FrankGrimes
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Posts posted by FrankGrimes
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Hi, ButtersickGreer -- oh april just put a spell on him and get it over with. heehee! i already told you i am sick, but not from april.
How do you know the Goddess did not get you sick? I'm thinking she did. It surely wasn't me.
You're not wearing your badge right now, are you?
Hi, Miss Cauldron -- A thousand posts in one day? Only your Sybil can do that.
Okay, so it takes you two days. A minor detail.
You give me more credit than I deserve.
Smartest thing you said all day.
In the mean time maybe you can ask Metsie to whip up a potion and we can borrow Bronxie's voodoo doll if he still won't behave.
Can't fight your own battles, Ranse? You're either hiding out in Monument Valley or runnin' to others for help.
And stop posting photos of cats. You know I have a weakness for them.
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four?five?six? goodness me, it never stops! a person would drop dead of being too cunfused for having that many sides.
Let's see, one side is sneaky, one is naughty, one is icy, one is dramatically funny, one likes electrical shock, one carries a garter gun, one carries a voodoo doll, one insists I watch Harvey, and one is very lively. Sybil is exceptionally crazy.
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Hola, Miss Former Texas -- What heart? - It's as big as Texas.
And as cold as Manhattan.
Congrats on 10,000 posts!
This Count can't count.
I just like to congratulate people a day in advance sometimes.
Howdy, Miss Current Texas -- she's not lying frankie, her heart really is as big as Texas, even bigger!!!
You must be coming down with something if you actually believe that. Ohhh, I get it now. You're in a trance. Stay away from that cauldron!
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wow! three sides? that quite a handful frankie.
Keep counting. I'm speaking to the sneaky side right now.
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Hi, Ski Bunny -- its always the personality. a girl has two have two sides exactly like you. where's sybil? april have you seen her lately? i think frankie wants to see her? heehee!
Two sides? This Count counts more than that.
Good Snowy Afternoon, Mrs. Doniphon -- Are you sure he can't see them? He's always talking to them...oh no, maybe they've just replaced "Mother" in his mind....
I don't think Sybil is in my mind. She certainly exists around here. She's tough to keep up with, too.
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What heart?
Congrats on 10,000 posts!
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From girl-to-woman.
...to-girl-to-woman-to-girl-to-woman-to girl... She's a doll!
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Howdy, Miss Kitty -- You know you have a wonderful thread when you've converted
Bronxie to watching and brilliantly analyzing westerns. Way to go, Pilmgrimess! By the
way, I caught your little "exeCUTE." Yeah, I'm watching you.
You bring up a point of interest to me that I'd like to ramble on, if I may.
Go right ahead. It's your thread.I could be mistaken, but I don't think Ford was really one to employ irony as much
as he may seem to. I used to think he did---especially in view of the whole "print the
legend" thing. But, lately, situations in his films that appeared to be ironically
presented, now seem less so. It gets more complicated than that. The guy said
"print the legend"---but didn't Ford just present us with the truth---the facts? I'm still
not sure which way to think on that one.
Yes, you have it right. Ford tells us the truth and the truth changes our opinion of
Ranse and Doniphon. We are basically playing the role of Hallie. That's why I
believe watching The Man Who Shot Liberty Valance is FAR MORE powerful after
its initial viewing. Why? Because we know the truth at the beginning of the film.
We understand Hallie's feelings right away and it hits you like a ton of bricks early.
We don't feel this way in our initial viewing of the film because we must learn the truth.
That's why watching his films has been a voyage of discovery---of the movies and
of myself. So many of my first impressions have either altered or deepened. Back to
the original thought, it's the relative lack of irony in his movies that makes them so dear
to me. I believe irony distances you emotionally from something, it undercuts the power
of direct emotional contact-- whereas Ford's films consistently pull me emotionally closer
to what's happening on the screen. Which is also why I have difficulty discussing them
without resorting to intense subjectivity. I've never become so personally attached to
one director's works like his, it's as though a kindred spirit had made them so perhaps
that's why I "feel" them more than simply "watch" them and yet they give my mind a
great deal to ponder and wonder at.
