MissGoddess

> I don't have a heart, so I'm "safe." > Very funny. > > Oh, I understand now. You are right about that. The focus of the story is purely their love. A film like *Now, Voyager* is deeper. > > And I didn't like the nod. > Too bad! > > It was pretty good. I do enjoy the Hudson/Day/Randall connection. They really are fun. Just as with *Lover Come Back*, I wasn't big on the ending. I'm not that crazy on Doris throwing a prolonged fit. I like her short outbursts more. Rock is so very good at being serious in comedy. My favorite line is this: > I feel the same about Doris, though I don't remember her fit. This movie was more about him and Randall than her character. I loved Clint Walker and how insecure Rock acted even though he was trying to fix them up. Tony is so funny. Those are great moments you picked. Like CineMaven said, these movies can really cheer you if you're feeling blue.

I also love Jennifer's dresses. > It's Holden. I can't see how a woman like Suyin would fall for him. Yet, in *The World of Suzie Wong*, I think he's great. He just seems like a jerk in *Love is a Many-Splendored Thing*. > Ha!! Really?? I didn't think so. I like him. I liked his persistence. > Yes. It's about the kind of love you share and how it can come to mean so much even if it's not what others believe it must be. They have something together. Suyin especially feels this. And she places her heart in danger by accepting this love. That's the danger of it all. Still, she is reborn after dying with her husband years ago. She had buried herself in her job. > She had. Didn't she say something like "I'm happily dead"? but the fact she impulsively adopts an orphan shows she has these needs she's repressing. I love her friend, the English doctor. > *I also am a sucker for the theme music.* > > Noooooooooooooooooooooooooo! > Oh, it gets me every time. I think it's strings. Strings just floor me. They go straight for the heart. > *It's an old fashioned love story, and I love that about it.* > > What makes it old-fashioned? The Chinese world that Suyin lives in? The superstitions? This does make it old-fashioned, to me. > Oh no, I mean the movie's style. Star-crossed lovers, mushy music, even the nod to Now, Voyager with the cigarettes. And the fact that the entire movie is a love story. Not pretending to be about something else. It's unabashedly a love story, and that is very old-fashioned. > I can believe that. What gets me with *An Affair to Remember* is that the one lover hides the painful truth from the other out of fear but also respect. Just the shot of the wheelchair crashes me. There's nothing that powerful in *Love is a Many-Splendored Thing*. > I agree about that scene, it's devastating. The look on Grant's face, I just go to pieces. > I can't believe you're a romantic. Those lines stuck with me, as well. I find them to be very true. Love can make you more aware of everything around you. Life becomes more important. Of course, that scene represents the entire film. > Thank you for those caps. Yes, it's the best scene, and says it all. It's usually better to show rather than use dialogue, but it's well written. What about Send Me No Flowers?

> {quote:title=FrankGrimes wrote:}{quote}*And what about Love Is a Many Splendored Thing? I can't believe you have that movie in your collection. That's sappier than An Affair to Remember!* > > And it's not as good. I didn't like the relationship between Mark (William Holden) and Suyin (Jennifer Jones). It never felt close enough for my tastes. But I did like how love is being defined by the film. That's what kept me going. There is a stiltedness there, for sure. It may be because Jones despised Holden so much. It doesn't bother me, I guess I like what you said, it's about the nature of love and bringing down barriers, finding new hope. I also am a sucker for the theme music. It's an old fashioned love story, and I love that about it. It moves me more than An Affair to Remember, I must say. I read the book by Han Suyin, it's based on a her true story, though "Mark" was an Englishman. I like the idealism and the fact hou don't always see a woman caring so much for ideals, not just the ambition of her job. She's very rigid about them. My favorite scene is in, I think it's Macao, where they go away together and she's locked the door until he came back to her. Then they watch the funeral, and she talks about how love has transformed her senses. It's very beautiful to me.

And what about *Love Is a Many Splendored Thing*? I can't believe you have that movie in your collection. That's sappier than *An Affair to Remember*!

Not from a bus boy.

No one's pushing me to Miami Beach!

> And isn't that how it sometimes goes? One girl can really appreciate a guy but the girl the guy likes doesn't. > Yes, well, you guys always go for the crazy, mean beauties.

