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Modern Times (1936) The Catered Affair (1956) Flashdance (1983)

Alice Doesn't Live Here Anymore Swing Shift Mildred Pierce

Btw, here is the text of Hjalmar's Latin incantations (black mass), with translation: "**** grano salis. Fortis cadere cedere non potest. Humanum est errare. Lupis pilum mutat, non mentem. Magna est veritas et praevalebit. Acta exteriora indicant interiora secreta. Aequam memento rebus in arduis servare mentem. Amissum quod nescitur non amittitur. Brutum fulmen. **** grano salis. Fortis cadere cedere non potest. Fructu, non foliis arborem aestima. Insanus omnes furere credit ceteros. Quem paenitet peccasse paene est innocens."English translation: "With a grain of salt. A brave man may fall, but he cannot yield. To err is human. The wolf may change his skin, but not his nature. Truth is mighty, and will prevail. External actions show internal secrets. Remember when life's path is steep to keep your mind even. The loss that is not known is no loss at all. Heavy thunder. With a grain of salt. A brave man may fall, but he cannot yield. By fruit, not by leaves, judge a tree. Every madman thinks everybody mad. Who repents from sinning is almost innocent.” (The text that our censor has edited is the word "c_um," which means "with," in Latin.)

In a different type of "strong" perhaps "stoic" is the right word, I would like to add Greer Garson as the title character in Mrs. Miniver. As the matriarch of the family, she showed strength when her husband was away doing his part for the British military. And she stays strong when held at gunpoint by a wounded German pilot, who demands a coat and food. She even keeps her cool and disarms him when he passes out.

Here is a Lang noir film about a painter.

Marty Breaking Away Mystic Pizza

Call me nuts, but I liked it- Which to be honest surprised even me, because I’m not often down with sudden tone changes or shifts in direction in a film near the end. (I see what you mean though...) Did anyone ever have a high-class pool party, regatta, wedding, or garden function In any film in the 1980s that wasn’t ruined by Rodney Dangerfield or a killer alligator or Freddy Krueger or George Burns as Satan or a runaway golf cart or Richard Pryor? ...Or in this case John Heard dressed as Snake Pliskin riding a white horse?

Saturday Night and Sunday Morning (1960) Twice in a Lifetime (1985) Blue Collar (1978)

Never used them. One system was called Multiphone and based out of Seattle. It was most popular on the west coast. There may have been similar systems elsewhere. They were essentially dealt a death blow by the introduction of the 45 rpm record and the march of technology. Multiphone's advantage over the more common jukebox in the era of 78 rpm records was the size of its available library of songs. Multiphone users could select from 170 or so titles. Until the 45 came about, juke boxes were really limited in the number of records they could store. https://www.king5.com/article/news/history/seattles-original-streaming-music-service-was-launched-in-1939/281-43af8319-7d6d-487a-897d-818cfa838fb4 Multiphone went out of business in 1959.

two thousand one hundred forty-second category The working class ON THE WATERFRONT (1954) SALT OF THE EARTH (1954) NORMA RAE (1979) Roseanne

Question re: CUTTERS WAY So Jeff Bridges is driving this cute little convertible that looks kind of like a vintage Jag or Aston Martin, but apparently it is called a “Healy.” I’ve never ever ever heard of one of those before, can somebody walk me through what it is? ps- As far as I know it’s still sitting in that alley in Santa Barbara, he never goes back and picks it up.

Ann Sheridan is great as the title character in NORA PRENTISS (1947). Story is a combination of melodrama, horror and gangster picture. Sheridan is cast as a nightclub singer who falls for a married doctor and naturally should not have him. But in utter and complete defiance of the production code, she does get him. The sinful story features Kent Smith as the doctor, Rosemary de Camp as the doctor's wife, and Robert Alda as the gangster who wants Nora all to himself. And frankly, who wouldn't..?

Not a bad point to make here, Lorna. Yes, Heard is terrific in this film. However, if Mr. Peary in his book didn't also say the same sort of thing about Lisa Eichhorn's performance in this film, then he was remiss in this. (...and because I thought she was terrific in it too)

Next Friday's Neo Noir lineup is Blade Runner: The Final Cut, Mona Lisa, and Tequila Sunrise.

Ah yes, MAIN MISSION STATE STREET, running through the heart of sunny Santa Barbara! I remember it well...

Bicycle Thieves (Vittorio De Sica, 1948) The Match Factory Girl (Aki Kaurismäki, 1990) Riff-Raff (Ken Loach, 1991) Daens (Stijn Coninx, 1992) Made in Dagenham (Nigel Cole, 2010)

NOW THAT I THINK ABOUT IT THOUGH... CUTTER keeps getting away with bad behavior throughout the film, it's a leitmotif... in some ways, the most important scene in the film is the one early on where he comes home drunk and RAMS his neighbor's car repeatedly and the cops let him go with a warning because he's a NAM VET and WHITE and A GUY JUST LIKE THEM. In his own little universe, CUTTER was allowed to function and get away with bad behavior just like the evil millionaire in the film, it's once he decided to swim out of his lane that he ran into problems.

