MissGoddess

I didn't get that feeling with Wes (Joel McCrea) and Julie Ann (Dorothy Malone). You've got to see some of Dorothy Malone's latter characters. She really didn't hit her stride until she was mature, unusual for a "sexy" actress to say the least. Usually that kind of star is so tied to youth but she always seemed muted in her younger days. Then she just explodes as the woman with a past, big haunted eyes, sexy but wary and kind of sad. Love her.

> So you like it for the performers and atmosphere more so than the story. Since there was no story! I guess the story was about honor and respect. > Yes. Again, you have a central character who is so wedded to old, traditional ways he is willing to go to jail for it. He is depicted as both foolish, stubborn and loveable. He's the bad and good of Irishness. I feel Ford's ability to show Irish duality (which is universal, and perhaps the secret to the appeal of the country) is best served by "The Majesty of the Law". He doesn't say "the old ways are best" unequivocally because Cusak, the policeman, is a good man, only doing his duty and trying to be fair. Purcell wants special treatment, nobless oblige, which is wrong, yet he is a dear man, very human, not defined by anything but how he lives his own life. He won't be defined by changing mores and opinions...and laws. Bad and good. > That's always hard to know. She certainly had him on a pedestal way above herself but she wasn't afraid to tell him his music was all wrong. I'd say how it was presented was very schoolgirl crush since she was supposed to be a girl in school and he was a figure who was bigger than life to her. All of this was played very well by Joan. > That it was, though I feel her death scene with all that orchestral sturm und drang was overwrought. I fault the direction more than the actress. We were being hit over the head. Joan's best moment was when she watched him leave her, knowing it was the last time she'd ever see him. > Do you believe a grown man can be in love with a 14-year-old girl? It's an interesting discussion because it really gets to the idea of what is love. Is understanding, alone, love? That's what I think Lewis is most drawn to with Tessa. His wife doesn't understand his art (his feelings), but Tessa does. Is that love? I don't think Lewis ever thought to love Tessa on the level he professes at the end until the music comes out of him thanks to her. She frees him from himself. > Juliette was 14. Yes, I definitely think you can be in love at that age. Sometimes I wonder if its the only time you can be in love so purely. At least a girl, anyway. And this is what I think I like best about the movie, and [b[Letter From an Unknown Woman[/b], best. It attempts to capture what a very ideal love is or can be. Because melodramatic license aside, people do feel these things, and have done so all through human history. > > I got the feeling he liked how free Tessa was. That was something he wished to feel within himself but never really could. > That's beautifully said. Often artists can feel something in them is bottled up or trapped, if they only knew how to free it. They may appear the most uninhibited members of society, but they often feel the most constricted because they can't ever quite capture what they see with their mind's eye or imagination. It won't free itself and be born just as they wish it to be. And then people without much imagination or experience can be so utterly free and seem to have a direct channel to their deepest feelings with no effort at all. > There is a forbidden wall that keeps the two apart in both films. In *All This, and Heaven, Too*, Henriette (Bette Davis) is a woman but she is very much a child when viewed in comparison to Duc (Charles Boyer) and his world and experience. She is subserviant to him and his world. > I feel ATaHT is more like Jane Eyre than *The Constant Nymph*. Though in both, Boyer loves to hold an image in his mind of a lover who seems to hold the key to understanding his feelings. > They are more in the open with their feelings. Edwina starts out this way but then she turns into a "nun." > Ha! I've always said that movies have the hardest time depicting "goodness". They invariably make it dour and boring.

Looks like *Wings* will be released by Paramount on DVD and Blu on January 24, 2012. Aside from a possible bonus featurette called Grandeur in the Sky, I have no other information as yet.

