MissGoddess

> I don't consider *Charade* and *To Catch a Thief* to be comedies, even though there are funny moments in both. I see *Charade* is actually classified as a comedy. I don't remember it being that way! It's been a while since I watched it. I have *To Catch a Thief* at # 116 and *Charade* is # 147 on my top 250 list. *Cluny Brown* is # 155. *Indiscreet* is just outside my top 250. > Well, they're more romantic and funny to me than TBS, but no, they're not really romantic comedies, I guess. sigh, this categorizing gets me down. > That was one of the best scenes in the film. I thought Rita Johnson did a wonderful job. Those roles can be thankless. > That's for sure. She was very good. Tragic ending to her life, she died quite young in a freak accident with a hair dryer (one of those big ones you sit under) and it killed her. > > She does play a similar character to the one in *The Miracle of Morgan's Creek*. But I thought she was tougher in this one. She had more of a sweetness to her in Sturges' film. > I guess so. She's smart and precocious, but for once I wasn't irritated by that. I loathe precocious children unless they have an appealing personality or just the right comedic touch.

Good point, movieman, about Grimes ( ) in *Cahill, U.S. Marshall*. I think I like that one because of Duke's relationship with his friend, Neville Brand, and with his sons. I prefer the father-son conflict in this one to the one in *Big Jake*. They are very similar, it's just more concentrated, I guess, when there are only two sons, and one is really antagonistic (the older boy) and the little one just adores his Dad but he loves his brother, too so he's torn. funny how often Wayne is in the position of a father or father figure in almost all his post 60s westerns, right down to Ron Howard in The Shootist. Fonda did a couple like that, but he's not too warm and fuzzy in that department; Stewart was a father in *Shenandoah* but I can't think of any others. Joel and Randy, not really.

Good point, movieman, about Grimes ( ) in *Cahill, U.S. Marshall*. I think I like that one because of Duke's relationship with his friend, Neville Brand, and with his sons. I prefer the father-son conflict in this one to the one in *Big Jake*. They are very similar, it's just more concentrated, I guess, when there are only two sons, and one is really antagonistic (the older boy) and the little one just adores his Dad but he loves his brother, too so he's torn. funny how often Wayne is in the position of a father or father figure in almost all his post 60s westerns, right down to Ron Howard in The Shootist. Fonda did a couple like that, but he's not too warm and fuzzy in that department; Stewart was a father in *Shenandoah* but I can't think of any others. Joe and Randy, not really.

> After *Love in the Afternoon*, the romantic comedies go: > > > The Big Street (comedy/drama) > The Smiling Lieutenant (musical comedy) > Bell, Book and Candle > Love Me Tonight (musical comedy) > Mr. and Mrs. Smith (comedy) > The More the Merrier > Cluny Brown > I can't quite grasp *The Big Street* as a comedy, even though it clearly is for about 60% of the time, but the other 40% is so extremely serious it throws me off of thinking it a funny movie. No Indiscreet or Charade? Too bad. What about To Catch a Thief? > Her two little scenes were terrific. Lucy is such a good comedic actress. One of the best ever. > She makes such a great impression with little screen time. Did you like her in Lured? Love those caps. > *My favorite song in the bunch is "Let Yourself Go".* > > > I can believe it! > > > > > I like how Ginger sings it. Ella does a good version, too. It's such a catchy, happy tune. > That's a good point. But I think it was sort of a nightmare for Sue Sue (Ginger Rogers). > With a dream prince though. I really like *The Major and the Minor*, except the boys do get a little irritating after a bit. The Big and Little Maginot Lines tend to wear. I liked the showdown between Ginger and Rita Johnson. "I was a very straightforward child. I used to spit." I believe her! Diana Lynn is terrific. It's rather like her part in the Preston Sturges comedy, the one you and Jackie like so much...I forget the name.

