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A few hat styles from lovely Ida Lupino: Three great hats...and actors I love this one! 😄

If you're turning your back on all Michael Curtiz films because of the horse incident you're missing out on some of the best films of the Hollywood studio system days.

I saw Casablanca at one of the TCM screenings (in 2012, maybe?). At first, I recall only picking up on references - such as the map graphic, like the one in Raiders of the Lost Ark, or some of the famous lines. But I was soon drawn into the story. Came away thinking it was a fantastic movie and well-deserving of all the accolades. I’ve not seen it since, however, because of something I later read on this message board about director Michael Curtiz and horses used in the filming of The Charge of the Light Brigade. I know some will argue about separating art from the artist and there are times I can do that. In this case, however, I’ve just not been able to do so. But your mileage may vary, as the saying goes. I approached watching Citizen Kane for the first time with a mix of resignation and apprehension. How could I consider myself a fan of classic movies if I’d never seen what is often cited as the greatest American film of all time? But it seemed like a dull homework assignment and I wasn’t exactly looking forward to it. How wrong my expectations were. I found it so entertaining, with surprising emotion and humor to go with the drama. A great, great film, though I can understand if some don’t care for it. But I still can’t stand Gone with the Wind.

THE PRODUCERS

My List: 1940 The Great Dictator 1941 Citizen Kane 1942 Random Harvest 1943 Casablanca 1944 Double Indemnity 1945 Brief Encounter 1946 It's A Wonderful Life 1947 Out of the Past 1948 Treasure of the Sierra Madre 1949 The Third Man

My list: 1. THE SHOP AROUND THE CORNER (1940) 2. CITIZEN KANE (1941) 3. MRS. MINIVER (1942) 4. SO PROUDLY WE HAIL! (1943) 5. THE WHITE CLIFFS OF DOVER (1944) 6. BRIEF ENCOUNTER (1945) 7. THE BEST YEARS OF OUR LIVES (1946) 8. CROSSFIRE (1947) 9. ALL MY SONS (1948) 10. THE HEIRESS (1949)

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.

