MissGoddess

That really was wonderfully written, Molo! I thought you captured the film beautifully. It's a movie that I appreciated a little better the second time I saw it. It's been about a year since I did watch *Strange Cargo*, but I remember the only reaction that remained unchanged for me was regarding Cambreau (Ian Hunter). I keep wanting to pin down exactly who or what he's supposed to be even though I don't think this is the point, as you wisely observed. He is more of a catalyst for the others. I like what you wrote: There are long wordy scenes as characters either try to come to terms with themselves or harden inside, angry perhaps, that Cambreau makes them think at all. Especially that last part, ha. Like you, I enjoy stories about disparate characters thrown together by circumstance and it was interesting to see where each person ended up, spiritually, not just physically, by the end of the film. The story is rather a mirror of how different types of people in general react to the truth about themselves and to their spirituality. Paul Lukas' parting words to Cambreau were striking. He was bad, but he was honest and this made him seem a little "cleaner" than some of the other criminal types, if I remember correctly. At least you knew you shouldn't count on him. And then there's Lorre, who like you say is in a limited role but certainly leaves you with the feeling he embodies all of the cringing side of the basest aspects of that world. All a girl has to do is put herself in Joan's shoes when he's propositioning her...yikes! Even if Verne were played by Wallace Beery and not Clark Gable you'd take him over little "Porky". The climactic scenes on the boat reminded me of *Life Boat*, Hitchcock's later movie. I'm puzzled as you are this film is so little known or appreciated, though the spiritual aspects then as now have a limited appeal, especially for die-hard Gable & Crawford fans. None of their previous teaming prepared audiences for this. Edited by: MissGoddess on Feb 1, 2012 4:26 PM

What an eclectic month of programming. I'm happy to see Yul Brynner's 1967 thriller, *The Double Man*, is scheduled. I have only a copy of a VHS release. I also noticed many movies that I have never seen before are lined up, so my recorder will certainly be busy.

wouldbestar, I have no information. I don't know anything about "Wiseguy" and all the TV series DVDs I've ordered through Amazon have been accurately described. Might it be a distributor issue with whoever puts out that series on DVD? I have learned to read up all I can on a particular item, not just what is posted at Amazon's site because many series are packaged as "best of" or similar, but you have to read carefully to find that out. My most recent series DVD order was Medic which at first glance looks like a "complete series" package when in fact it's only 44 episodes. They can also post descriptions like "Vol. I" "Vol. II" etc. which can sound like you're getting the complete seasons, though they are not. Buyer beware.

I like "As Time Goes By" and some of the "Blackadder" shows, very funny.

> {quote:title=FrankGrimes wrote:}{quote}*i agree the movie paints emotions with visuals in a striking way. that's what i responded to the most.* > > It's easily one of the greatest visual films I have seen. > It's one I'd really like to see on the big screen, with a 35mm print. The backdrops, all hand made, must have made Hitchcock's mouth water. Can you believe this was filmed entirely in the U.K.? I was shocked when I learned that. I was fooled. > All very true. I also enjoyed the little flashbacks. > Deborah's was fascinating. I like that it explained alot about her without being overly expository. I liked the colors, a lot of green yet a totally different kind of green to that in...where is it supposed to be anyway, India? Tibet? > The setting helps to create a change in those who move in, that's how it's similar to both *The Shining* and *I Walked with a Zombie*. The cultural effect is also similar to *I Walk with a Zombie*. > I hadn't thought of that. Very true. I thought of *The Nun's Story*, too. Obvious, I know.

I second mrroberts' suggestion of *My Man Godfrey*. It's unusual that you saw Carole first in a serious role as she is most famous for her comedies. I hope you like her as a "screwball" heroine, she is my second favorite actress of all and Godfrey is my favorite comedy.

> I loved the horror aspect of *Black Narcissus*. There's so much personal torment in the film. The mixture of being a nun and living in an isolated, exotic place heightens the torment. The film actually reminded me of *The Shining* and *I Walked with a Zombie*. The film just builds and builds to a very enjoyable ending. It's as if we're watching feelings and emotions, not people. It's wonderful. > i agree the movie paints emotions with visuals in a striking way. that's what i responded to the most. you could really "see" the inner lives, feelings/thoughts of the characters via the setting, tone, mise en scene, et al. interesting movie comparisons...how is it like the shining and i walked with a zombie?

