FrankGrimes

*I do like the opening, but the crippled kiddies singing "Mommie Dear" to the reformed hooker is so revoltingly sentimental it nearly sent me to the hospital in a diabetic coma.* That's the musical number that I absolutely love. But I'm definitely more about sentimentality than cynicism. I love how Kelly (Constance Towers) is finding her own dignity through these disadvantaged children. I love the hope that's found within that song. A hope that is truly needed when you are swimming upstream in life and society. Mommy dear, tell me please, is the world really round Tell me where is the bluebird of happiness Tell me why is the sky up above so blue And when you were a child, did your mommy tell you What becomes of the sun when it falls in the sea And who lights it again as bright can be Tell me why I can't fly without wings through the sky Tell me why, Mommy dear, are there tears in your eyes Little ones, little ones, yes, the world's really round And the bluebird you search for is surely found And the sky up above is so blue and clear So that you'll see the bluebird if it should come near And the sun doesn't fall in the sea out of sight All it does is make way for the moon's pretty light And if children could fly there'd be no need for birds And I cry, little ones, 'cause I'm touched by your words Don't be sad, Mommy dear, if it's true the world is round I will search round the world till the bluebird is found Little one, there's no need to wander too far For what you really seek is right here where you are Show me where, Mommy dear, and here's what I will do I will take the dear bluebird I will give it to you Dear, the bluebird's the love in your heart, pure and true And I found it the day Heaven blessed me with you Children look to their elders for care and guidance. When that faith and trust is broken, worlds fall apart.

*I think I get it... Prison = boring.* That's exactly it.

*Ah, OK. So The Great Escape is a captive film, and Brute Force is a prison film.* I've yet to see either of those films. I'm kind of dreading *Brute Force* because I view it as a "prison" film. P.O.W. films tend to play more like prison films to me, so I'm not sure how I'd feel about *The Great Escape*. CineMaven is right, I view *The Petrified Forest* as a "captive" film. *Dial 1119* is one of my all-time favorite "captive" films. *Suddenly* is another "captive" film. I also find "disaster" films like *The Flight of the Phoenix*, *Five Came Back*, and *Island in the Sky* as "captive" films, although they can play like prison flicks, too. Prison flicks just "sit there" for me.

*I am so sorry I ranted at you...* No need! It was a great one. It's a very truthful one. I was trying to look at Carl and only Carl. I wasn't condemning an entire kind of man. You're going to find selfish and unselfish men in all walks of life. There are going to be selfish sailors and military men who will use their job as a way out of responsibility and commitment. They are not immune. There are quite a few people who use their job as the way out of doing things they'd rather not. I know some. "He/She is such a hard worker." Uh-huh. *I completely skipped over the last page of posts, I came to the top of page two and thought I was at the top of page one. Then when I "returned to thread", I saw that you had already agreed with MissG. I would never have written my overblown defense of Carl had I seen that post.* I thought it was very well-written and expressed. I liked it. And Carl does mention how the hotel is the only one on the island. *But thanks for going back over it, and looking again. I can't think of too many people who once they give their opinion, will actually go back look at the film, and change their minds. Thank you for that!* You know me, I like digging deep with films. Sometimes what I find reinforces how I feel and sometimes it shows me to be wrong. My return visit proved to me that I was definitely wrong about Carl's selfishness. What you were all saying was the right view. Mine was wrong. What I see on a first viewing can be much different upon further inspection in a second look. This often happens. *Does the ending strike you as any better now?* You know, I think I do. Her commitment to Carl is lovely. Their "marriage" scene was a very strong one; it certainly impacted Gilda. She was really taken by his willingness to commit to her despite her recent history. *And what's the difference between a prison film and a captive film?* A prison film is mostly about a way of life and its community. A captive film is more about the situation. When captivity becomes prolonged, it then starts to feel like a prison film. *Safe in Hell* feels more like a "prison" film whereas *Key Largo* is a "captive" film. The tension level is usually at a heightened level in a "captive" film versus a "prison" film.

I watched some of the scenes between Carl and Gilda again last night and I'd say I'm wrong about his being selfish. He says "no more of this being away from each other." Before Carl's return to the island, Gilda says she can't tell him about her plight because she was afraid the General would kill him if he attempted to save her. So I now think you, Miss G, and CineMaven are right about Carl. I believe her words about Carl never wanting to be away from the sea being as Miss G says, her attempt to soften the blow for him. Gilda's reason for choosing death over life with the General is about her "marriage" to Carl. She promised herself to him and only him. So the film actually doesn't play as martyrdom for woman as I originally thought.

