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Showing content with the highest reputation since 04/25/2019 in all areas

  1. 15 points
    Well, I'm also a black person. And if we remove all the names of people who appeared in racist films or sang racist songs, we may as well just take all names off of all buildings. Because no one is perfect. You could make the argument that the majority of films made, now or them, are racist, sexist, or some other -ist. I think its very simplistic to consider Birth of a Nation (1915) "just a racist film". This film was revolutionary in the technical aspect of filmmaking, of box office, and of turning the film industry into a major business. And I say now because just a few years ago a newer film called "Birth of a Nation (2016)" and it was also quite racist. People can name buildings after anyone they wish. And remove them if they wish. But, all you're going to end up with is a very bland, boring culture.
  2. 12 points
    Just realized I'd hit 25,000 posts recently. Champagne for all!
  3. 7 points
    Out of control, unrelenting, over the top BS political correctness. Welcome to planet Pop Tart!
  4. 7 points
    And btw, besides all the other terrific performances in Nightmare Alley, how about Ian Keith's as the drunken character Pete here?... (...wow, RIGHT?!)
  5. 7 points
    I agree. Power never had a better role than when he played the ambitious amoral hustler in this film who uses his charm and sex appeal to serve his own purposes as he exploits those around him. However, to be fair to the actor who was often wasted in rather bland roles, he did get a few good parts towards the end of his career: The Long Gray Line, The Eddie Duchin Story, Abandon Ship and Witness for the Prosecution. He is particularly outstanding, in my opinion, in Abandon Ship, as the officer of an overloaded lifeboat at sea who has to make some drastic, controversial decisions. It's a grim, realistic presentation of survival, and Power's matinee idol good looks are nowhere to be seen in the honesty of his dramatic portrayal.
  6. 7 points
    Oh Hell to the Yes, NIGHTMARE ALLEY (1947) is this week's NOIR ALLEY pick....guess you could say the "Alley" Pic is the Alley Pick.... It's a Fox Film that has only recently started to air on occasion on TCM, it is also TYRONE POWER'S best performance (a real revelation for me as I had never considered him a particularly good actor before) as well as a GREAT turn from a ripe, middle-aged JOAN BLONDELL. EDMUND GOULDING (sp?) who directed THE RAZOR'S EDGE, GRAND HOTEL and a few BETTE DAVIS vehicles over at Warner's directs and I think it's his best film. Based on a very good (if a trifle overlong) novel by WILLIAM LINDSEY (sp?) GRESHAM who was the husband of JOY GRESHAM who later married CS Lewis- he killed himself not long after it was published.
  7. 7 points
    One of the pleasures at the recent TCM Festival was seeing Broadway Danny Rose with a movie buddy from Florida. Both of us remembered liking the film when it was first released, but neither of us had seen it since. We both thought it was just as good as we had remembered, and maybe even more. The framing device of the seven comedians re-telling show biz stories as they spent time in the Carnegie Deli sets just the right tone. Whatever one thinks of Woody Allen and Mia Farrow, both are well represented here. Allen's work as scriptwriter and director is right on point, he's on screen just enough but not too long, and Mia Farrow probably gives her best performance ever. She's hardly the obvious choice to play a blonde bimbo, but she nails the part without overdoing it. I had forgotten how wonderful Nick Apollo Forte is as the fading lounge singer who's running around on his wife with Mia. The casting director Juliet Taylor, who cast most of Woody Allen's films, among many others, said that Danny Aiello and Julius LaRosa were among the people considered for the part. She asked her assistant to go to the nearby Tower Records and look through the Male Vocalists section and find album covers with photographs of the singers. Her assistant came back with an armload of albums; they loved the picture of Nick Apollo Forte, brought him in, and realized they had the perfect guy for the part. The faces in the many group scenes in Broadway Danny Rose are priceless, and the novelty acts Danny Rose tries to book will have you laughing, shaking your head, or both. For me, this is one of Woody Allen's five or six best films.
