CineMaven
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Posts posted by CineMaven
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Trust. As strong as a cable that holds up the Brooklyn Bridge...and as fragile as a strand of hair on a baby's head.
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Sadly, we lost one of the greats this day - January 16, 1942
*CAROLE LOMBARD*
She could do comedy and drama. She was beautiful. She had great timing. She was well-liked by everyone and...she married Clark Gable. She is still missed...seventy years later.
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Good catch S.F. and Richard Basehart is a favorite of J.F.'s, too.
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Nah. I don't think that'll work Jack. Contact lenses weren't around during the period of classic films we like from the Silents to the 20's, 30's and 40's.
Hmmmm. I know...I got it!
Now *that's* more like it. (Here we go with Marilyn again...but at least we're not making money off of the poor girl).
We can talk about actors who wore glasses. That'll keep more in line with the idea of this Message Board...to talk about things related to classic films.
Of course Marilyn could wear a potato sack, and that'd still be keeping in line with things related to classic films and not make money off of her.
I'm just sayin'...
Edited by: CineMaven on Jan 13, 2012 12:31 PM - had to make the word lens, plural. Grammar is just as important as staying on topic here at this Message Board.
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Gee Mary, I hope you use those contac lens to watch classic films. We write about classic movies here.
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Been meaning to tell you your Travis Banton shots and commentary are really nice. Rosalind Russell does look glam. What a striking woman she was ( love the "glamzilla" shot ). And Lucille Ball looks like a dream.
Nice job Sue Sue. Represent!!
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Hi. :-) There's nothing to choose. We weren't choosing. We just felt. There's so much to take in with this film.
Now I just left the theatre seeing "My Week With Marilyn." I'm walking down Greene Street in SoHo talking to you. I left the movie in tears. And a profound sense of sadness overwhelms me. It's cold and sunny and I'm weepy; heading to the west side of Manhattan to see "War Horse." I suspect I should be a basket case in a few hours. But hopefully will pull it together to share my thoughts.
That is if I don't trip in the street not watching where i'm walking.
Maven with an iPOD Touch...coming through!! Step aside folks!!
Edited by: CineMaven on Jan 9, 2012 - Oops...cobblestones.
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You must either get your work published JackaaAaay...or become an attorney. You make a great case for young Karl Heinrich. Don't get me wrong, I feel sorry for Karl. And I agree with you wholeheartedly that he was probably more the wiser for having had this experience. I love what you say: "Smart man, Dr. Juttner. He knew that a king must know his people..." and I love how you say: "even if all he was trying to do was help this poor boy live a small lifetime in the few precious moments outside the palace."
I saw the Prince as so innocent, so pure, that he simply couldn't make any other decision than the one he did. What was he to do? Take her as a lover? No... it was unthinkable, to take his pure love and turn it into something hidden and ugly. I don't know that he even thought of it. Abdicate? I think they both knew that that could not happen.
Yes, Kings have mistresses all the time. And there was King Edward VIII who abdicated the throne. But I don't think that these two were Karl's only options. He could have married her and made her his Princess; and whoever in his court didn't like it, they could lump it. (I often muse that if Prince Charles were allowed to marry the woman he loved, Diana might be alive today. Or what if Elizabeth's sister Margaret were allowed to marry Peter what's-his-name). Of course I know the romantic thing is to understand why Audrey must return to duty after her Roman holiday or even look at the choice Princess Grace made in real life. I do feel sorry for Karl, who probably didn't have a leg to stand on. He was still a young man with no one in court to advocate for him; only some old fogeys upholding Tradition and Duty.
But...
I am sure she lived unhappily ever after, but she seemed more able to take sorrow.
If Karl had come back to find Kathi, married...maybe with children. Then I could feel more for this young prince really blowing an opportunity for love and happiness. The girl I saw lying on an empty hill, in a heap of tears and heartache did not look more able to me.
I empathize just slightly more...with the girl he left behind.
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When I saw the length of Jackie's post on Heidelberg I thought, "Uh-oh, I'd better see this movie." So I ordered it on Amazon, and they have a sales feature whereby they'll deliver the movie to a location close to you. Lo and behold, there was a location in the Village two blocks from my Friday nite hangout spot. I ran to the bar, dropped off my gear to save a seat at the bar and ran to D'Agostino's to pick up the VHS tape. When I showed my buddies what I picked up, their little faces were so politely blank. "Silent?" "*VHS*?!!" "BLACK & WHITE? Girl, you *do* need a drink!!"
