cigarjoe
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Posts posted by cigarjoe
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On 3/24/2018 at 7:35 PM, NickAndNora34 said:
MIDNIGHT IN PARIS (2011): starring Owen Wilson, Rachel McAdams, Marion Cotillard, Kathy Bates. *On Netflix*
One of my friends recommended this one to me. I remember seeing a few trailers for it when it was first released, but I didn't care at the time, so I'm just not getting to it. I thought it was an enjoyable movie. The 1920's (specifically in Paris, as per the title) were lovingly portrayed in this. I usually don't watch Wilson's material, but I thought he did a grand job in this.
In order to avoid spoilers, I'll stick to the bare minimum. Wilson is engaged to McAdams, and they are visiting Paris with her parents, and her friends (a couple in which the male counterpart presents himself as a pretentious showoff and is thus disliked by Wilson & the audience). Through some stroke of luck, Wilson receives a "gift from the heavens," if you will, and is granted inspiration for the novel he is currently working on.
Score: 3.5/5
My wife loves it, it's entertaining I'd give it a 8/10
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12 hours ago, TopBilled said:
TCM did air not long ago, as well as ABOUT MRS. LESLIE when Robert Ryan was Star of the Month.
Yea, (THE GLASS MENAGERIE) but it was a one shot they didn't put it On Demand.
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Harry Tracy: The Last of the Wild Bunch (1982) (aka Harry Tracy, Desperado)
A sirupy sweet take on the story of Harry Tracy, nice scenery (shot in British Columbia and Alberta) but story lacks grit. Seems more of a love story with Bruce Dern in his aw-shucks mode. Also stars Helen Shaver, Michael C. Gwynne, and Gordon Lightfoot. If it had a music video included it would fit right in the Butch Cassidy And The Sundance Kid, The Life And Times of Judge Roy Bean, The Ballad Of Cable Hogue, and The Dutchess And The Dirtwater Fox. 6/10
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Harry Tracy: The Last of the Wild Bunch (1982) (aka Harry Tracy, Desperado)
A sirupy sweet take on the story of Harry Tracy, nice scenery (shot in British Columbia and Alberta) but story lacks grit. Seems more of a love story with Bruce Dern in his aw-shucks mode. Also stars Helen Shaver, Michael C. Gwynne, and Gordon Lightfoot. If it had a music video included it would fit right in the Butch Cassidy And The Sundance Kid, The Life And Times of Judge Roy Bean, The Balad Of Cabel Hogue, and The Dutchess And The Dirtwater Fox. 6/10
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2 hours ago, TomJH said:
I admit I've only seen a few Tarantino films but the one I liked best was Jackie Brown. Perhaps it's his most conventional effort but I found it emotionally satisfying and loved watching still hot mama Pam Grier in what may be her best performance. This film gave her opportunities as an actress that she never had in any of her blaxploitation films. I also appreciated the director's casual, almost off handed presentation of violence in some scenes.
I did see his Reservoir Dogs, as well, and while I appreciated that it was well crafted and acted, I was permanently repelled by the film's most famous scene, the one of sadism and torture. Of course the director wants his audience to be uncomfortable in that scene, and in that he succeeded. But it's not my idea of entertainment.
Check out True Romance (1993) a Quentin Tarantino film Directed by Tony Scott
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2 hours ago, Bethluvsfilms said:
David Lynch I never could quite get into though.
Try The Straight Story
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4 hours ago, laffite said:
I hated Eraserhead the first time. The second time I liked it, I felt I sort of got it. Tarantino is a fave and that's a surprise. A casual survey of my temperament would deem Tarantino not acceptable but I'm totally won over. The violence in some of movies pass muster with me and I don't like excess violence in movies. But story and characterizations are terrific. Tarantino is some kind of genius. Actually, the blood in Fargo didn't bother either. It takes talent to showcase fairly graphic violence and not offend. Kubrick is a mixed bag for me. Strangelove would be a candidate for all-time favorite. 2001 is general fave. I haven't seen Barry Lyndon and I have a vague memory of Eyes Wide Shut but I remember being okay with it. A Clockwork Orange, forget it. I'll never put myself through that.
See Barry Lyndon practically every frame is a masterpiece.
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Me I'm partial to Westerns, Noirs, and Neo Noirs, I also like early Gangster, Historical Dramas, and some SyFy.
