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ChiO

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Everything posted by ChiO

  1. A couple of favorite variations on the theme: Time Warp -- *Groundhog Day* (1993) Time Freeze -- *A Matter of Life and Death* (1946)
  2. *Husbands* (John Cassavetes, 1970) *Foolish Wives* (Erich von Stroheim, 1921) And, foolish me, somewhere in that mess, around #7, should have been *A Man Escaped* (Robert Bresson, 1956), so farewell to the Pods. Edited by: ChiO on Mar 26, 2010 4:56 PM
  3. My ever-shifting (except for the first three) Top 10: 1. Citizen Kane 2. The Passion of Joan of Arc 3. Stars in My Crown 4. Killer of Sheep 5. Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb 6. Der Letze Mann 7. Gun Crazy 8. Husbands 9. Foolish Wives 10. Invasion of the Body Snatchers (1956)
  4. _JefCostello_ wrote: *I just hope you analyze it in terms of a musical, meaning that you'll have to let some things slide that you wouldn't allow in a drama for instance.* I would hope you don't. To do so is to degrade a movie because it's a Musical. It's really good...for a Musical. Of course, one shouldn't be hyper-critical about a movie because it fails to do something that it need not do or was not intended to do (Jimmy Stewart was really good in The Naked Spur, but Anthony Mann should have had him sing a couple of songs.), but the application of so-called objective general criteria should be applied regardless of genre. Which leads to: _Jarrod_ wrote: *I find it cute (and interesting) that people who are currently involved in love affairs with SINGIN' are chiming in on this thread. I don't see any objectivity, and we've just started.* Why? Cannot one love a movie and yet do so with some modicum of objectivity? If I say "I love *Citizen Kane* and *The Passion of Joan of Arc* and Stars in My Crown" (which happen to be my three favorite films), does that mean I have applied no objectivity? Granted that when a movie joins the "love" club, there likely are subjective reasons that push X into that category and keep Y in the "really like" category. It is that subjectivity that gives life to film watching. I find Singin' in the Rain highly enjoyable, but not in my "Top 10 Musicals" let alone "Top 10 Favorites of All Time". But I can certainly understand why others would put it at the top of both lists.
  5. _JMcDonald_: *I can't remember where I read that Mann's favorite picture was GOD'S LITTLE ACRE...I know I am not inventing this! LOL* I don't know about "favorite", but Jeanine Basinger, in her Anthony Mann, writes: Anthony Mann's reply to the inevitable question, "What do you consider to be your best work?" was "Winchester '73, El Cid, God's Little Acre, Men in War." She cites a Cahiers du Cinema article as the source.
  6. And four others that come to mind: Robert Aldrich Don Siegel Sam Peckinpah Timothy Carey
  7. I'd add the two who were arguably the first of America's film mavericks: Erich von Stroheim Orson Welles
  8. Fritz Lang: The Nature of the Beast (Patrick McGilligan) Orson Welles: The Road to Xanadu & Orson Welles: Hello Americans (Simon Callow) Accidental Genius: How John Cassavetes Invented the American Independent Film (Marshall Fine)
  9. Has anyone mentioned James Edwards? Some of his more memorable performances: *The Set-Up* *The Steel Helmet* *The Member of the Wedding* *The Phenix City Story* *The Killing*
  10. Either *Gun Crazy* or Glen or Glenda. Though *The Deerhunter* deserves consideration.
  11. Here's my 15 favorite (roughly in order): Citizen Kane The Passion of Joan of Arc Stars in My Crown Killer of Sheep Tokyo Story The Last Laugh A Matter of Life and Death Gun Crazy Touch of Evil Foolish Wives The Earrings of Madame de... Detour Husbands The Steel Helmet Blast of Silence
  12. Two of my favorites: Samuel Fuller makes up for Widmark smacking Peters with Constance Towers taking care of business in The Naked Kiss. http://www.youtube.com/watch?v=x3cD7N3Mleo Brando lays out Timothy Carey in One-Eyed Jacks.