No matter. My life is schizophrenic between my rea;l world and my reel world. (Don't let me tell you what it felt like to walk into that loud noisy bar *after* my afternoon at the Hilton! Ha!)
I held off reading what you wrote. I settled down in the dark and peace & quiet of my living room. I knew I'd be reading title cards and that I couldn't look away from the "silent" screen to have the movie playing in the background while I puttered around. I sat and watched a movie made the year my father was born.
I gathered my thoughts and wrote up my notes. And then I read your posts.
Jackaa*A*aay, Miss G. You both have left me speechless ( I know, "Hallelujah!!" ) with your thoughts on *"The Student Prince of Old Heidelberg."*
Ladies...ladies...ladies. Your posts were beautiful, really! Unbelievably poignant, detailed and elegantly lyrical. Your writings matched the delicate tone of the movie. You both made me *feel* your thoughts. Yeah yeah...I'll read the Bogdanovich link about this movie. ACK!!! He has thoughts about EVERYthing. But I doubt he'll touch my heart as reading your words did.
Wonderful write-up Jack Favell. Wonderfully written Miss Goddess.
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YOU CAN’T GO HOME AGAIN.
*"Those exquisite moments of tenderness and sorrow and joy were weighted just a little more - but with the merest of feathers for a counterbalance.” - Jack Favell*
*"Irony of ironies that being trapped by a world that is living in the past he tries to escape by going back into the past." - Miss Goddess*
I hoped against hope.
*Parting is such sweet sorrow...*
Even when I knew it wasn't in the cards, I hoped. Even though I've seen enough royalty w/commoner love stories to know better...I hoped.
I hoped against hope they would have a happy ending.
*"THE STUDENT PRINCE OF OLD HEIDELBERG"* was a sad movie. But good. Solid. Strongly made. Very romantic. I sometimes hold my breath when I watch Silents; I'm afraid overblown gestures will take me out of the moment. I thought *NORMA SHEARER* was very natural as the barmaid, Kathi. Ha...what an outspoken girl. And *RAMON NOVARRO* did a good job as well as Prince Karl; the shy guy. Poor kid, I felt so bad for him. Duty-bound, commitment. He was under such weight of responsibility, Atlas seemed to have less of a burden carrying the world on his shoulders.
*A friendship*
Jean Hersholt is the good doctor who helps Karl be a 'regular guy' (even though Karl was a prince among men). I liked him very much. He was warmly understanding of this young man's needs. He was a liaison for Karl between two worlds.
Three times in the movies a commoner remarks how good it must be to be the Prince/the King. And each time, Lubitsch shows us how *NOT* good it was. The Prince is isolated from everyday life...always on the outside looking in.
It's love at first sight when he sees Kathi.
*First love...*
The bliss of first love. Fields full of flowers...full of life. Did you notice the flowers didn't blow...flow with the wind. Their shimmer was electric. What a beautifully romantic sight that was; lovers, enveloped.
But honestly, I never got the impression of Prince Karl's strength of character. When push came to shove, I can't help but think he sold out; sold out his love, sold out his dream of happiness. I know...I know. Who can buck two-three-four hundred years of tradition. This sense of duty was drilled into him from a little boy. But now as a man, he has choices. And as a powerful man (who-would-be-king) he has more command of his choices. But does he? His dying uncle even picks out a princess for him and he doesn't challenge that. I'm trying to give Karl a break...I want to give him the benefit of the doubt, but I didn't see him fight for love.
I think Kathi knew before Karl that he would never return once he was called back to the castle. Her brave goodbyes were heartbreaking. She was saying goodbye to Love with just the slightest of hopes that it would come back to her...at the very least, in the form of a letter.
I loved Lubitsch's direction of this film. There's a couple of things I can point to but listing them would sound too pedantic in the face of such delicate tapestry. One scene I will mention is when Karl envisions going back to Heidelberg. He sees Kathi come out with a hand full of beer steins. She sees him...and the camera quickly dollies away from her outstretched arms...and dissolves into a dolly towards Karl sitting in his office imagining this. I had to play that back a few times; one - to reconstruct that shot in my head for future use. And two - to reflect what it is when we move away from the past back to our present.