That was beautiful. I guess this Ford fella must be a great director if he can shut you up.
Okay, I'm joking with you, Miss 9,000. Ford IS a great director because he reaches you emotionally and he does so by touch and feel, not by spoon. So why is it that you are unwilling to share your "intense subjectivity"? Intense subjectivity is far more compelling than any kind of objectivity. Do you fear some folks will say you are wrong, stubborn, foolish, and crazy?
When I was a kid, it was the directors who were fairly saturated in irony who appealed
to me: Hawks, Wilder, Huston to name the trinity. Lubitsch, too, and he and Hitch still
hold rank. But Ford's movies are like old Ethan, they're out there, dwelling separate and
apart from the others but near in my heart.
Why do you think I tease you so much about Ford?
Sappy Pappy is one of the most emotional directors I have come across thus far. His films have heart. Surprisingly, you've got taste, Blondle. -
Howdy, Bronx Blossom! -- Please send my heartfelt wishes for a quick return to health to your mom, Barb. She's certainly a favorite of mine. You are lucky to have her close to you and she's even more fortunate to have you by her side. Y'all beautiful from where I sit.
That was a powerful review of The Man Who Shot Liberty Valance. I was blown away by it. You brought forth some brilliant observations and made many excellent points. You're a magnificently expressive writer and an especially keen viewer. You possess a uniquely wonderful eye. Not much gets by you.
I'm completely in love with your ability to be serious one moment and playful the next. I believe both are needed to fully appreciate life, and you've got it down, girl.
In the scenes where Wayne is blissfully unaware of the growing relationship between Hallie and Rance, Doniphon is the tough, self-assured, easy-going ruler of the roost in Shinbone, and he ambles around not in character it seems, but as the Duke, Wayne playing himself, clearly looking in his fifties, bemused at apparent ****-waist Stewart, but that's the smile of a proud lion of an actor showing up on the set as if he were a guest star in a vanity production of a friend, content to parody his vaulted screen persona. Then, after Tom knows the truth, Wayne then shifts into emotional gear and goes deep into his character's angst, miraculously becoming twenty years younger, actually looking like The Ringo Kid in STAGECOACH! The cinematography isn't attempting to "cover up" the aging Wayne as much as it's "opening up" the iconic timeless presence of Wayne as Ford's mythic cowboy.
Brilliant! I loved your point about Doniphon taking his emotions more serious once he learns of the truth about Ranse and Hallie. Very true. Sadly for him, it's too late. But to his eternal credit, he chooses to continue to love Hallie over hating her. Now that's BRAVE. Painfully brave.
In the case of Stewart, I at first was embarrassed by his portrayal -- all quivering "youthful" emotion and grit; despite the fact that he's from the East and is an intellectual, he's got plenty of moxie, defending Anna Lee and standing up to Liberty during the stagecoach robbery.(incomparable Lee Marvin), even though when he's being fed the Aquavit-and-coffee by Jeanette Nolan, he's hesitatingly drinking it like it was the foul brew he's forced to drink to get rid of Kim Novak's spell in BELL, BOOK AND CANDLE; he looks too vulnerable for his own good. Unlike Wayne, Stewart can't look twenty years younger but he ACTS as though he were 20 years old most of the time during the flashbacks, and his impassioned characterization harkens back to his own mythology as an actor, most especially in MR.SMITH GOES TO WASHINGTON. Stewart as an actor always wears his emotions on his sleeve, so he's the perfect foil for the reserved and stoic Doniphon. (therefore, the laconic and reserved Henry Fonda wouldn't have been a good choice for Stoddard)
Yet another outstanding observation and thought. Jimmy is definitely summoning Mr. Smith throughout his time in Shinbone. He's a very hopeful man whose naivete ultimately meets up with harsh reality.
At times the movie reminded me of CITIZEN KANE -- you've got the power of the press, flashback sequences, myth vs. reality, an attempt to get at the truth of a legend, "nostalgic" black and white cinematography to enhance the stylization.
