JackFavell

Got it, Jeff. Just putting my two cents in. I think he must have been rising quickly at this point.

Thanks, Maven! I appreciate that very much. Thank goodness for friends like you who bring out the best in me. If it weren't for you guys and your inspiration and friendship, I wouldn't have ever started writing. I'd still be locked up inside myself, afraid to put down a word. Now you can't shut me up! See what you started?

Hey, Metsie, I hope school is going great for you! Take care my friend. I don't get on much anymore either, lately my computer's been crashing every time I get online.

Wow, that Swanson Reid still is a killer! Just beautiful! And you know I love Ricardo Cortez.

Exciting! I can't imagine he would have been cast in Gatsby without a couple other hits on his hands. I've always seen photos from this film, I hope I can see it one day.

> What's going on with your computer? It's just not working right. It's not a virus, it's just starting to go kaput. I think it's the memory. Every time I get online for a little while, it crashes. > That could be a big reason why it eluded me. I'm usually a sucker for such love stories, but I just didn't have the strong feelings for Charles and Olivia by the end. Awww! I think it still works. I wonder if you'll like Olivia better after you've seen her in more movies. Or not. You liked her in GWTW didn't you? > I loved the character she played, so I should have loved her. Maybe Olivia is a big reason why I couldn't fall for the film. She's very hit or miss with me. She's a rather thoughtful actress, not fiery or mercurial. I always liked her but it's taken me years to realize what a fine actress she is. She has a narrow range, or at least the studio only saw her one way. Perhaps it's that well groomed, modulated voice, calm in a sea of troubles type that doesn't really play for you. Although I'd say lamby is very similar. > I agree. She's scorned, which I love. She reminded me of Carolyn Jones in *A Hole in the Head*. Actually, the film is a little bit similar with some of the characters, namely those played by Charles, Olivia, and Paulette. You could even stretch it to include Walter Abel, who is the disapproving "big brother" in the picture. Anita (Paulette Goddard) wants to keep twisting in the wind, playing the same game with Georges (Charles Boyer). Georges starts to grow up by film's end. 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. > It's a seedy background for sure. The background is actually similar to that of *A Hole in the Head*. Again, I don't remember it well enough to know. I do remember that Frankie is not doing well. > I guess I felt Georges transformation was rather sudden. I'm going to use the word again, "tormented." I feel the torment with Tony (Frank Sinatra) in *A Hole in the Head*. I didn't feel that with Georges. Interesting. I can see that. I just hope you would give it another chance someday. I've had so many films that I ended up loving that on first showing did nothing for me. > *Le Notti Bianche* is a Criterion film, so you should be able to track it down. I just hope I can track it down for free. > I didn't know she was in that. *Term of Trial* is the first time I've seen her, I believe. She's excellent in that film. *Ryan's Daughter* ends up being an extension of that film, almost. That's true. I never really thought of that. > That's very nicely said. I agree. He wasn't looking to belittle and condemn. He was purely looking to remind and warn. He was leaving it up to the individual to make their own conscious decisions. When we're caught in our fits of wrongful behavior, we often look to silence our conscious. Father Collins (Trevor Howard) was the kind wake-up call. I would have been yelling at him! I can't take it when someone is right about my faults or notices my behaviors. But I probably would have gone back at some point and apologized. > Oh, yes, definitely. But the reason they are selfish is usually for a gain I get. Thomas Ryan's (Leo McKern) reasons for blowing in the wind are simply due to cowardice to stand for anything. I usually despise such characters. Yes, I agree, and yet, it started out innocently, he just wanted to be a big man, first to the townspeople, then to the Brits. Some people care what others think of them, and just want everyone to like them. He never thought of the consequences of his actions, just how it reflected on him and his image to anyone who was looking at that moment. He was as ignorant as the others in the town but he wanted to appear as a hero to someone. I think he's such a sad figure. He reminds me of someone else in movies, but I can't bring it to mind.. deluded. Trying to appear as a big man to hide the shame of his fear. > That really was Shakespearean. And I fully expected a worse treatment of Rosy than what she received. I guess it's all about shame. I did too. I was horrified. If she'd been a man, they'd have done worse... which is why her father couldn't speak up. He was all about fear, right from the beginning.Fear of being found out to be less than he wanted to be. It's really self delusion. Imagine how much more fear he had at this point than he had to begin with. > We humans are an insecure bunch that are always seeking the approval of others. Even the most individualistic of people have this in them. It's unavoidable. The other thing humans love is power. Some of us don't even realize we love it because we seek it on smaller levels. But the bullying of the townsfolk is on a larger level. It's far more difficult to face a crowd than join one. I understood their jealousy I guess, but man,they were an ugly lot. I despised them far more than poor Ryan. To me he was understandable, but they were just hideous. >By film's end, I got the feeling he was purposely using Michael. But before that, I didn't. It's all about their scenes on the beach. It felt like Doryan and Michael were rather familiar with each other. You are right, they did seem to be familiar... I never thought of that. > That's a great question. The way Doryan comes off is that he's a tin soldier. He's shellshocked and frail. The flashbacks support this. But I have no idea if that's Lean's choice or the actor's ability. No I'm sure that was Lean's choice. We are supposed to see him as a user or as a victim or both at the same time.... But what I meant was the actor's blankness leaves everything unresolved about Doryan. But is that blank a Lean idea? or was he just not a good actor? Did Lean want more from him emotionally? or did he want him somewhat unknowable? I can't tell. > That's quite brilliant. I think you're right. Rosy probably does understand Doryan and then her father because it's the same feelings inside of her that led her astray. She probably still loves Charles but Charles doesn't provide for her in the physical and emotional. So what does a person do in such a circumstance? It's one thing to say your mate doesn't like something like gardening. You can find outlets to fill that need, innocent ones. But what if they don't like intimacy and sex? That can be a marital prison that's hard to handle. Physical desires are strong currents to deny. And what's worse is that if you do go astray and experience those feelings, they are hard to move on from, to put aside. You may always find yourself going back to them in your mind. That's where Rosy is now and Charles even brings this up with her. Passion is a scary thing to some people. If you love a person who is not brought up to show it, is that a reason togo elsewhere or stop loving them? Is it inevitable over time? Can they make up for it with tenderness and loyalty? Or a different kind of intimacy, the kind that knows you inside and out, as Charles did by the end of the film? On the other side of things, can Charles ever really know Rosy if she keeps her feelings about sex or passion to herself? Can she come down to earth and simply be in the moment? Can she see him romantically again? She did at the beginning, but it was a schoolgirl crush. He opened her mind, and she thought he was exciting and worldly. I think they have more of a chance together, since now they both know one another more completely. That kind of intimacy means more than sex sometimes. And at least he will try hard to fulfill her, I think he could learn to, once he has the awareness of her as a sexual being, which he does now. And perhaps leaving is the best thing they could do. She needs that stimulus of seeing new things and being in new places. It might be the best thing for him as well, opening his world back up. So I'm hopeful for them at the end of the movie. > I did like Bing in this film. The character felt very true. The only thing that didn't ring true to me was the tragedy in the film. It felt forced and unbelievable. How so? Maybe I'm not remembering the entire incident well, but I could see that driving a huge wedge between two people. It seemed pretty realistic to me. > I'll probably be posting my next group of films this weekend. I have two to watch. But for the next group, I'm going to watch *The Wild One*. Then I'll understand what you are referring to. It's got some good stuff and some silly stuff. I wouldn't say its a great movie. It's kind of like watching Easy Rider... it's almost too much of it's time for us to watch it seriously at this point. But I can see how it might have rattled people in the 50's. I can find it laughable and at the same time find great poignancy in it. The girl and Brando have a very nice chemistry. I like the girl. She's a good girl but isn't completely vapid. She understands life. > Now that's an excellent question. I know I'm not qualified to answer it. I'm sure the aftereffects of World War II played a major role in sculpting the American home, particularly in the 50s. What Nicholas Ray tapped into was a disrespect that the youth may have been feeling at the time. The disrespect led to a rebellion of sorts. Was the Cold War also one between parents and children? Absolutely. Kids became far more sophisticated, or perhaps they just got a voice to express what had always been there - dissatisfaction