*With Frank, he likes to add as many favorites per year. Some of his years he has more than fifteen films, others even more. With a favorite listing, I like to work a little harder and pick just ten films per year. This way I am really limited in my choices and I have to spend additional time re-watching films again and again just to select my ten.* Hey! I rank my films in order! So if you just want my top ten, you have that. If you want my top four, you have that. For my 60s list, I included every film I have seen from the decade since I've seen only 100 films. That's why some years were short of ten and others were longer. Now with the 40s, I have seen more than ten films for every year because I've seen 248 films from the decade. I may include every film I've seen for that decade for my list, as well. Ranked in order for year and decade. But I can bold my top ten for you because I do choose just ten. You just have to look at it that way. When things are ranked in order, you are offering up what's been asked. If someone asks you for your ten favorite things and you give 30 and then proceed to say, "in no particular order," you didn't do what was asked. But if you place those 30 in order, you have done what was asked.

Good evening to you, Queen of the Furies -- *Oh wait.. have I been nice???* *Um.... well.. ummmm.... let me think.. umm... Ok.. if I have to be honest.. I am certain the answer must be something like.... (to quote the Duke) "That'll be the day"...* ** That answer would get you the DVR with me! *Dadgum again.. that blew that idea right out of the water.. (I only WISH I had it in me to stay up that late to watch it, but I will have been working all day. and need to be up early the next.. and I would likely start to droop before young Pip even got out of the cemetary.. alas.* I fell asleep to *Great Expectations* for three nights in a row! *Oh.. before I forget.. I know you did not ask for this.. so feel free to decline.. but YOUR mission (if you choose to accept it and if you'd like to dive a little deeper into the world of Charles Dickens) since TCM is being so kind as to show them all, I heartily recommend David Copperfield. AND A Tale of Two Cities AND Nicholas Nickleby. I love all three of those stories, although I have seen only the first one (DC) as a "classic film".* If you wish, I can watch some. I've been trying to include films for different people in my "batches." *I have either seen or read all the other choices they have listed (except one) and truly.. any of them would be good. But the three I listed above would probably be at or near the top of my list along w/ GE as favorite Dickens stories. (I am hoping to catch the Mystery of Edwin Drood as that is one I am totally unfamiliar with.. so I can't comment on it)* I'm looking to record that film, too. *Finally.. I HEARTILY recommend the Sim version of A CHRISTMAS CAROL. (but don't want to totally immerse you TOO deep in Dickens.. you might go into some sort of shock or something) But it is a VERY well done version of that story and you MAY even LIKE it.. maybe... perhaps.. a little bit.. sort of.. kinda.. could be... but you never know..* I have that one recorded, so I can definitely watch that one. I like "A Christmas Carol." The Muppets count, right? *CONFLICTED??? Somebody get me a BRICK!!!!!!!!!!!* *(or maybe I just need a tissue.... sniff) * That was quick! So what was your take on *Earrings of Madame de...* ?

Hola, CinemAva -- *I guess Tyrone Power is offered up for women as is Cary Grant.* Yes, I see Tyrone Power as a matinee idol who is offered up for women. He becomes neutral when he's playing the "swashy" characters. I usually view Cary Grant as neutral because he's typically combative. Women find him attractive and men like his comedic fight. James Stewart started off as the "pretty boy" who then transitioned into a male hero. Typically, you'll see women who like the early films of Jimmy more and guys liking the later films of his more. *How would you categorize Myrna Loy?* I see her as neutral. She started off as a vamp for the guys but then she transitioned into the kind of woman women love to equate with. She's a great mix. *Is Errol Flynn like Gable, plays well for both genders?* Yes. Men love his brand of heroism and women find him sexy. *And Robert Taylor? First offered up to women, and later in the 50’s became a little more rugged so now he's offered up to the men.* I really haven't seen much of Robert Taylor, especially his later films. I think of him as a woman's actor, typically. *You have a way with words.* Ha! Thank you for your kindness, but I'm nowhere near as good as you with words and expressions. *Who's sanctioning this bad behavior, the man for selling it or the woman for buying?* Yet another great question! I'd say the buyer. If I'm offering you bad products and you know that I'm offering you bad products, that's on you. If I'm promising you one thing and giving you another, then it's not on you... at first. *Hmmm...it's hard to compete with the sea. Well, what with Carl running off as soon as the tide is up, and the lecherous island police chief licking his chops...I’d say that firing squad looks mighty good for Gilda.* So do I! That's why I think the ending is excellent for this kind of film.