Oooohhh, I like this one. I never thought of this, and I believe you to be very correct. There is a lot of Citizen Kane in The Man Who Shot Liberty Valance.
What was that line from BRINGING UP BABY? I'm paraphrasing -- the love impulse is expressed through hostility, or aggression? I think Ford was the kind of person who in private could only express his emotions obliquely, and his characters on film seem to do the same. Hallie and Tom are both strong and seemingly invulnerable; you can tell they've had a contentious relationship since childhood. They're both so fond of each other but can't really express how they feel.
You're on fire! You do get the sense that there is a lot of Ford in his films. I'm speaking of his own personal feelings and emotions toward love and humanity, especially relationships between men and women. The very best directors usually place their own heart and soul in their pictures. That's why their films tend to be deeper than most typical "let's shoot the script" directors. One of the biggest reasons why I seek out directors more so than actors or actresses is because of the personal touch of filmmaking.
I also agree with you about Tom and Hallie both being headstrong and maybe "too comfortable" with each other. They are basically married and have been for quite some time. Everyone in town views them as a married couple, although they are not.
I don't think it's Tom who is slow to marry Hallie; on the contrary, I think she's slow to come around to appreciate HIM. I think he just covers up when Peabody asks if Tom is going to get hitched; maybe to save face he tells him he doesn't want to be rushed.
My first reaction to reading this was disagreement... but you may very well be right. Why? Because I believe it's Hallie who really is looking for something fresh and new, not Doniphon. Doniphon is content. He's very happy as things are. His life couldn't be any better. He's in control of his world. Conversely, I think Hallie longs for something different. Her life is stale and Ranse ends up being her breath of fresh air. He really does open her eyes, mind, and heart. Her world comes to life with Ranse.
When I rewatch the film, I'm going to see if I can detect if Hallie is wanting or resisting marriage. My view of Doniphon would change if I believe Hallie is the one who is putting off marriage. Doniphon becomes all the more tragic and heroic if that is the case. If he's the one who put off marriage, then it's regret that overtakes him. I still believe this to be the case, but I'm gonna double-check my own feelings thanks to your astute thought.
The opening is so poignant, Hallie's arthritic fingers slowly pointing to Tom's garden; her faint but unmistakable look of disgust at husband Rance as he's being the blowhard politician (you can tell they do not have a happy marriage, and she regrets not marrying Tom; her education came at a cost, to all of them)
I still believe Hallie loves Ranse because of the look she gives him when he asks her if she wants to take up home in Shinbone. I just think Ranse fell victim to his own importance. He initially had Hallie on a pedestal but he eventually took her rightful spot.
Frank, I see what you mean about Doniphon -- what self-sacrifice! As a "simple" love story, his actions could be viewed as idealized, or if the characters are all symbolic and the story an allegory about the passing of the West and the reluctant but necessary coming of the railroad, he's the old cowboy who must make way for civilization that the railroad represents.
I'm not sure if Hallie representing a soon-to-be-progressive town in that analogy works for me. I believe Doniphon's love for Hallie is far more personal than any man's love for his town could ever be. I think Doniphon believed Hallie had made her decision and that he wasn't her choice. Now he could fight her decision or he could help her dreams come true. Keep in mind, Hallie doesn't like Doniphon's aggressive approach to everything. She prefers Ranse's peaceful approach. So, in an ironic twist, Doniphon lays down. He throws away his "gun." He takes Ranse's approach when it comes to defending Hallie and her happiness. He's peaceful. He's no longer carrying his gun. And he wouldn't for years. When Hallie left, his fight (heart) left with her.
The sets are claustrophobic; most of the action takes places at night; no sweeping sunlit panoramas, no Monument Valley. Fire seems to play an important role though, Tom casually strikes many matches, in his anguish over losing Hallie he sets fire to the house addition, the stove is always lit to make the giant steaks for the hungry men at Peter's Place. light and shadow represent the illumination of truth against the shadows of myth and legend, but they can also be interchangeable; the shadows are the comfortable past, but the past influences the future, fire and light represent the march of civilization, but that light can be harsh and glaring, and sometimes blinds us to the true reality of imagination and legend.