> The first story of the film had me worrying it was the worst Ford film and this was his "*Juno and the Paycock*." The second story then had me worried but it slowly won me over and I found it sweet. The final story was done exceptionally well and it pushed me to think well of the film. Now, the film still ranks lowly on my Ford list, but I actually think it's rather charming. I think it's very Fordian. It ended up being a good watch. > Now see, I like the first one the most and the third one the least (though I love Denis O'Dea and Eileen Crowe). I love Cyril Cusak and Noel Purcell and Jack MacGowran's "poteen maker". I also like the setting of the ruined castle. > I liked Joan Fontaine and Joyce Reynolds, so it wasn't the sisters romping that bothered me. It's the kind of film it is that just doesn't sit well with me. It's a "little girl" film. I will say that it did help me like *Letter from an Unknown Woman* more. > So you think her "love" was just girlish idolization? > I completely believed Tessa (Joan Fontaine) having her schoolgirl crush on Lewis (Charles Boyer). I didn't buy Lewis really loving Tessa. I think he cared about her and loved her on that level, but not in the passionate sense. I think he loved that she understood his art, which he takes as understanding him. > So you think his real love could only be inspired by someone like Helen Walker, who stirred him physically? I don't know what to believe. I see it both ways. I guess I like to believe that a man could sublimate his desires with a love that is more spiritually satisfying. Especially if most of his passions get put into his art anyway. > > The film kind of reminded me of *All This, and Heaven Too*. Although, I thought the emotion in that one was a bit stronger. > I don't see the comparison, except he's married to a rather imperious, demanding society woman in each case. ATaHT features a woman, not a child. > You've got it. But this film didn't set out to be dark. It's a light, loving film. It's told in a very kind, gentle, humorous way by William Wyler. It's very lovingly made. It reminds me of *The Sundowners*. But that film moved me a lot more than this one. > I see the comparison and I agree there's more conflict and emotion to be found in *The Sundowners*. It's bawdier, too, which is more your style. > I thought the opposite. I didn't believe her transformation. She did such a huge turn and very quickly. She bored me by film's end. But I liked her at first. > It's a movie, so I'm not surprised at the shortcut. > I found those two to be much more interesting, mainly because of Tom (George Brent). I liked that Fern (Brenda Joyce) jumped him and that he rejected her out of respect for her. > > I know what you mean, they are more fun and loose. I also think Myrna is more enjoyable to watch when she's selfish and snotty in the beginning. But you want her to grow as a person and not remain such a brittle creature. The story just doesn't give you enough to hang her change on in your opinion. I think I'm able to use my imagination. I've also read the book its based on. Ty's character "Rama" is much more interesting in the book. He's also blonde and blue-eyed! "Aryan", you know.

> Better: > > Three Loves Has Nancy > Let's Make Love > The Rising of the Moon > The very three I figured you'd stumble the most with. First let me just hear a word of praise if you can think of any of Pappy's Irish pilgrimage. > > Worse: > > My possilbe guesses as to what went wrong for you: > The Constant Nymph Too much of the sisters romping and the childishness. I imgagine any scene with Boyer alone with one of the girls, talking that way that he has, are the best scenes. Tell me, did you buy the love between them? > Strange Impersonation We covered that films failings fairly well. > The Hitch-Hiker Starts out tense, but situation gets predictable and the ending is not great. > Friendly Persuasion Now given your deep abiding admiration for Coop, and your growing fondness for Dorothy MacGuire, I figured you'd have responded to the warmth of their marriage. They can still make hay at their stage of life. I think the threat of taking the young boy away from them, and his decision not to be a conscientious objector, would have been a more darkly executed wrent in their world. But it seemed to work out too easily. I'd say *Shenandoah* is a little better on these lines. > The Rains Came > Well you said it, Ty bored you in his turban. He is muted and serious. But romantic. Didn't you like Myrna's transformation for love? It looked completely and believable a real transformation for love. However I do confess that Georgie and his bright young thing were more interesting! I felt for her frustrations being stuck out there and admired her chutzpah to just show up in his rooms like that. He was another who had no desire for women that way, in the long term or to be responsible, and he ends up changing just as much as Lady Whoosits (Myna). > It's a film about a career woman's fears. I believe someone like Jackie would like it for some of that and hate it for how it ends. > Oh, yes, I guess so. What do I have to do to keep the career and get the husband. > The guy must go crazy! > He almost does! > > I agree with that. It's just the rest of the country has now followed suit in their own way. Everyone thinks they are right. > Oh yes, no one's ignerent anymore! > You can't fool me! You were the tigress! > No way! > It will be jarring for me to see Montgomery as secondary. But now that I think about it, I can see him being the drinker pal who wisecracks, ala Tone in *Three Loves Has Nancy*. > It's interesting to compare the "immaturity" of characters like Bob occasionally played, with how they would be today. Since everyone today is acting immature, they have nothing to really thumb their noses at, no one to shock with outrageous behavior (of the wittier kind, not the crudeness now) > > I got a big kick out of Grandpa Briggs (Charley Grapewin) asking if George (Grady Sutton) was gonna slug Mal. > He was dying to see a fight!

