MissGoddess
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Posts posted by MissGoddess
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> Now that sounds more like Viv! She does throw a little bit of a fit when they question the dedication of her informants.
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That's true.
> He's believable because I usually think of Taylor as being lost.
Viv is too full of emotion to believe she's mature. She knows how to play serious, though.>
So you didn't believe her as Myra?
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> That's a great list! All of them do play villains exceptionally well. Mitch would be at the top for me.
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He was exceptional but I don't think of him as a "villain" actor. If you were asking for characters, then he'd be in there. I didn't put Robert Ryan, either, since I prefer his "complex" characters.
> *I supposed Bruce Dern ought to be on there, I loathe his villains so much! He gets honorary mention.*
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> You hate him when he's even good! He's like me!
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He's NEVER "good". The closest I've seen was Gatsby and he was still a jerk.
> If it's in your queue, that means it's available to rent, right?
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Yes, indeed.
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> Your favorite actors who play villains.
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That's a hard list, since I don't really follow villains.
1. George Sanders
2. Lee Marvin
3. Richard Boone
4. Boris Karloff
5. Ray Milland
6. Basil Rathbone
7. Henry Daniell
8. James Mason
9. Lee Van Cleef
10. Raymond Burr
I supposed Bruce Dern ought to be on there, I loathe his villains so much! He gets honorary mention.
> Is it available at Netflix?
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I'm not sure but it's been in my ClassicFlix queue.
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> {quote:title=FrankGrimes wrote:}{quote}*excepting yourself.*
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> Why, darling, don't you think it's best you stay in tonight?
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go paste your clippings.
> *he's one of the few actors who i like best as a villain.*
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> There's a good list for you. Who's in your top ten?
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My favorite villains or favorite Hitchcock villains?
> Well, it was 1925, after all.
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I'd like to see it.
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> Isn't that how it is with all women?
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ha! touch?.
> That's a good point. It really does.
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You wouldn't see an ending like that after the war.
> That's usually the case. Just thinking of Viv as a secret agent makes me laugh because she seems too darn emotional for such a position. But, then again, it's perfect, because you wouldn't expect her as the secret agent. Are you a secret agent, Snippy?
>
It's true! She might throw the dresses at her bosses if they didn't believe her information.
You see her more as the second Mrs. DeWinter?
You have to admire her confidence at going after any role no matter how unsuitable! Myra is supposed to be the less impulsive, more mature one in *Waterloo Bridge* in contrast to Taylor's boyish enthusiasm. Do you believe her? Him? I think they do well, and do well with the transition. She becomes emotionally unhinged by the end and he turns to stone. -
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> When Gary is continental, his look is similar to Conrad's.
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interesting comparison.
> And I pretty much adore Vivien. She's such a pixie.
i think her persona wasn't on display in this movie until she got upset with him. i liked the very last shot, i didn't expect them to do such a thing. it basically humanized the "enemy" in an instant. this movie would have been great if Hitch had directed it.
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> Of course! But I also know some with Wendice traits.
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excepting yourself.
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Milland is far more engaging than Cummings. Talk about night and day.>
he's one of the few actors who i like best as a villain.
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> I only just saw it in January. It's no great shakes. It's basically a tale of a bad man and woman and a good man and woman.
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that sounds like most movies ever made.
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> And Wendice's offering drinks to everyone at the end is in keeping with what you speak. I know some people like Wendice. The ones who always think they'll get away with murder.
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you know some nice people.
actually Wendice is the one villain in movies that I find charming. there are so many others that are supposed to be this, and they exude charm and are entertaining, but Ray Milland here is my favorite. I just can't take my eyes off him and what he's going to do next. It probably helps that I can't stand Cummings' smug character.
> So are *The Pleasure Garden*, *Easy Virtue*, *The Farmer's Wife*, and *The Manxman*.
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I have yet to see *THe Pleasure Garden*.
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> He's wonderful in *Dial M for Murder*. His manner is so very pleasant. He's quite the contrast to every other performer in the film.
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I like that he really doesn't let anyone on to what he really thinks.
> Very "British." It's intellectual "cat and mouse."
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Definitely. It's much more of a challenge for Wendice. You feel with Cummings he's leading him on and he's clearly the superior to Swan but with the Inspector, his calm becomes gradually ruffled. Interestingly, it's the same tragectory as his wife follows. She too starts out poised and thinks she has things under control and ends really messed up. The fact that she really falls apart seems to show she's human, not a monster, whereas the fact that Wendice never really does reveal how shaken he might be illustrates how cold he is.
> There's a great charm to Hitch's British works, but you have to be up for them because the transfers aren't the best. Many of his silents are basically "woman's pictures."
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Champagne and Rich and Strange do seem to be.