When Karl returns to his past, what a sad nightmare that was. I'm not sure how much time was supposed to have passed between his leaving and his return because he looked younger than those around him. The beerhall has a few grumpy customers and is in a state of disrepair; the Saxonian crew has turned into stiff automatons. How soul-killing was it to watch Karl walk down that line of men. He looks for friendly recognition in each face, only to face a bunch of military robots. By the end of the line, Karl was a beaten man. But surely seeing Kathi again would bring it all back again...the love, the romance.
It did not.
He couldn't recapture the feeling. And you know what...it didn't look like it took a lot for him to walk away from it all...from her, this time. As his carriage pulls away, he shields his face. Is he shielding it from seeing the present reality? Is he shielding it from Kathi seeing his shame. When she falls to the barren ground in a heap of tears, that was tough to take. I think Kathi was still there, there with love in her heart... there, waiting for her prince. There waiting for love.
I wonder if Karl just wants the dream.
As he rides among the throng of subjects on his wedding day, he can sit with his little reverie of the time he spent in Old Heidelberg. And I believe he'll have some slightly smug self-satisfaction in living in those moments amidst the pomp and circumstance of his Royal life.
Would you be happy...content dwelling in just the moment?
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The King? Well...I know just the gal who'd like to "crown" you.
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I gotcha. Sometimes names don't come to me. I can still hear him say:
"AR-BO-GAST."
or
"Well if the woman up there is Mrs. Bates...who's that woman buried out in Green Lawn Cemetery."
...And there's Lurene Tuttle:
"I helped Norman pick out the dress she was buried in. Periwinkle blue."
and
"Norman found them dead together. In bed."
When she tilts her head, I lose it. Ohhhhh Hitchcock. You bad bad boy!
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Thanx Jack! I'm sorry to have read you missed it. I hope you get a chance to see it sometime. I hope I haven't built it up too much. I was quite taken with it. And that surprised me.
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ANOTHER DAY IS SPOILED...OH YEAH, IT'S SPOILED:
Hello Namesake! - "What a nice surprise this morning! Tomorrow is Another Day is the movie I was thinking of when we discussed Steve Cochran on another thread but couldn't remember the title of. It's been over 50 years since I'd seen it and it was still great. The details weren't exactly as I'd remembered so it was almost like seeing a new film but the love story was still there. That's why I liked it; even social misfits like them could fall in love and make it work. Cochran and Ruth Roman made a great couple. Thank you TCM; that's why my cable bill's worth paying." - WOULDBESTAR
I died and went to heaven when I saw these two...
THE CRUEL...COLD...DARK BEAUTY
I have never heard of this movie. Well...only in relation to a Scarlett O?Hara line. I recorded it to continue my collection of Ruth Roman films. I didn?t know what the heck to expect; it's better that way. I was pleasantly surprised. "TOMORROW IS ANOTHER DAY" reveals a couple of layers I enjoyed.
THE BOY CAN ACT
STEVE COCHRAN plays an ex-con just released from prison. I always liked Cochran...his tough guy persona...his lush deep dark looks and hirsuteness. But that's not quite what a got in "Tomorrow..." (no tough-guy, but still his killer looks). See, he's been in prison for eighteen years since he was a thirteen-year old boy. So his new life on the outside is really quite an adjustment. And Cochran plays him throughout as slightly emotionally stunted. He never waivers from that, and it's always subtly evident; this is a testament to his (very under-rated) acting. (His dark humor in "Deadly Companions" was an eye-opener as well). There was a boyishness to him in "Tomorrow...". He was hurt, defensive, mistrustful. There was a sweetness to him that endeared him to me.
Now remember, he was thirteen when he went into prison eighteen years ago. When it dawned on my thick skull what that really meant, I confess it quickened my pulse a bit, seeing how good Cochran looks. And the first woman he falls for?
Brittle, hard as nails, bottle blonde Ruth Roman. Mama mia!! The poor lug doesn't know what hit him.
