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I'm a sucker for Saul Bass titles. Most distinctive credits I've ever seen.

Yes, what is going on that nobody (even in the so-called "older generations") wants to have an actual conversation or discussion anymore that comprises more than 4 words? I'm a writer by trade and I've always "massaged my message" before I sent it because words are important to me and I want to make sure I correctly convey what I think. I've had friends with whom I emailed back and forth for years who suddenly abandoned email for texting or FB messaging. God, what a seismic change. They can no longer have a substantive discussion on anything or even write more than 2 sentences in any communication. Also, once someone moves from email to texting they actual look down on the person who is still emailing. Absolutely absurd. I find it so sad and odd that abbreviated forms of communication are having a real (and incredibly negative) impact on how people communicate and relate to one another. Texting also gives the recipient an audio signal every time a text arrives. Kind of like Pavlov's dog . . . "Oh, I must answer this" but, God forbid, if you send a (gasp) letter or long email to someone. Since they don't get the "ping," they don't bother to respond. It's becoming a very discourteous world. Texting is a convenience, not a means of real communication. Great for sending a message like: "I'm running late . . .I'll be there in 10 minutes" but certainly not the medium to use to have a substantive discussion. Twitter is the social media equivalent of texting and, unfortunately, it has changed the way people express themselves irrevocably.

