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Just a really quick note about Cause for Alarm: It's well-known, and was even in 1950, that the more guilty you act, the more guilty people are going to think you are. If you're innocent, relax. Running around acting guilty will only make you seem guilty. Loretta should have said to the execrable Barry S., : "Yeah, so the letter was mailed. Nothing you say is true, and I say, I'm not worried. And if you die- and it won't be by my hand- they can do an autopsy which will show there's no overdose of your medicine in your system. So nyah !" Also, the worst thing she could have done was to remove the gun from Barry's hand. The gun in his hand would have proved he was trying to kill her and that he was a nutter. By removing the gun, there'd be no evidence that Barry was bonkers and was trying to kill her. And yeah, Eddie's right...Loretta has no time to lose, and yet she takes several minutes to change her outfit and "get all dolled up", just to go to the post office and retrieve the letter (which it turns out wasn't there anyway.) The expectations in the 1950s of how women were supposed to look, no matter what the situation, were ridiculous. One more thing- nosy neighbours and busy body aunts ! The flip side to the "we're all friends and we all help each other out in this neighbourhood" thing is the nosy neighbour who interferes or possibly threatens the person with their nosiness, well-meaning or not. I would not have been able to stand living in a neighbourhood like that back then, with everyone standing around staring at everything I do. And that little kid ! He'd have driven me crazy ! he's not cute, he's a pain in the azz ! Get lost, kid ! And get your own cookies.

THE MAN WHO KNEW TOO MUCH Original version, 1934 First I want to say that I really like the more famous version of this story, the 1956 remake starring James Stewart and Doris Day. Who wouldn't? But this write-up is about the original Man Who Knew Too Much, made 22 years earlier. Of course both versions are made by the same director, Alfred Hitchcock, and it's interesting to ponder why he decided to make the film again. I'm not sure he ever did this with any other movie he made. The 1934 version is undeservedly much less famous than its 1956 successor. But it deserves to be better-known. It's very good in its own right. It's very quirky, it's suspenseful and actually quite funny -- funnier than the remake. For one thing, it's got a lot of odd little details, such as the main character attaching the knitting needles of a scarf his wife is knitting to the man she's dancing with. We see the scarf gradually unravelling as the couple dances. It's a beautiful combination of suspense and humour. SPOILER At first we laugh, seeing the woman's dance partner move around the floor as the knitting threads snarl around him and others on the floor. ( The husband is mildly jealous of his wife's dance partner, and wants to thwart the mood between his wife and this upstart dancer.) But then something quite unexpected, and not funny at all happens: the dance partner is shot. It happens so unspectacularly, so quietly, nobody even notices at first. So Hitchcock takes us from laughing to gasping in about five minutes. That's just one example of the memorable scenes in this film. Another one is the dentist's office where the father of the kidnapped child ( in this version a young adolescent girl, not a little boy) and his friend go to seek the daughter, based on a clue the father's found. It's so bizarre ! The dentist's business features an enormous set of teeth displayed over the door of his office. There's something surreal about the thing. And when the father (played by a British actor called Leslie Banks) submits to a dental exam by the dentist (who's also clearly working for the bad guys who kidnapped his daughter), you don't know whether to laugh or cringe as the dentist tries to subdue him with dentist's gas ( was it called "laughing gas" back then?) and the father overpowers him and ends up giving the sleeping gas to the dentist. Another memorable setting is the crazy "church" where the girl is being held by the kidnappers-- It's called "the Tabernacle of the Seventh Sun" or something nutty like that. It's a really funny scene, funny and at the same time very dramatic. There's a bit where the hero tries to leave, only to be detained by some old biddy who sticks a gun in his back. It's so incongruous, this chubby old lady, surely a washer woman or something like that in her everyday life, threatening this man with a gun. But possibly the best part of the 1934 Man Who Knew Too Much is the always watchable Peter Lorre as the head villain. He's so silky smooooth, he's always smiling and being polite to the hero (who at some point is taken prisoner), offering him cigars and celery (yes ! there's a jar of celery sticks in the room where the hero's being detained, and he (the hero) keeps crunching away on them !) Lorre sports a peculiar hairdo, there's a skunk-like white streak running through it. He achieves a perfect combination of weary sophistication and false solicitude for the man and his daughter, and ruthless determination and cruelty. Anyway, I enjoy this earlier version of The Man Who Knew Too Much at least as much as the more famous 1956 remake, and in some ways, more. It's just quirkier and funnier. You can really see where Hitchcock's going by this time in this film. I actually really like just about all of Hitchcock's British era movies. I think they deserve to be more well-known. And The Man Who Knew Too Much is a great example why.