  8. 6 points
    No. I could do with never seeing anything else about Judy Garland, Marilyn Monroe, or James Dean again.
  9. 6 points
    For the record, we're not upset about the name change- we're upset about the stupidity.
  10. 6 points
    Thanks for the insightful post, MissW. One more thing I'd like to add about Lilith is that she gets away with it. There is no Production Code wrath that descends upon her. When the film is over she still has the money and her practice (Lord knows what scheme in the future she may have to exploit her clients) while Stan has a bottle of rot gut nearby and chicken feathers in his mouth. For my money four actors in Nightmare Alley were clearly worthy of Oscar nominations in 1947: Tyrone Power, best actor Joan Blondell, best supporting actress Helen Walker, best supporting actress Ian Keith, best supporting actor Of course they all wound up with goose (or, should I say, chicken) eggs instead. Just another Oscar injustice, the Academy's history is full of them. Maybe Nightmare Alley itself gets the final victory, though. Today it's hailed by many fans as a classic. I feel sorry that Ty Power, who had to fight to make this film, never lived to see that recognition.
  11. 6 points
    So Lawrence, IF your guess (your text which I placed in red lettering) IS correct, then folks and all modesty aside, get ready for THE most profound explanation for this latest example of "PC gone awry" we're now experiencing with this latest little news item here! You see, as I read Lawrence's post here, TWO old sayings came to my mind. FIRST, that old saw which says, "Don't get your 'History' from Hollywood movies!". And thus in THIS case, be they EITHER from a film director born in the second half of the 19th Century such as D.W. Griffith, NOR from a film director born in the second half of the 20th Century such as Spike Lee. And the OTHER old saying which I believe comes into play here is that one which says, "A little bit of learning is a dangerous thing"! And which in THIS case might explain why the Black Students Union apparently NOW believes after watching Spike Lee's film that "Lillian Gish must have been a racist in order to have starred in Birth of a Nation". And WITH the "little bit of learning" in THIS case being, well, I'll bet my damn HOUSE and ALL the cool as hell toys I have parked in my garage, that the majority, if not nearly ALL of those in the Black Students Union wouldn't have known Lillian Gish from a hole in the freakin' ground UNTIL they watched Spike Lee's movie, and let ALONE ever ACTUALLY having WATCHED any other films she ever starred in, OR knowing any OTHER damn thing about her at all, for THAT matter! AND, it's just a DAMN shame that apparently ALL damn SEVEN of the trustees of that university have never heard OR have forgotten BOTH of those "old sayings", TOO!!! AND of course THIS being a PARTICULAR "damn shame" BECAUSE trustees of universities are USUALLY old enough to KNOW these sorts of things! These two "old sayings", that is. (...SEE?!...I told you this was going to be "profound", now didn't I?!...I mean, C'MON now!...what could be MORE "profound" then finding two profound old sayings that most likely actually FIT the situation here, RIGHT?!...and SEE?! I CAN occasionally be more than just a smarta$$ always looking for the easy joke around here TOO, huh!!!) LOL
  12. 6 points
    They all make friends and go out to get ice cream and Dorothy Malone is turned into a fifty foot "babe."
