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Oh, yes, every one of these films is worth seeing. I actually like all of them--not just admire them--and love most of them. Now I don't want to set your expectations too high, but: Sherlock Jr.--Imaginative and funny. If you like Keaton at all, this is not to be missed. Metropolis--The classic silent science fiction film. You need to see a restored version to enjoy the visuals. Warning: there are several musical soundtracks available, and.some are overbearing. You'll think of many SF films influenced by this one. The Passion of Joan of Arc--Some extraordinary visuals and a great performance by Falconetti. To Be or Not To Be--A good Ernst Lubitsch comedy. The subject shouldn't work, but does. The Wages of Fear--Clouzot creates a society of outcasts in the oilfields of South America, then gives us nail-biting suspense as in few other films ever made, as the men drive truckloads of explosives over terrible roads. Dark and intense. Very existential--no pasts, nothing but the present, and everything on the line. Not to be watched on a day you need cheering up. Good performances, too, especially by Yves Montand and Charles Vanel. Rififi--A film I can watch over and over. Basically a French version of The Asphalt Jungle, with an even longer silent sequence. Wild Strawberries--This film used to be regularly available at revival houses, shown at college film series, etc. If you like any Bergman movies, you should see it. This was often the film that brought people to Bergman. Yojimbo--Much imitated by Sergio Leone and others. Toshiro Mifune plays a samurai who hires himself out to both sides of a feud. Nothing wrong with Leone/Eastwood, but Kurosawa/Mifune, well, "the original is still the greatest."

Sherlock Jr is Keaton at his most inventive. This is one of his best visual stunts.

Gloria Grahame is a favorite on this board, rightly so. Although she's in several movies, it just seems she's just not on screen as much as we'd like to see her. I wonder if she was difficult on set? She has the same quality as MM in that when she's on the screen your eyes go right to her. Although she was "quirky", I was very turned off by the recent movie about her later years, "Stars Don't Die In Liverpool" despite deftly portrayed by talented Annette Benning. A different pose from this photo shoot hangs on my "Gloria/George" wall (note the netting panel under her neck that holds the dress up): But this picture really captures her classic flirty expression:

My name is Mark and I was named after his character on The Rifleman. I met him once at 1one of the autograph collector shows. He signed a photograph for my mother and mentioned how touched he was to have someone named after his character! What a wonderful man he was.

They are all worth seeing. You can see both Metropolis (1927, even the fully to-date restored version) and The Passion of Joan of Arc (1928) on various internet sources like Internet Archive, YouTube, and dailymotion. Metropolis is one of the great monuments of moviemaking. Some parts will seem dated to the point of silliness, but ultimately it is a powerful statement about humanity and compassion. It set the pattern for all dystopic visions of society. The Passion. . . has one of the supreme performances on screen. Excruciating to watch--in a good way. To Be or Not To Be (1942). I don't care for it much, but it has Carole Lombard in it. The Wages of Fear (1953). The best of the French film noir emulations. An absolutely nihilistic portrait of human existence (goody). Plus, thrilling scenes piled on one after another. A non-stop ride. Rififi (1955). Another iconic French noir emulation. People focus on the heist, which is about the best in movies. But, as with all great heist movies, it is the least important part. Wild Strawberries (1957). I don't know why so much criticism of this movie describes it as the bitter recollections of an aging scholar in the twilight of his life. I see it as one of the most positive of Bergman's movies. Sure there are tough and 'Bergmanesque' moments, but there is also lightness, humor, discovery and rediscovery of relationships. And Bibi Andersson is a bright beam of sunlight. At one time it was shown with a little regularity on TCM, but, with most Bergman, not so much anymore. Yojimbo (1961). Toshiro Mifune out-Toshiro Mifunes himself in this classic western. The fact that it is set in Japan doesn't get in the way one bit.

Just want to say thanks to TCM for taking the time for this special tribute to Satyajit Ray. My grandfather was a college classmate of Satyajit Ray’s and anyone who met Mr. Ray said he was a one-of-a-kind human and creative genius. I’m a daughter of Bengali immigrants, born and raised in the US. My parents wanted their kids to know about both the artistry of Bengali culture and the complex beauty of the human spirit. As a result, this education included a heavy dose of Satyajit Ray movies! Satyajit Ray may never have been a child living in a rural village with little means, a wife struggling with either boredom or work/life balance, or a clever detective aiming to outwit cold blooded criminals, but he had the gift of being able to manifest their minds and hearts on the screen. I’m so excited to see his work, which has been an influence to so many other important filmmakers, being represented on the channel in this wonderful way. Thank you!

