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Jim Thorpe All-American 1951 Billie 1965 The World's Greatest Athlete 1973

Chariots of Fire

PS. There is no tacked love story like in Murder My Sweet, no blinding gun flash, no mention of the gambling ship anchored off Lido. The real revelation in Farewell My Lovely is Jack O'Halloran's Moose Malloy, in Farewell My Lovely version Moose actually becomes more than a cartoon bad guy. You really feel sorry for the big lug and the torch he carries for his lost hooker girlfriend. Moose doesn't care that Velma fingered him for the job and took off with the loot. He just wants to be back in that sweet spot. O'Halloran gives off a Laird Cregar vibe, if we had been in a full blown Noir revival both Jack and Sylvia Miles would have been two of the major new stars, out of this cast only Harry Dean Stanton went on to really make a name in Neo Noir.

Walk Don't Run (1966) Saint Ralph (2004) Revenge of the Nerds (1984)

College (1927) - Shot put with Buster Keaton Fast Girls (2012) - 4 X 100 m with Lily James

Yeah, I'm sure Mitchum's age caused the screenwriter to have that first scene where Bob is looking out the window and saying that he is tired and older. Got it. I've never been bothered too much by the fact that Mitchum is much too old to be playing Marlowe as he appears in the novel. The movie is so good that it really doesn't factor in all that much. I always get a kick out of the subplot of Marlowe following DiMaggio's 1941 hitting streak, especially since the novel was published in 1940. Sylvia Miles was pretty sexy as the middle aged alkie. For those who like just skin and bones, there's Charlotte Rampling, who is hot in her own s&b way. This is one of the best adaptations of a Chandler book, including those from the 1940s.

Nope, Bronxie, I think you'll find Charlotte Rampling (or as I've always thought of her: "The 1970s Lauren Bacall") isn't going be as good as Claire Trevor. (...but then again, and as much as I've always liked Lauren Bacall, I've never thought she was as good an actress as Claire Trevor was either)

The post Hays (Motion Picture Production) Code and pre PC "code" version of Raymond Chandler's "Farewell My Lovely" is probably the closest version to the novel we are going to see, it's firing on all cylinders. It pulls no punches, it's serious, dialog wise, doing justice to the novel. In the previously adapted for film 1944 version Murder, My Sweet, Dick Powell was great as wisecracking Marlowe, he's pretty much as I pictured him in my mind's eye as I read the book. Mitchum at 58 years, in this film, is just a tad too old to fit the Marlowe of the novel. He's also a tad too iconic, Mitchum is playing Mitchum playing Marlowe, but the script reflects at least this age difference, he's written as an older wiser Marlowe, a weary character who realizes he's over the hump and sort of coasting. This small change becomes very believable as Mitchum settles into the part. He's still the knight of streets but now he creaks and is just a bit more tarnished.

I've watched this one a couple of times myself and you're right, Bronxie. Mitchum looked not only "bored and tired" but by 1975 was too old to then play Marlowe at age 58, and of which he looked every bit of if not older. And while watching it those two times, I also thought how lucky Dick Powell was that in 1944, Mitchum would still be a relatively unknown actor for a couple more years and so Powell, who I do believe is excellent in the '44 version, would get the part for which Mitchum was really born to play. (...but once again, when he was 30 years younger...or heck, even say 15 years younger)

Too bad there couldn't have been a throwback in time combination of Sargent and York in the role. "I declare I wish Samantha was here now. One twitch of her nose and them Germans, they'd all be'a gone."

When I was a teen I used to be really good about reading the book before the movie...but now, I'm not so good. That being said, once I finished Chocolate Chip Cookie Murder, I decided to be proactive and get Robert Jordan's The Eye of the World since Amazon's Wheel of Time is coming out in November. About 150 pages in now...Not usually big into fantasy, but I am enjoying it.