> And I usually love that. The thing is, he wasn't expected her to fall for him, either. He just wanted to give her something she really wanted. > Yes, he was totally unselfish. > She really did love Pinks. It's as if he was really her love. She'd do anything for him. > She appreciated him and it's like she thought he was so pure. > And when do you ever see Eugene playing such a character?! I just loved how Your Highness treated them. She smacked them almost as hard as you smack me! > They were kind of like Fred and Ethel once they married. > That's a very good point. Only a male shrink like the one in *Blind Alley* would care to dig deep with a guy. I loved how Claude (Vince Edwards) wanted to enjoy his days. It's that kind of quirkiness that really appealed to me. So ironic. > You'll probably like *Blast of Silence*.

> I couldn't believe the boy was gunned down! And the doctor wasn't affected by it! > I'll have to watch it again for that. > > THE BIG STREET SPOILED > > I was prepared for an "all's well" and I still would have really liked the film if that's what happened. I was just as shocked as you by what happened. And, you know, this is one time where I wanted it to be different. > It brought me up short. I had seen it before yet I completely forgot how it ended so it surprised me again. Here he's finally got what he wanted, and it just crashes. > It is Capra-esque! I've seen Agnes in three films of late and she has shined in each of them. She's great. > She brought a lot of sympathy and heart to the movie. She really loved Pinks, and admired him. I think it's cute she marries Eugene Pallette. > Raven! > I mean I don't care about hearing how a killer goes about his "job". If they'd asked him about his childhood that's different. But guys don't ask guys about their childhood. It took the woman (Veronica Lake) to do that in *This Gun For Hire*.

> But it really wasn't about them. I wish it were. But I liked seeing hot-headed Doc. > Sometimes I just focus on the surroundings rather than the main character. > *You mean he's a Cinderella Man?* > THE BIG STREET SPOILED > Yes, for the most part. He has his dream. I guess that's what fairy tales are, mostly. > I was stunned by the ending. I didn't expect that. Usually, they'd show a "change of heart" and all's well that end's well. > Nicely done! I loved Pinks' friends. > Yes, very Capra-esque. Agnes Moorehead was great. > I can believe that. I wish the tragedies were done better. So random. > They worked for me. > But they wouldn't dare ask question after question! > Because it doesn't matter how a killer thinks. That's where I lose interest.

> As I usually say, "silly." I was hoping for a deeper film, but all I got was the analysis of a dream. I liked the flashback. That was really good. The climax of the film was unsatisfying. > I like all of the people being trapped together. Those scenarios appeal to me. > Yes, I loved *The Big Street*. It made my top 100. I thought it was a male fairy tale. It matched me perfectly with how I view myself and my own feelings on love and devotion. I'm definitely a "bus boy." > You mean he's a Cinderella Man? > > In many ways, this is the American version of *Sidewalks of London*. > I think it was in this thread that I made that very comparison. They are rather similar. That Lucy, she was a mess. I really hated her the first time I watched it. Now I can see some humanity. > So you cry throughout? I never knew it affected you that much. > After you've seen it, lived with this couple, and watch it again...it's more emotional because you know what's coming and you know the cost. > A lot of it. The film is very "fatherly," which is something I really liked. I really love the kind of family dynamics that are found in westerns. *The Tin Star* "family" reminded me of the one in *Hondo*. I feel the westerns genre is the very best at highlighting the needs of people. From man to woman to child. > Yes, it distills these things, boils them down to their essence. > > I thought Perkins' youthful inexperience as an actor fit extremely well in *The Tin Star*. I liked him a lot more here than in *Goodbye, Again*. Henry Fonda is more than exceptional in the film. Morgan (Fonda) is very sure of himself. He's very matter of fact. > I love his character. > What I found quirky with the film is that, here is a hired killer and he's got these two hanger-ons with him throughout. The one is on edge, wanting the killer to get on with it. The other seems to enjoy the entire ride, finding the killer to be fascinating. Usually a hired killer works alone. Not here. He's got chaperones! > Yes, Liberty Valance and his mermidons.

Jackie, If you hit reply and in your reply box go to the Rich Text tab...the second to last icon is the quote function (two "balloons"). Unfortunately, if you want to break up the quote, you have to then switch back to Plain Text. It's a pain.

Ooh, yes, of course how could I have forgotten Mason's theme! It is scary sounding now you mention it, Jackie.

> {quote:title=FrankGrimes wrote:}{quote}*I thought the movie had style and certainly was "gritty" (since that is considered a plus today, if not by me) however I didn't care for Edwards, he can't act, and I prefer* *Hard Contract on a similar theme (though I'm prepared to admit it's not as well directed).* > > I didn't expect you to like that one. Do you think any of the other regulars would like it? I can only see Jackie possibly liking it. > > Did you find it quirky? I found it very individualistic. *Hard Contract* gets in my way, it's much quirkier. What I liked most about *Murder by Contract* is it's clearly one man's picture...the director/producer. I can see a person behind it, behind the whole film, and each scene, the music, etc. I like and respect that. You know what movie it reminds me most of in feel and style? *Blast of Silence*. Yes, I think Jackie would like it, too. She'd zero in on all its strengths and find things in it I'm incapable of seeing until someone points them out. It was cute seeing Kathy Browne in a bit role, so young. I know her only from the sixties westerns she appeared frequently in.

