Fedya

And if you want more nasty collectivism (and this one is movie-related), how about Oscar-winner Glenda Jackson saying Margaret Thatcher was, on her terms, not a woman?

Then you should have stuck to the things that this is a reaction to. Be it going on about "cultural appropriation": When TCM had its spotlight on the portrayals of Hispanics in the movies, there was a piece with Rita Moreno talking about a movie she made with Alan Arkin (Popi) and oh my goodness, why couldn't they get a Puerto Rican to play the part? By that logic, thespians like Moreno should only be able to play Puerto Ricans. Anything else is evil cultural appropriation. I suppose I could also mention the jelly bean counting going on every year regarding Oscar nominations, or the fact that idiocy like the Bechdel test is treated with anything other than utter derision. And if you want to talk about violence, how about going off on people because they're wearing the wrong type of headphones? But somehow when Trump supporters (of which I'm not one; I voted for Gary Johnson) do things far milder, everybody gets the vapors. And these are the people who claim to be tolerant. No they're not; I find them to be incredibly totalitarian.

I think you'll find the peril in the same aisle as the can'd beans:

I find Olivier extremely impressive in The Entertainer.

I can't stand Being There.

I seem to recall reading that after the Soviets attacked Finland in the Winter War, Melvyn Douglas (no right-wing whack-job he) tried to get Hollywood to declare their support for Finland publicly, but the Communists shot that down. I'd be curious to see the movie Ski Patrol.

How would it have looked if Cagney took the olive out of a martini and shoved that in Mae Clarke's face? Now you know why it's a grapefruit. (Actually my understanding is that Cagney and Clarke did it as a practical joke one take and it worked out so well that they kept that take in the movie.)

And Yosemite Sam was a butch lesbian trapped inside a man's body.

Ricardo Cortez was the ultimate Sam Spade.

I don't think so.

Hollywood's Communists actually turned on a dime after the Molotov-von Ribbentrop pact. Dalton Trumbo wrote a pro-isolationist book with the ghost of Andrew Jackson as a main character.

The government never should have gone after Hollywood people for their political beliefs. Interestingly, just before Pearl Harbor, the Senate investigated Hollywood for making movies favoring American entry into World War II. Having said that, Communism is a vile totalitarian ideology, and the people supporting it should be treated about as well as Mel Gibson was for years after those drunken anti-Semitic tirades. At best, Hollywood's Communists were stupid dupes like the people going to Canadian "peace" organizations portrayed in the early scenes of The Iron Curtain. At worst they're as bad as Holocaust deniers. And as I said in another thread recently, Leni Riefenstahl shouldn't have been blacklisted either, and she should certainly have been included in last October's Traliblazing Women spotlight.

The Baby (1973) Anjanette Comer plays a social worker investigating the case of a mother (Ruth Roman) and her two adult daughters taking care of an adult son. Said son goes by the name "Baby", and can't walk or talk, sleeps in a crib, and wears diapers and short pants. Comer comes to the conclusion that the three women deliberately did this to Baby, but why? And why is Comer taking such an extreme interest in the case? A bizarre little movie with a lot of twists and turns. The plot is supposed to be one of horror, but the real horror is the elder daughter's hairstyles. The Baby has flaws, but its bizarreness makes it a really interesting watch, and one that ultimately works precisely because it's so bizarre. 7/10

A martini and a TV dinner!

The movie's biggest flaw is that it gives the story away in the opening. The movie starts off with the first epilogue of the book, while the book starts off with the funeral of Zhivago's mother.

No offense, but as somebody born in 1972, I'm wondering when we as a society are finally going to move past the 60s. I'm to the point of calling it cultural arrested development that the Baby Boomers have left us in.

They should have run it in a double bill with something like Harriet Craig in honor of Hillary.

Should be on a double-bill with Psycho.

And MeTV is airing the last-season episodes of The Love Boat with the Love Boat Mermaids.

Grand Hotel is different from Tales of Manhattan (and if memory serves The Yellow Rolls-Royce) in that the stories in Grand Hotel are intertwined and the movie hops back and forth among them, while those in Tales of Manhattan are discrete and self-contained. We had a thread some time back about the difference between an ensemble movie (Grand Hotel, Dinner at Eight, or The VIPs) and anthology movies (Tales of Manhattan, If I Had a Million, O. Henry's Full House and the like).

I have to admit I didn't particularly care for Love Letters. Of course, I think of it as a chick flick, which would probably explain why.

Democracy is more under threat from a Beltway class that cares more about principals than principles. It's amazing, for example, how everybody understood that the "Obama is a secret Muslim born in Kenya and therefore ineligible to be President" nonsense was seen universally for the arrant nonsense that it was, while the bodice-ripper fanfic that comprises the dossier on Trump is taken seriously. And then when Hillary had that private server trying to get around the Freedom of Information Act, the FOIA violation was overlooked and the idea that foreign governments might be able to hack it was pooh-poohed. But then the wrong candidate won the election, and then neo-Soviet hacking suddenly, magically became a big deal. And if the Attorney General met with any business leader under investigation on the distant tarmac at an airport, the howls of corruption would be legion.

Queen of Outer Space is as campy as it sounds, and a lot of fun for it. Tales of Manhattan has seven (I think) stories, if they're running the ~125 minute version with the restored W.C. Fields segment. There's one with Charles Boyer/Rita Hayworth; one with Fonda and Ginger Rogers; one with Charles Laughton; the Fields segment; the Edward G. Robinson segment; a brief segment about bank robbers (I want to say it has J. Carroll Naish in it, but I haven't seen the movie in years and didn't look it up for this post), and the final segment with Ethel Waters and Paul Robeson. Sparrows is also quite good, with a harrowing climax and a very well done death scene.

I know I've said it before and you just don't care, but you make your posts virtually unreadable through nonsense use of punctuation marks and your idiotic use of a captial I when modern-day keyboards have a perfectly serviceable 1 key. Why should anybody bother to read your posts if you can't be bothered to make them readable for us?

And a contestant on You Bet Your Life: