JackFavell
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Posts posted by JackFavell
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> {quote:title=FrankGrimes wrote:}{quote}Hola, Little Red Buick -- I'm sorry it has taken me so long to reply to you. It was a busy week (excuses!).
That's OK, I've left you hanging many a time. In fact, I think there was a note you sent about 3 months ago that I never replied to. And I didn't have much time this week either.
> Are things better with your computer?
I have a new...well not really NEW.... but a different laptop. It's cured the crashing, but I can't make any special cards or convert or write on photos anymore.
> I'm sure you'll be able to get your good stuff back.
Yeah, I am sure I will. None of it was very important.
> Exactly. She was still playing the lonely woman, it's just she was doing so from the older side. *The Proud Rebel* is a very tender, loving film.
I really liked it too. Surprising how many small movies and especially westerns are really good, that no one ever talks about.
> That's funny and deadly accurate. Those who are always handing out advice really are about themselves. One thing that I have learned in recent years is that if something goes wrong with yourself, people will often blame the things they don't like about you for the reasons you are hurting. And this points to what they are bothered by, so it's about them. People always think they are so darn perfect.
Isn't that the truth! It's usually their own idea of what you should be that propels that irritation with what you are not. Boy I hate that.
>
If it's a choice between me and Miss G, you know who is right. 
Yes, I sure do. ;D
> I'd say situation with Rosy. Her inexperience in life led to her crush and marriage. Her situation then produced the longing for passion. Now if she were to continue to have a need for new adventures and passion to make her happy, then it's her personality.
That's true, it's only over time and with different experiences that her personality will exhibit itself, which we really haven't seen. We've only seen her in one place.
> It's a very interesting question. We're all so different, but we can create broader outlines that can link some of us. There are definitely the types who are living for others. They need their attention, approval, and acceptance. That's Rosy's father. Those are the people that I usually dislike the most.
I'm like that!
> Rosy seemed like a good girl dreamer who was blinded by her crush and then started to actually live that daily life. Love is often more thrilling in the imagination of a young girl than reality. "We'll get married and have kids and be in love forever!" When described in the short fairy tale way, it sounds lovely. Now live it every day.
I think she was very much like her dad, living on images, or what people seemed like. But hopefully she found out that sometimes a man's soul or idea of romance lies a little deeper than the image he projects. I think Charles is a good example of this. He WAS more than just a boring guy. He had passion but he didn't display it for all to see.
> Charles was the kind of man he said he was. He was an unexciting man who enjoyed simple pleasures and the routine of daily living. A young girl often projects such a life to be thrilling, but after some years of it, reality sets in.
That's true, but I think it might be the same with anyone she married, even the young officer would have either bored her or would have been bored by her. You can't keep the excitement of the new in a marriage, What you can do is see the new in your mate, really look for it. I think she saw something new in Charles after the affair.
> To me, a person who hasn't experienced love, I feel love needs to have at its core a love to be with someone, to spend time with them, to enjoy talking with them.
I completely agree! It's absolutely the core of a relationship.
> As you pointed out, the place Rosy came from wasn't the best for finding friends. This isolated her. Then her life became lifeless with Charles. Can Rosy accept her marriage with Charles, one that is lacking in passion, or will she need this passion to be happy? Can she find a passion through others, one that could even enhance her passion for Charles? I feel she'll only come to love him more with time because the physical becomes less.
I think so too, and as I said before, she's only started to look at Charles. She may actually begin to see more in him than she saw before. A discomfort with passion doesn't mean it doesn't exist. On the contrary. But will he be able to find it in himself enough to please her? To let loose?
> Oh, no, no. I've been poorly explaining my issue with the past tragedy in *The Country Girl*. I understand such a tragedy creating a major rift in a marriage and with a person's self-esteem. The guilt is heavy. I liked all of that. I just didn't like how the tragedy was shown. It's such a small thing, and it didn't take away from my liking the film.
OK. I got it.
> It's an excellent collection:
>
>
> http://www.amazon.com/Guinness-Collection-Coronets-Lavender-Ladykillers/dp/B001LXIDUO/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1366417791&sr=1-1&keywords=alecguinnesscollection
Pretty much the cream of the crop!
> I just ordered it.
Woo hoo! Great! Have you see the others? I somehow thought you'd seen them all. I know you've seen The Ladykillers,
Here's how I like them, in order.
1. The Man In the White Suit
2. The Ladykillers
3. Kind Hearts and Coronets
4. The Lavender Hill Mob
5. Captain's Paradise
That doesn't mean I don't like CP, just that it comes in lower than the others. All of them are good.
> I completely agree. *Ryan's Daughter* ends and we really don't know how to feel about it. It's great. I think we both like films like that.
I think so too.
>Geez, Sense and Sensibility may actually be a Jane Austen story I'd like!
>
>
> WHAAAAAAAT???
>
>
> *Tell me about it!*
I really see a similarity to RD. I do almost think you would like it, at least the ideas in it. The one with Emma Thompson/Kate Winslet is excellent.
> It's all up to Rosy, now. She started off the marriage inexperienced. Well, she's gained a boatload of experience. Does this mature her?
I still think so, but I am a glass half full person, most of the time.
> Oh, I certainly wouldn't say that! I still feel I'm way behind most everyone. I'm probably more like a sophomore, today.
I don't know. It seems like you've seen so many I haven't.
> I'm looking forward to *The Strawberry Blonde*, but I do feel I won't like it nearly as much as you. So I'm going to be entering it with lowered expectations. That's a good thing.
It's taken me a long time to really love it. I liked it very much when I was young, then I decided I didn't. Now I love it. It's subtle in theme, while being broadly presented. I think this is why I like Walsh, he can be so funny and kind of BIG in comedy, but underneath is an achy quality, almost always. The pain of self realization. or maybe the pain of not quite ever realizing one's self.
> *I love it. It's my favorite mystery show. I like Ellery Queen too, with Jim Hutton.*
>
>
> You and your Jim Hutton!
He's very likable!
> I feel you are right. I do like the pleasantness of the young John Wayne, but his more mature roles brought greater complexity in his characters. When he's being "tortured," he's exceptional.
Very much so. Now that his politics are less in question I'm surprised that more people aren't changing their opinion of him.
> Those are terrific observations about Rene Clair. I do like the fantastical quite a bit. I'm a boyish dreamer, after all. And you're right about Clair's humor and fate. There is a lightness to both.
Yay! Something else we can agree on. I should rewatch Le Million and some of his others I haven't seen in a while. My most recent discovery is The Ghost Goes West. I really liked that one too.
