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ChiO

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Everything posted by ChiO

  1. But for "color" and "mid 70's", it was sounding like *One of Our Aircraft Is Missing* (Powell & Pressburger, 1941).
  2. Noir and near-noir omissions, including post-'59 noir. 9/9: *Point Blank* (1967) - a Lee Marvin nightmare *Get Carter* (1971) *Johnny Cool* (1963) - Rat Pack noir 9/15: *The Rise and Fall of Legs Diamond* (1960) Note: The other gangster films that night probably qualify, but I haven't seen them. 9/17: *The Man with a Golden Arm* (1955) - qualifies as noir for me, plus it's directed by Preminger 9/22: *Sunset Boulevard* (1950) 9/28: *The Naked Spur* (1953) *Johnny Guitar* (1954) Two excellent examples of Western noir.
  3. 1. Orson Welles: Citizen Kane, Touch of Evil. F for Fake 2. Carl Th. Dreyer: The Passion of Joan of Arc, Ordet, Day of Wrath 3. Jacques Tourneur: Stars in My Crown, Cat People, Out of the Past 4. Samuel Fuller: Pickup on South Street, The Steel Helmet, The Naked Kiss 5. John Cassavetes: Husbands, Love Streams, A Woman Under the Influence 6. Max Ophuls: The Earrings of Madame de..., Caught, Lola Montes 7. Nicholas Ray: On Dangerous Ground, Rebel Without a Cause, Johnny Guitar 8. Robert Bresson: A Man Escaped, Mouchette, Au hasard Balthazar 9. F.W. Murnau: Der Letzte Mann, Sunrise, Nosferatu 10. Jean Renoir: Grand Illusion, The Rules of the Game, The Woman on the Beach
  4. E.G. Marshall should get at least a brief footnote for a film lawyer in The Caine Mutiny, a TV lawyer in The Defenders and a film juror in 12 Angry Men.
  5. *Grimes probably spit his drink to see The Fugitive on your list.* And I understand. It certainly is not a flawless film. But at least it has an idea. That, therefore, elevates it to #2 in my Book of Ford. As one wag correctly put it: Ford started with Truth and made Myth. Welles started with Myth and made Truth. Sorry MissG, JackF, and other Fordophiles. I just don't get it. A filmmaker, film teacher pal tried to convince me of his great virtues. He said: Forget the movies you're supposed to like. Watch the other ones. Then he paused as he saw the look on my face because he knew I'd watched several of those films, and then said: Okay. I know. I'd rather watch an Ed Wood movie, too. Amen. P.S. I actually like The Lost Patrol. I forgot that one. Golly, a Fordian slip.
  6. Our younger daughter went to college in Wyatt Earp's hometown (yes, here out West in Illinois). Many markers pointing to his birthplace, so, saps that we are, we followed the markers to his home. An empty lot. Kinda Fordian in my book.
  7. Oh, why not. 1. *The Searchers* 2. *The Fugitive* 3. *The Informer* 4. *My Darling Clementine* 5. *The Man Who Shot Liberty Valance* And so some dear readers don't think I'm going soft in my old age, there are eight Samuel Fuller movies I like more than The Searchers, and another six that I like more than The Fugitive.
  8. OK, I'll bite...McCabe and Mrs. Miller.
  9. *The Fall Guy* is the one I have not seen. The other three are wonderful and *The Guilty* is also my favorite of the three. Arguably the best of the Monogram noirs is *When Strangers Marry* aka *Betrayed* (1944), directed by William Castle, a movie much loved by Manny Farber and Orson Welles. A wide-eyed Kim Hunter is newly married to a man she barely knows, a very suspicious Dean Jagger. Her old friend Robert Mitchum keeps appearing to save her from Jagger, who has "murderer" written all over him. Produced by the King Brothers and co-written by Philip Yordan, this is an atmospheric showcase for some stars-to-be.
  10. _MissG_ asked: *Chio: I forgot to ask if Mr. Ryan's daughter had any connection or involvement in the upcoming classes about her father?* No...but I am crass enough to relay some of Mook's observations and memories when appropriate. Last night we watched The Set-Up (Ryan's favorite of his movies). Wow!!! How is it that with certain movies one can love it on first viewing, and then with each successive viewing it gets better and little things (perhaps obvious to others) suddenly leap out. The big "new" moment for me last night was: With almost every scene of the area outside the arena, one sees the neon "DREAMLAND" sign. Yes, the irony of that sign and many others is obvious. But...after Stoker's hand is crushed and he is stumbling out of the alley, there's a shot of him in the background and the sign in the foreground. You see the edge of the "D" of the side of the sign facing away from the camera and the "land" is cut off of the sign facing the camera, so it looks like --- "I DREAM". Gracious. Did I post this link before? If so, sorry, but here it is again. http://www.chicagoreader.com/chicago/film-noir-icon-robert-ryan-his-chicago-childhood-the-ryan-construction-fire/Content?oid=1223003
  11. MissG, unfortunately, it should be better known so that it can be avoided. Of the many movies I've watched in the past week, it's No. 1 is the "Greatest Disappointment" category.
