FrankGrimes

*YOu know, looking at those caps it's just like Sean on his hunter and she wrapped in her shawleen, like she was Kathleen, Martha, Angharad and Katharine McLintock in one.''* Hey, I like that! Mary Kate!

*I love* *Nothing Sacred and it would be nice to see it on a good, clean print for the first time.* I'm all for that. It's great to see someone still releasing classic films on commercial DVD versus MOD. *I'm still waiting on The Quiet Man.* That would be nice. That one is very hazy. *did he say he knew not Matty? Than the Honorable Lawyer Dagget will have to settle with him.* That went right over my head, of course.

*It takes the fun out of movies to try to pin them down, like butterflies on a pin board.* I know I struggle with saying something is a comedy or a drama because there are different kinds. Some comedies are dramatic and some dramas are comedic. *Speaking of...I just heard that Nothing Sacred, one of my favorites, is being released by Kino on standard and Blu-ray...that must mean it's finaly gotten a good scrubbing. Same with* *A Farewell to Arms. Bot movies are being presented as the only ones authorized by the David O Selznick estate.* I'm not too crazy about either of those films. *She's the best, pretty much. Matti Ross comes close on the irritating part.* I've never heard of her.

*I like the scenes with Maureen. She needed to be seen again at the end, for a better closing scene.* It's great to see John and Maureen going at each other for old times sake. *I just have to finish The Earrings of Madame de... and its bonus disc, but first.....I have:* *PURSUED. Do you have that yet? Movieman??* No, I don't have that one.

*Well, they're more romantic and funny to me than TBS, but no, they're not really romantic comedies, I guess. sigh, this categorizing gets me down.* It gets you down? What?! *The Big Street* isn't as romantic or as funny as *To Catch a Thief* and *Charade*. That is very true. Those films are far more playful. *That's for sure. She was very good. Tragic ending to her life, she died quite young in a freak accident with a hair dryer (one of those big ones you sit under) and it killed her.* Really?! What a horrible way to go. Unbelievable. *I guess so. She's smart and precocious, but for once I wasn't irritated by that. I loathe precocious children unless they have an appealing personality or just the right comedic touch.* I don't like boys who are precocious but I like girls who are. I definitely like Diana Lynn. I don't think anyone played such a girl better.

*Like you, that part with the kids and their vehicles didn't do much for me, especially coming after the brutal opening.* I was worried that the film was going to be a wacky combination of modern technology clashing with the old west. Thankfully, all of that came to an end. *I wish I had it to rewatch, but I remember liking the movie most once Wayne got to Boone and his grandson.* That's the very end! *Several of his later films draw on his early ones, I've noticed. He had a template that worked and stuck with it for the most part.* I can definitely believe that. As you get older, you tend to lean on what worked for you in the past. It's the safe approach. Not to mention, you already have an audience that expects something from you every time out. If you change that, you could push them away. *I don't dislike Big Jake, in fact I liked it better than I thought I would when I watched it for the first time a couple of years ago. It just didn't thrill me. However, I wasn't a Richard Boone fan yet, so I really can't say how I'd feel about it today. I hope to get it from Netflix by the end of the week, if the conversation isn't too old by then.* The discussion will still be around. I'm shiftless, remember. I'm guessing you will like it more the second time around. Especially if your focus is on The Duke and Boone. Plus your two boyfriends are in the film!

*I can't quite grasp The Big Street as a comedy, even though it clearly is for about 60% of the time, but the other 40% is so extremely serious it throws me off of thinking it a funny movie.* I do agree with you. That's why I don't call it a romantic comedy. But there is definitely comedy in the film. Not to mention, I find your meanness to be funny. *No Indiscreet or* *Charade? Too bad. What about* *To Catch a Thief?* I don't consider *Charade* and *To Catch a Thief* to be comedies, even though there are funny moments in both. I see *Charade* is actually classified as a comedy. I don't remember it being that way! It's been a while since I watched it. I have *To Catch a Thief* at # 116 and *Charade* is # 147 on my top 250 list. *Cluny Brown* is # 155. *Indiscreet* is just outside my top 250. *She makes such a great impression with little screen time. Did you like her in Lured? Love those caps.* Thank you. Yes, I did like Lucy in *Lured*. I have liked her in most everything I have seen her in. *With a dream prince though.* Yes, the female fairy tale. *I really like The Major and the Minor, except the boys do get a little irritating after a bit. The Big and Little Maginot Lines tend to wear.* It's a cute film. *I liked the showdown between Ginger and Rita Johnson. "I was a very straightforward child. I used to spit." I believe her!* That was one of the best scenes in the film. I thought Rita Johnson did a wonderful job. Those roles can be thankless. *Diana Lynn is terrific. It's rather like her part in the Preston Sturges comedy, the one you and Jackie like so much...I forget the name.* She does play a similar character to the one in *The Miracle of Morgan's Creek*. But I thought she was tougher in this one. She had more of a sweetness to her in Sturges' film.