*So mister GRimsey: who's offereing and who's the offerree?* You tell me! That film is interesting in how it plays. I see it as a feminine film noir yet Lana and John are more for the guys.

*I think she had a rotten start in life, I don't remember specifics, but it seems like she had no family. You see, so much trouble starts when you aren't grounded with a close, loving family. What's strange is what about Carl? He had no family either? Usually, the loneliness of the wife left behind can be mitigated if there's family around (presuming you get along with them, of course). These two seemed sadly alone in the world. It's too bad. I can't blame Gilda for any of her problems, even if she was rash and impulsive sometimes. The deck really seemed stacked.* As you can tell, I'm critical of Carl, not Gilda. *And no, I don't think that's an "excuse" for poor judgement and wrong choices, either. I know from stacked decks but I still try to make the occasional rational choice. * Slapping is not a rational choice! *You know I was going to say that! I thought yesterday "this plays like a prison film, I bet that's why FrankGrimes didn't care for it."* Very good! Yes, that's a big reason why I didn't like the film as much. The beginning was full of great energy but the film settles into a "prison" flick after that. I believe you have to really enjoy the characters within the prison or love the defiance to eat this film up. I can see why this is a great favorite of Jackie's since those two things would be right in her wheelhouse.

*It's funny you bring up that scene because I thought it was significant, too, but for a different reason. I thought it showed her impatience. She was understandably sick of being down there, but her life was at stake and you can't expect to "travel first class" when you're on the lam. That's when Carl tells her she has to have faith, again. Remember Leonie's words to her after the night's debauch? She basically told her she'd started something that would be hard to stop.* That's a very good point. She really was impatient, and I can see why. So she had to learn patience. Good things come to those who wait. *Carl's unrealistic expectation that she could just stay cooped up in a room for months goes back to what I said about leaving her in that hotel in the first place. If she roomed elsewhere, maybe she could have gotten out at least for fresh air. I don't know. Maybe the whole island was just one big "concentration camp" of sorts. Carl never should have left her there.* She went from one private hell to another, basically. And the film does play like a prison flick, which is one of the reasons why the film didn't resonate as much with me. I'm not that crazy about prison flicks. Now I do like "captive" films, though. I love the tension with those.

*Of course. I think Gilda must have known that, growing up in New Orleans, probably near the docks. That's what sailor's wives did. They waited.* When you're right, you're right. Maybe Gilda could have settled for being told to be faithful and be alone. I keep thinking of the scene where she feels the need to let go and goes downstairs to drink with the boys on the island. She needed to "get out." Carl is free to roam, but she ain't. Even though I know the scene where she is hiding in the crate on the ship is done because she's a stowaway, it just feels like that epitomizes her and Carl's relationship. She's to hide in the crate. She's to have faith.

*If Carl were a soldier or a reporter, someone like say, "Jeff" in* *Rear Window, would you say the same? Carl's job takes him away, he's not "blowing out of town" to go hit the hot spots, he's got to go where the job takes him and when. Women who are married to sailors down through the ages know about that life, it's a lonely one, where they spend months on end, sometimes years, not seeing their husband or even knowing if he's alive. I wonder how many "Dads" came home to children that looked suspiciously unlike them.* My opinion is the same with them. It's as I mentioned, a woman will have to decide if she can love a man who is away from her the majority of the time. Jeff (James Stewart) was trying to push Lisa Carol (Grace Kelly) away by saying they were so different. Look at John Ford and his wife versus say Hitch and Alma. Different kinds of marriages. If a woman is okay with a man never being around, a good marriage and relationship is a strong possibility. *The Reckless Moment* features a "distant" marriage. But if a woman needs a man to be more than a provider of money, a provider of an emotional closeness and intimacy, then such a marriage and relationship is going to have major issues. I just thought Gilda felt alone and needing Carl more than he was offering. It's seem like she was always told to wait for him, wait for him, wait for him.

*I'm not sure it was that bad, I think he was always looking forward to coming back and seeing her.* You and the gals are probably right. *I do to, mixed with fun.* You mean slaps!