Speaking of new, I also watched Heaven with a Barbed Wire Fence. I liked it a lot. You were right about Raymond Walburn. He's great. I've always liked him, even though it seems like he played only one role, I've found him very versatile.
> I can't imagine Graham (Laurence Olivier) and Anna (Simone Signoret) being at the same party! Maybe Graham would stop off at the pub after school or something and she worked there.
I was thinking at a school function or something, kind of like George and Martha in WAOVW. But you are probably closer to the truth.
> Hmmmmmmm... that has me wondering. It's on next Wednesday at eight.
It's a brilliant performance.
> Oh, good. I can see through that.
> That's a really good story... and lesson. Comedy is the hardest, without a doubt. There are so many senses of humor out there. And what can be funny for someone can absolutely annoy another.
Very true. Once you become too aware of yourself, it's hard to be funny. I think on some level you have to not care, to be funny.
> Ida does soft so terribly well. And Robert Ryan is such a threatening presence, but he almost always has a sympathetic side to him. The film really isn't a story, it's capturing a moment. That's partly why it didn't resonate as much to me, yet it really should. I like such studies.
I think part of my liking it is because I felt like I discovered it all by myself. I had no expectations.
> I'm curious to see why it's so bad!
Curiosity killed the cat.
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Oh my gosh, Chris it was so funny! I'll do my best to see if I can find it, but I don't know if I'll have any luck.
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Here's a part of it... I think it misses the part where he says how shy he was, and so he took on Hope's persona because at his first appearances, people told him his jokes were funny but he had no personality. They told him to get a particular persona and he'd have something. So he took Bob's.
I absolutely love it when other comedians guest star!
http://www.youtube.com/watch?v=4CjcvG1jyUc
http://www.youtube.com/watch?v=zsSfJ0B4tEI
There's a Burns and Allen show I have been dying to see again. I can't remember who the guest was, or even if they had a guest, but it was live, and one of the cast, I think the announcer friend, Harry Von Zell, walked completely around a wall that was supposed to be solid. This led to George going off script and ad libbing like crazy about it. It's probably the funniest show of theirs I've ever seen.
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Awww. Thank you my friend. You choked me up again. :_| :x :x
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You guys didn't tell me that Ricardo Cortez directed Heaven with a Barbed Wire Fence! You pulled me in with Raymond Walburn, then sucker punched me with Ricardo...
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That's a wonderful story! He was a sweet man. Thanks Chris, for adding that to the other things I've heard about Benny's kindness and generosity. That's what I'd like to emulate...
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No, I haven't.... please tell...you've got my interested piqued...
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I love you guys talking about Jack Benny, for me he's the greatest of all. From what I've read, he was the kindest most generous man in comedy, if not show business. And yet, he got famous for being this stingy competitive jerk! I just adore him. He would give all the funny parts to his guests, and yet, all he had to do was turn and look at the camera, or pause if he was on radio, and you knew what he was thinking... so very funny. His shows are hilarious little anecdotes or allegories on human nature. I completely agree that most comedians use him as a jumping off place.
Another really obvious case of a comedian stealing from another through hero worship is Woody Allen, who stole Bob Hope's schtick and made it his own. Once I heard him talk about Hope with such reverence, how when he was starting out he emulated Hope in everything especially delivery, because he was shy. After I saw that interview, it was impossible not to see Hope all over Woody's work. even his inflections are the same!
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> {quote:title=FrankGrimes wrote:}{quote}*I swear you saw Trouble Along the Way already....I remember a discussion of it.*
>
> No, I haven't. Quiet Gal recommended it to me a little while ago, but I didn't get to it yet. Maybe you are thinking of *Without Reservations*, which I did watch and discuss. Movieman likes that one. I wasn't fond of it.
Maybe it was movieman who saw it or Molo? I distinctly remember you watching it though.
> Now you're not going to keeping demanding I saw it like Snippy, are you?
Of course I am! I can't be wrong now can I?
> You're probably right about that! War films usually have a decent shot with me because I always expect to not like them.
They've been faring a lot better with me lately. Probably because I am running out of movies that interest me, or maybe I am just old enough to understand that war movies aren't always about war... like westerns they can delve into other situations, like racism or love or power. I'm actually reading the most interesting book right now about the Civil War, by Shelby Foote. He really captures the panache of all the different generals and commanders, their strengths and weaknesses. It's a pretty brilliant story of completely different individuals and what brings them down and what makes them stronger in battle than their opponent. It's not always brilliance or tactics that makes a man a leader, it can be something else, their spirit or fire, or often it's just a slow comfortable way of being with his men. It kind of reminds me sometimes of They Were Expendable, the war was a lot of sitting around waiting..
> Now that you mention your issues with *Torch Singer*, I understand how it could fall short with you. The happy ending also changes the feel of the film, too. The "mother" films you usually like the most have tougher endings.
I didn't mind the happy ending at all, it was done well. But for me the music and something about the initial concept didn't work. If she had been a prostitute it would have seemed less contrived. It felt like they were trying to do everything to keep her from looking like she was bad. Then suddenly she gets a job? So what if she's a torch singer? I know the times were different, but her numbers didn't seem racy enough to warrant the reaction they got. Also I think the direction was a little slow? maybe. I'm not sure. How did you like it?
> I thought you, more than most anyone else, would go for that. All of the shots from the "outside" are just fantastic. Some of the dolly shots in the film are breathtaking, particularly in the final story. It's a film where the camera truly is a performer.
Why me, in particular? I'm just curious. I've also recently read some de Maupassant stories. He's really brilliant at bringing out the true hypocritical nature of human beings, it's just the way we are. I swear, one of the stories I read was the basic idea of *Stagecoach* !
> I figured that would be your favorite, but I thought you'd also like the other stories, too. I knew you'd appreciate the middle one.
The middle one is really a masterpiece. There is so much in it, it makes you want to go back and watch it again right away. The way the girls bring life to the community, and pretty much any place they are.. they are the vitality that beauty and most of all openness can bring to a place. Their very real emotion and feelings and basic kindliness were contagious... the entire community actually benefited from their presence, no matter what community. I also liked the unspoken things between Rosa and the father, Gabin, that remained unspoken. Very nicely done.
> Precisely. It really captures so many feelings for these young ladies. There's a freedom with them all.
They don't even realize their effect on people, which is so radical.
> I liked the way the entire crowd assembled in the church for the children caught Rosa's emotion.
>
>
> *It's a lovely moment. To see these girls with "normal" feelings goes against the stereotype. The story is a much different kind of "*Stage Door*."*
That's very good, I never thought about that. To me it's the way Ophuls films emotion catching from one to another then all around the church, It's wonderful, I can't think of anyone else who could film something so ephemeral.