TEN CENTS A DANCE IS SOMETIMES A HIGH PRICE TO PAY
He's socially awkward, and sweet as well; and that makes for an apt pupil. She sees "something" in this young man. Uhmmmm... mostly, she sees a patsy.
A STAGEDOOR JOHNNY....WITH NO BAUBLES, BANGLES and BEADS??
Using his prison pay, he buys her a gold-plated watch. (Awww, it's no Krupp diamond, but it means just as much). She can't let herself be soft. It's a hard cold cruel world for a blonde alone. With a twist of fate thanks Ruthie's previous paramour, she convinces Cochran he's murdered that man... when it was she who pulled the trigger.
ON THE LAM
This is some kind of wildly subversive Hitchcockian plot twist. Not only is Cochran, 'the wrong man' but he THINKS he IS the man. "Tomorrow Is Another Day" is a unique "on-the-lam" tale because she?s tricked him into thinking he must run. He never wants to go back to prison, he?s never really ever able to breathe comfortably, he thinks she?s going to tell on him...so he's always on edge. Not the fey-jittery-Farley Granger-edge, but a darker weightier edge. She's actually kind of holding him hostage with her secret. It makes you feel sorry for him.
And the laugh's on her when she realizes she's hitched her little caboose to a convicted murderer. (Into the frying pan, Ruthie?)
They're on the lam. They change clothes and hitch rides. (How ironic that he gets a ride from the trucker hauling cars. See the movie and you?ll know what I mean). They're not out in the open. They do a lot of walking, and hopping on trains. They talk. He's a survivor in this environment. They register in a seedy motel as man and wife with phony identities. Ruth still holds Cochran at arm's length. "Don't get any ideas, buster" is easier said than done; she's warming up to him. In spite of herself, she slowly falls for Cochran. In an effort to disguise herself from The Law, Ruth dyes her blonde hair brunette. Yay!!! Finally! It's Ruthie, dark and lovely, like we know and love her. Cochran's man/boy gets plenty of ideas. After all, they're now married (if in name only)...it has been eighteen years...and it IS Ruth Roman. Ruth turns girlish, asks him if he likes her new hair color. He does. He likes her. He loves her. The wait is over...they really become man and wife here.
TRUST...THE BEGINNING OF LOVE
Now a brunette, her glam toned down and her softness under the formerly hard-veneer revealed, Ruth and Cochran catch a break helping migrant farmers: LURENE TUTTLE and RAY TEAL. (Hear me loud and clear TCM: I suggest, request, DEMAND a LURENE TUTTLE day from TCM!!!) Ruth has softened considerably and Cochran seems more at ease. She's toned down her hardness and he takes the lead a bit in their new life together. It's funny, even if she has to scold him she never pulls out the beeyotch card, but does it a maternal wifely way. They live the life of lettuce pickers in a small itinerant California community. Whoa! This is far afield from the bright lights of a 40-watt bulb dirty dance hall, and Ruthie takes to it. It was easily and subtly done to watch her warm up to Cochran and gain his trust. I'd say, he's gained trust as well. She's wifey now in a little wooden shack...making dinners, sewing patterns, and pregnant to boot. (What'd I tell ya...an apt pupil). They're both able to breathe.
CONFLICT, AS USUAL, REARS ITS GREEDY, UGLY HEAD
Cochran's true identity is discovered by Tuttle and Teal (sounds like an old vaudeville team, doesn't it?) and trust begins to break down with everybody. There's a conflict about turning them in or not. After all, a $1,000 reward is a lot of "lettuce." (D'Ohhhhhhh!!) And there's a conflict about whether to flee the town or not. I know sometimes folks down't want the music score to dictate their emotions, but I thought the music here was used very well to illustrate tension and distrust, and not dictate it. I will not dare spoil this movie for those who haven't seen it yet. (I'm not that kind of Maven). But I must laud Lurene Tuttle's acting here. She's one of the great character actors who can do comedy and drama. Here in "Tomorrow" she has the earnest, sweetest, gentle, forceful gravitas of an accomplished actress who walks a razor's edge like others might walk in the park. Her character is in conflict about a choice some might find easy to make...and that she struggles with this choice is a testimony to Tuttle.
