mrroberts

Wasn't Ringo a Canadian. Born and raised in North Bay, I think

I agree with the previous poster 100%. The only silents I tend to watch all the way through are the comedies. I really appreciate Keaton, he was so creative, amazing. In general what these film makers did with sets, effects, the stunt work, etc was incredible, they were going into uncharted waters and like the early explorers they mapped out the paths for the future. Any true film buff has to appreciate these early films for that. Edited by: mrroberts on Sep 11, 2013 1:09 PM

Remakes were routine in the old days, of course they still are today. But back then, before dvds, tapes, tv, etc. audiences saw a film when it came out and that was it. After 10 years or so the old film was faded in some people's memories and a younger generation was around that never saw the previous version. I know some older films got reissued to theaters for limited runs but how many had the opportunity to see them? Comparing the two films, the Palance version isn't bad, but the Bogie version is a home run. The newer film is shot in color, so its good as a travelogue at least.

So you would have Cagney play the prissy uptight Felix? Nah, I think Bogie (like he did in the bookstore in *The Big Sleep* ) could pull it off better. Even though Cagney wasn't a slob in real life, I think he could be the rough, bad mannered Oscar.

George Reeves night has to include *The Strawberry Blonde* . He has the honor of being socked by Cagney!

Its a tribute to Hitchcock that he hit so many "home runs" that some are considered "lesser known".. None the less they are still "home runs" too.

How did Scottie get off that roof anyway?

What was that line by Joel McCrea when he's introduced to his bodyguard, "Who's guarding who?"

"The Odd Couple", with James "Oscar" Cagney and Humphrey "Felix" Bogart. And for the card games, Eddie Robinson the cop and, George Raft as the buddy who just got out of the slammer. And Ann Sheridan and Joan Blondell as the gals next door.

I want to see a Hitchcock night, followed by a Cary Grant night, an Eva Marie Saint night, a James Mason night, etc, etc. Each night , *North By Northwest*

Ah, Seinfeld. I'm one of those people who has never thought that show was that funny. Very, very, overrated.

This was such a great interview. Kim Novak was so open, so honest. And obviously some of these memories are very painful for her. And a big thumbs up to Robert Osborne. He's very sensitive to her. He asks her a question, if she gets too emotional, he backs off a little, or even changes the subject. No gotcha stuff here and in the long run he gets the most out of the interview. I would believe most anyone would be comfortable sitting with him and conversing (like we see with the Johnny Carson interviews).

George Sanders is at the top of his game in this film, coming right on the heels of his "cad" performance in Hitchcock's *Rebecca* . And in *Foreign Correspondent* , I think Hitch was actually playing for some humor with Edmund Gwenn's assassin, he's almost comically inept in his attempts to murder our hero (that guy McCrea) and the hero seems so naive about what's going on. Come to think of it, someone (like a Mel Brooks) should have done a spoof of this whole film. Blake Edwards may have been thinking of some of these scenes when he did *A Shot In The Dark* and assassins were after Clouseau.

Probably why many movie stars in fancy cars had limo drivers. And those movie stars sat in the back of those fancy cars that had privacy shades to draw down, so they could pick their noses in private.

And there is the car chase scene, after the assassination ,and before the windmills. Man in the village standing there watching the cars go whizzing by. Blake Edwards used that bit in *The Pink Panther* , the great car chase scene with Inspector Clouseau (in his suit of armor) after the 2 gorillas (the Phantom and his nephew).

As has often been pointed out here on the boards, Robert Osborne is certainly knowledgeable about many of these films but he is reading from a prepared script, and others are researching these points. If there is a misstatement , other people aren't being accurate.

Josephherndz, I understand your frustrations here, this whining goes on all of the time, I have come to disregard most of it. Sometimes I think some people just want to get a rise out of others. Sometimes I don't think those posters are that serious, or they just don't know how else to make their point. Don't let them lower the bar for the rest of us. If you have real issues to bring up, or just want to start conversation, please feel free to do so. I expect TCM to bring us the widest variety of programming, much of which we would ever have little chance of viewing elsewhere. I don't expect them to program for me 24/7 and am actually pleased to see them show some films that I know others are eager to see. If I get 2 or 3 films a day that I like, I'm happy. How much can anyone watch in a day anyway?

Tom, if my memory is right here, early in the film Howard (the experienced prospector among the three) remarks about finding and eventually losing several fortunes in his life. It seems for him, the search is now the real thrill in life, he has a nonchalant attitude about finding another fortune. Notice how trusting he is with his partners, in contrast to Dobbs, who gets increasingly suspicious of everything. Curtain, the young guy of the three, is sort of on the fence here. Of course he learns the hard way about what gold fever does to Dobbs. At the end, Howard just laughs off the irony of their plight (losing all of the gold) and after a few seconds, Curt sees things the same way. Que, sera, sera.

I wanna see *North By Northwest* ! Wait, I think its coming on soon.

I should certainly add to the last comment of mine that Americans weren't the only ones willing to make those "ultimate sacrifice" decisions.

Sepiatone, its also worth noting that those Japanese kamikaze pilots were actually given a funeral type ceremony before they took off on their one and only mission. Regardless as to how dangerous a mission an American went out on, there was always some hope of returning. It was an individual decision relating to how hopeless the situation was whether the American made the ultimate sacrifice.

I suspect Mr. Fred C Dobbs of this message board may have slipped TomJH a gold piece to give this film such a big build up. Doesn't matter, it still is a great film and deserves the praise. This is, in my opinion, the best film Bogart was ever in, but my favorite Bogart film role is still Roy Earle in *High Sierra* . Of course in that film, Bogart is the central character, he doesn't share the spotlight like he does in "Treasure".

Still, the aerial special effects in this movie were a big step up from Ed Wood stuff.

Cagney and Bogart worked together on several films, Cagney always being the star with Bogart the supporting player. I think they worked well together but there was some tension between them. Two guys the same age, both from New York City, but one came from wealth, the other relative poverty. Think of the Bogart movie *Dead End* with the rich kid and the poor street kids. I think Cagney had an unavoidable resentment toward the snobby upper class guys, he probably had many encounters with them in his young life. Bogart on the other hand was always uneasy about being of wealth and privilege, he was supposed to follow in his father's footsteps as a doctor but he quit school and joined the Merchant Marine. Then got into the world of stage acting, not exactly a place for high society types (unless you're very successful). So two guys, coming from different worlds, each trying to get to a different place. I don't think either could identify well with the other, so they certainly never became pals. Interestingly, Edward G Robinson got along very well with both Cagney and Bogart. I wonder if in the later years all three couldn't have done some kind of movie together, that would have been terrific.

Any cop who would be observing all of the weaving back and forth of this thread would be pulling everyone over by now.