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7 minutes ago, DougieB said:
That dovetails pretty nicely with what Dargo quoted from Huston about going for an overall visual "feel". For a mainstream American movie it really is pretty much one of a kind.
Sort of proto Lynchesque, you might say.
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Like I said I see it as an experimental, psychological, neo noir, shot in neither color or black & white its "sui generis."
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4 hours ago, LornaHansonForbes said:
Yeah, but I mean, I liked WILD AT HEART and I loved DJANGO....SO MAYBE i'm slightly more tolerant of the "new school" than some others...
The only Coen film I've really not liked was the remake of The Ladykillers
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Just now, LawrenceA said:
Yeah, and Stanley Kubrick. And I like all of them.
Yea me too.
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3 hours ago, LawrenceA said:
Don't feel too bad. I've noticed that most people seem to either love or hate the Coens, not much in between. And more seem to hate than love, at that. At least around here.
You can say the same thing about people with David Lynch and Quentin Tarantino films.
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I classify Reflections In a Golden Eye as a Psychological Neo Noir
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20 hours ago, LornaHansonForbes said:
i feel kinda guilty and maybe i should keep this to myself, but i turned off MADIGAN (1968) about an hour and 20 minutes into it...
it wasn't bad, and it had some strengths (namely Widmark and James Whitmore, who I always like), but overall it seemed like an unfocused TV Pilot or movie-of-the-week- it had an all over the place feel to the story and some of the acting was on autopilot.
[i developed a theory watching this last night that Henry Fonda must have been SO PEEVED about not getting nominated for 12 ANGRY MEN or MISTER ROBERTS that he was all: "**** it, I'm still gonna be in movies, but I'll be damned if I'm going to act in any way while I'm there!"]
it was a film with lines like "MADIGAN PLAYS BY HIS OWN RULES BUT HE'S A GOOD COP!" and an intrusive music score supervised by Joseph Gershensessessenson that sounds like it should be playing during a promo for why you should invest in a timeshare in Florida.
it was also a movie that presented a rather clean and sunny NEW YORK- one that was none too congested and where characters ran into one another on the street by coincidence. i've been to New York, granted it was later than 1968, but basically- every spot in New York City is like the stateroom scene in A NIGHT AT THE OPERA, only DIRTY. HOLLYWOOD really didn't do NEW YORK films right until the mid seventies.
there were quite a few scenes that i think were shot on the Universal backlot.
also the dubbing was bad.
Webster's mom was in this, wearing a turban in one scene.
i am aware this review was an unfocused mess in and of itself, but i think it fits the general tone of MADIGAN pretty well.
Yes Madigan leaves me a native New Yorker pretty blah, I get the same vibe from The Detective with Sinatra.
Kiss of Death (1947), The Unsuspected (1947),Naked City (1948), The Window (1949), Side Street (1950), The Killer That Stalked New York (1951), Killers Kiss (1955), Sweet Smell Of Success (1957), Odds Against Tomorrow (1959), Something Wild (1961), Blast Of Silence (1961), The Young Savages (1961), Requiem for a Heavyweight (1962), The Pawnbroker (1964), Who Killed Teddy Bear (1965), Mister Buddwing, from 1966 (even though it too has a few backlot brownstone shots), Aroused (1966), The Incident (1967), does NYC much better.-
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Gunman in the Streets (1950) American army deserter Eddy Roback (Dane Clark) is a criminal-on-the-run after his cohorts brazenly ambush a prison van in Paris. Police are in hot pursuit. Simone Signoret is his gal pal. 6/10
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10 hours ago, Fedya said:
Taxi Driver (1976).
Travis Bickle (Robert De Niro) is a Vietnam Vet who, broken by the experience, is now working as a cabbie in New York of the era when Ford was telling the city to drop dead. Bickle doesn't like what he sees, so he decides to fix things in his own way, in part by helping out a young prostitute (Jodie Foster).
Everybody says this is one of the greatest American movies of all time, but I found it an incoherent, meandering, baffling mess, with a lead character who was such a jerk I didn't care what happened to him. (For what it's worth, I was also left cold by Scorsese's earlier Mean Streets, but to nowhere near this extent.)
4/10
Hint stick to Disney or pre 60s movies....
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8 minutes ago, Hibi said:
Yes, there werent that many. I havent seen the original first episodes since they were broadcast as they are never shown in any marathon. I dont remember much happening. Mostly about David and Burke Devlin's revenge on the Collins family.....
the did have a pre Barnabas flirt with the supernatural with the Phoenix ( when Rodgers missing wife Laura returns from Egypt) story line.