> *1. Black Narcissus (MG 8/MO 4)* *2. Spawn of the North (MG 7)* *3. Grand Hotel (MG 15/MO 5)* *4. Strange Cargo (MG 11/MO 8)* *5. Lawman (MG 2)* *6. The River's Edge (MG 4)* *7. Backfire (MG 1)* *8. Armored Car Robbery (MG 3/MO 1)* *9. Terror by Night (MG 10/MO 3)* *10. The Pleasure Garden (MG 6)* *11. Dinner at Eight (MG 14/MO 9)* *12. A Night at the Opera (MG 13/MO 7)* *13. A Tale of Two Cities (MG 9)* *14. The Student Prince of Heidelberg (MG 14/MO 6)* *15. Dressed to Kill (MG 5/MO 2)* What did you like so much about *Black Narcissus*.

Nick Adams, yes. Surprisingly he was in a number of westerns and apparently co-wrote a western TV series in which he also starred, "The Rebel".

I really like *Garden of Evil*. I love the ambiance created by the strange, volcanic locations and the motley crew who make up Susan's would-be helpers. I do agree there could be more tension and Hugh Marlowe is not an exciting antagonist, if you can call the character such. There really is no one true villain which may account for the story's oddness yet that appeals to me, too. Cooper's "Hooker" is one of my favorite of his western heroes and best of all are the final scenes with him and Widmark. I liked Widmark's switch at the end. Peckinpah's *The Deadly Companions* reminds me of it, somewhat. If that John Derek movie is the one that recently aired on Encore, I thought it was pretty good, though I'm really not a fan of Derek. Much too "pretty" to a distracting degree. He'd do great in today's movies.

Mon cher MM, Hi Chris...glad you go to see The World Moves On. It's interesting to step back and see the range of stories and genres Ford directed in the 1930s, like any director beginning to hit his stride in the studio system. This movie is overlong and one account for this is related to a writer who complained of cuts to his scrip to which Ford responded by filming every single scene as written and unedited. The movie wasn't mentioned by name but most people conclude it was TWMO. I'm always amused by Ford's responses to interference. **************** Did you watch *The Reckless Moment*, MM? Or have you seen it before? TCM declared this was a premier but I know it's aired before, if not in primetime. However I was very, very happy with last night's programming. *Many thanks to tcmprogrammr.* I love Ophuls'/Opuls' Hollywood films and TRM is my favorite, in fact it's rising as one of my all time favorite movies. Each time I watch I discover some new nuance and last night was no exception. I was stunned that I never paid attention to Lucia's (Joan Bennett) words as she drove the car tailing Donnelly. "I would lie...." Together with the fixed look in her face completely changes my interpretation of her feelings for him, they seem now to me to have been further along than I thought. What an amazing film.

Thought I would update this and bump the thread. 1. *The Covered Wagon* (1923) Director: James Cruz 2. *The Wonderful Country* (1959) Director: Robert Parrish 3. *The Proud Rebel* (1958) Director: Michael Curtiz 4. *Straight Shooting* (1919) Director: John Ford 5. *The Last of the Fast Guns* (1958) Director: George Sherman 6. *The Virginian* (1929) Director: Victor Fleming 7. *The Shepherd of the Hills* (1941) Director: Henry Hathaway 8. *Silver River* (1948) Director: Raoul Walsh 9. *The Winning of Barbara Worth* (1926) Director: Henry King 10. *Tumbleweeds* (1925) Director: King Baggot Some of these may have aired but I missed them!

Good eve-ening, Ro > > > At least she DID accomplish one thing and that was to give me a greater appreciation for how to enjoy good stories and characters and the way they interact and have an impact on one another. And she helped me learn to look deeper into a plot to discover various themes and ideas an author might be trying to set forth. Many were the essays that she made me write (on unlined paper, double-spaced, in ink.. with NO "crossed-out" corrections.. perfect copies only. That was EVER so ever long ago, before the days of personal computers. ha. My family did not even own a TYPEWRITER back then.. (shocking!) At least it was after the invention of paper.. so I did not have to use that stone tablet and chisel thing anymore. ha. OH me.. > Oh, ha!! Ro, you have nothing to be ashamed of...you write clearly and I always get a good picture of how you see a movie. Your style is one of the most genuine and conversational on the board, so it's like having a real chat rather than reading an essay. I'm the one that's slacking, especially in the past year or two. I can't even punctuate sometimes, and choppy or run-on sentences flourish in my posts. Talk about shameful. And I used to be the best in my class in English and a real "book worm". Though, as I may have mentioned, Dickens is the only classic English writer I never pursued beyond High School assignments. Here is where Hollywood movies have helped me out (though that point might be debated by professors of literature. ) > NO! I missed it. Too bad because I would have liked to catch it again. We (the QT and I) really enjoyed that one a lot. Not your typical "Hitch" film for sure.. more like a "Dickens'.. ha. (I think I remember saying that in your Hitch thread even) > Yes, I do remember that which is partly why I mentioned it here. It's a unique movie, at least for Hitchcock. > I find it very interesting to hear all these little facts about him (because I know really next to NOTHING about him as a person and not much more about him as a director for that matter. I bet you have a good handle on his personality and his reasons behind some of his "less than Hitch-like" choices. UC really was a different sort of movie from most of his other works, and yet you do see his signature on it quite a bit in the some of the various methods he used to film it. > The moments you had pointed out in our ramble on the movie did exhibit the Hitch we all know. it was the setting and comparative lack of humor that set it apart for me. I liked it for that reason. I like *Mr. and Mrs. Smith* too for the same reason...it's a funny comedy and very different from most anything he ever did, with perhaps even less evidence of typical Hitchcock touches. Like any human being, he wanted to stretch himself and like many directors, his early career has more varied genres than later when he settled more firmly into his "niche". Is there a Hitchcock movie you've never seen that you are most curious to watch?