https://www.bbc.com/news/entertainment-arts-58620280 The Shark Is Broken: Jaws feud was 'legendary' By Steven McIntosh Entertainment reporter Published 12 hours ago Share IMAGE SOURCE,OLIVER ROSSER Image caption,L-R: Ian Shaw as his father Robert Shaw, Liam Murray Scott as Richard Dreyfuss and Demetri Goritsas as Roy Scheider A new play about the famously troubled production of Jaws attracted a sea of five-star reviews when it premiered in Edinburgh in 2019. The response made one thing clear to the producers: we're going to need a bigger theatre. The Shark Is Broken, which is about to transfer to London's West End, offers a glimpse at the strained relationship between the three stars of Steven Spielberg's 1975 film. Jaws was notoriously difficult to make. It went way over budget, the production ran behind schedule, and the mechanical sharks they were using frequently broke down - something which ultimately inspired the play's title. The delays meant the three principal actors were often sitting around, under-stimulated, waiting for filming to resume. And it was during these long gaps that tensions would run high. The conflict between Robert Shaw and Richard Dreyfuss in particular would later become known as one of Hollywood's greatest feuds. "For the people who work in film and are interested in film, it is a legendary story," says Ian Shaw, who co-wrote the play and stars in it as his father Robert. "In documentaries they've done about the making of Jaws, Steven Spielberg speaks quite candidly about it, as does Richard Dreyfuss. "We went through the source material and did as much research as we could - documentaries, press clippings, books, anything we could find. My own family have stories, my step-mother Virginia particularly, because she was there." IMAGE SOURCE,GETTY IMAGES Image caption,Roy Scheider, pictured during filming with the mechanical shark Bruce, played Chief Brody in the 1975 film Here's a quick summary for anyone unfamiliar with Jaws: a man-eating shark is on the loose in the waters surrounding beach town Amity Island. Police chief Martin Brody (played by Roy Scheider) tries to close the beach after the shark kills several swimmers, but the local mayor insists on keeping it open because the local economy depends on it. Oceanographer Matt Hooper (Dreyfuss) is brought in to help assess what kind of shark it is and how much danger it poses. Meanwhile, a slightly unhinged local fisherman named Quint (Shaw) offers to catch and kill it for $10,000. The first half of the film takes place mostly on land, with the locals and holidaymakers becoming increasingly distressed as the bodies start to pile up. But the second half sees the three men set off together on Quint's boat, determined to find and kill the shark. These later scenes were the toughest to film - it was unusually ambitious for a major movie to shoot so extensively on water. The intense working conditions exacerbated what Spielberg later referred to as "the great Shaw-Dreyfuss feud" - the pair didn't see eye-to-eye and the former would often taunt the latter between takes. Dreyfuss described Shaw as "an enormous personality" in the 2010 documentary Jaws: The Inside Story. "In private, he was the kindest, gentlest, funniest guy you ever met. Then we'd walk to the set, and on our way to the set he was possessed by some evil troll, who would then make me his victim." "[Shaw] really thought Dreyfuss needed a slapping down, [that he was a] young punk with no stage experience," recalled Scheider. "It got ugly," Spielberg confirmed. "But it was also Quint and Hooper living out that relationship as Shaw and Dreyfuss. IMAGE SOURCE,GETTY IMAGES Image caption,Left to right: Richard Dreyfuss, Roy Scheider and Robert Shaw filming Jaws "Robert would basically humiliate Richard into taking a chance. For instance, Robert would say, 'I'll give you a hundred bucks if you climb up to the top of the mast on the Orca and jump off into the water.'" Some critics have since suggested the conflict ultimately improved their acting. "The thick tension between old, hardened Captain Quint and young, sarcastic oceanographer Matt Hooper is due in part to the actors' real-life on-set rivalry," said Screen Rant's Andrew Housman. Ian Shaw suggests his father "was in battle-dress to some extent" while shooting the film. "Nobody was quite sure whether he was doing it to get a better performance out of Richard, or whether it was genuine animosity," he adds. Was he tempted to soften his father for the play? "I had to be careful, because he did have a soft and gentle side," Shaw explains. "He was a very interesting man. At home, we frequently saw a different side - he had a tremendous sense of humour and was a very loving person. So I hope that there's a hint of that in the show." Ian Shaw was still a child when his father died in 1978, but he hopes the show, which is directed by Guy Masterson and co-written with Joseph Nixon, captures him fairly. "A couple of my sisters have seen the play, he had 10 children in the end, and they, to my relief, gave me the thumbs-up," he says. IMAGE SOURCE,HELEN MAYBANKS Image caption,Ian Shaw says knowledge of the film isn't required to enjoy the play, but it helps with understanding the references The critics gave similarly positive reviews of the show's Edinburgh debut. Ann Treneman of The Times awarded it five stars, writing: "Get ready for this play to make some waves." Liam Rudden of the Edinburgh Evening News described it as a "fascinating insight into the fragility of even the most lauded performers", adding: "Immaculate performances and a sublime script make it one of the easiest five stars I've ever awarded." Liam Murray Scott, who will reprise his role as Dreyfuss in the West End, says: "The reaction in Edinburgh completely blew us all, forgive the pun, out of the water. There was a little bit of buzz before we went up, but by the time we got there we did two previews and it was sold out from then on." There seems to be considerable public appetite, we note, for stories of feuds in the entertainment industry. "It's because Hollywood is beautifully fronted," says Scott. "It's not necessarily voyeuristic, but it's behind the scenes, it's the other world which is not as shiny as it appears. "These are real people with real emotions, real tensions and real relationships, [and occasionally] you do meet someone that you don't get on with, and they are work colleagues." IMAGE SOURCE,SUNSET BOULEVARD Image caption,Laurence Olivier and Dustin Hoffman had different approaches to acting in Marathon Man, Goritsas notes His co-star Demetri Goritsas adds: "I watched Marathon Man, which is a movie that Scheider did after this, which had the famous collaboration between Laurence Olivier and Dustin Hoffman, which was a further clash of a British classical theatre actor and a young American method actor. "That's what I love watching [Shaw and Scott], it's the two generations and their approaches to this art, and how they're not matching, they've got to find a way to match, and it spills over into their personalities." Scheider was perhaps the most amicable of the three actors on set, which means Goritsas brings a slightly different energy to the play. "Scheider always said he had so much fun on Jaws, so I think there was a sense of adventure, and like they were doing something different. The idea of shooting on the sea was probably a really big thing then." Much like The Crown, the events of the play are based on real life, but many of the conversations are imagined. "Everything we've fictionalised is spiritually true, either rumour or we felt that it fit," says Shaw. The actor and writer had some memories of visiting the set of Jaws as a child, where he got to see the shark. "Even though it was lifeless, lying there, it was alarming," he recalls. The shark had been nicknamed Bruce by the crew of the film, after Spielberg's lawyer. IMAGE SOURCE,GETTY IMAGES Image caption,The shark was nicknamed Bruce by the Jaws crew, after Steven Spielberg's lawyer Later in life, Ian Shaw crossed paths with Dreyfuss. "I met Richard when he was directing Hamlet at the Bristol Old Vic, and when I met him I thought I'd mention that I was Robert's son," Shaw recalls. "And he was visibly shaken, as if he was reliving something." It's taken a lot of time, and a lot of convincing, for Shaw to write the play - partly due to not wanting to be too tied with his famous father. "At my age, when you hit 50, I think that that's less of an issue, because I've already had my own career now, however humble it is," he says. "I'm proud of my career which is separate, and now it just felt right. "I was very hesitant initially, I've come to terms with it because people seem to be enjoying the show, but it took my friends and family to persuade me to even write the thing. I was very reluctant, I thought it was a crazy and silly thing to do, but I oddly feel comfortable doing it now." The Shark is Broken opens at The Ambassadors Theatre in London on Saturday.

