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He's in The Killers Loophole The Narrow Margin Roadblock Blood on the Moon Armored Car Robbery Side Street Border Incident T-Men Spartacus The Killer Inside Me Boy and His Dog The Night Stalker (TV) Tell Them Willie Boy Is Here Johnny Got His Gun Hang 'Em High In Cold Blood

These are some of my favorites but he's got quite a few credits of films that I haven't seen also Hammett The Outfit Emperor of the North Pat Garrett & Billy the Kid Electra Glide in Blue The Great Northfield Minnesota Raid The Night Stalker (TV Movie) El Condor Rosemary's Baby Welcome to Hard Times The Glass Cage House on Haunted Hill Baby Face Nelson Plunder Road Chicago Confidential The Killing I, the Jury Flaxy Martin Born to Kill The Big Sleep Dillinger Phantom Lady Ball of Fire I Wake Up Screaming The Maltese Falcon

So, looks like this weekend's Noir Alley offering is 5 Steps to Danger. I don't think I've ever seen this one, so any work featured on Noir Alley I haven't already seen is always a bonus. ( although recently there've been quite a few of them, including the foreign films. ) I'm not sure about the "Commie threat" theme, I often find that American films from the 1950s on that topic can be a bit proselytizing -ish and over-the-top. A major exception is Pickup on South Street, but in that film the Commie spy thing is more a McGuffin than anything else, it's really about Skip McCoy and the other shady characters who populate the seedier areas of New York City. Not much anti-Commie propaganda, unless you count Moe's extremely touching and eloquent speech . But I'm digressing here. I'm prepared to like 5 Steps to Danger. It's got the always interesting Sterling Hayden, and also the somewhat under-rated Ruth Roman ( I believe last seen on Noir Alley in Tomorrow is Another Day.) I've never heard of the director, one Henry Kesler. Anyone know anything about him? Anyway, looking forward to this. It's got a good title, for starters.

Dang, but I've really come to love this movie! The Big Country. From immediately being swept up into the sprawling landscape by the Jerome Moross score to the wonderfully hashed out storyline points, I'll admit that I come late to this fan club. For oh so many years I wouldn't give this thing a look, but about a year ago I actually watched it start to finish. And how I was surprised! I think it must be the one picture that has Charlton Heston in it, but that you wouldn't even know he has all that much of a role -- Burl Ives, for crying out loud, is astoundingly memorable. There are just so many finely drawn characterizations and storylines that keep me glued to my seat. Even my wife is coming around to enjoying this as much as I do! I brought her home from work just when the movie was starting, and she exclaimed, "Is this that movie with Gregory Peck and that other one?" Oh, yeah! So if anybody out there in TCM Message Board Land has any thoughts -- good or not so good -- about "The Big Country," let's read them. I'm interested in knowing if I am alone in my estimation of the film or if there are others who share my unashamed enthusiasm for it. Thanks, Brian

Yes I've noticed that phenomena too you usually imprint something or someone the way you first perceived them/it. The Maltese Falcon is considered one of the first American Film Noir and Cook Jr. is one of the seminal supporting character types, he goes on to act or have cameo appearance's in 11 Noir and a few Neo Noir. I probably first became aware of Cook from seeing him on the big screen in House On Haunted Hill then the Maltese Falcon.

I can't believe he's never been nominated! Also loved him as the hotel elevator guy in Don't Bother To Knock who recommends Marilyn Monroe as a babysitter even though she's psychotic.

I saw this post so I thought I'd watch "Conflict" - I recorded it. Thanks for spotlighting it. It was a great film. Very suspenseful with lots of interesting twists and turns. I did not predict the ending! I was so surprised to see Bogart play a character like this. He portrays a character that seems really unhappy with his marriage with a very difficult wife but I still wanted him to get caught. Sydney Greenstreet has an interesting accent that I can't identify. I think he's a wonderful actor.