Now that's something to really visually chew on! I'm someone who looks for visual themes and I know Ford utilizes them quite often. I will most definitely have this in mind the next time I watch the film, which could be very soon again.
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By the way, I don't mind if you see the videos of Theresa and I; I thought you said you didn't want to view them at all -- and that was that.
That was that all right.
Hmmm, one girl likes to roll her puppy dog eyes and dramatically sigh while another means bossy business. :x
You're right, Kim, Theresa is mean. And so are you.
I see that you two together are serious, serious trouble. Angie has officially ruined you both.
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Geia sou, ChiO the Mann -- Frank-Someday-I'll-See-All-the-Movies-I-Need-to-See-Grimes
Now I fully expect to get steamrolled by some of the impatient dames on the board, ahem,
but I would not expect you to throw me under the bus. And you're a Cubs fan, dammit!
No DEAD END or ANGELS WITH DIRTY FACES or THE ROARING TWENTIES (!!!)
or THE CAINE MUTINY?
I haven't turned down gangster alley yet. That will happen in time. I'm more of a
40s/50s film guy right now because the directors that I like reside there and because
the films tend to be more visually expressive.
Just what exactly are you doing with your life?
Who broke street date with my autobiography? I need names!
Hola, Miss Pop Gun for Hire -- Hi Frank---I think you'll enjoy To Have and
Have Not, Dark Passage and High Sierra. You'll probably love In a Lonely Place.
Predictions! Okay, here's a bigger test for you: rank those films in order of which you
think I'll like them. How well do you know my film tastes? You already know I prefer
lonely places to warm shops.
If I had to pick a favorite character Bogie played, I am surprised at myself by how
much I gravitate to his Roy "Mad Dog" Earle in High Sierra. I never thought I'd like
a guy called "Mad Dog". But something about his energy and presence in this
particular part stands out from all the others.
I didn't know kittens could like mad dogs. You really are messed up. I really like
Bogie's characters, so it's very tough for me to pick my favorite. As of now, I'd say
it's Dobbsy because it's a different kind of Bogie. He's out of control.
Gloria is "interested," so I gotta sprint. Interested in what? Baby, I don't care. She's interested.
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Hi, Bronxie! -- Frank, I posted my VALANCE thoughts on the Western thread. (probably should have put them on this one, but I'm getting more confused lately; I'm worried about my wedding)
Get over there, pilgrim!
I'll be there, pilgrim. I frequent both threads, although I'm not sure why. There's a lot of riffraff on each.
Your posts are always thought-provoking and well-written.
Let's not go overboard with Jackie F.
Hey there, Thought-Provoking and Well-Written Jackie! -- Bronxgirl- I probably should have posted over there, anyway, instead of hogging the Ford at Fox box set thread! I have the excuse of still being a fairly new member and not knowing any better......
You can tell you are new since you are apologizing to one of the BIGGEST BOARD HOGS AROUND.
If you had apologized to Miss G, I would have, like, totally passed out, ya know. Me? Please. I'm a very serious, focused board member who always stays on topic and only writes words of relevance. Now pardon me while I go post a YouTube link for The Buggles. I have been slowly working my way through the website, and haven't made it to some of the genre forums.
I'm very familiar with this word "slowly." Or so I have been told... time and time and time again.
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I know Gary Cooper said to the screenwriters, "Just make me the hero". I didn't
know Cary Cooper did, too!
Yes, Cary was all about being the heroic lead, and well he should have been. It's just
those kind of roles rarely draw critical acclaim. They draw a bigger audience, though.
I would also put Coop in the Gable, Grant, Wayne class. It's why I believe Coop
doesn't garner the critical acclaim he deserves. Of the Coop films that I have seen,
I enjoy the older, "darker," "contemplative" Coop the most. I'm speaking of his
performances in High Noon, Man of the West, and They Came to
Cordura. I believe those performances feature great depth, albeit a very subtle and
nuanced depth. Of course, subtlety and nuance rarely receive notice. It's the
powerfully-outward peformances that often draw the most attention and praise.
