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Everything posted by ChiO

  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. Some other noirs, not mentioned below, based on Woolrich stories: *The Leopard Man* *The Mark of the Whistler* *Fear in the Night* *The Return of the Whistler* *The Bride Wore Black* *Martha* Beyond reading his stories and watching the movies based on them, I recommend reading Cornell Woolrich: First You Dream, Then You Die, a biography by Francis M. Nevins. His life is just as noir as his writings.
  4. Based solely on the ones I've seen and based on quantity over quality (i.e. more "good" ones as compared to "great" ones), my vote goes to 1950...with 1947 and 1948 close behind.
  5. _Fred_ said: Everybody knows that already, everybody but kids. I wish you were correct, but adults often complain about the "inaccuracy" of fiction films, such as the portrayal of Hearst and Davies in *Citizen Kane* (to stay on the Welles theme). P.S. Given your love for F for Fake, you should avoid Nicholas Ray's *We Can?t Go Home Again* (1976) at all costs.
  6. And before splurging, I suggest sending an email to Warners (or whichever studio you're purchasing from), tell it the brand and model of your player, and ask if the product will play on it. When Warners was having a sale, I bought several DVDs and none of them would play. I then sent the email and, in response, I received a laundry list of models under my player's brand name that will not play the Warners Archives product.
  7. *Beyond the Forest* is also available for rental (VHS) at Facets Multimedia.
  8. No, *F For Fake* was not Welles' greatest. I prefer *Citizen Kane* and Touch of Evil. Which puts *F For Fake* somewhere in my 50 favorite films. An exploration into what constitutes Art and "reality" vs. "perceived reality". A combination of fiction, documentary and essay. And a huge homage to Welles' fascination with film as magic.
  9. *On Dangerous Ground* Runners Up: *Fixed Bayonets* *The Hoodlum* *The Man Who Cheated Himself* *The Prowler* *Strangers on a Train* *Tomorrow Is Another Day*
  10. Bill Forsyth's *Housekeeping* _is_ the one I was thinking of. Thanks. Hope the OP is as lucky.
  11. *I just happened across the wikipedia article on Film Noir. It is informative and engaging. I recommend that noir fans check it out. It has lots of interesting information. One thing I learned is that the term "film noir" was coined in France in 1946, not by Francois Truffaut in the 50s, as I had read several other places.* James Naremore, author of More Than Night: Film Noir in Its Contexts (2008 ed.) (not just my favorite book on noir, but my favorite on film), contends that the term "film noir" was used by French writers in the late '30s to describe French movies such as Pepe le Moko,
  12. Sure I know what love is - it's what goes on between a man and a .45 that won't jam. -- Al Goddard (Alan Ladd), *Appointment with Danger* The summation of the noir attitude: Eh, what's the difference? -- Johnny Clay (Sterling Hayden), *The Killing*
  13. Yes. Some examples: *Leave Her to Heaven* *Rope* *Niagara* *I Died a Thousand Times* *Slightly Scarlet* *Portrait in Black* *The Killers* (Siegel)
  14. I'm recalling a movie similar to this. Was it an '80s movie? Was the older sister in about her mid- to late-20s and the younger sister in her teens? Did they jump on a train, or just walk down a railroad track into the night? My first thought was that Susan Sarandon portrayed the older sister, but looking at her credits convinced me I was wrong. Even if it's not the same movie, trying to think of the title of the one I'm remembering is driving me nuts.
  15. Eagle Lion is an interesting case as to whether it was a Poverty Row studio. PRC (definitely Poverty Row) was taken over by Eagle Lion, owned by J. Arthur Rank (not Poverty Row), in 1947 in order for Rank to expand his U.S. distribution. Eagle Lion put out B-movies, mostly noirs. Then, in 1950, it was taken over by United Artists.
  16. Acton, to the best of my knowledge, was larger than Boggstown then and now (even discounting the annexation by Indianapolis). And, Acton has no college and, to the best of my knowledge, had no college. I think Ms. Main went to a -- as they were known -- teacher's college in Lexington, Kentucky.
  17. Heck...Acton is purd near a big city in the big county of Marion. She may have been born there, but she growed up in her teenage years in Boggstown, Sugar Creek Township, Shelby County (right down the road a piece a few mile from our farm -- turn right at the big stump acrost from Ol' Man Reese's place). We'uns from them parts were right proud of her.
  18. Very nice summation, KR. I have a number of Losey's films (including The Criminal, but which I haven't watched yet) and need to re-submerge myself in them. If *The Criminal* is anywhere near The Prowler, then I must do this soon. Losey said that *The Prowler* was his favorite film from his early (U.S.) period and that *The Criminal* was his favorite British movie. *M* is the one I am most curious about. In the "But Is It Really Meaningful" category, Losey and Nicholas Ray were both born in and attended (though two years apart) the same school in La Crosse, Wisconsin. Is it the weather
  19. I happened to rent this last night (and hope to watch it today) at a local emporium, which is nowhere near any cut-off Slausons. www.oddobsession.com Good luck.
  20. *Friday, Dec. 3 at 1:45 EST (10:45 PST) is KNOCK ON ANY DOOR. This film presents an interesting problem in film criticism. Take two films, each with the same great star (Humphrey Bogart), the same talented director (Nicholas Ray), and a solid script. Both are made about the same time. One of them, IN A LONELY PLACE, is much admired, even considered a masterpiece by some, including me. The other, KNOCK ON ANY DOOR, not so much. Why the difference in quality?* John Derek vs. Gloria Grahame is one possibility. It was Derek's first sizable movie role, he's not the greatest actor of all time,
  21. No, *The Strange Woman* isn't the first Ulmer movie one thinks of, but when his directing credits include *Menschen am Sonntag*, *The Black Cat*, *Bluebeard*, *Strange Illusion* and *Detour* (and other work on *Der Letzte Mann*, *Sunrise*, *Tabu* and -- according to Ulmer, but not Lang -- *Metropolis*, *Die Nibelungen*, *Spione* and M) there's good reason. I find Ulmer always interesting to watch if for no other reason than to see how creative he could be with minimal budgets and time. Quite a journey from UFA to PRC. About Lamarr, Ulmer said (with, perhaps, some puffery): Beautiful pict
  22. Most of my favorites -- *Ordet*, *Simon of the Desert*, *Diary of a Country Priest*, *A Man Escaped* -- have been mentioned. I'll add: *The Passion of Joan of Arc*, *Day of Wrath*, *Mouchette*, *Stars in My Crown*, and *A Matter of Life and Death*.
  23. *The World's Greatest Sinner* *Blast of Silence* *I Died a Thousand Times* *I Bury the Living* *Kiss of Death*
  24. William Beaudine, a master of Poverty Row quickies, primarily at PRC and Monogram, was told to speed up production on a Western: "You mean someone out there is actually waiting to see this?"
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