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I did appreciate Ben mentioning and describing what a human moment the scene was where Mitchum impulsively kisses his very average looking, middle-aged wife. I don't think Eddie would have brought that up. Sometimes Mankiewicz's out-of-the-blue, sensitive input can be an interesting counterpoint to Muller's gritty noir p.o.v. persona.

EDDIE COYLE did a great job of probing into the NO HONOR AMONG THIEVES, DOG EAT DOG and EVERY MAN FOR HIMSELF aspects of noir.

Jojo Rabbit (2019) The Boy with Green Hair (1948) Forbidden Games (1952)

I really wish they had let EDDIE MULLER host NEO NOIR NIGHT by himself.

🎶 “when the moon hits your eye, you can’t tell she’s a guy, that’s amore!”

This is my favorite Falcon movie and I think one of the best. The title says it all.

Mona Maris was in A Date with the Falcon; The second in the series with George Sanders.

RICHARD JORDAN aka EVIL JAMES MASON:

He is, so you know there was more excitement in Joan Crawford's dressing room than on the film itself. But of course I will be watching!

Yea Bennie doesn't seem too into them.

It's William Castle and Joan Crawford. That's good enough for me. "Strait- Jacket" was a riot.

A few years ago I happened to catch BOOM! playing on some channel (It wasn't TCM). I think Alan Cumming was discussing it. From the dialogue I could tell that it was adapted from the Tennessee Williams play THE MILK TRAIN DOESN'T STOP HERE ANYMORE. Elizabeth Taylor was too young for the role she played and Richard Burton was too old for his role, but I was very impressed with Taylor's performance. Those lines are not easy ones make sound real and I think she succeeded in doing that. The name of Noël Coward's character was The Witch of Capri. And, yes the exclamation point was part of the title! BOOM!

Girl Interrupted (1999) A setting almost exclusively within the walls of a mental institution for young girls. When Winona Ryder❤️ asks the authorities for a diagnosis, she is told that she has "Borderline Personality." I laughed at that. Surely that is as crock of hooey. After the movie, I looked it up and right there it is. Borderline personality, never hoid of it. In seems like an incomplete diagnosis. Borderline what? Angelina Jolie, a name which means "pretty angel," is anything but in this one. I did not know that she had the acting chops to do what she does here. I thought she was just another pretty face with a sweetie-pie name who made a movie now and then. In this one, she is a precocious wildcat from hell with a sharp tongue, so sharp in fact that she is adept of doing extensive damage to the psyche of others, just by blabbing. I believe she earned an award for it and I think Winona should get one too. Winona doesn't seem all that far gone (for the most part, or at least at first) and that works because it helps us to identify with her. At one point I thought this was going to be about a sane girl trapped in an institutional. She does, however, try to talk her way out by saying, "I did NOT commit suicide." This sets up a favorite line. When this strapping young fellow tries to convince her to go to Canada with him (he if fleeing military service) she declines. When he insists that she is all right, she says, "Well, I tried to commit suicide," (now we know she is getting better). He tries to laugh it off, only a few pills ... she says, "I swallowed a whole bottle." This exchange is not an especially dramatic moment or anything but i was moved by it. It reminded me of Kearce wanting Joe Clay to have, "just a few drinks." This is near the end when Kearcy is still far gone and Joe is in tenuous sobriety living in a dump with a kid in the back room. "We don't have just a few drinks" he says, "WE GET DRUNK!!!." Sometimes you just have tell it like it is. As might be expected with a realistically gritty treatment that GI gets , there is a particularly wrenching scene (okay, more than one). ///

"I Saw What You Did" is a childhood favorite that hasn't aired often enough for me to tire of it. Low budget 60s drive-in fun. I'm surprised there isn't more affection for it here.

On Svengoolie tomorrow, July 10, 2021: Boring choice, not a horror or sci-fi film:

Lorna, about X, Y, & Zee: Susannah York very earnestly does all the "creating a character" things one might do in an ordinary movie, but you'd think Michael Caine would have taken her aside and said, "Darling, this is a piece of caca and all you have to do is show up and take the money the way Liz and I are doing." So much of Elizabeth Taylor's later career seems to consist of variations on her aging, shrewish, and drunken character in Who's Afraid of Virginia Woolf?, but she's no longer getting dialogue by Edward Albee, direction by Mike Nichols, etc. And to follow up on the interesting discussion of Jane Fonda: Fonda strikes me as having no real center to her personality, so she goes through phases to find meaning in her life: Sex Kitten Jane, Political Jane, Serious Actress Jane, Fitness Jane, Born-Again Jane, Philanthropist Jane, and so on. Some of us have known people like that (especially if we were around during the 1960s), but not many have the money and celebrity that Fonda has had.