What "agendas" would excessive intro nonsense promote? I know what you mean KID.... I've griped about that for years. I at first thought your complaint was about all the TCM promos in between movies. But You're really annoyed with (ie); "Paramount presents"......... "A Schlock production inc. presentation" "Of a Joe Schmoe film" "Distributed by Foist On 'Em" "In association with....." "Plot Hole Productions" "Of A.." "Basement Studios production of...." Yeah. By the time you're let in on the title and who's in it, your popcorn is soggy from the now cold butter and your soft drink is warm and flat. Sepiatone

From Ripley's Believe It or Not: TopBilled is physically incapable of posting a photo of an actor or actress without head attire!

Indiscreet (1958)

Brennan, Eileen

Agar, John

You really don't have a clue why Ben would bring up March related to Dr. Jekyll and Mr. Hyde? This came up with my wife last night who was unaware of the seven A&C serial films with "meets" in the title, starting with A&C Meet Frankenstein. She sees that the film has the wolfman, played by Chaney, and Dracula, play by Lugosi, and asks me "what, they couldn't get Karloff for Frankenstein, and he is the only one in the title?". I make a joke that Universal saved Karloff for the next film in the series; A&C Meet The Killer, Boris Karloff. Then we see A&C Meets Captain Kid and I tell her that has Charles Laughton who was Captain Kid in an adventure film made in 1945. Then comes A&C Meets Dr. Jekyll and Mr. Hyde; so what does the wife ask me: Hey, is Spencer Tracy or Fredric March in this one? Thus it was 100% logical for Ben to bring up March in the context that he did: these "meet" films did tend to use actors from the original \ serious version of the films that featured these characters. Hey, I understand if you didn't find the joke funny, but to question "why" just doesn't make any sense.

Running (1979) (with Michael Douglas) Without Limits (1998) (the other Prefontaine biopic) Plus (more loosely) some films with lots of running in them: Marathon Man (1976) The Running Man (1987) Forrest Gump (1994) Run Lola Run (1998) Skyfall (2012) every Mission Impossible film Leni Riefenstahl's "documentary" Olympia (1938), of course, features various übermenschen engaged in a variety of track and field events, usually filmed from a low camera angle (the better to monumentalize/idealize them)

They all played spies? Garbo: Mata Hari Coburn: Derek Flint (Our Man Flint, In Like Flint) Connery: James Bond Caine: Harry Palmer (The Ipcress File, Funeral in Berlin, Billion Dollar Brain) Dietrich: Agent X-27 (Dishonored)

ps-DAVID SHIRE'S SCORE FOR FAREWELL, MY LOVELY IS TERRIFIC:

Yeah, I'm confused. For a brief, shining moment I thought ABBOTT AND COSTELLO had starred in a version of INHERIT THE WIND... either way, any publicity is good publicity and the thread is right on the verge of reaching page 420.

Kirstie Alley worked because Cheers basically became a different show when Shelley Long left. And let's face it, by 1987 the Sam and Diane saga had been played well but played out. Then Sam went back to his old skirt chasing persona and Alley as his new boss was both his foil and his sexual target. I don't know why they had to turn Alley into a bumbling incompetent - was it 1989? Can't remember. But I think it was after a couple of seasons. Shelley Long actually left to pursue a film career and she made less than stellar choices. But her exit kept Cheers from turning into season 4 of Moonlighting. Or am I making so many antiquated cultural references here that I am rendered incomprehensible?

Arch of Triumph (1948)

Grease (1978) John Travolta tries out for many different sports but finds that "long distance running" best fits his personality. (He kept beating up the other athletes.) The Loneliness of the Long Distance Runner (1962) The Bob Mathias Story (1954) starring Bob Mathias. He won two Olympic Gold Medals in the Decathlon in the 1948 and 1952 Olympics

That was the topic but it wasn't the point. The ACLU wanted a test case for a Tennessee law, so they recruited Scopes, who no one had ever said "boo!" to about what he taught in his classroom. (Another very well-known case I really shouldn't name got a similar start.) If you're interested in a scholarly look at the question of authenticity here is a 1997 piece from First Things that you might find interesting. This is the thesis sentence. "While Inherit the Wind remains faithful to the broad outlines of the historical events it portrays, it flagrantly distorts the details, and neither the fictionalized names nor the cover of artistic license can excuse what amounts to an ideologically motivated hoax."