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7 hours ago, Hibi said:
They did have a few location shots after Barnabus arrived (I remember one with Vicky and Carolyn at the old house) but they soon phased that out...
Not many in comparison, the opening episodes had Vicky on the train, The station, we saw the outside of the Inn, can't remember if they showed the Blue Whale or not though.
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On 3/12/2018 at 8:48 AM, Det Jim McLeod said:
She is the star of the month so I thought we could discuss what you think are her best performances. Here's what I think:
1. Who's Afraid Of Virginia Woolf-She really gives it her all in this brilliant version of the play. She is totally believable as the strident acid tongued wife of a tortured college professor. She won a well deserved Oscar for this.
2. Giant- an excellent performance and showed what she can really do with a great role. She is the outspoken woman in a time and place where that was frowned upon. And it takes her through decades of aging and it still works.
3. Suddenly Last Summer-as the mentally fragile woman with secrets, she has some devastating scenes at the end. Plus she looks ravishing even in the black and white photography.
4. Cat On A Hot Tin Roof- she goes toe to toe with Paul Newman and matches him in every scene as the love starved Maggie the Cat.
5. A Place In The Sun-She has many touching moments as the sweet rich girl and has magical chemistry with Montgomery Clift.
I'd go with these also but put Cat On A Hot Tin Roof top and Giant last.
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6 hours ago, calvinnme said:
Does that DVD set have the part of Dark Shadows that was pre Barnabus, when it was just a standard soap? I've never seen those episodes and just wondered if the old cast was there, or did they clean house and start fresh?
Yes, and interestingly those first episodes had a film noir-ish/gothic vibe, and actual on location footage, compared to the post Barnabas episodes which had none.
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Interesting list.
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Sweet Love, Bitter (aka It Won't Rub Off, Baby!) (1967) Jazz Noir
A paean to bebop jazz.
The film is based on the novel "Night Song" by John A. Williams, which itself was loosely based on the last years of the life of jazz great Charlie (Bird) Parker. The film is an eloquent portrait of the 1960's jazz scene. Though the story takes place in New York, the film was partly shot with Philadelphia, filling in for NYC. No matter it's all Noirsville.
There is a very small sub genre of Classic Film Noirs and also Biographies or "true story based" films that have a quasi noir vibe, I call them Bio Noir's. Films such as Dillinger (1945), Young Man with a Horn (1950), I'll Cry Tomorrow (1955), The Wrong Man (1956), Somebody Up There Likes Me (1956), The Bonnie Parker Story (1958), I Want To live (1958), Baby Face Nelson (1957), and Neo Noirs In Cold Blood (1967), The Honeymoon Killers (1970), Lenny (1974) and Raging Bull (1980). There are probably a few others out there.
Sweet Love, Bitter shadows Charlie 'Bird' Parker's story arc through the fictitious tale of Richie 'Eagle' Stokes, a quasi famous bebop sax player, who's life is a series of flying highs and gutter lows, boozin', geezin', screwing, and blowin'. He's got a jive **** crumb for manager whose sole qualification is that he used to sell zoot suits, a pusher who keeps him buzzed, and friends who give him shelter from the storm. When he's out of doe he panhandels, puts the touch on his admiring devotees, or pawns his saxophones.
Produced by Lewis Jacobs. Directed by Herbert Danska known for, The Gift (1962), and Right on! (1970). Written by Herbert Danska, and Lewis Jacobs. The cinematography was by Victor Solow, and the soundtrack was by American jazz pianist Mal Waldron and his Orchestra, with Charles McPherson ghosting for Dick Gregory.
The film stars Dick Gregory, an African-American comedian, civil rights activist, social critic, writer, entrepreneur and a perennial guest on countless talk shows during the 1960s, Robert Hooks (Trouble Man (1972)), Don Murray (A Hatful of Rain (1957), The Hoodlum Priest(1961), Twin Peaks TV Series (2017– ), Diane Varsi (Bloody Mama (1970), Johnny Got His Gun (1971)).