I'm sure they've all be warned about what they will encounter so this message Board is avoided like the plague. Message Boards are filled with know-it-alls who whine about why TCM doesn't __________ (insert any esoteric narrow subject here) Those pictured above have been picked apart in here for their hair, voice, mannerisms. Mean, nasty, self centered comments about these people just trying to do their job. The anonymity of the internet is just allowing/teaching people not to have any real social skills. I was once part of a message board about my friend's rock band & knew the moderators. The band members NEVER came on, it would have broken their hearts to hear what stoopid things people complained about. Could you imagine going on stage & hearing boos instead of applause? That's what a message board is like for the celebrity. For the same reason Twitter, FB & the others are popular -"a f-art in the wind" as Ohio so succinctly called it-rather than a real conversation. I betcha celebrities quickly dismiss the unintelligible outbursts of emojis & one liners on those platforms. Look what happens when one of THOSE posters come here.....we are more literate. We want to discuss. And most of the time our Moderators delete posts because some crybaby complains "I feel personally threatened!" in attempt to eradicate any evidence of his mistakes.

It is a great movie 9/10. My favorite story about the making of this film is how Friedkin got that performance out of Gene Hackman. Hackman was a gentle, soft spoken liberal and had to transform into this loud, bigoted violent cop. He went on busts with real life police like Eddie Egan and Sonny Grosso. Egan was very much like the character of Popeye Doyle. After several weeks of seeing what the cops deal with, Friedkin saw the anger coming out in Hackman's performance and you have that brutal and stunning portrayal that you see on screen. After one scene where Doyle roughs up a suspect, Egan said "Hey this guy's worse than me!" , which drove Hackman crazy, stunned at what he had become.

THE MASQUE OF THE RED DEATH CONTAGION ISLE OF DEATH — plague SO LONG AT THE FAIR — spoiler alert! and a funny contagious disease— WHAT’S SO BAD ABOUT FEELING GOOD

Hey now, as someone whose first few movie credits were as Best Boy, i can attest to their importance. Lighting in general in film production seems to never get the credit they deserve and in my experience the majority of time spent on set is waiting for the lighting to get set-up just right.

Absolutely! He took a section of film that most (myself included) had always at best looked at as just a means of finding out who the cast was and transformed it into art. And quite often an integral part of the movie as well. I'm pretty sure the first movie I saw with his title work was To Kill a Mockingbird. I can't even imagine that film without that opening title sequence. It sets the film up beautifully and tells you everything you need to know about the movie. It slowly and quietly moves along, just like the Southern summer days in the story. The soft tuneless humming as the picture is being drawn, the glimpses of the "treasures" from the cigar box, you've just been introduced to Scout, the main protagonist and told all about her before she's even been seen. It was just absolute brilliance! I've heard some of the hosts make mention of Bass in the past but I really wish they'd devote an evening to his films sometime.