I can't really agree with your statement, MissW. Anytime I see Joan Crawford there's always conflict. It's been a while since I saw Conflict, a film I recall generally enjoying. Seeing Greenstreet play cat and mouse with Bogart on the receiving/losing end is interesting if only because it's different. And I find it further interesting that with Bogart, having just recently become Warners' biggest male superstar as a romantic leading man in Casablanca (after years of toiling in supporting roles, often playing a hood) the studio was willing to experiment so soon with his newly acquired image by casting him as a wife murderer in Conflict as well as The Two Mrs. Carrolls soon afterward. Seeing Bogart's gradual nerve breakdown as he gets spooked by the possibility his wife is still alive in Conflict is interesting. As opposed to the psychopath he plays in Two Mrs. Carrolls with the usually laid back actor's over-the-top histrionics at the film's climax a bit embarrassing to me. There's some face twitching in his paranoia in Carrolls that gets my nomination as Bogie's worst performance during his prime years as a Warners star. Of course, he would soon be experimenting with his screen image again in Dark Passage, as a man on the run who is anything but "cool" and needs the help of anybody and everybody, from Lauren Bacall to a plastic surgeon to a cab driver, to try to extricate himself from a murder conviction (which, in fact, doesn't happen, as it turns out). Soon after that came further, and far more convincing, explorations of playing psychotics for the actor in Treasure of the Sierra Madre and In A Lonely Place, two of his best performances. When Bogart had good directors and scripts, as in these two films, he flourished as a performer. That was not the case in The Two Mrs. Carrolls in which I feel he flounders as an actor.

By the way, it doesn't appear that the original poster herself has a problem with the topic veering into Crawford territory, so if she doesn't mind, I guess I shouldn't. But, I did want to share a few thoughts about Conflict. Looks like jamesjazzguitar beat me to it, he too thought of The Two Mrs. Carrolls. I think Conflict and The Two Mrs. Carrolls would make a great double feature on TCM ( or anywhere for that matter.) Both films star Humphrey Bogart, and in an atypical role, ie, a murderer. And not just any murderer, one who wants to off his wife. True, there are a lot of differences, probably the main one being that in The Two Mrs. Carrolls the second Mrs. Carroll survives. And the idea of Bogart's character in the latter film being an artist and seeking inspiration for his work from the woman in his life, that's kind of an original (albeit creepy) concept, nothing so interesting in Conflict, where it seems he merely lusts after his wife's younger sister, much more cliched situation. Actually I think TCM has shown these two films back -to-back. Of course, Stanwyck makes a much more engaging and sympathetic wife than whoever played the wife in Conflict. Ok, I looked her up: Rose Hobart. I've seen a lot of old movies, and I'm not familiar with her at all. I looked up Rose Hobart's filmography, and a quick scan revealed a lot of films, and I don't think I've seen any of them. ( Maybe I was too busy watching Joan Crawford movies😐. ) Bogie does not often play a murderer - I'm not talking about all his gangster roles before he became a big star. So these two titles are worth checking out if only for that - to see Humphrey Bogart playing such unsympathetic, malevolent men. ( You can't count In a Lonely Place, his character is much more nuanced in that. Plus, as we who've seen it know, he is NOT a murderer in that film.)

This is a public forum I believe. Everyone can voice their opinion on how they feel. Let me say this we may not agree with another's opinion, but we can comment in a nice way. When I first joined, the very first post I wrote had an unkind reply. I'm angry about the unkind replies above. I also agree that TCM show films that are not classics. There are of course good films from the 60s and 70s. Maybe beyond still no need to be mean.

I love watching these two: Kent Smith & Simone Simon in THE CAT PEOPLE (1942). Such beautiful looking people. I also love watching these two together: Leslie Howard & Ingrid Bergman in the remake of INTERMEZZO (1939). As well as: Robert Ryan & Shirley Booth in ABOUT MRS. LESLIE (1954). Then there's: Kirk Douglas & Alex Cord in THE BROTHERHOOD (1968). For romance with a bit of espionage we have to mention: Julie Andrews & Omar Sharif in THE TAMARIND SEED (1974). And I think these two complement each other perfectly: Jon Voight & Jane Fonda in COMING HOME (1978). Don't forget: Mary McDonnell & Alfre Woodard in PASSION FISH (1992). Or this British duo: Emma Thompson & Anthony Hopkins in HOWARDS END (1992) and THE REMAINS OF THE DAY (1993).