First of all, as others have mentioned… Welcome to the Message Boards!!! As you probably know there are many opinions that exist on the message boards and frequently we have new members as well as other long time members who like to post their favorite films and or “Top Ten” films. I have been a big supporter of those folks who like to publish their Top Tens or favorites, and although I do have a list of top favorites, I have found it increasingly difficult over the years to hobble together a “Greatest” Top Ten list based solely on objective reasoning. In my opinion, it is very difficult to create a list of an actual Top Ten based on objective reasoning. I prefer to list films based on how I like them. Another criteria of mine is how much I can watch a film over and over again without getting bored. More subjective. I can easily select a top ten list of favorite films based on my own subjective reasoning. I am not a film scholar, but I do have a wide variety of opinions based on what I like and therefore can present a Top Ten Favorite listing. 1. The Adventures of Robin Hood 1938 2. The Professionals 1966 3. Seven Days in May 1964 4. The Best Years of Our Lives 1946 5. Bite the Bullet 1975 6. Executive Suite 1954 7. The Enemy Below 1957 8. The Martian 2015 9. The Talk of the Town 1942 10. The Wind and the Lion 1975 Of course if you were to ask me a week from now, possibly five of these films would not be on this list... HA HA HA. Again, welcome to the boards!!!

I used to feel the same way about Mitchum in Farewell My Lovely. He's too old, too bad he didn't play the role when he was younger. But, upon seeing the film again, I changed my mind. I now see his performance for what it is, Mitchum as an older Marlowe. Sure he's slower. We all are as we get older but his very weariness is exactly what you would expect of a "knight of the mean streets" who has been around them all his life. Mitchum still seems a tough guy who's seen a lot, but with a streak of idealism still lurking beneath the surface. Having said that I'm, glad they cut back on the romantic scenes between him and Charlotte Rampling because too much of that, with the obvious age difference, would have come off as creepy. But. along with Sylvia Miles' memorable turn, Jack O'Halloran, physically imposing as he may be, brings a surprising vulnerability to the Moose Malloy character. And, of course, David Shire's classy jazzy musical score adds immeasurably to the film's atmosphere. It speaks to all who have experienced lonely nights in the big city.

With Blazing Saddles you have to teach children that calling blacks by a Yiddish name was not meant to be racist. When you show Young Frankenstein, please tell students that Frankenstein is not the name of the monster. Sophie's Choice, Glory, A Soldier's Story, Woman of the Year, Modern Times (and other silent movies)

I only have limited experience with showing classic movies to teenagers, but our nephew seemed to like The Bank Dick. To a younger person, WC Fields’ humor may seem kind of “edgy” and therefore funny, with domestic conflict, deception, zaniness, and physical comedy in the mix. I second the nomination of Blazing Saddles, which our nephew really loved. Young Frankenstein is also a great recommendation. Now that I think about it, these are all movies I loved when I was a teenager, many years ago.

I agree with the BLAZING SADDLES & add YOUNG FRANKENSTEIN PSYCHO (it will get them "over" B&W film-trust me) Start a great Wilder triple feature with the pow of Marilyn: SOME LIKE IT HOT/STALAG 13/SUNSET BLVD Our teen loved them.

If you feel that you must go with a Western: Blazing Saddles (1974). Hatari (1962) might be in keeping with the action-adventure motiff. The Hidden Fortress (1958) is often a favorite. Have you thought of introducing them to English movies? The Lavender Hill Mob (1951) The Ladykillers (1955) or How to Murder a Rich Uncle (1957).