Yep. Already admitted and apologized for my gaffe some 23 -4 hours ago. Sepiatone

Excellent point. However, that's not why I pay $180/month for the privilege of watching TCM. Not to see endless sub-standard 1970's films or marathons of silents and foreign films. Or to find the films I originally sought TCM out for (1930's-1950's) pretty much buried under all of this other stuff. And, because I like to do a lot of recordings, I have to have cable, not one of the live TV services.

Haven't as of yet seen THE MANY SAINTS OF NEWARK. So far it's gotten mixed reviews. WHITE ZOMBIE is actually quite good. Bela is creepy in here. I'd say I MARRIED A WITCH was more the inspiration for BEWITCHED than I DREAM OF JEANNIE. It's an enjoyable little gem though, and Cecil Kellaway steals the show whenever he's on screen. THUNDER ROAD.....you can't go wrong with Robert Mitchum. GLADIATOR.....the SPARTACUS of the 21st century, but it stands out on its own. Always been one of my favorites. KANSAS CITY BOMBER.....not a movie I would watch over and over again, but still a good watch once in awhile.

this is one of those ideas that makes writers JEALOUS they didn't think of it.

what a brilliant idea!!!! 10-1 someone is looking into buying the film rights if they have not already.

I loved Route 66. At the time one of my favorite shows. A few years ago, Rt 66 was being re-run and I found that I still loved the show. Great writing, locations, acting and the theme song was and still is wonderful. Wish the show was in re-run again.

Saw this one piece romper catastrophe in the Men's (yes-MEN'S) department of Target. In case you already closed your eyes-the US flag is in the shape of Mickey Mouse's head.

I remember the Richard Diamond series, but barely. I also recall the scenes with MTM's legs. Unfortunately I haven't found it being shown on TV anywhere that I have access to. Most Route 66 episodes are more Noir than Perry Mason in my opinion. The first episode is particularly dark. Many think of Route 66 as two guys on the road having an adventure. While it may be that, most of the episodes were very serious and usually the featured characters were someone other than Todd or Buz or Linc. We ended up purchasing each PM DVD set as they came out. It definitely makes for better viewing seeing them in order and without commercials. Now they have all of them in one set. There are some episodes which were later revised for new episodes.

Yes, the world can't have too many lovebirds.

I think the lovebirds are the only likeable characters.

I always felt sorry for those two kids, having her as a mother, overreacting to everything, lol.

The chase in Bulitt is pretty emotionally detached and I think edited with a sort of boredom at the whole thing. The chase in The French Connection is much more grueling and emotionally impactful. Hackman's frustrated pounding at the wheel only adds to the intensity. It's the ending of this film that really gets me. When the triumph also has an element of castastrophic failure to it, and it sort of shakes up exactly how we're supposed to feel about the whole thing. There were a lot of darkly cynical films in the '70s that I don't think could get made today.

A few Perry Mason episodes were influenced by noir. One that was on a couple nights ago on FETV had Peter Breck as a recovering alcoholic who sees his "dead" wife at a hotel late one night. Turns out she was mixed up in a robbery investigation and winds up dead for real. It was all very dark with lots of nighttime shots, and very convoluted with several people not who they pretended to be. Back about the same time David Jannsen had a series called "Richard Diamond -- Private Detective" which was very much noir as I recall. It's most famous for having a sexy-voiced receptionist named Sam whose face was never seen, just her terrific legs. For the first year or so it was Mary Tyler Moore in her first regular TV series acting job.

