Kurosawa's Sanjuro. Ohyaku: The Female Demon, also known by the title Legends of the Poisonous Seductress Volume 1: Female Demon Ohyaku, is a period yakuza revenge tale. It's not as outrageous as the title suggests, but it lays the groundwork for later films like Lady Snowblood and Kill Bill Vol. 1. Junko Miyazono stars as the wronged title character who endures much but keeps revenge on her mind to see her through. Lone Wolf & Cub star Tomisaburo Wakayama co-stars. As the alternate title suggests, this was followed by sequels, but I haven't seen them. The Living Skeleton is a horror film about a woman being haunted by ghosts seeking revenge. This is one of a number of genre films the prestigious Shochiku film company released in a short period of time when their financial prospects were grim and they tried pandering to any audience available. Several of these films, including Goke, Body Snatcher from Hell, Genocide, and The X from Outer Space, are all available in one of the Eclipse box-sets from Criterion, When Horror Came to Shochiku. Black Jesus has a sensationalistic title, but it's really a rather serious political drama and a thinly-veiled take on Congolese rebel Patrice Lumumba. Woody Strode stars as Maurice Lalubi, a recently captured revolutionary who's thrown into prison with a thief (Franco Citti). In between torture sessions, Lalubi educates his cellmate on the injustice of European colonialism on the continent. It's an odd, not always successful, blend of political propaganda and spaghetti exploitation flick.
  23. 5 points
    CNN‏Verified account@CNN President Trump's star on the Hollywood Walk of Fame was defaced yet again this week, this time covered by wooden bars affixed with industrial, double-sided tape https://cnn.it/2NvIbdC
  24. 5 points
    If you don't tune to it, you don't tune to it. What it has (Sweet Smell...) for me is also a nostalgia ingredient in the formula, I as a small kid imprinted on that New York, I crossed that bridge many times, the street with Bogard's was on 59th Street just a couple of storefronts up from where a friends brother had a waterbed store in the 60s. That whole New York is not there now but it was on it's last crumbling legs in 1957 and some of the ruins are still around today, if you know where to look. If you don't tune strongly to that particular ingredient it may not click. That NYC was on TV, Toots Shor's and 21 Club were talked about on The Ed Sullivan Show, or later Johnny Carson. Add that to the of the slimy tabloid journalism/promotion business and it's accompanying Zeitgeist, and the great acting of Curtis and Lancaster. For me the Noir films have to have a good story, good locations, great characters, good cinematography, good sound/music and good actors. Some time the shear weight of one of those parts can buoy up where a film is lacking in others. The Crooked Way has great cinematography good locations/sets, OK actors, good story, and I don't remember much about the sound or music. Which maybe back then wasn't the point on a "B" picture, mostly studio mill music, but then somebody figured a soundtrack tie in. now the music is a more potent ingredient. Just think if they could have used say Chuck Berry's "Maybellene" (1955) as diegetic music blaring over a car radio during a chase scene in any late fifties Noir, or just real popular music playing in the background. Some Noirs actually have great enough sound design that you actually notice it as an extra dimension. Some times the actors and the script are so good that the whole film can take place in a few rather uninteresting sets. like say the you've seen it a billion times Hollywood Hotel Room in The Maltese Falcon. Some you tune to some you don't
  25. 5 points
    "That's so true. I never insult anyone face to face."
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