Came across this just now and thought some of you might find it interesting. usually these annoy me, but I'm not too mad at this list, other than to say DON'T LOOK NOW suuuuuuuuuuuucks and THE WICKER MAN should have been in the TOP TEN. Full list Rank Title Year Director 1 The Third Man 1949 Carol Reed 2 Brief Encounter 1945 David Lean 3 Lawrence of Arabia 1962 David Lean 4 The 39 Steps 1935 Alfred Hitchcock 5 Great Expectations 1946 David Lean 6 Kind Hearts and Coronets 1949 Robert Hamer 7 Kes 1969 Ken Loach 8 Don't Look Now 1973 Nicolas Roeg 9 The Red Shoes 1948 Powell and Pressburger 10 Trainspotting 1996 Danny Boyle 11 The Bridge on the River Kwai 1957 David Lean 12 if.... 1968 Lindsay Anderson 13 The Ladykillers 1955 Alexander Mackendrick 14 Saturday Night and Sunday Morning 1960 Karel Reisz 15 Brighton Rock 1947 John Boulting 16 Get Carter 1971 Mike Hodges 17 The Lavender Hill Mob 1951 Charles Crichton 18 Henry V 1944 Laurence Olivier 19 Chariots of Fire 1981 Hugh Hudson 20 A Matter of Life and Death 1946 Powell and Pressburger 21 The Long Good Friday 1980 John Mackenzie 22 The Servant 1963 Joseph Losey 23 Four Weddings and a Funeral 1994 Mike Newell 24 Whisky Galore! 1949 Alexander Mackendrick 25 The Full Monty 1997 Peter Cattaneo 26 The Crying Game 1992 Neil Jordan 27 Doctor Zhivago 1965 David Lean 28 Monty Python's Life of Brian 1979 Terry Jones 29 Withnail and I 1987 Bruce Robinson 30 Gregory's Girl 1980 Bill Forsyth 31 Zulu 1964 Cy Endfield 32 Room at the Top 1959 Jack Clayton 33 Alfie 1966 Lewis Gilbert 34 Gandhi 1982 Richard Attenborough 35 The Lady Vanishes 1938 Alfred Hitchcock 36 The Italian Job 1969 Peter Collinson 37 Local Hero 1983 Bill Forsyth 38 The Commitments 1991 Alan Parker 39 A Fish Called Wanda 1988 Charles Crichton 40 Secrets & Lies 1996 Mike Leigh 41 Dr. No 1962 Terence Young 42 The Madness of King George 1994 Nicholas Hytner 43 A Man for All Seasons 1966 Fred Zinnemann 44 Black Narcissus 1947 Powell and Pressburger 45 The Life and Death of Colonel Blimp 1943 Powell and Pressburger 46 Oliver Twist 1948 David Lean 47 I'm All Right Jack 1959 John Boulting 48 Performance 1970 Nicolas Roeg and Donald Cammell 49 Shakespeare in Love 1998 John Madden 50 My Beautiful Laundrette 1985 Stephen Frears 51 Tom Jones 1963 Tony Richardson 52 This Sporting Life 1963 Lindsay Anderson 53 My Left Foot 1989 Jim Sheridan 54 Brazil 1985 Terry Gilliam 55 The English Patient 1996 Anthony Minghella 56 A Taste of Honey 1961 Tony Richardson 57 The Go-Between 1970 Joseph Losey 58 The Man in the White Suit 1951 Alexander Mackendrick 59 The Ipcress File 1965 Sidney J. Furie 60 Blow Up 1966 Michelangelo Antonioni 61 The Loneliness of the Long Distance Runner 1962 Tony Richardson 62 Sense and Sensibility 1995 Ang Lee 63 Passport to Pimlico 1949 Henry Cornelius 64 The Remains of the Day 1993 James Ivory 65 Sunday, Bloody Sunday 1971 John Schlesinger 66 The Railway Children 1970 Lionel Jeffries 67 Mona Lisa 1986 Neil Jordan 68 The Dam Busters 1955 Michael Anderson 69 Hamlet 1948 Laurence Olivier 70 Goldfinger 1964 Guy Hamilton 71 Elizabeth 1998 Shekhar Kapur 72 Goodbye, Mr Chips 1939 Sam Wood 73 A Room with a View 1985 James Ivory 74 The Day of the Jackal 1973 Fred Zinnemann 75 The Cruel Sea 1953 Charles Frend 76 Billy Liar 1963 John Schlesinger 77 Oliver! 1968 Carol Reed 78 Peeping Tom 1960 Michael Powell 79 Far from the Madding Crowd 1967 John Schlesinger 80 The Draughtsman's Contract 1982 Peter Greenaway 81 A Clockwork Orange 1971 Stanley Kubrick 82 Distant Voices, Still Lives 1988 Terence Davies 83 Darling 1965 John Schlesinger 84 Educating Rita 1983 Lewis Gilbert 85 Brassed Off 1996 Mark Herman 86 Genevieve 1953 Henry Cornelius 87 Women in Love 1969 Ken Russell 88 A Hard Day's Night 1964 Richard Lester 89 Fires Were Started 1943 Humphrey Jennings 90 Hope and Glory 1987 John Boorman 91 My Name Is Joe 1998 Ken Loach 92 In Which We Serve 1942 Noël Coward and David Lean 93 Caravaggio 1986 Derek Jarman 94 The Belles of St Trinian's 1954 Frank Launder 95 Life Is Sweet 1990 Mike Leigh 96 The Wicker Man 1973 Robin Hardy 97 Nil by Mouth 1997 Gary Oldman 98 Small Faces 1995 Gillies Mackinnon 99 Carry On... Up the Khyber 1968 Gerald Thomas 100 The Killing Fields 1984 Roland Joffé

The Music Man (1962) Paper Moon (1973) Bedtime Story (1964) The Wizard of Lies (2017) Bernie Madoff tv movie

Carnival Story (1954) About a small time roving carnival, in Germany because it can't make a profit in America, Carnival Story may have a familiar romantic triangle plot but remains strangely compelling, even if the final results are decidedly uneven. Produced on a limited budget by the King Brothers, the film's European location shooting brings some authentic atmosphere to the production. Anne Baxter plays a destitute girl at the carnival who pick pockets barker Steve Cochran. He catches her but seems a nice enough sort and helps her get a job as dish washer. Soon they are having an affair. High dive artist Lyle Bettger then takes an interest in her and decides to take her on as part of his high dive act, with Baxter soon learning how to dive into pools from 200 feet. But Bettger gets romantically interested in Anne, as well, setting himself up for potential conflict with Cochran. There is a major plot twist I didn't see coming at about the three quarter mark of this drama which becomes exceedingly melodramatic (rather enjoyably) at the end. Jay C. Flippen is cast as the carnival manager, with George Nader as a photographer friend of Bettger's. Baxter is quite effective in this drama as she comes to hate herself for getting sucked into a love-hate relationship with a no good, while Cochran is perfectly cast in his role as a "nice" guy who turns increasingly into a heel as the film progresses. Bettger, usually cast as a screen baddie, including his insanely jealous portrayal in De Mille's Greatest Show on Earth two years before, surprisingly plays a decent guy here. Modest little film lacking the studio slickness of the De Mille production, the tortured emotions of Baxter's portrayal (combined with Cochran's louse performance) bring this film an interest of its own. 2.5 out of 4

