MissGoddess

Who ever heard of a naughty Irishman? Wait! Is there any other kind?

Thank you, Theresa! Here's some more Robbie-Baby "eye candy": *Rare one, smiling* *Younger, and somehow vulnerable looking to me* *Smilin' through*

Multitasking---I like that Butterscotch! I do have to agree too about his lips. He has the most sensual mouth in the movies. Uh oh, my keyboard is burning my fingers, ouch!!!

That's one of my favorite pictures, Angie! His expression is so impish. Ladies, we are basket cases, it's official. Kenny---don't pretend now, we KNOW you're just as naughty as ever we could be!

*RR in The Naked Spur* *RR in Lawman* RR in Horizons West (he's gorgeous!!!!) *RR with Clark Gable in The Tall Men* (Regarding this movie, for the first time it was a toss up for me who I would prefer to Gable---this time, if I were Miss Russell, I think I'd have chosen "the world" with Robbie-Baby over Prairie Dog Creek. Sorry Gabie!!!!) *And in The Wild Bunch*

They *are* exciting to me! And I can't print here all the reasons why!!!! :0 :0 :0

Oh, Theresa, that's so cute about the Melody Jones picture on your folder and that silly girl's reaction. If only she knew what she was missing!! I love that picture too---it's so erotic and I think it's funny how his scenes with Loretta are so sensual as anything in any of his other movies, and yet it's a gentle comedy spoof! But *Gary Cooper* was the producer so I picture him saying, we gotta add a love scene in here....hee!!!

>>>See, film noir isn't the only arrow in my quiver.<<< Glad to hear you are an admirer of this film. I rented it on Netflix but it would be just wonderful if TCM could air it so it gets more attention. It's truly one of the forgotten gems of the 1930s. I'm very happy, though, that Kino did that series of William Wyler discs, hilighting his early work which was just as wonderful as anything he did after. One thing I caught---there is a scene in TGF which Wyler lifted from himself and used again in Roman Holiday. It's the barbershop bit: "Cut it off." "Cut it Off??" "All off!"

What are you doing to me, Kim???!! Those pictures just about sent me under my desk and my PC into overload! He had the most beautiful, exciting hands of any actor I've ever seen.

I think *Clash by Night* would be well placed in the BS Signature Collection, as well. It certainly gives her much more to sink her teeth into than Executive Suite. I love those lines with Marilyn, the busy bee line is one I like to use often. I've read that Barbara was very sweet to Marilyn, who was predictably frightened to death, during filming. I hope TCM is reading this post and will try to air About Mrs Leslie!

1. Who is she? Vivien Leigh 2. Why is she a favorite? Her thoroughly feminine combination of hyper-romanticism, flirtatiousness, impetuosity and vulnerability. She will give ALL to love and always leaps before she looks. 3. What movie of hers is your favorite? Gone With the Wind 4. Where did you see it. theatre, TCM, dvd, other. Network television as a child. 5. When was it made? 1939 Leaping before I looked, I just read thru the post and saw that others have posted two favorites. So, being the board-hog that I am, I've edited this to include another favorite. 1. Who is she? *Carole Lombard* 2. Why? If Viv is more like how I really am most of the time, Carole is like how I wish to be more of the time, which is totally uninhibited, down-to-earth, wildly funny and pranksterish. I love that she is all these things but never, ever unfeminine. 3. What movie is my favorite? *My Man Godfrey* People who know me & the movie tell me I already am alot like Irene Bullock, especially her flair for dramatics and imagination. I just wish I had her blissful irresponsibility. 4. Where did I see it first? On TV, it was a very scratchy print but thank heavens Criterion has rescued it. 5. When was it made? *1936* Message was edited by: MissGoddess

