misswonderly3

The plots are not what matter in these movies -nobody takes the plots seriously. As for the dialogue, I actually think it is kind of snappy sometimes, in a quaint 1930s way.

What's all this about cross-dressing? Are they making a biopic about J.Edgar Hoover?

Right, Kinokima, although I *love* the Fred and Gingers, I would never argue that any of them are candidates for being among the greatest films ever made. They 're just this special little category unto themselves.

Hey, kyle, at least you got to see it. Apparently *Rififi* is yet another "No Canadian Rights" film. And silly me, I was really looking forward to this. Instead, theyr'e showing *Cabin in the Sky* in Canada. An interesting film, but one I've already seen and have on tape. I must remember to always click on the "Canadian" schedule, if I don't my life becomes fraught with disappointments (just wanted to say "fraught with disappointments" ) Anyway, I do wish the NCR thing could be quickly easily and inexpensively resolved once and for all. In the meantime, AAAARRRRGGGGHHH !

Yeah, of course, U2 are Irish. I almost posted a U2 song today for the same reason .

Fred, like Ginger, could sing, dance, and act. I suppose most people have heard this story: When Fred Astaire was first trying to make it into movies, he had a number of auditions and screen tests (although he'd been appearing in live theatre productions for years -still, film is a different medium.) Apparently after one of them, the big suit guy assessing him sent a report to the studio that tersely stated of Fred Astaire: "Can't act. Can't sing. Can dance, a little. " ! ! ! Fred had a "thin" but very charming voice, one that was well suited to the songs in his movies. TikiSoo makes an interesting point about Fred Astaire: "...When younger, I never understood how gorgeous Ginger could fall for geeky Fred, but now I see him as a cute skinny funny guy with big eyes & smile." Absolutely ! But even more than those assets, Fred could dance, baby ! Dancing has long been seen as a kind of "courting", and look how often Fred "made up" with an indignant Ginger by simply dancing with her. Anyone who could make the moves he could, could be so in sync with his lady, who can literally sweep her off her feet, is felt to be just as good at something else.

The dance contest, yeah...Chuck Berry's You Never Can Tell, also known as C'est La Vie ( "That's Life" ). I want to dance like that. In fact, wouldn't if be fun if at the upcoming TCM Film Festival they had a dance-a-thon, and everybody, Robert Osborne, Ben Mankiewicz, whatever staff are present, and all TCM guests, got up and grooved away to this ! (For those who don't know what I'm talking about, it's the dancin' scene in *Pulp Fiction* Very cool. Edited by: misswonderly on Mar 17, 2011 6:00 PM Edited by: misswonderly on Mar 17, 2011 10:42 PM

I agree with everything people have said here. It's interesting, both jbh and TikiSoo mentioned other movies in which the character is watching *Top Hat*, specifically the perfectly lovely, perfectly sung and danced number "Cheek to Cheek". I used to think this song was called "Heaven", was would have been an equally suitable name for it. Yes, the Tom Hanks character and the innocent doomed prisoner in *The Green Mile* both watch "Cheek to Cheek" as though they're in heaven themselves at that moment; the Mia Farrow character resigns herself to her drudgerous (not a word, but I'm using it anyway) life at the end of *Purple Rose of Cairo*. It speaks to what I was saying about how, when you're watching these little pieces of perfection where everything falls together, music, dance, setting, dancers - you've escaped to a place outside of time (well, for five minutes outside of time anyway.) As to the comedy in the Fred and Gingers, the ones with Eric Blore and Edward Everett Horton add immeasurably to the laughs and the overall light-heartedness of these sweet movies.

