misswonderly3
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Posts posted by misswonderly3
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4 hours ago, cigarjoe said:
My candidates for what it's worth.....
Betty Davis as Rosa Moline in Beyond The Forest
Jane Greer in Out of the Past
Yvonne De Carlo in Criss Cross
Barbara Stanwyck in Double Indemnity
Gene Tierney in Leave Her To Heaven
Marilyn Monroe in Niagara
Faith Domergue in Where Danger Lives
honorable mention
Evelyn Keyes inadvertently in Killer That Stalked New York
Yes, I'd agree with your list, cigarjoe. All great candidates for ultimate femme fatale. (How could I have forgotten Yvonne De Carlo and Faith Domergue in those two films you mention?)
However, since it's totally "inadvertent", as you say, I would not even allot honourable mention of Evelyn Keyes in The Killer That Stalked New York. For me, one of the key (no pun intended) features of a femme fatale has to be deliberate, calculated, intention to drag the hero down (if necessary) to raise the femme up.
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1 hour ago, Hibi said:
The film is derivative in plot from several films. (Angel Face). The Postman Always Rings Twice (the confession/marriage part) And When Danger Lives made around the same time with Mitchum (who leaves his good girlfriend for the femme fatale in both films) It's not great, but I LOVE the ending!
Sorry, I was responding to Lorna's post, but this got attached to yours.
I feel as though some regular posters here maybe didn't read my post about Angel Face. (sorry, I do realize how whiney and "what about me?" that sounds...)
Anyway, I spent a paragraph in the post comparing Angel Face to Leave Her to Heaven. I think my post is on the page 97 here if you want to read it. But I also agree with the films you've compared it to.
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12 hours ago, ChristineHoard said:
Eddie said there he had thought of the 5 greatest femme fatale noir performances of all time including Jean in Angel Face. I'm thinking of Barbara in Double Indemnity and Gene in Leave Her to Heaven for two of those top 5. Any opinions on who Eddie said they were (I'm not on Facebook so I don't know his top 5) or who they should be? Jane Greer? Lana Turner?
Yeah, I too got to thinking about who the 5 ultimate femme fatales could be. How about:
Kathie, ( Jane Greer) in Out of the Past. And Coral "Dusty" Chandler (Lizabeth Scott) in Dead Reckoning. Of course, as mentioned, Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity. But the ultimate femme fatale, the unquestionably most evil female character I've ever seen, I think, in a film, has to be Margot Shelby (Jean Gillie) in a little-known noir called Decoy.
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18 hours ago, LornaHansonForbes said:
Although, the movie does make me think of the rose variety ANGEL FACE, Which in turn somehow reminds me a little bit of the movie. There is a slightly film noir tint to the lavender hue or do I imagine that?
edit: For some reason my phone will not let me attach images.
Here ya go, Lorna:
ps: Hope you're doing okay, re, that hurricane bashing the Carolinas.
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This is unusual...12 hours after the evening screening, and over 1 hour after the morning one, of this week's Noir Alley offering, and nary a comment. Didn't anyone watch Angel Face this weekend?
Ok, I'll start. There may be spoilers.
I really like the two leads, Robert Mitchum and Jean Simmons. It's a particularly interesting role for Miss Simmons, as she often played more sympathetic characters. But as Eddie says in his outro, here she's top-of-the-line femme fatale. As for Mitch, how can you not enjoy everything the guy does? Must be those sleepy eyes.
I think a lot of us film fans like to compare movies, and I'm afraid I was doing this a bit with Angel Face. A couple come to mind, most notably Leave Her to Heaven. We've got a woman, an exceptionally attractive one, ( hey, Jean and Gene ), with a Daddy obsession. She transfers this obsession, or fanatical devotion, or whatever you want to call it, to a new man who comes into her life. And she won't let anything stop her or get in her way, this man is hers'. As is her father. (In LHTH, the daddy is already dead; in Angel Face, he's still around for about half the movie, so Jean distributes her desire to control and possess the men in her life between both Daddy and Mitch.) Both women in both films are pathologically attached to the men in their lives, and both will stop at nothing to ensure these men stay under their ontrol.
Anyway, enough of the comparison. Angel Face stands on its own as a prime example of the noir trope of a decent man being led astray by a woman who holds an inexplicable sway over him. Sad thing is with AF, Mitch's character realizes fairly early on that she's poison, yet he sticks around. You want him to go running back into the arms of the nice, smart, and equally-pretty-but-more-wholesome girl he was with before he met Diane, but of course by the time he does, it's too late.
I think the writing for Angel Face is exceptionally good. The writers have nailed Diane's character. People like her, who want to manipulate everything and everyone they come into contact with, are very clever. Although they are deceitful, they also know that a little bit of honesty mixed in with the deceit works better than outright lying. So you get scenes like the one where Diane meets her rival ( pretty, wholesome Mary- Mona Freeman) and takes her to lunch. She's very open about the fact that she was with Frank (Mitch) the evening before, and she's the reason why Frank broke his date with Mary. She thinks this kind of disclosure will disarm Mary- and maybe with a dumber woman, she'd have been right. Diane does this continually throughout the film, mixing truth with lies, knowing that this strategy works far better than complete fabrication.