Maybe I am a bit more forgiving of that type of remark. Yes, they're rather hit and miss and when one starts to notice a particular type of joke, repetition lessens the impact to some extent, the old I saw that coming reaction. I think if Ben was a stand up comedian he wouldn't fare very well, but he does okay with the intros. As to why he does it, who knows. Maybe we should consult our old friend Freud. Siggy Freud. ~~~~~~~~~~~~~~~~~~~~~~ Yeah the insert French military joke here was probably one of his best lines. Maybe he should have quit then on the old theory leave on a high note.

I started watching FAREWELL MY LOVELY but couldn't get into it -- fell asleep about a half hour in, which was astounding to me because I'm a Mitchum fan and appreciate MURDER MY SWEET. Bob frankly looked bored and tired. Sylvia Miles was the only one in my limited viewing time who added any spark.

Absolutely! Betty Davis quotes are the best. Here's a quote from Beyond the Forest (a story of a married woman sick of small town life scheming to run off with a rich businessman). Bette's character is so rotten in this film and she's so good at being bad. Her character shoots a porcupine out of a tree and she says "I don't like porkys, the irritate me".

When I was a teenager, my mother introduced me to the film "The Bachelor and the Bobby Soxer" with Cary Grant, Myrna Loy and a teenage Shirley Temple. I thought it was hilarious and I think I related to the whole story about a teenage crush. I think this started my life long love of Cary Grant movies.

Well, let's hope "the best is always yet to come". Just do your thing, and (maybe) you'll be king.

With regards to I Remember You: Here is what I wrote above: Schertzinger was a director and wrote the song (Tangerine) for his last film The Fleet is In (1941) This is a fine film with Dorthey Lamour, William Holden and introducing Betty Hutton. Schertzinger also wrote the song I Remember You for the film. Thus Schertzinger wrote two songs that are now jazz standards, Tangerine and I Remember You, while directing his last film The Fleet is In. He died shortly after the release of the film. Hutton really shines in this film.

Also Eddie "Rochester" Anderson's last film. As for your qour question...The late, great John Hurt's last film. Miss him. Next: SHORT CIRCUIT 2 (1988)

God I love this place! We analyze old cartoons like they were the Zapruder film, discuss the etymology of slang terminology and debate suicide vs homicide theories! Best message board ever! 😂

Yes but other than that how did you like the play Mrs. Lincoln?

on the topic of NEO-NOIR (and DePALMA)... I made it all of about half an hour into THE BLACK DAHLIA his 2008 (?) JAMES ELLROY adaptation. author's note: I am a dry, salty b1tch who cannot be pleased. I have impossibly high standards and, given some recent life events, an astoundingly short fuse and low tolerance for anything that falls short of said standards. I can be harsh, but I like to think I temper the harshness with fairness. so that said... RE: JOSH HARTNETT, leading man of THE BLACK DAHLIA. SISTER MAY FRANCIS: JUST HOW IN THE HELL IS IT THAT A PERFORMANCE SO UTTERLY SUBPAR IN EVERY. SINGLE. WAY. IN EVERY. SINGLE. SCENE. IS ALLOWED TO BE GIVEN IN A $50 MILLION DOLLAR STUDIO FILM? Scratch that, IN A FILM, PERIOD. KEE-CRIPES: HAYDEN CHRISTIANSON WAS MORE OF A PIONEER THAN I REALIZED. MAN, AFTER HIM, THE GATES WERE JUST OPEN TO ANYBODY WHO WANTED TO STEP IN FRONT OF A CAMERA AND MUMBLE, HUH?????? Does DePALMA only work with his female actors? And by 'work with' I mean talk to, at ALL. Because- SEAN CONNERY aside- I have felt in watching his other films that the women's performances were tightly directed (sometimes to great success as with MELANIE GRIFFITH in BODY DOUBLE) , but the men's performances notsomuch (as with the male lead in BODY DOUBLE.) There is SO MUCH VOICEOVER IN TH[e 30 minutes that I saw of] this FILM, LIKE 1/5 OF IT IS IN VOICEOVER AND IT'S ALL DONE BY HARTNETT IN HIS DEADLY DISHWATER DULL MONOTONE, AND IT'S LIKE THE "TIN MAN" KID FROM "A CHRISTMAS STORY" IS READING ALOUD FROM MICKEY SPILLANE!!!!!!!!!!!!! He murdered one line of dialogue so brutally, so coldly, with such SNUFF MOVIE PRECISION that it should be included in the next FACES OF DEATH if they ever release one. SCARLETT JOHANSONSSSON and AARON ECHKHART were also absolutely bad- so bad I deliberately mispell their names because THEY DON'T DESERVE IT. AND YET, I WILL TAKE THE TIME TO SAY THEY'RE AT LEAST NOWHERE NEAR AS UTTERLY DREADFUL AS HARTNETT. UGH! All apologies any of you JOSH HARTNETT/ BLACK DAHLIA fans but WOOF!!!!!