SPOILING BIG JAKE > No? That also surprises me. > Like you, that part with the kids and their vehicles didn't do much for me, especially coming after the brutal opening. > It's definitely a father/sons/grandson film. I thought it was done well, too. I knew everything would work out in the end, so it was predictable with that. But I liked how everything was shown. > > I wish I had it to rewatch, but I remember liking the movie most once Wayne got to Boone and his grandson. > I was very worried about the film at the beginning. I did not like the entire cars and motorcyle kind of stuff. It wasn't until the film got past that that I really started to like it. > I agree ( :0 ) > > The two heroic deaths in the film were magnificent. They had an effect on me. > See, I have to watch it again because I have no idea who you mean. Drat, and of course it's not on YouTube. > I thought the film was a terrific meshing of Wayne's past films, such as *Rio Grande*, *The Searchers*, *She Wore a Yellow Ribbon*, *Rio Bravo*, *Donovan's Reef*, and *Hondo*. Lots of references to those films. > Several of his later films draw on his early ones, I've noticed. He had a template that worked and stuck with it for the most part. I don't dislike *Big Jake*, in fact I liked it better than I thought I would when I watched it for the first time a couple of years ago. It just didn't thrill me. However, I wasn't a Richard Boone fan yet, so I really can't say how I'd feel about it today. I hope to get it from Netflix by the end of the week, if the conversation isn't too old by then.

> I agree with you. And *Sidewalks of London* isn't really romantic. It's about the longing for romance and the pain of that. > And whether or not you can be happy just where you are in life, or do you need to reach higher. > I don't, either. That's why I called it just a comedy. *The Shop Around the Corner* would rank as my favorite romantic comedy, followed by *Love in the Afternoon*. Both are in my top 100. > What about Cluny Brown? > Yeah, I can see why. I liked Harriet. I liked how the two sisters went through their guy troubles together. > I liked Lucy's reactions to Harriet. > I like songs more than dances. *Top Hat* is dance heavy. *Follow the Fleet* isn't. And the one dance Fred & Ginger do together is on the funny side since each is messing with the other. > My favorite song in the bunch is "Let Yourself Go". > Well, when you put it that way! Girls always wish to be older than they are and women always wish to be younger than they are. Then you throw in dress-up and make believe, and this becomes a film girls can relate to more than boys. You women are deceptive! > I wish we could fool ourselves. > > It's "Alice in Wonderland." > Which always seemed more a nightmare than a dream to me. SPOILING BIG JAKE (We can discuss this in "Western Rambles" if you prefer) Now how did a 1970s John Wayne movie make your list? I've never been that big on *Big Jake* I'm afraid. For one thing, the opening violence really is harsh. It's a massacre. And I always wanted more involvement from Maureen's character. But it is nice seeing Wayne with his sons, making a movie that really is about father and sons. *The Cowboys* and *Cahill, U.S. Marshall* are also "father/sons" movies he did, but not with his own kids. I prefer them both to ****, though they do lack the most impressive villain, which is Boone. Edited by: MissGoddess on Oct 3, 2011 4:20 PM