  13. 6 points
    They Live By Night (1948) **POSSIBLE SPOILERS AHEAD** I recorded this Nicholas Ray movie a while back. I always see this movie at Barnes and Noble during the Criterion sale and was always intrigued by the cover. I just watched it last night. I loved it! I always try to make a point of recording Ray's films if I see them scheduled. I really enjoy his style of storytelling. His films seem a little more realistic, a little less glamorous and romanticized. This might be my favorite of Ray's films that I've seen so far. I think In a Lonely Place is probably my second favorite. Rebel Without a Cause, Born to Be Bad, and On Dangerous Ground round out the top 5. The title, "They Drive By Night," refers to Bowie and Keechie's lifestyle. To move from place to place, they have to travel at night, because there are too many chances of them being seen during the daytime. In this film, Farley Granger plays Bowie, a young man who has escaped from prison. Accompanying him are bank robbers, Chicamaw and T-Dub. It seems that Bowie has spent the past seven years in prison for a murder he did not commit. Chicamaw and T-Dub decide to knock over a local bank. Bowie, wanting money to pay a lawyer to help exonerate him from the murder charge, agrees to participate in the heist. Bowie cases out the bank and also serves as the getaway driver. The heist goes off as planned. The thieves switch vehicles. Chicamaw purchases a new vehicle with some of his cut. On the way back, Bowie and Chicamaw are speeding and showboating on the freeway, when Bowie ends up getting in a car accident. He ends up being taken back to a gas station where he meets Keechie, played by Cathy O'Donnell. Keechie is the daughter of the gas station owner. She is pretty, but plain. I found Keechie's appearance very refreshing. She isn't made up to be overly glam or provocative, like she may have been were this a Louis B. Mayer MGM production. Her plain appearance works for the film. She lives at (or near) a gas station in a small town. In some scenes, she looks very young--like if I'd heard that the actress was only 16, I would believe it. In other scenes she looks a little older, like early to mid-20s. Anyway, Bowie finds something endearing about Keechie and is smitten with her. While convalescing at her home, he expresses his wish to go out on the road and try to live a straight and narrow life. However, he was an accomplice to a bank robbery and is still an escaped prisoner, so he has to stay hidden from view. Keechie, feeling affection for Bowie as well, offers to go on the road with him--despite his being on the lam. While on the road, the couple marry and hole up in a remote cabin. Their life is going well except for when Chicamaw finds them and asks Bowie to assist in another job. I liked the story of this couple just trying to be together, despite the circumstances. I liked the dichotomy of Bowie, a thief, trying to live an honest and decent life while trying to protect his wife. Keechie is completely innocent and accepted him, despite his having committed a felony. Bowie, however, also willingly participates in something that he knows is wrong, only because he feels indebted to Chicamaw and T-Dub. Bowie and Keechie also run across Mattie, a woman whose husband was in jail with Chicamaw, T-Dub and Bowie. She is upset that they're out free while her husband is still in prison. I absolutely loved this movie. I liked the very romantic beginning of the film, it depicts Bowie and Keechie at the height of their happiness together. I loved the very natural progression and depiction of the young lovers' relationship, set against the backdrop of being on the lam. Here are Bowie and Keechie, two young 20-somethings, without much experience in relationships or even being on their own, setting off to start a life together. The couple are depicted in a variety of different situations: awkward, romantic, angry, sad, etc. and both actors portray their emotions well. I especially thought that Keechie was a very interesting character. At the beginning of the film, she's depicted as a bit of a tomboy and standoffish. Then she finds something in Bowie that makes her open up and feel genuine affection. Bowie, who spent many of his formidable years in prison, experiences the same feelings as Keechie. The ending of the film is a real bummer, but I figured with the production code, something like that would occur. I wasn't sure if Keechie had lost her baby. Typically in old films, when pregnant characters fall or are in some type of accident, they'll lose the baby. This isn't expressly said in the film, but then Keechie's illness right afterward made me think something had happened. However, the baby is still talked about after the fact. I'm not sure if Keechie was sparing Bowie's the anguish, or perhaps the baby was fine. I also figured that Bowie's buying the watch during his casing of the bank would screw him at some point, especially when the guy appeared in the window of his getaway vehicle and Bowie had to punch him to get him to go away, but it seems that the watches were a red herring. This was a great film. Highly recommended.
  14. 6 points
    I can understand why. The WH was concerned that Miller might show up thinking it was "come as you are."
  15. 5 points
    Not only that, but people overlook Cody's acts of consideration in the film. Here is a prime example, Jarrett supplying some air holes in a car trunk for a guy stuck inside. "That's my Cody. Always thinking about others."
