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Gone With the Wind Foreign Correspondent Darkest Hour (2017)

A few more where the December 7th attack on Pearl Harbor is a factor: Air Force (1943) Tora! Tora! Tora! (1970) The Final Countdown (1980) Pearl Harbor (2001)

Girl With a Pearl Earring (I had to look up the date of the painting..it was 1665)

I watched THE DUNWITCH HORROR (1970?) on TCM 🎶"Look at me, I'm Sandra Dee, bearing Satan's progeny...."🎶 DEAN STOCKWELL was very sexy and did his best, but this is SAMUEL Z. ARKOFF/CORMAN. AMERICAN INTERNATIONAL territory. SO I think some of the LOVECRAFTIAN DETAILS are oddly rendered. It's basically like watching a ROSS HUNTER remake of ROSEMARY'S BABY where everyone involved was clearly doing high grade acid. Speaking of CINEMATIC CALIMARI, the TENTACLED CREATURE FROM HELL mostly unseen in the film was pretty uniquely portrayed. The minute ED BEGLEY SR. turned to his grad student, played with a beleagured pluck by MISS DEE, and said, "Here, Miss [Whateverhernamewas], take this copy of THE NEKRONOMICAN back to THE LIBRARY" I knew I was in for something special. Shame they couldn't get DANA ANDREWS or FRED MACMURRAY for his part though. The ending is...really something. The animated opening credits AND THEME SONG were marvelous, reminiscent of BLACULA.

Macbeth, Hamlet, Lear (name your Shakespeare) Looking at Rick's on Liam's post, it reminds me of Casablanca I think Notorious (the Hitchcock one) qualifies Ship of Fools and Voyage of the Damned In Harm's Way

The Winds of War (1983) - Albeit only on the brink for war for the United States. On a side note, this and its sequel are planned to be remade as a limited series by Seth MacFarlane.

THE HOUSEKEEPER'S DAUGHTER

Zeena, played by Joan Blondell in "Nightmare Alley"

THE LOVES OF CARMEN

Here is a list of films that deserve honorable mention. The Great White Hope 1970 Fiddler On the Roof 1971 The Candidate 1972 The Sting 1973 The Parallax View 1974 Nashville 1975 The Shootist 1976 Annie Hall 1977 Julia 1977 An Unmarried Woman 1978 All That Jazz 1979 Kramer vs Kramer 1979.

I enjoyed watching this film for (maybe) the 100th time.... I was a bit dismayed at the commentary at the end of the film re: the "white man taking charge". First of all, this entire movie pretty much takes place in the "white man's" home. From the very beginning, in spite of raising his daughter to be open minded, Dad had not considered his little girl marrying a black man. Now...it's difficult for most dads to grasp their little girl getting married - especially with such short notice. Now, throw in the black groom-to-be and this Dad has a LOT to digest in just a few hous. Granted, interracial marriages are not the issue that they once were. But in this case, on top of Dad's other 2 hurdles, he's got this huge one. So....here we have this couple's biggest challenge as we sit in his living room. John's dad also had objections to this marriage, but let's face it, color or not, fathers of boys just don't have the concerns that father's of girls do. Not to mention that John really let his dad have it "You think of yourself as a black man and I think of myself as a man" (the most profound line in this movie besides the amazing speech Tracey gave to Hepburn...and yes, although this was a heartfelt speech from Matt to Christina, it's certainly Spencer speaking to Hepburn, considering their relationship and his death just a few weeks afterward.) Here it is.......IF this movie had been in the Prince home, white daddy's speech would have aggreeably been out of line. This whole movie is about all of the characters coming to terms with the thought and reality of a mixed race marriage. Remember we have already heard Dad Prince's speech and we also know the mom's thoughts as well as Tilly's. Considering the setting, the BIG daddy issues that Jo's dad has with this marriage, it was perfectly fitting that white dad had the final intense word in HIS living room concerning HIS daugther. Even today, little girls' dad's approval is still the BIG hurdle when it comes to weddings. Mom's NORMALLY side with their daughter as they can relate to those (long ago) feelings of love and anticipation (this was covered so well by John's mom in her dialogue to Matt.) Dad Prince already addressed the same issues although the issues just had a different view - Dad was insulted that his son would disreard his parent's sacrifices to marry a white girl and add so many unnecessary hurdles in his already challenging future as he steps into the traditionally white world. Again, considering this is happening in the daughter's dad's home and we haven't heard his speech yet, this is a fitting time and place to hear Dad's summary. Let's remember that era for what it was....obviously it was a HUGE issue for a white girl to marry a black guy. Doesn't his speech make sense here? Ths movie was NOT set in the 2000's where we certainly might be a bit more taken back by Spencer's speech. I NEVER percieved it as some kind of "superior white guy giving out instructions to everyone." Have we gotten to the point that we have to dissect classics by shoving them into today's cluture and shame them for not be so politically correct? In conclusion - I'm sure we all agree that this film is truly a classic; brave, bold and poignant in a very different and challenging era. If the film were done today, it probably would have a black doctor marrying a white girl from the wrong side of the tracks or a black high-school dropout marrying a white woman doctor. Or a black woman doctor marrying a white addict - maybe a same sex marriage. But it's not. It's a classic for the issues it tackled with outstanding performances by tremendous actors. It still resonates today and as far as I'm concerned, should be requried in every High School social studies class so that younger people are able to observe how things were, but most of all, how intellegent and sensitive people tackle HUGE issues and still end up having dinner together. Above all, I hope that we can all watch movies (indeed, look at life in general) with our PEOPLE glaases on...not just glasses that match the color of our skin. Thank you so much! Viva la TMC!! Jan Johnson

