mrroberts
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Posts posted by mrroberts
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You want *Rope* to be like a Sherlock Holmes or Thin Man movie, a "Who done it?" . But that's not what Hitchcock was all about. Most all Hitchcock movies tell you much of the facts and what to expect. In the beginning of *Dial M For Murder* Ray Milland tells us exactly how his little murder plan is going to work. In *The Man Who Knew Too Much* we get the whole assassination plan explained to us. Its all about the suspense, the anticipation of what's going to happen. In *Rope* its all about will Stewart figure out what's happened (the murder) or will someone finally crack and confess (Farley Granger).
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During the ceremonies when Billy Bishop gave his speech it was mentioned about the recruits coming from all over the world, the different British commonwealth nations, the U.S. and other countries. Canada was a safe place to train, even many Brits came over for training. Pilots from other European nations that were occupied by the Nazis came to Canada. A lot of the aircraft used were from the U.S. through the Lend Lease agreement. Some pilots actually joined the RCAF, others joined up with RAF units in Britain. Of course eventually they all became part of the air defense of Britain. And then the Americans joined in the fight too. It was a real team effort. --- The military air museum in Hamilton, Ontario has a lot to see. The museum in Trenton, Ontario is also very impressive. They had (I guess its still there) a neat exhibit about the real life WW2 "Great Escape" , air men escaping the German POW camp.
Edited by: mrroberts on Sep 4, 2013 11:48 PM
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This sounds like the 1941 film *I Wake Up Screaming* and the actor was Laird Cregar. But you have the storyline somewhat twisted (if this is the film you mean). Cregar plays a detective who investigates a murder case. The victim is a girl he secretly admired from a far. The detective finds out who the real murderer is but he chooses to try to frame another guy who was a boyfriend of the dead girl. In other words the detective was insanely jealous of this other man and wants him to pay for the crime. This film story was remade in 1953 and called *Vicki* .
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Ted Knight had earlier appeared in an episode of "Highway Patrol". He played a news reporter trying to expose some mob activities and got beaten up rather badly. But Dan Mathews saved him in the end (I don't know why?) Ted should have found another line of work.
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Mr Dobbs always called his girl "Baby" , aka Lauren, aka Betty.
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I guess you have to give him credit, he treated everyone equally shabbily.
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The more I read about Rex Harrison its a wonder that he wasn't cast as Ratchett in *Murder On The Orient Express* (who was played by my man Richard Widmark) . If Rex had been in the movie there would been more than a dozen lined up to take a stab at him. Using real weapons no less.
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Steward? You do mean Jimmy StewarT right?
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Is it safe to assume that everyone recognizes Ted Knight (aka Ted Baxter, MTM show ) as the cop standing guard in the last scene in the film?
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In *Niagara* Joseph Cotton does show some of that charm when Jean Peters befriends him. I always wish that they could have ended up together, Cotton could have murdered her screwy husband (Casey Adams), that would have been fun to watch
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I wonder if Fly is related to Dead End kid Leo Gorcey? Right now I wish Cagney were here to put him in line
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I really like Joseph Cotten's work in *Niagara* . He really is a sympathetic guy, but very troubled, and potentially very dangerous. His no good cheating wife (Marilyn) learns that the hard way. Even though he commits the crime and must pay for it I find myself rooting for him to somehow get away, and its rather sad to see him meet his fate. Cotten plays the part very well, I don't think anyone could have done it better.
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I thought the Saturday Night Live skit from long, long ago was very accurate (as was Belushi's Capt Kirk)
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To get back to the original point of this thread, and its a flawed point, no one has altered/tinted the original black and white films shown here. The color tinting that we are seeing in these early films was put there from the start by the original creators of the film. When film was first created, if color was possible at the start, would anyone have wanted to make a black/white film? If sound had been possible from the beginning would anyone have purposely made a silent movie? The early film makers made do with what was technologically possible at the time. Tinting was an attempt to add some enhanced realism to the picture. Over time the technology improved greatly. Then cost was a factor. When it was possible to actually film in color it was at first very expensive. Over time the expense came down, then it was more a choice of the film maker whether to film in color or black/white. Hitchcock purposely chose to film *Psycho* in black/white for example. In conclusion, I believe most of us want to see a film as it was originally done and accept the limitations that existed at the time.