  16. 5 points
    ME BEFORE COFFEE: "[frankenstein grunt] WHO DRINK LAST OF HALF AND HALF????" ME AFTER COFFEE: "it's okay, I found some heavy whipping cream in the fridge..."
  17. 5 points
    Mermaids of Tiburon (1962) - 4/10 Silly mammillary adventure tale about a marine biologist (George Robotham) who is hired to look for a bed of giant clams that contain "fire pearls", somewhere off the coast of Tiburon Island in the Gulf of California, Mexico. He finds a race of mermaids there protecting the giant clams. Also featuring Diane Webber, Gaby Martone, Jose Gonzales-Gonzales, John Mylong, and Timothy Carey. The filmmakers felt their initial cut of the film was a dud, so they added a lot of footage of topless girls swimming around without the mermaid fins. If one wants to ogle nice-looking women as they swim topless, then this movie is a 9/10. Unfortunately, they leave some story and character stuff in, too, which brings it down a lot. The movie is still titillating, and there are ample displays of the breast stroke. Some night scenes required the use of headlights, and I'm sure jugs of wine were guzzled during production. One early scene features a building entrance with nice, ornate doorknockers, while some noisy owls almost ruined the sound during another scene, those loud hooters! Boobs. Source: internet
  18. 5 points
    Sorry to learn that a familiar face from some big movies in the seventies, Kip Niven, has reportedly passed away at age 73. I recall reading an interview with him about 20 years ago in which he mentioned two misconceptions people had of him. One was that he was the son of David Niven, which was untrue but he didn't go out of his way to dispute when those big movies were being cast. Another assumption was that he was part of some repertory company to appear in Charlton Heston movies. It turns out that although he was in "Airport 1975," "Earthquake" (as the guy whose seismic calculations turn out to be true) and "Midway," he said in the interview that (at that time anyway) he had never met Heston, as he didn't have any scenes with him in any of those movies. Heston of course had previously worked with David Niven in "55 Days in Peking" which may have exacerbated the two assumptions. Some of his other big seventies movies were "Magnum Force," "The Hindenburg" and "Swashbuckler," basically demonstrating that a Kip Niven movie was likely to have one of the most fondly remembered posters of its era. He also did a host of popular prime-time shows like "CHiPs," "T.J. Hooker," "Hart to Hart," and "S.W.A.T." and so much more. I see from the obit that he really had a great run on the stage too. https://www.kcur.org/post/longtime-kansas-city-and-1970s-hollywood-actor-kip-niven-dies#stream/0
  19. 5 points
    you cannot ask for respect while giving none. Lillian Gish disrespected for starring in one film is not just. it is unfair and petty and yes even hateful. I accept that Birth of a Nation is racist having never seen it. the hateful pettiness of the left moves me to question the genuineness of their professed motives which for decades they have been claiming is tolerance and civil justice. can Lillian Gish apologize for appearing in the film? no, she is dead. can Hattie McDaniel apologize to the naacp for appearing in GWTW or song of the south? no, she is dead.
  20. 5 points
    I'm a little surprised that some posters here didn't pick up on the film's sexual act clues. After Stan kisses Molly she becomes serious and says, "Stan we shouldn't do this." "Why not?" he responds before kissing her again. She obviously likes the kiss but then says, "No." He then tells her that Zeena and he are just friends, that's all, and he doesn't like to be alone with her since Pete died. He only wants "the code" from her. When Stan then tells Molly he wants her to come with him and Zeena (when they go on the road together) there is a big closeup of Molly's face saying she doesn't care about anything then (including Zeena obviously) before she and Stan embrace and kiss again, followed by a screen fadeout. I think anyone familiar with the subtleties by which studios had to get around the Production Code by using film language like this would know what happens next. That is confirmed by the reaction of both Zeena and Bruno to them in the diner. Bruno asks Molly where she had been and she defensively responds by shouting "Where did you think I had been?" Following this the eyes of both Zeena and Bruno slowly fall down to Stan, who is sitting at the table eating and trying to look innocent. When Stan sees them looking at him he still acts casual, saying, "What's the dif? She's here now, isn't she?" An angry Zeena then tells Bruno there are a few questions she'd like to ask Stan after he gets through with him, followed by the kicker statement from Zeena: "Oh, Stan, Stan, aren't you the foxy one, making out like you didn't know even know this child was on the face of the earth. You sure fooled me." I can only say that it appears that Zeena wasn't the only one fooled by Stan to go by a few of the posters here who still haven't figured out what he did with Molly. Admittedly the film tipsy toes around what happened between the two but I think it's there to be seen if you take another look at the two scenes put together.