Recently I re-watched one of my favorite films, 12 Angry Men from 1957. I have always appreciated this film for its powerful performances; However, recently when I watched it, it dawned on me how much deeper the plot is and how it could possibly be interpreted as a metaphor for spiritual awakening. Throughout the plot, each man on the jury slowly becomes aware of his own limiting beliefs that hold him back from considering anything other than his own learned viewpoint, or what appears "obvious" to the logical mind. Each one slowly opens to new ideas and possibilities that the ego previously blocked out. Even the most ego-centric man (Juror 3) is awakened to become aware of his own ego and programmed beliefs and he experiences a cathartic release of pent-up emotions as he releases them. For me, the most beautiful thing is that at the end of the film, after all the ordeals and arguments, there are no feelings of ill will or judgement between those involved. Nobody is labelled the "bad guy" for how they acted when they were lost in ego and learned behaviors. Everyone just lets go and they part ways, knowing their truth and presumably going on to live their truth with more open minds. I particularly like near the end when Juror 8 gets Juror 3's coat. The two were always at odds with each other throughout the film, but this gesture shows there are no hard feelings. There is this moment of shared humanness. We all can so easily get caught up in ego and behaviors we were taught, but deep down we are so much more than those thoughts and behaviors. I also love how Juror 3 slowly leaves the courthouse in that last shot. To me, he seems lost in thought, but is also taking in his surroundings with a careful curiosity, as if he is wondering what life would be like now that he has opened up and released this conflict with his son that had been eating away at him. He seems to be considering what is the part of him that remains, now that what was false is gone. Another great snippet is the interaction of Juror 10 and Juror 11 partway through the movie: Juror 10: "What are you so polite about?" Juror 11: "For the same reason you are not. It ’s the way I was brought up." Here I feel Juror 11 is not blaming Juror 10 for being impolite, neither is he thinking Juror 10 is a bad person. He is just aware that people act how they do because of their upbringing. Each character in the film is so well-defined and one could argue that they are all aspects of a single person. Indeed, I see parts of myself in each of the 12 characters and can relate at least in some way to each. While watching the film, I thought that the whole plot could potentially be going on inside one person's mind as they argue with parts of themselves and slowly become aware of and release "stuck" unhelpful learned thoughts/behaviors (racism, following the crowd, impatience, etc). I was wondering if anyone else had thoughts about this film. Perhaps other interpretations? I love this film and would love to talk about it!

Look, when TCM finally honors Tor Johnson, then we will have made progress.

Cigarjoe, I know you mentioned The Big Sleep in your original post here, but I'd just like to draw attention to Elisha Cook's performance in it. He only has one scene (I think? two at the most), but you really remember him in it. It's the bit where Marlowe speaks with Cook's character- "Harry Jones"- about arranging for Agnes to meet with Marlowe, she's got some information she wants to sell to him. Jonesy says he and Agnes are engaged. It's kind of funny, Agnes being such an obnoxious character, but also quite a memorable one. Anyway, the part where Cook really shines is when the menacing Canino traps Jonesy in some office and makes him reveal Agnes' whereabouts. It's a very ominous, disturbing scene, and Elisha Cook does it full justice. Oh, and we find out that Jonesy was loyal to Agnes, despite Canino's threats. I really liked Elisha Cook Jr. in that part, I think it was only the second time I ever saw him ( after The Maltese Falcon).

You posting that a close family member had died, certainly wasn't too personal and anyone actually posting a laughing emoji on that post of yours missW, well, that's just plain mean and rude and uncalled for. That posting of a laughing emoji should be reported, nothing funny about a close family member dying. That poster needs to apologize to you and remove that laughing emoji.

My guess is that the uncredited actors played leprechauns such as the little people who did and ...didn't get credited in ****...

In the movie THE HOLIDAY, they use the movie BLUEBEARD’S EIGHTH WIFE as an example of a meet cute (I learned this from Alicia Malone)

Mr. Cook also makes an appearance in the famous Western "Shane". He plays an ex-Confederate soldier who like all the other farmer/settlers in the area, just wants to make a simple living from the land. I remember the other farmers tease him about being from the South. He's a sad character who meets an undeserved end in this classic Western.

