casablancalover

Oh, Nando! You have given me the laugh of the week! It truly is the "****"@%* moment! I also especially enjoy her last meeting with Elliot, when they decide to break up-- She talks about going to a bohemian restaurant, and then apologizes for being depraved. Geez, talk about your repressed Bostonians! She thinks she's being depraved! ! ! ? Apparently, this is not a woman who will have a "Girls Gone Wild" weekend in Ft Myers come March! I guess I have a totally different take on depraved! I thought her stint at Cascades was the best thing that ever happened to her! Poor Tina! Did you get the code for her promise to "drink all her Hot chocolate"? ? ? Priceless.

> {quote:title=ding09221941 wrote:}{quote} > what i would like to know is everyone's opinion about what is was that was hinted at having happened the night the two spent 'lost' in brazil. we see henried looking at davis and a dissolve goes to the next morning. are we to think they 'smoked a cigarette'? i wonder what olive higgins prouty says in her book... > ding I don't need the book. _It_ happened. Otherwise, it was just a sleepover Ha-ha! I think Gerry introduced her to the "cigarette kiss" after... ;-) Remember, the following nights, he's meeting her on the adjoining terraces. That would even weaken me! His suggestion is very romantic, and for 1940, very suggestive. If nothing but Bundling happened that night, Gerry is very noble, and wouldn't have gone after her the next night, would he? Where's the guys weighing in on this one?

> {quote:title=Nando_Morton wrote:}{quote} > Ha ha! The Weimer Roast Mystery is finally solved! THanks for the link, Vallo! HI Nando! *Now, Voyager* is also one of my all time favorites; I wanted to be the poster -"Charlotte Vale" but apparently someone had already had taken that, so I named myself after my favorite movie, instead of favorite character. The scene that always brings a unintentional smile to my face is when Charlotte races to the train station to see Gerry, and tells him about Elliot. Saying (paraphrasing here) >"*In many ways, he's like you [Gerry] Oh, not you sense of play, or style or taste ...* *(Or what! Apparently he is very much _not_ like Gerry! Message was edited by: casablancalover

No, I haven't; but it sounds like great fun! You are watching this movie with the right attitude, CK, that's why you get it. This type of story requires, great clothes, great locales, beautiful women solving great moral dilemmas with their own absolutely perfect hero-boyfriends! *Another Time, Another Place* is another fun one that is one of my favorite of Lana's Camping Trips !

> {quote:title=ChiO wrote:}{quote} > > Now, _casablancalover_ has a different and legitimate reaction. I am curious as to casablancalover's view on how *Hitchcock* does that with hope that it will provide another way for me to look at *VERTIGO* -- until it becomes my favorite movie of all-time. Thinking about Vertigo, it is interesting that Madeline's story is a narrative- Scotty's is more from his Point of View. Notice how often we gaze at Madeline, the way Scotty would take her beauty in, so to speak. The first view in that lucious green gown at Ernie's(?). The shot is slowed down. It adds to the ethereal quality of Madeline; she is too good to be true in her beauty! ChiO, can you think of a scene where we see it from Madeline/Judy's POV? Only when she is gazing at the portriat of Carlotta. But even Scotty is looking at that too. You got me thinking that Hitch has a MO about his choice of shots; I will work on this later. I have to get back to the script now.

> {quote:title=JakeHolman wrote:}{quote} > casablancalover wrote: *Now, gang, have you ever read a movie?* > > No and don't want to. > > And, Tin Cup, imo, is a very good sports movie...if you are referring to Kevin Costner and Rene Russo. > > *'When a defining moment comes along, you can do one of two things. Define the moment, or let the moment define you."* > > *Tin Cup* Jake, love your quote. In fact I have "favorite line from a movie" is on my thread watch. How do you do it? I wonder if you can remember every sweet thing a lover has said also? Or, are you a projectionist? I need to go now and define a moment....

I have been reading screenplays lately. Many screenplays. It is an education in itself. *American Beauty* is sometimes a fascinating read, but I found myself skipping over parts because they read boring. But the movie isn't. *Tin Cup* reads wonderful on paper, yet I didn't think much of the movie itself. Yet just as I am concluding that one is drama and the other comedy, then I start to read *Ghostbusters*, and I can't even finish that. But loved the movie. A couple of good sites are www.dailyscripts.com and www.simplyscripts.com or google _Screenplays for You_ for a wonderful compendium of work. I've read films I've seen and many I've not, just to see how visual the screenwriter is on paper. I often reread the opening scene, for that gives a good idea of how strong a story is going to be. But some with the first few pages are head scratchers at first, like *Sideways*. If I were a Producer, I would pass on that one. Now, gang, have you ever read a movie?

*E.T.* was the only one on that list that I could agree with. *Field of Dreams* not mentioned!?