> I did notice "William Wilder." I didn't know he was of relation to Billy. Heck, I thought it was possibly Billy, himself. > Me too, since "Billy" is typically a diminutive of William. But in Billy's case, it's just a nickname. > I didn't dislike the film, per se. I was looking for more and that usually spells doom with me. > Did any of these movies prove better than you expected? *STRANGE IMPERSONATION SPOILER* > I was actually okay with the twist ending. I like the psychology of it. > What do you think is the psychology? The premise is pretty hard to believe, but it's still unique. Nora accidentally backs into a woman who turns out to be a real user. She and the ambulance chaser who saw it happen. That's the only thing that reminded me a little of Mann's noirs, how the cities are full of scurvy user types. > They don't have to be films noir for me to like them, though. > > Well it seems like you don't like noir, crime or mystery movies that are "soft". I think *The Outrage* is pretty hard hitting for the subject matter in that time, but it's still a story about a woman. And the title alone of *The Bigamist* aught to scare you away---marriage to more than one woman! > Janet Gaynor was definitely playing a "Jean Arthur" character. At first, I was annoyed by her. But then I started to warm to her. > She's like a little beetle. But I actually think some of the things she says make sense. I like that Bob's this know-it-all writer, the kind that's still filling the bookshelves (or online) today but he has no real experience with what he writes about. He's full of himself. I thought it was funny how she immediately thought everyone was stealing her purse, lol. It's like the scene in *The Awful Truth*, when Irene plays Cary's low class sister who accuses his future inlaws of stealing her purse. Ha haaa! > > Mal was very much going "big city" on those silly "hicks." But Nancy (Janet Gaynor) didn't even know who he was and she didn't care. She thought he was just a guy she met. > It's funny that even though all this seems so corny, it's still happening. People in cities like New York really do have the same egotistical foolishness about themselves, and still look down on the rest of the world and vice versa. Some stereotypes just remain true. > She's just being friendly! I like that kind of naivete. > I know! It's very funny how she's smiling and being friendly and right away the wolves start drooling. I know how she feels! That's happened to me, believe it or not, when I first started going out in London and New York. If you're really friendly, you can get mixed reactions. > Tone was definitely more interesting and funny than Bellamy in such a role. > Oh yes, he never plays it dumb. He's often the smarter one. > > *Interestingly, Bob Montgomery played a few of these characters himself early on.* > > > Really? Him? I can't see it! > Oh yes, he lost the girl several times, right up until he was starting to be a really big leading man. He was considered a light-weight even more so than Tone. You saw that Tone would still be given an occasional serious role like *The World Moves On* in the early thirties. Not Bob. He was making with quips, downing martinis and trying to steal the girls from Gable or even lesser actors. Most notably in *The Divorcee* with Norma Shearer. > I never made the correlation, but you're certainly right about that. Joel does seem similar to Coop. I'd say Joel is warmer but Coop is more romantic. I definitely like Coop more in westerns. I prefer Joel in comedies. > me, too! Joel is funnier and Coop is as you say, more romantic, and could play tortured and suggest some darkness and complexity.