One of the movies I could sneak in the theater to see it despite its Mature rating. It is an excellent movie, and a favorite of mine. The movie has many several memorable scenes besides the car chase, like the subway scene when Gene Hackman and Fernando Rey try to outsmart each other, and when Fernando Rey is dining in an expensive restaurant while Hackman and Scheider eat some hotdogs outside.

Yeah, that chase scene! Wow! I like the chase scene in Bullitt but I agree Hackman's chase of the train is the best I've ever seen. I think Bullitt appeals more to the gearhead and tuner fans. It is an exciting chase and admittedly it does get my heart racing seeing two of Detroit's finest steel monsters screaming down the streets,especially since you can see a Camaro at a red light, appropriately sitting still while the true lord's of muscle roar past in a blur.... but I digress. The chase in French Connection though? Hackman peering up through the windshield trying to keep the train in view and the street at the same time, narrowly missing the baby carriage, the (real!) collision with the Ford crossing from the side street, and Hackman's expressions and growls of frustration. Connection had a palpable sense of urgency to go along with it's excitement.

On our first date, my wife (well, before she was my wife) and I went to a movie; and when the movie ended, as everyone around us bolted for those noisy doors and the usher started scraping gooey syrup off the floor, my wife and I stayed in our seats. We read the names of the Best Boy, Assistant Caterer, and the Secretary of the insurance company for the film; and we both turned to each other saying, "You read the credits, too!?" Well, that sealed the deal for me right then and there. So rather than ruin two marriages, we decided to marry each other. And we've been reading movie credits together for going on 40 years now. I'm a sucker for movie credits. Beginning or end, doesn't make any difference. Except there's one movie that absolutely enthralls me with its opening credits. I know it's not everyone's cup of tea -- and I have some difficulty with it from time to time -- but the 1954 Judy Garland "A Star is Born" transports me to magical movie land in the first couple of seconds. Up front, I have a weakness for nighttime city landscapes where all the twinkling lights are shimmering in the distance. ASIB, check. The orchestra begins something exciting. Again, ASIB, check. Then comes "Judy Garland" in this beautiful red font with flecks of light throughout. I'll even just watch the movie for the credits at this point. And I am happy. The one other movie that has any similar effect on me is because of the score. I'm talking Elmer Bernstein's "The Magnificent Seven." Right now as I'm thinking about it, I'm getting goose-bumps. Goose-bumps, I tell ya! Here, look! So I'm pretty sure that if you were all in the same theater as my wife and I that night long ago, we'd be in real good company. And the usher would just have to wait to clean up the jetsam until we were ready to leave. I'm curious now to find out if any of you out there have any similar experiences about opening or closing credit sequences. I'm very eager to hear about them. Thanks, Brian

Found it! (And it's terrycloth!) Picture removed from this post.

A film i can never turn away from if it is on. Number 4 in my personal all-time Buster list.

Nosferatu (1922) - black death Death in Venice (1971) - cholera The Conscript (1974) - syphilis Philadelphia (1993) - aids Their Eyes Were Watching God (2005) - rabies Rams (2015) - scrapie The 5th Wave (2016) - bird flu Locked Down (2021) - corona TV series: Second season of The Bridge (2011)

Sorry for any confusion, Sepiatone. I was interested in people's reactions to how the movie's essential information is conveyed either at the beginning or the end of the showing. To be sure, different eras and the various studios handled this presentation with a wide range of possibilities. But when everything comes together from the director, producer, set designers, and -- for me -- the composer, in such a wonderfully coherent synthesis, I think true art is being created. Citizen Ed looks at the Saul Bass contribution to "To Kill a Mockingbird," and I listen to Elmer Bernstein's music. (The Elmer Bernstein who wrote the scores for "The Magnificent Seven," "The Ten Commandments," "Some Came Running," and "Meatballs!") But the two contributions work so incredibly well together to form the opening up of a new world to the audience. This kind of ties in to another reason why I enjoy credits. Mainly because it is the "credit" for those whose technical and artistic labor produced the thing I am watching. Maybe because I have always worked in the back of the house in kitchens and pastry shops that I have a certain fondness for the craft of the people whose faces are never seen by the consuming public. I like to acknowledge the effort made by all those faceless names that scrawl across the screen -- whether demanded by their unions or not. Thanks for your responses so far.