I'm very sorry to learn of his death on April 29th. I did not know he was a bandleader later on.

I guess I'm not saying anything that's a surprise. I was prompted to post, however, by watching a recording I made of a movie from Fox movie channel, a recording when Fox movie channel was part of the DirectTV package I have (Funny, HBO, which I have almost no interest in, is included, but Fox, which I do, is not). Anyway, the movie, The Man Who Never Was (1956), an above average wartime thriller based in London, has her in a small but intense roll as a woman involved with a flier. You can probably tell what happens. Her story intertwines with the main plot, and offers her some moments that show she is of a different order from the other actors in the movie. She has opportunities to display her raw and ragged emotions that in another actress would be embarrassing to watch. I don't know anyone who could have handled the role so well, maybe Ann Dvorak or somebody like that.

His performance was said to be masterful. There was a large air of discontent, I have read, when he was not cast in the film, because WB reckoned that he was a name that nobody outside of theatre audiences knew. He ended up making his film debut in Die Hard, released 5 months before Dangerous Liaisons and he pretty much stole the show as the flamboyant villian. But as good as he was there, it would have been nice if his Liaisons performance had been recorded for posterity.

Fred Astaire did some surrealistic dreaming in Yolanda and the Thief.

I agree she's an excellent actress. Her performance in In a Lonely Place (1950) was particularly outstanding. In addition, her looks in this film qualify her for consideration as one of Hollywood's most beautiful classic actresses (not top of the charts, IMO, but somewhere on the list).

Monday, May 3 Satyajit Ray’s 100th birthday tribute continues 11:45 a.m. Three Daughters (1961). This was originally released as Two Daughters in North America as one of its episodes was cut. 4 p.m. An Enemy of the People (1989). The Ibsen play re-located to India where a doctor tries to warn a village of a pandemic.

This news about Olympia Dukakis is so sad. She and the rest of the cast were so wonderful in Moonstruck. I guess I'll always remember her as Mrs. Castorini, Cher's mom.

so, i watched a filme we have all been discussing in another thread DANGEROUS LIAISONS (1988) I was ten years old when this came out, growing up in SOUTHEAST NORTH CAROLINA and I remember everyone talking about it and then within a year or so of its release, I found myself HOME ALONE (hands on the face, screaming) and LO AND BEHOLD, it was on HBO in the middle of the day. And I watched it and I "got" it, and I was proud of myself for "getting" it and also liking it; and also been stirred by the scene where MLLE. CECILLE'S LADIES MAID offers herself, nude to MALKOVICH after being with HIS VALET thinking he is blackmailing her. Even at age 11 (or so), this film SPOKE TO ME. All these years later, I still "get" it, although I think I have been smoking too much weed- I had a little bit of a hard time following this plot this here go-round; it certainly helped that I remember it thanks to CRUEL INTENTIONS. Not meaning to ignite a firestorm, BUT THIS REALLY IS THE ULTIMATE GAY FILM. Even more than MOMMIE DEAREST. I think more deserving of praise than ANYONE ELSE is THE SCREENWRITER/playwright who adapted it; HOLY MOLEY did he take one DULLASSED SNOOZE OF A BOOK and PUMP IT FULL OF FIRE AND ICE AND BLOOD. (I tried to read THE SOURCE NOVEL by Choderles DeLaclos and man does it EAT!) Did you know that GLENN CLOSE kept her costumes and loaned some to MADONNA for her VOGUE performance at the VMA's? this film walks a VERY FINE LINE with regard to the issues of consent, but i think it survives the post-ME TOO world; THERE is a brilliant scene between UMA THURMAN and CLOSE that is liberating; but I think it's fair to say that even in 1988 this was the reason JOHN MALKOVICH didn't get an OSCAR NOMINATION, even though he deserved it. [doubtlessly a lot of female members of the Academy recognized this behavior and were repelled.) The acting is pretty great except for KEANU REEVES; although SWOOSIE KURTZ seems somehow out of place. I had forgotten UMA THURMAN is in this, and she really is tremendous in a difficult role. word fail me when it comes to anything I could say about the work of MICHELLE PFEIFFER and GLENN CLOSE and THE COSTUMIER and THE SET DESIGN and THE DIRECTION and THE EDITING. THE ENDING OF THIS FILM IS MY EVERYTHING. I SOMETIMES WATCH THE CLIP OF GLENN CLOSE THROWING HER FIT THEN GOING BOOED AT THE OPERA ON YOUTUBE WHEN I AM FEELING DEPRESSED. THE BEST PART IS WHEN SHE STUMBLES ON THE WAY OUT IN UTTER, BROKEN DEVASTATION. I'm not saying that they should secretly invite Ivanka to The Met Gala in September just to re-enact this scene... (But they should secretly invite Ivanka to The Met Gala just to re-enact this scene. )