SPOILED BIG JAKE *Big Jake is predictable but like most films I think the journey is the fun part of it.* Yes, you are exactly right. I knew the family would come together, but the journey is where the entertainment is found. *You are right in that the violence is pretty tough for a Wayne film. So much of it happens at once and a good bit of it brutal.* I couldn't believe the fate of my two favorite characters! "Brutal" is the word! Their fates helped to increase the value of the film to me, too. *(At least Bobby Vinton isn't in it very long.)* I didn't even know he was in the film! *I never thought much of Chris Mitchum. He's a bit stiff but Patrick Wayne does a fine job.* I liked Chris more than Patrick in the film. Maybe it's because I liked "Michael" more than "James." For some odd reason, Patrick reminded me a little of Henry Fonda. Maybe it was his build and the moustache. *I'm not sure how much more Maureen O'Hara could have done but she provides her own conflict for Duke too.* I agree. The only thing would have been to end the film with them all together. That would be about it. *Miss G is correct anbout Boone. In lesser hands Boone's character may not have been as bad. Even when they meet there is a tension but healthy respect and almost a politeness to it when they are sizing each other up. There could have been more of their interplay.* There is definitely a level of respect that's bubbling under the surface between the two of them. I liked that. I don't think there was a lot of Big Jake (The Duke) vs. Fain (Richard Boone) because the film really isn't about them. It's about Big Jake and his boys. The villain is almost an afterthought, actually. A MacGuffin. *I like this one better than "Cahill, US Marshall" mainly because of the villain. However, I prefer "The Cowboys" to this one. It's a bit more blood thirsty but its a very populist type film. "The Cowboys" benefits from Bruce Dern being among the most crazed villains I've ever seen in a western.* So it's the villains that separate the three for you? I actually don't have *The Cowboys* or *Cahill, U.S. Marshall* on DVD. I'm wary of the former because of the kids.

*If I may -* Always! *I liked it deeper into the film. I liked the conflict of their marriage and trying to keep what is important going for them. Obviously, different things were important for each of them.* I understand the conflict of their marriage, how Tess' (Kate) world and way became too one-sided for Sam. But the comedy was removed from it all. I thought the film was sweet, romantic, and rather sexy right from the start. It was thoroughly entertaining. After that, it goes another direction, completely. George Stevens seemed to like the serious more than the comedy and he would sometimes try to mix the two together. His follow-up film, *The Talk ot the Town*, plays similarly. The mix can be messy with me. *I think I am like some in that I didn't care for the very end. It was so out of character, I think, for Hepburn to have gone so far the other way to be a wife. Frankly, a good negotiation of sorts might have played better. It was well played and I think it might have been to lighten things up after the so long of the part you didn't care for.* The very end didn't bother me as much other than I thought it was too silly. I can see someone like Tess trying to prove she can do anything. She's a woman who likes challenges, no matter what they are. Would she keep it up? Heck no. And Sam knows that, too. But it's not about that. What's jarring about the end is that it's played like a silent. Again, Stevens' mix can be messy. *They were great together. The baseball game was a hightlight.* I liked them together. I really did. I loved the baseball game. I loved this: It's one of the most romantic scenes I've seen. I would have never guessed Spence & Kate would deliver such a scene. *Try "Adam's Rib" along the way. I think that is my favorite pairing.* Okay. That will be the next one I watch.

*I see your rankings for the latest batch of films you've seen. When you're finished your discussion about why you liked what you did like...can you tell me why* *"WOMAN OF THE YEAR" ranked so low with you. Thanx.* We can talk about that right now! I really liked the film for the first half or so. I thought it was superb. I loved Kate's kittenish performance. She was excellent. But once they got married, the entire film changed focus. Sam (Spence) became a miserable, sour guy without humor and that ruined the mood for me. He basically took his ball() and went home. I definitely like the pairing of Kate and Spence. They're really good together.