with their parents' choices and lives. I think it grew into the generation gap in the sixties. > Oh, I absolutely love torment. Tormented love is my favorite. I've never experienced love. I've had great feelings of love inside of me, but I've never been able to make them real. So I'm completely tormented, hence my seeking it in film. You're completely tormented on this site anyway. > That's deep! What I have loved about Lean is that there is a great deal of emotional honesty and dishonesty found within his primary characters. Take *Brief Encounter*. Laura (Celia Johnson) isn't really looking to have an affair, but she runs into a man who shows her interest. They become friends and the friendship starts to create a feeling of love. These feelings are honest. Laura ends up returning to her husband, so now she has to deal with dishonest feelings. I've seen four other Lean films with the exact same premise, just with slight twists and different "attire." Now that's really good! You are totally right, they are all about honesty and dishonesty.. with one's self and with others. When you and MissG were talking about Ryan's Daughter, someone mentioned how the imaginative dreamers (or deluded types) could create so much danger for themselves and for others around them. It made me think of Man in the White Suit, an Alec Guinness film that I am not sure you've seen. That's the underlying current of the movie. How dangerous is the dreamer to society? > If one is lucky, they find all of their feelings, needs, and desires fulfilled by one person. I'd say many people do find this. However, there will always be someone who may do something even better for you than your mate. The trick is not falling in love with another, even though they may be exciting you at that moment or for many moments. I don't know if such a thing is possible. The commitment is the thing in marriage, not the fulfillment of every possible need or desire.It seems that way at first,,,that the need is the biggest part of it.. the lightning bolt.... That's the problem, most people think that it's the romance that is the most important part. I've known plenty of romantics, but the ones who'll stick with you when you are throwing up or giving birth, or burping while you scratch yourself, well that's a rarity. It's nice to get both in the same package - you have to have the lightning, but if that's all there is, well... good luck to you when you are showing all your human weakness and stupidity. > Can we honestly express our feelings to our loved one? We love to hide. I don't know, I tend to hide some parts of my emotional self even with Andrew. If I'm depressed I usually don't say anything. And yet, that's probably when I should talk about it. > Excellent point! You're a dreamer, so I believe you are going to understand the feelings of *Le Notti Bianche*. I think you'll love the setting, too. It's a simple yet stylish presentation. That sounds like me! > I've never really watched much Woody but I'd probably love his work since he's a neurotic who focuses on relationships. Ha! Aren't we all? > Are you afraid I've built it up too much? No worries. You'll love the overall feelings within and message of the film, and you'll adore the camerawork. It screams "you." No, not afraid of that... afraid the darn thing will be cracked or won't play in my machine! I've tried so many times now! > Walsh is off and on with me. I usually don't find much emotion in his films with the exception of the ones I really like, such as *High Sierra*. But this film definitely scored with me. There's some hidden emotion in it, as well. He can be variable, depending on the subject, how much time the studio gave him, and whether it was a personal project or not. He was a jobbing director, so some of his films are just cranked out for the studio. Which ones didn't you like? > In this group of films, this is the film I'd select for Quiet Gal to watch. I think she'd really enjoy it. I think her husband would, too. I totally agree! It's a great adventure story, very much fun with a lot of suspense and banter. It's right up her alley. > I have really liked three of the "Hope" films that I've recently watched. *My Favorite Brunette* and *The Lemon Drop Kid* are two of them. I also enjoyed *The Cat and the Canary*. And I can't say Hope is the main reason, either. He's a big part of those films, but there has been more to it with them. In terms of comedy, I have liked Hope a bit more with the "Road" pictures. I've never seen the Cat and the Canary. I meant I thought it was the best of Hope's films without Bing. The road pics are something completely beyond. > I never really watched Columbo. Are you saying it's a prototype for the show or character? I mean the show. It's a howdunnit, not a whodunnit. > You're right, it really is a menagerie. I'm still blown away by the fact that Ray Milland is the "good guy" and Duke becomes more of a "bad guy." There's a little bit of *The Man Who Shot Liberty Valance* with that. A little, I don't really believe he's that bad. maybe that's the power of Wayne. > I can definitely see how you'd really enjoy this one. Ronald Colman is certainly quite good, here. He's a far different kind of hero than Errol Flynn, though. He's still very enjoyable. The film is a good companion with *A Tale of Two Cities*. I get the feeling you aren't a big Colman fan. > I was hoping for more of Madeleine Carroll, but she wasn't around that much. But I really did enjoy Fairbanks, Jr. and Massey. And the ending is pretty exciting. I like your mentioning Foulger. That's very "you." I love the guys in between. They make or break movies for me. > I never heard of *Le Million*. Is it available on YouTube? I'm guessing *The Flame of New Orleans* is probably lesser than *I Married a Witch*. That's one I've yet to see. I just thought the film was charming. It's a nice change of pace for Marlene. I liked seeing her this way. She's always engaging to me. Yes, Le Million is in parts on youtube: https://www.youtube.com/watch?v=Ge8IEtUkleo Clair is very light, and I think he's always good, so lesser is still not bad. I think he's underrated because he's light. > Of Clair's work, I have also seen *It Happened Tomorrow* and *And Then There Were None*. I like both of those films. I love It Happened Tomorrow. I really enjoyed And Then There Were None. > I do believe it's my not falling for the love story as to why I didn't like the film all that much. I didn't find Boyer as alluring and Olivia is a little too sterile for me. It is true, I never felt their romance. She can be cool, but I think there's something underneath. So have you seen The Strawberry Blonde? > I thought it was okay. I like Robert Donat when he he's more like "*The 39 Steps*" and not like "Mr. Chips." He was more like the latter, here. I like Deborah Kerr as a mouse, so she played well with me. I did think the story was rather bold for its time. I like how they both fall victim and expect the other to be devastated when told the news. It ends up being a rather sweet story. He's mostly Mr. Chips in the later movies, rarely 39 steps, unfortunately. But he's very good at it. Knight Without Armour is one to see, unless you've already given it a look...I think you already did chat about it some time ago. And it has Marlene, who never fails to interest. > I do agree with the premise of the film, too. I think we create our own situations. We can do something to change our unhappiness if only we attempted to do so. But we always assume our mate is content and will not change. Again, it's about communication and expressing one's thoughts. Having said that, we all get comfortable and it sometimes takes an outside force to disrupt our routines, to save us from ourselves. I think it's kind of funny in retrospect that it took a war to jolt those two out of their stale prim lifestyle, > I actually really enjoyed Franchot Tone. He was doing all he could to win over Jean Harlow. I think it's more his film than Jean's. I also thought Patsy Kelly was fun. I guess I just expected it to be more Jean's movie. > So what don't you like about this period of British film? I thought you loved everything British! What I liked about the film is the temptation. It is always flattering for a man to have a woman or even girl want you. *Term of Trial* captures this well. You really have to have a strong commitment to push such temptation away. I still feel Graham (Laurence Olivier) crosses a line in his actions. If a teacher today did what he does, they'd really be done for. Like MissG said, those kitchen sink dramas are so belabored and depressing! It was like they (and some American playwrights and movies) had to take every bit of dirty laundry and air it out in front of us... it's just so ugly and I don't end up caring because the folks don't have any redeeming qualities. It's just sordidness paraded around in black and white like it was art. Of course, there are exceptions to the rule for me. > That's funny! I always expect everyone to hate the film. Ginger is what is off for me. She's trying too hard. I feel for her because she was stuck in that horrible time for actresses of middle age. You make a great point about Reginald Gardiner. Who knew?! I liked the film from the outset. I was loving Peggy Ann Garner. I agree with all you wrote here. > No, I haven't. What do you like about it? the 1934 Cleopatra is kitschy and pre-code which is wonderful, but there isalso a real forthright honesty about Claudette's Cleo that I love. She's very sexy, but you can see a real person there. I like that the film is on Cleo's side, totally. It's her film, and I like her. It's not just steamy love scenes. > I agree with that completely. She's trying so darn hard. And what makes her great with Fred? She feels natural. Women want to be like her and men want to be with her. Exactly! So what happened? > I've found classic film as an older guy, so my want to see anything "kiddie" in the classic world is very low. Now if I had grown up with *The Parent Trap*, maybe I would have liked it more. But it really is quite "girly." And that's good.