There were a couple posts recently asking why TCM doesn’t show many of Robert’s intro’s so I thought this might be of interest. https://www.hollywoodreporter.com/race/afi-launches-virtual-gallery-of-robert-osbornes-tcm-intros-exclusive

This thread is for anyone who is a fan of his. He was a child actor in the 50s and 60s. Probably best known for his role of Mark McCain in The Rifleman, 1958 through 1963. He also was a gifted singer and later in his career had an orchestra which played music from the 20s and 30s. I still can't believe he's gone, I loved him so much. I hope others will share memories etc. about Johnny. We love you, Johnny!

The Looney Tunes about the Dodo, "Porky in Wackyland" and "Dough for the Do-Do," and the Dodo's appearances in TINY TOONS The "Tocatta and Fugue" opening sequence from FANTASIA Dream sequences in THE GUILT OF JANET AMES Surrealist painter Dali said he was inspired by the Marx Brothers

If you're in the US, see if your library subscribes to Kanopy (kanopy.com). If yes, you will be able to stream Wild Strawberries and many of the other films mentioned in this thread. The Criterion Channel may not be cheap ($90/year), but it's worth it to me.

To Be Or Not To Be (1942) seems not to be too popular here! It's not in my top 250 either but I like watching it to see the character actors doing comedy, who I fondly remember for films in other genres. Lionel Atwill (one of my all-time favorites), Sig Rumann, Henry Victor (another favorite), Stanley Ridges...and unbilled bit players who I love- Helmut Dantine, Leyland Hodgson, the great Alec Craig.... I also like it because 95% of WWII films are stories told from the American or British perspective. The people of Poland may have suffered and lost the most of any country's people in WWII. So I see it as paying some honor to their fight and their incredible losses. The Wages Of Fear (1953). Wow! I didn't see this either until 2015, on the (medium) screen at Film Forum with a full house in attendance. When the movie ended, I recall feeling worn out, mentally exhausted... as the lights came on, audience members were looking at each other and everyone seemed to have the WHAT DID I JUST SEE look on their faces. Strangers were looking at each other, like 'are you as emotionally destroyed as I am'? It's a must-see.

I did not include these on the official list for this month, but TCM is featuring the premiere of the following restored versions during the TCM Film Festival: May 6 - Doctor X (1932) (1:30 am ET late Thursday) May 8 - They Won’t Believe Me (1947) (8 pm ET) (Eddie Muller is supposed to do the intro.) (The above films have previously been shown on TCM in unrestored versions.) The Film Festival has also scheduled the premiere of the following shorts: May 7 - Let Me Come In (2021) (3:15 am ET late Friday) May 9 - La Chambre (1972) (05:55 am ET late Sunday / early Monday morning) (I added these shorts to the list above.)

I consider: Yojimbo (1961) a must-see. It is intense and yet accessible. I consider: Rififi (1955) to be a must-see also. It is virtually the definition of noir. How much I like: To Be Or Not To Be (1942) depends on my mood. I feel it is definitely worth watching once.

And if not your local library, then a nearby college library would certainly have a collection of Ingmar Bergman films.

1960...WILD RIVER Next: Patty Duke needs to learn some table manners.

Mrs. Stone is another tragic character played by Leigh:

Yes, Z indicates the end of ZZZZZZZ for this TCM viewer.