How's it going, Lively Gal? -- *Hmmm...I thought all the decades were pretty well evenly represented, but that some genres more heavily than others. But I don’t know. I know with a lot of men in the war in the 40’s, women were probably the moviegoers then too. But to each his own and I respect that.* I view it as pre-war and post-war. I'd say the pre-war films were aimed at women but the post-war films featured more films aimed at men, such as film noir, war flicks, and westerns. Those films were clearly aimed at men. The biggest male genre during the pre-war is the gangster, as far as I've seen. *Quite a respectable list from a Grimes who's not a 30's guy. Looking over your list prompted to pick three books off my shelves that I bought back in 1969 - 1973:* Very cool! So who are your top five favorites for the 30s? The reason why I ask is, for example, do you like Mickey Rooney more than Clark Gable? *Garbo and Dietrich are oft times inextricably linked. European, strong directors, getting tangled up with Love. Do you think you could explain it just a little more when you refer to this masculine / feminine pull. Are you saying more men liked Dietrich than liked Garbo?* I find some performers are being offered up to a certain sex for consumption. Marlene was most often offered up to the male viewer more so than the female viewer. Marilyn Monroe is this. Bette Davis is offered up to women. Gary Cooper started off being offered up to women. He was the "pretty boy." He eventually became neutral and then he was offered up to men in some films. Clark Gable is someone who plays well to both genders. Spencer Tracy is usually offered up to men. Kate is usually women. John Wayne is offered up for men. Bogie is a male hero. Robert Mitchum is a male hero. Greer Garson is offered up for women. I've yet to see Garbo, so I'm not sure the kind of films she starred in. You were saying you felt she was the heroine in what played as tragic romances for women. This would make Garbo a performer that is offered up for women. *Hmmm...sounds like Gable: "I've been a bad boy. Love me?" I probably could forgive Gable before Cook.* Many of us men say that to our women. From that point on, it depends if our behavior persists or not. Carl apologizes and then proceeds to do more of the same! *Yep. But I'll give ya this, maybe they could have done just a little better job clearing that up in Carl. Maybe if he'd have once struggled with leaving and said: "Gosh honey, I don't wanna go. I can't bear to leave ya." But I liked the case Jackaa*A*aay made as well.* Oh, I think Carl did say those things. But with me, it felt like, "Honey, I'm sorry I cheated on you, but I'm still going to keep doing it." He hasn't changed. He blows into town and then quickly blows out of town. I think he means well and he would look to provide for Gilda. It's just a woman has to decide if an absentee husband who provides her with a home and some gifts is good enough. If Gilda is looking for an actual relationship with Carl, she's most likely out of luck. He has his own mistress.

Good evening, Miss Gun for Hire -- *That wouldn't surprise me if that were true about him. He doesn't spend more than a few seconds asking about her life since he was gone. I would say he's slightly irresponsible in a youthful sort of way, and just inexperienced about looking out for anyone but himself. If things had worked out as he planned, that he'd been able to take that shore job and settle down with GIlda, I believe, or I'd like to believe, that those flaws would have smoothed themselves out as he lived day to day as a provider and husband and eventually, a father.* It's certainly possible that Carl could have been able to settle down with Gilda. It's all speculative, of course. So what did you make of Gilda telling Carl that he wouldn't be happy away from the sea? Is that something she did come to realize for herself or do you think that was purely her trying to soften the blow for him? As you know, I have felt she did come to realize what Carl really did love the most. I definitely believe he loved Gilda, but she was second. I get the feeling his thinking was, "I'm not at sea, so what the heck do I do? Go see Gilda! She'll keep me busy until it's time to go." *By the way, I would agree that this board is made up of folks who enjoy the 1930s films over all other decades.* I'm pretty sure of that. This is a "pre-war" board, with the greatest appeal being the 30s. I'm more of a post-war classic fan. *And Jackie is also right (why am I so agreeable lately with everyone? Something must be wrong! ) that there's precious little in-depth discussion of those movies by their fans. I think that's because most people come here to shoot the breeze, they are not interested in real in-depth discussion. Many even roll their eyes over our rambles, and still others do converse in depth---about controversial and potentially flammable subjects that have precious little to do with movies. Our little core group of ramblers are by far the most consistent at digging in deep on all kinds of movies. That's not everyone's cup of tea, nor do they all have time for it.* I think all of that is a very fair statement. I don't see the majority of the board looking to analyze films. It's more about sharing some opinions on favorites and recent TCM airings. There's nothing wrong with that. I prefer analysis, though.