I love *Pulp Fiction* ! It's actually one of my favourite movies ( of course, we're talking about a list of at least a hundred titles...) I will concede that it is very violent in parts, and in that respect quite distasteful to many. But I found it to be an exhilarating experience, the first time I saw it, and I still get hooked every time I see it. I love the way Quentin Tarantino plays with time and structure in the film; he's not the first to do this of course, but he does it so well. it's like a fascinating cinematic puzzle that he invites the audience to piece together. Much has been said about the dialogue in *Pulp Fiction*, most of it good. The dialogue by all characters is exceptionally clever, funny, impassioned- all this, and yet it sounds like the way people really talk ! (lots of swearing, but many people do cuss that much.) The characters, even the "bad" ones, engage my attention and empathy - I want to know what happens to them all, what will they do next. And - I realize this will sound like b.s. to many, but this is my theory - in its own way, it has a moral logic to it. The Samuel Jackson character gives some careful thought to the kind of life he has led, genuinely decides to reform, and lives ; the John Travolta character gives not a moment's reflection to his amoral ways, and pays for it with his life - an unexamined life. Maybe a little far-fetched, but it makes sense. When Bruce Willis has a chance to escape his vile perverted sadistic captors , he can't. He has to turn back and rescue his enemy, the very man who'd been trying to kill him earlier that same day. It is in fact a truly moral decision, and one the character did not have to make. On top of all this, *Pulp Fiction* treats us to an absolutely dynamite soundtrack, beginning with that jaw-dropping opening sequence, the two amateur thieves and lovers freeze-framed on that diner table-top, guns pointing, the urgent surf guitar strains of "Misirlou" pulling us into the movie. This film features fabulous songs throughout, they must have been hand-picked by the director. I feel that all the above delights, (and I didn't go into all of them) more than compensate for the ultra-violence and nastiness that admittedly comprise a major element of this movie. ...and I didn't even mention Harvey Keitel as "Mr. Wolf". Edited by: misswonderly on Mar 17, 2011 5:47 PM

St. Patrick's Day. It doesn't get much more Irish than Van Morrison and the Chieftains. Here they are, playing live with Star of the County Down : Thought I might as well throw in the Pogues version too. After all, they're also as Irish as it gets. Just ignore the idiotic comments on the youtube screen.( I will never understand how and why there are so many stupid people commenting on youtube.) Edited by: misswonderly on Mar 17, 2011 10:54 AM

jbh, it's true that I do not read every single thread and every single post on these forums. But whenever I have read anything by you, I have found it to be interesting and worthwhile to read. I've never seen the slightest reason for anyone to take offense at any comments you've made. It's too bad you are worried about this - I say, your opinions are just as good as any else's , and I hope you keep on participating here.

James, I'm so glad someone finally listened to that song I posted ! I thought it was a fun tune, and kind of fits in with the "holiday romance "concept we were all talking about. Long live the Kinks !

After watching *Follow the Fleet* today, I just had to write something about how much I love Fred and Ginger movies. Why? Because they are so well-done, so funny, so smart, so light-hearted. Because they almost invariably feature great timeless music, songs composed by master song-writers like Irving Berlin, Cole Porter, Jerome Kern, the Gershwins...it just doesn't get any better than these guys. Because when those two are dancing to these peerless songs, you don't think about how much they've worked to bring you the delight and perfection you see, in fact, you don't think about anything except the moment you're in, watching the happy combination of music, dance and story coming together to make something greater than its parts. Almost more than any other kind of film, when I'm watching those two dancing to that unforgettable music, I'm completely in the moment, nothing else matters for those five minutes or so. They and all the others who've worked towards that moment have created a little bit of happiness and perfection, even if it's just for those few minutes. Of course, when the movie's over, you have to face the music and dance. Edited by: misswonderly on Mar 16, 2011 6:21 PM Edited by: misswonderly on Mar 17, 2011 12:44 AM

Half of what makes a lot of those Fred and Ginger flicks so great is the absolutely first-rate Irving Berlin songs they get to sing and dance to. And everyone should follow this advice: Let yourself go Relax And let yourself go Relax You've got yourself tied up in a knot The night is cold but the music's hot And the melody's in a minor key, yet still lively and upbeat. It's that kind of musical artistry that makes Berlin a master. And look how much fun they're all having, dancing to it (except for those trying to resist it. ) Oh, what the hell...here's a clip of that little number: http://www.youtube.com/watch?v=5K_zGFU_HMU And don't forget, one of the greatest numbers in a Fred and Ginger movie, Let's Face the Music and Dance, also featured in *Follow the Fleet* . Great stuff. Edited by: misswonderly on Mar 16, 2011 11:31 AM

