casablancalover

Just being single at the start of the *"Couples week"*... If you don't mind, I'm bumping the music back up... *Later post:* Darin is a favorite of mine. That was something about him and Connie Francis wasn't it? He's politics and Francis may have never jelled anyway. She seemed almost an acolyte to Phyllis Schlafly, early right wing maven. Edited by: casablancalover on Feb 6, 2010 8:37 AM

So starts the darkest week in the life of a divorced woman. Especially a divorced baby-boomer. Connie Francis, _Stupid Cupid_ : http://www.youtube.com/watch?v=wTF3ggSaUGI Connie almost married Bobby Darin. Bobby wanted them to elope. Her father broke it up-according to sources --strict Italian. Connie started to have hits on her own with the support of song writers Sedaka and Greenfield, a couple of kids in NYC wanting to break into the teen music market. They wrote Stupid Cupid. More about Neil this week. Connie's music has been associated with unsuccessful love. And the rise of Florida bizarreness. Anyway, she's a singer I will feature this week, along with Darin, Sedaka, King, Gore, Brenda Lee and Ricky Nelson. Gene Pitney fits in here too, but he's getting his own day on Feb 17th. They were taking over the sound on radio, and it was the rise of the Baby Boomer music generation... Bobby Darin, _Dream Lover_ : http://www.youtube.com/watch?v=uBn1KgE8xCU

> {quote:title=molo14 wrote:}{quote} > I rarely watch the new films put out today. I really don't even have enough time to watch the old films I want to see, but I will occassionally check out a new film. I don't go to movie theaters anymore unless it's a special showing of a classic. My ears are very sensitive and the sound is just too loud for me. > > I come here to these boards for support all the time. So don't feel bad. As Casablancalover said, there are a lot worse things you could be addicted to. Thanks for your post, but may I take a moment to maybe offer an explanation to the sound. I am glad you still get to the movies. I know they can be loud. The sound is actually applied in post so carefully and so layered, that when the premieres take place in LA, technicians maybe there taking readings to be sure the decibel level is correct for the showing to best display their work. It's not unlike the DP showing up with light meter to make sure the projection isn't too light or too dark. I must ask around if the digital projection renders it a moot point now.. Getting back to sound. I can recommend two movies at least where sound is technically fascinating to the story. One is The Great Raid about the rescue of POWs from a Japanese Camp. The other is The Alamo where the battle sequences are loud, but sound-wise extremely busy.. Listen for them. They go from whispers to *explosions*.

I love the Disney clips too. I think the Beethoven one is my favorite, love the whole concept. Debussy is a tone poem and rather blank, so the emotion left out of it leaves it flat. Pretty, but flat. I'm afraid of opening your clips to Ravel.. It's not you JF, but if I see one more Bolero to the movie *10* I will scream... I do love the Ice Dancers Torvill and Dean however. Here's two views: -casablancalover (who still wears her hair similar to Jayne Torvill) starting her third year on these boards Edited by: casablancalover on Feb 5, 2010 10:38 AM

Ro- Thank you for finally seeing this masterpiece! I loved your ramble about your impressions of the story and characters and especially your reference points in your own life. The movie is loaded reference-wise to the period. h4. It's not about the Damn Ham on Rye One that is alluded to that means more to me each time I see it is Ray Teal's (Mr. Mollet) character -the one who orders the ham on rye.. It is not the sandwich-making that is the essential driver in the scene, but the comments to Homer how he didn't have to lose his hands, suggesting that the WAR was some conspiracy to destroy America -(good, old-fashioned, Americanism). It was and I think still is a talking point for the John Birch Society, and that is what the reference was about. I do like the direct way Homer and Fred deal with him. And Homer, after the battle, claims the flag that has fallen, for himself because he's earned it. h4. G.I. Rights and privileges The scene in the bank with the SeaBee and Fred's interview at the drugstore are very important reference points. If it weren't for the G.I.Bill of Rights, the recovery out of abyss for two out of the three servicemen would have been deep. Continued Unemployment and disability benefits, continuing education (Marie's snide comment about the prospect of Fred going back to school), and LOANS (ta-dah! that's why Stephenson's a banker) were so important to the recovery of the US following the war, I don't think we've grasp the full import yet, even after reading Brokaw's Greatest Generation. Al Stephenson must fight with his men, this time for seeing that the returning vet's lives can be productive again, and Fred Derry must confront society's leaders who never went to battle, and now are determining his fate. The kind, friendly druggist you see is probably a WWI vet, and understands Fred's adjustment. But the new owner of the Drug Store (a corporation) is only too quick to point out that They are under no obligation to keep a job open for Fred.