I just kept thinking of Spiderman’s nemesis the Green Goblin.

https://en.wikipedia.org/wiki/Personal_luxury_car

Next Saturday TCM has The Falcon Out West. Not bad, but not as good as some others. Barbara Hale (Della Street from Perry Mason) is in it. For me, I think I like the ones where he travels to somewhere other than the streets of New York.

Wait! Doesn't Bruce Lee already have dibs on this, speedy???

HERE COMES THE GROOM BEDKNOBS ANS BROOMSTICKS WOMAN OF THE YEAR MASH series OPERATION DUMBO DROP

Pack Up Your Troubles (1932)

OH GOD DAMN, I COULD GO FOR SOME BARNEY'S BEANERY RIGHT NOW.........!!!!!!!!!!! (also lived in LA for a bit)

EDDIE COYLE SPOILERS BELOW! MITCHUM was as great as I remember although he sits out large chunks of the film. I also enjoyed the guy who looked like EVIL JAMES MASON. but I kinda think that the best performance in the movie was from PETER DOYLE- he has scenes where he seems very stilted and awkward in his delivery, and then we discover that is because he is a disingenuous, underhanded ratfink selling out everyone and he then SEIZES the last 10 minutes away from MITCHUM and OWNS THEM.

Unique like Chinatown unique? Agree Obsession is the better of those three. I liked both Dressed to Kill because I had a thing for Nancy Allen for a little bit and Body Double because of the landmarks around my neighborhood at the time. Barney's Beanery!!!! before they remodeled it. *sniff*

actually, I remembered just now that JOHN LITHGOW is pretty good in TERMS OF ENDEARMENT.

It fits as well as The Ghost and Mr. Chicken. Why wouldn't a movie with death and murder fit? Death and murder?! Murder and death?! If it's a monster you want, John Ireland as a homicidal man of "about 40" is pretty monstrous.

AMEN TO THAT!!!!!!!!

Mine, too, ElCid! I know a lot of people list THE FALCON AND THE CO-EDS as their favorite or best-in-the-series, but I actually prefer MEXICO. Although I'm not overly thrilled with the rushed ending, this outing cuts right to the chase -- no extraneous comedy relief or other distractions. It's simple, moody (with some Lewton LEOPARD MAN atmospherics towards the finale) and I just adore that beautiful Mexican song. Plus, I'm a Mona Maris fan, lol. (she's Lenore Aubert-lite to me, lol)

Yep. Like---- By the way, chances are good my Dad painted those fenders and the hood. And my Grandpa polished 'em. Sepiatone

My favorite Reta Shaw role is from a TV series, not a film: As Big Maude Tyler, alias Clarice Tyler, Maude Clarice Tyler, Annabelle Tyler and Ralph Henderson from The Andy Griffith Show

LAKE PLACID SERENADE (1944)

Across the Wide Missouri (1951)

Well, she clearly became a more skilled actress later on, but that was partly facilitated by finally being cast in less fluffy roles. I'll admit, though, that even at her best (e.g., Klute or The China Syndrome) I often find myself admiring her alert intelligence and "acting choices" rather than being fully convinced by her embodiment of a character. I'm conscious of the wheels turning in her head, as if some part of her were always standing outside the character rather simply relaxing into it.

From July 10-13, 1921, the Poli ran Deception, produced in Germany, directed by Ernst Lubitsch, and starring Emil Jannings as Henry VIII and Henny Porten as Anna Boleyn. The film was originally released under the title Anna Boleyn. It is available on YouTube with German title cards. I watched it on Amazon Prime (as Anna Boleyn) with English title cards. Brief Plot: Anna Boleyn becomes the lady in waiting for Catherine of Aragon, wife of King Henry VIII. Henry immediately puts the moves on Anna. When Catherine is unable to produce a son, Henry gets his marriage annulled and marries Anna. Then Henry puts the moves on Anna’s lady in waiting, Jane Seymour. Anna produces a daughter, which does not thrill Henry. Anna is beheaded on trumped-up charges of infidelity. Review: This is a good-looking film, with an excellent performance by Jannings. Henny Porten is also good, particularly during the climax when her own uncle turns against her. The still below shows the two leads relaxing a bit: The sets and costumes are first rate. The film runs about two hours, but never drags. One weak spot was the jousting scene, which was a bit lame. This film is definitely worth a look. Famous Players-Lasky bought the American rights to the film, releasing it as Deception. The film had a mammoth budget, costing five million marks to produce (about a million dollars at that time). A full-size replica of the front of Westminster Abbey was built, with a street two city blocks long leading up to it. For Boleyn’s coronation scene as Queen, four thousand extras were used.