> It felt more like a soap opera because of the story and low-production values. "Corny" and "oddity" do come to mind. You're right on it. > I did get the feeling that Mann's heart wasn't in this one. Did you see who the producer was? Billy Wilder's brother. The budget is clearly shoestring. Still, it was fun to me. > *It starts out with "Nora" reminding me of Cary Grant's intended in Bringing Up Baby. All work and no play.* > > > Hey, yeah, you're right! > STRANGE IMPERSONATION SPOILER It made me giggle a little to see how glamorous these lady scientists were. Brenda's concession to seriousness was her glasses, which she apparently didn't need since she discards them after her impersonation. > He seemed like an old-fashioned soap opera actor. He was a snore. > I think Mann was snoring, too, having to direct him. He is distractingly bad in this. > I liked Hillary. Brenda, not so much. And I had just watched Brenda in *The Constant Nymph* prior to this film. > Oh, yes she's one of the sisters. I've only seen her in two other films, *Whispering Smith*, with Alan Ladd, and *The Sea Hawk*, with Errol Flynn. She was Mrs. William Holden for a long time, but never much of an actress or star. She was so skinny! I think the movie worked a little more for me the first time I saw it because I didn't know the twist was coming at the end. > I haven't seen either and I only have *The Bigamist*. > I don't think you'd like that one either. You might not care for *The Outrage* either. They aren't really noir. > That's an interesting point. You know, he may be the funniest when peeved. > Just thinking about it is funny. His face is so expressive. > You mean when he was looking to avoid her? I like how he wanted to be with a woman then he didn't then he did. > Yes, she seemed to stick to him like gum in the beginning and he was so annoyed. He was a real New York playboy. He wanted to just push all the buttons and get the responses he wanted from women, and then not be bothered with anything pesky like having to be unselfish and committed. And along comes this little country girl who thinks he's the foolish one. I thought the scene in the restaurant funny. She didn't know the New York hoi poloi were making fun of her. Oh my goodness. > He played a good "needle." For some weird reason, it felt like he was playing a drunk Ralph Bellamy or an early version of a Tony Randall character. I liked the relationship between Mal (Robert Montgomery) and Bob (Franchot Tone). > That's exactly what he's doing. And he's cast this way in several films, especially playing second fiddle to Clark Gable. If Tone didn't play the role, it would Roland Young or Ralph Bellamy. Interestingly, Bob Montgomery played a few of these characters himself early on. > I don't believe I ever saw him in a western until recently. Now I've seen him in three, if you include *Stars in My Crown*. > You've seen him comedies, right? His career is very similar to Gary Cooper's. I think he said he used to get scripts with Coop's fingerprints all over of them.

> Oh! I didn't know you were watching it again. I'll certainly talk about it. > I've finished. I realize better now why you wouldn't care for it. It's very much a woman's picture and the acting is a bit corny. I liked it as a kind of oddity. It starts out with "Nora" reminding me of Cary Grant's intended in *Bringing Up Baby*. All work and no play. William Gargan, poor old thing. He'd run out of gas by this time. He was in tons of 1930s films. I almost didn't recognize him. His character is a sap, just a bone for the two women to fight over. Hillary Brooke, always a cat. I never realized before how tall she was, or that Brenda Marshall was so small. Hillary looked like Goliath next to her. > I liked the actors, but I kept waiting for something different to happen. It never really does. > That's kind of true, yes. Of Ida's films, I like *The Outrage* and *The Bigamist* much better. > I thought Robert Montgomery was really funny in *Three Loves Has Nancy*. > He was! Does anyone act funnier when he's peeved? The expression on his face whenever he caught sight of Janet is very funny. And I like the way Franchot Tone makes fun of his egotism. > Oh, no! Appearances! I figured you wouldn't like Virginia's look. > I'm supposed to believe she's a "half breed"? Please. The body make-up was so fake and her hair. Sometimes I can let those things slide, sometimes they jolt me out of the story. I've seen her in a couple of other westerns where she is much more normal, still very much a Hollywood beauty, but not distracting. She's especially good in one with Clint Walker, *Fort Dobbs*. It's rather similar to *Hondo* in its storyline. > There's a twist with the ending in *Colorado Territory*. I think it's more similar to *Duel in the Sun*. > I think I remember. > I agree with you. Joel seems too "aw shucks" to be taken seriously as a bad guy. Still, I enjoyed his performance and the film. > I know. Joel is always a welcome presence, especially in westerns.