In the mood for Elvis before bed: Devil in Disguise:

That was so good, MM. Von Karajan reminds me of Gary Oldman; never noticed that before.

Dr. Handsome- If you are looking to meet women, you've got a great name!. Welcome to the boards!

The nightmare scene someone had mentioned.. The next morning scene is a delight Fred: *"You know, I'm married.".* Peggy: *"Yes I know."* The startled look on his face at the fleeting thought he'd actually told her this last night! Notice that she is making scrambled eggs in a Pyrex pan. During the war metal was scarce, so Pyrex cookware became popular. *I guess the best of them are all ready married.* Then the cute visual joke Wyler plays for us using March and Loy:

Ah, kindred spirit! I love the Second Rhapsody. Jake played Beethoven earlier in the day (one of my absolute favorites-1st part of the Moonlight Sonata) and I thought about the melody progression from Mozart to Beethoven to Brahms to Tchiakovsly to Debussy to Gershwin to Bernstein... Beethoven 6th Symphony: http://www.youtube.com/watch?v=WPKpFNm3QMM Tchikovsky Nutcracker Suite: http://www.youtube.com/watch?v=RKcQX03S3_o Debussy Claire de Lune: What do you think of the final clip,that didn't make the cut into Fantasia..? I guess nothing is more magical to me than moonlight...

I like the morning after. You can see what he's thinking: The gesture with the Boots is a great one too. It's universal. My son did sort of the same thing when he was mustered out of the service.

Yes, yes I did. I can't remember back that far, but I think I had him watching Citizen Kane after *Mr. Rogers Neighborhood* once...

Gershwin: http://www.youtube.com/watch?v=jK_ShoOL2ao http://www.youtube.com/watch?v=HDsPydW3Y54 Edited by: casablancalover on Feb 4, 2010 1:18 PM

The day yesterday. It has been discussed here before. http://en.wikipedia.org/wiki/The_Day_the_Music_Died

Bobby Vee: http://www.youtube.com/watch?v=2HM14xsCw-g Bobby Vee is important; http://en.wikipedia.org/wiki/Bobby_Vee#The_day_the_music_died

Tim McGraw: http://www.youtube.com/watch?v=1VhMdT13G5s http://www.youtube.com/watch?v=YvrF3zGLXlc

Buddy Holly: Big Bopper: Richie Valens:

Boy, that brings back memories! Very electronic... My favorite electronic hit was Telstar by the Tornadoes: h5. I was an infant then..

Oh, I know. And where she must look, she will see the hooks in her field of vision.. Hers is the most sensitive expression, like she has thought this through, and she already knows how to respond to him.

> {quote:title=CineMaven wrote:}{quote} > Sixth grade, ey? Saw a little of "The Best Years Of Our Lives" last night. Is that a perfectly constructed motion picture or WHAT! Everyone was perfect and I especially like the son. > His line readings were great! The end with Dana and Teresa and the swelling music cuts > into my heart...every...time. > > (Congrats on your own son's accomplishment). > > By the way Debbie, ya should have listened to me. I told you Eddie was a no good louse!!! Sheesh! > > Now here at the palace... In Monaco, no less! I have been busy today, rescheduling my calls for tomorrow and playing here, instead of doing rewrites. Such is Little Debbie... Actually, I am on the Movie Rambles II about said Masterpiece by Wyler/Toland/Sherwood.. I was just discussing Toland's work. I know we will get to Friedhofer's score.. it's played to cue our tears. Re: The Hurt Locker: I did ask my son how much layering is required in explosions. Quite a bit.

