LonesomePolecat

Mr Eichelburger

Kind Hearts and Coronets (1949)

10--Rosalind Russell also played Ruth Sherwood in the Broadway musical version of MY SISTER EILEEN called WONDERFUL TOWN with songs by Leonard Bernstein and Comden & Green. She reprised the role again in a TV version of that stage musical. WONDERFUL TOWN won the Tony for Best Musical of 1953 and Rosalind Russell won Best Actress in a Musical. Next movie, since 'tis the season: *MIRACLE ON 34TH STREET* (1947)

Streetcar Named Desire?

Those are excellent pairs. There are a bunch of great pairs we don't hear about. The one that I thought of first was this: Claudette Colbert & Don Ameche had lots of chemistry in MIDNIGHT But of course are we only talking about romatic pairs? Because here are two great unsung screen pairings of guys who should have made more movies together: Cary Grant & Jimmy Stewart are so great together in PHILADELPHIA STORY Danny Kaye & Bing Crosby were a brilliantly funny pair in WHITE CHRISTMAS

> {quote:title=Trix_of_the_Flix wrote:}{quote} > "Kind Hearts And Coronets" (1949) is a fave dark-comedy by Ealing Studios. > THis is absolutely one of my favorites of all time. I highly recommend this to anyone who gets British humor (which I love). It is so brilliant. Not only is it hilarious, but one of my favorite actors of all time (Alec Guinness) gets to show off his genius by playing 8 different characters. Here's one of my favorite quotes from the lead character played by Dennis Price (and this is from memory so sorry if it's not 100% word perfect): "It is so difficult to make a neat job of killing people with whom one is not on friendly terms."

Wow, I forgot about Eleanor. Thanks for that, misswonderly! (Mostly, thanks for getting my joke)

I loved Lincoln. Great cast--of course Lewis was great as Lincoln, but to me Tommy Lee Jones stole the movie. Dad noticed that his character resembled the way his character looked in BIRTH OF A NATION -- intentional?

What are everyone's traditions? Every Thanksgiving we watch the Macy's parade (mainly the Broadway shows at the beginning), make food, eat it, then watch MIRACLE ON 34TH STREET (because it begins with Thanksgiving).

Never even heard of that one. That does sound interesting.

I don't know if it's been mentioned, but either LA GLOIRE DE MON PERE or LE CHATEAU DE MA MERE is set partly at Christmas time. I forget which one since they're both basically parts 1 and 2 of the same movie. And both movies are amazing.

*FUN WITH DICK AND JANE* See Dick. See Dick sing with pretty girls. Dick has a nice voice. Sing, Dick, Sing! See Jane. See Jane sing and dance. Jane is a triple threat. Dance, Jane, Dance! See Dick. See Jane. Dick and Jane have the same last name. Dick and Jane are not related. "Related" is a big word. Do you know "related"? You are smart. See Wiliam. William has the same last name. William is not related to Dick and Jane. William is smooth. William is handsome. William is funny. Funny, funny William.

> {quote:title=dpompper wrote:}{quote} > <Two not-so-great films that have great endings are LOVE IN THE AFTERNOON and BREAKFAST AT TIFFANY'S.> > > Why? Because they end? > > > If so, I agree. > I have to say that the end of LOVE IN THE AFTERNOON is really satisfying.

Another ending I love is STRANGERS ON A TRAIN when another stranger says, "Pardon me, aren't you Guy Haines?" and Guy almost speaks to him out of habit, then thinks twice, and leaves. So brilliant because, seriously, who will ever talk to a stranger on a train ever again after that?