  12. That was a great year. *Moucette* and *Le Samourai* would be enough to make a year great. Every year post-1939 (and many pre-1939), however, can give 1939 a run for its money. All it takes is some distance and an open mind. For example: _1941_ *Citizen Kane* *The Lady Eve* *The Wolf Man* *Dumbo* *High Sierra* *The Maltese Falcon* *Sullivan's Travels* *The Palm Beach Story* *Man Hunt* *Suspicion* Other than The Rules of the Game, I find each one of those preferable to the standard 1939 "greats". And not an M-G-M production among them.
  13. *as did "Warren Burger" (I don't remember his name, only that he played Perry Mason's prosecuting adversary)* That's "Hamilton Burger" (Warren Burger was Chief Justice of the US Supreme Court) aka William Talman, who had some other fine noir turns in Armored Car Robbery, The Racket, *City That Never Sleeps* and -- most especially -- The Hitchhiker. *The Woman on Pier 13* is much better than some of the commentary would lead one to believe. Edited by: ChiO on Aug 4, 2010 7:55 PM
  14. 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.
  15. *So what do you like about it?* A strong independent female lead who is neither a man-crusher nor starry-eyed. She kept her senses about her and fought to save herself. I find that extremely refreshing, especially for that time and in a film noir. It is the anti-Gaslight, a movie that I generally find unbearable (note: that's more of a reference to Cukor's version than to Dickinson's). Also, Lewis' direction and Burnett Guffey's cinematography (second only to John Alton's). Then, two other reasons: (1) George, & (2) Macready. *I thought the ending was on the far-fetched side.* Please! You want verisimilitude in your noir? The time and budget were up, so the movie had to end.
  16. All of those possibilities would have been great. Actually, I pushed for *Bad Day at Black Rock* and *Day of the Outlaw* as pushing-the-envelope noirs. I guess it only goes to show that Mr. Ryan was in a good movie or two.
  17. *I wish they would have showed some variance in his age and his characters.* My sentiments exactly. The moderator (a friend) ran the list past me before it was finalized and I commented that it was all noir (not that that's a bad thing) and nothing post-'50s (And Hope to Die would have been nice; unfortunately, *The Wild Bunch* and *The Professionals* are arguably too long for a class session). He agreed, but the powers that be wanted him to focus on the noir. There are worse things in life. P.S. I also commented that there was one too many Robert Wise movies and suggested *House of Bamboo* by the greatest of "F" directors. He, however, really wanted to show Odds Against Tomorrow.
  18. *Do you know the films to be shown?* Yes, indeedy. *Crossfire* *The Set-Up* *Act of Violence* *On Dangerous Ground* *Clash by Night* *Odds Against Tomorrow* The class I recently finished was on Max Ophuls and one of the offerings was Caught, a movie that gets better each time I watch it.
  19. Dear _FG_ & MissG: Did I tell you that I'm taking a class on Robert Ryan? I'm taking a class on Robert Ryan. (No class on Timothy Carey was being offered. But, hey, *The Outfit* is coming up on TCM!))
  20. Timothy Carey...portrayed by Steve Buscemi.
  21. My five favorite Hitchcock movies (and I don't consider myself a fan): 1. *Rear Window* 2. *Strangers on a Train* 3. *North by Northwest* 4. *Vertigo* 5. *Notorious* (with *Blackmail* close behind)
  22. CineM wrote: *Actually, why am I beating around the bush. Let me get down to brass tacks: it?s all about Annie Laurie isn?t it. And she has brass ones, doesn?t she. Peggy Cummins plays the femme fatale in ?GUN CRAZY.? I liked her femme fatale.* Shame, shame, shame. You wrote a marvelous description of Annie Laurie's inner life after the above cited quotation. Ruined by the misuse of a single term (and I've done it, too...but you brought our egregious error to light, and for that I thank you). Annie Laurie Starr is, and shall hereafter be known and referred to as, a homme fatale (albeit metaphorically with the "brass ones" rather than literally).
  23. Yes! They ruin approximately 65 minutes of my viewing life each week! TCM is becoming AMC as soon as TCM starts running commercials in the midst of a movie I don't want to watch! THE HORROR!! Take a deep breath....
  24. Any program with a salute to Jack Garfein is near-perfect. Any program with a salute to Jack Garfein _and_ *The Sadist* IS perfect. Wish I could be there to wallow in the dark.
  25. _FredC_ wrote: *A perfect and very dangerous couple. Just like Charlie Starkweather and Caril Ann Fugate.* Oh, let's not get started on The Sadist!
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