> So what else struck you with the film?
I was a bit confused by the first story. It didn't really seem to go anywhere, but then, does it have to? It's really just another riff on the theme of Pleasure. I loved the voice over by de Maupassant, who I thought was the artist friend in the last section of the film... was he? Or was the friend a different character altogether? I wasn't quite clear on that.
I guess what I liked best was the way that pleasure was portrayed as multifaceted - it is both fleeting and something more deeply meaningful to us than we realize. I wonder if Ophuls was making a statement about film-making itself through this movie? that the people who bring pleasure are important to society?There is also the hint that the seeking of pleasure can be dangerous to the soul, as in the first and last sections. What's your take on them? I'm especially curious about the last one, how does that relate to pleasure? Is pain a pleasure?
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MissG - I just realized from the photo you posted that I've seen *Tycoon* before. I must be losing it, I can't remember titles anymore. I enjoyed it very much, but maybe it's one of those that only works once, the first time you see it? It's definitely not a masterpiece... but likable.
Sansfin - That sounds like a super date! It was probably even better because the movie was in another language, it brought you closer together, because you both knew it so well and connected over that. Wonderful!
Edited by: JackFavell on Apr 12, 2013 11:25 PM
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You are hilarious, Chris! It's so true, you'll be watching some of the early serials or cheapies, thinking it's 1870 and then you realize that it's a modern day western! Too funny! Thanks for the laughs.
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I can't wait!
I swear you saw *Trouble Along the Way* already....I remember a discussion of it.
You should watch the ones movieman says are awful before you watch the war movies... then *Back to Bataan* and *The Fighting Seabees* will seem brilliant!
MissG - I guess it was something in what Sansfin wrote that put us on the same wavelength.... though I'm not surprised that we hit on the same thought. When I read your posts on Frank's movies, I find myself thinking many of the things you write out. Then again, there are times when you leave me completely in the dust, you guys are so far ahead of me, mentally!
I realized after reading your posts that I watched *Devil at Four O'Clock* just a little while ago. Sometimes a movie's title doesn't register with me. It's a tough film to sit through... I don't know why, but it's very slow moving in some ways. The plot is interesting, the actors are good and fit their roles well, the setting is good, so why doesn't it work? I think it's the pacing. It just gets deadly after a while. I loved the idea of the story.
Sansfin - Now I am going to have that number stuck in my head too!
There is something cozy about some lesser movies, that's certain. Comforting. Doesn't have to be a masterpiece to still be good.
Edited by: JackFavell on Apr 12, 2013 1:51 PM
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> {quote:title=Bronxgirl48 wrote:}{quote}
> So did David finally pop up? So soothingly handsome and bland, gentlemanly-British, just the guy a girl needs to hold her hand when cads like Ricardo use and abuse her..
Actually, Ricardo did the hand holding and Manners was the use and abuse one. It was a nice twist, giving Ricardo a wonderful exit, and Manners a little more intensity.
Frank, I liked *Torch Singer,* but didn't love it. It felt a bit forced, and the direction was stodgy. The idea that the mere mention of "torch singing' made everyone pale struck me as pretty funny. However, Claudette was sensational, I really liked Ricardo's sweetness under the caddish exterior, and there were a couple of really great lines in the script. Due to weak direction and those meh songs, it just didn't add up to much. But I'm glad I saw it. Colbert was really good. If you like her naughty, as she was in this one, you'll like her in *Cleopatra* more.
> About LORD LOVE A DUCK -- I haven't seen it in ages and need to refresh my memory in order to give you specifics, but, in general, I think Axelrod's vision anticipates the dumbing down of our society; the banality of celebrity; the family unit as a consumerist-Freudian mess, lol, etc., and lots more.
WoW! And here I thought it was just a mess of a movie! I'll have to give it another go now that I have your words in mind. If I can stand it. You'd think I'd love a movie with Roddy and Tuesday.... but alas...
> I'm running into some gems -- DAMIEN - OMEN II. The most frightening thing is seeing Bill Holden deteriorating into a dessicated mummy, and no, I'm talking about just what he normally looked like in those unfortunate years. The son of Satan himself resembles Joseph Bologna, so you can imagine the fear engendered in everyone who meets him. Lee Grant says things like "Who wants a corned beef sandwich?" but it just doesn't have the panache and dramatic intensity of her "I'm gonna heat up the lasagna!" from VALLEY OF THE DOLLS. However, when doctors keep trying to examine Damien, Lee rises to the occasion: "WHY DO YOU HAFTA TEST HIM AGAIN?"
> That's my brash New Yawk Grant!
I love Lee Grant in just about anything... but I never could get into those Damien movies. Your line about Satan looking like Joe Bologna had me in stitches! Man, I guess Satan really is a New Yawker...
Frank, I also finally watched *Le Plaisir*.... and it was everything I'd hoped it would be. Its spectacular mise en scene made me dizzy. Sheer heaven to watch.
My favorite was the Simone Simon story, but all were interesting. The mid section in the country was charming witty and sad. I liked the way the entire crowd assembled in the church for the children caught Rosa's emotion.
Edited by: JackFavell on Apr 12, 2013 10:44 AM
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>It is many years since I have seen it but I remember that there is an element of a concept which is great and they did not handle it so very brilliantly that the movie was a masterpiece but they did not also screw it up so badly as to leave a bad taste.
May I just jump in and say how much I like what you've said here and how much I like the way you said it? There are many movies from the classic era that fit this description and that I enjoy very much despite the fact that they are not masterpieces. Sometimes it's more about the charm of them, or their restful qualities... and not having to think too much while watching. Sort of like Melvyn Douglas in Ninotchka.
Edited by: JackFavell on Apr 11, 2013 9:19 PM
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James - I agree with your assessment of Olivia, and you are right, yhr best of her films have her moving from terribly sensitive to showing deep reserves of stamina and strength. Perhaps this is what I like about her, especially in TSB. I think she's just wonderful, the way she looks up from under her eyelashes and lets us, the audience, see briefly what no one else in the story does...her warm and abiding love for Biff Grimes. It's a really moving and heartfelt performance.
Bronxie - I made it through the first two parts on youtube... no David Manners yet. Ricardo just showed up. Not really sure about the film yet. It looks like it was tailor made for Barbara Stanwyck so far, or perhaps Jean Harlow. We'll see....
What do you like about Lord Love a Duck? Help me to see something in it!