  21. 5 points
    Aside from the outstanding work that Nightmare Alley has from Power, Blondell and Walker, a smaller performance in the film certainly worthy of mention is that of Taylor Holmes as the cynical, crusty millionaire whom Stan Carlisle (Power) has to convince that the spirit of his lover has come back to visit him. SPOILER ALERT: The garden scene, beautifully photographed, in which this "re-visitation" takes place, has a cathedral-like quality to its trees set design as the smooth talking, duplicitous Carlisle continues to invoke passages from the Bible to the millionaire as he awaits the pre-arranged arrival of the "spirit." And when that spirit does arrive, fake though she may be, there is initially a goose bump up the back eeriness to the sight of the "spirit" of the girl seeming to glide at a distance between some trees. One of the most intriguing aspects of Nightmare Alley for me is that this may be the only Hollywood studio "A" production of its time that dared to explore the subject of the exploitation of the gullible in their belief in a hereafter and spirit world. Or, as Carlisle calls it in the film, the spook racket. While there may be a few minor "B"s that have delved into this subject matter (MGM's nifty Miracles for Sale comes to mind, as well as a really minor effort called Religious Racketeer in which Mrs. Harry Houdini was involved, I believe) Nightmare Alley stands alone in its time, I suspect, as the sole major Hollywood production to tackle a subject matter that could be as controversial as this for some of its audience members.
  22. 5 points
    The Condemned of Altona (1962) - 7/10 Italian adaptation of the Jean-Paul Sartre play, from director Vittorio De Sica. German shipping magnate Fredric March learns that he has six months left to live. He summons his son Robert Wagner and daughter-in-law Sophia Loren to his palatial estate in order to set plans for his passing. Loren, who resents Germany's Nazi past and March's role in it, learns that March's older son (Maximilian Schell), believed long dead, has lived in seclusion since the end of the war, so she sets out to learn why he is hidden away. Also with Francoise Prevost and Gabriele Tinti. This must have been a major European release at the time, as De Sica was one of the most respected directors, and Loren and Schell had just won the lead acting Oscars. It's heavy stuff, with the examination of German culpability for Nazi atrocities a thorny subject. The version I watched was in Italian with subtitles, so it was odd seeing March, Schell and Wagner dubbed with others' voices. Source: internet
  23. 5 points
    And because no one asked, here are my choices for the decade, based on 1899 titles seen: 12 Years a Slave (2013) Mad Max: Fury Road (2015) The Cabin in the Woods (2012) The Grand Budapest Hotel (2014) Blade Runner 2049 (2017) Her (2013) Manchester By the Sea (2016) The Girl with the Dragon Tattoo (2011) Hereditary (2018) Phantom Thread (2017) Cloud Atlas (2012) Inception (2010) Mandy (2018) The Descendants (2011) Drive (2011) Dunkirk (2017) Under the Skin (2013) The Tree of Life (2011) Silence (2016) The Raid 2 (2014) The Babadook (2014) Whiplash (2014) The Martian (2015) Monsters (2010) The Avengers (2012)
  24. 5 points
    I saw pieces of their films, some of it was amusing, but not a big fan. I always thought if Edna May Oliver and George Burns ever had a child, it would look like Robert Woolsey.
  25. 5 points
    Frank Rich‏Verified account @frankrichny Please settle this with a duel.

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