The Fuller Brush Girl 1950 The Wheeler Dealers 1963 Good Neighbor Sam 1964 The Film- Flam Man 1967 For Pete's Sake 1974

In a scene from WINCHESTER '73 as Dutch(Stephan McNally) and his cohorts(can't name 'em) are riding across a prairie after stealing the prize rifle from Jimmy Stewart, and acknowledging they left their guns back in Dodge City(a requirement set by Wyatt Earp during a shooting contest) one cohort complains; " I ain't felt so naked since the last time I took a bath." To which the other cohort replies; "You got a long memory." Sepiatone

Charge of the Light Brigade has its share of violence and it is disturbing when you see the horses going down with the use of the "running W" wire in the film's climax, knowing that many of the animals were put down afterwards as a result of their broken legs. It was dangerous for the stunt riders, as well, but at least they, unlike the horses, knew in advance they had to leap from their saddles. Having said that, though, I'm hard pressed to think that the violence of this code era film is any more graphic than that to be found in many other action films of the time. G Men (1935), with its explosive FBI raid on a gangland hideout, made far more of an impression upon me for its violence, for example, along with Hawks' Scarface (1932). A later adventure film of the decade, The Real Glory (1939), an action adventure dealing with a Moro uprising in the Philippines, is noteworthy for its surprisingly (for its time) graphic violence, which includes a replica of a head on the ground of one of its cast members after he is buried alive in an ant colony. Mike Curtiz was not known for his concern for others when it came to making a good film. His first big production in Hollywood, Noah's Ark, has a flood sequence in which legend has it a few extras were drowned. When Curtiz was told, before the watery flood gates opened, that some extras could be in danger his reply was reputedly, "They'll have to look out for themselves." Studio power at the time was such that, if there actually were deaths because of lax safety precautions, no charges were ever laid.

I watched MONA LISA (1986) for the first time last night. there may be spoilers, it was not what I was expecting...it was not any one thing, it seems to be any number of movies within any given five minutes of its run-time. Neo noir, proto-PRETTY WOMAN, romantic comedy, TAXI DRIVER, HARDCORE (the GEORGE C. SCOTT movie), then back to PRETTY WOMAN, then BRIGHTON ROCK, then a DE PALMA FILM, then AN ENTIRE PHIL COLLINS/GENESIS POWER BALLAD PLAYS OVER A MONTAGE OF PEEP SHOWS (????!!!!!) AND I STILL DON'T KNOW WHAT THE **** TO MAKE OF THAT PART, then it's TRAINSPOTTING, it even flirts briefly with becoming NUNS ON THE RUN thanks to a serious of increasingly curious bits with ROBBIE COLTRANE, and then it ultimately settles on being OUT OF THE PAST before throwing us a curve and ending as MY TWO DADS. Someone needed to take this movie out to a nice lunch and have a talk with it about what exactly the Hell kind of STORY it wanted to BE. On one thing, there is no ambiguity- BOB HOSKINS is AMAZING in it, it is a TOUR-DE-FORCE, reminded me a lot of BETTE DAVIS in DANGEROUS- where the film isn't so much a film in its own right, it's a REEL for ITS STAR- having them play all the emotions from A to Z- and it's the same with HOSKINS here. Whatever the movie decides to be at that minute, he is up for it. there are scenes where he is literally QUIVERING with EMOTION and you can see how REAL it is. He gives his ALL. MICHAEL CAINE is also in it as a SADISTIC PIMP, and he is very good, but there is an unforgiveably bad sequence late in the film where HOSKINS rescues a girl from his clutches that I don't buy for a minute.

You’re a ha-aa-aa-aard judge Sepiatone!