> *His Girl Friday* (comedy) > *An Affair to Remember* (romance/drama) > *Mr. Lucky* (romance/drama/comedy/action) > *The Shop Around the Corner* (romantic comedy) > *Sidewalks of London* (drama/comedy) > I would say AAR and SoL were more dramas but they sure are all terrific movies. I don't find HGF very romantic, though that's certainly subjective. > I liked him, as usual. I'm very used to his style of acting and how he is with the ladies. It's funny seeing him as a jet-setting cad. It's kind of a call-back to his early days, back when he worked with Lubitsch. > Yes, it is. Wilder wanted Cary Grant but Cooper does give the nice tie-in to Lubitsch. > It all depends on if you think a young girl would find such a man handsome. I think some would. There's often more to a girl's attraction than a boy's. It's almost all physical with a boy. The "idea" of the man and his world is a turn-on for a girl. So, no, I don't think he was too old. > I never thought of it that way, that's a good point. > I prefer them being the main focus, but I did like Harriet Hilliard. And Lucy's two scenes were good. > I could have done without Harriet and Scott. > > The final number, "Let's Face the Music and Dance," is my favorite "Fred & Ginger," so far. I also thought the opening song, "We Saw the Sea," was very funny. And "Get Thee Behind Me, Satan," was terrific. "I'd Rather Lead a Band" is good, too. So I definitely liked the songs of *Follow the Fleet*. The songs in *Top Hat* are more classical and beautiful, but these songs spoke to me, more. > I never would have expected you to care for any of the tunes. I don't even remember "I'd Rather Lead a Band"! > That was part of it. The film is just too cute "female" for me. Major Kirby (Ray Milland) is vacant, so the strongest male character is a ghost. The film is definitely a dream world for girls, playing dress-up, make believe, and acting a different age. Ginger is fantastic, though. So are Diana Lynn and Rita Johnson. It's just this kind of story doesn't suit me. > I never thought of it a dream world for girls. Being stuck with hormonal young boys and having to dress like a kid because I'm too broke to pay fare...not my dream world. Now if it was West Point with the older cadets...

So of all the romantic comedies you've seen, where does *Love in the Afternoon* rank? What did you think of Coop? Do you think he was too old for the part, as many (including Wilder) said? *Follow the Fleet* was it fun at all for you? Did you like the rapport between Fred and Ginger? They were still being sometimes cast as the "comic relief" at this point, like in *Flying Down to Rio* and *Roberta* (which also stars Randolph Scott as, of all things, the owner of a fashion house...no, I don't recommend that one to you). Do you like them better this way or when they are the main focus, as in Top Hat? Did you rank *The Major and the Minor* so low because of the kids? Edited by: MissGoddess on Oct 3, 2011 10:47 AM

> > I don't think it's that. I believe it was that I was now familiar with his style after watching *Top Hat*, so he felt more comfortable. It could be the kind of setting and film, too. > Meaning you liked his character more? How he and Ginger play off of each other? > Little rabbits shouldn't be playing with snakes! They should know better! In film noir, you don't make it. That's the male fairy tale. > But her character dictates what kind of ending there will be. Any other kind would be like seeing her violated, and audiences would have none of that. It would be like a betrayal of why they went to the movie in the first place. > But... ! > > > I know, it's suggestive. > > Do it tomorrow! > If I can, it's not easy.

> {quote:title=FrankGrimes wrote:}{quote}LOVE SPOILED IN THE FREEZING AFTERNOON > > Since this was the second Fred & Ginger I watched, I was able to warm up to Fred and his style. > You can stand him now that he's a sailor,not in top hat and tail? > That's a wonderful point. I love the whole idea of Maurice being on the "other side" of the sexual dalliances. He's now the protective father of a curious daughter. > And he sees only the seedy side,the bitter disappointments, the breach of promise suites, the sordid photos, What she gleans is from the magazines that turn those evidences into glamorous escapades. So naturally, she wants to be a part of it all. > A life lesson! > But you don't use a tank to teach a lesson to a ittle rabbit in the meadow. > Even though the "first base" line was dropped, I took it that they did. Once the gypsies leave... > > I does look that way, though he sounds convincingly frustrated about her, everything about her. She's trying to draw him in the one trap he can't resist. He likes to be in control especially of the girl but she constantly eludes him. > She left town! > They'll alwys have Paris, especially the Hotel de Paris where they met. and Henri can keep and eye on him there. > *Billy with Audrey is much more in a fairytale world. He's not like that anywhere else with his films.* > > This is definitely a fairtytale kind of film; Little Red Riding Hood. > > > *That's quite an admission. I do think she's pitch-perfect and the camera worships her. I love how she is with Maurice. It's a very believable father and daughter pairing.* > > They are wonderful together. I just love hearing Maurice talk. > The look on his face is sad and ashamed, ashamed of himself mostly, for dragging her into this world. If I had time I would post screecapsl