What a great cap from The Wild One. Lee's such a hound dog in this one. He's actually very funny.

That's so sweet! I wouldn't know if we did them or not... my parents never went to any of the football games or competitions when we played. My mom might have sent one of those, but my dad...never.

I don't think so... what's an airgram? That was me...the cello guy. only it was easier to carry

All verklempt. All verklempt again reading the lyrics.

Ro - I can hear us now in my mind's ear. It ain't pretty! I don't even have my oboe anymore. I sold it for ready cash once when I needed it. I can still remember the fingerings though. > {quote:title=FrankGrimes wrote:}{quote}*1. The Country Girl* -- I was very surprised to find myself really liking this film. I wasn't looking forward to watching it. What I loved about it was Grace Kelly and her character. She's caught in a tough spot for a wife. She's miserable because her husband is a shell of his former self due to a past tragedy, yet she still loves him. She also feels he couldn't survive without her. The film is full of torment. It's really good. I think the film is enjoyable for seeing these two actors turn their own images on their ear. Bing gets me. I'm still laughing over what MissG said about Grace crying over her wardrobe.... > *2. Rebel Without a Cause* -- I was worried this film would be about teen angst and nothing more. Well, it's about teen angst but why the teen angst comes to be is what I loved about the film. What the theme of the film ends up being is friendship. It's definitely a film ahead of its time. *The Breakfast Club* was clearly inspired by it. I mentioned The Wild One earlier, what I was trying to say was, the disappointment in ones parents is prevalent in the other film, but isn't the actual story, Do you think kids were disappointed in their parents before WWII? I mean in general, not specific cases. We came through this great war, full of hero worship, and then the next generation comes along and finds that their dads can't even stand up to their bosses or their wives. It's interesting how the modern world made sheep out of men who had previously been heroes to their kids. What happened? Was it a basic change in our economy, from field to desk jobs? I just don't know. > *3. Ryan's Daughter* -- A moody, picturesque film that deals with young love and older love and how different they can be. David Lean's favorite subject matter is once again offered up in a complex manner. Sympathies are played with. As Miss G pointed out, the film is fairly similar to *Doctor Zhivago*, with the difference being it's the woman that is tormented. I'm learning that I like David Lean and his torment. Again with the torment! Now I know what to look for in movies you might like. If you are like me, you enjoy the kind of blooming Lean's characters experience, as they come out of their closets.... metaphysically speaking. The inner comes out. > *4. Le Notti Bianche* -- Yet another tormented film. This is probably the most tormented of the group. A woman is promised by her lover that he'll return for her in a year's time. So every night, she waits for him on a bridge. One day, she meets another man who is very taken with her. As the two spend time together, she starts to fall for him, as well. So does she choose the man she has come to know and spend time with or does she stay loyal to the man who is not around and may never show? It's a very simple film, but the look and feel of the film is just wonderful. This sounds so good! We as movie fans must certainly understand these feelings... go for the real, or the imaginary? My favorite Woody Allen film The Purple Rose of Cairo deals with just this dilemma. I think you'd like it. > *5. Le Plaisir* -- If you ever wanted to see how genius Max Ophuls is with the camera, you need to see this film. It's remarkable. The film features three separate stories with the connective theme being "pleasure." The first and third stories are rather short; maybe fifteen minutes long. The middle story is three times as long. I preferred the shorter stories, but the middle one best exemplifies the film's theme. I'd say Jackie is someone who will appreciate the film more than most. I've got it! Now to watch it, if the copy actually works... I'm getting paranoid about this movie... > *6. The Baron of Arizona* -- Jackie was right about this film: it's pretty darn good. What really helps the film is that the very end is the best part. It's lovely. The film is about a scoundrel, played by Vincent Price, who lies his way to a court battle with the United States over the owernship of Arizona. Price is terrific. It's one of his better performances. The ending really does makes the film. A true love story. I think this is one of Price's best from that time. The thing that's amazing is its a true story. > *7. Desperate Journey* -- Yet another excellent suggestion by Jackie! In terms of classic film, this is one of the most exciting films I have watched. It feels very contemporary in terms of its pacing. It's such a fun ride. Everything worked for me. There's great humor, great action, and great suspense. Even Ronald Reagan is great! I can see how Jackie would really like this one. I just love Raoul Walsh for all the reasons you mentioned. There is no one who can have as much jaunty fun making a movie as Walsh. The men are such a good fit together, and of course you've got Flynn and Hale again, the perfect combo. You are right, even Reagan is loose and comfortable looking here. Walsh = pure adventure. > *8. My Favorite Brunette* -- I'd say this is Bob Hope's "*The Maltese Falcon*." Bob is pretty funny as the private eye, but what really adds to the fun with this film is the supporting cast. Peter Lorre and Lon Chaney, Jr. help to boost the humor and the danger. I haven't seen it for years but I always thought this was Hope's best movie, now I'd say this one and Lemon Drop Kid. > *9. The Unsuspected* -- An off-center mystery that perfectly suits someone like Claude Rains. It feels a little like *Laura*, and I'm sure that was the aim, too. There's a group of strange characters that adds a lot of depth to the picture. That reminded me of *Lured*. The film can be called film noir, but it also plays like a horror. It's a good watch. It's not as complex as some other noirs, but it looks great and the acting is good. I really get the Lured connection. To me it's like the Columbo (Peter Falk) prototype. > *11. Reap the Wild Wind* -- John Wayne is wrong? You gotta be kidding me?! Amazing! I've never seen Duke be more selfish than in this film. It was such an interesting switch. The film is a pretty entertaining watch. Ray Milland is quite good in a role I couldn't picture him in. I really like this one, even though it's all over the place. Maybe that's why I like it! It goes everywhere, is every type of movie you could want. It's part drama, part adventure, part GWTW, part screwball. What's not to like? > *13. Bullets or Ballots --* Eddie G. vs. Bogie? Sign me up! Bogie is just seething in this picture. He really adds the fire and spice. Robinson is the cop who's gone bad who ends up taking Bogie's spot in the crime syndicate. Good luck with that! I haven't seen it in years but I remember just loving this one. I have to rewatch to chat about it. > *14. The Prisoner of Zenda (1937)* -- This one took a while to warm up, but the ending is pretty good. What makes the film for me is Douglas Fairbanks, Jr.. He brings such great energy to the film. An energy that Ronald Colman doesn't really bring until the end. I also love Raymond Massey as a villain. I had never seen that much of Massey until this group. He played great villains in two of the films. This is another one of those films like Robin Hood that just makes me happy.The story was a chestnut when it was made, already old fashioned, but Colman has such a light touch here, he doesn't take any of it seriously. I love watching him as the drunkard king... it's so different from his usual roles and it's exciting to me to see him as a scoundrel. And he and Maddie are divine together, their teasing at first and then the realization that they love one another but it can never work out.... I am a sucker for nobility. And you are