  13. I have to borrow some of the choices. *Birth of a Nation* (1915) *Greed* (1924) *His Girl Friday* (1940) *Citizen Kane* (1941) *Stars in My Crown* (1950) *America, America* (1963) *Shock Corridor* (1963) *Dr. Strangelove, Or: How I Stopped Worrying and Learned to Love the Bomb* (1964) *Once Upon a Time in the West* (1968) *Killer of Sheep* (1977)
  14. For those who appreciate Jacques Tourneur's Westerns, TCM is showing *Great Day in the Morning* on Monday, Nov. 30 at 5:15pm EST. And set those recorders because it is not commercially available.
  15. I recorded it. Bert I. Gordon caught got my attention because of *The Amazing Colossal Man* and Cyclops, but the real reason...Timothy Carey. The thought that a child would have a fantasy to be a pirate and, then, Timothy Carey would be there awaiting him is a Nightmare that demands preservation.
  16. *I am very surprised by numbers 5, 4 and 2. Very. And intrigued. Especially by "Julia Ross". She's number two, so there has to be more to it than she's "strong"....can't you 'splain just wee bit further? I saw the movie and liked it very much...I should watch it again tonight.* Okay (GROSS OVERSTATEMENT ALERT): So often the major female characters of note in film noir are femme fatales, the Eve substitute, the corrupter of Man, the overtly sexual woman who leads Man astray and must be destroyed so that the World (i.e. Man) will not tilt off of its axis with finality. Julia Ross is an independent woman at the start, becomes a woman in peril, and -- really breaking with convention -- stands up to her peril and fights it with her emotional strength and her _brain_ without the Man around. The anti-Gaslight, if you will. I love *My Name Is Julia Ross* (but I have a bias in favor of Joseph H. Lewis movies) and that character is a major reason. I guess I'm just a warm and fuzzy, cuddly feminist in noir clothing. Kinda like my bud, Timothy Carey.
  17. The cover story in today's Chicago Reader (www.chicagoreader.com) is on Robert Ryan and his family's Chicago history. The information is "new" thanks to _mookryan_ releasing a letter that she recently found.
  18. Speaking of characters -- and I do mean "characters" -- who I don't think have been mentioned, here are five more I considered for my list: Steve Morgan: *The Devil Thumbs a Ride* Vincent Lubeck: *The Hoodlum* (The only extenuating circumstance is that Vincent Lubeck hasn't committed murder... yet!) Sam Wild: *Born to Kill* John Dillinger: *John Dillinger* Jim Roland: *San Quentin* Honorable Mention: Jack Stevens: *Female Jungle* Why?...Lawrence Tierney, the only man who I could forgive for beating out Timothy Carey for the role of Joe Cabot in Reservoir Dogs, providing fear just by being in frame. Not bad -- well, actually very bad -- as Alton Benes, too. Edited by: ChiO on Oct 28, 2009 10:06 AM
  19. *The cinematography is very film noir, as is the story. I'd say The Grapes of Wrath and The Informer are both noirish Fords.* Connip...connip! I'll give you *The Informer* and The Fugitive as Ford at his most noirish. And, just for the fun of it: 1. Noir does not require an urban setting and, if "urban" means "the big city", I'm betting that a sizable portion, if not most, noirs are non-urban. 2. Of all the elements most commonly associated with film noir, the femme fatale is the one least necessary (oh, the femme fatale is crucial in those films that have one, and those are certainly fun, but I'm betting again that most noirs don't have one). 3. For me, film noir is not a genre; however, most movies that are considered film noir can be placed in some other genre, primarily Gangster, but also Horror, Sci-Fi and Western. Just feelin' frisky. Carey on.
  20. *It's really just a B movie, but I liked it* The preferred noir sentence is: It is a B movie and that is why I liked it.