> It's the ending to the film and how Peter Lorre goes out that's very "gangster."
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Does he stop for a spot of tea?
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> {quote:title=FrankGrimes wrote:}{quote}*So* *Dark Journey was so so for you.*
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> Yes. I was very drawn to Viv and Conrad. I loved their pairing and I thought each was superb. The story just didn't do much for me, especially the ending. And I continue to see a lot of "Gary Cooper" with Conrad.
I'm not sure I see that. But I'm glad you liked them together.
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looks like he was in yet another short lived series, "The Pursuit of Happiness" (1987 created by the same guy that produces "The King of Queens"). Busy fellow!
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Oh wow, "Centennial", if you can believe it they made us watch that in school.
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I'm so sorry you're still dealing with migraines...it's our loss but I strongly suggest you keep off the computer, at least don't stay on it for more than a few minutes at a time. I don't think anything about it (the eye strain, the unnatural posture) is conducive to easing a headache.
And I say that as I'm very struck by what you just wrote about what those movies have in common. I'd love to go more into that but it can wait.
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Great to see the love for BK. I'd like very much to see *The Mackenzie Break*, maybe TCM can oblige one day. Dreadful about his demise and his daughter's. A sad end for a lovely actor.
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I don't even receive the schedule via email anymore, I thought that service had been discontinued!
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Love your list!
I ignore the little tacked on endings that I feel are added to relax the audience after all the tension.
Foreign Correspondent and Shadow of a Doubt remind me of The Man Who Shot Liberty Valance.
do tell more!
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Heck, I can't find Hec on YouTube.
They only have a couple of snippets. There's nothing i see for "The Westerner" and I'm dying now to see both of these shows!!! But in my searching I learned something...I did not know Brian Keith did a short lived sitcom in the 1980s with his daughter, Daisy (my favorite flower!), called "Heartland" or that he released a song.
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> I think it's one of Hitch's most intellectual films. I love the battle of wits. It's a rare Hitch film where a character actor (John Williams) is the hero.
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Williams Inspector is one of my favorite screen detectives. He conveys so much with just the raise of an eyebrow or vocal inflection. A great command of the language also made him one of the most precise actors, so clear. No wonder Hitch loved him, he could seem so sincere and polite when he was sending you up the river, yet he wasn't too florid about it.
> *Blackmail* is the London chase that you spoke of. It's basically the first look at the "famous monument" ending that Hitch would later use in Hollywood. *Young and Innocent* has the drummer ending. I love the long shot and reveal. It's arguably the most stylish of Hitch's British endings. *Murder!* finishes at the circus with a high-wire act. It's definitely a "curtain closer." *Number Seventeen* is similar to *Rich and Strange* and *Foreign Correspondent* with its "crash" ending. I think it shows how ambitious Hitch was at a young age. He needed the Hollywood resources to pull off his ambition.
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Except for *Blackmail* I have to watch all these again! I thought I was familiar enough with them but I don't remember any of those endings, at least not as you describe them. I get so stuck in his Hollywood period.
> It's basically Hitch's "gangster" film with Peter Lorre playing James Cagney. I like the "shootout" ending. The 1956 version has a much more emotional and stylish ending, though. The usage of "Que Sera, Sera" is powerful.
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Hmmm...it's hard for me to see English actors as gangsters.
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> Yeah, you're in both films, Miss Daniels.
*The Manxman* also features an ending similar to *The Birds* and *Notorious*.>
Yes, I remember that. I was trying to re-watch that one the other night but my DVD won't play on the DVR.
> *Dial M For Murder has a more interesting beginning than ending.*
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> This is true, but I still like the ending a lot.
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I like the whole movie, in fact it's the one Hitch that has risen the most with me recently. I find it one of the most pleasant and engaging watches.
> My list:
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> 1. Vertigo
> 2. Psycho
> 3. Frenzy
> 4. Foreign Correspondent
> 5. Strangers on a Train
> 6. Notorious
> 7. Saboteur
> 8. Blackmail
> 9. Dial M for Murder
> 10. Young and Innocent
> 11. Murder!
> 12. The Man Who Knew Too Much (1934)
> 13. Rear Window
> 14. Number Seventeen
> 15. Spellbound
> 16. North by Northwest
> 17. The Birds
> 18. The Man Who Knew Too Much (1956)
> 19. Marnie
> 20. The Manxman
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I don't remember the endings to Blackmail, Young and Innocent, Murder!, or Number Seventeen. Why do you rank them so high? Why do you like the 1934 version better than the 1956 version of TMWKTM?
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> The film features many stylish moments. I think it's one of Hitch's most artistic, visually.
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You might be right.