*Oh good, a western chat.* And I liked the film more than Fordy Guns! It's the end of the world. *BTW, did you see "The Tall Target" or am I thinking of someone else? Just finished it.* No, I haven't, actually. But I can watch it this week. I'm curious to see it since it's a Mann flick.

*And whether or not you can be happy just where you are in life, or do you need to reach higher.* Yes, that's definitely an aspect of *Sidewalks of London*. Not everyone is cut out to lead a simple life or a glamorous one. I know I have zero interest in the glamorous or adventurous. *What about Cluny Brown?* After *Love in the Afternoon*, the romantic comedies go: The Big Street (comedy/drama) The Smiling Lieutenant (musical comedy) Bell, Book and Candle Love Me Tonight (musical comedy) Mr. and Mrs. Smith (comedy) The More the Merrier Cluny Brown *I liked Lucy's reactions to Harriet.* Her two little scenes were terrific. Lucy is such a good comedic actress. One of the best ever. *My favorite song in the bunch is "Let Yourself Go".* I can believe it! *I wish we could fool ourselves.* Some of you do! I know some. *Which always seemed more a nightmare than a dream to me.* That's a good point. But I think it was sort of a nightmare for Sue Sue (Ginger Rogers). *SPOILING BIG JAKE* * (We can discuss this in "Western Rambles" if you prefer)* And so we shall!

SPOILING BIG JAKE... BIG TIME *Now how did a 1970s John Wayne movie make your list?* Color me surprised, as well. *I've never been that big on Big Jake I'm afraid.* No? That also surprises me. *For one thing, the opening violence really is harsh. It's a massacre.* That did surprise me some for a Duke film. It didn't bother me, of course. *And I always wanted more involvement from Maureen's character.* She's superb in her little amount of screen time. She looks wonderful, too. *But it is nice seeing Wayne with his sons, making a movie that really is about father and sons. The Cowboys and* *Cahill, U.S. Marshall are also "father/sons" movies he did, but not with his own kids. I prefer them both to ****, though they do lack the most impressive villain, which is Boone.* It's definitely a father/sons/grandson film. I thought it was done well, too. I knew everything would work out in the end, so it was predictable with that. But I liked how everything was shown. I was very worried about the film at the beginning. I did not like the entire cars and motorcyle kind of stuff. It wasn't until the film got past that that I really started to like it. The two heroic deaths in the film were magnificent. They had an effect on me. I thought the film was a terrific meshing of Wayne's past films, such as *Rio Grande*, *The Searchers*, *She Wore a Yellow Ribbon*, *Rio Bravo*, *Donovan's Reef*, and *Hondo*. Lots of references to those films.

*I would say AAR and SoL were more dramas but they sure are all terrific movies.* I agree with you. And *Sidewalks of London* isn't really romantic. It's about the longing for romance and the pain of that. *I don't find HGF very romantic, though that's certainly subjective.* I don't, either. That's why I called it just a comedy. *The Shop Around the Corner* would rank as my favorite romantic comedy, followed by *Love in the Afternoon*. Both are in my top 100. *Yes, it is. Wilder wanted Cary Grant but Cooper does give the nice tie-in to Lubitsch.* It's definitely more of a "Cary Grant" role, but I like that Coop played it. It's a little difficult to believe he would play this kind of cad, yet I like that he did. *I could have done without Harriet and Scott.* Yeah, I can see why. I liked Harriet. I liked how the two sisters went through their guy troubles together. *I never would have expected you to care for any of the tunes. I don't even remember "I'd Rather Lead a Band"!* I like songs more than dances. *Top Hat* is dance heavy. *Follow the Fleet* isn't. And the one dance Fred & Ginger do together is on the funny side since each is messing with the other. If I remember correctly, "I'd Rather Lead a Band" is about Bake (Fred) being comfortable doing what he does versus chasing "important" jobs and titles. *I never thought of it a dream world for girls. Being stuck with hormonal young boys and having to dress like a kid because I'm too broke to pay fare...not my dream world. Now if it was West Point with the older cadets... * Well, when you put it that way! Girls always wish to be older than they are and women always wish to be younger than they are. Then you throw in dress-up and make believe, and this becomes a film girls can relate to more than boys. You women are deceptive! It's "Alice in Wonderland."