  21. *I admit I have a hard time thinking of Night of the Hunter as a noir, if Citizen Kane or Cat People aren't. If they are, then yes, I agree!!* If memory serves me correctly, Borde & Chaumeton (Panorama du Film Noir Americain) did consider *Citizen Kane* to be a film noir. As the term as evolved, the movie seems to have been dropped. That's okay by me because there is *Citizen Kane* -- alone and triumphant and in a category of its own -- and then a bunch of other movies. As for Cat People, I certainly think of it as a noir, but -- again -- convention puts it into the "Horror" category. *Night of the Hunter* -- convention puts it into noir along with The Maltese Falcon, but I can see that it's not. But, hey, I discovered the first film noir (if 1940 is used as the starting point) the other day. The institutions that are its focus -- government, journalism, marriage -- are all corrupt. The dialog is hardboiled. There is a murderer on the loose. The first shot of the murderer is straight out of German Expressionism at UFA 101. The beleaguered gal commits suicide. Most of the action is in a claustrophobic space. Much of the action is chaotic and at random. The overall tone is one of cynicism. And it was released shortly before *Stranger on the Third Floor* in 1940. *His Girl Friday*
  22. > {quote:title=MissGoddess wrote:}{quote} > my first impression from your list is I've got to see THE NAKED KISS. I thought I had, but I definitely don't remember Connie Towers in ANY noir I"ve ever seen. Yes, you must. She was in another nice little noir...what was it?...oh, yeah...Shock Corridor. Forget George Cukor...Samuel Fuller (along with Joseph H. Lewis) is _the_ Women's Director.
  23. _Five Favorite Female Lead Characters_ 5. Kelly: Constance Towers in *The Naked Kiss* -- Redeemer of Souls, including her own. 4. Paula Craig: Janis Carter in *Framed* -- Not the Redeemer of Souls. 3. Kitty March: Joan Bennett in *Scarlet Street* -- Meeoow!!! 2. Julia Ross: Nina Foch in *My Name Is Julia Ross* -- Another strong woman who isn't evil (or, necessarily, pure). 1. Annie Laurie Starr: Peggy Cummins in *Gun Crazy* -- This girl is Trouble and that begins with "T", which rhymes with "G" which stands for Gun and Gorgeous. Bart, I've been kicked around all my life, and from now on, I'm gonna start kicking back. _Five Favorite Male Lead Characters_ 5. Al Roberts: Tom Neal in *Detour* -- Our friendly guide on our detour through the American Nightmare. 4. Clarence Hilliard: Timothy Carey in *The World's Greatest Sinner* -- From insurance salesman to political depravity to the seeker of redemption. Was this intended as a documentary? 3. Jim Wilson: Robert Ryan in *On Dangerous Ground* -- Personal journeys are starting to look like the common thread, aren't they? 2. Johnny Clay: Sterling Hayden in *The Killing* -- Eh, what's the difference? 1. Hank Quinlan: Orson Welles in *Touch of Evil* -- Pure Evil can be so predictable and boring. All one needs is just a touch of Evil. _Five Favorite Supporting Characters_ 5. Chester: Neville Brand in *D.O.A.* -- Don't get cute. I'm just itchin' to work you over. 4. Johnny Haslett: Timothy Carey in *Crime Wave* -- Yeah, this is the guy you want to watch your female hostage. Uh-huh. Right. 3. Moe Williams: Thelma Ritter in *Pickup on South Street* -- Let the teardrops fall. 2. Lou Terpe: Timothy Carey in *Finger Man* -- Being a sadistic mob enforcer (imagine that) may be The Great One's most fully developed supporting role. 1. Nikki Arcane: Timothy Carey in *The Killing* -- They shoot horses, don't they?
  24. A movie I purchased immediately upon its release. On my list of favorite Westerns, there's The Naked Spur, then this, then *Once Upon a Time in the West* and Johnny Guitar, and then a bunch of others.
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