Members

as a jaded cineaste, I like to deliberately leave certain immensely popular titles unseen so that i don't get to a stage where I've seen everything and thus have no reason to live. so, with that, I come out with what some of you may find shocking: before this morning, I had never seen THE LAST PICTURE SHOW (1971.) I have now. JESUS CHRIST what a depressing, oppressive, and immensely compelling movie this is. GREAT ACTING WITH SUNGLASSES 101 I really enjoyed the first half immensely, the second half is not meant to be enjoyed, but I was impressed nonetheless. HARD TO BELIEVE BEN JOHNSON is only in this for EIGHT MINUTES! Why did things not work out for TIMOTHY BOTTOMS as an actor? He pull a LEE TRACY at the Beverly Hill Hotel or something? He was really very good in this, but, I have to say WHAT A FILM FOR GREAT PERFORMANCES BY ACTRESSES this is. I did not realize that EILEEN BRENNAN was in this film. On this Sunday, I would like to thank God for creating EILEEN BRENNAN, and just wish He had not dropped and broke the mold afterwards. I would watch EILEEN BRENNAN READS ALOUD FROM THE SANTA MONICA PHONEBOOK WITH A CIGARETTE DANGLING FROM HER LIP: THE MOTION PICTURE in a HEARTBEAT. And CLORIS LEACHMAN, who does some amazing acting in the final 15 minutes, and thank heavens her scene was included! I can't imagine the film ending any other way. (AND MORE AMBIGUOUSLY THAN i THOUGHT IT WOULD!) But I think I was MOST IMPRESSED by ELLEN BURSTYN -and would have been gleefully, whole-heartedly thrilled were this movie ENTIRELY ABOUT HER. IT'S A GORGEOUS film, would make a great companion piece to AMERICAN GRAFFITI. Not recommended for anyone struggling with depression though.

Having posted these gifs the other day, upon looking up the careers of Cagney and Blondell I was surprised at how little these two high energy performers, both toiling at Warner Brothers for years, were actually co-starred. They both appeared in seven films for the studio which, on the surface, might sound like a lot. Upon closer inspection, though, four films hardly count as they were not used as a screen team in any of them. In fact, I'm not even certain how many minutes in those four they actually shared on screen. It was only in three films together that James Cagney and Joan Blondell were true co-stars. The first two, BLONDE CRAZY (1931) and FOOTLIGHT PARADE (1933), the latter a Busby Berkeley musical, are the kinds of fast moving, high energy escapist entertainments in which they could shine and their chemistry together is apparent. Let's face it, though, Blonde Crazy is a low budget quickie, with their performances and chemistry the film's primary distinguishing graces. Their final film together, HE WAS HER MAN (1934) is a very different affair, a melancholy, downbeat romance, distinguished by a touching dramatic performance from Joan in what was one of her few departures at that point in her career from breezy, lightweight fare. But it's a small budget production that largely fails to realize its potential. Bottom line: Warners Brothers miserably failed to utilize Cagney and Blondell as a screen team at a time when the studio was churning out their products in assembly line fashion. In fact, it's apparent to me the studio never even thought of these two stars as a screen team or they would have co-starred them more often with far better material. In retrospect Footlight Parade comes closest to realizing some of their potential but even then they were part of a large ensemble cast. The emphasis was not upon them as a screen team. What a frustrating waste that was, in retrospect, especially for fans of Joan and Jimmy.

A few months ago I watched an Ellen Burstyn interview and she discussed what is probably one of my favorite scenes in "The Last Picture Show": Burstyn's first Oscar nod came in 1972, as Lois Farrow, mother to Cybill Shepherd, in "The Last Picture Show." it was her first big role in film, with Peter Bogdanovich as director. "We had a scene where I hear my lover drive up. Oh good. My lover's here! And I'm just about to open the door, and my daughter comes in. And then I realize, Oh, it's not my lover coming to see me, it's my daughter – oh my God, my daughter's in bed with my lover! "So, I said, 'Peter. I have eight different things to express here, and I don't have a line.' And he went, 'I know.'" "And I said, 'How am I supposed to do that?' And he said, 'Just think the thoughts of the character, and the camera will read your mind.' That was the most important acting-for-film lesson I ever got. It was just brilliant.

Both are based on Larry McMurtry books, which is why they seem so similar. I always get a kick out of Red River being the last picture show. The western cattle trails (Chisholm Trail, etc) from Texas up into Kansas would have gone through some of the same area you see in The Last Picture Show (area west of present-day I-35), and TLPS gives you a better idea of the landscape than the mesas and mountains you see in Red River.

