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About NatchuraLee

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  1. I love Veronica, really I do, so don't slug me with a blackjack for suggesting that she has too little to do here. The story has her popping up so neatly in all the right places, you have to believe that Marshall and Chandler thought that the audience would be distracted enough just by having her in all those scenes not to notice. The story could pretty much have been told without her and I think she was filmed much better in ?This Gun for Hire". But can anyone tell me what was with that scene at the flophouse with the two rip-off artists about?
  2. Well, I finally sat down and watched this. I think it's pretty much agreed on this this is a seriously flawed movie. So let's begin there. First, pardon the sacrilege, but Welles erred in directing, producing and starring at once. Couldn't even his wife -Rita herself - have told him just how bad his Irish accent was? Now, we all agree that Welles' original version of this movie must have been better because this movie is so fractured. Who can imagine what the "Chinese theatre" scene would have been with the additional exposition Orson must have had in mind? OK, so how come I am nevertheless e
  3. Head's up!!! Tonight on TCM: _Citizen Kane_ followed by _The Lady from Shanghai_.
  4. You're right, this is not "Laura" by any means. But what makes this a Preminger movie are his long lasting shots without cuts. I think it was one of the big-time noir aficionados like Alain Silver who said that the producers threw Gene Tierney's character into the story just to help the box office draw and her character isn't even in the book.
  5. Miss Golightly, Thanks! I will be back to you after I get to watch it.
  6. I have tried Netflix and my extensive cooperative library system but can't seem to lay my hands on _Stranger on the Third Floor_, which is usually regarded as the first (American) film noir. You all know that it has Peter Lorre but I am also eager to see the early art direction of Van Nest Polgase, who it turns out did more than 300 movies, including a little film called _Citizen Kane_. Suggestions?
  7. FrankG, you are such a romantic! C'mon, tear yourself away from Joan Bennett and Margaret Lindsay for just one night and take a fresh look at *_Out of the Past_*. Jane Greer is beautiful; her character Kathy is the ultimate femme fatale, totally yet believably deceitful and self-serving. When she walks into the Mexican bar, she pulls off a Barbara Stanwyck entrance and she doesn't need a towel - the rest of us do. And listen to this: Kathy: ?I don?t want to die.? Jeff: ?Neither do I, baby. But if I have to, I?m gonna die last.? Makes my glasses fog!
  8. I like Karlson's direction. But _*KCC*_ doesn?t qualify as a noir for me. It?s a crime drama with a lot of smacking around (- the right amount? I can't say.). The photography is not bad but it isn't brilliant either. The actual robbery could have been portrayed with more drama. I give it two stars because it leaves you guessing about who?s going to get killed, but in the end, the holes in the story are deeper than the bullets in [name withheld to avoid spoiler]?s body in Tijuana.
  9. Hi guys. I missed the great (and recurrent) _Scarlett Street_ vs. _Woman in the Window_ debate last week but that's not going to stop me from chiming in. Do you know a four-letter word for "keeps my interest"? It's P L O T. I just never bought the Eddie Robinson naivete in Scarlett Street. I do however have to applaud Cinemaven who really picks up on how sensational Margaret Lindsay is in this - who couldn't love a gal who's been around the block a couple of times yet still laughs at the irony of expecting to find Mr. Right? But in WitW , Ms. Joan Bennett is fantastic and I fall under her s
  10. I have to say that I did not enjoy this movie very much. On the plus side, the narrator has just the right baritone for a film this awash in righteous patriotism. But this is more about the technical and investigative skills of the FBI and its crusading brilliant methods vs. the sinister and diabolical Nazi agents. There are few thrills and turns. Not anywhere near my top 50.
  11. RickSpade & FrankGrimes and the rest of us who have this wonderfully bizarre fascination. First, thanks, Frank, for your generous welcome and the head?s up on *The Verdict*. And Rick, thanks for coming forth and putting up your Faves list. I would like to urge you to consider adding *Roadhouse* (1948), The dialogue is smart and the plot actually works. Lupino and Widmark are incredibly vibrant. (Not to knock Cornel Wilde but he just doesn?t generate the same on-screen intensity.) Instead of the mystery man who arrives and creates havoc, here it is Lupino who comes to town and sets the tw
  12. Does anyone know where I can get a DVD of Don Siegel's 1946 The Verdict? (not to be confused with the 1980's Paul Newman film).
  13. Does anyone know where I can get a DVD of Don Siegel's 1946 The Verdict? (not to be confused with the 1980's Paul Newman film).
  14. I want to chime in on an old discussion debating *"The Woman in the Window"* vs. *"Scarlet Street"*. I have a minority opinion here: I think "WITW" is the better film. The dilemma the Robinson character finds himself in seems more gripping. Here's the hook: How would you react if you got caught up in something nasty in all innocence? Robinson as Chris Cross in "Scarlett" is such a knucklehead, it's hard to relate to him. What a shlemiel. He has no idea that Kitty (Joan Bennett) is a bit ch? Oh, come on. _(spoiler alert!)_ Now, WITW gets alot of criticism for its end
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