I recorded this movie to add to my Roman collection. Drooling over Steve Cochran is a no-brainer, for me but I really enjoyed his consistency of character. My admiration for Lurene Tuttle was heightened. And the way "Tomorrow Is Another Day" weaved its tale of folks still trapped by circumstances, and the growing love of two distrusting people was an added bonus for me.
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PHENIX CITY: IT'S STILL SPOILED ROTTEN TO THE CORE!
How's It Going, JackaaAaay - I'm afraid this one didn't do much for me.
...and John McIntire who I didn't even recognize without his whiskers, I've seen him in so many westerns. McIntire was so great, he was the only one who really held my interest.
I too wish there had been a follow up... they took the time to set up James Edward's character, then dropped him flat afterwards.
John McIntire has such a distinctive voice, I'd recognize him whiskered, bearded, bald, or in a foggy steam bath. And I agree with you about James Edwards' character, Zeke. ( Sigh! ) Like a hot potato.
Let me leave Phenix City and travel to Germany.
...I only hope I’m not allergic to Edelweiss.
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PHENIX CITY IS SPOILED ROTTEN
Hellooooo Miss G. - I hadn't thought to compare TPCS to Touch of Evil, it reminded me more of Captive City in style and in the fact the towns depicted were not entirely "wide open" like the border town in Touch of Evil...
Hmmm...I'll have to look for "Captive City." I only brought up "Touch of Evil", not to compare the apples and oranges of a plagued town with a diseased man ( I hear ya, Grimesy: "I'd say 'Touch of Evil' benefits from having Orson Welles portray the man of power. He's the focus of the story. He dominates the screen. I'd say 'The Phenix City Story' is more about a city with the plague." - Frank Grimes ) but that the nature of corruption affected me more in one movie than in the other.
To me, Touch of Evil is more of a creative work of the imagination, and TPCS is like a newspaper expose, a documentary style movie. They never get me emotionally as much, either. Nor do procedurals, with some exceptions. I watched Armored Car Robbery a few days and it about put me to sleep it was such a bore (in spite of a good cast including Charles McGrowl ;-) )
I hear you. Sometimes the dry boring flat "just-the-facts-ma'am" nature of the procedural is like eating Shredded Wheat without milk. Oh and McGrowl....Good one!!
(Fourth column, 6th down)
Gee whiz, thanx for taking me off task. I went on the John Wayne soundboard and listened to a whole slew of 'em. HOW on earth do people THINK of these things? Tsk! Tsk! I'll never be rich!
Oh...and remembering our Hilton confab, here's your chance to be a real cinephile...thanx to TCM: Tuesday night at 10:00pm.
As soon as I find my passport... it's on to Old Heidelberg.
:-)
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PHENIX CITY...ROTTEN TO THE CORE
HAPPY EIGHTH DAY OF THE YEAR, GRIMESY!! - *I took the race of the Wards and the death of their young daughter as being the decision of the filmmakers (director, producer, writers). It's a roundabout way of imparting your own feelings on a serious topic while not making it the primary focus of the film. The film is definitely about a town that is being held captive by corrupt forces. Those corrupt forces can be extapolated with the Wards.*
I still have that tiny niggling feeling in the back of part of my brain, but I totally agree with your line of reasoning here and how statements can be extrapolated without dead-on hitting the nail on the head. It's even cleverer that way. You’re absolutely correct in whose film-making decisions these are, (especially as it’s a field I want to pursue and have worn those three hats in my own productions). Filmmakers should be aware of those Rorschach decisions.
...And I hope you look for *"The House On 92nd Street"* very soon. One f.y.i., there’s nothing dramatic in the way it’s filmed.
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Top Of the Noir 2 U Grimesy - *The Pattersons were the threat, not the Wards. The crime syndicate didn't care about the Wards. The reason for that scene was to scare the Pattersons, not upset the Wards. The reaction of the Pattersons was more important within the story. But what's great about the story-telling, is that the Wards end up playing a significant role by the end.*
True. The Pattersons were the threat to the power structure of corruption.
*Would that scene have been as impactful if the child and family were white?*
I think it’d be just as impactful b’cuz of the heinous death of a child. And my contention is that if the child and family were white - same subsidiary second-tier characters, they would have shown them either getting the news or showing Patterson saying “I’ve got to give Zeke a call.” They would have gotten a nod.