i'm sure the book is much better, it's Dickens and an immortal classic created by a singular vision compared to a movie that was made with all the compromises related to Hollywood enterprise. After your tantalizing descriptions I'd read it myself if I knew I wouldn't get discouraged with the setting, the revolution, etc., none of which I have any patience for anymore. i do like what you say about the theme...did you notice the embroidered "motto" in the background of that screencap FrankGrimes last posted from ATTC? as for other versions, i may have mentioned earlier watching a british version made later with dirk bogarde which bored me immensely. if anything, it made the less interesting scenes longer and the emotion was zero. however i wouldn't be surprised if it was a much more literal adaptation. did you catch *under capricorn* the other night...all in one piece? i watched the last half hour, and now wish i'd recorded it so i would have it because even this brief re-watch made me like it even more. (that moment when she jerks back the bedcovers to reveal....it still freaks me out!) yet the story overall is so romantic, i wonder how much of it (theme, plot, characters) really interested hitch or was he only into the exercise of working out long takes? this is where he becomes foxy, he seldom liked to talk about themes and such unless it was to feed people the kind of provocative answers they expected from him. was he a "romantic" artistically speaking or not? it's hard to say since irony was so often employed by him.

> *I'm pretty sure this was the first I saw of her. How was she so popular with such a small amount of films?* > > It was when she was paired with Wallace Beery though, in *Min and Bill* for which she won the Oscar, and *Tugboat Annie* that she was at her most popular. In a way she was catching the wave of public sentiment that turned during the depression. Tougher, grittier characters were the order of the day and Dressler fit that bill. > It's also interesting that *Dinner at Eight* also featured the man who by 1932 was the world's highest paid actor: Wallace Beery, and that his pairings with Dressler, not glamour girls like Jean, helped put him there. What's even more interesting is that Beery was zooming up the "charts" as John Barrymore was on his way down, given the parallel of their characters in *Grand Hotel*.

I know I saw *It's a Great Feeling* but I just don't remember anything about it or the cameos. It gets mixed up in my mind with other Doris/Jack pairings.

That is so true...I can only deal with comedies and light hearted movies or TV shows in the mornings...Doris Day, Jack, Abbott and Costello, Bob Hope, Jack Benny, Jimmy Durante...these are the faces and voices I need to motivate me for the day.

> {quote:title=molo14 wrote:}{quote}Miss Goddess, I'm probably too late as you have most likely gone to bed, but I thought I would let you know that *It's A Great Feeling* is airing at 6:00 am this morning. I just saw it on the schedule. Molo I'm sorry I missed it this time, I was up way too late! But thank you and I'll try to do better on the next airing.