*So of all the romantic comedies you've seen, where does* *Love in the Afternoon rank?* Does *Scarlet Street* count? It really does depend on how you define some movies. For me, it may be second. Here are the similar films that rank above it, so you can tell me: *His Girl Friday* (comedy) *An Affair to Remember* (romance/drama) *Mr. Lucky* (romance/drama/comedy/action) *The Shop Around the Corner* (romantic comedy) *Sidewalks of London* (drama/comedy) *What did you think of Coop?* I liked him, as usual. I'm very used to his style of acting and how he is with the ladies. It's funny seeing him as a jet-setting cad. It's kind of a call-back to his early days, back when he worked with Lubitsch. *Do you think he was too old for the part, as many (including Wilder) said?* It all depends on if you think a young girl would find such a man handsome. I think some would. There's often more to a girl's attraction than a boy's. It's almost all physical with a boy. The "idea" of the man and his world is a turn-on for a girl. So, no, I don't think he was too old. *Follow the Fleet was it fun at all for you?* Yeah, I suppose it was. It was a nice and easy watch. *Did you like the rapport between Fred and Ginger?* I liked their rapport in *Top Hat*, so yes. I thought they were better here, though. Especially Ginger and her female anger. *They were still being sometimes cast as the "comic relief" at this point, like in Flying Down to Rio and* *Roberta (which also stars Randolph Scott as, of all things, the owner of a fashion house...no, I don't recommend that one to you).* It was a little jarring to see Randy in this kind of film. The way he comes around was a little too easy. *Do you like them better this way or when they are the main focus, as in Top Hat?* I prefer them being the main focus, but I did like Harriet Hilliard. And Lucy's two scenes were good. The final number, "Let's Face the Music and Dance," is my favorite "Fred & Ginger," so far. I also thought the opening song, "We Saw the Sea," was very funny. And "Get Thee Behind Me, Satan," was terrific. "I'd Rather Lead a Band" is good, too. So I definitely liked the songs of *Follow the Fleet*. The songs in *Top Hat* are more classical and beautiful, but these songs spoke to me, more. *Did you rank The Major and the Minor so low because of the kids?* That was part of it. The film is just too cute "female" for me. Major Kirby (Ray Milland) is vacant, so the strongest male character is a ghost. The film is definitely a dream world for girls, playing dress-up, make believe, and acting a different age. Ginger is fantastic, though. So are Diana Lynn and Rita Johnson. It's just this kind of story doesn't suit me.

*Meaning you liked his character more? How he and Ginger play off of each other?* I was familiar with his style and tone going into *Follow the Fleet*. I was a little more "used to him." Sometimes when you watch a performer or spend time with a person, their style and tone may disagree with you at the start. But you can sometimes start to warm up to them the more you are exposed to them. *But her character dictates what kind of ending there will be. Any other kind would be like seeing her violated, and audiences would have none of that. It would be like a betrayal of why they went to the movie in the first place.* I know. The kind of film *Love in the Afternoon* is basically demands a certain kind of ending, just as film noir does. But then there are films like *Roman Holiday*, too. *I know, it's suggestive.* It certainly is! It's shorthand! *If I can, it's not easy.* If you feel up to it, post away.

*You can stand him now that he's a sailor,not in top hat and tail?* I don't think it's that. I believe it was that I was now familiar with his style after watching *Top Hat*, so he felt more comfortable. It could be the kind of setting and film, too. *And he sees only the seedy side,the bitter disappointments, the breach of promise suites, the sordid photos, What she gleans is from the magazines that turn those evidences into glamorous escapades. So naturally, she wants to be a part of it all.* That's very nicely said. You've got it right. It's purely a job for Claude (Maurice Chevalier), it just happens to be a salacious one. With Ariane (Audrey Hepburn), it's a curiosity. She's not living a glamorous life, but she's drawn to it. Very "female." *But you don't use a tank to teach a lesson to a ittle rabbit in the meadow.* Little rabbits shouldn't be playing with snakes! They should know better! In film noir, you don't make it. That's the male fairy tale. *I does look that way, though he sounds convincingly frustrated about her, everything about her. She's trying to draw him in the one trap he can't resist. He likes to be in control especially of the girl but she constantly eludes him.* But... ! *They'll alwys have Paris, especially the Hotel de Paris where they met. and Henri can keep and eye on him there.* That's only one place! *The look on his face is sad and ashamed, ashamed of himself mostly, for dragging her into this world. If I had time I would post screecapsl* Do it tomorrow!