A Woman's Face 1941 next: Richard Johnson, Elke Sommer and Sylvia Koscina

The Protectors Next: Dennis Weaver, Susan Dey, Sela Ward

Two Faced Woman (1941) Next: Melvyn Douglas, Conrad Veidt, Joan Crawford

North West Mounted Police 1940

Cid, you might appreciate this story. I was once driving through the Texas hill country with a friend. Having grown up in the Southeast, I commented about how gray the landscape looked. My friend, who grew up in Roswell, NM, said she was just about to say how green it looked.

MONA LISA (1986) Next: Cary Grant, Myrna Loy and Melvyn Douglas

HIS BROTHER'S WIFE (1936)

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.

MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948)

"I'm sorry we were gone so long, but we had to go over and pick up Hank!" -- Dr. Ben McKenna (James Stewart) at the end of the 1956 remake of "The Man Who Knew Too Much," apologizing to friends who had been waiting for them for hours in a London hotel. Actually, McKenna and his wife Jo (Doris Day) had been trying to retrieve their son Hank (Christopher Olsen) from kidnappers.

Next: Dub Taylor, lots of bit parts, also in Bonnie and Clyde. Next: Brighton Rock (1947) Scrooge (1951) Women Without Men (1956) The Unsinkable Molly Brown (1964) Mary Poppins (1964)

Melody - I didn't know there were that many! Next: Debussy, Gensac, Rains

THANK YOU@!@!! Amazing how I can read something 5 times and MISS IT EVERY DAMN TIME!!!!!

Lancer Next: Paul Lynde, Buddy Hackett, Carol Burnett

I don't agree with his choice of THE MAGNIFICENT AMBERSONS (1942). It's a butchered film and a Best Picture winner should be more coherent. I also think he's overrating NIGHTMARE ALLEY (1947). THE GRAPES OF WRATH (1940) has that revised ending. It is not faithful to Steinbeck's original material, which is a shame, because until the last ten minutes, it's a brilliant movie.

More Sylvia Miles: Heat (1972) Evil Under the Sun (1982)

Room With a View #73 Otherwise, I need Dame Judith's input.

PSYCHO, 1960, 1998 LITTLE SHOP OF HORRORS 1960 remade as a musical POLTERGEIST, 1982, 2015 HOUSE OF WAX, 1953, 2005 HALLOWEEN, 1978, 2007 FRIDAY THE 13TH, 1980, 2009 CARRIE, 1976, 2002

Quinlain, Hank ; play by Orson Welles in TOUCH OF EVIL

GODZILLA has been remade a million times, including one in theaters now!

For those interested in rock history, The Who was the original band that Antonioni had in mind for the club scene - and considering their stage routine at the time, it's easy to see why. Their manager Kit Lambert made a rookie mistake though when he asked Yardbirds manager Simon Napier-Bell for negotiating advice. Napier-Bell told Lambert to hold out for more money and final cut approval, knowing full well that Antonioni would not agree. Napier-Bell then offered the services of his band for a very reasonable sum. Those managers and promoters played cut-throat, man.

The Last Wave (1977) Next: dystopian future

THE HAUNTING (1963), remade in 1999 THE MUMMY (1931), remade in 1999 Hammer Studios remade every monster movie with Christopher Lee and Peter Cushing -- THE MUMMY, FRANKENSTEIN, DRACULA, etc

I don't know if it's a new way of looking at things or if I'm just noticing it more, but we seem to have this idea that if a person is bad, their art must be bad. I think I came across that observation in a commentary about Woody Allen, but I've noticed it more and more and I think it's true. I remember seeing on twitter some music journalist who took issue with some political remark Eric Clapton had made after Eric had had a couple. The writer, it turned out after some research, had become a sort of Ahab to Eric's white whale. He used a lot of ink denigrating not only Eric personally, but his guitar playing. It was obvious he simply had a political disagreement that he allowed to affect his judgement on talent. Maybe I've been guilty of it too, but since we seem to be forming ever more sharply divided teams on culture and politics, we should bear in mind that separating the two (the person and the art) might give us more credibility. (This is not directed at anyone in particular, just a thought that occurs to me.)

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.

DICKIE ROBERTS: FORMER CHILD STAR (2003)

DON JUAN QUILLIGAN (1945)

SAN DIEGO I LOVE YOU (1944)

HERE COME THE CO-EDS (1945)

The Roar of the Press (1941)

I don't know about Lavender but he came over into one of my dreams and tried to sell me one.

Wednesday, April 14 10 p.m. The Ladykillers (1955). Alec Guinness, Peter Sellers, Herbert Lom .. but Katie Johnson steals the film.