Something I noticed, maybe it's just my imagination, about Jean's appearance in this film was, she's not as beautiful as Jean Simmons normally is. I know the title of the film is Angel Face, and yes, that title refers to how bizarre and interesting, yet very possible it is, that a woman who looks like an angel can be evil underneath. A very common theme in movies, not just noir. Yet Jean's face had a hardness to it that she doesn't usually have. I wondered if this was because of what Eddie spoke of, Howard Hughes and Otto Preminger conniving to give Jean a hard time, including filming her in a less flattering way than normal. Jean Simmons was a very beautiful actress, but in Angel Face, despite the title, she looks older than her 23 years. However, I'm doing something I actually don't like, which is feeling free to critique and analyze female actors' looks, in a way male actors are rarely subjected to. I only mention it because I wondered, as I said, if Preminger filmed her on purpose to look less lovely than she actually was.
As for the ending -SPOILER - Poor old Frank; this is one noir where the hero has done no wrong, except to allow himself to be misled by an evil scheming woman, yet he pays the ultimate price in the end. You do have to wonder what he was thinking, to get into that car with Diane in the end. And he never got to drink the champagne !
Anyway, I enjoyed this film a lot, and would recommend it to all noir fans, but especially those who like those "pathological character" type noirs, the ones that are more about an obsessed mentally ill woman ( or man) than a crime. The crime here is almost incidental to the disturbed state of mind of the lead female character.
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A lot of those early German expressionist films, not only the silents but some of the sound films from the '30s, clearly influenced noir directors; you can see the antecedents there in many ways. The dark shadows, including light and shadow bars across characters' faces, odd camera angles, seedy settings, and most of all, the conflicted and often pathological psychological state of the characters, all demonstrate noir tropes that future filmmakers would use.
Just a couple of examples: The Cabinet of Dr. Caligari, a German silent from 1920, features bizarre camera angles, dark, ominous corners, and most of all a mentally unstable protagonist. Then there's the original M, from 1931, a deeply affecting and disturbing work from noir stalwart-to-be, Fritz Lang. Interestingly, Peter Lorre also stars in this, and, like the pathetic and dangerous criminal he plays almost ten years later in Stranger on the Third Floor, Lorre gives us an unforgettable performance of a profoundly ill man, alienated from society, capable of unspeakable acts, and yet who somehow manages to elicit our compassion..
In fact, I believe it's Lorre's brief but intense portrayal of the frightened, violent yet oddly sympathetic sociopath in SOTTF that makes this seminal noir so memorable.
I also really enjoy the hero's dream, full of guilt and fear and those German expressionist graphics.
Also, I never realized before that the secret to great coffee is putting a raisin the the cup before you pour it.
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Ok, people, full disclosure: I've not read any of this thread except for the original post. Just sayin', as probably many others here have said by now, Barbara Eden is not dead. I'm always a little annoyed by this almost ghoulish tendency some people have to want to be the first to announce some famous person's death. Often prematurely.
I do acknowledge that the O.P. had the grace to add a question mark after the supposed life/death dates, suggesting they were not sure if Miss Eden was in fact dead. But since there was some doubt around it, why did they feel the need to start the thread in the first place? If they're a Barbara Eden fan and just wanted to talk about her, they could have just titled it, "Barbara Eden".
So, in view of the fact that the lady is still alive, perhaps the original poster could maybe go back to their thread topic title and alter it, maybe to something like "Barbara Eden not yet in Eden !" or something.
Anyway, as I said, I am probably one of many posters here who have made similar comments. Just my two cents' worth.(Which is really not saying much in Canada, as we no longer have the penny.)
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1 hour ago, CaveGirl said:
Good one, Miss W! I always have liked Brodie since he just seems to play an Everyman so well in films.
As a teen film fan, I used to always get Scott Brady and Steve Brodie mixed up, till my grandma said "Scott is Lawrence Tierney's brother. Don't you know who Lawrence Tierney is?" Then she started telling me stories about the brawling Tierney and how she was amazed he was still alive after so many fights, and that he was always in the gossip columns back in the day. Since then I don't get Steve and Scott mixed up anymore.And here I'd fondly believed that Scott was one of the boys in The Brady Bunch.
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By the way, I can't resist...One thing I loved about Seinfeld was the allusions the show made now and then to film noir. Clearly the writers were noir fans, who were familiar with the tropes of the genre. There are several hilarious scenes where the characters behave very noirishly. One episode in particular involved Elaine and Jerry plotting to cover up the fact that a couch has been stolen from the lobby of Mr.Pitt's apartment (I think...)
