MissGoddess

ChiO---I loved the story about your wife and her taste in films, she's a kindred spirit I think. Frank--- *7 Women* was a pretty ambitious choice for the old man to do at that point because he was already past his powers, I think. But I just love his spunk at going for it anyway. It's flawed, but interesting in that there still aren't that many movies like this focused on what women will do under extreme circumstances, both individually and as a group. What he does manage to capture is what he always tried to show, namely, human beings are a mixed bag of bravery and cowardice, cravenness and heroism, beauty and venality. And Mike Mazursky as a Chinese warlord is too good to miss! Hee! P.S. I suspect The Fugitive will please you visually, though I think The Long Voyage Home and The Informer would, too, as all three of these films are his most visually expressionistic. Afterward, he would gradually abandon camera tricks for a more steady and measured approach.

Medelia, thank you so much for lovely pictures of darling Viv!!!

>>>I'm already sensing the Manhattan heat.<<< No heat certainly from my little section of Midtown, Frank. "To each his own", or so said some wise guy. I am usually on the receiving end of Blank Stares for my dispassion toward *Citizen Kane* , so I don't begrudge any one's right to begrudge Valley's Oscar.

Hi Dan, long time---did you ever get a new puppy? While I would have been happy to see *Sgt. York* win in any category, for my money it won in the most important one---for Gary's performance. In its defense, *How Green Was My Valley* is one of the finest films I've ever seen about family and the effects of "progress" on people, so I cannot see it's win as in any way a "travesty". *Citizen Kane* , no offense to Welles whom I admire, or to its fans---is one of the most overrated films I've ever seen so I'm glad it did not win over any of the other choices, Lol! It's a very cold and lifeless movie, to me---and one that borrows so heavily from John Ford's films stylistically, ha!

Hi "George"! I'll be getting an eye-full of him on October 1st!

Yes, that would be.........something.

I take it you liked Fort Apache. "Is there anyone here who understands an order when it's given?!"

*Murder My Sweet*

>>>I think part of the reason Selleck had so much success with his TNT westerns is, IMO, they tended to be more straightforward about the morality of the characters. This may also be why they didn't make theatrical releases in that fashion. <<< Interesting point, Chris! And I have to say I prefer Sellek's westerns!

That's because *Fort Apache* is a GREAT movie! P.S. Fort Apache is/was a real fort, right? I saw pix of at least one when I googled.

Right GM---I realise now I mistook Navarro for Asther, which is silly now I think of it---Asther was far more imposing physically. I think you'll love The Barbarian, though, it's actually pretty sexy.

One writer out west prefers the oldies to remakes like 3:10 to Yuma: http://www.abqtrib.com/news/2007/sep/14/ollie-reed-jr-give-me-those-old-time-westerns-anyt/ Any other opinions?

That's right! I was imagining a guy singing it so it threw me off, now I remember it from her funny little act in This Gun for Hire. How silly of me.

Hi Cathy---I apologize if I sounded too harsh, and I agree about Russell's charm, which is very apparent here, in spite of the viciousness of the violence. Without him I would have been even more disappointed. My friend and I think a sequel is called for, in which "Alice" thankfully gets her obvious wish: to be Ben Wade's wife, not Christian Bale's.

I only saw Hurd sitting morosely at a bar, seemingly nursing some sort of peeve toward one of the women in the cast. It's a very interesting mix of actors and Michael Curtix is the mix-master.

Hi Medelia! You have done a ravishing job on your website. I have "bookmarked" it and already registered there as well. There are some smashing photos, I can't wait to go through them all. As you may know, Viv is my favorite actress of all.

This picture is, in a pithy adjective, SMOKIN'!!!

Has anyone seen this movie? It turned up yesterday on TCM and I just happened to be recording *I Thank a Fool* (the title alone won me) and left the tape running. I have to watch it again tonight because I only got bits and pieces but I was cracking up at Constance Bennett in a *terrifically* colorful role, Audrey Totter throwing out all kinds of snotty lines and Claude Raines being just a little bit too kind and considerate to his niece, Joan Caufield. A note: all the ladies seemed to sport the same blonde hairdo and I kind of had trouble telling them apart. It added to the strange, twisty-turny flavor. I suspect The Unexpected is underrated. Any comments?

No problem, Snarfie, I had to look up her name myself because I never remember it. She turned up in lots of 1930s movies and always remained nameless to me. She seemed to languish in the shadow of May Robson and Jessie Ralph.

Those are the finest pictures I've seen in a long, long time, Kim! And you found some of his sketches, that's marvelous! Doesn't Veronica look like she's in heaven, laying on his chest? And the newborn baby Maria picture is very touching.

I don't think Carolyn's role in *Marjorie Morningstar* has been mentioned, but it's my favorite and a very significant part. She plays Natalie Wood's best friend, the "wild" one who marries for money, unhappily. She almost steals the show from Nat. I liked her in *Last Train from Gun Hill* , too, though I wish her part had been a little bigger.

Actually, westerns can be the cheapest kind of movie to make, which is why they were a staple of poverty-row studios for so long. Even the biggest westerns did not have to cost much, and in today's terms they never should for there is no need for any budgeting for CGI. Renting a horse is still way cheaper than hiring a special effects company. No, it's a barebones storytelling genre, and if you cannot tell a story or create compelling characters, you cannot hide it. That's why I think Mangold showed himself to be unequal to the requirements of the movie. I realise he is to be a guest here shortly at TCM, so no offense to him personally, but I still stand by what I say.

I like those lyrics, Frank---who's the singer, what's the song? Sounds like the songwriter figured out the truth about women. Which is that no man can ever figure on finding out the truth about women. I think Veronica was not so much an actress-as-femme fatale, as she was a perfect canvas onto which you can project all your ideas of what femme fatale can be.

Actually I have noticed too, that some posts are not showing up---so far none of my own have disappeared but yesterday I received several notifications and when I went to read them, they were nowhere to be found. About three hours later they appeared. Phantom Posts! Also, the thread listings do not seem to indicate the most recent post consistently.

Frank---John Wayne is not playing "the Duke" in any of John Ford's films except, perhaps, the light-hearted romp, *Donavan's Reef* . Even *The Quiet Man* is not typical Wayne. I would suggest you give the so-called Cavalry Trilogy movies (they were never conceived of as a "trilogy" by Ford anyone else involved) another try one day because they have a lot to offer, especially *Rio Grande* and *Fort Apache* (She Wore A Yellow Ribbon is excellent, too, but the story is looser, it's almost a series of events---though it does contain one of Wayne's most surprisingly a-typical performances as an aging officer sueing for peace, not war). In *Fort Apache* , Henry Fonda's character is the focus and it's a fascinating turn-about on Fonda's typically right minded heroes. If you liked Liberty Valance, you should see this one since it revolves on the same theme, but is presented with less inward melancholy---more action and less focus on character. My favorite, though, is *Rio Grande* (yes, because it's super-romantic). I think it contains the tightest human story---the relationship between Kirby and Kathleen (Wayne and O'Hara) is one of the most mature and poignant to be found in ANY western (or many non-westerns) and also that of their child, played with utmost sincerity by Claude Jarmin (The Yearling). Regarding the earthy comedy often present in Ford's films, I am always reminded of Shakespeare's "clowns", when I come across them. They serve a similar, rowdily New World, purpose. I think he knew they are as much a part of real life as the evil we confront. Now I will officially shut up about Ford on this thread.