Why is Eddie perpetuating the "Loretta Young was raped by Clark Gable" story? She and Gable fell in lust during CALL OF THE WILD. The result of that mutual attraction was Judy Lewis, born overseas and then "adopted" by Loretta, who later told her daughter "you are my mortal sin". Lovely parenting. I've always admired Young on-screen -- to me she was an underrated, naturalistic actress but as a human being not my cup of tea. By all accounts and from everything I've read, a pretty unpleasant person. Narcissistic, cruel, and hypocritical.

Hello, my name is Jillian – and I’m a message board / blogging newbie. (But a long-time TCM viewer!) This is my first post (here and on my blog, The Classic Film Connection). I hope to use both spaces to connect with fellow classic movie fans. As a means of introduction, I thought I’d share my personal list of the top ten best films I’ve seen so far in my lifetime. If one picture is worth a thousand words, then maybe ten pictures (plus some words) will tell you everything you need to know about me. Not all of these movies are from a classic era, but most are. And I hadn’t realized before making this list – but I clearly have a favorite decade! Each film’s title is connected to its IMDb page. Here we go (from #10 – the #1 best!)… #10: The Greatest Story Ever Told (1965) More of an experience than entertainment, this film is almost beyond comparison – even to other Biblical epics. Its artistry is second to none (pause it at any point, and it looks like a painting!), and the level of depth and detail in the story are unmatched. Every time I watch it, I notice something new. Like most ambitiously passionate creative works, there are flaws here and there. Every moment may not land with the desired meaning and impact, but the intention is always clear – and it is beautiful. #9: The Straight Story (1999) I never thought a movie about a guy riding a lawnmower would be so enthralling! Based on a true story, this film’s hero is totally unique: a quiet, elderly gentleman – who is sharp and smart, and who defies limitations by undertaking the greatest feat of ingenuity I’ve ever seen! Richard Farnsworth carries the show, assisted by some equally good supporting performers and absolutely gorgeous cinematography. The people around him are ALMOST too quirky to be real, but that line is never completely crossed. And it all plays out like a story an old man would tell – a little slow, but full of colorful details and plain-spoken wisdom. #8: Lilies of the Field (1963) This is a simple story told in a straightforward way – but it’s so beautiful, it sparkles. I wouldn’t call it a “perfect” movie – yet that really doesn’t matter in light of its heart, which just shines through the screen. And it’s too good to be considered merely a sentimental favorite…There’s a passionate energy that sets it apart – plus something else I can’t quite name. Something holy, I think. #7: Fences (2016) The first time I saw this movie, the impact of its meaning didn’t hit me until well after I left the theater. But when it hit, it blew me away. This is a truly dramatic film. Based on the Pulitzer Prize-winning play, its style feels a bit talky and theatrical until you get used to it – and there’s a relentlessness and a hardness in all that talking that makes it tough to sit through. But just stick with it, because the last act is POWERFUL – and the ending wouldn’t mean nearly as much without all the pain endured to get there. #6: Whistle Down the Wind (1961) This is a seemingly simple film – but it’s filled with Biblical allusion, and it leaves deeper meaning up to interpretation. Personally, I think it’s a story about the power of child-like faith – and how easily it can turn complicated. Also notable for its large cast of remarkably natural non-actor children (Hayley Mills being one of the few with professional experience at the time), this movie provides the most understanding, well-rounded look at the whole of childhood – and all the positives and negatives of that stage of life – that I’ve ever seen on screen. #5: A Soldier’s Story (1985) A twisty yet tight whodunit that makes larger, nuanced points while solving its mystery. The cast and the music are ON FIRE – particularly Patti LaBelle (!!!) and Larry Riley’s in-character musical performances. When they sing together, it’s almost too much star-power for one screen! #4: Up the Down Staircase (1967) This should be required viewing for all aspiring teachers. (And it could be used as encouragement/therapy for all current/formers ones, too – staff and administrators included!) This film IS life in public education – especially in a low-funded system. And it’s timelessly relevant regardless of grade-level or environment: I taught primary grades in rural systems, not inner-city high-school – but I faced a version of nearly every issue presented here. Filling the school with non-professional teens to act as the students (and casting several in key roles) was a particularly genius move that adds even more realism. This movie somehow strikes a magical balance – it’s perfectly honest, yet still thoroughly cinematic. (The only reason it’s not even higher on my list is because it’s SO true-to-life, it’s a little difficult for me to watch.) #3: The Hustler (1961) In many ways, this one is the ultimate: its direction and cinematography are the most interesting, its characters are the most complex. And it’s got Jackie Gleason in a strictly dramatic role, demonstrating with very limited screen time why he deserves to be called The Great One – shooting his own pool and operating on a whole other level than the rest of the already fantastic cast. Its style is unbeatable – and its depth of detail and commentary on life are just as striking. No matter how many times I watch it, I’m convinced there’s still more there I’ve yet to fully see. #2: The Apartment (1960) There’s nothing quite like watching this story unfold for the first time, spoiler-free. If you’ve never seen this movie, all I will say is this: don’t read about it or look into it before watching (it’s one of those films where it’s best to know as little as possible going in), and don’t pay attention to any labeling of it as a “romantic comedy” – because it’s so much more than that. It defies categorization. Actually, the only label that really fits is “perfect”. This is a perfect movie. #1: They Shoot Horses, Don’t They? (1969) This is the most intricate movie I’ve ever seen. Its world is so complete and compelling that I’m dropped into it from the moment the opening titles start, and I’m not pulled out until the end credits roll. No detail is wasted. The characters feel like real people you can care about. The cast is so invested, it’s incredible – no matter where or on whom you place your focus, you’ll notice things that add to the experience. The story fits together like a puzzle, and every moment is a piece that means something. Certain events are shocking, yet nothing happens that isn’t foreshadowed in some way. From the smallest details of its perfectly-crafted world, to big ideas about society and the human condition – this movie says so much in such subtle ways. *Bonus*: Requiem for a Heavyweight (1956) This one can’t be compared fairly to the others, since it’s a live teleplay. But I love it so much, I had to include it. Out of all these masterful films, this particular story and cast are my all-time favorite. And the sets and direction make everything look surprisingly real – an especially impressive feat for an early television production. It all works to pull you into its world so effectively that even the common pitfalls of classic live TV (slightly grainy kinescope picture, a few flubbed lines, and camerawork that occasionally beheads) aren’t really distracting. A beautiful story, a stellar cast, a complete “movie world” on a TV set – and it was all done LIVE. That’s pretty awesome. *** So, what do you think? Please say Hi!, share your thoughts on my list, and tell me about YOUR favorite movies. And if you’d like to visit me over at The Classic Film Connection, I’d love to connect with you there, too. As a blogging newbie, I appreciate all the support (subscribing, sharing, etc.) I can get!