> Each film features a slow walk away from danger while the danger surrounds those in peril. Each is very "quiet." That's why the scenes are tension-packed.
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Good comparisons. I was thinking two "party girls" end up fairly bedraggled by the last reel.
> Close. It's *Blackmail*. *Murder!* features arguably the most shocking of all Hitch endings.
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Goodness, and I've forgotten it. I know I liked that one pretty well from his early work.
> The poor lass!
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*Dial M For Murder* has a more interesting beginning than ending.
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> {quote:title=fredbaetz wrote:}{quote}Miss G..
> +These were three well done westerns.
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You make me long to see them now!
> "Stoney Burke" only ran one season,sadly. I found Jack Lord a little more likeable then his Steve McGarret role on "Hawaii 5-0". Stoney's goal was to win the Gold Buckle for the Saddle Bronc Champion Ship' The scripts were above average as was the direction and his co stars were Warren Oats and Bruce Dern, which didn't hurt..
Wow! Jack Lord as a rodeo cowboy? Does he do any of the events himself? I had no idea he had it in him.
> Not sure about the Stoney, Joan and Olivia connection...
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Ha! I always wondered myself what the joke was about.
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> "The Westerner"starring one of my favorite actors Brian Kieth. He play Dave Blassingame a loner with his big dog "Brown", who was the star of"Old Yeller". The series was created by Sam Peckinpah and was a spin off from "The Zane Grey Theater" .The series was well received by critics and had good scripts and acting, but just didn't find an audience.It only ran for 13 episodes. One episode titled "Line Camp" was written and directed by Tom Gries and was the basis for his Western "Will Penny" with Charlton Heston.
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Oh now this one really sounds up my alley. I love Brian Keith and the credentials couldn't be better.
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> "Trackdown" was another Western that was a spin off of "The Zane Grey Theater" and starred Robert Culp. He played an ex gunfighter turned Texas Ranger Another oater that boasted better then average scripts and acting. Culp played it "cool' and was very likeable as Hoby Gilman. This series ran for two seasons and also created a spin ff called "Wanted. Dead or Alive" Steve McQueen guested as Josh Randell a bounty hunter in a couple of episodes and the rest as they say...well, you know what they say..
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Another great case you make for a series I never heard of. I've only seen Culp in "I Spy" and guesting on a few western shows.
I'm going to make a point to "trackdown" these shows, thanks, Fred!
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> {quote:title=FrankGrimes wrote:}{quote}That's a very cool list! And those really are sensational Hitchcock endings.
Thanks! Watching the last part of *Strangers on a Train* the other day started me off on this. It is not my favorite Hitch, but the climactic end always makes my jaw drop. It's a marvel of technique and real nail biting drama.
What's interesting is how some of them are similar, such as *The Birds* and *Notorious*. *North by Northwest* and *Saboteur* are also similar.
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re: *The Birds* and *Notorious* - do you mean the similarity of the final emotional state of the heroine and how the hero leads her off to safety?
I agree about *NxNW* and *Saboteur*. Isn't Murder! the other one that involves famous a chase across monuments (in London) or am I thinking of another film?
> I like that you have *Vertigo* at the top. That's a highly emotional ending. It's also very ironic.
There was no doubt that had to be number one. It just has layer upon layer of meaning. I wonder if Jackie has re-watched it yet.
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Howdy, Ro! Thanks for posting those themes...these shows had some of the best music openings in television. So you like the rascally Maverick boys?
I haven't watched "The Wild, Wild West" since I was a kid, but I used to find it a lot of fun. It was a unique blend of spy thrills that were so trendy in the '60s, and western style. I remember I loved the cartoon intro.
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My top ten favorite Hitchcock movie endings:
1. *Vertigo*
2. *Strangers on a Train*
3. *The Birds*
4. *Rear Window*
5. *Notorious*
6. *North by Northwest*
7. *The Man Who Knew Too Much* (1956)
8. *Psycho*
9. *Rebecca*
10. *Saboteur*
Viv is too full of emotion to believe she's mature. She knows how to play serious, though.
You have to admire her confidence at going after any role no matter how unsuitable! Myra is supposed to be the less impulsive, more mature one in *Waterloo Bridge* in contrast to Taylor's boyish enthusiasm. Do you believe her? Him? I think they do well, and do well with the transition. She becomes emotionally unhinged by the end and he turns to stone.
They only have a couple of snippets. There's nothing i see for "The Westerner" and I'm dying now to see both of these shows!!! 
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> {quote:title=rohanaka wrote:}{quote}
> I supposed Bruce Dern ought to be on there
>
> OH yes he should... he SO very much should... WHAT a slimebucket. I bet he's as nice as pie in real life.. ha. But OH ME.. he should NOT be so good at playing characters that are SO AWFUL.
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