Good early morning to you, Movieman -- *"The Naked Kiss" has, for my tastes, one of the longest setups.* Could you elaborate on that? I'm not sure I follow you. *It also looks like Fuller right from the start. The opening scene was a bit of a shock and I thought gave a sense of what was coming. Well, it was but it took it awhile.* What did you expect was coming? The opening does make you wonder what you're about to watch. Cheap and sleazy? *Some of it didn't make any sense. It seemed to jump around and I thought there were times I missed something. But he really turned it on the the 30 minutes or so and I must say he pulled it all together.* What were you struggling to make sense of? *BTW, that link takes me back to August of 2008. Is that too far?* Really? The link goes back to June of this year for me. Strange.

I do think you are very correct in that Gilda is looking to soften the blow for Carl. She doesn't want him to give up on his own life and loves. You're very right, Gilda really does appreciate all Carl does for her and is attempting to do for her. He did love her despite the kind of acts she did while he was away. I also believe Carl really did wish to treat her well, to provide for her. He was now an officer and that meant more dough to spend on her. Still, I felt there was a selfishness to him. He seemed to always blow into town for a few seconds before having to leave again. I thought his gift of a ship in a bottle was even rather selfish. He seemed like the kind of guy who just tossed gifts, hugs, kisses, and words at his woman to appease her, to hold her over. The kiss has to last a long, long time. Heck if he knows what's going on her in life. I'm also bothered by his, "I should have done better, forgive me?" It almost feels like that's how he always is. It's like a child saying they are sorry without actually feeling sorry. They just know that's how they can get off the hook. It's not about feeling it, it's about saying it. But I do believe you, Jackie, and CineMaven are corect in saying the film doesn't wish for us to think of Carl as being selfish.

You make excellent points about Carl, but I do believe there is a selfishness to always doing what you want to do at the price of your love. It gets old after a while. I'll have to watch the opening again. Why did she have to do what she did? Something drove her to that. Where was Carl?

Hiya, Ma Stone -- *Have you been nice?* *Is this a trick question?????????? Am I EVER????* Is that a trick question? *Well now THOSE are a community service that I perform for the greater good.. and totally justifiably used every time, as you well know. * What did you do with Madhat?! *Now, I just talked to her this morning and she NEVER mentioned you....* Do you really think any lady in her right mind is going to mention me? *OH.. someday.. maybe.. perhaps.. but oh me. I doubt it will be any time SOON. For one thing I confess (alas) I DOUBT I have been good enough for Santa to bring it.. and I am too tight fisted to buy it for myself (any time in the forseeable future) And also.. even if I DID have it.. technophobic wretch that I am.. I DOUBT I could figure it out anyway....* I hope you get it. I think you could figure it out. I've got some faith in you. Some... *Now see.. Miyagi-san.. I figured YOU of all people would already have one. That explains why you always end up buying your dvds (that and you just love sending me on a guilt trip by spending money on the ones I suggest so you can tell me how much you hated my choices.. ha.) :-)* I like collecting DVDs, more than anything. It's getting close to my transitioning to DVR from VHS. I'm hoping the prices will drop some more. *All kidding aside.. they do sound like they would be a pretty nice investment especially for someone who has watched almost (WHAT????) 250 movies????? Oh me..hat's off to you, sir. I bow to your greater movie-watching prowess. That is a mighty impressive feat!! (and what makes it even more impressive is the way you have agreed to try so many "out of your box" sorts of choices. You have really been expanding your horizons lately.* Thank you! I've been making a concerted effort to watch films that aren't in my hot zone. *Now THERE is the "wrong headed" Grey Dude that we all know and love.. ha.. I feel better now.* I'm not the wrong-headed one around here! We know who she is! *Woo hoo. I am hoping to catch it when it airs soon.. I watched it on youtube over several nights, a few weeks ago to refresh my memory (since it was..... NOVEMBER) Ha! But I think it would be good to watch it again all at once so I will try to make a point of catching it then and will hope to jump in whenever you are ready.* I did watch it in November! It's playing on TCM on Monday, December 12th at 2:00 AM EST. *Well I DO love my crime shows.. ha. And I have seen a few SH films over the years (years and YEARS ago, though) so I will check into some of them sometime.* I think you'd really enjoy them. *Well.. to confess.. I have not read anything much on the comments on that one (mostly because I was so far behind on the vaious chats lately.. I sort of skimmed over the movies I did not know and stuck with topics I was more familiar with just to keep up a bit... ha)* *Now I have to see about this one.. "Conflicted". Hmmm.... Why do I suddenly feel worried?????????????????????* ** You should feel worried! Morality vs. feelings.

