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  2. Eve Arden was in "Goodbye, My Fancy" with Virginia Gibson.
  3. A simple name that shows a lack of respect for a native people who have been maligned in this country for centuries.
  4. Lincoln Presidential Library @ALPLM Vicksburg, the last Confederate strongpoint along the Mississippi River, surrendered to Union forces #OnThisDay in 1863. This victory on America’s 87th Independence day and the victory at Gettysburg on the 3rd are considered by many to be the turning point of the Civil War. 10:30 AM · Jul 4, 2020·Hootsuite Inc.
  5. I thought "Top Gun" might be misleading. By the way, that's the only movie I can recall where Rod Taylor played the villain. Still working on your latest list.
  6. Essential: JULES ET JIM (1962) TB: When Jlewis and I discussed which films to review this month, I told him I would be flying to Chicago for the 4th of July and would really not have time to go in-depth too much on our first selection. My travel plans changed at the last minute due to the recent increase of Covid-related cases. When I read his review yesterday, I realized that there is nothing I could really add to it anyway. Except maybe... ...a brief comment or two about my first encounter with this film during my days at the USC School of Cinema-Television in the 90s. I remember we were told a lot about Truffaut and the beginning of the Nouvelle Vague. The professor spent time discussing the scene where Jeanne Moreau's character dresses like a man, which Jlewis goes over. In many ways, it's Moreau's film though she doesn't play one of the title characters. Jlewis doesn't seem to like the way the film concludes, but I favor bleak endings since I think they tend to be more realistic. I enjoy films that leave us hanging with a lot of different thoughts and emotions. The drama is certainly over the top in the last sequence, but it's very provocative. Oh, one more comment. I attended a luncheon once where Lauren Bacall was the guest of honor. She did a question-and-answer session about her career. Naturally, she talked a great deal about Bogey. But she also liked discussing her friends. And she told us that when she filmed a TV movie in France in 1993 she had the chance to work with Jeanne Moreau and they became fast friends. She thought very highly of Moreau's skills as an actress. *** JL: François Truffaut's New Wave epic has plenty to answer for. It is a one-of-a-kind piece that stands on its own virtues and flaws, but has so many “connections” with so many other films. In fact, it will be difficult for me to discuss this one without the great sin of title dropping, but I will attempt to get it all accomplished in just two paragraphs and be done with it. May lose myself just a bit towards the end. The Brits were among the first to mimic (to a degree) its flashy, then-trendy editing style with, among others, the Oscar winning TOM JONES which repackaged some of the French Look for easier consumption in Hollywood, and the Richard Lester comedies followed with a similar use of freeze-frames (more fashionable in the past with sports-reels, but now all the rage post-400 BLOWS), jump cuts and constant zig-zagging. You can watch both this and A HARD DAY'S NIGHT featuring the Beatles and have fun counting all of the oh-so-cute resemblances. Equally immediate in impact was the clever use of iris-out effects, a silent film era device given a new face-lift with squares instead of circles, that soon became commonplace on TV during the swinging sixties, along with Georges Delerue's popular music score (opening like a circus show but getting less jolly as it progresses) that prefigured scores in later doomed romances like Franco Zeffirelli's version of ROMEO & JULIET and, of course, LOVE STORY by decade's close. In turn, Truffaut and his crew borrowed plenty from all that came before them, like Robert Youngson's homages to silent comedy stars (note the opening credits channeling a bit of Hal Roach and Mack Sennett) and Orson Welles' “News on the March” gimmick in CITIZEN KANE of scratching up selected newly shot scenes to blend in better with the already scratched-up 1910s material being utilized. It is little surprise that the same director was originally scheduled to work on BONNIE AND CLYDE years later, since that one also carries the JULES ET JIM influence. Both features provide fun and frivolity during the first three quarters with just the occasional signs of future gloom suggested, then we get a final climax of I-did-not-see-that-coming. Both storylines ask the key question: Are you really free when you think you are free? Fittingly we get a newsreel of German book burning late in the presentation (i.e. two main characters are writers) and it is interesting that this was filmed in 1961 when Otto Adolf Eichmann's trial and popular movies like JUDGEMENT AT NUREMBERG reminded a great many just how restricted freedom was a few decades earlier. Our characters rebel against society's restrictions by living a bohemian lifestyle (and apparently they each have some invisible trust fund that helps them do so financially), but there are still feelings of possessiveness, jealousy and, of course, lots of restless wanderlust that will never be satisfied. Catherine in particular, as played by Jeanne Moreau, dislikes protocol herself but still dictates it to all of the men she is involved with. Even in little ways such as forbidding Jim (played by the still living Henri Serre) from putting his hat on the bed and ordering him constantly “to talk” to her in private. She is especially demanding of the already domesticated Jules (Oskar Werner) who remains faithful to her during marriage even if she is unable to be herself. Unfortunately Jules can not grant her a final wish of being “distributed among the winds” since the current society norms won't allow it. Our sarcastic narrator (Michel Subor) labels her a queen but there are limits to being one. The title does not include Catherine despite how she dominates the screen. The true “love story” here involves our two male characters, one from France and one from Austria, who could not be separated by the Great War pitting them on opposite fronts and adding the fear of potentially killing