MissGoddess
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Posts posted by MissGoddess
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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.
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> {quote:title=FrankGrimes wrote:}{quote}Good evening, Manhattan Blizzard -- It's chilly out! What have you done?!
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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?:
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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
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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.
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*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.
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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.
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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:
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I've never seen that one, what a great picture.
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Yes! Ann Newton is definitely "Patricia". I think you really see Hitch's heart on his sleeve where his little girl is concerned.
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SoaT is very well made, very tight and smoothe. What i like about it most is Patricia; her role really shines and she has such a personality of her own. She reminds me a little of Diana Lynn in The Major and the Minor. Precocious without being obnoxious. And she and the cops are the only really normal people. What makes the sisters seem so different to me isn't just their looks, but how one, Ruth Roman, projects an air of privilege and being sheltered, while Pat seems so grounded and disinterested in position or privilege. If it weren't for her character, this movie would suffer a real chill and feel more artificial.
I liked Marion Lorne's mother character; that painting cracks me up. Hitch is always making fun of modern, expressionistic art one way or another. I can't make up my mind if he admired it or was amused by it or both.
P.S. I like the tennis match scene where Hitch holds the camera on all the spectators' heads follow the ball from one side to the other...except Bruno.
Edited by: MissGoddess on Sep 29, 2011 8:27 PM
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> {quote:title=CineMaven wrote:}{quote}HA! :8} Who doesn't want to marry a psychiatrist
Me!
> A man who absolutely understand them. He'll stroke your ego, prop you up and make you feel great about yourself.
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Or put you on Prozac while he enjoys transferrance with his pretty female patients!
Signed, Dr. Judd.
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I've never seen TARGETS but I've heard it's scary. There's also one by Fred Zinneman I think, one of his last movies I think...I can never remember the title. About taking down DeGaul. OH! *The Day of the Jackal* I think it's called. I also forgot *The Manchurian Candidate.*
*Man Hunt* is good too.
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I've just noted that several rarely shown one-reelers Willie did in his travels are being shown late tonight and into early morning:
3:15 a.m.* Will Rogers Winging Around Europe* (1927)
http://www.tcm.com/tcmdb/title/856469/Will-Rogers-Winging-Around-Europe/
5:00 a.m. *Will Rogers Exploring England* (1927)
http://www.tcm.com/tcmdb/title/856466/Will-Rogers-Exploring-England/
7:00 a.m. *Will Rogers Roaming the Emeral Isle* (1927)
http://www.tcm.com/tcmdb/title/856468/Will-Rogers-Roaming-the-Emerald-Isle/
8:45 a.m. *Will Rogers in Dublin* (1927)
http://www.tcm.com/tcmdb/title/856467/Will-Rogers-in-Dublin/
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^So....The Tall Target, This Gun for Hire, The Sniper, The Killer is Loose, Murder by Contract, then Point Blank ^and Hard Contract and The Godfather movies and finally,^ Dirty Harry.^
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> I did have a time watching 1961's "Back Street" a few years ago when during one scene the music was very familiar but couldn't quite place it. I missed five or ten minutes driving myself crazy before it came to me that it was from a Brahm's symphony.
I'm sorry to interrupt but I wanted to thank you for clearing that up because it was driving me crazy, too. I know so little about music that I assumed I was hearing a theme copped from another movie.
And I'm sure it has been used in other movies because where else would I have heard it, ha.Lots of great discussions I'm missing out on, as I just can't find any time right now, and when I had time a little while ago, nothing was being discussed! My timing leaves a lot to be desired. Next one.
Now back to *The Sniper* and *Murder by Contract*.
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They all look alike to me, carrying their Starbucks coffee
the "hip" three day beard, peace-sign to the camera along with the Type A personality overbite....blech.
I can't stop laughing! I'm going to get fired I know it...
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Ro...remember:
Burt-o-phobia IS curable.
:D Jackie---spot on about both movies. I love your description of Henreid and his house.
Raines: "The only thing he loves more than his house is the idea of beating Mike Davis to death." Yikes! He's right! The man becomes almost hypnotized when talks about his house..."There's not another like it for thousands of miles"....it was so creepy because...of how he got many of those costly possessions. I'm telling you, he made Major Strasser seem like a mere boulevardier. I was so glad when Burt did what he did to Sevres 1768, etc.
I wouldn't say Burt was more rugged than Bogie, either, just more atheletic. Did you see the way he twisted out from under Henreid's lock in that struggle? Wow! Only a former acrobat could do a move like that. I just LOVE watching Burt in action sequences. Like John Frankenheimer said, just watching him walk across a room was a thing of beauty.
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Movieman, I think I have Whirlpool on DVD-R...you guys make me want to see it again because I really don't remember the plot too well.
Bronxie...I think I caught parts of BEHIND THE MASK...is the Jekyll-Hyde character played by a certain Irish actor who worked with Pappy a few times?
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> So Holt only made one film for Pappy, THEY WERE EXPENDABLE? Could he also have had a few uncredited roles in some Ford silents?
I believe they both started out in Hollywood close to the same time, with Jack's career as an actor taking off around the same time Ford's as director started. I saw from Holt's filmography that he did appear in Francis Ford's *The Broken Coin*, in which John also has a small part so technically they did work together in 1915 and then thirty years later. Of course, Ford hired Jack's son Tim a year later for 1946's *My Darling Clementine*.