Sunday, July 11 5:45 p.m. Running On Empty (1988). I thought this was quite different and interesting the first time I saw it. With River Phoenix, Judd Hirsch and Christine Lahti.

I’m a Cancer too. And my Chinese zodiac is a Rat, so I got the short end of the stick in both zodiacs.

One of my favorite Reta Shaw moments is her duet in The Pajama Game with Eddie Foy, Jr., "I'll Never Be Jealous Again." I love her authoritativeness, her immaculate diction, and especially her unexpected delicacy in the delightful softshoe routine Bob Fosse choreographed for the two of them:

He was ubiquitous in violent rural/southern action films in the 70's and 80's, the archetype of which would be WALKING TALL (1972) but never succumbed to easy stereotypes. Whether he was playing a hero or a heavy he portrayed these characters as nuanced, practical, intelligent and thoughtful. Those characteristics enabled him to stand out in one of the best 70's crime films, CHARLEY VARRICK (1973). He portrays his violence as just another tool a professional criminal brings to his job. The lack of emotion was very realistic. For most people their daily routine is not a heavily emotional experience, we just grind. And that's how Joe Don Baker acts.

Holy cow, that's a hard one! But I'd have to say I'd want to meet Jean Arthur because she was so dang cute, just a tiny little slip of a thing, and how precious is she in The More the Merrier (1943)? (But, could we sit and chat and then get Irene Dunne on the phone?) Next: Jack Lemmon or the Lemon Sisters?

I would urge everyone to listen to "Living Doll" and its fantastic guitar solo. Hank Marvin is a demigod.

I acquired the Severin Films collection The Eurocrypt of Christopher Lee, which includes the following chillers: The Castle of the Living Dead Crypt of the Vampire (AKA Terror in the Crypt) Katarsis (AKA Challenge of the Devil) Sherlock Holmes and the Deadly Necklace Theatre Macabre The Torture Chamber of Dr. Sadism (based on the little-known novella by Louisa May Alcott no doubt) IMO, none of Severin Films offerings in the Eurocrypt collection represent highlights in the prolific Lee's considerable oeuvre. Arguably the best of the batch is The Castle of the Living Dead, distinguished as the first movie for Donald Sutherland (who plays two roles, one in drag). Runner-up Torture Chamber has a laudable style and gusto quirkily punctuated with an eccentric score by Peter Thomas (a key contributor in defining the German krimi). Considering the impressive filmmakers involved (screenwriter Curt Siodmak and director Terence Fisher), Sherlock Holmes and the Deadly Necklace is a frustrating disappointment. Crypt of the Vampire evinces notable style . . . in service to a middling script (the major detriment in all of Severin Films Eurocrypt selections) and sluggish pace. The most outré and slapdash feature, Katarsis, represents-- as far as I'm concerned -- the nadir in the collection. To date, I've watched only two episodes of Theatre Macabre, a Polish TV series hosted by Lee. Neither episode was macabre, to me. Severin Films package includes the highly regarded soundtrack for The Castle of the Living Dead. I would have preferred Thomas' score. For my money, the treasures in The Eurocrypt of Christopher Lee are the compendium Relics from the Crypt, which features interviews with Christopher Lee, and the booklet Christopher Lee: The Continental Connection penned by estimable and always informative and entertaining Jonathan Rigby. There are worse ways to spend an evening -- several evenings -- than visiting The Eurocrypt of Christopher Lee. But to really relish and appreciate the iconic honoree, I prefer to leave the crypt and spend time in the House . . . of Hammer.

And now... Did anyone watch that turkey of an Elvis movie Spinout last night? Whoa, what a lame flick. BUT, there WERE at least a lot of "nice cars" in that one, anyway: IMCDb.org: "Spinout, 1966": cars, bikes, trucks and other vehicles Funny though how Shelley Fabares' 1960 Ferrari 250 GT Cabriolet here and which is now a big ticket item ... ...turned into a Triumph TR4 after it ran into Malibu Lake and got wet here...

Yes, Night Moves features Gene Hackman in one of his best roles (and that is saying a lot since he has done a lot of really fine work).

I'm married to Old Navy. He says the same thing about Naples.

Cotton Comes to Harlem (1970) *Number 1/26 for Criterion Neo-Noir Collection* I had never heard of this film before a few days ago, upon checking the new additions to the Criterion Channel website, but this was more fun than I had previously anticipated. The film follows a duo of detectives who are searching for a cotton bale in which a large sum of stolen money is hidden. These two detectives are great; I really enjoyed the two of them. There were a couple shootouts, some comedic moments, and some.... shall we say... bare necessities on display (not that I mind; I just don't think I'm used to the seventies yet and how vastly different they were than the sixties). All in all, not a bad way to begin my neo-noir quest.

Interesting choice. Any roles come to mind?