LOVE SPOILED IN THE FREEZING AFTERNOON *That's pretty much what I figured, though you're kind of saying you liked* *Follow the Fleet??? Is this FrankGrimes? The noiristas are going to start hammering on your door for your Film Noir Card.* Since this was the second Fred & Ginger I watched, I was able to warm up to Fred and his style. *Definitely, and Maurice's narration underscores the connection to Lubitsch and the conflict. After all, he makes his living on what he's trying to protect Ariane from.* That's a wonderful point. I love the whole idea of Maurice being on the "other side" of the sexual dalliances. He's now the protective father of a curious daughter. *That's horrid! She's too young and innocent to get wrecked at the end, it would be brutal.* A life lesson! *Though I wouldn't be surprised if Wilder wanted it that way to begin with. He and screenwriter I.A.L. Diamond fought over the relationship between Ariane and Coop. I read that Wilder wanted the two to go all the way, but Diamond disagreed.* Even though the "first base" line was dropped, I took it that they did. Once the gypsies leave... *I thought the same, ha. But he knows all the tricks and he'll have his eye on his son-in-law.* She left town! *Billy with Audrey is much more in a fairytale world. He's not like that anywhere else with his films.* This is definitely a fairtytale kind of film; Little Red Riding Hood. *That's quite an admission. I do think she's pitch-perfect and the camera worships her. I love how she is with Maurice. It's a very believable father and daughter pairing.* They are wonderful together. I just love hearing Maurice talk. *The way he finds out who Coop has been seeing is both funny and heartbreaking. "It's as if someone had broken into my files!"* You girls are sneaky!

LOVE SPOILED IN THE AFTERNOON... BY A SNIPPY LASS! Ciao, Fordy Guns -- *Well you still manage to pull a few surprises; I'll never be able to predict your rankings.* I have my leanings, but sometimes leanings can create higher expectations. *Unless #3 on down are in order of how much you hate them, I'm amazed. I'm guessing though that the majority of them were not pleasant experiences for you.* I mostly liked the top four while the bottom four leaned more to disappointment. But I didn't hate any of them. Not at all. *So why is Love in the Afternoon the first?* It's a sensational romantic comedy. One of the best I have seen. My having seen the Lubitsch/Chevalier films earlier this year really helped me appreciate the film, all the more. It's very much in line with Lubitsch. You have the sexual male and the sweet girl colliding. There's a sweet seriousness to it. *I used to watch that movie endlessly, over and over and over. I think I have every line memorized. "He has such an American face." It's the final scene that gets me teary-eyed every time.* I wasn't sure how it would end. I was kind of hoping he'd leave her... of course. *Love in the Afternoon is the movie that most makes me doubt how far Wilder's cynicsm really goes. There's so much affection for Lubitsch and adoration for Audrey that makes me suspect he was at heart a romantic. Of course, Audrey is the innocent playing a cynic and everyone around her is cynical in the movie. Will she win the game she's playing? Finally, of course, true love wins, the love she had at the start, very starry-eyed, and her father can breathe a sigh of relief.* Can her father breathe a sigh of relief? I'm not so sure! I know that's how we're to take it, though. I haven't seen nearly enough Wilder films to really know his themes. But this film is definitely a "Lubitsch" film. This is definitely my favorite Audrey character and performance. She's absolutely adorable.

Wow! I'm impressed y'all were able to guess I liked certain films. You were all right on a few films. How I liked 'em: 1. Love in the Afternoon 2. Mississippi Mermaid 3. Big Jake 4. Follow the Fleet 5. The Tall Men 6. Kiss the Blood Off My Hands 7. Woman of the Year 8. The Major and the Minor