absolutely right, Doug, jr. is great. He is marvelously slimy and you can't take your eyes off of him. Every person pulls their weight in the cast, right down to little Byron Foulger as the informant who gets killed opening the gate. Of course, I am a fan of ANY movie that has more than one villain, Massey is cold, mean and stunted, and Doug, jr is simply a psycho! Again, what's not to love? It gets me every time. > *16. The Flame of New Orleans* -- A light comedy starring Marlene Dietrich. It's not the greatest, but I found it enjoyable. It actually has a "Pride and Prejudice" feel to it. Marlene plays a woman being courted by the rich Roland Young and the sailor she's attracted to, Bruce Cabot. Mischa Auer plays a pretty important role in the film. I also liked Theresa Harris. I tend to like the light of Rene Clair. I had no idea it was a Rene Clair movie! I've got to see it pronto! He's a favorite, I even like I Married a Witch, which to me is his weakest movie. If that's the weakest, then he's doing really well. Have you seen any other Rene movies? My favorite is Le Million. > *18. Hold Back the Dawn* -- I think my expectations for this film may have been too high. It fell short for me. I usually love Charles Boyer but I didn't like him much, here. I loved Paulette Goddard. I've seen a lot of her, of late. Funny, I hadn't seen her at all until this past year. I wonder if you don't initially buy the love story? If you dislike Boyer so much at the beginning that you can't feel a sense of redemption at the end, then it won't work for you. I just think his changeover is great. So romantic. I know you are having trouble with Olivia... have you seen The Strawberry Blonde yet? Speaking of marriage movies? > *19. Vacation from Marriage* -- This film reminded me of a less-exotic version of Hitchock's *Rich and Strange*. A married couple stuck in a boring routine both enlist in the army and end up finding a life of excitement, which includes new mates. Will they stay together in the end? Yes but what did you think of it? I did not know where this one was going to go... I had no idea what it was about when I watched so I was at first taken aback by the way they reacted to their separation, then I thought it was brilliant, and I loved the way it all worked out. It's not a perfect movie, but it enjoyable and a bit modern, shocking to me from a 1940's film. > *20. The Girl from Missouri* -- I think every time I watch a 30s film of late, Franchot Tone is there waiting for me. He's everywhere! Like usual, he's a likable chap in this one. He's set his sights on Jean Harlow and he pushes hard to get her. Lionel Barrymore is Franchot's powerful father who doesn't approve of the poorly-bred Jean. It's mostly fluff. This one is a disappointment. Doesn't really present the good side of any of the actors. > *22. The Killer Is Loose* -- A film that is somewhat similar to *Cape Fear*, just nowhere near as good. It's a taut picture with some good tension and a strange ending. There's some shocking violence to be found, too. My problem was how it all ends. I thought it was a stretch and a bit silly. Budd Boetticher sure did know how to make some quality films in a short amount of screen time. Does this one have Joseph Calleia in it? I thought I recognized the title but I have never seen it. > *23. Journey Into Fear* -- I was mostly disappointed with this offering by the Mercury Theater crew. I kept wanting to really like it. It has the elements that I enjoy. There's a ship full of strange passengers and trouble is afoot. Distrust and danger is everywhere. That's perfect. But the pay-offs on the ship weren't that good. Once the ship hits land, more chicanery takes place. But, again, it just doesn't come off well. I would like to see this one, the bits I've seen are gorgeous looking, and that goes a long way for me. > *25. Merrily We Go to Hell* -- I probably ranked this film a little too low. It's not that bad. It's an early film about alcoholism. Writer Fredric March wins the heart of Sylvia Sidney and then promptly drowns himself in his newfound fame and booze. The dramatic twist at the end is what lowered the film for me. Sylvia Sidney is really good in this one. Cary Grant has a small part. He's a player, of course. This is a film everyone has mentioned and yet I've still never seen it. It's high on my list. > *26. Term of Trial* -- Pretty much a remake of *Personal Affair* (1953), which stars Gene Tierney. I greatly prefer that film, as well. Laurence Olivier is a meek professor who is being pursued by one of his students (Sarah Miles), who has a crazy crush on him. Olivier comes close to crossing the line but survives. Or does he? Simone Signoret plays Olivier's wife. Does anyone play worn out better? Her relationship with Olivier is pretty interesting. I started to watch because of Simone, who is greatin everything I've ever seen her in. I usually don't care for British films of this time period or type. I really liked it, but simply because of Olivier and Signoret's twisted relationship. Their acting is impeccable. Loved the ending. > *27. Black Widow* -- *All About Eve* as a murder mystery. I liked the crime and some of the performances, namely George Raft, Van Heflin, and Gene Tierney. What I didn't like was the ending and Ginger Rogers. It ends up being "too much." I like it! It's phony and ridiculous. So much fun to make fun of. And when else are you going to see Reginald Gardiner get such a plum of a role? Ginger is a bit off. > *28. The Greatest Show on Earth* -- I was expecting to really dislike this film, but I didn't. When the film focused on the people and their relationships, it worked for me. The circus stuff was interesting but it just wore me out after a while. I thought James Stewart was superb. That was a great surprise to me. A really interesting role for him. One of his most interesting, actually. I loved Gloria Grahame, of course. Charlton Heston, Betty Hutton, and Cornel Wilde form a triangle and they all do quite well in their roles. It's just I'm not crazy about them. I totally agree, and I went in with the same thought, that I would hate it. It's one of De Mille's best. Jimmy is just great. Period. Have you seen De Mille's Cleopatra? With Claudette Colbert? That's another of my favorites. It's got all that De Mille crap in it, but it works. > *29. Assault on a Queen* -- A submarine is going to pull over a cruise liner and then rob it? Talk about far-fetched! I can't believe this was a Rod Serling script! It felt like film was attempting to mix *Ocean's Eleven* with *To Have and Have Not*. It didn't work for me. It seemed like the film took forever to get to the heist and then that was over in ten minutes. I thought Frank Sinatra was mostly muted in the film, too. I'm really surprised this one didn't rate higher. I thought it was very interesting. I loved Errol John and Frankie in this one. And Virna is a knockout who can act. > *30. Boomerang!* -- A rather dry courtroom flick with Dana Andrews, representing the state, helping the defense free a wrongly-accused man (Arthur Kennedy). There is an interesing outcome to the film. One that gets around the Code. I never really liked this one, though it has good moments. Sam Levene is a great favorite of mine. > *31. Perfect Strangers* -- From the courtroom to the jury room. I wanted to like this film, but it just didn't come through for me. A budding romance between sequestered jurors Ginger Rogers and Dennis Morgan is the focus of our story. One problem: both are married. The twist? The case is of a man who murdered his wife. The set-up is great, but the execution isn't. It plays much too light. Ack! This is not for me. I don't generally like late Ginger. She always seems to me to be trying to be something more than she is and it bugs me. > *32. The Parent Trap* -- If only Maureen O'Hara and Brian Keith were the focus. They aren't. They don't spend nearly enough time together on screen. The film is mostly about Haley Mills. That proved to be too much for me. Draining. It's fun! > *35. The Story of Vernon and Irene Castle* -- Is this really a Fred & Ginger film? It sure didn't feel like one. I thought this one was mostly uninspiring, as well. But I'm not crazy about bio-pics, as a rule.