Thank you. h5. In my previous post, is it: The composition in the shots are wonderful, or is wonderful? Always have trouble with that. I need loving proofreader -cause I can't afford to pay him.. haha.. Ro,ro- Notice early when they arrive at the Parrish home. Toland POV is through the cab window, further framing the scene. Like a window. And the reaction of his loved ones when reality of the moment is shown. Mother cringes. I fear posting too many shots. Toland's work here is a masterpiece. So much of this movie is really in conversation, yet the action has to look natural. As a writer, I really appreciate how much flow and beauty Gregg Toland gives to his shots. He can tell the story better than so many can even imagine.

Yes, Jack is right. And you will need the kleenex early. I watch with amazement each time at the photography. Gregg Toland. He frames the scenes with a touch of Americana, not unlike Norman Rockwell. I have written about this before. The first scene, as early light reaches Homer's face as the plane (B-17) floats through brilliant and beautiful cumulus clouds is tear-inspiring for me. The composition in the shots are wonderful.

Howdy Mr Snarky... Interesting observations. When will you become Sineaster? Edited by: casablancalover on Feb 3, 2010 4:20 PM, who already knows how to throw a back-off pitch, and knows better than to react.

h4. LUIGI's is the turning point emotionally for Fred, Peggy and me. Peggy and Fred look like all the world just two people sharing lunch. But it is so much more. It is two souls making a connection; Peggy is drawn to Fred, not so much to Fix him or rescue him, but she does have this almost cosmic attraction of fate. Remember, Peggy works at a hospital -not a nurse- maybe in the office. Just a passing reference in the kitchen that first morning after. She has many opportunities to see many men like Fred. Why Fred? Why anyone? I posted her little slip in Favorite quotes: *"Maybe all the good ones are married.* -Peggy Stephenson. She is definitely attracted to Fred, and maybe it is he is filling what she needs, not that she can fill his needs. But she will try to fill his needs, and see that his dreams are met. We can see that in Luigi's. She isn't pushing him with her comments, rather validating his choices and offering encouragement while never alluding to Marie. I am not certain if Peggy sees Fred as impoverished. I don't think it matters to her what his station in life is now, but it clearly does concern her that Fred does not give up on a dream. Fred may see himself as not getting anywhere, and while he doesn't voice it, we think that maybe he's seeing that Marie is not helping his attitude any. *"Yeah. You can get crazy ideas right here at home."* -Fred to Peggy. Love is seeing fulfillment in one another. Fred declares first. He spontaneously kisses her in the parking lot. *"That had to happen. If I see you, it will happen again."* -Fred (from memory) Not a romantic setting at all. But this isn't about romance. This is about love. I think your observations of Fred are spot-on. h5. Remember school and we would have to write themes of Compare and Contrast and how we (at least I) would hate it? And here we are... Edited by: casablancalover on Feb 3, 2010 12:31 PM