What shocked the heck out of me was when Kathryn Grant and the old man went to the hospital to see his son, and being told by the receptionist “Where do you want the body sent?” That was a jaw dropper.
*Because anger and hate are poisonous to one's self. If you go around being bitter and angry and hateful in life, it's gonna hurt you more than anyone else. And even if you harm those who have harmed you, is it over?*
Is it over. Well...it's a start. (Side note: I am not a bitter, angry or hateful Maven).
P.S. My thoughts on the Wards is just a speedbump in the exposition of this film. It didn't hinder the story of this town's corruption. Everything plot-wise continued to roll along. I'm merely just saying that I noticed, or felt some type of omission.
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*Those are phenomenal pictures of the Lovings (amazing), CinemAva. Talk about a walk through time and how the opinions of the day can be so wrong.*
I'm so glad you liked them. Very touching.
*I'd say Touch of Evil benefits from having Orson Welles portray the man of power. He's the focus of the story. He dominates the screen. I'd say The Phenix City Story is more about a city with the plague. It feels like Touch of Evil is big and The Phenix City Story is small... and that suits both.*
I agree with you there. Poor Phenix. It was like a diseased person.
*I believe that's all about focus. The focus wasn't on the Wards. They were caught up in the storm.*
They were caught up. And I hear you about the focus. But a "nod" to them...a three-minute scene would have been good. The little girl's murder was the most heinous crime of the entire film. Yet the focus was how it affected the Patterson men to fight the evil. No acknowledgement? Hmmm...
*...If my child is murdered, it would be darn near impossible to put aside violent feelings of anger and hate. And that's how it all becomes a mess. It's much harder to be strong (stay above the hateful) than weak (give in to the emotion of revenge).*
Why do you characterize staying above the hateful as a strength and the emotion of revenge a weakness? That's one of the ol' tenets of movie story-telling: "Don't do it. You'll be no better than those animals." Aye yi yi.
*What's interesting about the film is that it's not really a film about racism but it ends up including this, which makes it a much more powerful film to me. It's very much a "civil rights" film, for all kinds. It's a very brave film. The Wards are shown to be two of the strongest characters in the film.*
I agree. It is a film about all sorts of civil rights being trounced and eventually the rights being on the mend by the good townspeople. I give it this as I said in my post, the 'in-your-face' violence was shocking.
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If you have five minutes...peruse this, folks:
http://www.nytimes.com/interactive/2012/01/01/magazine/look-loving-versus-bigotry.html
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"I found The Phenix City Story on YouTube and figured I'd put it out here in case anyone else was interested. CinemAva I think would like it the most, if she hasn't seen it already." - Miss Goddess.
"It's a hard-hitting film noir with a documentary feel. Since Lively Gal liked T-Men, I think she may like The Phenix City Story. I'd say Quiet Gal may like it some, as well. It's on the brutal side. It's a rather shocking film." - Frank Grimes.
I checked out "THE PHENIX CITY STORY" and it was a pretty brutal film. A couple of times, my eyebrows raised...I softly gasped at events I saw...at the language I heard; at the out & out brutality of folks wanting to have it THEIR way in this little town.
But I didn't have the visceral emotional connection I had with "TOUCH OF EVIL." And I can't quite explain why. Something about "Touch of Evil" got under my skin...unnerved me...made me feel out of sorts. I didn't have that feeling with "Phenix City..." If I were to wrack my brains to figure it out, I think the beginning with the reporter kind of took me out of it. And maybe all throughout the film it looked like they mixed actors with real-folks. Yes, this is a true story, a documentary of sorts but...I dunno. I wish it just started in with the story. But this is not to say my jaw didn't drop a few times. If I was shocked at all I think I was shocked at how "in-your-face" the violence was, for a film made in 1955. This movie brought to mind those films that were made for the bottom half of the bill for drive-in movies. It felt like that's the shock they were going for.
As soon as I heard those Alabam-y accents, this city gal wanted to bail. It's like some sense memory passed down through generations that makes my DNA shudder. You're good Ro' to have done some research on the backstory of those events. I saw a little bit of the son speaking in the first link you cited.