> {quote:title=movieman1957 wrote:}{quote}THe Bride and I recently saw "Rebel Without A Cause" on the big screen. You are correct that it is about teen angst and friendship but it is even more than that. I'd say relationships. > > Part of the angst comes from the main characters relationships with their parents. Dean wants his father to be a father and that means a man. He doesn't see that in him. Wood's father still wants that little girl/ daddy relationship with her father. He is clearly uncomfortable with that now that she is closer to woman the girl, physically at least. Poor Sal Mineo doesnn't have a relationship with either parent. He only has one with the housekeeper. > > These things may help drive them to each other. After the awkwardness of getting to know each other they find comfort with each other. I think Dean is willing to take a chance on Mineo's friendship. It helps but it only goes so far. > > There have probably been lots of copy cat films since but it is worth remembering this may have been the first like it. I don't quite remember where "The Blackboard Jungle" falls in with it but that is more about Glenn Ford than the kids. That's really interesting, Chris, because I was watching The Wild One yesterday afternoon, and was thinking how similar it is to Rebel. The daughter wants something better than her life in a small town. She knows her father the sheriff is not all that strong, he tries to be fair but ends up caving to the local businessmen who are all jerks but he has to keep his job. I see the seeds of Rebel in the movie, just as in so many post war movies... there are actually a few that were about 'being a man'... not just macho stuff, but like The Hucksters, where Gable has to decide whether to become a corrupted talking head, or to stand up for what he actually really believes in. There's also Gregory Peck's Man in the grey Flannel Suit. But none of the stories was told from the p.o.v. of the kids, and as such it's a really scathing indictment of 50's parents who just grabbed for the good life without really thinking about what was honest and real. Going with the flow or keeping the peace at any cost can actually corrupt you, and the upshot is your kids don't respect you. Look at Best Years of Our Lives... Fredric March gives that speech at the bankers meeting, and how proud is Myrna... that's what we want from our husbands and dads, but look how far we've come when we get to Rebel and Ryan's Daughter... dads are weak and deluded like everyone else, even when they are posing as the real deal. Edited by: JackFavell on Apr 4, 2013 10:46 AM Edited by: JackFavell on Apr 4, 2013 10:47 AM Edited by: JackFavell on Apr 4, 2013 10:50 AM

