MissGoddess

Hi movieman! I have rohanaka to thank for lifting this movie up in my estimation. I saw it years ago and only recall disappointment from it. This second viewing was much more interesting and I got to know the characters better. I thought Hitch was digging a little deeper than he usually does. That's not to say he doesn't present us with three dimensional characters, and he certainly was interested in psychology, but I often feel he singled out certain psychological "types" or scenarios that were thrilling and bizarre. This story is more conventional in those terms. The conflicts are really not about crime and murder, or sexual jealousy or stuff like that. Which makes it unique. I'm always fascinated by directors wandering into areas the public doesn't expect and may be disappointed by. Like seeing John Wayne in a leisure suit. Sometimes that's fun! Okay, bad example. But you know what I mean. I miss Molo! I'd love to hear his take on this movie, too. Something tells me he's with you and Grimes. Though, I can picture Gloria taking on a role like Ingrid's.

> {quote:title=JackFavell wrote:}{quote}we'll all need a great big Burt to cuddle up with. And NOW. It's bleedin' cold outside!!!!!!!!! Brrrrrrrrrrrrrrrrrrrrrrt!!!

I'll send you postcards, Mai-Tai's, whatever you like only they'll have to be make-believe for now, like my trip. bundle up! It's supposed to get into the *40s* tonight, and I don't mean the Burt Lancaster-I-Walk-Alone '40s.

> {quote:title=FrankGrimes wrote:}{quote}*Even worse off than Jerry!* > > Oh, I don't know. Is it better to have loved and lost or not loved at all? > Let's ask Tennyson: I hold it true, whate'er befall; I feel it when I sorrow most; 'Tis better to have loved and lost Than never to have loved at all. > No! That would be horrible! Talk about being a piece of meat! > You're a lazy ham already so this is perfect, you won't have to do any real work ever again. > They are definitely survivors. I just don't find Scarlett anywhere close to Suzie when it comes sweet and endearing. > > > *And would hate each other on site. * > > > Definitely! You're a Scarlett and Suzie! > > Scarlett is sweetly endearing when she's crying. > Now how could a Hawaiian beach ever compare to NYC? > To quote another poet, How do I love the beach, Let me count the ways...

> I don't have a wife and I'm not on the rebound! > Even worse off than Jerry! > Yes, there's a lot of "Jerry" with me. I'm one who can't pick up the phone. > Pass a bar exam and you won't have to pick up a phone, your coffee or even your laundry for the rest of your life. > That's true. I always see Scarlett as being so very selfish and self-absorbed. But I know Suzie can be this way, too. > She's what Scarlett was before the war. And both are survivors. And would hate each other on site. > > That sounds good to me. Are you going to start to watch the show? > I tink I will once the weather takes a turn into THE GREAT EVIL (BELOW 65 DEGREES) and I officially descend into my ritual void of seasonal depression. Seeing some shows set in Hawaii may be just the antidote to TGE. And thinking how I can move there.

> I loved the beginning of the film. I loved how pathetic Jerry was. He was so frightened and lonely. > He was you! > *A Scarlett O'Hara with a little more heart. * > > You think so? What are their similarities? > She has that same flirty, childlike vanity as well as a practical streak. > *I recently rented the pilot to "Hawaii Five-O" because I saw it featured Nancy.* > > > That's awesome! She's really cute. Did you like the pilot? > I did! It was wild because it's nothing really like the way the show develops. It was literally a James Bond/007 movie, including an actor who played a Bond villain, I beleieve. The same guy who played the lead Communist in *The Manchurian Candidate*. I like him, he's always in a good mood even when he's being evil.