Good afternoon, Spunky -- *My take on Donald Cook was that he was coming back for her, just like Maven said. That he was the one good man waiting for her, without judgment, the man who sees her for who she is inside.* He wanted her to meet him in New Orleans. She was to wire him when she left. He was going to "settle down," get a shore job. *As for his "selfishness", only coming to her at his own will, that's not true. He can only come to her when he has a break from his job, one of the few available (one that still takes men away for months at a time, I might add, and they don't go throwing it all away to come home to families they love). This is during the height of the Depression, and he is not going to chuck away the one hope they have for a decent life together. He is a responsible man, a good man who loves her in a world of ne'er do wells. She wants to be worthy of him, no matter the consequences.* When they last meet, Gilda says to Carl, "It's just this minute, it struck me, that you'd never be happy away from the sea." She understands Carl and his real love in life. Carl asks her, "are you kidding?" She hesitates a little and then jokingly says, "sure, you big baby." As usual, Carl tells her, "I'm only here for a couple seconds. It's all the time I've got. Forgive me?" That's Carl. Yeah, Carl does love her. But he only loves her on his terms. It's not about her. The blowing of the ship's horn is haunting to Gilda. She knows that Carl will always answer to that. That's his "lover." "He'll be at sea. He loves the sea. It's like home to him." *One of the things I really loved about the movie is how much the "men in chairs" made me squirm at the beginning of the picture, and how each man changed over time in my estimation. They started out as potential rapists with really gross characteristics, but all ended up respecting Gilda, and becoming more honorable men because of her. I just loved that part of the story, they did not follow the stereotype of your usual creepy lowlifes in film. One of the reasons I love Wellman is his ability to start with a stereotype (the prostitute, the scum of the earth) and turn it upside down by the end of the film. It's his greatest gift as a filmmaker I think.* I immediately thought of you with the "men in chairs." You're one of the biggest fans of the supporting characters and the flavor they bring to films, especially in the 30s. Some of them did eventually come to respect Gilda. They formed a little family, which is very Hawksian. *And me? I LOVED the ending. She was so damn strong and noble. She showed the world - she turned everyone's view of her into dust. She was stronger when she put her mind to it than any society bred woman would be. She's just exactly like the male characters I like, the bad men who redeem themselves but go down in flames to do it. You can take everything away, but she wasn't going to grovel in the dirt for her life, or her honor. She went out, head held high. Man, that's moving.* It's a "Joan of Arc" ending. *I might suggest for your first Garbo pictures Flesh and the Devil ,* *Ninotchka , and maybe* *Queen Christina. She's a femme fatale in the first, though it's rather an old fashioned story, which may leave you rolling your eyes....but it's shot beautifully, and the love scenes are quite amazingly sexy. It's said that the crew ended up averting their eyes, because Gilbert and Garbo were practically making love on the set, they fell terribly in love with one another during filming, and you can see it in their eyes. Clarence Brown, the director said he couldn't take any credit for those scenes, he was simply an opportunist who happened to catch their radiating budding love on film.* *Ninotchka is Lubitsch, and is very funny, with a script by Billy Wilder and Charles Brackett. It plays with Garbo's image outright, and her performance is very good, advancing toward forties style comedy than thirties.* *Queen Christina is Garbo having a little gender fun, she's strong and manly, and extremely comfortable in her skin here. It's quite interesting, though the movie itself is not as strong as her performance.* Thank you for those suggestions. I'm pretty sure *Ninotchka* is the one I'd like the most because it's Lubitsch. I'm not sure how I'd react to the films that made Garbo, Garbo. I may consider getting her box set. *I am definitely a 30's girl, however, I don't at all see the boards as dominated by 1930' s fans. I haven't gotten into any really good conversations about thirties films in a really long time. I think maybe movieman, molo and I are the only ones here, and markie beckuaf and Countess Delave are the only ones outside on the other forums.* There aren't discussions about individual films on this board as a rule! But if you were to take a poll on what the favorite decade for movies is, I'm pretty sure the 30s would be at the top on this board. I'm not talking about what decade people think was the best, objectively. I'm talking about their personal favorite. This board isn't big on film noir or westerns. Of the Ramblers, I'd say you and Molo are the 30s ones. *I loved your thirties list of favorites, btw. * Thank you!