These great actors are well deserving of primetime tributes.

Kenny, Elizabeth was played by Rosalind Russell in Sister Kenny 1946

Unconquered (1947)

Jones, Ozark -- played by Andy Devine in WHEN THE DALTONS RODE (1940)

Travis, Nancy

A comedic example -- DUCK SOUP

THE LADY VANISHES

Peppard, George

NO WAY TO TREAT A LADY (1968)

Will Sven show a good print? Mystery of the Wax Museum was one of the last two movies filmed in the two-color Technicolor process (Doctor X was the other).

Blame It on Rio (1984) Next: My Favorite Year (1982) - Two with Joseph Bologna

THE MISFITS (1961) Next: Spencer Tracy, Harry Morgan and Fredric March

From March 13-16, 1921, the feature at the Poli was Prisoners of Love, starring Betty Compson as Blanche Davis. The film was released in January of 1921 at six reels, and is presumed lost. Plot: Blanche Davis is berated by her father for a seeming indiscretion. She then learns that he has been supporting a chorus girl, so she leaves their home. She goes to San Francisco, and, using an assumed name, goes to work for Martin Blair and James Randolph. While both men are interested in her, she falls for Randolph and becomes engaged. She agrees to postpone the marriage at the request of Randolph’s mother. Unknown to Blanche, her father has come to San Francisco, as a client of the firm for which she works. Randolph meets Clara, Blanche’s sister, and falls for her. Blanche’s father encourages the romance. Randolph agrees to return east with Clara and her father, but simply tells Blanche he is bettering his position. Blanche then receives daily telegrams saying her wedding day is near. But the messages are being sent by Blair, who is touched by Blanche’s devotion to Randolph. Eventually Blair takes Blanche to New York, where they arrives on the eve of Randolph’s wedding to Clara. Randolph has received a large check from Blanche’s father to clear up some old indiscretions. Blanche and Randolph meet privately, and he produces the check intending to buy her silence. Humiliated, Blanche takes the check to her father, but the two manage to reconcile. Blanche allows the wedding of Randolph and Clara to take place, for the sake of her sister. Then, she turns her affections to Blair. The movie garnered some good reviews. Motion Picture News described the film as “an interesting, excellently produced drama that gives the star an ideal role and will probably fully establish her as an actress of stellar dimensions, if that has not already been fully accomplished.” Photoplay Magazine wrote “the story of the “prisoners” is one twisted rather deliberately to meet what is generally accepted as a demand for sex themes, but it is handled with reasonably good taste.” Exhibitor’s Herald remarked that “in less capable hands, the story of the deceived heroine might have fallen into the average picture class. But Miss Compson and her associates, with Arthur Rosson directing, have handled it with such good taste and with such a keen sense of artistry that the picture is absorbingly interesting.” Moving Picture World wrote that the film “moves slowly at times during the earlier scenes, but it gathers strength during its progress, and there is very little intimation as to the final development until interest has been strongly enlisted in the outcome. That it gathers force toward the conclusion and presents some tense moments, as well as furnishing exceptional opportunity for the star is greatly to the credit of Director Arthur Rosson and all other concerned in the visualization.” Among the side acts on the bill were “The Unusual Duo,” who were “as fine a pair of exhibition roller skaters as you would want to see.” The team of Allman and Mayo performed in “Broadway Gossip,” described as “a Jewish comedy act that brings forth many a laugh.” Finally, “The Creole Cocktail” consisted of a jazz performance. As The Bridgeport Times put it, “the participants are colored, and put it over as only a colored combination can.” Whatever that means.