Motel Hell Cottage to Let (1941) Singin' in the Rain The Majestic (2001) Corner Gas (tv and film..)

Chinese zodiac signs are easier: The Ox-Bow Incident (1942) The Snake Pit (1948) Monkey Business (1952) Enter the Dragon (1973) Save the Tiger (1973) Rooster Cogburn (1975) Dog Day Afternoon (1975) Killer of Sheep (1977) Ciske de Rat (1984) Who Framed Roger Rabbit (1988) The Horse Whisperer (1998) My Brother the Pig (1999)

. . . Oh, you’re gonna roast in hell for sure now. But you roast with the satisfaction of having a valid point.

It's interesting that Marlo Thomas for TCM did a tribute promo for Loretta and it's been shown on TCM over the years. Loretta was her Godmother and she talks about how wonderful Loretta was. We've all heard how Loretta was far from wonderful. Co-stars called her "Attila the Nun". Telling Judy Lewis she was her "moartal sin" was about the cruelist thing a mother could say to her child. On the flip side, I've also always admired Loretta as an actress. A great beauty, one of the most beautiful ever on the screen and a wonderful actress. Most times, when one of her films is shown, I watch and enjoy her performance.

That's why I was disappointed that Eddie picked Cause For Alarm and I wrote that last week and the fact that it's been shown many times over the years on TCM. I still would have rather he got his hands on Loretta's noir The Accused instead.

Three Billboards Outside Ebbing, Missouri (2017) Signs (2002)

This was my first viewing and I agree for the most part. It was sort of like The Donna Reed Show meets Alfred Hitchcock Presents. I think it's really a reach to call this film noir. Now, I'm off to find CUTTER'S WAY somewhere.

Last Exit to Brooklyn (1989) Capricorn One (1977) Zodiac (2007)

There's no doubt about who the few "stars" in this 'toon are. Sepiatone

Scorpio Rising (1963) Space Probe Taurus (1965) Gaston en Leo in Hong Kong (1988) Gemini (2017)

Gemini (1982 TV movie)

Roger Livesey. Maybe because he was a Welsh born actor and best known in England, we in the states may not know him from a lot of productions. I think he was outstanding in I Know Where I'm Going and The Life and Death of Colonel Blimp.