Jimmy Durante Next: Damascus Cover (2017)

If I recall correctly, isn't there a scene in the film Shakespeare in Love in which this sort of thing is parodied? I remember it being during a scene in which just before one of the Bard's new plays is being introduced at the Globe Theatre, one person walks on stage holding up signs to the audience which he drops one after another and which reveal the various people responsible for the play's production. (...anyone else remember this?...I've only watched this film once, and frankly, once was enough)

C'mon now, Sepia! What's with the "confused" emoji here again today? Yes, even though the narratives play out in different ways, both these Christmas-themed movies feature the idea of some presence of an afterlife figure who enlightens a person that is extremely troubled and who then becomes joyous about their life. (...what is it?...haven't had your usual consumption of coffee so far today or somethin'?)

To Kill A Mockingbird (a friend of mine reminds me that Atticus makes the girl blameworthy) Rashamon and Life is Beautiful (show with subtitles) High Noon (allegorical in many ways) The Haunting or The Innocents or Dead of Night for good psych horror Great Expectations with Alec Guiness and John Mills I would find out what books they are reading (e.g., noticed many high schoolers read The Old Man and the Sea, The Great Gatsby, etc.) and have them compare it to movie versions. When I student taught, we read (aloud) The Glass Menagerie - then we watched one of the movie versions. In a film class, All The President's Men was shown - it is very depressing how many people forget or don't know anything about Watergate.

At least two from the great Bette Davis, both of which have already been mentioned here, but since they're two of the best lines anyone could say, and since you could actually say these lines in certain situations in real life, I'm posting them anyway. Good lines like this can be mentioned on a thread like this more than once. "What a dump." "Fasten your seatbelts, it's going to be a bumpy night." What fun lines to say.

I can't think of a better movie to introduce younger people to Hollywood's golden age than angels with dirty faces.

BEQUEST TO THE NATION 1973 AKA THE NELSON AFFAIR Directed by James Cellan Jones .Produced by Hal Wallis released by Universal.Peter Finch Glenda Jackson Anthony Quayle Magaret Leighton. Another version -more accurate- of the Lord Nelson-Lady Hamilton affair A bit long at roughly 118 minutes,Beautiful cinematography and nice sets,Set few months before Trafalgar ,Acting is good but it is adapted from a play and it shows,quite talky until the last 35 minutes where there is action.Wallis has his name in bold on all posters and the director is in very very small print,Well Wallis must have lost a bundle with this one. Apparently there is no dvd or video release of this film. 6.5/10

