cinemaspeak59

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Everything posted by cinemaspeak59

  1. cinemaspeak59

    ONE word titles

    Zelig (1983)
  2. cinemaspeak59

    TWO word titles

    High Life (2018)
  3. cinemaspeak59

    ONE word titles

    Ghidorah (1964)
  4. cinemaspeak59

    Cinema Segue

    Meet Joe Black Narcissus
  5. cinemaspeak59

    Cinema Segue

    From Russia with Love Stinks
  6. cinemaspeak59

    ONE word titles

    Anaconda (1997)
  7. cinemaspeak59

    Recently Watched SF & Fantasy

    This was alot of fun. I agree the family melodrama dragged it down a bit. But the monsters saved the day. I especially liked the sequence with a squadron of fighter jets trying to take down Rodan (the Fire Demon), which didn’t work out very well for the jets. The epic battle between Godzilla and Ghidorah was great. The international cast was also a plus.
  8. cinemaspeak59

    ONE word titles

    Murder! (1930)
  9. cinemaspeak59

    The first actor/actress that comes to mind..

    Priscilla Lane Next: A Hitchcock leading man
  10. cinemaspeak59

    The first actor/actress that comes to mind..

    Robert Redford Next: a Hitchcock blonde
  11. cinemaspeak59

    ONE word titles

    Monster (2003)
  12. cinemaspeak59

    The first actor/actress that comes to mind..

    James Cagney Next: was a college professor before becoming an actor
  13. cinemaspeak59

    ONE word titles

    Slacker (1990)
  14. cinemaspeak59

    NOW PLAYING (100 YEARS AGO)

    Thanks for posting this retrospective. The reviewer accurately describes Nazimova's dancing; it wasn't technically very good but with her beautiful legs and expressions, she was utterly fascinating.
  15. cinemaspeak59

    Recently watched Noir

    I love Helen Walker's expression as she's sizing up her prey.
  16. cinemaspeak59

    Recently watched Noir

    Pale Flower (1964) This noir/yakuza film, directed by Masahiro Shinoda, lives up to its classic reputation. Yakuza hitman Muraki (Ryo Ikebe), just released from prison, is jaded and tired. He finds a reconfigured landscape, as his boss has joined forces with a rival gangster to counter a new syndicate intent on taking over. On nocturnal trips to illegal gambling houses, he meets Saeko (Mariko Kaga), a mysterious, carefree beauty who likes driving recklessly fast and is in constant pursuit of bigger adventures. As the only woman in a dangerous, male-dominated environment, she hypnotizes those in her company, no one more so than Muraki, which is made powerfully clear in the film’s haunting ending. Pale Flower is a stylized, dreamlike commentary on the yakuza ethos and Japanese postwar ennui. Muraki and Saeko are worthy successors to American film noir archetypes as portrayed by Robert Mitchum and Jane Greer.
  17. cinemaspeak59

    ONE word titles

    Cerasella (1959)
  18. cinemaspeak59

    The First Film That Comes to Mind...

    Picnic (1955) Next: Romance on the high seas
  19. cinemaspeak59

    I Just Watched...

    The Chaperone (2019). Julian Fellowes knows his audience, and what his audience wants. The creator of Downton Abbey wrote the screenplay for The Chaperone, a story ostensibly about legendary silent screen star Louise Brooks’ first trip to New York. Louise’s cultured and elitist mother has big dreams for her daughter, which won’t happen if she stays in Wichita. Louise can go to New York only if accompanied by a chaperone, and Elizabeth McGovern’s Norma (Downton Abbey) eagerly volunteers, for reasons later revealed. Haley Lu Richardson (The Edge of Seventeen, Columbus) transforms wonderfully, capturing Lulu’s energy and insouciance. Brooks quickly becomes the star pupil at the Denishawn Dance School, holds court at a swank Speakeasy called the Velvet Cat, and resents being told what to do by Norma, whom she likes but doesn’t necessarily respect. The push-pull between Norma and Louise is a highlight. Norma, with her nineteenth century sense of propriety, lives in quiet disappointment and repressed anger. Shocked by what she caught her husband (an excellent Campbell Scott) doing, and haunted by murky childhood memories, in which she was abandoned at a Catholic orphanage, waiting for adoption, the only thing that excites her is tracking down her birth mother, and pining for a late life renewal. The film has a pleasing symmetry in how the two women’s stories are told: For Brooks, it’s just beginning, but also for Norma, in a feel-good twist of irony that is so very Downtonesque. Grade: B+
  20. cinemaspeak59

    Somewhat Off-Topic: What have you been reading lately?

    I just finished “I’d Die For You”, a collection of previously unpublished short stories by F. Scott Fitzgerald, several of which deal with Fitzgerald’s experiences as a Hollywood screen writer. They went mostly unpublished because editors thought they were too dark, and Fitzgerald refused to make changes. Highly recommended if you like F. Scott Fitzgerald.
  21. Must it be an American? How about Marcello Mastroianni. Granted, it would be mostly Italian pictures.
  22. cinemaspeak59

    I Just Watched...

    I've read most of everything Maugham has ever written. These stories translated beautifully as films.
  23. cinemaspeak59

    Overrated talents ?

    I share your opinion. There was a distinction, and still is, between stars and character actors, i.e the real actors. It's perhaps the nature of film. Clark Gable was one of the biggest stars ever, but his range was quite limited. It was his persona, what he represented, a type of masculinity that was appealing to men and women. Marilyn Monroe became an icon for reasons other than her acting ability. There are many other examples we can mention. My view is that if I enjoy a film, the performances take care of themselves.
  24. cinemaspeak59

    Fosse/Verdon series

    Great performances by Williams and Rockwell. They captured the uniqueness of an artistic partnership. I got the sense Verdon gave the most and suffered the most. She wanted Fosse in her life and hoping for the intimacy between them to return. For Fosse it seemed different; Gwen’s involvement meant a better production. Yet there was a complexity in their relationship. Biopics, with their tedious duty to pop psychology and reference points tend to render their protagonists as one dimensional. The filmmakers avoided this trap. I’m starting to think a limited TV series is the way to go. The supporting actors rounded out one of the best portraits about the world of showbiz I’ve seen in quite some time.
  25. cinemaspeak59

    TWO word titles

    Passing Fancy (1933)

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