> Great point. He cannot believe he's such a sucker. > Yes! I wish I had the movie on DVD now to screencap. I have so vivid in my mind certain moments, like how he laughs (but not mockingly) at Kringelein's innocence in the bar, the way he urges Flaemchen to dance with him, the way he'd give this little bow. Only John could do those things and invest them with his personality. It's even more meaningful after you've seen the movie once and you know what his fate is. Then every word becomes rather heartbreaking. > > *The only time it vanishes is when he's with Gru. Everything changes for him, then.* > > > Why do you think it does? > He's in love for probably the first time, or the first time since he was very young. He also is focused on the pain of another person and it seems to be the better part of his character to be looking after someone. It's amazing how Barrymore actually projects a rather nurturing or protective quality with the Baron. He shows it to his dog, to an older gentleman (Lionel), to a shopgirl and to Gru. > I liked her as a ballerina, Ballerina. I may go for her since the love is tragic. She may have a "Marlene" effect on me. > Marlene was brought over in hopes she'd register with the same level of success, but Marlene is a bit more earth-bound. > But he ended up going after the wrong person's money. The others let him off the hook, but Preysing reacts much differently. > So true. Preysing was a beast. > > And then the guy with the broom tries to brush Adolphus away at the end! Terrible! > > > > Oh! I hate that moment! I want to scream when I see how negligent they are toward poor little Adolphus! I like Dachshunds. > *I liked it a lot the last time I watched, but some aspects are still strange to me. The religiosity.* > > > That surprises me. > I look forward to what Molo has to say. I will try to re-watch it tomorrow. > You're going to drink the water? That's really nice of you. > Oh, please, Barsard. > I gravitated to the love, the very most. A love you can never have. > I am amazed at Ronald Colman playing a boozer! > "Kitty" is more likeable, but I find Jean to be more interesting in *Red-Headed Woman* since it's her film. > And I think I like Kitty more because it's not a whole long movie about such a character. Also, Kitty is slightly more childish. Anyway, when she goes on with that baby talk to Beery it breaks me up!

> And who do I like the very most in *Dinner at Eight* ? These two: > > > > I don't even remember them!

Hi Ro! Hello there, Sydney... Oh wait.. I mean Barsad.. HA!!!! I was trying to remember the name of that character for Grimes and there you have it! Perfect for him. I actually have to sit down and watch it all the way through again soon; my last few viewings have been piecemeal because, as you and Grimes point out, I tend find the overall movie if not long, just not my kind of movie. I really, really have to be in the mood for historical movies. But all other considerations about 1935's *A Tale of Two Cities* fall away beside Colman's character. I have always been very moved by it, more than by just about any other character in this type of film. I agree that the girl and her husband are rather cardboard, and in my opinion she never really emerges well enough for me to understand what it is about her that captures Sydney to such an enormous degree. I loved Edna Mae, too...along with *Drums Along the Mohawk*, this is one of her most colorful roles. She's also delightful in *David Copperfield*, made around the same time. Maybe if *ATTC* had a more creative director like Lean it would have fared better overall. And the idea of Lean directing Colman is very appealing. Edited by: MissGoddess on Jan 20, 2012 2:39 AM

> Exactly. He wants to score with Flaemmchen (Joan Crawford), but then he falls for Gru (Greta Garbo), so he gracefully bows out with her. He tries to steal Gru's pearls, only to give them back. He thinks about stealing Kringelein's (Lionel Barrymore) wallet, but he hands it back to him. All the while, he has a "price on his head." His ultimate fate surprised me. That made the film's end a powerful one. > All the while he exhibits such a wonderful, self-mocking humor. The only time it vanishes is when he's with Gru. Everything changes for him, then. > Me, either! But I'm definitely worried about watching her films because you said she's mostly inward and I greatly responded to her being outward. > Well, her moments with the Baron, her reactions, the scene on the phone, those are "typical Garbo" and what made her a star. I just mean the flitting excitedly around and exclaiming over everything, that's the character of a prima ballerina. In her other roles, she is dramatic but not so flamboyant. And like I said, there is always a scene where her emotions spill out, like the audience witnesses her own dawning awareness of the depth of her feelings (all her movies are about love, usually tragic). If you were to watch *Ninotchka* next, you'd see the opposite of Gru. She's playing a Soviet official and so the point is she's cold and mechanical until love comes along, then she's transformed. > It was a juicy role for him. He's basically the mirror of the Baron. Both are facing desperate situations and each handles it so differently. But the Baron makes a serious mistake. > GRAND SPOILER! He didn't have a chance, he was almost fragile and broke like china under Beery's strength. Seeing that little dog, looking lost at the end always breaks me up. > It's certainly a somber film, but with a very uplifting message. > I agree. I found it a bit puzzling the first time I watched it. I wasn't sure who or what Ian Hunter was supposed to be or represent. > Oh, yeah? I didn't think you were too keen on the film. > I liked it a lot the last time I watched, but some aspects are still strange to me. The religiosity. > > *Oh, no! I know who you will demand to drink the water!* > > > *Of course!* > > > Poor Molo! > Not Molo! > I didn't care much for the story. I guess the power switch is interesting, but I wasn't moved by it that much. > Oh I didn't care for that either, I liked the journey of Carton's ascent from a man who'd given up on himself to redemption. It didn't happen overnight and I liked seeing the progression. > Why did you think I wouldn't go for Kitty? > She's a rather heartless golddigger and since she only has a limited role in the ensemble, there's not much to it unless you just enjoy Jean being that way. I do. I like Kitty more than I like "Lil" in *Red-Headed Woman* though it's essentially the same character.