The boy on the bike and the little girl being snatched was rough. I was taken aback. The scene with the little girl made me think of the Matthew McConaughey film "A Time to Kill" where Samuel L. Jackson's daughter is kidnapped. But I wondered in "Phenix City Story" why no follow-up was done for her murder. We jumped right to the trial of the young man who chased down the car that struck the little boy.
Oh yes Rohanaka:
RO, now Ro...put the brick down. Slowly...put down those bricks. (Ha!) His cinematic fate is sealed for me forever after seeing him in this movie. You cited some good creepy characterizations Miss G., when you mentioned: "Tea and Sympathy", "The Unguarded Moment" Didn't a car try to run him down in one of the Alfred Hitchcock Presents episodes?? Even cars know he's a creepy creep.
When I saw he was the doctor in "Send Me No Flowers" I think I might've instinctively immediately thought the doc was going to do an evil experiment on Rock Hudson. He was also in "Youngblood Hawke" (do you have own VCR Miss G.?) as a book critic and I always kept one eye on him lest he try to do something nefarious to my baby cutie pie Franciscus. See, Edward Andrews is now officially "That Creepy Guy" to me. (And you're right...horn-rims don't help). I did enjoy his scenes with John McIntire. There seemed to be some type of mutual respect between their characters...and I suspect, a mutual respect between actors.
Grimesy - I was greatly taken by how brutal the violence is depicted in the film. It's a film that really does grab you by the throat. I always like the story of minority versus majority and how those in power will stop at nothing to remain in power. Intimidation through violence is a tough one to stand up to. I really liked the ending. To see the non-violent response to the violent one was very pleasing.
I'm afraid I wanted to see the bad guys torn to shreds by the mob, and then the militia come in to break up the joint, though the non-violent ending was very uplifting and boringly appropriately p.c.. I do realize that fighting violence with violence is never the right way to go. But yet...
Miss Goddess - i thought the way the movie was set-up, with the interviews in the front section, really puts firmly into your mind that all this was not only real, but "fresh" news at the time. Much more so than if all they'd done was written an opening saying "This is based on true events". By showing us the real folks involved, you feel much more the realistic impact of what follows in the "movie".
And I think that took me out of getting into the movie. I played with the idea of having the real folks at the end of the movie. Now I must go back and look at the beginning of "T-Men" or "The House on 92nd Street" and see how those films started. Did they start with "These Are Real Events" (making all I'm saying pure unadulterated hogwash)? Could it be the dark beauty of Alton's cinematography enveloped me (in the case of "T-Men"?) Could it be the unseemly insidious underhandness won me over with "Touch of Evil" rather than the in-your-face violence? I must look into my heart for those answers.
Yes, John Larch as Clem(son?). I despised him. When you see him in a movie...bad things follow. Do you guys remember him in "WRITTEN ON THE WIND"? He's the guy Dorothy Malone was with when Hudson and Stack come to get her. Guess Larch is the 'go-to' guy to go to when you don't care WHO you sleep with. He was despicable in "PCS." Don't trust a man who breathes through his mouth. The blonde matron at the gambling joint reminded me of an older Scarlett Johansson. I liked her tough blowsiness. But she was attracted to Andrews (?)
Seeing Kathryn Grant in these proceedings gave me pause. "What's a nice girl like you doing in a..." She was a braver gal than I'd ever be. If I were her or the Man From La Mancha's wife, I'd be in another state so fast, it'd make their heads spin.
Frank Grimes - I never expected to see such violence.
Miss G. warned us not to be fooled by 1955, but I didn't listen. How violent could it be, I thought to myself. Well...I sure found out. When the montage of violence comes fast and furious...I was shocked. Geez! And also, to know that this really happened...that this really still happens...have we not learned anything?
James Edwards. ( Sigh ! ) Before Sidney Poitier there was James Edwards. I always liked him. Handsome, Strong. Dignified. (Reminds me of an actor from the 90's named Dorian Harewood). I like the reference to Gary Cooper. (Have any of you seen Edwards in "The Sandpipers"?) It would have been nice to have seen him get the news about his little girl; the emotional impact of that was missing -- to see him enraged and grieving as any father would. It says something to me that that wasn't included in the movie. Though I know everything can?t be in a movie I know the real reason better 'n that. Somewhat predictable I knew when Edwards (playing Zeke) had the chance to shoot or strike...he wouldn't take that chance. And his stopping Richard Kiley from killing Edward Andrews also felt predictable to me. ("NOW you invoke non-violence my brutha? Puhleeze.")