Good night to you, Lively Gal -- *Buono Notte Signor Grimesy. Kind of you to say. My sentiments precisely. This is the place I come to to get my movie groove on.* It's my safe in hell! *I hope one of the 30's films blows your socks off one day. I love 'em though I do like the 40's better and have been a recent convert to the 50’s a couple of years ago. But I hear ya when you say some decades resonate better with you than others.* I'm known to say this board is mostly a "30s" board. I tend to be in the minority in saying I prefer the postwar-40s and 50s. I'm thinking Jean Renoir may be the one who knocks my socks off from the 30s. Maybe a gangster pic will rise up. I just find the decade to be very feminine, since that was the primary focus of the studios. Women were the moviegoers. Lots of "society" stuff. *Do you like William Powell? I'm not sure if I read you'd ever said or not. He's TCM's "Star of the Month", and most of his heydey was the 1930's.* I've become a real big fan of William Powell in the past year. I think he's brilliant. A snippy lass asked me tonight for my favorite performers of the 30s and this is what I came up with: 1. Carole Lombard 2. William Powell 3. Boris Karloff 4. Maurice Chevalier 5. Spencer Tracy 6. Cary Grant 7. Myrna Loy 8. Clark Gable 9. Will Rogers 10. Joan Bennett 11. Madeleine Carroll 12. Gary Cooper 13. Victor McLaglen 14. Marlene Dietrich 15. Katharine Hepburn 16. Henry Fonda 17. Bela Lugosi 18. Peter Lorre 19. Sylvia Sidney 20. Ginger Rogers 21. Robert Montgomery 22. Jeanette MacDonald 23. Vivien Leigh 24. Fredric March 25. Miriam Hopkins 26. Lionel Barrymore 27. Jean Arthur 28. Barbara Stanwyck 29. Jean Harlow 30. James Stewart *When I watch a pre-code film, it just reminds me that people really did know the same stuff we know today. The 40's films look like they were all celibate.* But what's screwy to me is that it makes it seem like every woman was a prostitute! We've got the two extremes. *Uh huh. Well...I’m glad you liked Leonie and Newcastle. The others "hotel guests" were a scurvy lot, weren't they.* Charles Middleton reminded me of John Carradine. *Should I feel foolishly hopeful that you'd have good things to say about the romance of "...Madame de..."?* That film cracks my top 100 of all-time. I wanted to rank it even higher than I did. It's one of the best. Max Ophuls is now in my top 20 for favorite directors, too. *You bring up something that I never thought of on my own and that I can totally see: A "Garbo" kind of love and a "Dietrich" kind of love. I can get with that distinction. (Why didn't I think of that?!)* Well, I do say that without having seen Garbo. But Marlene is who I often think of with Garbo, and Marlene has a masculine pull to her. She's for the guys more so than the women. *(But to be fair, Bette did sacrifice at the end of "Jezebel" and there's Stanwyck's great "Stella Dallas").* Those are 30s films! I don't think they handed out guns to Bette until the 40s. Actually, I'm just guessing on that. *But when they have a gun in their hands...ahhhh, all's right in the world. Uhmmm, maybe I mean, all's right in my world.* I'm used to getting shot at! *Hmmmm, I'd have to see the movie again to see if I pick that up. I thought he was coming back for her.* He was. But he's always coming back for her. In the meantime, she's left to swim on her own. That's how it was in New Orleans and that's how it was on the island. *I see what you’re saying. (Ha! "Neglected 'wife' as it is.") So true. But I think he told her to stay away from the (women-hungry) bad men because she'd be the only (white) woman in that godforsaken 'hotel'* That's correct. He's protecting his property. She's to lock herself in her room until her white knight rides back. Gee, thanks! *"Highly selfish." "Real kind of men." Oooh boy. Aren't your fellow males going to hate you for revealing the secrets of what it is to be Man, to us gals? You're going to be ostracized from the Men's Club.* Now I didn't say all men. But everyone knows many guys seek certain desires and many guys think the world of themselves and their personal pursuits. This is nothing new. *Something in me (the Romantic?) keeps going back; thinking Donald Cook was coming back to get her and take her back to the States to be his wife...his neglected wife. Gr-r-r!* Good luck with that! No, he was definitely coming back. But it's always on his time and schedule.