The performances of the main characters are all good for such a low budget production. Dick Gregory's is particularly moving, Don Murray is very convincing as the kid who finally gets into the jazz candy store. Robert Hooks and Diane Varsi have some touching sequences but you get the feeling that there should have been more, either their relationship was somewhat tacked on to the predominant tale as an afterthought, or that some of their story was left on the cutting room floor. The film was re-cut and shown at art houses under the alternate titles of Black Love--White Love as well as It Won't Rub Off, Baby! A real treat for jazz fans. 7/10
Below - Loser's Lament from title sequence of film (obviously images are not from the film)
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Sweet Love, Bitter (aka It Won't Rub Off, Baby!) (1967) Jazz Noir
A paean to bebop jazz.
We have our Noir protagonists as detectives, femme fatales, newspaper reporters, truck drivers, wronged men, railroad workers, amnesiacs, the falsely accused, victims of circumstances, revenge seekers, gangsters, hit men, prisoners, telephone electricians, armored car drivers, ex cons, sailors, insurance salesmen gone bad, drifters, ex cops, bad cops, nut jobs, killers, hitch-hikers, kids looking in windows, writers, promoters, boxers, hash house owners, floozies, carnies, doctors, postal workers, secretaries, serial killers, housewives, radio program hosts, prostitutes, taxi drivers, and in this a jazz musician.
The film is based on the novel "Night Song" by John A. Williams, which itself was loosely based on the last years of the life of jazz great Charlie (Bird) Parker. The film is an eloquent portrait of the 1960's jazz scene. Though the story takes place in New York, the film was partly shot with Philadelphia, filling in for NYC. No matter it's all Noirsville."(Charlie) Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer." (source Wikipedia)
There is a very small sub genre of Classic Film Noirs and also Biographies or "true story based" films that have a quasi noir vibe, I call them Bio Noir's. Films such as Dillinger (1945), Young Man with a Horn (1950), I'll Cry Tomorrow (1955), The Wrong Man (1956), Somebody Up There Likes Me (1956), The Bonnie Parker Story (1958), I Want To live (1958), Baby Face Nelson (1957), and Neo Noirs In Cold Blood (1967), The Honeymoon Killers (1970), Lenny(1974) and Raging Bull (1980). There are probably a few others out there.
Sweet Love, Bitter shadows Charlie 'Bird' Parker's story arc through the fictitious tale of Richie 'Eagle' Stokes, a quasi famous bebop sax player, who's life is a series of flying highs and gutter lows, boozin', geezin', screwing, and blowin'. He's got a jive **** crumb for manager whose sole qualification is that he used to sell zoot suits, a pusher who keeps him buzzed, and friends who give him shelter from the storm. When he's out of doe he puts the touch on his admiring devotees, or pawns his saxophones.
Produced by Lewis Jacobs. Directed by Herbert Danska known for, The Gift (1962), and Right on! (1970). Written by Herbert Danska, and Lewis Jacobs. The cinematography was by Victor Solow, and the soundtrack was by American jazz pianist Mal Waldron and his Orchestra, with Charles McPherson ghosting for Dick Gregory.
The film stars Dick Gregory, an African-American comedian, civil rights activist, social critic, writer, entrepreneur and a perennial guest on countless talk shows during the 1960s, Robert Hooks (Trouble Man (1972)), Don Murray (A Hatful of Rain (1957), The Hoodlum Priest(1961), Twin Peaks TV Series (2017– ), Diane Varsi (Bloody Mama (1970), Johnny Got His Gun (1971)), Jeri Archer, Osborne Smith, George Wilshire, Bruce Glover (Who Killed Teddy Bear (1965), Chinatown (1974)), Leonard Parker (Malcolm X (1992)), John Randolph (The Naked City (1948), Fourteen Hours (1951), Seconds (1966), Serpico (1973), Prizzi's Honor(1985)), Woody King Jr. (Serpico (1973)), Florette Carter (probably Aroused (1966), she looks like the same actress who plays Angela and just spells the first name differently), Carla Pinza, and Barbara Davis (The Front Page (1974)).
David Hillary (Don Murray) The film begins with David (Murray) and Keel (Hooks) combing the streets looking for their friend Richie "Eagle" Stokes (Gregory), a cool cat, a sad genius, a beboppin' sax blower, a Jazz God, crusin' down his personal boulevard of decaying dreams. Eagle is a high flying junkie, a hard drinking boozer, and a reefer smokin' womanizer. They find him dead of an overdose on the bed in David's crib, a back room in Keel's coffee house "Sadik's."
The whole film is told in a long flashback after an unforgettable brilliantly filmed stylistically minimalist and abstract title sequence of a saxophone wailing Mal Waldron's "Losers Lament."