Good to see you around, Rey -- Your lists are terrific. These are my kind of lists: personal favorites. Your list is definitely "you." I think that's great. What your lists tell me is that you're a John Wayne fan, a westerns fan, and a fan of war films from the decade. The big surprises for me were: *Sink the Bismarck!* as your favorite film of 1960. *Swiss Family Robinson* ranking highly. *Breakfast at Tiffany's* ranking highly. *Hatari!* placing higher than *The Man Who Shot Liberty Valance*. *McLintock!* topping 1963. I would have never guessed that. The presence of *Mary Poppins*. I continue to struggle with the 60s. It's a decade that just doesn't captivate me all that much. I'm not sure what it is. I do like the westerns of the decade, though. I believe my best bet with the decade will ultimately be foreign-language flicks. I have seen only 99 films from the decade, so I will include them all in my rankings. I'm gonna rank the actual years in order of preference. 1964 1. The Night of the Iguana (9/decade ranking) 2. The Naked Kiss (10) 3. Hush... Hush, Sweet Charlotte (14) 4. Lady in a Cage (17) 5. Fate is the Hunter (26) 6. A Fistful of Dollars (27) 7. The Americanization of Emily (38) 8. Dr. Stangelove (42) 9. Seven Days in May (45) 10. Marnie (46) 11. Blood and Black Lace (60) 12. Send Me No Flowers (81) 13. Cheyenne Autumn (90) 14. Nightmare (95) 1968 1. Once Upon a Time in the West (2) 2. 2001: A Space Odyssey (12) 3. Firecreek (24) 4. Rosemary's Baby (32) 5. The Boston Strangler (35) 6. The Odd Couple (36) 7. Targets (50) 8. Hour of the Wolf (57) 9. Danger: Diabolik (62) 10. Hang 'Em High (71) 11. The Detective (73) 12. Planet of the Apes (74) 13. The Love Bug (82) 14. Bandolero! (92) 15. The Producers (97) 1960 1. Psycho (3) 2. Inherit the Wind (4) 3. The 1000 Eyes of Dr. Mabuse (28) 4. The World of Suzie Wong (29) 5. The Sundowners (30) 6. The Apartment (41) 7. Elmer Gantry (47) 8. Strangers When We Meet (52) 9. Where the Boys Are (66) 10. The Magnificent Seven (69) 11. Eyes Without a Face (76) 12. 13 Ghosts (83) 13. Sergeant Rutledge (86) 14. Home from the Hill (98) 1962 1. Cape Fear (1) 2. The Manchurian Candidate (5) 3. The Man Who Shot Liberty Valance (7) 4. Carnival of Souls (34) 5. Two for the Seesaw (53) 6. Lolita (54) 7. What Ever Happened to Baby Jane? (64) 8. To Kill a Mockingbird (65) 9. Advise and Consent (77) 10. That Touch of Mink (79) 11. Hatari! (84) 1966 1. Batman (13) 2. The Professionals (18) 3. The Shooting (19) 4. Who's Afraid of Virginia Woolf? (39) 5. The Sand Pebbles (40) 6. The Good, the Bad, and the Ugly (58) 7. Seconds (68) 8. Torn Curtain (72) 9. 7 Women (78) 10. El Dorado (88) 1963 1. The Birds (21) 2. Charade (23) 3. Shock Corridor (43) 4. The Haunting (48) 5. Soldier in the Rain (49) 6. Dementia 13 (51) 7. Paranoiac (59) 8. Love with the Proper Stranger (85) 9. Donovan's Reef (91) 10. McLintock! (99) 1961 1. The Hustler (8) 2. The Misfits (15) 3. The Innocents (16) 4. The Deadly Companions (33) 5. One-Eyed Jacks (55) 6. Breakfast at Tiffany's (70) 7. Two Rode Together (89) 8. Lover Come Back (93) 9. Goodbye Again (94) 1965 1. For a Few Dollars More (11) 2. Bunny Lake is Missing (22) 3. Planet of the Vampires (56) 4. The Flight of the Phoenix (61) 5. Von Ryan's Express (67) 1967 1. Point Blank (20) 2. Hombre (25) 3. The Incident (37) 4. In Cold Blood (44) 5. Wait Until Dark (75) 6. The Taming of the Shrew (80) 7. Guess Who's Coming to Dinner (96) 1969 1. The Wild Bunch (6) 2. Mississippi Mermaid (31) 3. Topaz (63) 4. Butch Cassidy and the Sundance Kid (87)

*Oh good lord! I think you hated them all!* You got a laugh out of me! I won't be around tonight unless it's very late, so you have plenty of time to take a guess, if you like.

Good evening, Manhattan Blizzard -- It's chilly out! What have you done?! How do you (or anyone else who cares to guess; Jackie, Movieman) think I liked the last films that I have watched?: Big Jake Follow the Fleet Kiss the Blood Off My Hands Love in the Afternoon The Major and the Minor Mississippi Mermaid The Tall Men Woman of the Year

*The Manchurian Candidate* is a biggie. I can't believe I forgot that one.

*^So....The Tall Target, This Gun for Hire, The Sniper, The Killer is Loose, Murder by Contract, then Point Blank ^and Hard Contract and The Godfather movies and finally,^ Dirty Harry.^* That's good! I've seen only four of those films. Peter Bogdanovich's *Targets* is a scary sniper film that I like. *Man Hunt* is one that features a "hit."