clore

What is it about the conception of doctoring--at least before the 1930s-- that leads writers to do this? Probably because doctors were held to a higher moral standard. If the fallen idol was some businessman, the attitude might have been "all he lost was money" - the average person isn't going to have much sympathy for some character in the same boat as they." Fallen religious leaders were probably risky, back then they didn't want to offend the church. Politicians? I think that during the Depression nothing would make people happier than to see a fallen politician, but still they were probably on the same perceived moral plane as lawyers today. But a doctor? He's supposed to heal others and thus the presumption is that he should be able to heal himself. Was there a profession that would have had the same fall from grace as a doctor?

STRANGE AFFAIR OF UNCLE HARRY - Robert Siodmak noir with George Sanders THE WALKING HILLS - John Sturges directs Randolph Scott THE TATTERED DRESS - Jack Arnold directs Jeff Chandler in a precursor to Anatomy of a Murder LAW AND ORDER - Edward L. Cahn's take on Wyatt Earp with Walter Huston and Harry Carey

There's another candidate that's likely to air FROM HERE TO ETERNITY. THE CAINE MUTINY is another one that should join the list.

Thanks for refreshing my memory. It's been a while since I've seen it. The ending so annoys me that I can't enjoy the rest of the film. Having a sister who worked on the restoration of carousels may have had a hand in it also. She gets nearly hostile about the ride being shown to operate at such a ridiculous speed. She once wrote about it on another board and someone replied that she was taking it much too seriously and added that "Hitchcock would be the first to tell you that it's only a movie." Her response was "Well if it's only a movie, then he shouldn't mind my criticizing it." As you may have guessed, I'm not watching it now.

It's not that rare, VCI has had a good looking DVD of it out for many years. This print tonight didn't look as good, but for once even I won't complain. I've seen much worse than what we got tonight.

> {quote:title=TopBilled wrote:}{quote}Yeah, the police do not perform their duties too admirably in FRENZY. The serial killer continues to baffle them and thwart their efforts. Yes, but it's the police who come to the rescue in DIAL M FOR MURDER and THE WRONG MAN. John Loder's cop in SABOTAGE also makes a nice gesture at the end of the film.

The trigger-happy cop who fired a gun at a carousel filled with children while trying to shoot Robert Walker in STRANGERS ON A TRAIN. This killed the little guy who crawled under the ride and when he fell, he hit the lever that caused it to go faster than any carousel was ever built to go. When the thing finally crashed and sent bodies flying everywhere, the cop was more concerned with a cigarette lighter than the mayhem that he caused.

It amuses me that SO BIG shows up on the 13th while the 14th has a whole day dedicated to other Edna Ferber adaptations.

Mr. Roberts is cool - but he's really working hard at it. It's mentioned early that everyone else is close to cracking since there's been no liberty and it's up to Fonda to remain cool or calm in order to set some sort of example and get things done. The captain has him by the you-know-whats because Mr. Roberts can't afford to let go just a little as it would show up in an evaluation and further hurt his chances of a transfer. I've read that there was more of an edge to his character on stage, but perhaps that was just Fonda recognizing the difference between the stage and the studio. I just wonder if Fonda wasn't allowed to show some seams in his facade as Ford wanted to emphasize the comic aspects, or as Fonda once called it "the boys will be boisterous" approach with which he so disagreed.

I have to agree there. A lead is expected to hold the screen, that why if attention is diverted to a supporting player, they say the scene is stolen. But I have long said that William Powell does steal MR. ROBERTS from Fonda and the rest. He's the center of calm amongst the wildly animated Lemmon and Cagney and the stoic Fonda, whom I think at times is just walking through a performance that he gave several hundred times already on stage. That may have been owing to his problems with Ford on the changes made, but that's the stuff of another thread perhaps.

I have to confess I was as clueless as the editors of Black Mask concerning the other meaning of gunsel (though catamite is a great word if one ever gets a chance to use it.) I wasn't aware of the other meaning either until a Lit professor that I met in a pub mentioned it to me. As for "catamite" - it sounds like some substance that Julie Newmar would use on BATMAN to hypnotize the caped crusader. I guess one could get the idea that Gutman and Wilmer might have a relationship, but that's a minor point and also a mental picture that one doesn't want to think too much about. I just hope for Wilmer's sake that he doesn't get the bottom berth.

I've seen a few of those Hugo Haas films and they're actually not bad. Noirish stories of an older man (Haas) who falls for some young blonde (Cleo Moore or Beverly Michaels) and his inevitable path to destruction. I'm surprised that TCM hasn't picked up the ones he made for Columbia since there seems to be an open door to the Columbia vaults. His film LIZZIE with Elaenor Parker in a sort of road company version of THREE FACES OF EVE is worth checking out.