Good evening, Movieman! -- *Have you seen "The Naked Kiss"?* Yes! I watched it for the very first time in early June of this year. And, for the record, I don't believe I discussed it on the board. I did so in private with Fordy Guns. I ranked the film in my little "watched" grouping, but I don't believe we ever got around to talking about it: http://forums.tcm.com/thread.jspa?threadID=125844&start=1620&tstart=0 *What a weird film. Sordid and full of bizarre characters it is a puzzlement to watch.* "Sordid" is a great word for it. It's very "Fuller." Fuller liked to present those from the street as the normal ones and the socially-accepted as the abnormal ones. *The Naked Kiss* is all about this. *Golden hearted revenge minded prostitute takes up life in a new town. She runs the gamut of protector, mother hen to the other girls and ultimately girl in trouble for all her trouble.* And I loved how Kelly (Costance Towers) did become a "mother." She did quite well to transform her life for the better. I loved how she felt loved. But then... *Trying to get a new life is not so easy when you've tried to change your life. And whatever good deeds Kelly tries to do all comes back to bite her.* That's your film noir. *Mostly its a straight drama that turns very noirish along the way. It is often confusing but appropriately bitter. The longer it goes the uglier and more sordid it gets but the confusion is tied up in the end.* I was shocked by the major turn of events. It's definitely a film ahead of its time. *I cam close to stopping it but while I can't say I liked it a lot but I'm glad I saw it through.* Really? Oh, I'd never do that with a film. *The Naked Kiss* has one of my very favorite musical numbers. It's sensational.

*Love your mix of sour and sweet, Briny Marlin.* Awwwwwwwwwwww, thank you, Jackie! Wait a minute? I'm sour?! When?! Never! *Congratulations to you on your grand collection of commentaries and thoughts. I always look forward to seeing your name on threads for me to read. Keep it up my friend.* Thank you greatly, Movieman. I'm glad to call you "friend."

Hey there, Burnt Toastmaker -- *Now if Santa would just bring me an early Christmas present... alas.. my old worn out VCR (for movie taping) is kaput! Mama needs a DVR... (did I mention "alas?" ) * Have you been nice? What about all those frozen ropes?! Mrs. Claus is getting a call from me this night. I hope you do get your DVR. Somebody nameless and snippy has been pushing for me to get one. *Golly this has been a banner movie watching year for you, sir. GOOD GRAVY what a lot of new movies you've been seeing. I hate to confess, but I am way impressed!* Thank you. I set a goal of watching 250 classic films for the very first time this year. That's from start to finish. I've got 20 to go to make it. *As for your latest choices... I have only seen a few (so what else is new? ha) They are: (your numbers) #4, #5, and #6 all of which I do like.. (though I do confess I am not as big a fan of #6 as the Movieman, ha)* You'll have to explain why when we get there. *OH... and I have also STARTED watching # 8 but am only about 1/3 through (I started over the holiday weekend last week and just was not able to get it finished... and I did enjoy what I have seen of it so far, so I hope to get it finished soon (maybe this weekend)* It's a breezy one but with a little darkness. *Ok.. now you are just toying with me.. surely you hated it more than THAT!!!!!!!!!!!!!!!!!!!!!!!!!! :pWe may have to call in a doctor to make sure you are feeling alright. (I mean.. since it WAS my pick for you after all) * It wasn't looking good for a while. *Will look forward to chatting on this one w/ you sometime.. I am on the edge of my seat to hear about it. (but alas the rest of me (ha) will be busy for another day or so at least before I can get back here)* I believe it will be a little while until we get to it. We'll wait for you. *In the meantime I will try to catch up on some of the ones I am not as familiar with to see what I may be missing out on.. here is a new twist for YOU. .ha.. Of the ones on your latest list (that I have not seen yet) which do you recommend for ME?????? (I know.. for some reason.. I just felt like living on the edge a bit.. ha)* I'd say the Sherlock Holmes films are the most "you." I'd also think you'd find *Earrings of Madame de...* to be quite interesting. You would be conflicted.