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> {quote:title=JackFavell wrote:}{quote}Was it *Whirlpool*?
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> I saw the end of that one and he was just wonderful, in fact the whole movie was really top notch... but since I came in on it late in the story, I thought she was having an affair with Jack, instead he turned out to be her father. It was excellent, I have to go back and watch the beginning now to see how he got to that dramatic ending.
Yes that's it! I remember now that I confused the movie when I saw it in the schedule, thinking it was the Gene Tierney, Otto Preminger flick by the same name.
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I finished *Rope of Sand*, boy you guys were right it really is a re-work of Casablanca, right down to the final walk-off (which I found to be a hilariously beautiful friendship).
I must say I am impressed with Paul Henried like never before. I never, ever woudl have believed he could play a *thug*, of all things. He always seemed too refined, to elegant to be a, a, well what does Burt call him all through the movie: a pig! Oink!
It's a "popcorn" movie I think rohanaka would enjoy, and I think most classic movie fans would really get some fun out of all the "Casablancaesque" moments and characters. Burt makes one atheletic "Rick" and Claude Raines is beauitfully playing both ends for the middle, while Corinne Calvet makes you visualize what it would have been like had Rick walked off with Yvonne instead of Louis.
Great fight scene, too, with Burt shockingly kicked where it HURTS, something I never thought to see in one of my beloved classy-ics!
I will add that Dieterle's subtle, mystical sensitivities are decidedly in abeyance, but does he ever set up the camera in dozens of shots that were worthy of *Casablanca* itself, making me think he just decided to put on his Mike Curtiz hat all the way down to the cinematography (the dunes sequences were nicely done).
It's on DVD, but I am not aware of any YouTube video...yet. Give it time, since it's fairly new to DVD and I'm sure will eventually get uploaded.
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If you want a great Colleen Moore silent, watch LILAC TIME with an achingly young and sweet Gary Cooper, it's one of his best silents (that I've seen)
I thought Dorothy Burgess MUST have been in other horror movies, she seems so delightfully at home with the macabre...
Jackie, I agree it was Lewtonesque and that the racist aspects are some of the most disagreeable ever shown...you ended up sympathizing with the natives all the way.
Duchess, I've read Jack Holt and Jack Ford go waaay back together, though I think his only appearance in one of the old man's movies is as the General who initially rejects the PT squad in They Were Expendable. Such a real rugged, western type, but just like Harry Carey, Sr. a New Yawker born and bred....he's excellent in a movie with Jean Arthur, I wish I could remember the title...one of her earliest talkies...I'll try to look it up later.
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The ending is very ambivalent, isn't it? I liked that for once, because really, the deck is stacked against these two...unless they do like Burt suggested, run off to France! Oui Oui!
I have to run out but couldn't resist starting *Rope of Sand*...oh, la la! I already love it...Paul Henried makes a better martinet/crazed "Nazi" type than Conrad...He's almost like Liberty Valance in his driven, unhinged lust to be sadistic and the rabid look on his face when Burt Lancaster's character is even mentioned...oh, and Claude Raines...you KNEW without being shown who put in the "black ball"...I liked the African guy who got the worst of it from Henreid..."I don't speak English, except sometimes..." poor man. And Corinne! She's sensational so far. Claude: "You said a hundred pounds? How woud you like 500?" Corinne: "I know my stock in trade. I'm not worth that much." Ha ha!! Too bad I have to leave soon, will finish watching later.
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Hi Lady B,
I definitely think it only works if it's Burt Lancaster creeping into your bedroom in the middle of the night and telling you he's "staying a while so I better get used to the idea.".
"Okay!!!"
I really enjoyed this movie. I have always had a thing for "opposites attract" love stories so this was right up my alley to start. Then seeing Burt in such an alien environment for him...England, was interesting. And that England, London that is, is depicted as a menacing, dank, even threatening place (the dungeon where he's punished, the streets where he's chased and where Joan flees) instead of a bastion of civility, is even more intriguing. I like that the movie tries to emphasize that the world men returning from war come back to often holds no place for them, and is just as violent as the one they left...only now what they were programmed to do is "illegal". I realize the movie isn't perfect, but it really had me from the start to finish, and I thought it one of the most unusual of Burt's "noir" period.
I like your description of Joan's character as "wren-like". That is SO perfect!
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Hi, Lady B:
I have to admit that THE POWER AND THE GLORY bored me, though I was rather fascinated at how it bore a slight resemblance to the later CITIZEN KANE, even with disjointed flashbacks and a colleague/friend who idolized the lead character. Colleen Moore was a very believable wife who alternately was sweet, supportive and pushing. I admired how she went out and walked the tracks, whatever that was. It sounded like tough work in the snowy months! Spence, of course, was great.
I like Wanda Hendrix' outfits in THE GOLDEN MASK and all these marvelous Tunisian locations. Wanda will always be the strange, piquant little Kewpie-doll in *Ride the Pink Horse* to me. It's where I first saw her.
P.S. *Black Moon* is super creepy! I love Jack Holt, too.
Edited by: MissGoddess on Sep 24, 2011 1:11 AM
The World of Alfred Hitchcock
in Films and Filmmakers
Posted
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.