Sign of Aquarius (1970) Sweet Bird of Aquarius (1970) Aquarius Rising (2007) The Dawn of Aquarius (2013) Aquarius (2015-2016) The Second Age of Aquarius (2021)

One of the few times I have seen all of anyone's top ten list. While I wouldn't put any among my favorites of all time, I like all of them. Whistle Down The Wind is one of the more underrated films of the 1960s, deserves to be better known. Hayley Mills is excellent and so is the snub nosed boy who plays her little brother, he is a real scene stealer. Alan Bates gives one of his best performances as the escaped criminal thought by the children to be Jesus. The stark B&W photography gives it a documentary feel. I also love the use of "We Three Kings" on the soundtrack. They Shoot Horses Don't They? is another one I wish more people would seek out. I think it is Jane Fonda's best performance ever. The film let you feel the grueling dance contest, showing how far Depression era folk would go to get money. But it can relate to any era where people feel desparation. My top ten 1. Gunga Din (1939) 2. Shadow Of A Doubt (1943) 3. Detective Story (1951) 4. From Here To Eternity (1953) 5. On The Waterfront (1954) 6. Marty (1955) 7. Night Of The Hunter (1955) 8. Rosemary's Baby (1968) 9. Midnight Cowboy (1969) 10, Taxi Driver (1976)

Since I like LAURENCE HARVEY I shall mention his last film: WELCOME TO ARROW BEACH (1974). He plays a Korean War veteran who may -- or may not -- have lost his taste for human flesh. He starred and directed this early movie about the effects of 'PTSD' on returning soldiers. Admittedly the plane crash flashbacks with him and his crew are •really• low-budget . . . Laurence didn't have a big pile of $dough$ at his disposal while making the movie +plus+ he was already fighting stomach cancer which killed him before the film could be released. (Apparently he was endeavouring to edit "Welcome to Arrow Beach" from his deathbed; phoning in instructions before he died on Nov. 25, 1973). WHAT YOU GET: As a viewer, if you are fortunate enough to see an un-cut version of "Welcome to Arrow Beach", you are treated to Lou Rawls singing a song with groovy lyrics like "We're all born to Die" over the opening and closing credits. John Ireland standing up for 'Law and Order'. A guy in a full-body cast waving his hand around because it's FUN! And all kinds of other nuances like David Macklin reminding Meg Foster the places a girl could inject herself defy the imagination! 😲 ***SPOILERS*** You also get Laurence carving up Gloria LeRoy in slow-motion for his 'meat rack' in the cellar. She models; he /chops/! TCM CAN borrow my U.S. Magnetic Video Corporation VHS release from 1979 to make a DVD copy of "Arrow Beach" for airing on Turner Classic as long as they promise to return it. Runs 99 minutes in its proper length; there seem to be some 85-minute versions out there which apparently reduce the cannibalism angle to nothing. Boo! Hiss! on those shortened editions. They're utterly worthless.

Hello and welcome to the boards here, Jillian. I found your introductory post very impressive and well presented. Coincidentally, my second favorite film also happens to be The Apartment. I also have to say that I thought what a paradox it seemed that your favorite film They Shoot Horses, Don't They? was one of the two most depressive but excellently done films about the human condition, along with The Last Picture Show, I can recall watching. And yet, in your "bonus" selection you stated that you prefer the earlier television production of Requiem for a Heavyweight over the later done theatrical released version (I do too, btw) and then later made note of the earlier done TV version's more optimistic ending, and so hence what I saw as the aforementioned paradox here. Well anyway, here are what I would say would be my top ten favorite films of all time: 1- The Best Years of Our Lives 2- The Apartment 3- Singin' in the Rain 4- Casablanca 5- The Third Man 6- Out of the Past 7- Sunset Blvd 8- Dr. Strangelove 9- A Night at the Opera 10- It's a Wonderful Life (...once again, welcome)

#6: Whistle Down the Wind (1961) This is a seemingly simple film – but it’s filled with Biblical allusion, and it leaves deeper meaning up to interpretation. Personally, I think it’s a story about the power of child-like faith – and how easily it can turn complicated. Also notable for its large cast of remarkably natural non-actor children (Hayley Mills being one of the few with professional experience at the time), this movie provides the most understanding, well-rounded look at the whole of childhood – and all the positives and negatives of that stage of life – that I’ve ever seen on screen. Jillian, I'm glad you've had the opportunity to see this wonderful film which is hard to find these days. I love it as much as you do.