I can tell by the tone of your replies you didn't like the movie any better this time. > It was a very bold journey for Hitch, no doubt about it. > Slam one: Damned with faint praise. > > It really is a strange little love story. Sacrifice... gone awry. > Slam two: be"little"ing > > What I took out of this recent viewing of the film was the shame, guilt, and insecurities of Sam (Joseph Cotten) and Hattie (Ingrid Bergman). Sam cannot get past the point of his being a "stable boy." He feels he is unworthy of Hattie. The presence of Charles (Michael Wilding) only heightens this great insecurity of his. Hattie is carrying the guilt of Sam's sacrifice. She's been torturing herself over it and sorely wants to please him, to make up for all the time they lost. It's just he won't allow her to do so because of his feeling unworthy. He's put up a wall. > I like all your points about Sam. I'm remember that he was very defensive from the start when he meets Adare in the bank, is it? He offers him the land scheme but he seems to have a chip on his shoulder the entire time. > > I felt the story was mostly about Sam more than anyone else. Charles (Michael Wilding) was actually saving Sam more so than Hattie, but he does so for Hattie. More sacrifice. > I bet if I watched it again I would view it more that way, too. This time I saw mostly Charles, Millie and Hattie. > > It is quite vague as to what sent her spiraling into depression. My guess is her guilt. That horrible little hut down by the docks with the sweating walls was her own prison cell. > Possibly. And her own guilt and fears probably magnified all the bad things, especially since she was alone, without even a servant, she who had probably never even dressed herself in her entire life. > She mentions how Sam tried to make up for it when he was released but she says it was "no good." > I wonder why it was "no good". > > Hey, I like that! I agree. > Slam three: agreeing with me.

> I've yet to see Kate's middle career (with Spence). I She's a mix in those, always very smart and capable and occasionally vulnerable (Sea of Grass in particular---good story, but something fails in the execution). As Jackie mentions, *Summertime* is the ultimate example and it's her best performance I believe. I first knew of her from *Holiday*, which fit Kate's real-life persona of being free-spirited. It's funny, though she was not bound by most conventions, I still always think of her as being a strict, disciplined New England Yankee type. Just as hyde-bound to her own notions as anyone else. Extremely stubborn, HUGE ego, but smart and funny. I can't dislike her as I frequently do so many others with her qualities. > How is she in *Little Women* ? > Tom boy. > *She could have maybe played Charlotte in Home Before Dark come to think of it.* > > > Yes, I suppose the "young girl" Kate would have been able to pull that off. > No, middle aged Kate. She was too theatrical in youth for that part. > *At the Quality Street point she's the young woman defining herself, later on she'd play lots of misfit spinsters.* > > > I've only seen her in *Suddenly, Last Summer* with the latter. > She's not very vulnerable in that one. > You just like the outfits! I like how short they are! You also love the atmosphere, I believe. So do I, actually. > I'm surprised you picked up on it. > I love the psychology of the entire film. I love the insecurities and how they prevent each from moving forward... together. They would be better off together. > We don't meet the wife so it's easy to prefer him with the girl. I get the feeling she ends up with another one of her loser types. > And you're a kook, too! I didn't know they were an item. I wouldn't wish to be with Shirley. She's really messy. > I'll say! He almost left his wife for her, but didn't, which I think is good. He's one of the few to leave Hollywood with the same wife he started with. > You better believe it! I'm definitely a "****," minus the business-minded approach to life. > Like you, I enjoy it for the byplay between him and the girl, and it's always a pleasure to see him with Spence. > He's the big bad wolf that women love to fall for. Y'all work your magic on him, though. > I love it when he says that line in *It Happened One Night*..."Who's afraid of the big bad wolf, the big bad wolf..." Hilarious. > > Do you wish to talk about it in "Western Rambles"? I actually need a refresher with the film. It's kind of slipped my mind. > *DARK COMMAND spoiler* Sure, if you like. I feel like it's a movie that could have really been something terrific in the hands of a stronger director. Too many standard shots of "Cantrell" leading his raiding parties...and Walter's no action guy so those should have been avoided, frankly, and instead they could have used more verbal fencing scenes between him and Duke. Interesting that he and Duke never actually get to the confrontation the whole movie is apparently leading up to. That does make it less predictable. > I liked some of his quips. His overly made-up look bothered me. I get the masculine disconnect whenever I see that. He's a brilliant dancer. I was amazed by his foot speed. Overall, I think he's all right. It's just he's not really my kind of guy and his world isn't my kind of world. It's more of a "female world," to me. I prefer Maurice Chevalier's musical world. That is more masculine, to me. > *Follow the Fleet* is definitely more you, then. It isn't all nightclubs, at least not glitzy ones. Oh, and look out for the first song sung by Ginger, it's one of my favorites ("Let Yourself Go").