1935. Directed by William Wyler, starring: Margaret Sullavan, Herbert Marshall, Reginald Owen and Frank Morgan. I saw this movie when I was a teen and for some reason it provoked from me a (now) unaccountable aversion to Margaret Sullavan. Seeing it last night with "new eyes" I don't know how I could have been anything but delighted. My sides are still aching over the scenes between Frank Morgan and Reginald Owen---they are as funny as anything I've ever seen. Margaret Sullavan plays *Luisa Finglebusher* (an unforgettable name---which everyone wants her to forget), a sheltered, imaginative waif from the local orphan asylum who is hired as an usherette at the fancy movie palace (her uniform is not a dress, but trousers---the matron of the asylum, concerned at the racy idea of one of her orphans wearing pants, asks the proprietor (Alan Hale) if they aren't too "tight fitting"? Hale: "That depends on the girl---the trousers are all the same size." Luisa is fetching enough in her "pants" to catch the (harmless) eye of a kindly middle-aged man (Owen) who, seeing her as a lamb let loose in a jungle, basically takes her under his protection and introduces her to the world---and fills her head with the idea that she deserves "furs, diamonds, cars and all the best things life offers". Until now, Luisa's main M.O. is, like the good fairy in the stories she tells the younger orphans, to do someone a good deed each day. Enter Frank Morgan, another middle-aged man who takes a much less paternalistic interest in Luisa---he wants to be her "daddy" alright, but not like Owen's father-figure. He is determined to spend his money on a woman to make himself a playboy (where are these guys now?) and he's picked Luisa. Frightened by his attentions she blurts out that she's married, but instead of putting him off, he tells her he will make her husband rich and see that she gets all the things she deserves (furs, diamonds, cars) through him. Suddenly, it occurs to Luisa that this is her way to do a good deed! She has to make up a husband to back up her lie, so why not choose some poor chap down on his luck and let this man make him rich! So out of a phonebook she picks the name "Dr Max Sporum" (Herbert Marshall) and tells Morgan that's her husband. After all this it's a madcap matter of Luisa trying to get to Sporum to explain what's happening and keep Morgan from finding out she's really not married---and all the while Reginald Owen thinks she's turning into a "fallen woman" he has to save! Wyler manages to make it possible for the audience to follow this nonsensical storyline and to mine it for exquisite, delicate laughter along the way. Some scenes fall quite short of the magic the Master (Lubitsch) could have made from them---particularly the getting-acquainted scenes between Sullavan and Marshall---but Wyler's adoration of Sullavan enslaves his talents to showing her off at her most mecurical and otherworldly. If it is a bit of a stretch to imagine Margaret Sullavan as being quite that naive and innocent, she at least is, as always, authentically unique---not bound to be defined by the rules of the ordinary woman. Wyler fans should see the nice print Kino presents as part of a series of Wyler movies (I may have to get them all, eventually) and this particular disc contains some still photos of Wyler at work and play. Lubitsch fans should see it too, if only to appreciate him even more---for many great directors in his day paid him the inestimable compliment of imitation (Wyler, Mamoulian, Borzage---and Wilder all through his career). Oh, and if that's not inducement enough, the screenplay was written by Preston Sturges. Sullavan and Reginald Owen in the movie palace. Only her first day on the job, and she's already distracted by seeing her first motion picture. It's a love story in which the leading lady spends all her time begging the hero to let her stay, while all he says to her is "Go!" Luisa, never having seen anything of life or love, is fascinated. As audiences all over the world were, at the time. Wyler can't have enough Margaret Sullavans----in a set-up worthy of Lubitsch, Luisa sees herself transforming into the glamorous creature of the motion picture as she models her first ever present, a "Genuine Foxine" stole. But nothing is what it seems to her---to others she is in fact in danger of becoming one of the leagues of women who allow themselves to be bought for the price of "furs, diamonds and cars".

You're right Bronxie, Lang is always worth watching, I can always shut it off before the end (hee! I'm getting good at that). I really do want to see what Joan can do with a needle.