Blow-Up (1966) 9/10 I really expected to hate this film because, for one, the sixties is just not my decade for film. Generally, films from this decade feel free of the production code for the first time in 30 years and make sex the point of the film, and they just seem archaic today. The so-called "shock value" sometimes gets in the way of what would have been a good film with the distraction removed. Also, I was told by some people that this film was slow and boring. Instead I was intrigued. There is quite a bit going on at several levels. David Hemmings as Thomas, a fashion photographer, goes to great lengths to get gritty photographs for a book he is making. He even spends the night in a homeless encampment. He is always looking for interesting subjects, but at the very beginning of the film, he passes by a carload of mimes in various costumes, somebody who appears to be a member of the Queen's guard just walking down the street, and a group of men in native African dress. He doesn't notice them. He treats his models like objects. They bore him. When two girls enter his office and want him to photograph them he shoos them away. Then when he tries to buy something in an antique shop, the shopkeeper shoos him away. He doesn't get the connection. To anything. Unless it is in a photograph. And it is in some photographs of a couple having some kind of secretive romantic moment in a secluded tree surrounded glen of a public park that he finds something that jars him. But he has to see it in a "blow up" of the photographs he took to realize there is something else there that he never noticed. And you are an hour into the film before this happens. He goes to confirm what he thought. It is true. He tries to get somebody to help him. They ignore him. Ultimately he seems to be like John Sims in the 1928 film The Crowd. The next morning, stripped of any evidence to the contrary, he just gives in to the false narrative signified by him throwing an imaginary tennis ball to some mimes who are faking a tennis game. In an American film he would have been shadowed by the perpetrators, taken captive to their lair, told the significance of what he saw, and just before he is killed by them, the police would break in, save him, and capture the bad guys. This is not an American film.

I am also a big fan of HANK WILLIAMS SR., and the use of his music on the soundtrack was pretty brilliant (and definitely an influential decision) No one wrote lyrics quite like HANK.

Some more from Claire Trevor A couple crazy ones

I was born in 1978 and I think I first saw CASABLANCA some time in the 1990s (probably when it came out on VHS), and I was disappointed because I felt as though I had seen it already, because the film is so quoted and so parodied and had been aped and paid tribute to so much, it was like reading HAMLET and recognizing all the various novels of plays and books as you go, there were lines that i did not even realize originated with CASABLANCA. many viewings later I love it dearly,

Cabot, Bruce

Just a little more suggestive. She's so adorable & happy, she doesn't come across sleazy at all.

Sorry to backtrack, people. Your hunch is right, TikiSoo, CASABLANCA definitely plays better on the big screen, with an audience. The first time I saw it was at the Orson Welles Cinema in Cambridge MA, in the 70's on a weekend night. I was about 10 years old. The audience seemed to include a lot of legit film aficionados and Bogart fans (Bogart was big in the 70's). And a lot of smartass college kids who seemed to be in competition to be the first to laugh at the humor. I will say this, certain scenes got a genuine reaction - for one the scene where Rick's crowd sings "La Marseillaise"- to see the film with audience members cheering and shouting at the screen was great. Some scenes rocked the house so much, I couldn't hear the dialogue, so I was anxious to see it again. Saw it again, numerous times on TV... enjoyed it. Was a little disturbed about the reference to "General de Gaulle" guaranteeing the exit visas. Even as a junior high school student, I knew better. Then as an adult in the mid 80's I saw it again on the (not-so) big screen (but scratchy print) at Theater 80 St Marks in NYC. The experience was much like that at the Orson Welles a decade earlier. Theatre 80 was fairly close to NYU (lots of film people, film students in the audience). And they went nuts at the appropriate times. "Are my eyes really brown..." Great night.

https://www.google.com/maps/@33.5955941,-98.6254815,3a,41.3y,322.5h,89.56t/data=!3m6!1e1!3m4!1sr4XrrZi0rUw61b86AEW_ow!2e0!7i13312!8i6656 It's hardly changed in 50 years...

