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ChiO

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  1. 1. Robinson - the versatility and ability to totally change his characterizations from evil to good, from sympathetic to unsympathetic, from dramatic to comic. 2. Bogart - close on Robinson's heels. *In a Lonely Place* says it all. 3. Cagney - arguably my preference when he's at his best, but he has more valleys for me than Robinson and Bogart.
  2. 1. Robert Ryan 2. James Stewart 3. TIMOTHY CAREY
  3. *Beyond the Forest* is also available for rental (VHS) at Facets Multimedia.
  4. And then there's Samuel Fuller's The Steel Helmet, Fixed Bayonets!, and Merrill's Marauders (without women) and *Verboten!* and China Gate (with women). And, I would argue, the greatest (at least my favorite) wartime film is British _and_ a fantasy (maybe): A Matter of Life and Death. Just goes to show.
  5. Other no-crime noirs: *Caught* (Ophuls, 1949) *Clash by Night* (Lang, 1952) In the what-if-there's-a-crime-but-only-in-a-dream noir category: *The Woman in the Window* (Lang, 1945)
  6. *New film noir movies from the past 5-10 years?* Another to take a look at is *Brick* (2006). *Does neo noir always have to have gangsters in them?* As with most things, it depends on a definition, in this case, of "gangster": for example, two or more persons engaged in or plotting a criminal act vs. more than two persons engaged in or plotting a criminal act vs. more than two persons engaged in or plotting a series of criminal acts. The first, as I recall, is roughly Robert Warshow's definition from his essay on the Gangster genre; however, then that would include Stanwyck and M
  7. Happiness is a tune called... 1. *Heaven and Back* -- The Mekons 2. *Cruel to Be Kind* -- Nick Lowe 3. *Heavenly Pop Hit* -- The Chills 4. *Lovesick Blues* -- Hank Williams 5. *You've Got That Thing* -- Bobby Short 6. *Tain't What You Do* -- Jimmy Lunceford & His Orchestra (Vocal: Trummy Young) 7. *Cupid* -- Sam Cooke 8. *Kiss Me, Baby* -- The Beach Boys 9. *Sixty Minute Man* -- The Dominoes 10. *Take Me to the River* -- (tie) Al Green, Syl Johnson, The Talking Heads
  8. *Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb* It explains how war arises and shows the consequences better than any other movie I can think of. Lesson: The irrationality of total rationality. Or, how irrationality can appear to be rational. Beautiful to watch, a smart and vicious script, and a stunning performance bry Sterling Hayden -- it has me laughing to the Apocalypse. It is also my favorite Comedy. _Honorable Mentions_ *Duck Soup* -- After Dr. Strangelove, it explains how war arises and shows the consequences better than any other movie I can th
  9. This has gotten seriously off-topic. Dear Mr. FrankGrimes, The classes that I have to chose from at Facets for the Sept/Oct session are: Dangerous Seductions in the Dark: RICHARD WIDMARK, THE LAST FILM NOIR GIANT Films screened and discussed: *Kiss of Death* (Henry Hathaway, 1947) *The Street with No Name* (William Keighley, 1948) *Road House* (Jean Negulesco, 1948) *Night and the City* (Jules Dassin, 1950) *No Way Out* (Joseph L. Mankiewicz, 1950) *Pickup on South Street* (Sam Fuller, 1953) Through the Mirror: TIME AS SUBSTANCE IN THE FILMS OF ANDREI TARKOVSKY Films sc
  10. *For me it's gelato, Italian gelato, any time anywhere.* Absolutely (as eyes glaze over in a reverie, imagining slowly eating pistachio gelato at Siena's Piazza del Campo while watching a classic of Italian cinema...say, Once Upon a Time in the West). Now, back to the Breyer's.
  11. Enough of this already. It is time to return to the serious nature and purpose of this thread as set forth in its title. So... Dear Frank, As you may recall, Jonathan Rosenbaum teaches a film class at the Art Institute, but the films he highlights are shown at public screenings at the Gene Siskel Film Center each Friday and Wednesday evening (Rosenbaum lectures and moderates a discussion at the Wednesday screening). The upcoming term (September 3/December 10) is The First Transition: World Cinema in the 1930s and the films (in order of screening) are: *Scarface* (Hawks, 1932) *
  12. According to some Wise(and I don't mean Robert)acre, the dates we deserve, to quote a Manhattan composer and lyricist whose work was filmed by Herr Preminger, fall into the category of I Got Plenty O' Nuttin'. I should have realized that you are a fan of the noted proto-feminist Ernest Hemingway. A couple blocks from Calle de Orson Welles, at the other end of the bullring, is Calle de Ernest Hemingway. The others in my party (aka MrsChiO & younger daughter) indulged my seeking out of Kenosha's favorite son's honorary street; those next two blocks were apparently too distant for Oak
  13. _The Frankster_ said: *And please do not tell me you like Citizen Kane. Didn't you read the "script"? Your line reads: "it's overrated." Now say it with disgust!* My apologies. I was improvising. Unfortunately, I am, so I've been told by the Headmistress of the Nihilist Dating Agency, just too trendy (spanked me pretty good over there didn't she -- and keep your lurid comments to yourself). And who wrote that script? Some say Herman, you know, Joseph's brother. Pish-posh. For your eyes only: We took a day trip from Sevilla to Ronda, the birthplace of bullfighting as we know it.
  14. _FrankG_ said: *I'm probably going to get another Johann Altmann film on DVD next month. If I remember correctly, it is a film that you do appreciate: Slightly Scarlet.* I hope you enjoy it. It is Exhibit 1 in demonstrating that film noir during the Classic Period can be in color. It's probably my second favorite James M. Cain adaptation, Numero Uno being Ossessione. If nothing else, it has Arlene Dahl _and_ Rhonda Fleming -- that ain't slightly scarlet (and I don't mean O'Hara). *I already know that your favorite western is Stars in My Crown, and I will be taping it in Septembe
  15. Dear Frank-That's-F-As-In-Ford-Grimes: That's quite a fine list of Westerns, pardner -- aside from the plethora of movies by you-know-who, which is an indication that you've gone to the dark (and I don't mean John Alton) side. And you're durn tootin' that *Forty Guns* should be rising. Need some Jacques Tourneur Westerns to fill it out and replace some of the surplusage. *The Shooting* has now been placed on my rental list, thanks to you. I need more Monte Hellman. Would I be correct in assuming that Warren Oates is the lovable, sympathetic sidekick? A Gabby Hayes-type? I do enjo
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