John Heard's performance really is great, and I agree, imagining how Rod Steiger would have played the role underlines Heard's excellence. I'm not sure that Marlon Brando at his 1950s peak could have played this particular part as well. Heard doesn't seem to have approached the role as a Method actor would. Heard gets the physicality of Cutter perfectly, and he has the vocal control to deliver the literary lines Cutter enjoys throwing off from time to time. Then there's that heh-heh-heh laugh he uses so much in the first half of the film: from most actors, this would be a bit annoying or a bit false, and from other actors this would be excruciating. For me, Heard's laugh works. Although I can appreciate Henry Fonda getting a career Oscar for On Golden Pond, Fonda should have won an Oscar for The Grapes of Wrath in 1940, and Heard should have won in 1981. Jeff Bridges is the perfect foil for Heard, and this is one of his best performances. Lisa Eichhorn's performance as the woman torn between the two men is largely a matter a perfect reactions, and this is the place to note that Ivan Passer and his cinematographer, Jordan Cronenweth, frame the shots of the conversations between the main characters perfectly. Appropriately, the characters are often in separate shots. Passer's direction of the actors is terrific; Jeff Bridges isn't at this level in Against All Odds, for instance. By the way, I also love the scene at the pier where Cutter destroys the stuffed animal, another scene many actors could not manage. I also agree about the overuse of coincidence, but Cutter does tell Bone that he knows where Cord is in the house. The film is very much about different kinds of nihilism and self-destruction: Mo's drinking and unwillingness to leave Cutter; Cutter's outrageous acting out; Bone's deliberate lack of commitment to anyone or any principle; Georgie's acquiescence in working for the man he believes killed his mother; Cord's lack of moral principle. Bone and Cutter feel a deep need to rescue each other, each convinced that the other is in even worse shape than he is. Among other things, doesn't Cutter's Way make the Bruce Dern part of Coming Home seem piddling? The Bruce Dern scenes show us an idea about PTSD, whereas John Heard's scenes give us an experience of PTSD.

While I know she's a real, well you know, in much of the film, I'm kind'a surprised that no one as yet mentioned this young lady (although another character in the film would disagee vehemently with the term "lady" being ascribed to her here) who got her strength from the red earth of Tara... (...although maybe I should've waited until our friend leighcat spotted this thread)

Welcome to the boards! I haven't seen a lot of your favorite films, though I have seen The Apartment and I love that one as well. I've been trying to watch some more "New Hollywood" films. Your list has given me some ideas and a couple of the titles I have on my DVR, I just haven't watched them yet. My favorite decades for film are the 40s-60s, since that seems to be where most of my favorite films tend to lie. I've been trying to watch more 1970s films, as there is just something about the aesthetic of that decade that appeals to me. My Top 10 Favorites are: 1) The Long Long Trailer (1954) 2) Casablanca (1942) 3) Gidget (1959) 4) Meet Me in St Louis (1944) 5) Mildred Pierce (1945) 6) Gentleman Jim (1942) 7) Where the Boys Are (1960) 8 ) Gilda (1946) 9) Singin' in the Rain (1952) 10) Sabrina (1954) --- My Favorite Actors are Errol Flynn and Lucille Ball. But I have so many more favorites. I go into every "new" film hoping to find another new favorite. I have a large physical media collection as well, as I want to always have my favorite films available. I also have hundreds of films to watch on my DVR. I watch TCM and use the library and streaming outlets to supplement all that. I also have a blog called "Whimsically Classic" (whimsicallyclassic.wordpress.com) where I primarily talk about classic movies, but I on occasion will also talk about classic television as I was a Nick at Nite junkie growing up in the 90s.

Here is another movie about a painter. When he does your portrait like this, you better run for the hills.

And which reminds me here... While I've noticed many around here stating their dislike of having Ben sitting in with Eddie during these Neo-Noir wraparounds, I have to say I haven't felt this being that much of a negative. I sort of like having Ben there for Eddie to bounce ideas and the specs of these films off of, and in a way think their conversations as a nice little divergent manner in which to impart the specs of these films and instead of having Eddie talking directly to us and as he does on Noir Alley. However and with being said, what HAS surprised me the most about this is that it seems Ben isn't as knowledgeable about films, and especially this genre of film, as I would've thought he might be. (...in fact, I've gotten the idea and often feel that Eddie is pretty much "schooling" Ben on these films, and films I would've thought Ben would have had at least a passing knowledge of from his past and not as it sometimes seems that Eddie has assigned these films as "homework" for Ben to watch before their conversations commence)