Chill Wills was in THE HARVEY GIRLS with Cyd Charisse

I for one need a bit more of a hint on "nazis" and "more nazis" because 1 out of every 4 movies has nazis

Oliver Oxley - Charles Coburn in MONKEY BUSINESS (1952)

I get fuzzy on what is "noir" vs just "suspense" or "mystery", so sorry if these aren't technically "noir": LURED (with Lucille Ball) LAURA (with Gene Tierney) DOUBLE INDEMNITY (with Barbara Stanwyck) LADY FROM SHANGHAI (with Rita Hayworth)

I agree with you SansFin. If we obsessed over people's personal lives or their past we probably wouldn't watch too many movies at all. Like Chaplin films--they'd go right out the window. I am the same way about films as a whole--I don't care what you meant to say with a certain movie, I care what message actually came across (i.e. lots of films are WWII propaganda like YANKEE DOODLE DANDY, but that message doesn't come through in 2012 when there aren't War Bonds to buy). Now some people whose actions you dislike might push an agenda by making movies you disagree with. But to me that doesn't mean I should dismiss their entire filmography (i.e. Reifenstahl's OLYMPIA is amazing, and despite what the intention was, all that comes across to me is the glory of the Olympics in general--but I'm not about to watch Reifenstahl's hard anti-Jewish Nazi propaganda films). So it seems like you have to take it a film at a time. And definitely don't obsess over their personal life unless you see them pushing an agenda you don't like in a particular film.

> {quote:title=AndyM108 wrote:}{quote} > > The ending of 42nd Street, with Warner Baxter listening to the exiting playgoers tell each other how he just lucked into a perfect script. > I didn't even think of this one, but you're right. This is so brilliant and so real. As a theater person I've been in that position where I worked and worked and worked to make a show good or to get anything decent out of a performer, then at the end people talk like "well it's just a good show" or "well that performer is just talented" as if I did nothing. But that's really the goal--making it all look easy. So I agree that 42ND STREET ends just right, and to just show the director hearing the remarks and saying/doing nothing is perfect too. Thanks for reminding me of that one.

Was this film worth seeing to someone like me who hates every Bond film NOT starring Sean Connery? See, to me, after the originals, they're all lame. That's why I hesitate to see this one. Thoughts?

> {quote:title=Sepiatone wrote:}{quote} > You know you're a film geek when... > > ...you know all the obscure character actors by name. > Wow, that is my family right there. We watch movies and shout, "Yay, Mildred Natwick is in this!" or "Ok, there's Charles Lane, that means it's a real movie." But it's sad when we know these character actors really well. For example we were watching SGT YORK (for Veteran's Day--more geekiness) and this was spoken in our house: "Wow, Gary Cooper must be tall because I know Ward Bond is 6'4" and he's almost as tall as him." What a geeky thing to say. But that's pretty normal around these parts. I thought of a few myself which all apply to me: You know you're a film geek when... ...you specify which version of BEN-HUR you were watching the other day, and know the differences between them ...you know who Mitchell Leisen is and which movies he's done ...you insist there is a big difference between Billy Wilder's films that he directed and wrote versus the ones he merely wrote ...you scoff at people who say ROMAN HOLIDAY was Audrey Hepburn's film debut because, hello people, she had a bit part in THE LAVENDER HILL MOB ...you know what won best song for the year 1944 ...you know who was married to who during what movie ...you have these soundtracks on your ipod right now: BREAKFAST AT TIFFANY'S, TO KILL A MOCKINGBIRD, VERTIGO, and THE GREAT RACE (to name a few) ...you remember what year a movie came out because you know what it beat or lost to at the Oscars

> {quote:title=JonasEB wrote:}{quote}City Lights seems far and away the clear cut choice. One can't comprehend how powerful the ending to that film is until it's there right in front of them. Never fails to move. > Glad someone mentioned *CITY LIGHTS* --the best I can think of, so at least one of the best ever. And it's so simple. And perfect. "You can see." "Yes, I can see." Amazing. What brought this thread on is that I just watched one of my favorite endings of all time, *POLTERGEIST* when they wander into a hotel room like refugees then in the very last frame, Craig T Nelson shoves the TV outside. So brilliant and perfect. Another great ending to me is *MONSTERS INC* because the way it's done is so perfect and simple, and it could be so cheezy. Mike puts the door back together, then it's just that simple shot of Sulley looking left, then right, then Boo says, "Kitty!" And Sully smiles. Love it.

Jasper-- voice of J Pat O'Malley in 101 DALMATIANS

Which movie has the greatest ending of all time? And when I say ending, I mean the actual last frames of the film (i.e. Han and Luke's medal ceremony), not necesarrily the climax of the plot (i.e. when Luke destroys the death star)