> I mostly liked the top four while the bottom four leaned more to disappointment. But I didn't hate any of them. Not at all. > That's pretty much what I figured, though you're kind of saying you liked Follow the Fleet??? Is this FrankGrimes? The noiristas are going to start hammering on your door for your Film Noir Card. SPOILERS in the Afternoon: > It's a sensational romantic comedy. One of the best I have seen. My having seen the Lubitsch/Chevalier films earlier this year really helped me appreciate the film, all the more. It's very much in line with Lubitsch. You have the sexual male and the sweet girl colliding. There's a sweet seriousness to it. > Definitely, and Maurice's narration underscores the connection to Lubitsch and the conflict. After all, he makes his living on what he's trying to protect Ariane from. > I wasn't sure how it would end. I was kind of hoping he'd leave her... of course. > That's horrid! She's too young and innocent to get wrecked at the end, it would be brutal. Though I wouldn't be surprised if Wilder wanted it that way to begin with. He and screenwriter I.A.L. Diamond fought over the relationship between Ariane and Coop. I read that Wilder wanted the two to go all the way, but Diamond disagreed. > Can her father breathe a sigh of relief? I'm not so sure! I know that's how we're to take it, though. > I thought the same, ha. But he knows all the tricks and he'll have his eye on his son-in-law. > > I haven't seen nearly enough Wilder films to really know his themes. But this film is definitely a "Lubitsch" film. > Billy with Audrey is much more in a fairytale world. He's not like that anywhere else with his films. > This is definitely my favorite Audrey character and performance. She's absolutely adorable. > That's quite an admission. I do think she's pitch-perfect and the camera worships her. I love how she is with Maurice. It's a very believable father and daughter pairing. The way he finds out who Coop has been seeing is both funny and heartbreaking. "It's as if someone had broken into my files!"

Well you still manage to pull a few surprises; I'll never be able to predict your rankings. Unless #3 on down are in order of how much you hate them, I'm amazed. I'm guessing though that the majority of them were not pleasant experiences for you. So why is *Love in the Afternoon* the first? I used to watch that movie endlessly, over and over and over. I think I have every line memorized. "He has such an American face." It's the final scene that gets me teary-eyed every time. SPOILERS in the Afternoon *Love in the Afternoon* is the movie that most makes me doubt how far Wilder's cynicsm really goes. There's so much affection for Lubitsch and adoration for Audrey that makes me suspect he was at heart a romantic. Of course, Audrey is the innocent playing a cynic and everyone around her is cynical in the movie. Will she win the game she's playing? Finally, of course, true love wins, the love she had at the start, very starry-eyed, and her father can breathe a sigh of relief. Edited by: MissGoddess on Oct 2, 2011 10:33 PM

> {quote:title=CineMaven wrote:}{quote}Oui, Madamoiselle. :-) Last night I watched a bonus video essay on my DVD of *Letter From an Unknown Woman* that included a really fascinating comparison of Danielle Darrieux's character, Joan's in LFAUW and Joan Bennett's in *The Reckless Moment*. It had me mesmerized. So of course, I really, really have to see *Earrings...* more than ever.

CinemAva, I guess I need to bump *Madame de...* up in my queue.

> {quote:title=Bronxgirl48 wrote:}{quote} > I instantly fell in love with this movie, and you all know I'm not crazy about Depression-era comedies in general, but this is Preston Sturges, so I forgive a character almost obligatorily calling J.B. Ball (Arnold) "You capitalist!" as an epithet. I love Edward Arnold so I need to watch it soon. I don't know how I missed it all these years.