Ahh, but Wilmer is described as a "gunsel" so take a look at this: http://en.wiktionary.org/wiki/gunsel

I know someone who was approached by a fellow patron of a pub in which they both hung out. They knew each other fairly well, having chatted a number of times. Finally he was asked by the other one "Just how is it that you're so cool?" He replied "Don't say that. The moment that I start thinking that I might be cool, I'm not."

> {quote:title=TopBilled wrote:}{quote} > Technically, this is not a sequel, because she was playing two different characters in two different productions, but the way it was edited, it did seem like a continuation of the same story. 1999's THE LIMEY did something similar by using scenes from POOR COW, a 1967 film, to serve as flashbacks for the character played by Terence Stamp in the newer film.

There was an episode of MURDER, SHE WROTE that featured three members of the cast of the 1949 film STRANGE BARGAIN and had Jessica trying to determine if a death presented in the film was a murder or suicide. The episode was titled "The Days Dwindle Down" and aired in 1987, 38 years after the original film.

The headline claims "100 Best" and while I could dispute that, there are many truly great ones here in this one-per-year overview of the last 100 years. Enjoy http://www.pastemagazine.com/blogs/lists/2012/02/the-best-movie-posters-of-the-past-100-years.html

Whew! Thanks to your quote, I spotted an error in typing in which I was lucky enough not to have thrown back at me. As far as the two horror films go, here the "source" material was obvious in the title, regardless of whether or not they were faithful adaptaions or not. The titles more or less screamed that they were twisting the material to fit.

It's not that I don't see your point, it's just that as in terms of the way they were marketed, I think that they both suit the theme of the thread's subject matter.

My memory may be slipping, but as I recall BLACULA, he was an African Prince played by a black actor who is bitten by Dracula. Then we segue to contemporary times and he's on the prowl again. For me, it was a blaxploitation spin on the character and while not exactly a faithful retelling of Stoker, in reality most other film versions weren't either. I've never seen BLACKENSTEIN but I figured it worthy of inclusion as it is an attempt to rip off a theme associated with whites and fashion it for a black audience. Oh, here's another four that come to mind: GET CARTER = HIT MAN THE ASPHALT JUNGLE = COOL BREEZE ODD MAN OUT = THE LOST MAN THE INFORMER = UP TIGHT!

Maybe because there's the month-long Oscar theme, they decided that it's almost unnecessary to highlight it as that's what all of the other promos are doing anyway. There's no Silent Sunday, Bob's Picks, Imports, Guest Programmer Night to promote as in the usual "Now Playing" episode.

A froup is a frump with the croup.

I didn't get the impression that Ben was bashing Kazan, just making reference to the event and noting that Kazan was still the subject of controversy even nearly 50 years after the HUAC appearance. As far as Kazan being brave, he was merely following the crowd in order to save his own Hollywood career. Even Kazan admitted that he only gave names that they already had, so where's the bravery in that? It would possibly have been braver for him to defy the committee if he were so inclined as he, unlike so many others, could have retreated to the stage again. Why not just say "I can't add anything to your list" and go back to Broadway? Instead, he appeared, gave names and then signed the contract to do the film which he would never have gotten to do had he not "cleared" himself before HUAC. Hollywood does pay better. This is not my indictment of Kazan for what he did, the climate of fear was unlike that that came before in our short history. Your next door neighbor only had to imply to the right source that you were a Commie and that would have been enough to ruin your life. What has dogged Kazan since is that many perceive him as the person who could have stood up to HUAC and perhaps changed the course of events. He was the "hot" director of the moment and would still have had the option for a career move. Whether that perspective is accurate, no one will ever know. Most of these "victims" deserved to be outed and more. Hollywood has never come to terms and admitted their culpability with those crimes. Of which crimes are you referring? Even HUAC could never find any actual criminal activity and the hearings failed to result in the enactment of any new legislation at all. Which "victims" deserved it and which ones didn't - do you know? So what if a few innocents had to be sacrificed, right? "It is better one hundred guilty persons should escape than that one innocent person should suffer." Benjamin Franklin

> {quote:title=kingrat wrote:}{quote} > MacLaine is charming, and so is the actor who plays Hyer's father, but otherwise, I care nothing about any of the characters. That was Larry Gates, the man that was slapped by Sidney Poitier in IN THE HEAT OF THE NIGHT. He's also the other doctor in INVASION OF THE BODY SNATCHERS.