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Planet of the Vampires (1965) Explorers land on a mysterious planet. It is quickly evident there are forces beyond their understanding there. It would be easy to dismiss this as shlocky spaghetti sci-fi if it were not for the fact that it was directed by: Mario Bava. The exterior shots are quite beautiful while evoking a sense of unseen horror. The story is slow in places but his direction keeps them from being boring. I have read that this movie greatly influenced: Alien (1979). The parallels are quite solid. I must wonder what might have been done with a reasonable budget. Observations: Barry Sullivan. I know him mostly from stodgy dramas. His performance here did not win me over. He has all the charisma and animation of something which lacks all charisma and animation. I must wonder why they paid him a salary when they could have saved much money by simply buying a mannequin and propping it up where appropriate. Crew uniforms: The black leather is somewhat tasty but I could find no reason why they incorporate a cone of shame as you might see after taking a puppy to the vet for a Barker snip. Vampires: There are none. The hostile beings are ethereal parasites which transform dead crew members into a form of zombie. Italian cast: Some of their fighting and close-up shots were overblown to an extreme but their performances were quite competent for the material and budget. Spaceship interior: Any person who has even been aboard an airplane or submarine will marvel at the size of the rooms. I believe it may be safely construed as saving recreational space as they could with ease play baseball in the generator room or hold horse races in the control room. Alien spaceship: This is a treasure! I fully intend to download the movie and use shots of this as wallpaper. I am sorry to say that there is a fair bit of gore which might prevent some from watching it. It is generally limited to bashed faces but the make-up is sufficiently well-done as to border on realistic. I can not say that I like this movie but it is interesting. I feel it is worth watching for the visuals alone. 7.4/10

I think Nolte did create a list for the 30s - I'll see if I can post it.

I agree. Regardless of "his opinion", threads by decade on our own best picture choices are interesting.

By John Nolte on Breitbart: Nolte: What Should’ve Won the Best Picture Oscar – 1931 to 1939 (breitbart.com) Nolte: What Should’ve Won the Best Picture Oscar – 1940 to 1949 (breitbart.com) Nolte: What Should’ve Won the Best Picture Oscar – 1950 to 1959 (breitbart.com) Nolte: What Should’ve Won the Best Picture Oscar – 1960 to 1969 (breitbart.com)

The Mouthpiece (1932) The Spellbinder (1939) My Blue Heaven

Goodfellas (1990)

Meow.

Who needs a hat when your hairdresser is insane?

If one views film noir as having certain themes, as well as a visual style (like I do), instead of a genre, then there have been films from all eras that used said themes, as well as visual style.

Bogart and Lorre and their love of smoking became an issue with Jack Warner while John Huston was directing his first film, The Maltese Falcon. There is an inordinate amount of smoking done by the main actors in this film. According to then-studio employee (and future screenwriter) Stuart Jerome, this resulted in a feud between studio head Jack L. Warner and stars Humphrey Bogart and Peter Lorre. Warner hated to see actors smoking on the screen, fearing it would prompt smokers in the movie audience to step out into the lobby for a cigarette. During filming he told director John Huston that smoking should be kept to a minimum. Bogart and Lorre thought it would be fun to annoy Warner by smoking as often as possible, and got their co-stars, Mary Astor and Sydney Greenstreet, to go along with the joke. During the initial filming of the climactic confrontation, all four actors smoked heavily. After seeing the rushes, Warner furiously called Huston to his office and threatened to fire him from the picture if he didn't tell Bogart and Lorre to knock it off. Realizing their prank had backfired, Bogart and Lorre agreed to stop smoking on camera. However, when the next series of rushes came back, it was obvious that the "lack" of smoking by the actors was taking away from the sinister mood of the scene. Huston went back to Warner and convinced him that the smoking added the right amount of atmospheric tension to the story, arguing that the characters would indeed smoke cigarettes while waiting nervously for the Maltese Falcon to arrive.

It's really rich when a poster who loves to play the role of victim at the drop of a hat has a posting history on these boards of having tried to change the direction of other posters' threads (for the "improvement" of the thread, he claimed) and continued to do so even after the OP of that thread asked him to stop. Pardon me if I don't burst out in tears when that same double standard poster now says that he is being "bullied."