Ironically, Cary Grant and Gary Cooper are on the opposite ends of the acting style
spectrum. Grant relied on the spoken word and Coop relied on the unspoken word.
They were both very good at facial expressions, though. They knew how to facially
react to a situation. To me, that's the sign of a great actor.
I am not sure about Gable's ability as an actor yet. In the three films that I have
seen him in, I'd say his greatest strength is his screen presence. He's bigger than
life. He's a "movie star." Those types RARELY get their critical due. And if I were
to fashion a guess as to why you and many other women love Gable, it's because
of his strong, male screen presence. He's very manly but surprisingly gentle, too.
Have you seen him Father Goose? It's just a wee bit on the cutsie side but his
character was often said to be his favorite because he was so ornery and scruffy.
So "un-Cary"!
I saw about half of Father Goose about five or so years ago. It was before I was
really getting into the lighter classical fare. I wasn't into it then, but I believe I would be more
open to it today. I liked Grant being a "who cares" type, but the cutesy kid stuff was
something that I wasn't really drawn to then. I'm not sure if I would be now or not.
I pretty much like Grant in most any kind of role, but my favorite Grant characters are
his bitey smart alecks. I know you are stunned by this.
I love Grant in OnlyAngels Have Wings, Notorious, His Girl Friday, Holiday, and
Suspicion.
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Well, I do have one but I am not particularly fond of it. And even I thought the thread has seen a fair amount of Mr. Cooper during the past month. And Heaven Can Wait is one of my favorite poster images. So today's selection was chosen to please me.
I thought your choosing of Heaven Can Wait to be highly appropriate. Because if you had posted one more Cooper or Ford poster, the wait would have been over. Now am I speaking of you or me?
I am certain that an opportunity to post Sergeant York will still come in the months ahead.
I am more than certain.
And I will have to endure even more chastising from Mr. Grimes.
I am more than certain.
Mr. Scratch
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On which videos? The ones down below? Those are Gary videos
How disappointing. I was hoping to see something attractive.
By the way, I don't mind if you see the videos of Theresa and I; I thought you said you didn't want to view them at all -- and that was that.
Goody-goodie gumdrops! I need some new material.
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From what I've read, both men worried a bit about security in a very fickle
business, so they played it safe. Cary often was quoted that his favorite movies
were only those that made a lot of money and Gable would say he always figured
each picture was his last and that soon "they" would catch on to him and give him the gate.
I have learned of Gable's insecurity through you, but I was unaware of Grant's
insecurity. I've only heard of Grant always requesting to play the "hero." Most
leading men did play "heroes," though.
I'm actually someone who doesn't get caught up in all the "they should have won
the Oscar" stuff. I do pay attention to who wins and loses, it's just that I don't get
too upset over it.
There are many in GWTW, but two scenes that break my heart and they have done
since I first saw it, are when Bonnie tells her father she wants to go home and when
Scarlett freezes him on the terrace with her "when did we have a life together?" He
looks so hurt I could just smack her (Scarlett, not Bonnie).
Scarlett could use quite a few smacks. I just love her. She's precious. Gone with the
Wind didn't make me tear up. What I like the most about the film is Scarlett. Vivien
Leigh puts on an emotionally irrational show. I could watch Scarlett bounce off the walls
all day long.
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Those stars also made it all look so "easy". I wonder. Is it easier than, say,
getting to sink your teeth into a colorful, against-type character? I guess that
depends on the individual.
I do believe it is easier to play a role you've always played than to take on a newer
"persona." However, I also believe it's the individual performances that need to be
judged above all else. So what if Gable is playing "Gable" or Grant is playing
"Grant," those performances still may be the best of the lot. That's definitely my
contention with Grant. Gable's "Rhett" would certainly qualify as such a
performance. But I do believe many critics believe Gable and Grant basically
rolled out of bed and read their lines. Maybe that was the case in some
circumstances, too. I'm not sure.