> Now you got it! Your Milburn was actually a young love interest. I couldn't believe it! > It was pretty surprising to me too. It's a good entry. You can see they really tried to stay "topical" with the entries. Adventures was the only one true to the original stories' period, I think. > I won't comment on the film since you are offering up the link for others to watch. > Then I'll talk about it by myself. I've almost finished re-watching. > > I was into *The Hitch-Hiker* at the start. It's very tense and frightening. But after a while, I started to tire of the situation. I wasn't keen on how it all ends, either. > I kind of felt the same way about the situation. The actors weren't such that held me, either but it had its moments. > But you know if you like something or not. You like The Dick Van Dyke Show ! > That's different. TV shows are short. Movie comedies have to really be something special to keep my interest for an hour and half. > I think I've only seen her as a hussy. She was certainly fiery in this one. McCrea and Mayo did make for a strange combination. > So did her make-up and hair. > Well, you were right about my not liking this group of films that much, so I can't say I loved *Colorado Territory*. I did like it, though. The ending is what pushed it over the top for me. Without that ending, it would have been middle of the pack. > I can't remember the ending. I guess it was along the same lines as *High Sierra*. The movie has a lot of fans, though, so I'm in the minority on this one. I think I also can't buy Joel as a bad man. Bogie, yes.

> And that surprises me, too. I would have thought you liked some of these films. > I do like them, they're just not at the top. > *I also can't remember the plot of Sherlock Holmes Faces Death.* > > It takes place in a home that features recovering soldiers. > Oh, yes! I do like that one alot. It has Milburn! > *I remember really liking Strange Impersonation.* > > Do you remember why? > Well, it's more of a woman's story, which is a draw. It was an unusual movie for Anthony Mann, I thought. I'll let you know after I re-watch it. I see it's on hulu.com here, in case anyone else is interested: > *The Hitch-Hiker not as much.* > > But you ranked it higher than I thought you would. > It was suspenseful. Why didn't you like it? > So why don't you like it that much? Do you find it ordinary? > Not exactly, I just can't say that many comedies are really registering with me right now. Laughter seems a long way away. > It's a strange watch if you have seen *High Sierra*. I can see how you wouldn't like Virginia Mayo. She doesn't seem to be your kind of dame. > I like her very much in other things even other westerns. So what made you like it so much?

> You're bad! You were all over the place with this one. I would have been the same in guessing myself. And I would have been off with you, for sure. > > > 1. Colorado Territory (5/12) off 4 > 2. Sherlock Holmes Faces Death (7/5) off 5 > 3. Three Loves Has Nancy (10/11) off 7 > 4. Let's Make Love (12/4) off 8 > 5. I See a Dark Stranger (3/7) off 2 > 6. The Spider Woman (4/2) off 2 > 7. Strange Impersonation (1/3) off 6 > 8. The Hitch-Hiker (2/6) off 6 > 9. The Rising of the Moon (11/8) off 2 > 10. The Rains Came (9/1) off 1 > 11. The Constant Nymph (8/10) off 3 > 12. Friendly Persuasion (6/9) off 6 > wow, that is topsy turvy. i can't say any of these films are big favorites with me, and I would probably change the ranking quite a bit depending on my mood. I also have not seen *Strange Impersonation*, *The Hitch-Hiker* or *Colorado Territory* in a long while. I also can't remember the plot of *Sherlock Holmes Faces Death*. > > What surprises me with you is that you list *Colorado Territory* at the bottom and I have it at the top. Wow! And how did I end up liking *Three Loves Nancy* that much more than you?! I think I know why. The actress. You like *Strange Impersonation* and *The Hitch-Hiker* more than me. That's an upset. > I remember really liking *Strange Impersonation*. *The Hitch-Hiker* not as much. And yes, I'm not a huge fan of Janet Gaynor, at least not as a comedic actress, though she's cute enough for what the part calls for. It's a funny romp, she by no means spoils it for me. *Colorado Territory* is down in the dumps mainly because it made little impression on me when I last saw it and I don't remember liking Virginia Mayo in her part. She seemed glaringly out of place.

boy, i see a bunch that are definitely not "you". In the order you disliked them, least to most: 5. Colorado Territory 8. The Constant Nymph 6. Friendly Persuasion 2. The Hitch-Hiker 3. I See a Dark Stranger 12. Let's Make Love 9. The Rains Came 11. The Rising of the Moon 7. Sherlock Holmes Faces Death 4. The Spider Woman 1. Strange Impersonation 10. Three Loves Has Nancy How I like them: 1. The Rains Came 2. The Spider Woman 3. Strange Impersonation 4. Let's Make Love 5. Sherlock Holmes Faces Death 6. The Hitch-Hiker 7. I See A Dark Stranger 8. The Rising of the Moon 9. Friendly Persuasion 10. The Constant Nymph 11. Three Loves Has Nancy 12. Colorado Territory

> I liked him as "Moriarity." He had a real presence. > Wait till you see Henry Daniel. He is the Moriarty. > I don't mind the Hammer version. It's just that I prefer Basil's. > It's more fun.