(Kenneth Branagh's first movie was A Month in the Country) Candice Bergen Next: The Man in the Moon (1991)

Gabin, Jean

Terror in a Texas Town (1958)

I saw Leon Morin, Priest, directed by Jean-Pierre Melville and starring Jean-Paul Belmondo as the priest and Emmanuelle Riva as the atheist who's more interested in Christianity than she lets herself acknowledge and who, of course, wants to jump Belmondo's bones. The setting is WWII as an unnamed town in southern France is occupied first by the Italians and then by the Germans. It helps if you know that a fair proportion of French were Communist-leaning at that time, that France was divided with the southern half ruled from Vichy before the Germans took everything, and that some Frenchmen worked for the Resistance and some informed for the Germans. Of course, Melville's French audience would automatically know all of this. The story is episodic rather than tightly organized, which at first seems to be a flaw, and none of the above facts are spelled out. Ultimately, this seemed like a strength of the film, as it did not have careful plot points that manipulated the audience in a particular direction. How should a priest behave? How does a soul fight against acceptance of God and the church, and how does that soul change? This is not the film one might expect from the director of crime films like Le Samourai, although there is a connection with the best Melville film I've seen, the great noir When You Read This Letter. I would especially recommend Leon Morin, Priest to admirers of Bresson's Diary of a Country Priest. Belmondo, hardly the actor one would imagine as a priest, is believable and sexy, and Emmanuelle Riva, who has to carry the film, does so without strain. One of the most interesting episodes occurs when Riva learns that a woman she knows who is informing for the Germans will be killed by the Resistance. She goes to the priest to ask what she should do. His response surprised me, though it adds to the strength of the film.

THE DEVIL RIDES OUT (1968) Next: Charles Laughton, John Williams and Marlene Dietrich

I also agree A Passage to India should be on the list, and high on the list. I don't get how The Crying Game and The Full Monty are ranked higher than The Lady Vanishes , Black Narcissus and Secrets and Lies.

Small Town Girl (Bobby Van hopping around town) Next: prank

And when they REALLY want to measure the cut of a man's jib they challenge with "how long did it take for ya to get here?" Nebraska get's a lot of undeserved credit. Dern and Forte in particular often get a lot of praise for what are IMO adequate performances. June Squibb's no nonsense portrayal of the matriarch makes the movie.

What an interesting list, thanks! And Don't Look Now most certainly does NOT suck! I agree that A Passage to India -- Lean's masterpiece -- should be on the list. Also although it's nice to see a Carry On film on the list, they didn't pick the best one (though I do like the one that they did select). And although I have thoughts about many of the selections -- and omissions , I do have to say, that Brazil, a load of pretentious twaddle, is possibly the worst film I've ever seen.

THE SUNDOWNERS

THE AMOROUS ADVENTURES OF MOLL FLANDERS (1965)

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

Cool. Every Holiday Season at Holiday time and Christmas time. Do you ever watch Free Form’s Kickoff To Christmas and 25 Days Of Christmas on Free Form? He’s the host as Free Form Santa and he does a really wonderful and really amazing job too. His set is great. His house for the event is great. The caroler’s who sing the jingle and who are with him throughout the event are great. He’s really fantastic and the caroler’s are really fantastic and Free Form’s Kickoff To Christmas and 25 Days Of Christmas are both really fantastic. He’s hosted both events for about three years now and I think he would be a great guest programmer here on TCM. That’s why I requested him and if he returns to host Free Form’s Kickoff To Christmas and 25 Days Of Christmas again this year? That will be just so cool. He’s also on this Podcast called The Pack. I haven’t herd him yet. But I listen to it. It’s great. I haven’t gotten to him yet is what I’m saying. I think it’s actually one of the longest running Broadway shows on Broadway in New York and they decided to bring it to everybody and do a Podcast direct from their homes to raise money during the pandemic. Which is really nice. Isn’t it?

The Light in the Piazza

Jerry McGuire

Again I will confine my choices to pictures actually nominated those years. 1960: The Apartment 1961: West Side Story 1962: To Kill A Mockingbird - my favorite year in film, though most of my favorites were not nominated 1963: Lilies Of The Field 1964: Becket 1965: The Sound Of Music - of the nominees, this is the one I would watch again 1966: Who's Afraid Of Virginia Woolf 1967: Bonnie And Clyde 1968: Funny Girl -last great movie musical, dynamic debut of Barbra Streisand 1969: Midnight Cowboy

Dorothy Provine Next: GONE ARE THE DAYS! (1963)

ANCHORS AWEIGH (1945)...ON THE TOWN (1949)...TAKE ME OUT TO THE BALLGAME (1949) Next: Orson Welles and Joseph Cotten

I watched the DETROIT CHOP SHOP episode last night, it was all right, but by FEAR THEY NEIGHBOR standards, the ending was kinda anticlimactic (there have been some WILD ENDINGS on that show.) I was impressed by the 24 karat gall of the neighborhood lady who was friends with the chop shop guy and took his side adamantly (I'm guessing he replaced her transmission for free), "like, he was buggin [MR. CHOP SHOP GUY] ALL THE TIME and addin all KINDS of CRAZY STRESS to his life over his stuff... when all he was doin was TRYIN to look out for his kids" translation: "Look, I'm sorry that YOU have CHOSEN to take offense from my friend's illegal seizure and subsequent desecration of your private, and paid for, property and for his subsequent refusal to abide by the Laws of either the state or Human Decency, but hey, it's Detroit and what the Hell were you doin leavin a house unoccupied for a year?"