Jackie Mason, the ordained rabbi-turned-stand-up comic and actor, died Saturday at Mount Sinai Hospital in Manhattan, according to his attorney Raoul Felder. Mason had observed his 93rd birthday on June 9. “We shall never see his like again. This was a mold that was broken ," Felder said. "We’re going to miss him.” Felder said that Mason had been hospitalized for more than two weeks before his death, Mason, the child of immigrants from Belarus, was born in Sheboygan, Wisconsin as Yakov Moshe Maza. The family moved to Manhattan when the boy was 5. Mason made his first of 20 appearances on "The Ed Sullivan Show" in 1961. But an apparent misunderstanding between the comedian and Sullivan later in the decade led to Mason's banishment from the variety show for a time. Sullivan believed that Mason had "flipped a finger" in his direction during a telecast on Oct. 18, 1964. In 1987, Mason's one-man Broadway show "The World According to Me" was awarded a special Tony. A year later, the performance was recorded for television and earned Mason a Primetime Emmy for Outstanding Writing in a Variety or Music Program. When Rodney Dangerfield didn't return for the 1988 comedy sequel to "Caddyshack" (1980), Mason stepped in as a new character --Jack Hartounian, a nouveau riche member of the snooty Bushwood Country Club. Directed by Allan Arkush, "Caddyshack II" -- which was not as successful as the first film -- also starred Robert Stack, Randy Quaid, Dan Aykroyd, Dyan Cannon, Chynna Phillips, Jessica Lundy (as Jack's daughter), Dina Merrill and Chevy Chase, In the fall of 1989, Mason co-starred with the British actress Lynn Redgrave in the ABC sitcom "Chicken Soup." The series, which focused on the romance between a middle-aged Jewish man (Mason) and an Irish Catholic woman (Redgrave), was canceled after 12 episodes. On "The Simpsons," he provided the voice of Rabbi Hyman Krustofsky, the father of TV's Krusty the Clown. In 1992, Mason won a Primetime Emmy Award for Outstanding Voice-Over Performance in the episode "Like Father, Like Clown". Michael McKean @MJMcKean I was doing a show at CBS in 1989. Next door, Jackie Mason was doing his Chicken Soup sitcom, and I encountered him just once. I admitted to using one of his jokes on my friends when I was a teenager. He was very forgiving once I assured him it got laughs. 11:24 PM · Jul 24, 2021·Twitter Web App Sean Hannity @seanhannity Love and prayers for our friend Jackie. Irreverent, iconoclastic, Funny, smart, and a great American Patriot. He will be missed by so many. God Speed Jackie. Love and prayers to him and his wonderful family. 9:27 PM · Jul 24, 2021·Twitter for iPhone James L Neibaur @JimLNeibaur SAD FAREWELL Jackie Mason, who has died at age 93, was one of the last of the classic old school comedians. One of my favorite lines of his was, "I have enough money to last me the rest of my life unless I buy something." RIP Mr. Mason. The world is a bit less funny today. 9:36 PM · Jul 24, 2021·Twitter Web App “The Cap’n” @LazlosGhost R.I.P. Jackie Mason, who made me laugh a few times, but never harder than I did reading the bio on his website. 8:43 PM · Jul 24, 2021·Twitter Web App

THE WINDOW (1949) Next: lots of rapid-fire dialogue

Yes, and The Bishop's Wife is a favorite of mine too. Loretta's performance was excellent in it and understated. I always watch it during the holiday season and look forward to seeing it.

My favorite is THE BISHOP'S WIFE.

Maybe that's why she tried to run him over -- twice. I loved how after almost killing the brat, she backs out of the driveway just as fast the second time.

I love her pre-code films but she seemed to get more and more "self conscious" as an actress as she aged which made her performances (to me, at least) much less believable.

I've seen a lot of euphemisms in my day but that one's a first 😏

@SansFin Hi! 😊 Wow - I’ve only seen one list from your list (How to Steal a Million, which I also enjoy). I’d never even heard of Daisies or The Pillow Book. Interesting! And @37kitties - I’ve only seen one from your list, too (Butch Cassidy…, a favorite in my family). I understand what you both mean. I have tons of favorites that shift in importance, too. But I’d also sort of unofficially and unconsciously worked on my list for years, by thinking, “If I had a Top 10 list, this would be on it.” In this past year or so, I’ve watched more movies than ever before (thanks to the pandemic) - and I realized I’d had that thought about my “Top 10 list” enough times to make it official. ☺️ So, calling these my “favorite movies” is actually a bit misleading on my part (as that distinction is ever-changing for me as well) - but I can say with confidence that, at this point in my life, I consider these to be the BEST.

We really LOVE KIDS here on the TCM MESSAGEBOARDS DON'T WE? WC FIELDS would be right at home!!!!!