My computer crashed again last night. I don't know how long I can chat with this problem. > Something didn't connect with me. I'm not sure what it was. Maybe it was Charles Boyer's character. Maybe it was how he was with Olivia. Maybe it was the setting. I'm not sure. All I really went for was Paulette. I think, like many of the films you described here, the film's execution is a bit lacking. It's why Billy Wilder started directing his own films. That being said, I just love this movie! You are right, it starts out as cold as can be, but as Boyer starts to change, I find it irresistible. And Olivia is such a good actress.... do you know how hard it is to play the good one? That takes real talent. Her reactions are so sincere. I agree about Paulette, she's a pistol, as usual, but there's a real bite to her here. And there's a not so nice background, very seedy, as MissG said. It's the more cynical Wilder coming out. I think if Wilder had directed, you might have liked the movie more. I love the whole vacation sequence, and Boyer can pull off anything and make you believe. I think the main problem with the film is the direction... you see the strings being pulled, but baby, I don't care! > All right! Such persistence! *Le Plaisir* is one of the most visually interesting films I have seen of late. I think you'll love that about it. Of the three stories, I liked the first story the most. I think the film does a very good job of stirring one's mind and senses. Have you seen *Le Notti Bianche* ? I hadn't even heard of it until you mentioned it. I'll try to give it a try, if I can get a hold of it. > The reason I liked Sarah and why I'd prefer her to Julie is because I saw her as more of a child. I think of Julie as being a childish woman, but still a woman. What's interesting with me is that I just had watched *Term of Trial*, another film where Sarah gets an older crush in trouble. I really liked that movie. I agree, Sarah is more simple, childlike. That's a great description. She's grown in body but not in heart. At least until the end of the movie. I used to love Sarah when I was a kid, I thought she was very pretty, I used to watch THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES when it was on TV. > My poor Bee Gees! No! Now I see that they were pretty good at that time. I just rebelled against the songs I heard over and over and over. I wasn't a big disco fan. > He's just wonderful in the film. He understands it all and he looks to apply his understanding with great humanity. My favorite scene with him is when he went after Charles, to make sure he was all right. That was a great scene. Very quiet. Howard has a sixth sense about things, just like Michael. He knows when something is in the air. I don't think they make religious men like that anymore, or at least not often. He never judged or came down with pronouncements, he knew that Rosy was human, and was only trying to help her understand how dangerous it was for her to follow her instincts. > He's a tough one for me to read. He's so very weak. He just blows in the wind. Whatever the crowd is for, he's for. If he's cornered by someone, he'll give in to them. I had a hard time liking him for those reasons. But, you're right, his weakness makes him quite human. But your noir characters are all like this! You know I like to peek around the corner at the folks less looked at. It didn't really surprise me that he was the informant... Lean set it up perfectly with the photograph of him and the IRA hero shaking hands. What really blew my mind was his reaction to his daughter's possible fate, I mean they could have stoned or raped her, not just cut off her hair and paraded her naked around the town. And yet, he could not bring himself to tell. To me, that was the most interesting part of the story. It's epic, it's Shakespearean, it's tragic. > Now that's superb. I did not make the connection between Michael (John Mills) and the townsfolk. His looking to destroy life is from an innocent ignorance. He had an excuse. The townsfolk did not. Their cruelty was a guilty ignorance. They attacked everything, for they were a miserable lot. You put that so well, 'guilty ignorance'. This is something I've never understood about human nature. The need to tear down what you don't understand so you can feel better than. > I felt that Doryan (Christopher Jones) was purely using Michael. Michael was someone with information, and that's what Doryan was seeking the most. Michael just wanted a friend, so he had no idea what he was helping Doryan do. The strong taking advantage of the weak. In a way, it's another form of cruelty. I would agree with that, except I'm not sure he was simply using Michael. It fell in his lap and he didn't have much choice. I think Doryan was as trapped in his role as any of the others in the movie. Yes, ultimately he was a user. And this is where I really am not sure about Christopher Jones as an actor... did Lean WANT a cipher? Someone who could not be read? Or would another actor have shown us Doryan's problems better? I just don't quite know what to make of the character, and I think it's the actor who is blank, perhaps not Lean's choice. He's kind of Lawrence of Arabia....you never really know where he falls as he straddles the fence. > Rosy (Sarah Miles) helps Doryan feel like a whole man again. She brings him back to life. He does the same for her. He desires her, sexually. But is he committed to her or his duty? And does that matter to Rosy? I think he's committed to his duty, to his life back home, which is not all that wonderful. But he is also trapped by it. I think Rosy sees his weakness, his humanity under it all, or at least she thinks she sees it. I think at first she would liked to have run off with him, but by the end I don't think she cared at all about whether he had other commitments. She understood him. They simply needed one another. Just the same, she understood her father and his weakness.