For Sunday night/Monday morning: Heat Lightning (1934) packs a lot of story and good acting into its 63 minutes. Aline MacMahon runs a filling station in the middle of nowhere and tries to keep her younger sister (Ann Dvorak) from running wild. Aline's former lover, now a criminal (Preston Foster) shows up to complicate matters. Aline transforms from very mannish in her work overalls to quite womanly when he arrives. This may be Aline MacMahon's best role. And wouldn't it be more fun if Glenda Farrell and Ruth Donnelly showed up as a couple of dizzy hot-2-trot divorcees? You bet it would! Even Jane Darwell shows up in a small role.

Need to mention REMBRANDT (1936) with Charles Laughton. Fantastic film.

Somebody once went into that "Pawn Stars" shop and tried to sell one, but they turned it down. THIS guy had better luck with his. Sepiatone

(Congratulations to the thread for reaching 400 pages by the way.)

"Saw at the show" an archaic term that dates your generation. Your parents called theaters "at the show" shortened from the earliest term "picture show". I miss hearing the term, thanks! Another poster recently said similarly archaic term, "well cryin' out loud". Haven't heard that in decades! Agreed, well stated. I also think he understood much about the fragile inner psyche of actors from his years with Vivian Leigh.

Sunday, July 25/26 3:45 a.m. The Umbrellas of Cherbourg (1964). Somewhat bizarre musical by Jacques Demy.

No, I'm certainly not proficient in Latin. I studied Theology at Fordham in the Bronx, where I took classes in Classical Greek. That Latin text/translation is all over the web. The Black Cat is a pre-code movie, but still, I guess they had to be mindful of religious sensibilities, and I suppose they didn't want to conjure up any demons!.

Despite there being a male dominated studio system during the "Golden Age of Hollywood", studios recognized the importance of making "woman's pictures" and stars such as Rosalind Russell, Bette Davis, Katherine Hepburn and more played strong female characters that were smart, funny, strong and compassionate. Do you have any favorite female characters from classic movies? I'd love to hear your thoughts. A few of mine are: Rosalind Russell as the quick talking newspaper woman Hildy who seeks personal success in "His Girl Friday" (1940). My mother returned to school at a time when most women didn't do this. She went to journalism graduate school and became a successful journalist at a big Chicago newspaper. She told me that she liked female journalists in the movies such as Hildy and Lois Lane in Superman. It helped opened her eyes to a career that a woman could pursue. Barbara Stanwyck as a big city magazine writer who poses as a farmer and mother. This is a quirky, funny movie and I love Barbara Stanwyck's style in it. Maybe a surprise but Judy Garland as Dorothy in "The Wizard of Oz". As a little girl, I loved this movie. Unlike European fairy tales where the only solution to the female's problems is marrying a prince, Dorothy in The Wizard of Oz solves her own problems and shows quite a lot of courage getting the broomstick from The Wicked Witch of the West. i love the scene where Dorothy slaps the Cowardly Lion and lectures him because he is bullying Toto.

I like Jane Powell's strong Millie character in SEVEN BRIDES FOR SEVEN BROTHERS. She takes on the whole lot of them! 😄

What I could never figure out was why Nora wanted Dr. Talbot. He was a clingy coward and she was smart, talented and compassionate. She should have gone for Phil; at least he was a man!

It's also been a while since I've watched the Sheridan film, but I do recall that her character as being more sympathetic and due to the self-defense aspect.

I thought his character was boring but the situation he was put into is interesting, taking advantage of his dullness. He's a rather taciturn shy straight arrow coming to the big city where's he's definitely out of place, which makes for a contrast. I thought Dunaway was fairly interesting in TTCA, but I've always liked her in general. The others were interesting as was Jim Rockford, who had a lot of drama going on outside of the cases he took. I don't mind some violence, especially fictional movie violence. I rarely watch three movies in a row on TCM, but I did last night, except for the interrupted Blood Simple. I give Mrs. Cutter a lot of credit for staying with Mr. Cutter, because I would have been out of there long before.

Well, I ask because Eagels (who was fragile in real life and died young due to dependency on drugs) imbues her performance with a lot of 'weakness' yet she is still strong enough to pull the trigger and get up on the stand and commit perjury to protect herself. In the remake, Bette's character does not take the stand which gives it another dimension. There was another version, THE UNFAITHFUL (1947) with Ann Sheridan. Of course, in THE UNFAITHFUL, she is has killed in self-defense and gets a chance to save her marriage.

Tonight the film is Cause for Alarm. A 1951 Loretta Young MGM film with Barry Sullivan. Running at only 71 minutes which is rather odd for a 50s MGM film with a star as big as Young.

Never knew the translation of Poelzig's invocation was easily accessible! Thanks, Swithin. You are a gentleman and a scholar.