Duplicate---I got excited! Message was edited by: MissGoddess

This is for everyone, but especially *JOHN* because we've discussed 3:10 to Yuma---do check out this comparison of the two versions that was posted originally on the Criterion website, and which another poster kindly shared in the Westerns forum (it's the second to last post in the thread): http://forums.tcm.com/jive/tcm/thread.jspa?threadID=113105&tstart=0

>>>what a stupid uestion! heehee! did i notice his eyes?!!! thats the only thing i was focused on when watching that part of the movie. heehee! i could watch a whole movie just focused on his big eyes! i love watching him get curious about someone in his movies, he does makes that certain face like in that pic, and then i pause the movie and watch justthat scene for a few minutes, then let the movie play on. heehee! you know me! <<< Hi Theresa! I watch Coop's expressive eyes, too, but---and I've told this to Angie before---it's his hands I'm always getting mesmerized by. They're simply hypnotic to me, hee!

Thank you, Freddzie!!! I'm bookmarking that and will try to watch it tonight!

Oh my! That guy nailed every one of my points but he expressed them brilliantly!!! I'm emailing that comparison to my friend who saw the remake with me. This weekend we're going to sit down and watch the original. Thanks, Cigarjoe!

My Hypocritical Point #1: I love a man who can fight. But only as an absolute last resort, to defend a woman, child or someone weak who's life is being threatened. That is when my rock-solid belief in turning the other cheek admittedly begins to wobble. How else could I admit to liking John Wayne?

Frank, Well, you do make me want to see *Family Plot* to the finish (I never have) because you say it's about Hitch and Alma. I like that, because I do think Alma was intrinsic to his success and I have always noticed how he puts her into many of his films (symbolically), very lovingly and humorously. Thank you for your thoughtful responses about the topic. Just about everyone seems to think depiction of violence in movies, even graphically, is OK if it serves the story's intention. For myself, I do not believe for a moment that it ever serves to teach anyone to abhor violence. You have only to look at the results; people are more violent today than ever with less provocation to be so. This, after years of being shown in the movies what a bad thing it is to be that way. If history itself has failed to teach peaceful relations, and experience at combat itself and witnessing it's harrowing results has never taught men the ghastly mistake of violence why would a mere movie do so? Violent crimes continue to rise, and now children are committing mass murders and no one raises an eyebrow after a day or two of media blitzing about it. I am not saying this is a result of violent movies, but it certainly puts to dust the theory that the violence depicted in movies serves as a deterrent. Most of the violence oriented (read: "action") movies today are aimed at the kind of audience that is not responsible enough to differentiate real from unreal: young people, young men particularly, and they are being affected, molded, and influenced because all they really respond to is the violence itself. You never hear them come out of the theater saying "Man, I feel so bad about what happened to those people who got blown up." These are the issues I take with violence in the movies.

I thought ALWAYS IN MY HEART was really a lovely little movie and quite took me by surprise. There is a benign aura and protectiveness in Huston's portrayal, something quite unlike many other roles he's done. He and Kay Francis, who played his wife, were wonderful together. TCM plays it now and then.

>>>Linda Darnell was Chiahuahua in " My Darling Clementine.<<< Ken---that has got to be the funniest line (intentionally? unintentionally? With Ford you never can be sure) in the movie when Linda throws open Clementine's door and, with a proud sniff, announces: "My name is Chihuahua!" LOL!! Frank --- You really must see this film, I think it's a western you would appreciate---and the dvd is full of wonderful extra's. Don't miss Scott Eyman's commentary. Linda's part is small---but effective and crucuial in Doc Holliday's character development.

I love the frame you chose---it really captured a funny, sweet look on Gary's face from that scene in *Cloak and Dagger* . >>>Of course, earlier in the film, Jesper's reference to the apple is atomic. So what could a man and a woman eating apples together represent? <<< Trouble, trouble! Trouble on the double is what it can mean, just ask poor 'ol Adam!

Well, I'll just fast-forward through Peckinpah's "slow motion" shoot-outs when I watch The Wild Bunch. And listen for him spinning in his grave. I love what Howard Hawks said about that, "Hell, I couldn't had six men killed before one of his fell to the ground in that scene."

Wow, Frank, I didn't know *God's Little Acre* was on dvd! I'm off to Netflix, thanks!