I think Tombstone was what the Hannassey's served at Blanco Canyon

Sunday in New York ..snagged The Gay Divorcee Fred 'rescues' Ginger Singin' in the Rain dropping in The Palm Beach Story stepping on Rudy Vallee's face 27 Dresses KO'd at a wedding

for the first time in a long long time, I watched a non-horror classic film on TCM, CONFESSIONS OF A NAZI SPY (1939)- which was an early docudrama-style picture about GERMAN SPIES LIVING IN AMERICA, I could see a young MARK HELLINGER in the audience taking notes. NAZIS, I HATE THESE GUYS- but damned if I won't watch just about anything about 'em, and this was a pretty engaging film...largely for its prescience, but also for the FOUR DIFFERENT ACTORS who pop up throughout the proceedings- all four of whom would have drastically different career trajectories in the coming decades. FRANCIS LEDERER- a handsome man- who abandons his vanity for his part and does a tremendous job, but who would not have much of a career in film, although he would appear in others (including MIDNIGHT from the same year) EDWARD G ROBINSON, who dominates in all of his 15(ish) minutes of screentime- this might just be the genesis of EDDIE G's "stalwart highly competent investIgator" type that would show up later in DOUBLE INDEMNITY and THE STRANGER. GEORGE SANDERS is in it with a flat top (!) and a German accent (!!) playing a Nazi (!!!) and he is invested.... PAUL LUKAS is also in it and he is adequate, which is the nicest thing I think I have ever had to say about him.

Can we get a consensus on the best frozen pizza? I like lots of pepperoni and usually have to add my own black olives and extra cheese.

Absolutely! He has such an impressive list of quirky characterizations. But if he had done nothing else, that mad, frenzied drum solo in "Phantom Lady", in the shoebox-sized jazz club, with Ella Raines pretending to love it and him, warrants multiple viewings.

From November 6-9, 1921, the Poli ran Why Girls Leave Home, with Anna Q. Nilsson as Ann Hedder and Maurine Powers as Madeline Wallace. The film was released in September of 1921 at seven reels, and is presumed lost. Plot: Anna Hedder, a sales lady, works in a store owned by Mr. Wallace. She is persuaded by her friends to take an expensive evening gown from the store and charge it to their account. Anna’s old-fashioned father refuses to let her own the dress, thinking people would believe she was “that kind of woman.” Wallace encourages Anna’s father to toss her out of the home and the girl leaves. She moves in with two women who have questionable morals. While attending a cabaret, she observes Madeline Wallace, daughter of the store owner, flirting with an idler named Reynolds. Mr. Wallace decides to accompany his daughter to dances, to protect her from Reynolds. But Madeline steals away and meets Reynolds in Anna’s room. When Anna’s mother becomes seriously ill, her father refuses to let the girl see her. After Anna’s mother dies, she sends Madeline back home. Wallace and his daughter are reconciled. Anna and her father are also reconciled. The still below could not be placed in context, although it is likely from the sequence where Anna is told to leave the house. The actor at the far left could not be identified, but the others are (from left to right) Claude King (as Wallace), Kate Blancke (as Mrs. Hedder), Nilsson, and George Lessey (as Mr. Hedder): The film was based upon a stage production of the same name. An earlier film version was made in 1907, which is presumed lost. Wid’s Daily remarked that the film was “not nearly as sensational as it may sound,” but added “the director has done very well with a story that might have been made into a lurid, distasteful piece. There are no objectionable moments.” Motion Picture News wrote “this is a picture that we approached rather skeptically, with the idea that it might develop into a hackneyed, “sob-sister” composition of scenes. We even thought that we were in for a moral lecture – that a pictorial preachment would be offered with a deal of maudlin melodrama. However, it is quite a feather in the respective caps of Harry Rapf, the producer, and William Nigh, the director, that they have made a first rate entertainment from a play, the theme of which has been worked to death upon stage and screen.” Exhibitor’s Herald noted that “while not produced on an elaborate scale, it drives home its point well and leaves a lasting and pleasing impression.” Songwriters Gus Edwards and Will D. Cobb composed the song “Why Girls Leave Home” to be featured with the film, and the record, along with the sheet music, were published to coincide with the film’s opening.

Holy **** you guys, I am, like, all of four minutes into “Taking Tiger Mountain” (198?) which ran on TCM underground last night and already it is completely insane. Full frontal (e rect!!!) male nudity too!!! AND Pretty strong sexual content. THANKS TCM!!!! apparently the word “e rect” is censored. EDIT: This is the dirtiest film I have ever seen on TCM. I love it! I’ve never ever heard the euphemism “box lunch” before, but I am absolutely using it daily from now on.

Glad you watched it and enjoyed it.