Edited by: JackFavell on Apr 10, 2013 5:51 PM
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> {quote:title=Bronxgirl48 wrote:}{quote}Did someone mention Ricardo Cortez? My ears perked up, lol.
Oh yes! Ricardo... I love him! There's something almost elegant about him. Better get to that movie today... thanks for reminding me!
Lord Love a Duck is to me what Prisoner of Zenda is to you...I think it's just awful... I can't sit through it! My least favorite movie of all time!
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> {quote:title=FrankGrimes wrote:}{quote}Bonjour, Jacqueline! -- *I was on a roll!*
>
> And you still are! You've been excellent.
awww. thanks white hat. It's probably just that I've finally seen some of the movies you watched.
> That could be your hard drive. I had issues where the videos on YouTube couldn't play and it ended up being my drive.
I think it might be a memory problem, but Andrew is the computer genius at our house.
> You could probably copy your drive over.
I could... I was supposed to do that the other day but I didn't. So it's my own fault. I got busy around the house and forgot to do it. It would be nice to get the good stuff and leave all the junk I've accumulated.
> Oh, no, no. I actually think well of Olivia as an actress. It's just when it comes to love and romance, she can fall short for me. I think she's lovely in *The Proud Rebel*. That's the Olivia I really like. I actually have Olivia ranked 58th on my favorite actress list and Joan is 59th. They used to be in my top 50 and I used to have Joan ahead of Olivia. But I've found new favorites that pushed them out.
Yes, I remember that movie! She kind of mellowed into a very attractive mature woman, with a lot of warm character rather than the cool understated Olivia of younger days.
> That could very well be it. Deborah Kerr is someone I'd compare to Olivia. But I find Deborah to be the warm side of the coin and Olivia is the cold side. It could even be Olivia's eyes that give me the cold feeling, believe it or not. Deborah seems so inviting. Grace is so beautiful that her icy feel ends up appealing to me. But all three are "ladies."
I can see that difference.
>
But once a person would establish themselves with you as a trusted voice, I think you would be okay listening to them. You may disagree, but at least you'd hear them and care to hear them.I wish there were people who would give advice when you asked for it, really thoughtful, helpful advice. It always seems that when people let fly with what they think you should do, it's really all about them. I can't stand that. Sometimes I just want to blow off steam, I don't want you to give me advice every time we talk.
> Like me on this thread!
>
>
> *You are winning! Or are you saying you're a chameleon?
*I'm a chameleon! You take one side, and I think "yes! that's right." and then MissG takes the other side, and I find that I agree with her! I'm Ryan.
> Are people their actions? Or is there more to them than that? Are they something else too? I think so. Are there always going to be extenuating circumstances in anything someone does? yes.
>
>
> *Welcome to grey.
Sometimes it's a situation that causes a person's actions, sometimes it's one's personality. With Rosy's father, it was his personality.*Do you think Rosy's situation caused her actions, or was it her personality?
So people aren't always what they say they are, nor are they their actions. What's left? Soul? What they wish they were? What they want to be? The striving? The wish? It's an interesting question. To me anyway,
> You're probably right. The reason why I feel a child would help Rosy is that she needs to develop a relationship with someone else. I feel a woman and her child is a special kind of relationship. It would allow her to share a love with Charles, too. The danger of a child is that a woman can feel smothered by the responsibility.
Yes,I see. You may be right. she's been lonely and cut off from anyone like her... she has a different kind of nature than anyone around her. The question is will she open up now to other people who might be friendly with her or share her differentness? Will she stay alienated and alone? It's hard to open yourself to others if you think you are bad or different.
> It just seemed to be too easy, too convenient. It played as a "false note" with me.
You mean there was a pat reason for their situation? An explanation for why they were the way they were? Would you have liked it better if they had left it up in the air?
> Chino?!
> I may look into getting the Alec Guinness collection with it. It's pretty affordable.
What else is in it?
> I have a hard time reading Rosy at the end. I don't know if she is resigned to her situation or has learned a lesson or what.
Interesting. There's a lot left unsaid or unfinished in this movie. It makes it more interesting to talk about.
> Geez, *Sense and Sensibility* may actually be a Jane Austen story I'd like!
WHAAAAAAAT???
> You are right, Charles is the kind of man that allows for Rosy to find herself. Can she do this within a marriage, and contribute to the marriage in a happy way? Or will Rosy just sit in the "sin bin," feeling she did wrong and her punishment is her marriage to Charles?
Great question. I like to think on the positive side, since it couldn't have gotten more negative than where they were before.
> You think that's a good total? I feel I'm still lacking with Walsh. I'm now watching some Errol Flynn, so that will help boost my Walsh watching.
I am just surprised at the number. I guess I always think of you as a newbie, but at this point, you've probably watched more movies with more mental appreciation than I have.
> You're setting me up for trouble with *The Strawberry Blonde* !
Other than that film, what do you think is the best "Walsh" film I've yet to see?Definitely *What Price Glory?* I know I'm setting you up with TSB, so I won't say anymore, except it's a simple film. I kind of doubt you'll like it anyway. But when you've asked me for favorites or movies I like that you should watch, I always choke... I can't remember which movies you've already seen, or I can't bring to mind what I would like to share. When I do think of one, it gets me over-talkative and excited.
> I never knew that. That does make the show pretty interesting to me.
I love it. It's my favorite mystery show. I like Ellery Queen too, with Jim Hutton.
> That's a fantastic description! I really liked your "adding a touch of the villain to the hero." When Wayne is at his very best, that has been the case.
Maybe it isn't so unusual, William S Hart did it first, And of course Ford in Stagecoach sort of set the mold for Wayne. He did play some bad good guys in his really early cheapie westerns, but they were all very good natured and didn't really seem bad at all. I think the depth comes later on. But man it's powerful, and I really had no idea his career was so serious, underlying all the rough and tumble. It gives him so much depth as an actor to see him struggle, to see him hate.
> I also like that Clair can be fantastical.
Now that's something I appreciate very much, but I didn't know you did. I wasn't sure you'd like something that contained elements of the magical or fantastic. I love the way things work out in Clair. There's a humorous serendipity at work in his films. In fact, that's the one thing I think shows up in all his movies that I've seen. Fate, but not a heavy one. A humorous one.
> That does surprise me. I had just recently watched the Sherlock Holmes take on "The Ten Little Indians," and I had liked it. I thought *And Then There Were None* was even better. What really helps are the great performers in the film. They are magnificent. I also loved how dark the film was, yet its presentation was light.
I did like it very much, it's not that I didn't like it. It just wasn't as exciting to me as I had hoped. But you are so right, the film WAS dark with a light presentation, very surprising.