> {quote:title=JackFavell wrote:}{quote}and How to Marry A Millionaire.... he is so elegant and lovely in that one. I can't believe Lauren chooses Cameron Mitchell over Bill.

Hi Jackie---I can believe she was a mix of both confidence and insecurities. She had a loud "bark" but I can see that quivering chin never far off, as you well described. If it weren't for her ability to convey vulnerability, I don't think she'd be nearly so interesting as an actress.

!That's brilliant Lady B! I forgot any Hitch/Lewton connexx...I'm sure they absorbed (stole) a lot! ;-) frome each other.

Sammy was also pretty naughty in *Destry Rides Again*.

Good eve-ening, Ro, > Sorry to be so late getting back to the conversation. My week got away from me the last several days and I am only just now getting a free moment to hop back on here. > I hope you didn't tire yourself out. Take it easy. > Ha.. most of my "familiarity" with Dickens is actually with the MOVIES (either motion picture or PBS films) that have been made from his stories. Fact is I have only likely read two or three.. hmm.. Great Expectaions and.. Eek.. I may have only actually read ONE.. ha. I am getting too old to keep track) ANYWAY.. his books just make TERRIFC movies.. there is always a hint of mystery.. a taste of suspense.. but also deep, thought-provoking insight into human nature... the best and worst of it. (Oh wait.. AHA!! A Tale of Two Cities. yes. .ok.. it IS at least two that I have read.. ha) > You're ahead of me! I think I've only read two, and that was back in high school, "A Christmas Carol" and "Great Expectations". The one I might have liked is "A Tale of Two Cities", because I adore Ronald Colman as Sydney. What a truly great character. In some ways, Sam is like him. He loves a girl he thinks of as above him. > There are all sorts of interesting characters (major ones and minor ones) that weave together in and out of each other's lives and each one seems to have some sort of impact on the other. And there always seems to be some sort of hidden past that needs to be resolved for at at least one of the major characters. And I do like the twists of fate and the "strange course of justice" (as you say) that run through a lot of his stories. Sooner or later in almost any Dickens tale (at least the ones I have seen and/or read) those who have been wronged often get vindicated.. and those who NEED to will usually end up getting their "come-uppance"... somehow. I just like the way he works those sorts of things out. > I do like that and I always admired the complexity of Dickens. His stories, characters and plots were very deep from what little I was exposed to. It's funny I never really familiarized myself with him when I was for years such an avid reader of 19th Century British classics. I read virtually everything Thackery, Austen, Trollope, the Brontes, Fanny Burney and several others wrote...but not Dickens. I had this impression of prisons and poor houses with him and I think I wanted romance and satirical comedies of manners. > So.. getting back to.. ummmm.. what were we talking about?? ha.. OH yeah.. Under Capricorn.. I just sort of felt a hint of his sort of storytelling in the way this story unfolded as well. > I can see that, too. > Ha.. he did like to get a lot of mileage out of the "shock value" in certain things.. ha. But I also like how he is known for so many creative filming techniques. (like the shot he did of Hattie looking at her reflection in the glass of the French doors) that just shouted "Hitchcock" to me. Way cool. > It was a wonderful shot, and I my favorite along with the scene in the bedroom when she watches Millie pour the sleeping draught into her drink (so many people poisining drinks in his movies and tv show!).

Place a pillow on the kitchen chair...and some brownies on a plate next to the computer.