Just a day or two ago someone started a Thread for KENT SMITH for a 'SUTS' Day. THE NIGHT STALKER (1971-Tvm) overlaps with Kent and Charles. A two-fer! ALSO: "The Killer Inside Me" is a rather unusual movie about a near-psychotic policeman played by Stacy Keach. He's slowly going nutso!

MissWonderly3, (btw, I'm a sucker for a good Mary Astor photo!): Pizza is, of course, Tony's. Friday night staple here in semi-rural New Hampshire. Just a sincere little $3 frozen pie to which we add our own pepperoni on special occasions, such as this evening's TCM movie fare. Now there are those who will say that Tony's can't hold a candle to Red Baron -- and you'll get no serious argument from me as I can thoroughly enjoy a Red Baron as well -- but show me a Red Baron pizza box that has games on the back, and I'll tip my hat to the new King of the Pizza Hill. As for the movie itself, I'm glad that there are fellow enthusiasts out there. Long movies do present a problem, to be sure. However, I was thinking about this tonight; and it dawned on me that unlike many big pictures based on novels, "The Big Country" plays out on the screen as a novel. As a rule -- perhaps, not so much a rule -- westerns rely on action as a primary driver of the story. "The Big Country" proceeds as character-driven, with great performances by all the cast -- thanks to Sewhite for pointing out a few. In my part of the country, there are still areas where the inhabitants live by an almost pathological sense of honor and justice, so Burl Ives and Charles Bickford make perfect sense to me. Thanks to you all for your comments so far.

I wouldn't assume that users of this forum (especially old-timers), undervalue Joel McCrea. Such an assumption of how others perceive him is mistaken (based on what I have seen over the past decade at this forum). Instead I'm assuming most users view McCrea like MissWondererly, you and I; solid, charming actor with a fine film legacy. McCrea might appear to be ignored\undervalued at this forum only because noir is likely the #1 topic here and McCrea wasn't in any films one could say are noir (since he became a major western star after WWII and during the entire classic-noir era.

It's a Red Baron's night for me, but I imagine I've arrived home too late to start The Big Country. I've seen it a number of times, however, and quite enjoy it. I'm not sure how Wyler talked rising star Heston into taking a secondary role and not an entirely sympathetic one, but he made it up to him with Ben-Hur a year later. Full confession: it's a long movie, and I don't always make it through. Generally, I bail about the time Gregory Peck is doggedly learning how to ride the bucking bronco. Lotta good performances in the movie. Burl Ives won an Oscar, though the fact he was in Cat on a Hot Tin Roof the same year didn't hurt. I especially like a surprising Chuck Connors as the slimiest of slimy villains. And Charles Bickford is always great. Not to exclude the females, I like the performances of both Carol Baker and Jean Simmons.

BRIANNH, I enjoy it when someone has such enthusiasm for a film as you have for "The Big Country". I haven't seen it since childhood, I think, but do retain an impression of gorgeous, sweeping landscapes, almost like a series of paintings. It was probably too fraught with "conflict" for me to really respond to at that age. But your description piques my interest-- must record it the next time it's on. Hubby would like it, I'm sure. I love Charles Bickford -- can never get enough of him in films.

Slaughter on Tenth Avenue (Gene Kelly and Vera-Ellen) Next: Ballad by Bing Crosby

Emery, Chris, played by Rita Hayworth in "Affair in Trinidad"

Is this a "Conflict" thread or a Joan Crawford thread? Don't get me wrong, I like Joan Crawford and I think talking about her is fun. And I also don't mind , usually, when threads go off-topic a bit. I've done more than my share of thread-topic wandering, going off on a tangent, etc. But when the original topic of the thread gets up-staged by a new topic, and there are way more posts about the tangential topic than the original one, that's when I can't get with the program. If a thread is long-standing and more or less established, it doesn't matter so much. But when it's a brand-new thread and only gets a few measly posts about the topic, while everyone rushes to discuss some side-issue, I start to feel kind of sorry for the thread. I mean, Joan Crawford had nothing to do with the film Conflict. So she was under consideration to play Humphrey Bogart's wife, and turned it down. That's the extent of the connection. Hey, after all this lecturing, I can't resist saying, I just saw a latter-day Joan horror flick, William Castle's Strait- Jacket.