Grimesy, you mention M. Emmet Walsh -- I thought he was memorable in the Cohen Brothers' "BLOOD SIMPLE." And he would share top honors with Edward Andrews on the list of "SMARMY ACTORS You Love to Hate."
Rohanaka - I think it is a good example of why we need to study "monsters" (of the human kind) and WHY they commit their "monstrosities". What IS it that gets into a human heart and allows men to behave that way??...."The world may NEVER know".. but it I think it is interesting (and important) to study them all the same.
I agree with you wholeheartedly Ro. Hopefully in our study, we can be sure history doesn't repeat itself. But I'm afraid history DOES.
I didn?t feel any visceral emotional connection with this movie, but I'm glad to have watched it if only to see what you guys were talking about.
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Seems we all have been stepping afar from our usual trails: Jackie with Lover Come Back, you with Wagon Master and me with The Phenix City Story. Whew, what is this place coming to? ;-)
I dunno WHAT this place is coming to (though I have a few choice ideas) but at least I have a coupla pals to wander around with. I'll put breadcrumbs along the trail so you ladies can find me and pull me back onto the path. I've ordered "The Student Prince..." in its VHS form. (How's that for going 'Old School') which I'll get on Friday. The discussion will probably have moved on...but that's okay.
At least I will have discovered something new...and perhaps something I can learn from.
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Oh boy...what am I letting myself in for now? Based on you guys:
: I finally saw "MR. LUCKY"
: I watched "...MADAME DE..."
: I YouTubed "PHENIX CITY STORY" last nite
: I went on a journey with a "WAGON MASTER" and a coupla Ramblers
: I viewed "ROPE OF SAND"
...And I just Amazoned the Heidelberg Prince to be delivered this Friday. Either I'm just a groupie trying to see what makes you all tick or I'm getting a well-rounded film education. Well...what won't kill me should make me stronger...and smarter.
Here goes.....
I have a feeling I won't be in Kansas anymore.
RAMBLES Part II
in Films and Filmmakers
Posted
*PREPARE TO BE OPHUL'ED*
*MAX OPHULS*
That dazzling dizzying director, *MAX OPHULS,* challenges our senses and emotions when TCM screens a number of his films on Monday, January 23rd:
*8:00 PM RECKLESS MOMENT, THE (1949)*
A mother attempts to protect her murderous daughter. Dir: Max Opuls Cast: James Mason, Joan Bennett, Geraldine Brooks. BW-82 mins, TV-PG.
*9:30 PM CAUGHT (1949)*
A woman's dream marriage to a multi-millionaire turns into a nightmare when she discovers he's insane. Dir: Max Opuls Cast: James Mason, Barbara Bel Geddes, Robert Ryan. BW-88 mins, TV-14.
*11:15 PM LETTER FROM AN UNKNOWN WOMAN (1948)*
A woman's lifelong love for a callous concert pianist leads to tragedy. Dir: Max Opuls Cast: Joan Fontaine, Louis Jourdan, Mady Christians. BW-87 mins, TV-14, CC.
*1:00 AM EXILE, THE (1947)*
A deposed king fights for his life while hiding out at a farm. Dir: Max Opuls Cast: Douglas Fairbanks Jr., Maria Montez, Henry Daniell. BW-95 mins, TV-PG.
*2:45 AM LA RONDE (1950)*
A series of inter-related affairs link lovers from all levels of society. Dir: Max Ophuls Cast: Danielle Darrieux, Simone Signoret, Fernand Gravey. BW-93 mins, TV-14.
*4:30 AM EARRINGS OF MADAME DE..., THE (1954)*
When a woman sells her earrings to pay a gambling debt, it leads to a string of betrayals.Dir: Max Ophuls Cast: Charles Boyer, Danielle Darrieux, Vittorio De Sica. BW-100 mins, TV-PG.
Back-to-back-to-back-to-back Ophuls? Fasten your seatbelts.