> I thought the "Secret Weapon" ended exceptionally well. To see Sherlock (Basil) being drained of his blood by Moriarity (Lionel Atwill) was very tense. I also enjoyed the underworld segment. This is the kind of stuff I like with Holmes. The first part of the film wasn't nearly as exciting. > I liked all of that, too. And there's Lionel, again. > I liked the opening for "Washington," all of the intrigue on the train. I also thought the ending was mostly good. The museum setting was very nice. > Yes, I love mystery train settings. That's one reason I like *Terror by Night* so much. > So I've seen five Sherlocks to date: > > 1. The Hound of the Baskervilles > 2. Sherlock Holmes and the Secret Weapon > 3. Sherlock Holmes in Washington > 4. The Adventures of Sherlock Holmes > 5. Sherlock Holmes and the Voice of Terror tCM aired the Hammer version of *Hound of the Baskervilles* last weekend. It's enjoyable, too, in a different tone. One thing I noticed is the dog attack scene in the Rathbone version was much more realistic and the dog a better actor.

> > You're right, they are mysteries more so than crime. It's just I always feel the crime films of the 30s have the softer mystery feel to them. The edge seems to come later. > I suppose. I'm not an expert on crime films. Speaking of mysteries, did you like those two Sherlocks? Those are my least favorite of the series, but they still are entertaining.

> Yeah, that does sound more my speed. I don't know if Olivia can match Maureen, though. > She's not the same style, but she was very lovely at that young age, and spirited. > That's a 40s film but it feels like a 30s crime flick. It has a little film noir feel mixed with 30s crime. The "Thin Man" films are 30s crime. > Oh, I always thought it was made in 39 or thereabouts. The Thin Man movies I guess are examples, though they play more like mysteries and comedies.

> {quote:title=FrankGrimes wrote:}{quote}*She's very beautiful in it. Her character is basically the same as the girl in* *Blood and Sand.* > > If that's the case, I'll like *The Black Swan* more. > I think so, too. For the kind of playful antagonism found in *The Black Swan*, your best bet is Flynn and de Havilland in *Captain Blood*. She plays a character rather similar to Maureen's. Very uppity and provoking. > I view gangster films as just that, even though they are all about crimes. Then there are crime films without the focus on gangsters. > I am trying to think of crime movies from the thirties. *Stranger on the Third Floor* comes to mind.

> It's been on my list to watch for a little while. I have it as the next "Linda" film for me. > She's very beautiful in it. Her character is basically the same as the girl in *Blood and Sand*. > You don't think Jack is a prize? > Yes! The booby prize! > *Which ones are soft to you in the thirties?* > > *Let Us Live* is an example of one. *Sinners in Paradise* has a softness to it. They are light crime films. > I don't think *Let Us Live* as so much of a crime film. I guess I do mean the more gangster type ones.

> He's Bruce Wayne at the party! And Ty is Don Diego at the party! You have to see *The Mark of Zorro* now because Ty is in a similar, playful mode in that one. Plus it has your girl in it. > > *I liked him in Dangerous, too, though Bette really runs roughshod in that one.* > > When doesn't she?! > Ha! Well, that's why she got George Brent and Herbert Marshall most of the time! > "Baubles, bangles, and beads"? That was great! That's you! She said she was playing mommy to her younger siblings and that drove her to good ol' Max Verne (Jack Elam). > Those siblings must have been scary to drive a good looking girl like her to Jack Elam. > It depends. If it's gangster flicks, you're right. > Which ones are soft to you in the thirties? > > *You're already so low you'd have to dive up!* > > You're right! > Yes, Max.