She's very good in THE MAN WHO NEVER WAS (1956). Recently I watched her in a British noir called THE GOOD DIE YOUNG (1954). She portrays a wicked lady in that one, a self-absorbed adulteress, married to John Ireland. At one point Ireland gets so fed up with her that he hauls her into the bathroom and puts her in the shower and turns the water on while she is still fully clothed. She plays it perfectly, this naughty spoiled woman who deserves a comeuppance and gets it. She had a way of understanding which scene in the script was going to be the most memorable one for her and she would always put everything into it. She does that in SUDDEN FEAR (conspiring with Jack Palance to kill Joan Crawford) and in ODDS AGAINST TOMORROW (trying to seduce Robert Ryan behind Shelley Winters' back). She's an actress with strong instincts that knew how to pick the right scripts for herself. Other films where she stands out: OKLAHOMA! (1955) and RIDE OUT FOR REVENGE (1957).

1953

Vertigo 1958 The Trip 1967 2001 : A Space Odyssey 1968

Of course nobody is going to like everything.

Kingsley, Ross, played by Robert Goulet in "Honeymoon Hotel"

I bet ALAN RICKMAN made ONE HELL of a VALMONT.

Jarrett, Cody -- James Cagney in White Heat

There Was a Crooked Man... (1970) The Grifters (1990) Trouble in Paradise (1932) The Lady Eve (1941) The Sting (1973) Paper Moon (1973) American Hustle (2013) House of Games (1987) The Spanish Prisoner (1997)

"I Can't Give You Anything but Love" -- sung in numerous movies by Katharine Hepburn, Cary Grant, Judy Holiday, Marlene Dietrich, right up to more contemporary films. Here's a version sung by Lena Horne in Stormy Weather (1943): Next: Another Dorothy Fields/Jimmy McHugh song used in a movie

Wait Till the Sun Shines, Nellie (1952)

Every December I watch WHITE CHRISTMAS and wish Danny Kaye and Bing Crosby made more movies together. I think they are just great! "Let's just say we're doing it for an old pal in the army!" And speaking of WHITE CHRISTMAS, Bing & Rosemary Clooney should have made more movies together -- their voices blend so well!

1937

The Straight Story (1999) [John Deere tractor]

Quinn, Molly

Good news - The schedule for the TCM Film Festival mentions that the restored version of Doctor X will be shown: https://filmfestival.tcm.com/schedule/ They've been showing the restored version of Wax Museum on TCM for a while now so hopefully they will stay true to form.

Jean Harlow and Cary Grant. They appeared together in "Suzy" a WWI melodrama. Hal Roach wanted Jean Harlow as Marian Kirby in "Topper" but she was unavailable and soon thereafter died. Constance Bennett did a great job in the role but personally I think Jean would have been funnier. It's a shame that Cary and Jean never appeared in a screwball comedy together.

John Loves Mary

The Public Enemy 1931 Little Caesar 1931 The Killers 1946 Murder, Inc 1960 The Valachi Papers 1972 The Killer Elite 1975 Goodfellas 1990 Casino 1995

Some Enchanted Evening - performed by Rossano Brazzi ( he was dubbed) - South Pacific Kathryn Grayson sings in a movie

Not long ago someone posted episodes from Search for Tomorrow on YouTube. These were episodes from around 1983 I think. Olympia Dukakis had a contract role on SFT during that time playing a matriarch of a Greek family. The family didn't really catch on with viewers and they were written out by the next headwriter/producer. I guess it's a good thing she didn't end up spending years on a soap opera, because then she might not have done MOONSTRUCK or the other films that came later in her career. Rest in peace.

Bob Hope and Bing Crosby had really nice chemistry in Road to Singapore. It's a shame they couldn't have . . . Oh, wait. Never mind.

My Dad owned The Gourmet and Gift Center at 153 W57th Street, right across the street from the Russian Tea Room. We sold imported fancy foods such as caviar, pate', truffles, coffees , teas, chocolates, etc. Many celebrities were regular customers including Gig Young, Harry Belafonte (whose office was next door) Igor Stravinsky, Bobby Short, Tony Randall, Barbara Walters, Al Pacino, Cary Grant, Fred Astaire, Louis Armstrong ( to whom we would deliver as his modest house was just a few blocks from our home in Queens), and many of the Broadway, Metropolitan Opera and the Ed Sullivan Show crowd, including Stiller and Meara as well as a young Ben Stiller. I used to deliver regularly to the Osborne apartment building.

Hi Sansfin I should not have said anything about what she said. I'm a very sensitive person and I felt like I was being attacked. I'm sorry, thank you for the kind words.

HARVEY (1950) Next: lots of prayers are said