I never noticed the similarities in those two scenes---Scarlett was groping
through the mist of her nightmare and Roslyn through the "dark" around her. And
it was Clark Gable who was there for both of them. Cool!
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Are you saying I'm no gentleman?
That's for damn sure, All G.
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Hi, Gery! -- Wonderful photos! I really enjoyed the one for White Woman.
I really like Carole's look in that pic, especially her hair AND disgust!
Hola, Miss Board Piggy -- You guys are also right about the perception
of "playing himself" working against him a bit; though the irony is these "selves"
actors like Gable, Grant, Wayne and others played were really not who they were,
at least not entirely; they were just personas that were adopted because the public
responded so well to them. I think that's pretty good acting on their part,if you ask
me. Stanislavsky said the most difficult challenge for any actor is to play himself.
If only they really were more like their characters..."sigh".
You said the key word, "perception." Clark Gable was perceived to be playing himself
on the big screen and, as you also stated, the audience responded to such a man and
EXPECTED such a man. I'm sure the studio also expected Gable to be Gable and
anything short of that would be too risky. I really don't know Gable's film career well
enough to know if he stepped outside of his own shoes or not. But I do know the
Academy rarely rewards actors for "staying in character." It's viewed as easy and
not trying. I don't agree with such a thought, though. Cary Grant may have "stayed
in character" the vast majority of the time but he still turned in performances no one
else could have in such roles. I'm sure Gable was the same.
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Congrats on 9,000 posts, Gone with the Long-Wind Goddess.
As for Gone with the Wind being named all-time favorite... fiddle-dee-dee!
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Hi, Lynn -- Thanks for the thread link. I did catch that link when it was "live" again in the Fall. You (and your husband) made some excellent points on that thread and I also enjoyed reading Moira (always) and FXReyman's words. Miss Non-Objective didn't speak ad nauseum, as she suggests. I think she's hiding in Monument Valley, fearing a psychotic gunslinger may take aim at her spurred slippers.
Hey, Jackie -- Isn't it interesting that Ford made Man Who Shot Liberty Valance in 1962? The supremacy of the Western was waning, as was Ford's heydey as a director. I find the timing very relevant....
Most definitely. The sun was setting on the traditional Hollywood western.
I was going to say last night (and my opinion is reinforced by reading that thread) that I hear over and over the phrase "I don't like westerns, but I love this movie". I think women love this movie because it is a memory, not a western. Because women make choices like Hallie's all the time, and sometimes we do regret or at least think about "what might have been". We also think about what our future might be like if..... Women (at least until the last few decades) have relied on others to change our futures and our lives. We are so relationship oriented that we neglect steering our own ship, so to speak. And then to find someone who fulfills every need is pretty near impossible. We quietly go about our business and all the while we are dreaming about breaking free. The partner may never know this. Even in a happy marriage or relationship, there is something the other doesn't understand about us. And we desperately want someone to understand us. This movie has a Ford heroine who is continually overlooked, even neglected. We really relate to her. Her life is moving along in one direction and will continue on that path unless something or someone deflects it from it's trajectory. Ranse changes the path of Hallie's life, but it is still his life Hallie is leading, not her own.
whew. Talk about a blowhard.... that's me!
That was brilliant! I think there is a heckuva lot of truth in what you wonderfully wrote. I do believe many women can relate to Hallie and her situation. Doniphon represents the tough, reckless guy that many women (especially young) are often attracted to and Ranse represents the intelligent kind of guy many women look to marry because he offers them greater stability. A mix of the two is the ideal, but those kind of guys are few and far between. Doniphon also represented staying in Shinbone; more of the same. Ranse represented leaving Shinbone; a brand new world to explore.
I believe Hallie became a better woman thanks to Ranse but she will always remember what Doniphon did for them and her, and this truly will haunt her to her last breath. She didn't value and respect what Doniphon did for her nearly enough. I think this is something the majority of us can relate to on some sort of level. We don't tell those around us how much we value them or how much we care about them. By the way, as you wisely pointed out in a previous post, Doniphon also took Hallie for granted, too.