THE SENATOR WAS INDISCREET (1948)

Smith's Restaurant (1928)

JOHNNY COOL

Errol Flynn's ADVENTURES OF DON JUAN THE EXILE THE CRUCIBLE

THE AMERICAN PRESIDENT (1995)

America from West Side Story next--another with a lot of people singing outside

ROSEMARY'S BABY (1968) Next: C. Aubrey Smith, Ronald Colman and David Niven

EDUCATING RITA 1983

How to Marry a Millionaire (David Wayne=very sexy...) next--nepotism

Collins, Stephen

That line isn't in harmony with today's racial views. We are race-conscious. So many people today choose to define themselves by the race, or their gender. Then there's the whole idea of a man being proud to be a man. Some might say that's toxic. They didn't touch on it because they don't know how to handle it.

The other night I watched "Guess Who's Coming To Dinner", with Spencer Tracy and Katherine Hepburn. Not the first time I've seen this movie. Sidney Poitier is fabulous, and I'll mention his line in a minute. But afterwards, the three hosts discussed the "white man" and "white father" 'theme dominating the whole film. They ridicule the lines that Tracy's character delivers at the end of the movie, and chide about him telling the black father how things were going to be. I have always had an entirely different take on the entire theme of this movie. The black father is not a main character in this movie, yet no one acknowledged that, and of course it wouldn't be from his perspective mainly. But the thing that got me was the NO ONE mentioned Poitier's line towards the end of the film where the son is discussing the difference between generations. What surprised me even more that no one brought attention to this, was that the host asked the question, about what part of the film or line did they think was critical. No one mentions the line referencing that the dad thought of himself as a black man, and the son thinks of himself as a man. That is so key, so critical...and yet no one wanted to acknowledge that line, and instead were stuck on the whole 'white father domination'. Seriously...I wondered how they could ignore that!!!

KING OF THE UNDERWORLD (1939) gangster pic with Humphrey Bogart & Kay Francis KING OF THE UNDERWORLD (1952) Scotland Yard procedural with Tod Slaughter

THE BARBARA STANWYCK SHOW

Yvonne -- Joan Blondell in Sons O' Guns (1936)

THE THREE MUSKETEERS

I agree that being the notion of this couple being committed to getting married after knowing each other for only 10 days (no matter what races they were) was totally ridiculous. In the "real world" (even in 1967) Joanna & Dr. Prentice would have jetted off to Geneva (and beyond) and lived together for a while before deciding whether or not they wanted to get married. But, hey, this was a movie made in 1967 and Stanley Kramer was not going to have his young heroes go off and "live in sin. " A lot of this was just standard movie convention. OK. We want to set up this situation where a young white woman meets and falls in love with a man who her parents have never met and surprise, surprise, he is African-American. Obviously, the only way she is going to do this is to either have a job out of town (she doesn't) or go on a vacation alone. To make it even more urgent (to put more pressure on the situation) he is only going to be in the USA briefly so the parents (both sets) must meet and approve of the couple in a matter of hours. (Very, very unrealistic scenario, but, again, this is a movie.) I laugh when people say John Prentice's CV is unrealistically "perfect." Hell, the whole movie has "fairy tale" written all over it. She's rich and beautiful, he's handsome and accomplished. They fly back from Hawaii, no less, to her parents' McMansion and, after a brief bit of drama, literally fly off into the sunset and live happily ever after.

The Witch (2015) - The 1630s is the setting for this great horror movie.

On Svengoolie tomorrow, March 13, 2021: \

Good for you, Peebs. There is also "The Night of the Hunter". Now it's your turn.

PRIZZI'S HONOR (1985)

FLYING DOWN TO RIO (1933)

THE WIND (1928) silent film with Lillian Gish WIND (1991) sports drama with Jennifer Grey

Cyrano de Bergerac (1950) Cyrano de Bergerac (1990)

I think COMPULSION (1959) is a better version of the Leopold & Loeb case. There's a British soap I watch called Coronation Street. It features a very flaming character named Sean played by actor Antony Cotton. He's been on the show for over 15 years. He's very stereotypical, swishing his hips, flailing his hands around, throwing his head back, etc. You name it, every flaming mannerism possible, he exhibits it. A lot of it is done for comic effect and people disparage the performance on Digital Spy's soap forums. However, this is how Antony Cotton is in real life and he is basically playing himself. So I do think that he has to be allowed to be himself and to represent a segment of the audience that is like he is. We cannot say all gay men should be masculine or straight-acting. That is simply not realistic.