> I'm trying to figure out how Graham (Laurence Olivier) and Anna (Simone Signoret) ended up together! Talk about opposites.
I'm guessing she was bored at a party or something, and thought it would be fun to get him all hot and bothered. Then they got stuck in that dynamic and couldn't escape it.
> I know it by title only. Your words have greatly piqued my interest.
It's an incredible movie, just not easy.
> I'm unfamiliar with *The Entertainer*. I recorded *Billy Liar* because the write-up appealed to me.
The Entertainer is probably going to be on this month sometime, since Laurence Olivier is SOTM. It's probably one of his finest performances. It's not nice or pretty, far from it. He completely re-invented himself in this role. I think it may be his best acting in a film. But it's unpleasant. You'd probably love it!
> I don't want the steam there!
It's metaphorical steam.
> I don't know anything about Ginger's personality or her mother. I'm sure what you and Miss G say probably rings true. It really is amazing to see how different her early work (effortless and natural) is compared to her later work (forced).
Isn't it odd? I never really thought about it before. I really love how she tosses off a line or a gag early on. She's just brilliant.
She reminds me of something that happened to me when I was acting. I was performing in a play, I don't remember what it was. I had a bit part. At one point I decided to stare at the main character closely. It got a laugh. My teacher (who was also the director) pointed it out to everyone, made a big deal out of it. Much as I might try, I was never able to duplicate it and I never got the laugh during performance again.. Comedy is hard.
> I'm gonna have to check it out. I did know the Playhouse presentation did come first.
Sorry. I hope I don't try to explain too much. Especially after my little rant on advice up there.
> That's the perfect description of the film. My feelings match what you said. But my overall feeling with the film matches Miss G's. But Robert Ryan is truly amazing in the film. What a pained, horrifying, sympathetic performance.
I really agree with you. The movie itself is nothing. It's not even very complex or interesting as a thriller. I'd say it's not even in the top 10 suspense thrillers. But I love it all the same, because of the two actors and how they are just left alone to do what they do best. Ida is also really soft here, and I like that.
> Uh-oh.
> It's certainly very "Audrey."
Uh-oh.
>
After reading your comment about *Torch Song* and then Miss G's comment, I now must watch it.Oy. Good luck.
-
> > I have learned that there is an excellent way to determine if such problems are a fault of hardware or of software. It is to use Unbuntu. To do this requires downloading it which lasts nearly an hour and then burning it to a DVD or installing on a flash drive.
>
> You can then run your computer under it rather than under Windows. It is then obvious if the problems you are experiencing are caused by the computer or by Windows.
>
> This does not affect your Windows operating system or software in any way.
>
> I am in the process of making a new Ubuntu boot drive because I like the games which come standard with most Linux installs and I will be happy to guide you through the process if you wish.
That's OK, Sansfin. Though I appreciate the help, I will simply hand it over to Andrew,...he's a computer whiz who will probably do just exactly what you said.
I will probably use the little flash drive he gave me to save my photos and junk to the new laptop. I'm just happy to be online again. Whew!
And I love Victor Mature! He has his moments of mugging it up, like last night in My Gal Sal, but there's something about him, something underlying the roles he plays that I find really interesting. There he is, making goo goo eyes at Rita, but then he has the scene where he talks back to his old man and decides to leave home, which was excellent. The undercurrent of dissatisfaction and trying to better himself was very good. He also had humor in real life, and that is what really won me over, his ability to make fun of himself.
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I am not really sure that Vidor is neglected. But in answer to your question, he had a long career after silents which in some ways works for him and in some ways works against him. His sound films are variable and in my opinion not as impressive as his silents with a couple of exceptions. They seem to fit in the small spaces between the giant films of Hollywood. They don't have as overt or as singular a message as some other director's film works. His style is not showy. He's conservative as a filmmaker, though radical in thought.
He also is not particularly glamorous as a person. He doesn't have the flair of a Griffith or Ingram. His silent output is impressive, but the sound works tend to be scattered and either very commercial, or so quiet that people perhaps did not understand what he was getting at.
I think his major theme is that of the individual in opposition to normal life or what is expected of him...this is not a big picture type theme, although he was able to make epic films. His movies are generally intimate, even when they have a larger canvas. The common (or uncommon) man struggles in his films either with modern age expectations or against traditions which stifle him. His characters break from society in the end and pay the price for it.
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> {quote:title=MissGoddess wrote:}{quote} ricardo cortez
SOLD!
I'll go and find it right now.
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> {quote:title=MissGoddess wrote:}{quote}
> > She was really pushing it in *Black Widow*. She's playing Bette Davis' "Margo" with too much gusto. It became a carricature.
> that is a good description and "Margo" came to my mind, only i like Bette acting childishly diva-ish whereas Ginger can seem so utterly lacking in self-awareness, like Jackie said. Maybe Lela (her mother) brainwashed her for so long to be an overachiever that she finally accomplished it.
I think you are totally on mark with your words about Lela. I get the feeling that she pushed Ginger until she became strained with the effort, rising to what she thought were great heights of drama or a higher kind of comedy. It's too bad, she's really so perfect as she is - when she's not striving.
>Torch Singer is the only Joan Crawford movie that literally embarrasses me to watch it.
>Jackie, I'm hoping he means Torch Singer (1933) with Claudette (which I like) and not Torch Song (1953) which I find unwatchable.
Oh of course! Thanks for the correction...I was so stupid, I must have had Joan on the brain with the mention of Dancing Lady, and Frank has been watching a lot of great later Joan flicks lately.
you know, I had Torch Singer bookmarked online for months at youtube, and never watched. I really want to give it a look, I don't think I've ever seen it. I really like Colbert.
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I made the mistake (or was it?) of watching the live kinescope of *Days of Wine and Roses* before I saw the film with Lemmon and Remick. I greatly prefer the TV version which came first. They fleshed the movie out, but in doing so they lost or flattened out a really cutting and harsh quality that I like about the story. The TV version is worth watching too, especially for Piper Laurie's INCREDIBLE performance. Great, GREAT acting. It's got guts. And they did it live!
http://strangerintown.podcastpeople.com/posts/35834
*Beware my Lovely* is my single favorite Robert Ryan performance. The movie on the whole is probably not as good as the acting is in it, but I love to watch Ida and Robert play cat and mouse. It's REALLY suspenseful, and somehow, you end up feeling sorry for Ryan. For me, it's a towering performance, and I like that it's just the two of them, no dilution of the two stars. Ida is perfect, Ryan is perfect. I love it.