> {quote:title=rohanaka wrote:}{quote}Kiss the Blood Off My Hands > > Ugh.. just the title is creeping me out. ha. I need to check into it though from the way you are making it sound. > > (sorry to post over you though. little missy.. we must have been typing at the same time) Hi There, Mrs Quantrill! Oh, I think you would like this movie, Ro. I admit I pre-judged it by the title, too! That's one of the reasons I didn't run to watch it. I figured Burt was playing a "lug" and that it was going to be some lurid gangster meller. I don't think I realized Joan Fontaine was the leading lady or that it was set in London. It's really good, I do recommend you give it a look.

> > I'm afraid it's a coming. > Don't say that!! > "Livvy" is Phoebe's (Kate) younger alter-ego. It's the girl she believes her love really wishes to be with. > You make it sound interesting. I'll have to watch next time it's on. > Especially that one. While Mellie isn't actively seeking a meaningul love, she comes to find out she's missing that. Her husband really doesn't care about her. She's just someone he returns home to. Dobbs (Charles Bronson) spends all his time with her. He's taken the time to get to know her. He has ulterior motives, but those motives still provide her with more love and attention than her husband provides her with. > Well, you even found more depth in it than I have after all the times I've seen it. That's not fair! And I can see the truth of it. Their little game of cat and mouse meant more that it seems. > > No, not really. I thought the film does a good job of keeping you in the dark with who Dobbs really is and what he's really up to. > I think so. He is an enigma. > > That little moment gives the film heart. That and the bullet. Funny how that can equate "heart." > Objects mean a lot in the movie. The walnuts, the bags, the button on her dress, the bullet. All nice touches. > She was really interesting. The flashbacks to Mellie's youth were surprising. Some "*Marnie*," there. > Oh, yes, very Marnie. And Dobbs figuring her out was rather like Mark trying to figure out Marnie. I wouldn't be surprised if the director was influenced by Hitch. The thing with the bags makes me think of Hitch, for some reason. A sort of "MacGuffin".

> That's why we have some of the flooding. The ground is completely saturated. It was struggling to soak in. > Let's hope no more hurricanes. I just pray we don't get another early, long winter. I'll just die. > > It's all about female insecurity. When faced with seeing her love (Franchot Tone) for the first time in ten years, Phoebe (Katharine Hepburn) says, "I've lost all my looks." Her love doesn't immediately recognize her when he first sees her, and this increases her insecurity. He also tells her that she looks "tired." She believes her love doesn't want her because she's showing her age. That he wants a young, thoughtless girl. Sound familiar, Livvy? > Very modern, in fact. Who is Livvy?? > > And I never picked up on any of that! Have you read "Now, Voyager"? > Yes, a long time ago. From what I remember, the Davis movie was very faithful to the book. > I love how he makes most every film better. He's such a serious actor, even though his entire career was basically "Bs." > He is one of the greats that is hidden in plain sight. The Cabman is a wonderful achievement. > I especially liked her in *Trade Winds*. The only screwy part was her marrying Blodgett (Ralph Bellamy). > Or anyone marrying Blodgett. His character annoyed me. > Very much so. And the search for a meaningful love is at the heart of all three. > Even *Rider on the Rain*? > Bronson "Americanizes" it. That really helped. > He's American, alright. Did you see the twist coming, in who his character was? > > I thought he was rather funny, too. He seems surreal with his total understanding of Mellie (Marlene Jobert). He's really tough on her but with a hidden heart. > Surreal is a good choice of words. He's so out of place yet he's completely at ease and in control. And yet that final moment with the walnuts...that was a nice touch. > You're such a girl! > And Mellie's outfits! Love all the white. The mother was interesting, so sour yet like Dobbs (Bronson), she had a hidden heart. Now as for the husband, I don't think he had anything but a stupid vanity and ego. I couldn't stand him. I think she and him end up divorced 20 minutes after the film story ends.