David is a self pitying drunk, an ex professor, a jazz hipster, who blows into Manhattan like trash in the gutter. He's from a hicksville flyspeck, Onondaga, up in fly over country, upstate New York. He's got a battered old suitcase heading to a flop hotel someplace. He's a broken man. He's boozing because he killed his wife in an auto accident, he's lost his job, and his way. David's broke. Been sleeping in his clothes apparently, from all the dust on his coat. He pawns a hundred dollar "eye-talian" ring for a Jackson. Life's a drag.Eagle dips into the same shop. He queues up behind David. He's wearing an ascot cap, shades, and a toggle coat, he's cradling his sax in a paper bag. Eagle is coolly maintaining, but he's also running on empty. He scopes out David and sees a kindred spirit, a just fell off the turnip truck, fellow busted flat loser. A damaged soul. Knowingly he gives him directions to the closest gin mill.
Richie 'Eagle' Stokes (Dick Gregory) In the tavern David breaks his bill for a beer and a shot. Eagle joins him at the bar. David eventually recognizes him as jazz great Eagle Stokes. They both blow their wads talking music and getting drunk as skunks.They cut into the night. Out on the cold concrete stroll, looking for some more scratch, Eagle spots an older white couple up at the corner. Turning to David......
Eagle: Wait here baby. And watch me good, and you'll never have to starve.
(Eagle walks up and successfully puts the touch on the old couple, then walks back)Eagle: You see that baby.David: (chuckles)
Eagle:Too weak to tell you to go to hell, Too guilty to tell you to kiss their as- (laughs), so they pay for it. They tell themselves it's like to keep you away man. And you know, I take it all man.
Bread, that's your only friend. Jenzie. Don't try to make your ol' lady, always around when you need it, and when there's enough it screams baby..... It screams to tell you!
Morning. David and Eagle. Three sheets to the wind. Passed out in a doorway. A cop rousts them awake. He's about to run them in when Keel, a good friend of Eagle finds them. Keel wants to leave David to the cop, but Eagle tells him he's jake, so Keel and Eagle, with David in tow head to Keels pad. Keel offers David a backroom crib at his coffee house in exchange for work.
Keel is an ex street preacher who now owns a successful coffee house down in the Village. Keel's reluctant at first charity, which in itself is somewhat racially motivated, soon sets David back on a trail to redemption. Keel's got a fly girlfriend Della (Varsi) who is white.
In the ensuing weeks, David starts to get a grip on life, integrating himself into Eagle, and Keel's lives. In the process he bridges boundaries, grasps black and white dynamics, encounters the complexes of racism, miscegenation, discrimination, impotence, forbidden love, he deals with drug addiction, and OD'ing, and gets immersed in the bewitching mystic world of jazz, jazz, jazz, that makes the outer world go away.
Noirsville
Keel Robinson (Robert Hooks) 
When David finally gets back on track Eagle helps him buy some new threads to go to a professor job interview back at a college in Onondaga. David gets the job, but Eagle while waiting for David is roughed up by a baton wielding local hick policeman for standing around being black. David walking on the street with the college president sees the altercation but does nothing to stop it. He doesn't want to get involved or jeopardize his new job, he's back in "Whitelandia."
His guilt is overpowering. When Eagle finds out that David saw the whole deal go down, his depression sends him off to see a wealthy society dame Candy, (who represents Charlie Parker's patroness the Baroness Pannonica de Koenigswarter) through her contacts Eagle gets the fixings for his fatal overdose of junk and makes his way to Sadik's where in Davids bed, he crashes and burns. Keel tells David that Eagle's cause of death was "resisting reality."
The performances of the main characters are all good for such a low budget production. Dick Gregory's is particularly moving, Don Murray is very convincing as the kid who finally gets into the jazz candy store. Robert Hooks and Diane Varsi have some touching sequences but you get the feeling that there should have been more, either their relationship was somewhat tacked on to the predominant tale as an afterthought, or that some of their story was left on the cutting room floor. The film was re-cut and shown at art houses under the alternate titles of Black Love--White Love as well as It Won't Rub Off, Baby! Which of the three versions of the film is on the EFORFILMS DVD reviewed here, is not known by me.