two thousand two hundred sixteenth category Contagious! THE KILLER THAT STALKED NEW YORK (1950) THE SATAN BUG (1965) THE ANDROMEDA STRAIN (1971)

Well, if I knew of a way, I'd send all the PIGEONS that crap on my car over your way. Would THAT make you feel better? Sepiatone

I hear his name quite often as one of the best directors working today but I was familiar enough to know what movies he'd actually done so I looked up his credits. I thought Seven (or Se7en, talk about pretentious 🙄) was good take on the overused serial killer horror subgenre. And I thought his followup film the Game was absolutely brilliant. Other than those two I can't say anything has really stood out for me and even those I enjoy more for the acting and story than his skills as a director. Gotta say I'm less than impressed with his work. Nah, not to worry. I try not to be pretentious but my ramblings are twaddle too.😏

I'd love to see this play! I saw a documentary about the making of "Jaws". As troubled as production was, you can't tell when you see this amazing film. As mentioned, there were lots of mechanical problems with the shark. However, this lead to shooting it in a different way leaving more to your imagination such as showing the presence of the shark without actually showing the shark (i.e., buoys being pulled, a dock torn away, cracking in the bottom of the boat as it is being rammed). The shark point-of-view shots are really effective - for example when the shark is approaching the girl swimming at night in the beginning. Not seeing the shark actually added to the suspense and anticipation. Another film that used this technique effectively was Cat People (1942). In one scary scene, the heroine paddles by herself in a pool at night with sounds of growls and a very eerie atmosphere. The ripples of water cast strange patterns of light and shadow. Below: Jaws shark POV girl swimming and pool scene from Cat People.

Sparrows (1926) Dunno why, but for me, when I think silent film, I think of the big three - Chaplin, Keaton, and Lloyde. And screwball comedy... But, oh my gosh, this film was amazing. Sparrows is dramatic film about a very serious subject, baby farms. Baby farms were basically where orphans were imprisoned for slave labor or private adoptions for cash. While the film exposes practices of the baby farms of the time, it also carries a movie plot along with it - a kidnapping. The film stars Mary Pickford. Similar to my opening comment, when I think of Mary Pickford, I think of Chaplin. But she carried her own weight. She not only stars in this film, but she was also the film's producer. We should also note that she was also one of the four who started United Artists, along with D.W. Griffith, Charlie Chaplin, and Douglas Fairbanks. IMDb gives this film a 7.3; well deserved if not underrated. TCM's version of the film includes a prologue where the following text is shared with the viewer.... "Baby Farms" were where desperate, unwed, or deserted mothers were paid to leave their children who in turn were sold to adoptive parents or as slave labor. By the 1920s, baby farms were beginning to be exposed for the horrific places they could be, and Sparrows played a part in that. The Dickensian melodrama helped to increase pressure to pass child welfare laws and restrict private adoptions. Sparrows features a supporting cast of eleven children, all under the age of ten. Mary Pickford, the film's producer as well as star, put the children on salary several weeks before shooting began so that they could get accustomed to the "swamp" set as well as toughen their feet, since they are barefoot until the final scene of the picture.

For those just joining us, the next Noir Alley feature is Brighton Rock, Sat/Sun, Oct 09/10.