I think it was interesting that Charles was the one who instilled, or at least understood the wish for a better life in Rosy, he taught her to dream, or that it was OK to dream, then withdrew, and kind of stifled her need to get into the world. I loved what you and Frank had to say about those who are comfortable, and those who are artistic, or imaginative, restless. And Rosy was mirrored by the little girl in his class, the one who followed him to the cave on the beach and hung on his every word. As for Howard, I totally see what you say, it's a continual sense of frustration with him. Edited by: JackFavell on Apr 3, 2013 8:49 PM

Oh my gosh, look at those two smooth faced young'uns! Sounds good, I've never even heard of it! I meant to mention *Another Language* after your post, Goddess... it's actually my favorite Helen Hayes movie and a great choice for Frank. I really like the film a lot, it isn't great, but you can still learn from it in this day and age. When Margaret Hamilton is the most sympathetic family member, you KNOW it's rough going! > That's wonderfully said, Jackie and now I know I have to see the movie again because I remember almost nothing about McKern's character. I didn't remember him at all either. It's funny how when you come back to a movie different things hit you. Especially if you never really saw the whole thing to begin with. > Good point. It can seem derivative of many literary and film predecessors. I didn't mind it, it certainly didn't interfere with my enjoyment of it, but it just didn't quite do it for me. I can't say why. I liked Sarah Miles quite a bit, I don't think she did anything wrong, but I kept imagining the depth Julie Christie might have lent to the role. Miles is good, but Christie would have given added gravitas, or something, made it a more universal story, or more complex perhaps. >That was the most wrenching scene for me to watch, with the lobster. But I didn't get as much out of it at the time. I love your analogy and I bet that is exactly what was intended. There is a lot of irony and who knows how hard Howard must have tried to teach and influence his people to know these things ("How many times do I have to tell you?"). It happened so fast, I was lucky. I turned my head for just a moment right before so all I heard was the sound, and then saw him holding up the lobster. Howard was always rushing in trying to bash them over the head with whatever they were too dopey to understand. The town was more foolish than the fool. >Brilliant! I thought of him in a more general sense but I see what you're saying, how he literally shadows Doryan (from what I remember). He does. At first he mimics him, because he is jealous and thinks Rosy will like him if he's just like Doryan, but this makes the townspeople laugh at him even more. Then he starts to follow Doryan and Rosy, then finally, just Doryan, I think because Doryan doesn't make fun of him...and also because he senses something about Doryan... again he's able to sense things that no one else there can...but he can't really understand what he is sensing. >And that is exactly how I remember seeing his character. He's really got all intellectual gifts and pretenses stripped from him so he lives by nature, is guided by his intuition and heart. And about as helpless as that little lobster. That's the word, intuition. >I'm so glad you gave the movie a chance, it's worth having seen even if it is not a movie to warm oneself against. Ultimately it's a cold movie, yes, but I found it rewarding. I love those kind of settings, but man, the people were awful. I'm not sure if I thought Christopher Jones was good or bad, as Doryan. He seemed lifeless, and yet, that's exactly what was called for in the end. And I think you are right, Lean's version of Ireland is pretty cold and thin. But it did make me want to paint all my window sills yellow, like in Charles' little cottage! It was sweet! and the wild areas away from town were so beautiful. Sometimes we don't know it when we have everything we could want right at home. I'd love to know Frank's thoughts on HBTD. I've been trying to see Le Plaisir for two or three weeks. My disc I recorded wouldn't play, Netflix stopped streaming it, The other site I was going to watch it at didn't work, and I finally got the disc from Netflx yesterday and it was cracked right down the middle. I should get a replacement disc on Thursday. If it works....