Edited by: mrroberts on Sep 3, 2013 11:30 PM
Edited by: mrroberts on Sep 3, 2013 11:31 PM
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Its been a very long time since I saw the *Psycho II* sequel. I remember it as being rather good, Perkins and Vera Miles both replayed their roles. The film was made soon after Hitchcock's death, I wonder if he would have approved?
Edited by: mrroberts on Sep 3, 2013 7:28 PM
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Sepiatone, you didn't work with *Gung Ho* Michael Keaton did you? And there was that Richard Pryor movie *Blue Collar* . And who can forget the opening of *Christine* ? I worked in a steel mill inspecting finished product. So being a butler to Carole Lombard would be a big step up for me.
Edited by: mrroberts on Sep 3, 2013 7:20 PM
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I wonder if taking some crummy new films and decolorizing them would make them better? HA! Probably not. --- The point is, show the old movies the way they were made, its fascinating how many things they tried to do early on in film making, and some effects really added to the product.
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I'd like to see TCM show *Tough Guys* , Burt and Kirk's final film together, I know its too new for the classic fanatics but the actors are classics. And its a comedy, I'm sure the guys really had fun doing it and I enjoy the heck out of watching it.
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Hitchcock spent one week piecing together a scene that lasted how many seconds? I think he just liked working in the editing room, or maybe he took a lot of naps?
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I just viewed your Mitchum interview, and I also just bought the criterion DVD of the film, on sale of course. A ton of stuff on the DVD (2 discs) so a lot to go through. Mitchum talks in a lot of generalities, he always gives the impression of being indifferent but you know he took his work seriously. And he really liked working with Charles Laughton as the director.
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I don't believe that Hitchcock meant the film to be thought of as a "horror" film, remember Hitchcock is all about suspense. The first killing we see is quite a surprise (no one saw that coming) and it seemed graphic in 1960 (very tame compared to future movies) but it was quick and then it was over. Then the story enters a new phase , the sister comes looking for Marion and we the audience don't really know what's going on. The second killing is not quite so much of a shock, when the snoopy detective goes up in the house we know something is going to happen. And little by little we learn somethings about Norman and "Mom" . Hitchcock found the ending to the story to be rather amusing.
Edited by: mrroberts on Sep 2, 2013 11:55 PM
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I would say that *Alvarez Kelly* is a very average film but the two stars definitely pick it up a notch or so. Holden and Widmark worked very well together here. Supposedly Holden was having a little trouble with the drinking at the time but Widmark befriended him and helped keep him focused on the work.
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I believe that Hitchcock himself has said in interviews that *Shadow Of A Doubt* was his favorite of his own films. An ordinary town, ordinary people living ordinary lives (that could be very boring) but a "monster" is right there among them and they haven't the slightest clue about that , except for one very observant young woman. She has figured it out, but she knows no one will believe her. To make things worse, the "monster" knows that she knows. How do we resolve this? Hitchcock is all about suspense and this film has it big time. Having a very good cast makes it even better. You'll find many other Hitchcock films are of a similar nature. If you haven't seen them I think you would like *Strangers On A Train* , *The Man Who Knew Too Much* (either version, the 1956 remake may be more appealing) , *I Confess* (I think a very underrated Hitch film). Among my personal favorite Hitchcock films are *Rebecca* , *Rear Window* , and *Dial M For Murder* , and of course about a dozen or so others
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I am revising my choice, I would like to be a butler, if I could buttle for Irene Bullock (Carole Lombard)
Showing too many of the same movies over and over
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I think Bogie called his previous wife "Mike Tyson"