> *They only look ridiculous.* > > Not as ridiculous as the ruffles, plumes, and wigs! > But that was the style of the day so everyone was looking like that. Your caped crusader stands out a little at parties. > I haven't seen any of those, although I have *The Man on the Eiffel Tower* on DVD. *The Lives of a Bengal Lancer* features my favorite Tone character. My favorite performance is *Phantom Lady*. > I liked him in *Dangerous*, too, though Bette really runs roughshod in that one. > I wasn't referring to her! You're the one who wants the shoes, dresses, and jewelry! > Oh the little hillbilly girl. Wasn't she the girl in *On Dangerous Ground*, the underage kid in the bar? She looks so familiar. Poor thing, she probably got kicked around a lot, you can't blame her for wanting some baubles, bangles and beads. > *You mean a small town with intrigue?* > > No. I was speaking of the pairing. > Oh, of course. > *I thought the whole weird music and how the crime took place was kind of cool.* > > I liked the opening. That pulls you in. The pay-off isn't good, though. > I liked it. > *It's definitely a cheapie "B" movie, but I enjoyed it.* > > It's too "soft" for me. It actually felt like a 30s crime film. > Those are usually not soft at all. > We divers have needs, too! > You're already so low you'd have to dive up!

> {quote:title=JackFavell wrote:}{quote}I like these second string leading men - MacDonald Carey and Don Taylor. Nothing special, but they feel kind of homey. I think they capture the veteran-returning-home category very well. > I do like Carey's appeal and a couple others of that type (Hugh Beaumont, Richard Egan); they're kind of "pipe and slippers" and comforting. Some of them can be just a little too much on the bland side for me (Kent Smith always comes to mind, ha).

Speaking of Georgie, he's on right now on the Fox Movie Channel in *Son of Fury*. He's a really nasty fellow in that one, right up his alley. A sneering, bullying lordling who pushes around stable boy Tyrone Power.

Ro, could you make a list of your favorite Dickens movies?

> {quote:title=rohanaka wrote:}{quote}Ha haaa!! I'm all at sea > > Just make sure the poor little boys have their mini-kitty life jackets on nice and snug!! Ha. (just let me know if you need me to go all "Peacemaker" on anyone for you!! ) > Will do! > Glad to see you back and giving the Shiftless One "the Dickens > > Ha.. I'll believe he will watch that movie when I see it.. Hey.. wait. I already HAVE seen it.. but HE hasn't. (Thank goodness.. I am NOT so shiftless after all.. ha.. oh boy.. do I feel better now) Boy, if you get him to sit and watch Dickens, you will have earned the Frozen Rope Crown of Achievement!

> You need to learn how to read! Lots of studying at night is required. > I'd rather remain ignerent. > *Oh yes of course. Capes, masks and Bat-phones are so streamlined.* > > They are! They're not puffy and cumbersome! > They only look ridiculous. > > He could play either man, that's true. But I was specifically speaking of his 30s roles. He seems to always be the unpolished fella. I like him as that. > He always had the everyman touch. > *I'm trying to think what my favorite Franchot Tone role or movie is. I'll look over his filmography and think about it.* > > > Do it! I've only seen eight of his films. > I forgot he was in one of my favorite Merle Oberon films, *Dark Waters*. I guess I'd put *Three Comrades* at or near the top. I'm not sure I've ever seen *The Unguarded Hour* or *The Man on the Eiffel Tower*. They sound interesting. > I don't have that one. I'll have to check and see if it's on the schedule. > I think it shows up now and then, not too often though. > That's correct. It didn't do much for me. I always like seeing darling Teresa Wright but the story was much too bland and uninteresting for me. You're right, her husband (John Craven) was a bore. But you were quite entertaining, Gracie! > I'm not a spoiled heiress! I wish! She was getting on my nerves because I couldn't see her with a guy like that. "Yes dear I know a man is going to die but we have a party to go to!" My word. > I like *Let Us Live* a little more. > Well, so do I because I like the cast better. > He's nothing special, but he does project competence. It's interesting to see *Shadow of a Doubt*... a decade later. > You mean a small town with intrigue? I thought the whole weird music and how the crime took place was kind of cool. It's definitely a cheapie "B" movie, but I enjoyed it. I was surprised when the diver decided to take the plunge with Theresa. That was pretty low.