I think the only thing wrong with Tell it To the Marines is that Lon is actually very handsome in it, but he's playing this lug who thinks he's ugly. I'd go for him in a heartbeat. He was a tremendously handsome fellow with the sensitivity of the finest artist. It's such a rare combination. I adore him too. _THE_ MOST expressive actor ever.

Hi metsie! Long time no see! Love the Lon Chaney pics. Jeff, how long has the Dark Angel been lost? I swear that I read of people seeing it after the silent era....

WOW! Is that all from RYan's Daughter? What an artist Lean is! seeing it put to totally different music you can really see how observant of nature he is. Spectacularly so! I mean, people have seen clouds and hillsides for years, but no one captured the way the wind moves the clouds across the sky, reflected in the shadows on those hills... before Lean. Well, maybe Jack Cardiff and Michael Powell. Frank...Match Game was so loose it was almost scandalous! Very witty as well. I used to love the banter and Gene Rayburn. They always seemed like they just came from a party and were continuing it for the TV audience. So Joker's Wild and Tic Tac Dough? You must be a gambler at heart! >I've never had lamb, so I have no idea what it tastes like. I'm guessing pork. Lamb doesn't taste like any other meat. But it's similar to pork in structure and texture. It can be gamey, which is why I prefer a leg to any other of the portions... it's a little milder. >I'm never tried asparagus, either. I'm pretty sure I wouldn't like it. No, really? Do you like 1970's commercials? "Try it, you'll like it." I'm sorry, my computer keeps crashing, so I am going to turn it off again for the night and try to get it working better tomorrow morning. It's been wonderful talking tonight! I've missed you all. Take care and hope to see you tomorrow.

Now I'm excited to see it! I love those types of actors, maybe not the leads, but the ones who give the flavor... especially if they are touching in some way, or ground the picture. You know me so well....

> {quote:title=FrankGrimes wrote:} > Fantastic! It's such a beautiful-looking film, yet the feel of the film is so cold. It's also a fairly quiet film, making it very moody. I've had it for almost a week now, just couldn't get to it. I'm very much looking forward to it. I've only seen parts of it, but it looks like my cup of tea. > No guests? What did you make? Are there any kids in your family for your daughter to play with? Don't freak out. I made.... I'm afraid I'll get flack for mentioning it... I cooked.... your little lambykins for dinner. My MIL and my dad both like lamb, and my dad actually bought the leg of lamb since I literally can't afford it. It was in two pieces, so I did one with a redcurrant rosemary glaze and the other with lemon, garlic and oregano. Yummy. then just potatoes and asparagus (again don't freak out.. asparagus is very good!) some garlic bread and olive salad. We don't have a huge family, or at least near enough to visit for holidays. So no, Alice didn't have any little cousins to play with. But Omi, that's Andrew's mom, brought her an Easter basket with some little cardboard airplanes in it so the airplanes ended up being the big hit of the afternoon... she and Andrew were flying them all over the living room. > I didn't know that! You're definitely on the artistic side, so this doesn't surprise me. Were you encouraged to play or did you choose to do so on your own? My dad had suggested an instrument that no one else played, so I picked the oboe. It really can be a very pretty instrument, when played right. I was never particularly good at it, but I didn't try very hard either. I had a natural talent for music, but I never went very far with it. Too lazy. > Oh, I fave a fondness for 70s game shows, so that kind of music plays all right with me. What's your favorite? I liked Match Game and Password.

Wow you go all over the place in your musical likes from that era! My favorite Little River Band song this makes perfect sense, I actually was born in the sign of water and it's an escape song, for this little red Buick... Edited by: JackFavell on Mar 31, 2013 8:16 PM

OMG! WHERE did you go to school? Are you SURE it wasn't in Kankakee, Illinois, sis? We played those too! I always liked TSOP. And we also played the theme from Hogan's Heroes. To this day, I remember the high woodwind counter melody and sing along when I see an episode. Yeah. I'm STILL a band geek. MORE LUCKY SPOILERS: As for Mr. Lucky, I usually start to cry when he gets shot. Then during - >"You don't belong with a grifter like me. You just got some mud on your dress, that's all. Give it time, let it dry. It'll brush off." I cry real hard. And as he sails away, well..... Then at the end, when Charles Bickford and the guy are talking and you see Laraine Day behind them I cry more, and then when the guy takes out the coin, I really am bawling like a baby.... it's not pretty my friend. This movie really gets to me on every level, and you really would not want to see it with me. I won't even watch if I know Andrew or Alice are going to be in the same room with me! They already make fun of my waterworks.

Beautiful! Happy Easter everyone!

Hahahhahahha! The chocolate bunnies cracked me up!

> {quote:title=lzcutter wrote:}{quote} > > > > > > > > > > HAPPY EASTER, RAMBLERS!!!!! > Amazing how sinister they look now....