Hiya, Sweet Texas T -- Now where did you put those handcuffs of yours?
oh cant you see them? you must be far sighted, and have short term momory loss. heehee!
I'm short-sighted, SHRIMPY. Is that an arrestable offense?
Oooh, I like it when folks predict if I'm gonna like a film or not. Some are pretty good at it and others are horrible. I won't name names.
alright alright! so ill never sugest another movie i think youll like, ever again.
Who says your name is not to be named, Tex? Actually, I really do enjoy it when people attempt to predict if I'm going to like a film or not. It's good and great.
Maureen O'Hara makes Rio Grande for me. The second she shows up, the film really takes bloom. I adore "Kathleen."
yes i figured you would only watch the movie for the purpose of seeing "kathleen".
While Maureen is dazzling looking in Rio Grande, it's her personality that really turns me on. I'll take a "Kathleen" at all times.
she was a spunky character and wouldnt put up with anything she didnt feel comfortable with. she always fought back, but she understood everything going on. i did like Maureen in this role and thought she did a wonderful job! her and the Duke definitely hit another high note. heehee! it just has such a touching ending.
Spunky. You said it! I like spunky lasses.
i need another pair of handcuffs.. heehee!....im not heartless am i? oh no! i cant be heartless?
You're not heartless. You're nowhere near heartless.
i love those Man Who Shot Liberty Valence screen caps! i have always loved this mvoie. i found it so great that they paired up John Wayne with Jimmy Stewart. they did such an amazing job. thats actually one of my favorite scenes in the kitchen. jimmy is so cute in that apron!
And I love Vera Miles! I actually like Laurie Jorgensen more than Hallie, but I do like Hallie a lot.
this movie puts such a different perspective on western movies.......gunslingers if you will. well at least it gave me a different perspective. i havent ever liked westerns too much especially ones that wave guns around at each other, but this one i do love. its a masterpiece of learning to trust other people....helping each other with dignity.
Have you ever seen The Wild Bunch? You'd love it. It's very romantic and there's not much violence in it, either.
From what I have seen to date, John Ford's westerns should appeal to women because there is a strong emotional current to be found within.
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What's the score, Miss Gun for Hire? -- You know I like your... lists.
I also love those photos you posted, especially The Third Man pics. I guess you do have some taste.I've only seen seven Bogie films to date:
1. Casablanca
2. The Treasure of the Sierra Madre
3. The Maltese Falcon
4. Key Largo
5. The Big Sleep
6. The Petrified Forest
7. The Two Mrs. Carrolls
I love or strongly like all of those films with the exception of The Two Mrs. Carrolls. Bogie is pretty good in that film, but Missy ain't Missy.
I have the following films on DVD but I haven't watched them yet:
The Return of Doctor X
They Drive by Night
High Sierra
To Have and Have Not
Dark Passage
In a Lonely Place
Sabrina
On VHS:
The Barefoot Contessa
The Desperate Hours
Go right ahead. It's your thread.
tv/movie couples who should have been married
in Your Favorites
Posted
Ciao, Finishing School Girl -- That's right! What do you think I have Tom around for? Decor? Goodness!
What a little user you are! I hope Sweet T sees what kind of OLDER sestra she has. I've been trying and trying and trying to get that girl to smell the tea, but all she does is drink it. Maybe she'll soon realize that she's been getting sick ever since those Texas tea parties began. I wonder why. Hmmmmmmm...
Hi there, Ramblin' Yellow Rose -- she's just the woman to call!! i dont think any spell is strong enough to contain frankie's personality, that is why i suggest using more than 1. heehee!
More than one?! I like to see how that works. Go ahead, Samantha, wriggle your nose.
okay metsie where are you, calling metsie!!!!! the voodoo doll always works, yes bronxie let us borrow it.
I can behave for those two gals because they treat me well. You and the Goddess on the other hand...