Very curious to hear your reactions to *Another Language*. I really like it, there's a very modern outlook to the movie, despite it's precode old fashionedness.
I love *How to Steal A Million*, but then there isn't a heist movie I don't like. I adore Hugh Griffith, and Peter O'Toole ain't bad either.
I love the settings. Lots of fun and it turns out perfectly. *Torch Singer* is the only Joan Crawford movie that literally embarrasses me to watch it.
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> {quote:title=FrankGrimes wrote:}{quote}You were on quite late the other night, Denver!
I was on a roll!
> That's a shame. So it's about how long you spend on-line? You're burning it up!
No it's not really about how long I'm on, it just crashes if I open another link, or I want to look at a photo on a thread, or if I open another tab, or if I try to watch a youtube video.
Andrew's set me up with a different laptop, but all my bookmarks and the tabs I kept open to remind me to reply to people are gone. And all my photos.
> I do like her "Melanie." She's calm, caring, and considerate. What I've seen of Olivia:
>
>
> 1. Hush... Hush, Sweet Charlotte
> 2. Lady in a Cage
> 3. Gone with the Wind
> 4. Light in the Piazza
> 5. The Adventures of Robin Hood
> 6. The Proud Rebel
> 7. The Heiress
> 8. The Snake Pit
> 9. Hold Back the Dawn
> 10. Captain Blood
> 11. The Male Animal
> 12. Not as a Stranger
> 13. My Cousin Rachel
> 14. The Dark Mirror
>
>
> I guess I like her older.
That's interesting. I wish you would try The Strawberry Blonde. I think it plays to her strengths while actually addressing the reasons you don't care for her much. I think there's a warmth underneath, but if you don't see that, then I can't imagine you would like her. She's not my favorite, but I do feel somewhat protective of her as you tell me you don't care for her. How does she rate compared to her sister with you?
> She is a little similar to Grace. I guess the difference is I've seen Grace being playful. I also love when Grace pouts. Olivia may be too reserved for me. I don't find her to be too accessible. My two favorite films of hers feature her being devilish and being tortured.
Ah so it's that she is too controlled.
> *I tried to find A Hole in the Head last time, but wasn't able to. I remember it vaguely, I liked it but I can't really bring any specifics to mind. I love Walter Abel.*
>
>
> Oh, I'm sorry. I thought you were familiar with the film.
I saw it a very long time ago. I remember it being very good, but I don't remember any specifics. Just the broadest outline of it.
> Do you pay for a movie service such as Netflix?
Yes.. and they have it, but I have to wait to get it in the mail, after I finish the ones I have now, in fact I just bumped it up in my queue.
>
Definitely. But you'd love and respect him, so I think you'd come to appreciate his concern for you.Yes, I would have, and I would have apologized and seen his wisdom after the fact, not that after does me any good!
> I call such people "chameleons." They are always changing for the approval of another. They never have their own colors. Whoever is winning, that's who they are for.
Like me on this thread!
> Cowardice comes from fear. It would be very difficult to stand up to an angry mob and say you were the guilty one. But when it's your own daughter, you'd think you'd do it even if it wasn't you. There's no doubting that he was a tragic figure, a creation of his own.
Ultimately what I got from the film was this question.
Are people their actions? Or is there more to them than that? Are they something else too? I think so. Are there always going to be extenuating circumstances in anything someone does? yes.
> All good questions. I'm certainly not sure. I do like Doryan as emotionless. He's warm with the physical but cold with the emotional. He's terribly damaged.
I like the choice to have him emotionless too, but I wish I could see Lean's hand there, not that the actor might not be very good. I've never seen Christopher Jones in anything else, that I know of. I'd like to, just to ease my mind on this point.
> That's always up to the individual. Can a person change what brings them happiness in life? Can Rosy take initiative with Charles, almost teaching him to love her in a way she desires? All of that takes time and effort. And none of it may feel natural.
It would be difficult.
> I'd say a child would bring them together. That would be the next step for Rosy as a woman after having a schoolgirl crush and then a passionate affair. Without a child, I think Rosy would remain restless and in search of stimulation. She could share her feelings and desires with Charles, but that takes courage.
I think a child would be the worst thing. Rosy's just a child herself, she needs a bit of the world, a nicer world than the one she's been in, before she really makes the commitment to settle down. I think Charles knows that, he needs to allow her to be a bit free... you know, like that saying, If you love something set it free? She's seen him now, for his real self, which is kind and loyal. Now she needs to be given free reign to come back to him of her own accord. Talk about stifling... she'd suffocate with a child immediately and no freedom.
> THE COUNTRY GIRL IS SPOILED
>
>
> I didn't like that their son just wandered away from Frank and then was killed. It didn't feel natural. It seemed like a dramatic plot device and only that.
I don't think we're supposed to like it.
I thought it seemed very real, true to life. Maybe the actual scene wasn't done well? I don't remember it perfectly, but I could see this happening easily. It happens all the time with abductions... the parents usually end up divorcing because of the stress and blame.
> You and Miss G have set me up for this one. I'm expecting some craziness.
I hope you like it. I prefer Rebel, but they both have something different to say to kids growing up at that time.
> I think pop culture played a big difference with the generation gap, even in the 50s. Pop culture seemingly took off in the 50s. Television is arguably the greatest reason why.
That's probably very true.
> That's for sure! And I'm the sweet and innocent one!
Uh huh, That's right, Chino.
> You are correct, I haven't seen that one. And I do believe dreamers do create problems for themselves and then others. Those who need adventure tend to be restless.
You would love Man in the White Suit. It's just a great film. One of my all time faves.
> And that would be Charles and not Doryan. Doryan would be the needy one in a relationship. He would be moody and unpredictable. Charles is one speed and completely predictable. Both are flawed men, but Charles is going to be the more reliable one.
Yes, and Rosy learned her lesson, I do believe. She got burned, and somehow through that pain, she was fortunate enough to see Charles worth at last. At least I think so.
> So do you understand Rosy's actions? How would you approach her situation if you were in her shoes?
I absolutely understand her actions, I am very much like her. I don't know how I would approach the situation, but for a while she's going to be very tender.. sore at heart if you know what I mean. I think Charles will have to be careful of her. He's actually the exact RIGHT person for her to be with at this time, after her public humiliation. Aha, I just remembered what story it reminds me of.... Jane Austen's Sense and Sensibility. The younger sister in that falls for a young hot blooded fellow, who turns out to be callow... and she slowly very slowly over time turns to the man who loved her all along, A quiet, older man, who she couldn't see before. Rosy is lucky, she has had her eyes opened (by force unhappily) to Charles' best qualities.