Thank you for watching this first & sharing your impressions. I was intrigued by it's description, seemed like it may be kind of trippy like HAUSU '77 but with weird Czech sensibilities. DVR'd. Last night I watched the Criterion disk of PICKUP ON SOUTH STREET '53. I realize I'm probably the last person on this board to have seen it, so glad there's still something new (old) out there for me to discover. Starring the forever glib Richard Widmark, I knew this would be worth watching. But this was my first intro to Jean Peters-wowie-was she a dish! Notable that every outfit she wore in this movie was white from head to toe. The story is told almost documentary style, one black & white scene after another showing you everything, even the character's thoughts. Widmark hilariously plays a pickpocket named Skip who while riding a crowded subway takes a woman's wallet right out of her purse. This is really well shown between quick cuts of his hands and face, misdirecting attention. This exact scene is shown later but with Skip taking a gun out of someone's shirt holster. Well there was more than money in the wallet, the gal was unknowingly delivering secret information-secret only to her. The cops, the recipient, the sender...ALL want those film negatives! And Skip is smart enough to figure that out and take advantage of the fact. This is a classic noir and a great one for introducing anyone to classic film. It has a dark, dirty feel to it. Poor Peters gets slapped, punched, knocked out, shot & passionately kissed and comes out beautiful & sassy (wearing white!) She reminded me very much of Linda Darnell. Widmark sneers, smirks, giggles-his typical bag of tricks. He's one of those actors (like Robert Ryan) whom you're 100% aware you're watching him "act" while still enhancing the story with his unique flavor ham. You cannot resist his glee in this part which he seems to glide through. Widmark was pretty young & handsome here and his scenes embracing & kissing Peters are smoldering hot. A rare larger part for great Thelma Ritter, she gets to show her stuff-finally-not just a line or two. She puts it all out there on film. The stunt work, props, the sets, the lighting...all were outstanding. This movie's got a good ending-one of those great, closing lines with punch too!

Reap the Wild Wind 1942 The Lady Has Plans 1942 Kitty 1945 next: Margaret Lindsay and Ralph Bellamy

Madam Shirley Eaton & Hugh O'Brien (in) Ten Little Indians.

Cat People 1942 The Curse of the Cat People 1944 next: Ray Milland and Gail Russell

The Tattered Dress 1957

Hugo Haas and Cleo Moore.

Hi Peebs, yes: they each acted with another well-known performer, to whom their character bore the same relationship in each film. I enjoyed your "bed" titles, which must have taken some sleuthing to ferret out! Fortunately, the films in my question are mostly much better-known than those you found. They're also listed in chronological order. Another example (although in a lesser-known film) would be Leo G. Carroll. Thus endeth the hints (at least for now)... 🙂

Yes it was on late so I only watched about 30 minutes of TAKING TIGER MOUNTAIN. I'm interested to see the rest of it, but, I won't be making any effort.

Munster Go Home & The Ghost & Mr Chicken are two dear childhood favorites. I almost always watch them even though I have them both on DVD and have seen them a million times. Grandpa turning into a wolf, then Lilly wearing (him as) a fake fur piece never fails to crack me up. Same for Luther's shakey man speech. "Let me clarify this"

SA T., 11-6 (time ET) 8:00 pm Blondie Plays Cupid (1940) 1h 8m | Comedy The Bumsteads decide to spend a safe and sane 4th of July at Aunt Hannah's ranch. After mi... Director Frank R. Strayer Cast Penny Singleton, Arthur Lake, Larry Simms 9:15 pm Blondie in Society (1941) 1h 17m | Comedy Dagwood brings home a pedigreed Great Dane which an important company client wants and whi... Director Frank R. Strayer Cast Penny Singleton, Arthur Lake, Larry Simms 10:45 pm Blondie's Blessed Event (1942) 1h 9m | Comedy Cookie is born, producing unmitigated joy in the Bumstead household. Adding to the chaos a... Director Frank R. Strayer Cast Penny Singleton, Arthur Lake, Larry Simms