WELL, ACTUALLY : I THINK YOU MIGHT JUST BE SURPRISED!!!! (I apologize for any derailment that may incur by my veering off on this tangent.) about a month ago, I went to my local grocery store around 6:00 pm to buy some groceries. i checked myself out at the self-checkout (don't know if they have those in CANADA, but they are EVERYWHERE HERE.) full disclosure- i had been doing yardwork in someone else's yard and was too tired to go home and change, so i did do my shopping in a sweaty sleeveless "wife beater" tee shirt because I work out, Iook damn good for 43 and as long as I'm covered, this is America, I pay my taxes and I am allowed to shop dressed in a floor length ballgown if I so want. I did not keep my receipt because it is my local grocery store and I am there upwards of 5 times a week, I have shopped there for myself and my family for three decades and spent thousands of dollars in that time,. on the way out the door, I was physically accosted by the security guard who snatched the cart out of my hands and accused me of stealing. I of course did not have the receipt because I did not keep it. she then pushed my cart in front of me and blocked my leaving while another employee took my groceries that I HAD PAID FOR away while WHILE THE POLICE WERE CALLED. I was told to stop lying and when I said "check the system, I paid $41.06 at checkout two" I was told "it ain't gonna be in the system" by a bug-eyed bag girl who bore a striking resemblance to BENITO MUSSOLINI. FIVE MINUTES LATER, the manager who REALLY REGRETS TAKING THAT SMOKE BREAK FOR THAT PARTICULAR 15 MINUTES shows up, recognizes me AND GOES AND PRESSES THE BUTTON ON THE MACHINE WHICH INSTANTLY SPITS OUT MY RECEIPT FOR $41.06. I promptly informed all present that every last inch of my *** could then be kissed and left. SO... if that manager had not shown up, they would have absolutely had me arrested by the police, THERE WAS NOTHING I COULD SAY THAT WOULD CONVINCE THEM I WAS INNOCENT IT WAS DOWNRIGHT KAFKAESQUE. long ramble ended. my point being that, as with LORETTA IN "CAUSE FOR ALARM!" ANYONE'S LIFE, LIBERTY AND SAFETY CAN BE SNATCHED AT ANY MOMENT. FATE AND HUMANKIND TOGETHER WILL ABSOLUTELY BAND TOGETHER TO KNOCK YOU ON YOUR BUTT AND THERE IS NOTHING YOU CAN DO ABOUT IT. WE ALL HAVE OUR OWN LITTLE UNIVERSES IN WHICH WE ARE IN CHARGE OF OUR DOMAIN, BUT AT SOME POINT, 99.99999% OF US FORFEIT THAT THE MINUTE WE WALK OUT OUR DOOR OR THE MINUTE LUCK THROWS US ONE OF HER PATENDED B!TCH-GODDESS CURVEBALLS. And there is nothing so galling or unsettling as that lesson to learn about life.

Clearly an attempt to appear guilt free at the post office. Sadly, running true to form, she cracks again under the pressure. Had she spent more time watching Perry Mason and less time trying to please the big faker upstairs she’d have been better prepared. The kid was a PITA, and a cookie hound. Did you see that two fisted grab of cookies when he finally left? Just take the whole box bogart! I was hoping to see the camera pan up after the gun shot to see “Hoppy” sprawled across the sidewalk.

Well this is about painters of a different sort...house painters. The scene in "Mr Blandings Builds His Dream House" (1948) LOL the painters scene still kills me!

Jeff looks good in Cutter's Way, too, and John Getz' hairy chest is on display in Blood Simple. Getz also gets to show off his posterior. For Another World fans: John Getz is one of the good-looking, talented actors hired by Another World during the 70s (Harding Lemay era, when AW expanded to an hour) and then criminally underutilized. Imagine having John Getz, John Considine, David Ackroyd, and Leon Russom and not featuring them in major storylines. This Neo-Noir spotlight is really outstanding. I'm going to have to rent the films I missed in the series. Again, I think it's important to emphasize that when these films were released, they were not called "Neo-Noir." No one would have thought of Cutter's Way and Body Heat as being of the same genre or same movement. Cutter's Way would have been seen as a Vietnam vet film. Really, this neo-noir theme is

I would also like to comment on this film. I am glad someone has mentioned it. I watched it recently for the first time. I think it's very well made, though the biblical allusions get to be a bit much and bog down the simpler aspects of the story. In some ways the film borrows heavily from TIGER BAY (1959) which Hayley made two years earlier. In both stories, we have her as a young heroine forging a bond with an attractive criminal-- Horst Buchholz in TIGER BAY and Alan Bates in WHISTLE DOWN THE WIND.

Totally agree about Richard Boone. He makes a great villain in western films.