> I think most people are that way. Lots and lots of hiding. I only show myself when I'm really hurting. I'm a firm believer in talking things out. I believe in the release. But there are two parts to that equation. The other side is who you open up to. Do they care about you and what you are saying? For example, my country grandma is a poor sounding board. She's quick to say, "things will work out." That leaves me empty. Some people just cannot handle the problems of another, so they quickly push them away with "scripted" words. I need some depth.
Yes, that's been my experience too. It's hard to find anyone actually sympathetic. Most are just "Get on with it!".
> What I've seen of Walsh:
>
>
> 1. High Sierra
> 2. The Roaring Twenties
> 3. Desperate Journey
> 4. White Heat
> 5. Big Brown Eyes
> 6. Colorado Territory
> 7. The Big Trail
> 8. Northern Pursuit
> 9. Pursued
> 10. They Drive by Night
> 11. The Tall Men
> 12. The King and Four Queens
> 13. Me and My Gal
> 14. Dark Command
>
>
> The top two films are full of great emotion. I feel the emotion isn't nearly as strong in the rest of the films. But Walsh really is about adventure.
Wow! I had no idea you'd seen so many! Yes, I like emotion as well. That's what I look for. And I think most of his films don't fit themselves to this emotional core... they were a job of work to him. This is why I think you might like The Strawberry Blonde, not to keep harping on it. Also What Price Glory, and perhaps, Uncertain Glory, though that one is all over the place story wise and character wise.
> Columbo is more of a "howdunnit"? That's great!
Oh it's wonderful. You know who did it all along. Just have to figure out how to catch them out.
> Oh, I don't think he's a bad man, but he's angry and looking to ruin Stephen (John Wayne) because he's lost his girl to him. That's what reminded me of *The Man Who Shot Liberty Valance*. That's how Doniphon starts out with Ranse.
Yes, it makes him more attractive, I think, not less. He's a more layered character. Perhaps this was a leap for him in some ways, a brdge between the old Wayne and the new. His really great roles all seem to have some ambivalence, good and bad included in the character. This is what surprised me the most about Wayne once I really started looking at him as an actor. Extraordinary for a western star to develop in such a way, adding a touch of the villain to the hero. It's wonderful.
> I think he's all right. But he's not my kind of leading man, no. I like him best in *The Talk of the Town*.
Oh he's wonderful in that. Another rivalry between passion and staid loyalty, like Ryan's Daughter.
> Terrific! I'll watch it for the next group.
Yay!
> I agree with you. Light is rarely revered and Clair does light exceptionally well.
He's perfection. like candy, he's so light. So enjoyable... and yet his films really do say something, at least the early ones do. A serious theme done with the lightest touch... like Lubitsch.
> And I'd reverse the feelings for those two films. But I do like them both.
I think I was so looking forward to *And Then There Were None*, I mean I waited for years to see it.,,, that it couldn't live up to the hype I gave it in my mind.
> Ooops! I forgot to reply to that. No, I haven't seen *The Strawberry Blonde*. I'll check it out. It has Rita! I like your usage of the word "sincere" with Olivia.
Rita is just exceptional in this one, and it has Jack Carson in it. The only thing you might not like is Cagney as an underdog and the setting. I find it's a movie I go back to and discover far more depth than I ever remembered. It's a kind of a sad film. About growing up and discovering those romantic ideals are not good for us... like Ryans' Daughter.
> Sometimes it takes a war!
I'll say!
> That made me laugh! I completely understand your feelings. Who wants to be drained? But I do like some "kitchen sink." Usually the American kind. I didn't go for *Term of Trial*, though.
I was surprised by it's humor at the end, and I liked the acting. I liked the question left up in the air at the end.
Some of the kitchen sinkers I like are
The 400 Blows -one of the most perfect, heartbreaking, and frightening films ever made. It's one of the truly great films.
The Entertainer - just devastating. Again, not a fun watch.
This Sporting Life - I don't know what is different about this one that makes me like it more than some of the others... it doesn't seem like such a chore to get through.
Billy Liar - this one has some cringe inducing moments for me, but gosh, Tom Courtenay is wonderful! It's way too close to the way I used to be when I was a kid. I probably won't watch when it's on, because it's upsetting, but he's really REALLY good.
> But I just want steamy love scenes!
There's a nice scene in the bathtub for you. Plenty of steam...
> Probably Father Time. I think Ginger was more relaxed and comfortable when she was younger.
I think Ginger's ambition got in the way of her self knowledge. She's so good at the light, and yet she was always striving to play more than that. She got kind of full of herself it seems. She thought of herself as a star and once she started being more in control, the less I like her. I can't bear her in some films later on.
-
ohmigosh you watched Dancing Lady and Torch Singer? Talk about torture! You really do like tormented.
If it's a choice between me and Miss G, you know who is right. 
The Annual FrankGrimes Torture Thread
in Your Favorites
Posted
> Ohhh, don't worry about the messages. I've done that too many times to Quiet Gal!
I think she just now says to herself, "that's him."
Haha! Thanks. Now I don't feel that nagging feeling that I forgot something in the back of my mind.
> Really? There are no programs included that can do that for you?
It may but I haven't found them yet.
> I'm an idiot when it comes to not wanting to give up a good program for a lesser one. If I were to get a new computer, I'd have to find a way to keep my Windows Media Player, which is 9, I believe. The newer ones don't take caps as easily.
I haven't been able to do caps for a year or so. My old laptop's disc player stopped working back then.
> I always have a tough time "letting go."
Me too. I didn't want to, but I couldn't stand the crashing.
> I can't remember if I watched *The Proud Rebel* because of you or Miss G. I believe it was your suggestion. It's such a sweet film. It's certainly overlooked. Probably because it's too sweet a film in a masculine genre.
I am quite sure it was Miss G. She was the inspiration for me to watch it in the first place.
> You said it. I'm always amazed by how many people think their way is the only way and the best/right way.
I think that's my biggest pet peeve, I can't stand people who constantly tell you how great they are or tell you what to do all the time. I can't bear it. As if you had no brain.
> Maybe at first, but you eventually speak your mind. Must I bring up *Wagon Master* being Ford-lite?!
If you are comfortable, you'll be yourself.
Oh yeah.
I'm fairly open as a person, there is nothing in my life that I feel I need to hide. But for years I hid my soul because I felt different from other people, or bad or something. So I became a hider especially when under someone's strong willed stare. My likes and dislikes are tender things, and I don't want someone running roughshod over them.