Where the Green Ants Dream (1984) A company wants to set off a long series of small explosions so they can seismically map a potential mining site. Aborigines believe this will disturb the green ants who will then rise to destroy the whole universe world. This is a Werner Herzog film. That means that the plot has only a loose and quite superficial relationship to the story. This is culture shock at its most real. What makes it compelling is that we are not presented with simple stereotypes in opposition. Each person on each side is unique and has a unique effect on the situation and are uniquely affected by it. I can not begin to describe how deeply this movie touches me. I identify with the geologist who simply wants to do his work and not see any person harmed. I identify with the bulldozer operator who has a quick and easy solution which likely would not cause more than a few people being bruised. I empathize with the elder who fears the white men will ruin the world. I feel strongly the plight of: 'the mute' whom no one can speak with because he is the last of his tribe and no one knows his language. This movie is ultimately a staggering balancing act keeping cultures and people from crashing all at once. 9.9/10 It is available on several streaming services.

Believe it or not, I thought it was a way to move away from the main path of the story and give us all a bit of a break. Don't get your "gut punch" idea, but too, Peter saw a chance to throw in another sort of "comic relief" moment at the end of the segment when we see all the menfolk walking the distraught mother to her car and all seemingly forgetting the little girl they were supposed to be so concerned about walk silently unnoticed about 20 yards behind everybody. Sepiatone

There is no "like" button big enough for those sentences. Lorna, I do the same thing, avoiding some well thought of movies to keep for "later". I've never seen FIDDLER ON THE ROOF because I like generational, historical & musical genres & sure to love it. I waited recently to see FUNNY GIRL and LAWRENCE OF ARABIA-both seen while bedridden during long illness. Last Picture Show is one of those, although I saw it when it first came out-imagine the impact seeing it in a theater full of people! You could hear a pin drop. I love LPS and have an original movie still of Bottoms & Bridges in a diner seat in my kitchen. Bottoms was in another good movie LOVE & PAIN & THE WHOLE DAMN THING '73 a younger man/older woman romance (a personal favorite subject of mine-growl) along the same vein of SUMMERTIME and GOODBYE AGAIN. Thank God Bogdanovich made this. Every performance is so compelling, made me a lifetime fan of all. Best line is Jacey: "Is that all? I think you did something wrong because that can't be all there is!" a fun line to use around those who don't get it.

Brian Cox I've been away from this game for a while. I need to get back in. Next: THE PAPER (1994) FORREST GUMP (1994) STRIPTEASE (1996) BOILER ROOM (2000) FEVER PITCH (2005)

I'm a Ken Burns fan but not a Hemingway fan so I made the decision not to watch. I really appreciate this conversation for distilling what was essential about it.

Successfully avoided seeing this again the past 20 years. Very entertaining with a refreshed perspective. Probably the worst special effects in a movie....therefore the EASIEST to replicate as a Halloween costume or prop. (I'm just about to order taxidermy glass eyes too!) although technically, it's a marionette. Loved Janet Munro- she reminded me of Leslie Caron in some scenes-adorable. I was surprised to learn fire has a "scale" size who knew? The size of the model used in the last few scenes was apparent by the size of the fire flames.

Monday, April 19 8 p.m. Oliver! (1968). As musicals go, this one is very good.

Bron, Eleanor

Ashley, Elizabeth

Lol. I can see why she changed that. What a horrible last name. To save everyone a click: Joanne Dru's real name was Joan Letitia LaCock. Her brother, Hollywood Squares host, Peter Marshall, was named Ralph Pierre LaCock.

Vivien Leigh Dorothy Dandridge Alan Ladd

PULP (1972) Next: Ray Milland, Veronica Lake and William Holden

They certainly don't seem to get along very well. Hey, Joan, why don't you dump that guy and come to me. Never mind that he has everything and I have nothing. We can work it out.

Like if you could go back in time to marry your favorite Classic Movie Actor/Actress, who would it be AND WHY?? I'd have to say Shirley Maclaine because she's beautiful and she's quiet and elegant, aka just perfect. She's like 80 now but if she hmu i'd still pull up to Hollywood quick asf. Her Most Iconic Movie: The Apartment

ALEXANDER THE GREAT (1956)...LOOK BACK IN ANGER (1959)...THE SPY WHO CAME IN FROM THE COLD (1965) Next: Bill Williams & Barbara Hale

I'm shocked . . . SHOCKED there are people who don't love Casablanca. All joking aside, I watched the film two years ago for the first time in a decade and, even though I knew everything that was coming, marvelled at what a wonderfully entertaining film it remains to be. The perfect cast (except for maybe Paul Henreid's character, a bit dull, I think), the marvelous crackling Epstein Brothers dialogue, Michael Curtiz's smooth direction, it all adds up to a classic that really deserves to be called one. I can even forgive the film for the fact that it bumps off Peter Lorre too soon.