> {quote:title=Bargar wrote:}{quote} > Cine.....One of the first things I thought about when I got up this am was I made a big > mistake. I didn't weigh in on "Vertigo". I posted on the voyeurism of "Rear Window". > So sorry! > > That said, I think your observations are interesting and provocative. I especially like > the "we watching Scotty watching Judy". Bargar and CineMaven: This is a common POV for Hitchcock. He will puts us into the character, with action happening to us (one of the strongest being the shower scene in Psycho) or he will do the flip side, the viewer committing the action! He does it time and time again; and we cannot look away. I notice my work is almost a narrative (the viewer is a third party, outside the story) through and through, although for my latest project, that POV will serve the story well. I hope I'm making sense here. > *Bargar again:* > Scotty's job of "following" became "stalking", in my opinion. > > He becomes a "hero", saving her life, which feeds his ego, which he needs because he feels weak > suffering from vertigo. > > Obsession fills a need. The audience becomes fascinated by the transformation of > Judy into Madeline. When she emerges through the door in a foggy image, she > takes on an etheral quality. (ghost of Madeline?) > > It is almost as though we are walking behind Scotty in each scene. Do you think Hitch is trying to help us empathize with Scotty, or further deconstruct his behavior? I think one perspective is Romantic, the other, Mystery in all the dark tones. I think Hitch adored reading Daphne Du Maurier.

HA,ha,ha,ha,ha,ha.......

I missed *High School Confidential* ! ? ! ? Damn distracting election.

Susan Sarandon and Tim Robbins (they don't need no stinkin' papers!) Jimmy Stewart and Gloria Stewart Joel McCrea and Frances Dee

> {quote:title=CineSage_jr wrote:}{quote} > Many thanks, affendi. Great, another new word from CineSage! Geez, its just like school.

For me, its a toss-up between *Mon Oncle* and *Playtime* (for different reasons), though I would like to see *Trafic* sometime.

CineSage, I've always loved your take on post titles! Methinks you should be writing "THE WORD" for Stephen Colbert! I Don't remember everthing from the previous list, but I enjoy watching: *Sullivan's Travels* *Mr Deeds Goes To Town* *The Primrose Path* *American Madness*, and anything by Laurel and Hardy! Your post was a good read WhyADuck. I thought your last comment was in keeping with the past Depression, not the current one.

Welcome! I have seen the British version on BBC America, enjoyed it, but not this new one. Hopefully, it is cleverly written so I won't feel like I've stepped in the middle of the story.

I'm more into comedy than horror, so my Favs would be: *The Addams Family* *The Addams Family Values* (one of the few instances where the sequel is better than the original, IMHO) I had posted about some that really terrified me, but I got my adjectives bitten right off, so I'm not going down that road again! May Raul Julia RIP.... what a gifted actor he was!

I'm in on this idea!

> {quote:title=ccbaxter wrote:}{quote} > I just want to convey thanks to the TCM programmers for the very enjoyable Tati films last night. Afterwards, I spoke on the phone with a friend who also watched the entire line up and we had great fun comparing notes on the films. > > Merci beaucoup, TCM. No gang, it wasn't me; could've been Fran K.

> {quote:title=TikiSoo wrote:}{quote} > Yes, my fave guy Sheldon was a gangster in TH&HN. > > My question: Why does music always get louder at the end of a movie? There must be a real reason they do this, as it's pretty universal. > It *can't* be to wake dozing audience as is always suggested, or it would be admitting their movie is a stinker. I hate waking to the music swelling to "The End". :-( TikiSoo- I was told by some theater old timer's it was to wake the projectionist! Ha-ha! No really, that same person said (seriously) it just helps out the ushers, so it did have a practical reason. Time to open the doors, for an orderly recession of audience. I buy that. Also, he said the projectionist would raise the volume sometimes before those movies with intermission breaks, as a forewarning to the concession stand. It really would seem odd to me not to cresendo the movie with the music swelling. I think it does first and foremost serve that purpose.

I'm sorry I missed the beginning; did he get the mail delivered the first day? I kept wondering!?

*Jour de Fete* is the most slapstick work I've seen by him. Doing things the American Way? The race for his bicycle is the best. It is interesting that it is all post-sound.

> {quote:title=JackFavell wrote:}{quote} > a string of wieners? I compromised; I had a California Bleu Burger! hamburger with bleu cheese and tomato and lettuce. Lettuce enjoy ze le cinema mon ami ! !

> {quote:title=ccbaxter wrote:}{quote} > Yes; humor versus comedy, if you will. Yes, I will. I need stepping stones for my lawn! What does one have for refreshments for Tati's films tonight?

> {quote:title=ccbaxter wrote:}{quote} > ILRM, that's great to hear that you loved Mr. Hulot's Holiday. The scenes that made me laugh the loudest were Hulot on the water with his boat, and the mistaken 'duck hunting' scene. I also found upon subsequent viewing that there were lots of little gags I didn't catch the first or second time around. The film is brimming with subtlety. > > It's interesting that Tati couldn't resist tinkering with the film several times after its 1953 release. He made some changes in '63 and again in '78. This before we've come to know the term 'director's cut'. The TCM article on [Mr. Hulot's Holiday|http://www.tcm.com/tcmdb/title.jsp?stid=83708&category=Articles] goes into more detail. Yet you know, cc, it can't be classified as slapstick. It seems more like a visual joke. There are funny songs and then, *there are musical jokes.* Know what I mean?