> > We're gonna get some light rain the next two days, but that shouldn't do any damage. It's going to end up being the wettest year in our area's history. We had about 15 inches of rain in August and we've already received 15 inches of rain this month. > Amazing. 30 inches. > QUALITY STREET SPOILED > > > I wasn't sure if he was onto her from the start or not. But he was. He tells her how she would be hurting "the right man" with her "false face." Very similar to *Alice Adams*. He's telling her he loves her just as she is and that he remembers how she was and that's still her with him. > So he just goes along with her little game? Why did she think she needed to act differently then? > I never caught the *Now, Voyager* correlation. That's really good! > The music is what tipped me off, first. Then of course, her coming out of a sanitorium, her name, the female domination, the stuffy New England setting. It's an interesting reworking of *Now, Voyager* and a good example of how to do a "remake". I'd like to read the book (Home Before Dark) to see if it, too, was a rip-off of Prouty's novel. > I wanted some meat and potatoes. Hinds is good, but he's mostly "one note." Karloff was really good playing the much older man. He was far and away above the material. He's such a great actor. > I didn't mind that it was on the lighter side. I agree about Boris, he was really a fine actor whose career took a different turn. He could have done the classics, exclusively. > I found the love story to be very intrusive and very silly. Pandering. I didn't like "The Kid" (Alan Baxter). > They were kind of annoying. > She looked great! I'm a fan of Fredric March and I also loved Ann Sothern in the pic. > I thought March was well cast as the smug type and I love Ann Sothern in just about everything. Great gal. > > It wasn't, but the top three were completely "me." VERY psychological. > They are complex human stories, I'll say that. I'm surprised you went for *Rider on the Rain*. It's so 60s-European. I just love Bronson's character, and I never really cared for his movies. This one is the exception. He's very enigmatic, and quite funny, too. Most of all I love the "mood" of the film, the juxtaposition of filming normally glittering southern France in the dreary early spring, and the music. I have the soundtrack on CD.

Wow, I never even heard of *Business and Pleasure*. Talk about a strange pairing! But I'd love to see it. I had to start watching something else partway through *The Jazz Singer*. It didn't hold my interest, in spite of Peggy, who looked creamy (and Curtiz always makes a visually compelling film). I've seen *Big City* before and once was enough.

I'm so glad you liked Night Key after all. I was really enjoying the supporting cast and Samuel S. Hinds, well, CinemAva ought to see her boy in this!

The nineteen sixties come loaded with a specific "tone" or style that builds up a kind of somber mood not found in other eras/decades. Something about the stylized way men and women dress by then, together with the modernistic furnishings/settings and architecture represent a kind of mood/world that I often feel I need to revisit. I have a dozen or so films that I place in this category, and they range from light and comfortable all the way to the darkest like *Blast of Silence* or *Bunny Lake Is Missing*. Most of the movies are somber, in fact. They often have kind of "artsy" music motifs and instruments, the bad ones have pop music, the mainstream ones have Mancini or Bernstein or Alex North...or Duke Ellington. Home life is absent. there are no warm family homes or settings and therefore no warm family scenes. Just single people, many with no pasts, with mystery around them. There's often too much irony and cynicism and tons of self-investigation. It's the narcissistic age in infancy I suppose. Anyway, sometimes I need to be in that world where there may be a character or two like me, still desperately hanging on to the old values, but reacting to travels through the new one. *Something Wild* is one I might put in with *Blast of Silence* and *Murder by Contract*, except it's more female centered.

This movie became more interesting just by my paying attention more to its style and tone than to the character played by Edwards. I wasn't sure how it would end, and the ending both satisfied and let me down a bit. I guess it's one of those movies that brings us along for a ride with someone you'd ordinarily never want to get close to. It would make an interesting pairing to watch with *Blast of Silence*. I don't see anything Grimes wrote, either, and he apparently loved it. Someone needs some frozen ropes.

How wonderful that Powell will be SOTM in December...I didn't know. Thank you for the notice, musicalnovelty, I won't fail to look over that schedule. I hope you enjoyed *After Tomorrow*, I don't believe I've ever seen it. I miss the days when the Fox Movie Channel used to air its early 'thirties films.

I'll be recording *I Walk Alone*, I don't believe I've ever seen it.

I love that scene on the veranda, too...and perceptive observation about Sam's way of receiving his wife, even in her pitiable state he treats her gently and deferently. And how could the Lewton similarities have escaped me until now! Pefect.