Where is the "Kiss on your list"?

1. The Big Street (5) 2. The Tin Star (1) 3. Penny Serenade (2) 4. Send Me No Flowers (3) 5. Love Is a Many-Splendored Thing (7) 6. Arsenic and Old Lace (6) 7. Blind Alley (4) Was *Blind Alley* too pat for you? So you did like TBS and even ranked it super high of all the recent ones. Impressive. Why and what was your favorite aspect of it? Almost all of *Penny Serenade* makes me cry so I try not to watch it too often. Even the contrivance of the hand cranked gramophone and the records is so wonderfully romantic and sentimental. Stevens, I'm just a sucker for his movies all around. What did you like about *The Tin Star* especially? Did you like Anthony Perkins better this time (than [Goodbye, Again[/b]). I think he was more suitable for G.A. He was too weak for *Tin Star*, Fonda overshadowed him. So did Neville. Yes, I know the character is supposed to be in over his head. But this was like sending a kid out with a pop gun. It didn't affect my enjoyment of the film, though. I liked it.

Re: *Murder by Contract* I thought the movie had style and certainly was "gritty" (since that is considered a plus today, if not by me) however I didn't care for Edwards, he can't act, and I prefer *Hard Contract* on a similar theme (though I'm prepared to admit it's not as well directed).

6. Arsenic and Old Lace 5. The Big Street 4. Blind Alley 7. Love Is a Many-Splendored Thing 2. Penny Serenade 3. Send Me No Flowers 1. The Tin Star Ultimately, my guess is you liked none of them except maybe *The Tin Star*.

Didn't Post write the "Hill Street Blues" theme, as well? I'm drawing a blank on the Mason music, I'll have to youtube.

> {quote:title=movieman1957 wrote:}{quote}I'm not nearly so clever as to figure too much of them correctly. I do think the Brits have the ability and the freedom to make these deeper and more complicated. I absolutely agree. It's really their territory, they gave us the blueprint for murder mystery. > Some things like "Criminal Minds" come close but they can be a little too proceedural. > I'm not big on procedural...and, like Morse, I'm extremely squeamish about the medical forensics. > Working on the list for this side but all the lists have hit the highlights. Hopefully, tomorrow. Take your time.

> {quote:title=movieman1957 wrote:}{quote}I've always enjoyed Morse's theme. It makes me want to cry and dance. It's rather balletic. I just learned that the first few notes of the tune that repeat throughout actually spell out M-O-R-S-E in Morse code. I can't believe I never even noticed. > That is also one of the things I have liked about Jesse Stone. The music is often solemn and very melodic. While I did not pay especial attention to the music, I did think at the time it was refreshingly fitting and classic. Not a distraction but perfectly suited to the mood, particularly Jesse's mood, which is most of the time somewhat somber. Like Ro said, this isn't Magnum. > Lots of music fits well that it can go unnoticed and that is not a bad thing. Once in a while it doesn't fit and it can be a distraction for me. I always thought "The Untouchables" from 1987 music didn't fit because it was too modern. Too much synthisizer for something set in the 30s. > I never saw either run of the series, but I love the music from the original show. > For me some of the most perfectly set music to a show was "Combat." The show is something you wouldn't like (I suspect) but the music was often tense and complex without being atonal. > I've seen at least an episode or two but never noticed the music I'm afraid. You are the master, there. So if you had to choose one all-time favorite television music theme, which would it be, regardless of genre?

Half an hour more and I can scoot home to enjoy the Ben-Evening. Fortunately, TCM is saving the best for last...

Thanks Bronxie, I guess I did not miss much. I still would like to have seen more of Orson than just the snippet in flashback. He looked like he still had on his "Kane" make-up.

Well, whip me with a wet lassoo this is my first chance to tell you how beautiful these posters are of old-time western stars...flawless! I agree with those who praised especially the beauty of the horses...in fact, the portraits of the stars without a horse in sight are less dynamic. A cowboy just looks "empty" without one, ha. My favorites of course are Harry and Tom. Jackie---you're right, Tom Mix looks more like Wayne than Wayne does. Thank you, Kyle.

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