I love Molo's "Dinner at Eight Questionnaire"! > They are all lonely in their ways and they each respond to genuine kindness. Well, all but Preysing (Wallace Beery). I love how money is an issue with all of them but Gru (Greta Garbo). She has all the money she could want but is miserable. > I like what you said about how the Baron starts out looking to gain something for himself (with increasing desperation) but at each opportunity he ends up helping someone else. I still can't believe you actually said "I love Garbo". I never thought I'd read those words from you! I have to give kudos to Beery for playing a heavy really well, with both a cravenness that is "small" and that overpowering physical menace that of course came easily. He was despicable. His arrogance toward everyone, particularly Kringelein, knew no bounds. > *Gable's like I like him here...not that buttoned up type in Wife vs. Secretary, but surly and sarcastic. Wee!* > > > That's how he usually is! > He's not always in such a bad mood, though, which he maintains for most of this movie. His charming side is in abeyance here. And that makes Joan increase her own spiritedness to match him. > > *It's Borzage's most unusual film and it's really too bad it's not better known or liked.* > > > I find that to be shocking since it's Clark Gable and Joan Crawford, two of the greatest stars of all. And both are excellent in the film. > I think the subject matter turned audiences off who didn't want something so serious and depressing. And they wanted Joan in Adrian gowns, not a torn dress. I'd like to see this one on the big screen. > Oh, no! I know who you will demand to drink the water! > Of course! > Ronald Colman is the entire film to me, yes. He's superb. But I wanted more from the film. > What about the story...it's one of the most interesting plots ever written, silly. > There isn't much to Kitty. > I knew you wouldn't care as much for her character. I think she's funny screaming at Beery. Edited by: MissGoddess on Jan 19, 2012 11:40 PM

La BronxaritaThe doctors were pretty scary, excellent casting...notice they were all lean and tall?...and did you notice all the helpers were..."little people"? Looks like you were assigned your "class" according to body type! That was a touch of grotesque, n'est ce pas? Wouldbestar: Enjoy the shows! I received Season 5 (of the half hour series) last week and have been enjoying them immensely. So many stars. Here are two names I never thought to see associated with one another: Alfred Hitchcock and Burt Reynolds!

> There is no way I would have predicted myself to like the films as I did. No way at all. > I think you've surprised a great many of us! > No, I really liked *Grand Hotel*. Loved the Baron (John Barrymore). My kind of guy, all the way. Loved Garbo. I loved how she hated her life until the Baron entered the picture, and from then on, she wanted to do it all. Perfect. Lionel Barrymore was also wonderful. I've never seen him play "mousey." He was good. > That's sweet. Yes, Lionel's "Mr Kringelein" (sp?) is endearing. You want him to enjoy his last fling, and he's so kind to Miss Flemschen (Joan). It's funny, all the protagonists are kind of suffering from need of something that one of the others is able to supply. (SPOILER) In the Baron's case, it doesn't quite work out. > The heavy Christian theme didn't bother me with this one because I believe in the overall message. It's a rather exciting film with two explosive leads. I also loved Ian Hunter's "Cambreau." It's a harsh film with a lot of love. I liked that. > Hunter's character reminded me of "Smitty" in *The Long Voyage Home*, made the same year. A man with a secret. Gable's like I like him here...not that buttoned up type in *Wife vs. Secretary*, but surly and sarcastic. Wee! It's Borzage's most unusual film and it's really too bad it's not better known or liked. Well, the three of us with Molo will make our own "Strange Cargo". > I've yet to see a film where I didn't like Joan. Her "Julie" in *Strange Cargo* is easily my favorite of hers. She was very good in *Grand Hotel*, too. > That's good. Julie got her away from glamour girl stuff much as *Rain* did earlier. I can understand why she'd rate it high. > *I'm sorry you didn't like A Tale of Two Cities that much.* > > I was surprised that I didn't, since I love such sacrifices. But the story was very dry to me. It's all about Sydney Carton (Ronald Colman), and that's about it. > But isn't his character wonderful, and Colman's performance of it? I admit the world is dry, it's just his character I focus on. His change and sacrifice, a big one. > *I guess you enjoyed Kitty Packard more. * > > Oh, she was a pip. But she's still no match for "China Doll." > She's a little more heartless as Kitty. But let me see, if I could cast Richard Boone for my M.D., I might spend a lot of time inventing illnesses, too.