Eleanor Powell Diana Dors Famke Janssen

Dietrichson, Phyllis -- Barbara Stanwyck in Double Indemnity

Follow up to Amanda... In 1996 I created and composed a LIST of 101 films I felt were the finest English-language films up to that point in time. I followed that LIST with another 101 LIST for a total of 202 films. Here is the first list: 12 ANGRY MEN 1957 2001: A SPACE ODYSSEY 1968 ADAM’S RIB 1949 ADVENTURES OF ROBIN HOOD 1938 AFRICAN QUEEN 1951 ALL ABOUT EVE 1950 ALL THE PRESIDENT’S MEN 1976 AMERICANIZATION OF EMILY 1964 ANATOMY OF A MURDER 1959 AWFUL TRUTH 1937 BAD DAY AT BLACK ROCK 1955 BALL OF FIRE 1941 BEN HUR 1959 BEST YEARS OF OUR LIVES 1946 BIG SLEEP 1946 BONNIE AND CLYDE 1967 BRIDE OF FRANKENSTEIN 1935 BRIDGE ON THE RIVER KWAI 1957 BULLITT 1968 CASABLANCA 1941 CHINATOWN 1974 A CHRISTMAS CAROL 1951 CITIZEN KANE 1941 CITY LIGHTS 1931 CLOSE ENCOUNTERS OF THE THIRD KIND 1977 CROSSFIRE 1947 CRUEL SEA 1953 DAVID COPPERFIELD 1935 DAY THE EARTH STOOD STILL 1951 DR. STRANGELOVE 1964 DODSWORTH 1936 DOUBLE INDEMNITY 1944 FAIL-SAFE 1964 FARGO 1996 FATHER OF THE BRIDE 1950 FOREIGN CORRESPONDENT 1940 GENERAL 1927 GIANT 1956 GODFATHER 1972 GODFATHER, PART II 1974 GOLDFINGER 1964 GONE WITH THE WIND 1939 GRAPES OF WRATH 1940 HIS GIRL FRIDAY 1940 HOWARD’S END 1992 HOW GREEN WAS MY VALLEY 1940 HUNT FOR RED OCTOBER 1990 INVASION OF THE BODY SNATCHERS 1956 IT HAPPENED ONE NIGHT 1934 IT’S A WONDERFUL LIFE 1946 JAWS 1975 JUDGEMENT AT NUREMBERG 1961 KING KONG 1933 LADY EVE 1941 LAST PICTURE SHOW 1971 LAWRENCE OF ARABIA 1962 LONGEST DAY 1962 MALTESE FALCON 1941 A MATTER OF LIFE AND DEATH 1946 MEET JOHN DOE 1941 MR. SMITH GOES TO WASHINGTON 1939 MUTINY ON THE BOUNTY 1935 MY DARLING CLEMENTINE 1946 MY FAVORITE WIFE 1940 NETWORK 1976 NINOTCHKA 1939 NORTH BY NORTHWEST 1959 NOTORIOUS 1946 ODD MAN OUT 1947 ON THE WATERFRONT 1954 OUTLAW JOSEY WALES 1976 OUT OF AFRICA 1985 OUT OF THE PAST 1947 PATTON 1970 PRIDE OF THE YANKEES 1942 QUEEN CHRISTINA 1933 QUIET MAN 1952 RAIDERS OF THE LOST ARK 1981 RANDOM HARVEST 1942 RED RIVER 1948 RIDE THE HIGH COUNTRY 1962 RIGHT STUFF 1983 ROMAN HOLIDAY 1953 SCHINDLER’S LIST 1993 SEARCHERS 1956 SEVEN DAYS IN MAY 1964 SILENCE OF THE LAMBS 1991 SINGIN’ IN THE RAIN 1952 SNOW WHITE AND THE SEVEN DWARFS 1937 SOUND OF MUSIC 1965 SPARTACUS 1960 A STAR IS BORN 1954 SUNRISE 1927 TALK OF THE TOWN 1942 THEY WERE EXPENDABLE 1945 THING FROM ANOTHER WORLD 1951 THIRD MAN 1950 TO KILL A MOCKINGBIRD 1962 TREASURE OF THE SIERRA MADRE 1948 THE WIZARD OF OZ 1939 YANKEE DOODLE DANDY 1942

Always liked this segment of STEAMBOAT BILL JR. Especially Buster's reaction to the hat at the 1:45-50 mark. Sepiatone

"Prey" (2021) is more suspense thriller than horror. A brobonding camping trip goes wrong when a group of men are stalked by a hunter. The first hour has a lot of tension but once the hunter is revealed the film looses steam. You can see this German made mash up of "Deliverance" and "The Most Dangerous Game" on Netflix