The Servant 1963 The Molly Maguires 1970 Taxi Driver 1976

Sorry slayton, but I agree with Moe here in regard to the Countach. The original Countach was a VERY "nice" (as in "nicely styled") car UNTIL they cluttered up its "niceness" and began adding all that aero-crap to its exterior and then needlessly giving this nice looking car that cartoonish "boy racer" look during its later run. (...and have thought this since the day I first saw one back in the early-'70s)

Really? All right, I take your word for it. (wonder if they ran into MILDRED PIERCE...) (I guess it makes sense that they would hang around LA waiting for the call from MR. EVILGUY) No one reacting to the gun shots when he shoots into the water is ludicrous though.

in his book ALTERNATE OSCARS, author DANNY PEARY argues that JOHN HEARD should have won the 1981 BEST ACTOR OSCAR for CUTTER'S WAY. For the first hour, I wondered just what he was basing this on...and then came the scene where he and BRIDGES are watching THE POLO MATCH and he lets loose with some HARDCORE RENDING AND GNASHING, some TORTURED SOUL STUFF that in the hands of a lesser actor- say ROD STEIGER- would have been AWFUL, but HEARD makes it work. There were numerous times thereon in the film where I looked into those piercing blue eyes of his and was sorry for THE POTENTIALLY GREAT LEADING MAN that the world of moviegoers lost out on...(HEARD, in real life, had some serious issues with drugs and abusive behavior, whether that was because of career difficulties or the cause of said difficulties, I dunno.)

Bound for Glory (1976) -- Woody Guthrie

I don’t think that was the Santa Monica pier tho, I think it was in SB...Also there’s no way on earth you could fire that many gunshots in downtown Santa Monica and not have a SWAT team on you in MINUTES, even in 1981. **That said, the scene where Cutter throws the stuffed animal into the water and starts shooting at it was the exact moment I really took interest in this film. That was a great scene.

Austin Healey 3000. Beautiful little cars. Bridges should be beaten to a pulp for letting one get in the condition his was in. Several pics of them over on the "Nice car" thread.

Well for cryin' out loud, TikiSoo, I suppose that's a nice way of calling me an old fogey. Look at that, even Judy is laughing at me.

I’m an hour into CUTTERS WAY. I can’t escape the feeling that the movie could easily have told the same story (this far) in half the time. it’s ok tho. (And beautifully shot too, it’s making me miss Southern California.)

Our local subscription-arthouse used to recut funny trailer commercials for their annual subscription card, by resubtitling foreign films-- One, for example, had execs at a corrupt Japanese board meeting discussing getting the subscription--At one point, an assistant asks "Sir, we've had a request from one patron who wants a refund on Enter the Void." "No deal," replies the exec, "if he goes to a Gaspar Noe film, he should have known what he was in for." 😆

This: is nice. Or would be, if it were in any movies, which it isn't. Too bad.

Double Indemnity Next: A department store

In regards to NIGHT MOVES that's one of those movies that leaves the viewer to decide what exactly is going on at the end. Heck, the ending could make sense and that's all that matters!

They rarely show a good copy of Secret Agent (1936)...underrated early Hitch, and most of the prints online aren't great next--quitting a job

Apparently free on Youtube. Went looking for a trailer to refresh my memory 20 minutes in, and a short nap later, I realized it was the movie.

Gun for a Coward (1956)

Nelson, Lori

El Dorado (1966) I recall back in 1967 debating as to which John Wayne western I would go to the show to see, El Dorado or The War Wagon. I went to the latter because it co-starred Kirk Douglas. Last evening I watched El Dorado again, Wayne's second last film to be directed by Howard Hawks. In many respects it is a partial re-hash of Rio Bravo, and it plays, in its familiar ways, like old comfort food, I'm sure, for Wayne fans. This time the Duke is a gunslinger who decides to help sheriff-turned-drunk Robert Mitchum when he learns some hired guns will be headed to Mitchum's town after being hired by a local cattleman seeking to expand his empire. Truth is, re-hash or not, it's still quite entertaining, even if none of the action scenes are staged by Hawks with the same kind of panache he had brought to past productions. Wayne is Wayne, romancing a beautiful and spirited Charlene Holt, 31 years his junior. James Caan is fun as a dude cowboy named "Mississippi" who throws a mean knife but doesn't know anything about guns so is given a shotgun that can bring down anything that gets in front of it. Ed Asner plays the under written role of the local cattleman in a performance that fails to make an impression a few years before he did make a great impression with a wonderfully written part as Lou Grant in The Mary Tyler Moore Show. A scarface Christopher George, on the other hand, does make a smooth impression as a professional gunman who regards Wayne with respect (and wants to see, of course, how things will come out between them in a gunfight). But best of all is Mitchum, particularly in any of his scenes as a rummy sheriff laughed at by the town. A few of Mitchum's drunk scenes are played for laughs, such as when Duke konks him over the head with a bucket and Bob stands cross eyed for a moment before collapsing. Other moments are played more realistically such as when he doubles over from withdrawal pains (or threatens to) when it's getting down to the action. This is the only film in which Wayne and Mitchum were co-starred (excluding the all star Longest Day, in which I can't recall if they shared any scenes) and they have great chemistry. I wish they could have worked together more often. Even in this film, made in the latter stages of their careers, particularly Wayne's, their scenes together really work. In retrospect while I didn't make a bad decision when I picked The War Wagon over this one at the show El Dorado holds up well, maybe even a bit better. Either way Wayne fans (as well as those of Mitchum and Douglas) will probably be satisfied. 3 out of 4