Sophia Loren would be a good choice for guest programmer.

Vanilla Sky (and frozen) Next: Shirley MacLaine

Rodney Rowe this post is dedicated to anybody but Robert Redford (Redford is cool but too much of shoo-in for this thread) (the above selection is a decided underdog, hooray for underdogs!!!)

Young and Innocent (1937)

I think it was the first pre-recorded rental movie I saw, sometime in the early 80s, on my parent's Betamax. It's the first one I remember, anyway. Here's an old LA Times article written when Ted Turner's MGM/UA released the colorized version to the home video market at $79. 95 (which is about $170 today!) https://www.latimes.com/archives/la-xpm-1989-02-17-ca-3062-story.html

North By Northwest (Mt. Rushmore) Next: Family Secret

Friday Night Dinner star Paul Ritter dies of a brain tumor at 54 https://www.theguardian.com/tv-and-radio/2021/apr/06/friday-night-dinner-star-paul-ritter-dies-of-brain-tumour-at-54 Actor Trader Faulkner dies at 93 https://www.theoldie.co.uk/blog/trader Black Rob, Rapper and Former Bad Boy Artist, Dies at 51 https://variety.com/2021/music/news/black-rob-dead-bad-boy-records-1234954077/

The Hollywood Reporter @THR Feinberg Forecast: Oscars Landscape With Final Voting Now Underway Feinberg Forecast: Oscars Landscape With Final Voting Now Underway The Hollywood Reporter's awards columnist weighs in on all 23 categories. hollywoodreporter.com 9:25 PM · Apr 16, 2021·SocialFlow

Initial Topic Update: Marcia Gay Harden has apologized to Dame Judi Dench — claiming her comments about a past Oscars win were “misinterpreted.” Harden, 61, who recently spoke to Vulture about her 2001 Academy Award win for Best Support Actress in “Poll ock” appeared to suggest that fellow nominee Dench, 86, wasn’t pleased about the loss. Harden said Tuesday she is “deeply sorry” after the remarks went viral. “In a recent interview, one of my answers that related to Dame Judith Dench was misinterpreted. I have never met Ms. Dench – though if I had, I am certain I would have found her to be as generous and supportive as she is respected,” Harden posted to Instagram this week. Harden concluded her message Tuesday stating, “I am deeply sorry for anything that would have led anyone to think otherwise.”

Franchot Tone John Sutton Laraine Day Kay Kendall

Aline MacMahon

Star Trek, the Next Generation Next: Abe Vigoda, Florence Stanley, Barry Gordon

I too am not a fan of SEINFELD . A number of years ago I was discussing TV shows with an acquaintance (someone I was working with on a project) and he was going on about how hilarious SEINFELD was. When I said I didn't find the show particularly funny, his response to me was: "Well, it's Jewish humor." I was at loss for words because, well, I am Jewish . . . and he was not. ( I will say that I did think the "Moops" misprint on the Trivial Pursuit card on the Bubble Boy episode was quite funny.)

I wonder if W.B. would do a scene with a teenager like that in today’s world.

I'm a huge fan of The Great Gildersleeve (movies and radio), so it'll be fun to see that picture around these boards. Shampoo had a really good cast. It and The Sugarland Express the year before really made audiences see Goldie Hawn as more than just comic relief and Lee Grant was always value added for a movie. It's also the first time I remember seeing Carrie Fisher and two years later she'd be world-famous.

My dream sounds much, much better than yours LOL a lot more fun and gratifying

ON THE WATERFRONT (1954)

Actually, I think it's really Joan that is killing you. She sure kills me. She and Cagney were a wonderful screen team. "Beat it, Countess. As long as there are sidewalks you've got a job."

Was it Andy or Edward who was being the brat at the barbecue? ”what’s that for?” ”and what’s THAT for?!” ”and what’s that for?!?” REALLY wish Phillip had said ”It’s for smacking kids who don’t shut the **** up and stop asking stupid questions, that’s what it’s for!”

He was asked by Nelson Rockefeller to f@rt off to South America, and some suggest his mission was not simply to film the carnival but to gather intelligence. You make it sound like it was a lark for him. And he did complete Ambersons before he left, and he left detailed instructions on how he wished it to be cut. He was ignored.