> {quote:title=JackFavell wrote:}{quote}Yes, that's the beginning of the end for me, sympathy wise, when he sends out Stevie, with hardly a thought, because he is afraid.... afraid to be what he is, a simple shopkeeper, afraid of his bosses, afraid not to do it, afraid to stand up and be a man. > It's pretty amazing when you think about it: he's blowing up bombs in London. Not Peoria. Usually people who do such things are trying to gain some kind of fame or immortality, but he apparently just wants the money. Or does he? Good grief there aught to be easier ways. And how did the shopkeeper get started making exploding cigars in the back room? He seemed to be doing alright with the canaries. I laughed when his granddaughter smacked him on the wrist for being "bad". Hitch is too much. > I never realized what you wrote - that he says he doesn't want anything to call attention, but everything he does calls attention.... is this his psyche wanting to be caught, or simply an accident of fate? Good question. I was thinking he wanted money, to be rich maybe, which catapults you into prominence and "respect" in the eyes of others, but it could be you're on to something more with way he chose to earn money. A dangerous way that threatens to put him on the front page, but nastily. Yet he was pretty cool about it all. Hitch casting Homolka sends mixed signals, too, because he's so obviously not English (while the hero, Loder, is terribly, terribly English). Maybe your idea about what Hitch might have been hinting at with the coming tide of political aggression is correct.

Doesn't it just set a different, more interesting tone when you have an older movie on in the background? I'm glad your bartender had it in her to show one. I did re-visit *Sabotage* and you are right about how it's all there, the familiar hallmarks of all the Hitchcock films to come. Even watching the detective watching Homolka leap onto the back of a bus reminded me of *Vertigo* (Scottie watching Madeleine). The incident with the boy still shakes one. I can't say I felt any sympathy for Oskar, he seemed consumed with greed. That hesitation to do anything that involves shedding life was so minute and quickly overcome, just as he did not really hesitate to send a boy out on a sick man's job. He's an extraordinary actor, because he is as you brought out, an ordinary man, a real one, one you see every day even as the pet shop owner. Rather dreary, their lives, yet not despairing. I mean they are not on the street, or even sweeping it, they own businesses. They may be struggling, but they're better off than many, and Oskar has a beautiful young wife, a home, as well. But he wants probably to be more significant. He says he doesn't want anything to call attention to them, when Sylvia questions why he gave the patrons their money back on the eve of the blackout. But money buys prestige, buys "look at me" possessions, clothes and status so everything he's doing is in fact to call direct attention to himself. Never mind the cost. Would love to see a good, clear print of this movie, my DVD is rather murky.

I haven't seen *Easy Living*, it's one of those classics that keeps slipping through my fingers. I know I'll love it. I have seen one scene, though, all I remember is a mink coat, Jean and Arnold in a taxi, and a misunderstanding, if I'm correct.

> {quote:title=FrankGrimes wrote:}{quote}Good evening, Manhattan Blizzard -- It's chilly out! What have you done?! > It's not me, I hate this weather! It looks like the middle of November outside. > How do you (or anyone else who cares to guess; Jackie, Movieman) think I liked the last films that I have watched?: > I'm with Jackie, you hated them all, except *Mississippi Mermaid*. I know Deneuve is your kind of girl. 3. Big Jake 8. Follow the Fleet 6. Kiss the Blood Off My Hands 2. Love in the Afternoon 7. The Major and the Minor 1. Mississippi Mermaid 4. The Tall Men 5. Woman of the Year

I'm going to try to watch *Sabotage* today, I've missed most of this great conversation. They aired a few Sylvia Sydney movies the other day, and it's true, she really is the poster girl for the Depression. I saw one movie that seemed a duplicate of *Dead End*, but then so many of her movies were.

*The Journey* (1959) is on today at 3:30 pm (EST), one of my favorites. Litvak is the director, Brynner and Kerr the leads. I love Yul's character; conflicted, tough, obsolete.

Oh my goodness! You have such self-restraint, I would have never shut-up about such a gaff. And isn't that show about getting the correct facts together? I look for the girl/woman with glasses in Hitch, too. "Midge" (Barbara BelGeddes) in *Vertigo* is another one.

Was it here you had posted a series of stars with their doggies? I found this cute one with Jane Russell and just had to share it:

I've never seen that one, what a great picture.

Yes! Ann Newton is definitely "Patricia". I think you really see Hitch's heart on his sleeve where his little girl is concerned.