> His passion was a quiet, reserved passion. He's the committed type, the guy who will always stand by you. When Charles came back from London, he stopped by to visit his first wife's grave. And now he's standing by Rosy's "grave." But can they find a way to live? A shared kind of living.
That's good! They have to get to know one another again.
> Remember, Father Collins (Trevor Howard) mentioned the flesh and Rosy was frightened and excited by this, like most young women. Then when the big moment happens, Charles just does his "duty" and it's all over in a blink. So what she was highly anticipating ended up being a huge letdown. From then on, I'm not sure how much love-making occurred between the two of them. And if it did, it would have been the same as their wedding night. Charles is loyal and caring but he doesn't know how to make love. Doryan ends up fulfilling Rosy's desires of the flesh. And when either sex is being fulfilled in that area, you end up wanting more and more.
That's very true. Are you a Rosy? Or a Charles? Or someone else? I guess I'm both. Maybe we are all both.
> We can only change who we are so much. You can't make a turtle fast. Charles isn't going to become Don Juan. He can improve his love-making with some help from Rosy. But if Rosy is expecting him to become Doryan, she's going to be forever disappointed.
That's so true. She has to lead, but then some people don't want to be in that position. It takes the excitement out of things. I don't think she can live without some excitement in her life. It's too much to ask.
> Charles had serious reservations about Rosy's love and being with her. He knew what kind of love she had for him. But he took the chance on her. He knew exactly what he was getting into.
I think he let himself in for it, but he deluded himself just a bit.
> Am I talking with Miss G?! I haven't seen *The Ladykillers*. I haven't seen the Coens' version, either. I haven't seen any of the films in the collection.
OH MY GOSH! You have a treat coming. These are all favorites for me.
> Fantastic! This collection will guarantee me some films to discuss with you. I like Alec as an actor. Will I like the British productions? That's the question.
I can only think of one you might not like, as far as the background and production is concerned. But I still think you will enjoy it.
> It's the ideas I'd be drawn to, for sure. But Austen packaging is tough for me to swallow.
You can take it!
> I'd say only with film noir, westerns, and German Expressionism. You've seen many more comedies and dramas, especially from the 30s.
Maybe so. but that's still 3 genres to 2.
> How about we do an exercise I just recently did with Miss G? I'm going to list the top 50 films (from IMDb) from a given year. The ones in bold will be the ones I haven't seen. Count up how many you've seen. Now you are not to count films you've seen just some of. You have to have watched the film from start to finish. I'll pick your decade of the 30s, but I'll go late. I'll go with 1938.
>
>
> 1. Bringing Up Baby
> 2. The Adventures of Robin Hood
> 3. The Lady Vanishes
> 4. Angels with Dirty Faces
> 5. You Can't Take It with You
> *6. Jezebel*
> *7. Alexander Nevsky*
> 8. Holiday
> *9. Pygmalion*
> *10. Boys Town*
> *11. Marie Antoinette*
> *12. Port of Shadows*
> 13. La Bete Humaine
> *14. The Adventures of Tom Sawyer*
> 15. A Christmas Carol
> *16. The Citadel*
> *17. My Bill*
> *18. Blond Cheat*
> 19. Room Service
> 20. Algiers
> *21. Fast Company*
> 22. The Dawn Patrol
> *23. Block-Heads*
> *24. The Amazing Clitterhouse*
> *25. Bluebeard's Eighth Wife*
> *26. Joy of Living*
> *27. The Shining Hour*
> 28. Carefree
> *29. Three Comrades*
> *30. Rebecca of Sunnybrook Farm*
> *31. Child Bride*
> *32. The Terror of Tiny Town*
> *33. Sex Madness*
> *34. The Toy Wife*
> 35. Vivacious Lady
> *36. Man-Proof*
> *37. The Affairs of Annabel*
> *38. Alexander's Ragtime Band*
> *39. The Baker's Wife*
> 40. The Divorce of Lady X
> *41. Hotel du Nord*
> *42. The Great Waltz*
> 43. Test Pilot
> *44. Blondie*
> *45. Love Finds Andy Hardy*
> 46. You and Me
> 47. The Adventures of Marco Polo
> 48. The Cowboy and the Lady
> *49. Five of a Kind*
> 50. A Slight Case of Murder
>
>
> I've only seen 19 of those films. There are three exploitation films on the list.
>
>
> If you wanted to replace those, the next three films are ones I haven't seen:
>
>
> Four Daughters
> The Big Broadcast of 1938
> Topper Takes a Trip
>
>
> I'm guessing you've seen at least 30 of those films.
Whew! OK. I'll give it a try. Are these to be in my order of preference?
> *It's taken me a long time to really love it. I liked it very much when I was young, then I decided I didn't. Now I love it. It's subtle in theme, while being broadly presented. I think this is why I like Walsh, he can be so funny and kind of BIG in comedy, but underneath is an achy quality, almost always. The pain of self realization. or maybe the pain of not quite ever realizing one's self.*
>
>
> I'll be curious to see this kind of pain. My favorite pain in all of Walsh's films is when Roy (High Sierra) is crushed by Velma (Joan Leslie).
Well, you'll never beat Roy in High Sierra. It's Walsh's best film. But you will find that same thing in several of his films. His heroes are all somewhat unrealized. They have never really gotten to the place they want to be, even if that place is simple. It's not ambition I'm talking about, it's that dream of happiness. The world won't really let them be happy. Happiness for them is a bit of a delusion, one that sometimes brings them down.
> Ha! That would actually mean they'd have to change. How many people change when they are older? It wasn't Wayne's politics that had me thinking he wasn't for me. It was that I thought he was a "my way or highway" guy on film. I've learned he's not. I think he does humor and romance very well.
I put those two things together in my mind. "My way or the highway' and political conservatism went hand in hand for me. Now I realize that I misjudged it all. even his politics I misjudged. I guess that's what happens when you JUDGE.
> I'm looking to watch *Le Millon* before the month is out. I never heard of *The Ghost Goes West*.
It has your favorite, Robert Donat. It's from 1935.
> Wonderful! He's so wise, kind, and considerate in that film. I always think of Walburn playing a "Yosemite Sam" character in *Christmas in July*, so I was amazed to see him another way.
Yes, but then he also plays the butler in *Mr. Deeds Goes to Town.* He's incredibly subtle in that one. It's hilarious.
> It really does end up being about personal funny bones. An overacting ham can be hilarious to some and completely horrible to another. There are so many styles of comedy.
Agreed.
> Curiosity killed the cat.
>
>
> Yeah, but what does it do to us rats?
I don't know. Let's do the experiment. You may think it's so ridiculous that you enjoy it.