Sorry for the cut ins, but your post was wonderful, and I had to comment. I deleted The CineMaven remark, not because I don't like it (I love CM too!) but it makes reading confusing sometimes, and I can't tell who's comments I'm reading when there's a multiple reference. > {quote:title=JackFavell wrote:}{quote} > I LOVE Myrna too... the way she takes the drink out of March's hand ever so subtly, the way she looks up at him all aglow when he has just effectively killed his career in banking with that sublime drunken speech... I like how she listens to Theresa but never says a word as March asks, "How do you KNOW they're unhappy? Are you GOD?" Then she utters that devastating line about how many times she and Al thought that they were through..... crumbling Theresa's resolve to destroy the marriage. Then she just holds her while she cries and cries. Much of Myrna's role in the film is unspoken.... when she does speak, it means so much more. Myrna has a great face for carrying that off. We can't help but to look at her expression no matter what she's doing. In Mr Blandings... she seems to have a matter of fact style that plays wonderfully against Cary Grant. She lets him do the mugging when they are in the scene together. That's fine collaboration between actors. Comedy is hard.. I wonder how she felt about her approaches between working with Fredric and William Powell? > and you forgot her achingly sad turn in Lonelyhearts.... > Gladys George - your review was absolutely spot on. That old couple may not be up and comers, but they are good people. She has always been a favorite of mine. Gladys gives me her WHOLE backstory without speaking somehow - a tough early life, married to god knows what kind of awful jerk, only to find Roman a calm port in a storm in her declining years. These two have led a HARD life, not Hollywood hard, but real hardship. Somehow they found each other and gave Fred what they could. She takes care of Derry, so Fred knows he is going to be OK. They don't talk, tell each other their feelings, or say I love you in this family, but the feeling of love and respect for Fred's sacrifice is so palpable in that scene it makes me cry. I didn't see her automatically as a stepmother, but more of the woman who cares and loves both the Derry men. Couples living together (common-law marriages) were common then in certain social strata. > Cathy O'Donnell - leaving the door just a little ajar after she kisses Homer good night..... This is a coda that we see in the bedtime sequence with Homer and his father earlier. Sadly, from a storytelling perspective, I have heard critics say it is too "on the nose" I believe they're wrong. > Whenever I see this film, I actually do feel for Virginia Mayo's character. From her point of view - Dana comes in and starts bossing her around, and his stubborn pride won't let her work for a living. If they loved one another they could weather the storm, but they don't and there is no way around it. From the minute Fred rings that doorbell at Mayo's apartment, we know, just as Peggy knows, that there is something wrong here. And by the way, the scene with Andrews standing outside the door waiting for her to buzz him in is amazing... a man shouldn't have to wait for his wife to answer the door buzzer.... Theresa Wright looks like a mom leaving her boy at Kindergarten for the first day of school. I love Virginia Mayo's character too. The gentle kind way Hortense describes her before we see her.. *"..Poor thing works all hours..."* -Hortense really is gracious about it, but we immediately get a bad feeling about the whole situation (good foreshadowing). > Anyway, back to La Mayo -- she's so delightfully trashy, so inelegant that I give her kudos for portraying the bad guy with so much gusto and good-natured sluttiness. What do you bet she makes a play for Woody, the upstanding young man of good family, while she is enjoying Steve Cochran's charms? And yes, the contrast between Mayo's gorgeous white and glitttered body, and Wright's perfectly taliored, innocent black dress is stunning visually. Oh, yeah. Marie admits as much, when Peggy and her arrive at the door of the ladies room.. *"Ignore the sign. Go right on in."* -Marie Derry. I like the contrast in dressing too, and the good girl/bad girl flip of color use... My favorite little touch of her character is this scene: Sulking on the couch, waiting for Fred to make her dinner, she pulls off her fake eyelashes. It is a reveal: She's either not going to bother looking nice for Fred, or she's self-destructing --probably both. > And I've always appreciated Mayo getting the title line in the movie - "I've given you the best years of my life, and for WHAT?" The fact that she says it to Andrews just makes the irony of it complete. *"..You'll find a good job someplace else. There are drugstores everywhere."* - Marie Derry. Her last line sums up what she really feels for Fred. It is contempt for the man she thought she married, and what he actually is, which is just a normal guy she cannot relate to now. I find it ironic that given the time and space that they met, I am certain they thought they were in love, same interests and they were attracted to each other. But experience has teaching Fred some things, and Marie resists, wanting what was. > What's amazing is how much we can take from this film and apply it to our lives and relationships now...Al's business quandery is one I can completely relate to, having worked in banking for many years. All the characters are making adjustments between what is expected of them in the world, and what is necessary for them at home. Wyler was a genius. The best movie of our lives? I think it just might be. I comply with your assessment. So much to learn about ourselves... Edited by: casablancalover on Feb 3, 2010 11:39 AM Edited by: casablancalover on Feb 3, 2010 12:30 PM