The film does include some dream segments and amusing fantasies. A real treat for jazz fans. 7/10Full review with more screencaps here: Noirsville
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Recently watched Noir
in Film Noir--Gangster
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The Wild Party (1956) Beatnik Noir
The visual stylistics were retained but the dark side bad guys, comprised before of mostly gangsters and petty criminals had morphed into the new societal boogie men. Crazed beatniks, surreal artists, jazz musicians, junkie dope addicts, marijuana smokers, poets, juvenile delinquents, commies, floozies, hookers, strippers, porno producers, drunks, serial killer nut jobs, rapists, voyeurs, psychos, schizos, sadists, sexual deviates, and other psychologically damaged individuals. The sixties would add hippies, LSD droppers, pop artists, racists, blacks, Hispanics, draft dodgers, and ****.
So originally they had this sort of time delay filter, and combined with the Motion Picture Production Code (1930 -1968), there also a serious censorship filter. Part of the charm of the classics was the creative ways the directors, producers, and artistis wiggled around the dictates of the code. As Classic Film Noir coursed through into the 1950s and the Code began to weaken with the competition from TV, the stories began to explore previously taboo subject matter (deviates, racsism, drugs and sex) and they began to catch up with real time events (tales about communist infiltration, radioactive materials, nuclear testing, beatniks, etc., etc.).
Then once the Code completely disappeared Noir was cut loose from most of its original moorings, this allowed creative artists the freedom to delve into infinite variations. Independent poverty row Film Noir that went too far over the line depicting violence started getting classified as Horror, Thriller (even though they were just say, showing the effects of a gunshot wound, or dealing with weird serial killers, maniacs, and psychotics, etc.). Those that went too far depicting sexual, drug, torture, etc., situations were being lumped into or classed as various Exploitationflicks, (even though they are relatively tame comparably to today's films). The the noir-ish films that dealt with everything else, except Crime, concerning the human condition were labeled Dramas and Suspense. Those that tried new techniques, lenses, etc., were labeled Experimental. Some films are so so bad in all aspects that they acquire the "so bad it's good" Cult status.
Honey's been rode hard and put away wet so many times by Tom that she figures she has "40,000 miles on me."
Nehemiah Persoff is Kicks Johnson a jazz pianist, and another member of Toms beatnik "posse." Kicks narrates the story in beat slang which is told in the film in one long flashback. Kicks needs doe to get back his union cabaret license so that he can earn a living playing the clubs.
Before they leave the hotel Gage calls Tom and tells him he's got some squares on the hook.
Gage: First we'll play them cool, then we'll play them hot!
Noirsville
Gage, Erica, and Arthur take Erica's car to The Fat Man's. There they meet up with Tom and crew and spend a wild hour or two dancing to Kick's piano music.
"When Tom gets fat all the other cats get cream"
When Erica and Mitchel get into a tiff over spending his last night ashore listening to this "noise," Erica starts coming on a bit to Tom. Tom reacts.
Tom: Let's you and me go take a walk, huh.
Erica: I can't do that.
Tom: Why not, you want to.
Erica: I don't do what I want, I do what I should.
Tom, Gage, and Kicks take Mitchel to Ben Davis (Paul Stewart), a nightclub owner friend of Mitchel. Davis thinks he's wise to the con, thinks Mitchel lost big gambling and is getting muscled by Tom and Kicks for the doe. Davis pulls out a .45 and tells them all to scram.
The rest of the cast includes Barbara Nichols in a bit part as Sandy the goofy chorus girl girlfriend of Ben, and Buddy De Franco playing himself.
Anthony Quinn (The Long Wait (1954), La Strada (1954), The Naked Street (1955), Requiem for a Heavyweight (1962), Across 110th Street (1972)) and Nehemiah Persoff (The Naked City (1948), On the Waterfront (1954), The Harder They Fall (1956), The Wrong Man (1956), Psychic Killer (1975)), both seem just a tad to long in the tooth for being members of The Beat Generation, but Jay Robinson (Tell Me in the Sunlight (1965)) and Kathryn Grant (Rear Window (1954), Tight Spot (1955), 5 Against the House (1955), The Phenix City Story (1955), The Brothers Rico (1957), Anatomy of a Murder (1959)) are more convincing and seem spot on. Jay Robinson will always be remembered by me for his two turns as the vile Roman Emperor Caligula in The Robe (1953) and Demetrius and the Gladiators (1954).
Carol Ohmart best know for the campy (House on Haunted Hill (1959)), holds her own with Quinn's loose cannon Tom, Arthur Franz (Red Light (1949), The Sniper (1952), Beyond a Reasonable Doubt (1956)) is also quite believable.