ELCID, Lt. Tragg was one who grew on me over time. At first, I felt adversarial to him for trying to foil Perry-- but increasingly frail Ray Collins impresses me -- there was something so 'game' about him-- plucky, really. And his humor. Something I don't really get from Hamilton Berger, but could be wrong about that. JAMESJAZGUITAR, I wonder if cool, elegant Gail Patrick was the template at least partly for "Della"? Apparently she talked her friend Barbara Hale into the role. I don't know if you've seen those youtube fragments of the screen tests for the various roles on "Perry". In a few of them, other actresses were assaying the Della part, and they were all wrong. More vamp-like and "obvious". Barbara Hale's Della was shrewd, keenly observant and the soul of discretion, while still being alluring. TERRYE51, I totally agree about that Peter Breck episode, you are right about the noirish feeling. Really like that one. I've seen so many of the Perry Mason episodes, over the years, but in a jumble. Now I'm recording select ones from both METV and FETV, and trying to see them in a more organized, chronological fashion. TWINS, Delighted to see you here!! You are so right about the noir aspects of one of our faves, "Route 66". I was even thinking of that later, after I posted. Such an interesting show-- some of it was light-hearted, and some quite downbeat. Well -written, and with that memorable jazzy opening theme...

I was thinking the exact same thing!! So adorable!!

This was a great interview! I listened to it too. I really enjoyed the conversation. Eddie also popped up on Leonard Maltin's podcast, Maltin on Movies, yesterday. That was a fantastic interview. I can always appreciate when two people can present an entertaining, informative and intelligent conversation.

Some Texas leaguers--Didn't Joe Gillis have a script about a baseball player that he gave up on or changed to something else? And then there was Dana Andrews' little baseball puzzle that he was always working on in Laura. Awwwww. The Yankees lost. Ha ha. Send those overpaid mfing creeps back to the Bronx where they belong.

When you think about it, are there any likeable characters in THE BIRDS? Stupid Annie Hayworth, interminably pining away for the love of wimpy Mitch who initiated the end of their relationship by not standing up to his cold, selfish, needy, controlling mother Lydia. Then there is blubbery sister Cathy, and last but not least, rich vacant ex-playgirl Melanie Daniels.

"Does Jeff know?"

Great use of metaphor, misswonderly.

I don't see it as rude. Look, to be honest, there have been times, certainly on this thread, when some matter for discussion has come along and almost taken over the thread for a few pages. Last time it happened, I did get kind of exasperated. But I also recognized that the posters chatting about whatever the off-topic topic was were enjoying the conversation. I also knew that it would soon get back to Noir and Noir Alley, which it did. All I had to do was skip reading the posts that didn't interest me. No big deal. I guess I see discussion boards on a site like this as different from actual real-life conversation. Meaning, if a group of people in real life were all talking about something, and someone came along and totally disrupted the conversation and derailed the flow of the group's discussion, I could see that behaviour as rude-- again, if it occurred in real life , not on the internet. But things work differently on social websites, it's not at all the same as real life social gatherings. And I did not say your question was "out of line", on the contrary, I acknowledged that you are not the only one who dislikes off-topic posts here. I was just giving my own feeling about the matter.

My guess is that there were a lot of what-a-be Eve Harringtons out in the real world of acting but only one in a million were able to advance like Eve in the film.

There's a difference between appreciating opening credits and end credits: Opening credits are the overture that set the tone of the movie, and relax you out of the real world into the movie's setting--And, back in the studio-factory days, there were only a few people to credit, so the end credits could only be the cast list. Nowadays, titles have to be flashed to "sell" the movie, the major cast-and-director credits have to be the stylized opening-credits at the end, followed by crediting 8-10 minutes of every CGI technician whose union demanded he be represented. That's one reason the Marvel-wannabes latched onto the "Mid-credit sequence", where they could give us a stylized credits for the big union people, and then let audiences walk out during the long scroll of little ones. And now we have reactors on YouTube saying "What's with the long opening credits? Did they all do that back then??" as if it blows their mind that movies before they were born didn't title-flash back then, either. Just try getting one distracted off the how-long issue to pay attention to the Swedish subtitles in Monty Python & the Holy Grail, let alone the epic "overture" credits to The Sound of Music or South Pacific.

And eat what kind of cake? C'mon queeny, inquiring minds want to know. I never heard of Cantone, which doesn't mean much as I'm way behind on pop culture and celebrities. I caught just one outro and he was a little bit desperate for a good laugh. Whatever.