Little Stevie Wonder really mellows out on that one. Connect the dots: Al Green, Take Me to the River...Talking Heads...Take Me to the River. First studio (the best) then you can check out the live. One of the rare times I like the cover more than the original. (No disrespect to Mr. Green, who of course does a dynamite job. But the Heads somehow nailed it for me.) http://www.youtube.com/watch?v=FXYB-1KTeh4 The studio version is better, musically. But not so much to look at. Edited by: misswonderly on Mar 16, 2011 10:57 AM

EXPERIMENT IN BERSERK TERROR ! (based on idea by scsu) A community of website fan posters goes berserk when their beloved pages are mysteriously altered, Edited by: misswonderly on Mar 15, 2011 11:03 PM

> {quote:title=scsu1975 wrote:}{quote} > Actually, it's just a psychological experiment on the part of TCM to see if they can induce people to start multiple threads, arguments, and generally go berserk. So far, I would say the experiment has been a success. You're damned right it's been a success. Just look at us ! ...see? My poster of Joan Crawford going berserk in *Berserk !* didn't even take ! Aaaaaaaggggghh!!! Edited by: misswonderly on Mar 15, 2011 10:51 PM

> {quote:title=kriegerg69 wrote:}{quote} > "The Effect of Gamma Rays On Man-In-The-Moon Marigolds" > > ??? I agree the title is enigmatic if you haven't seen the movie. But if you have, it makes sense. One of the daughters in the story is doing a science experiment at school on , well, the effect of gamma rays on marigolds ( the type called "man in the moon" marigolds.) The film is all about the relationships between the mother and her two daughters. The title makes sense in the context of the film's plot and characters.

Valentine, I had a pretty good idea of what Oliver Stone was trying to accomplish in *Natural Born Killers* . But knowing the director's intent does not necessarily make his film watchable. I actually was surprised at myself, at how much I detested *Natural Born Killers*. I'm sorry, I just think it's obnoxious in every way. And Stone's intended "statement" doesn't work, it gets lost in the general unpleasantness (understatement) of the movie. But then, I've never liked Oliver Stone's work much anyway. I can't say the same about Fellini. I usually love the films of this great Italian director, he's one of my favourites. But what was he thinking when he made *Satyricon* ? He got lost somehow, and unlike his charming alter-ego in *8 1/2* , the end result is not a joyful parade, but a distasteful mess. (He redeemed himself by going on to make some more good films after that.)

I almost walked out on *Natural Born Killers* , I certainly hated it. I recall the *Serpent's Egg* was an unpleasant experience too, although in a different way. I can handle a lot in movies, probably even more violence than most women will tolerate. But I do have a limit; I hate what is called "gratuitous violence", there's a real nasty kind of violence combined with grossness that I will not watch. And for some reason I can't stand the kind of violence in a film where the person is being pummelled to death, beaten and punched and kicked and gouged. I find this much harder to watch and even to think about than somebody just getting shot. I also will not tolerate scenes of sexual violence.

I love *Nashville* , but I certainly agree with you about the other two . Gotta say, I liked *Slumdog Millionaire .* I don't know why there seems to be a bit of a "hate-on" for it around here.

Oh, damn, Mr. Smooth Soul himself. Yes, Al, take me away... You beat me to it. I've been thinking of posting an Al Green song for some time, just hadn't gotten around to it yet. Oh, well, I still will. You can't have too much Al Green.

Hey, I'm assuming that most people who have seen *Strangers on a Train* have also seen *The Man Who Came to Dinner*. Very different movies, but still, if you're a "classic" movie fan chances are you've seen them both. Anyway, what do they have in common? Bruno's dressing gown ! Monty Wooley (sp?) wears the exact same jacket in T*he Man Who Came to Dinner*. It's unmistakable, those planets and stars - must have been an important wardrobe property that they were loathe to use only once. I wish I had a robe like that !

Well, I haven't seen the promo, but if it's a promo for *The Unsinkable Molly Brown*, no wonder it's awful, as the movie itself is awful.

A long time ago I walked out of John Waters' *Pink Flamingoes*. Just way too much for me. I wonder if I would do the same today?