I've watched the movie - always on TV, never on a tape or disc - four or five times over the years. The first time was in the 60's on the local ABC affiliate late show. The only ending I've ever seen is the one where Mountain dances about the ring as an Indian in a headdress whooping. The End. What is the ending on your tape?

That matches my sentiments perfectly. Every time I compose a top ten list, I have to disavow it for some reason the next time I read it. I'm constantly experiencing new (to me) films or re-experiencing films I've seen but was a different person or in a different mood or wasn't as observant at the time because of fatigue or distraction or I just plain forgot about because I've only seen about sixty thousand movies in my life. So, for right this moment, I'll say this is my list of 10 best movies. In alphabetical order: Blood Diamond (2006), Boogie Nights (1997), Butch Cassidy and the Sundance Kid (1969), Cool Hand Luke (1967), The Exorcist (1973), Goodfellas (1990), Midnight Cowboy (1969), One Flew Over the Cuckoo's Nest (1975), Quest for Fire (1981), Unforgiven (1992). There's a hundred more at least I'm wanting to name - and might when re-making the list next week.

Welcome to the forum! I can provide a list of ten of my favorite movies but whether they are my 'top' ten depends on my mood which is ever-changing. How to Steal a Million (1966) A beautiful but slightly klutzy young lady enlists a tall, slim, brutal, mean, terrible man with deep blue eyes to help her steal a statue which belongs to her so that she will not have to go to America. https://www.imdb.com/title/tt0060522/?ref_=fn_al_tt_1 The Thomas Crown Affair (1968) A bored genius who dabbles in bank robbery meets his equal in a soulless insurance investigator. https://www.imdb.com/title/tt0063688/?ref_=fn_al_tt_2 Two Comrades Served (1968) It is the story of two men who are very different in education, politics and outlook who become fast friends. It is very moving movie. One is simple-minded patriot. Other is intellectual who should not be in any war and should be on other side of this one. https://www.imdb.com/title/tt0063615/?ref_=nv_sr_srsg_0 Father Goose (1964) A rude, foul-mouthed, drunken filthy beast is forced by circumstances to be the father figure for seven young ladies when he does not want to be a father figure or a brother figure or an uncle figure or a cousin figure and instead intends on being only a total stranger figure. https://www.imdb.com/title/tt0058092/?ref_=nv_sr_srsg_0 The Hidden Fortress (1958) Two weary veterans fall prey to a princess and her escorts. https://www.imdb.com/title/tt0051808/?ref_=nv_sr_srsg_4 Formula of Love (1984) A dissolute youth falls in love with a statue and so a mystic is called in to make it come alive. https://www.imdb.com/title/tt0216755/?ref_=nv_sr_srsg_0 Daisies (1966) Two young ladies seek their destiny. https://www.imdb.com/title/tt0060959/?ref_=nv_sr_srsg_3 Blade Runner: The Final Cut (2007) A retired policeman is brought back to the force to locate four illegal immigrants. https://www.imdb.com/title/tt0083658/?ref_=fn_ft_tt_1 Monsters, Inc. (2001) Two factory workers become embroiled in a corporation's scheme to increase profits at any cost. https://www.imdb.com/title/tt0198781/?ref_=nv_sr_srsg_0 The Pillow Book (1996). Overt surrealism celebrating enthusiastically the pleasures of calligraphy. https://www.imdb.com/title/tt0114134/?ref_=nv_sr_srsg_0

~~~~~~~~~~~~~~~~~~~~~~~LHWS~~~~~~~~~~~~~~~~~~~~~~ Laurence Harvey warning 2:15 high. Please have your blindfolds and earplugs ready. LAURENCE HARVEY WARNING!!!! 11:35. This has been a test of the Laurence Harvey Warning system. If there had been an actual Laurence Harvey appearance you would have been directed to tune into your local LHWS station. This has only been a test. We now resume our regular broadcasting schedule.

Funny man. "Everybody's so crazy about the Internet. I can talk to someone in Russia! I can talk to someone in Russia! What's so great about that? You've never talked to the guy next door ... and you want to talk to Russia?"

I say that Marilyn Monroe is an actress. At least in this one she is. Anyone who wants to build a case that Marilyn stinks, there are no doubt other places where one may look to make a better case. Your post above is exceeding peevish. Did you get up on the wrong side of the bed this morning? This one is terrible, that one stinks, and what's all this noise about someone's name? Breathe in through the nose and breathe out through the mouth. Maybe you'll feel better.

William Holden played an artist in The World of Suzie Wong. A French film called Van Gogh ( 1991) with Jacques Dutronc was very good. I also liked Portrait of Jennie (1948) with Joseph Cotten.

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.