Hora de dormir Bonzo (1951) YouTube In Ronald Reagan’s only Spanish film, he plays a psychology professor who sets out to prove that people are a product of their environment rather than their heredity. He obviously never saw The Three Stooges episode with the same theme, which ended in tragedy as everybody threw pies at each other. To prove his theory, Reagan takes home a chimp named Bonzo, plays “papa” and then hires Diana Lynn to act as “mama.” Results are very predictable, but also very funny. Bonzo (real name Herschel Bonzofsky) steals the show with his antics. A good way to kill about 83 minutes.

What would Mario Cantone say about the French Revolution? "Oh, that Marie Antoinette! Those wigs were hideous! I was so rooting for that guillotine!"

So looking forward to ALL ABOUT EVE. Even though she wasn't the first choice for the role, I say that Bette Davis was born for the role of Margo Channing. And Anne Baxter is very convincing as the not-so-innocent Eve Harrington. And of course George Sanders shines as cynical Addison de Witt. I never get tired of this one. Of course, I am looking forward to NIGHTMARE ALLEY as well.

Moonrise (1948) SOURCE: TCM This was a film that I recorded a while back. I am a fan of Dane Clark who stars in this film. This is also a title that is part of the Criterion Collection. I wanted to check it out to see if it was worth adding to my collection. I'm happy to say that it's definitely worth adding to my collection. This is a great movie. In this film, Dane Clark plays Danny Hawkins, a young man whose father was hanged for murdering a man. Throughout his entire childhood, Danny is bullied mercilessly for his father's crimes. One child, Jerry, is the meanest of all the children and harasses him endlessly. Fast forward a couple decades and a now grown Danny is still being harassed by a grown Jerry (Lloyd Bridges). Both Danny and Jerry are pining after Gilly Johnson (Gail Patrick), a childhood classmate and now the teacher at the local schoolhouse. It would seem that this story takes place in a very small town as everyone knows everyone and Gilly is constantly referred to as "the schoolteacher." During a particularly tense confrontation, Danny is finally at the end of his rope and beats Jerry to death with a rock in self-defense. He hides Jerry's body in some brush and returns to the local dance to dance with Gilly who is engaged to Jerry. Later, during a downpour, a tortured Danny drives Gilly and friends home. He is driving recklessly in the blinding rain and ends up crashing. It seems that nobody is injured in the crash (or if the two friends are killed, we don't know about it because they're never heard from again). However, the news of the crash gets around and the townspeople begin to talk about "the schoolteacher" and her affair and car crash. Soon, Gilly and other people around town start wondering where Jerry is. At the same time as Gilly wonders about her beau's whereabouts, she's also finding herself growing closer to Danny. The sheriff (Allyn Joslyn) starts searching for Jerry. A mute man, Billy (Harry Morgan) finds Danny's very unique pocket knife at the scene of the crime. Danny tries to hideout at the home of his friend, Mose (Rex Ingram). Finally, racked with guilt, he visits the home of his grandmother (Ethel Barrymore) who gives Danny the talk that he needs to hear. This was a fantastic film. There was a lot of suspense with Jerry's murder and whether or not Danny would be arrested for the crime. However, there was a more interesting storyline woven into the murder narrative. The story of a man dealing with the effects of his father's crime and worrying that he is destined for the same fate. Throughout his entire life, he has believed that he was tainted with "bad blood" and not worthy of happiness. He is cynical and weary. And his depression and despair is only exacerbated by the cruel treatment he receives at the hands of his peers. His reputation precedes him wherever he goes. Even his girlfriend, "the schoolteacher," cannot escape his reputation. She is constantly put down for the supposed image that she is presenting to the point that she resents being a teacher. I would definitely add this film to my collection and re-watch it as I feel there are a lot of nuances to this story and a lot more that can be gleaned upon subsequent viewings.