Films Noir go from the mid 1930s to the present. You can even point to a few proto Noir before the 1930s. French Poetic Realist Noir mid 1930s to WWII, Classic British Noir from 1938 to early 1960s, Classic Hollywood Noir from 1940 to 1959 and this is where the majority of Noir Alley films are drawn from, Classic French Noir after WWII. Transitional Noir from 1959 to 1969. Neo Noir from 1969 to the present. Other International Noir can vary by county. Bound is Neo Noir and not in the TCM Library so it would cost money for TCM to screen it.

Savages but not Bound?

MUSCLE BEACH PARTY (1964)...BEACH BLANKET BINGO (1965)...BACK TO THE BEACH (1987) Next: Dean Jones & Suzanne Pleshette

No, there are movies here I never heard of.

THE BIRDS AND THE BEES (1956)

Charles Coburn

Christopher Walken Next: IT SHOULD HAPPEN TO YOU (1954)

Coogan, Jackie

Tess 1979

It's also on the Criterion Channel, if you have access to that.

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

Sinuhe, played by Edmund Purdom in "The Egyptian"

Garth Gilker sorry Greta, you've had your 15 minutes of fame

SHAMPOO (1975)

DOWN AMONG THE SHELTERING PALMS

Blood Alley (1955) Uninspiring actioner in which John Wayne plays a Yankee sea captain asked to help an entire Chinese village escape from Red China to Hong Kong via a beat up old ferry boat. This was produced by Batjac, Wayne's production company, originally to have Robert Mitchum in the lead. Wayne was forced to fire Mitchum, however, after director William Welllman, who didn't get along with Mitchum, gave the Duke an "either him or me" ultimatum. Novice producer Wayne then cast himself in the lead role. From my perspective, considering the sparsity of intelligent script material here, this proved to be a break for Mitchum. The Oriental "location" shooting was done off the coast of California for a generally handsome looking production. Lauren Bacall co-stars as a doctor's daughter who is also to take flight on the ferry, with Paul Fix, doing the pidgin English routine, as an elder Chinese spokesperson. Mike Mazurki, cast as an Oriental, is also along for the ride but speaks better English than Fix (which says a lot about Fix). Wayne's character, initially held in a Communist prison cell, spends time speaking to an invisible woman companion he calls "Baby" to help himself keep sane. Unfortunately he still keeps talking to her even after he gets out. His kind of a woman, though. No back talk. Certainly, though, he has more screen chemistry with "Baby" than he does with Bacall. The film is as slow as the ferry, its highlight sequence, arguably, set during a storm in which Wayne is attacked by a couple of Communists on board the ship (there are a fair number of "Commie" references made by Wayne throughout the film). Perhaps the dumbest moment in the film occurs after Wayne is piloting the ferry, filled with hundreds of villagers, as the Commies are firing shells at them from a ship. The shells are just barely missing the ferry as they try to make their escape, the lives of all aboard in the balance. Then, suddenly, Bacall, who had sneaked ashore, comes racing back, trying to catch the ferry. Wayne stops the boat, with explosions raining all around them and puts it in reverse, closer to the line of fire, so the lady can hop aboard. Okay, I know she's Lauren Bacall and she's the leading lady and all that but Wayne's character is endangering the lives of hundreds of people for the sake of one. How would it look if one of the shells had struck killing dozens in the process? Somehow I have the impression that if it had been anyone but Bacall doing this Wayne's attitude would have been, "Tough luck, lady. I'm not endangering the lives of all aboard for some lamebrain who took off." Wayne fans will probably like the film well enough but for the rest of us it's pretty forgettable. Anita Ekberg has a small dialogue-less part as a Chinese villager. I had difficulty recognizing her. Now that is a crime far greater than anything the Commies do in this film. 2 out of 4

1920's - Louise Brooks 1930's - Myrna Loy 1940's - Gene Tierney 1950's - Brigitte Bardot 1960's - Claudia Cardinale 1970's - Caroline Munro 1980's - Mathilda May 1990's - Salma Hayek 2000's - Jessica Biel 2010's - Scarlett Johansson