From August 7-10, 1921, the Poli ran What’s Worth While? directed by Lois Weber, and starring Claire Windsor as Phoebe Morrison and Louis Calhern as Elton. The film was released on February 27, 1921, at six reels. The Library of Congress holds a complete copy. Plot: Phoebe Morrison, a wealthy young lady, is shown of photograph of handsome Squire Elton by her father. Since Elton is a partner in her father’s oil business, the girl goes west to meet him. The two fall in love, but Phoebe decides her prospective husband needs more polish comparable to the men she knew in the east. So Elton goes on a tour of Europe, returns a refined gentleman, and marries Phoebe. But now Phoebe feels he has lost some of his charm. Then she thinks he is having a fling with her cousin Sophia. So she decides the best solution is for Elton to return to his original environment out west. She feigns ill health, and persuades him to move, and gradually he becomes the man she fell in love with. Then Elton confesses that he had been acting the part of an Eastern gentleman to teach Phoebe a lesson. Note: The IMDb synopsis for this film is in error, and must relate to another movie. Exhibitor’s Herald wrote “the story is fairly well told, but seems to require an excess of sub-titles to get over the situations. Lois Weber has painted her characters with a delicate brush, but for the average audience, the action is possibly too psychological where the physical would have been more appreciated.” Motion Picture News remarked that the film was “not Lois Weber at her best because resorting to a popular fancy among screen authors she has exploited a single track idea which doesn’t solve anything, nor does it build dramatic entertainment.” Moving Picture World added “the story develops too slowly at times and there are altogether too many sentimental close-ups of the heroine, but the atmosphere of the different scenes is clearly indicated and the acting is excellent in general.” The part of Phoebe’s cousin was played by Mona Lisa. The actress had already made a few films under the name of Amy Jerome. Then, producer H. M. Horkheimer combed the country searching for the ideal woman for a film. According to Horkheimer (and take this all with a grain of salt) the young woman walked into his office and he immediately said “Mona Lisa!” “Why call me that?” asked the girl. “Because of the striking resemblance you bear to the famous painting. It is unmistakable – your eyes, the smile, that face!” At least one trade magazine claimed that Jerome was a distant relative of DaVinci’s model. Horkheimer printed a side-by-side showing of the Mona Lisa and his “discovery,” and you can be the judge: There is no doubt that Jerome was indeed lovely, as can be seen in the photo below: However, her career never blossomed.

Incidentally, some other neo-noirs, arranged chronologically, that might have been good picks for the Noir Alley series that just finished..... Experiment in Terror (1962) Lilith (1964) Bunny Lake is Missing (1965) Pretty Poison (1968) Mississippi Mermaid (1969) The Liberation of LB Jones (1970) I Walk the Line (1970) Play Misty for Me (1971) Charley Varrick (1973) The long Goodbye (1973) Thieves Like Us (1974) The Conversation (1974) The Parallax View (1974) Obsession (1976) Last Embrace (1979) Prince of the City (1981) True Confessions (1981) Hammett (1982) Still of the night (1982) Witness (1985) Blue Velvet (1986) The morning After (1986) At Close Range (1986) The Bedroom Window (1987) Black Widow (1987) House of Games (1987) Stormy Monday (1988) Sea of Love (1989) The Grifters (1990) Internal Affairs (1990) Miller's Crossing (1990) The Two Jakes (1990) Dead Again (1991) The Silence of the Lambs (1991) Final Anaylsis (1992, a bit goofy toward the end but I like how it pulled the rug out from under the viewers feet) Flesh and Bone (1993) In the line of Fire (1993) To Die For (1995, yes its a noir comedy, but Nicole Kidman's performance here is one of the best modern femme fatales) Devil in a Blue Dress (1995) Lone Star (1996) Jackie Brown (1997) LA Confidential (1997) Gattaca (1997) A Simple Plan (1998) Twilight (1998) out of Sight (1998) The Man Who Wasn't There (2001) Road to Perdition (2002) Mystic River (2003) Hollywoodland (2006) Zodiac (2007) Before the Devil Knows You're Dead (2007) Gone Baby Gone (2007) Bad Times at the El Royale (2018) Motherless Brooklyn (2019)