each other in combat. Therefore, it is Catherine's job to keep them distracted by dating both. In some respects, this is a “gay” film in terms of emotions if not actual physical activity. (Actually homosexuality is fleetingly mentioned when they attend a play referencing it pre-war but Jim doesn't think it is a big deal despite how much the play's author thinks it is.) In the most famous scene that has been recycled in too many film compilations to count, she draws a mustache on her face and sports a boy's cap in order to get that pair's mojo up and chase her accordingly. She later makes the threesome into a foursome by also getting sexual with Albert (Serge Rezvani), the one who initially got the boys interested in some Adriatic ancient statue resembling her facial features earlier. She may struggle being faithful to just one man, but she demands power over ALL of them. She is not quite the feminist/suffragette despite expecting to have equal freedoms enjoyed by the opposite gender during the years “circa” 1912 through 1932. Simply put, she just wants to do whatever she wants and when she wants. Jules discovers in their marriage that she gets quite bored with the routine of playing mother to him and their little Sabine (Sabine Haudepin) even though she puts on quite a show when Jim visits. She makes a go with “domesticity” with Jim...and with Jules accepting the situation with no jealousy at all since he loves Jim equally and wants him to be happy, but she (more than Jim) gets all upset when they fail to produce a baby just like Sabine. This is despite the fact that she hardly wanted to be a mother to Sabine in the first place. Not surprisingly, we see the girl bonding a lot better on screen with daddy than mommy. Human behavior is never very consistent and many of us as individuals go through stages as to what we want and don't want in life. When Jim has had enough of Catherine even though he still is “drawn to her”, he settles with the more tranquil Gilberte (Vanna Urbino) who plays a more authentic matron when Jules visits him later on. Before the war, he is quite captivated by lively Thérèse (Marie Dubois) dating Jules for a short period and playing “locomotive” with her cigarette at a time when it was still taboo for ladies to smoke. At a reunion over a decade later at a Paris club, he acts all polite when listening to her constant talk-talk but is now tuning her out...and that masterful Truffaut cleverly gets two others to walk directly in front of her on screen so that we only see Jim's facial reactions of discomfort. One also senses that Jim feels less “bohemian” among the newer “bohemians” of roaring twenties Paris than he did before the war, not knowing how to react to one fellow who introduces his girlfriend as “empty headed” and saying that the only thing good between them is the sex. Jim takes great emotional stock in his physical affairs, even the tormented ones involving Catherine. It is a real downer that the film ends the way it does, but...c'est la vie. It is a trademark of French film-making, being so anti-Hollywood with a disregard for happy couples...and threesomes...riding off into the sunset. Then again, America itself was in the mood for these different kinds of endings in its entertainment during the transforming sixties, although it wasn't until after BONNIE AND CLYDE that a fetish developed for it. Intriguingly quite a few famous titles released during those last years of the decade involved “gotcha” endings involving car crashes at the Chicago Democratic Convention, motorcycle hippies getting shot from pick up trucks, “wild bunches” in their final battles down Mexico way, Ratzo...Rico, I mean...dying on a Miami bound bus and Butch and Sundance shown in freeze-frame, although that scene mirrors Truffaut's earlier 400 BLOWS more than JULES ET JIM.
  7. If I were Edward G. Robinson, I would have passed on Soylent Green. While I think some of the movie is funny, Spencer Tracy could have turned down It's a Mad Mad Mad Mad World (maybe too many mads in there). However, I would rather watch that than his dreadful version of Jekyll and Hyde. Looking for other suggestions for top-notch actors/actresses. I'll give some of them a pass (like Jack Lemmon, Joseph Cotton, etc. on disaster movies).
  8. Joe Biden @JoeBiden This Fourth of July, one of the most patriotic things you can do is wear a mask. 12:00 PM · Jul 4, 2020·TweetDeck
  9. Ann Blyth was in "Mildred Pierce" with Eve Arden.
  10. Barack Obama @BarackObama This holiday weekend, let’s be safe and smart. It’s going to take all of us to beat this virus. So wear a mask. Wash your hands. And listen to the experts, not the folks trying to divide us. That's the only way we’ll do this—together. Honor America’s Birthday (Safely) in 2020 You may not be able to congregate for parades or fireworks, but there are other options when it comes to having a festive Fourth. nytimes.com 12:00 PM · Jul 3, 2020·Twitter Web App
  11. 8.) She was also nominated for an Oscar for "Magnificent Ambersons", "Mrs. Parkington", and "Johnny Belinda".
  12. Obviously not a documentary. Many western historians would voice surprise at the idea that Billy the Kid was "The west's deadliest gunfighter." Sepiatone
  13. Kelly, Alvarez -- played by William Holden in 1966 movie of the same name
  14. You know that he has apologized for those youthful indiscretions. Now you are just trolling which is your want. You have no problems with your President sexually assaulting 22 women, do you? Which he has NOT apologized for.
  15. Ella Raines was in "Brute Force" with Ann Blyth.
  16. Raw Story @RawStory Ron DeSantis threw temper tantrum after Trump hired strategist he ‘exiled’ from Florida GOP: report Ron DeSantis threw temper tantrum after Trump hired strategist he ‘exiled’ from Florida GOP: report On Friday, Politico reported that President Donald Trump has brought back longtime Florida Republican strategist Susie Wiles to try to save his electoral chances in the critical swing state — and... rawstory.com 9:18 AM · Jul 4, 2020·Hootsuite Inc.
  17. Claire Bloom was in "Buccaneer" with Iris Adrian.
  18. ??? If you love it, then WHY pick it as Bette Davis' worst film? Sepiatone
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