Elaine is worried that she and Jerry will get the blame. She paces back and forth, trying to invent a plausible story for the couch's disappearance. Just like in an old noir movie, she tells Jerry, "shut up, shut up !" She talks fast, and she just happens to be wearing an outfit with big shoulder pads, like something out of the '40s. The way I remembered it, I thought she asked for a cigarette. But it's a drink, which is almost as good.
Tried to find the clip on youtube, but the best I could come up with was this "Seinfeld Noir" cartoon. Still, it's pretty funny.
My point is, it's a direct reference to film noir, and Elaine demands a drink at the end of the scene.
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17 hours ago, CaveGirl said:
If C meant a Condemned film by the Vatican in their Index, I would deem it a film definitely worth watching, Miss Wonderly!
I watched "Desperate" too, and can see why Hibi found it below B-grade. A lot of these films are being touted since some people probably are making money on them being recapitulated in boxed sets and sold again in the dvd market. It's a lot like when "Antique Roadshow" had the guy expert on who evaluated guns and rifles and was overestimating the worth of many of them, since he was friends with some people who were selling the items in a new market, and they were making money based on his overinflated values. I like Steve Brodie a lot, but "Desperate" was pretty typical B-fare for the time.Maybe Steve Brodie was desperate to get a good role. (sorry.)
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17 hours ago, Hepburn Fan said:
My point had nothing to do with the movies. They are what they are. I grew up lighting cigarettes for ladies. I use to smoke. I simply don't favor the Noir Alley website being filled with smoke. It is part of the Noir theme I suppose. Not sure what makes Noir, Noir.
In Auntie Mame, it was Gin. I enjoy my hooch, by coincidence, Canadian Whisky.
Well, as the quote on the Noir Alley site says,
"If you want fresh air, don't look for it in this town."
If we were talking about a site dedicated to current movies ( or other "filmed entertainment" of any kind), I suppose I could see your point. In today's culture, it's not ok in any way to celebrate or even show cigarette smoking, in any context. (This hard core morally rigid POV is something I don't actually agree with, but at least I understand and accept it.) But since, as many posters here have noted, smoking was a part of that shadowy noir world as much as drinking, rain, and dark alleys were ( hence the title of the series?) , I think it's entirely appropriate to fill the Noir Alley site with floating smoke...it lights up my day ! (sorry, couldn't resist.)
Edit: By the way, I don't smoke and never did. I once, when I was young and silly, actually kind of tried to start smoking, ( hey this was a long time ago), because, as speedy says, I thought it looked cool. But I just didn't like it; I'd buy a pack of cigs and they'd just go stale, because I couldn't be bothered to smoke them ! The only time I'd smoke was at parties or maybe on a date with a guy who smoked, and even then, I just fiddled around holding the cigarette in my hand, never really inhaled much.
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9 hours ago, speedracer5 said:
I sometimes watch Noir Alley live too, but only at 9pm Saturdays. I usually always DVR it too, in case I fall asleep or need to rewind because my bird distracted me, or even if I just want to see it again. I like that TCM airs it twice. If I forget to record Saturday’s offering, then I have another chance.
One of these days I'll have to get my act together and figure out how to DVR; my husband and I don't actually have that set up yet ( what an embarrassing admittance, especially on a site for classic movie fans ! ). As I said, the reasons for this are too lame to go into.
But it's great that these days ( well, for many many days now), people have had the option to record something on television they want to see but can't view in "real time". I used to record lots of TCM movies - on videotape ! ! And in fact I still have loads of old VCR tapes with rare old movies I recorded from TCM. A whole library, almost. And on the one hand, I'm happy to have access to these unusual old films in any format ( 'cause guess what, I still have a functioning VCR player ! ) on the other hand, I don't actually watch them very often, and they are a bit of a clutter problem (like, several huge stacks of old videotapes with titles like "Tatooed Stranger" sitting on a shelf in my already cluttered closet...)
Hey, that bird, speedy ! I think it's both sweet and hilarious that he wants to distract your attention from whatever movie you're watching to him !
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4 hours ago, Hepburn Fan said:
Well, I do notice now, it should be Noir Alley and not Film Noir. I realize smoking was a part of TV and movies way back. To use cigarette smoke today as a positive on the Noir Alley site seems wrong. Chances are I should feel the same way about the booze too. I'm talking about the Noir Alley link on the TCM site.
Ok, I will do my very best to be diplomatic about this.
Whenever people express concern about the amount of smoking - and drinking, for that matter - depicted in old movies, I get frustrated. This is for two reasons:
1. It shows a lack of recognition, of understanding, that back then people smoked and drank a lot more than they do now. Yes, I know, I'm aware that much of that cigarette smoking was because the tobacco companies back then openly lobbied the film industry to promote their products. But it doesn't matter to me; whatever the reason, be it a heinous ulteriour motive to get ordinary people to smoke more, or just a reflection of the times, or a bit of both, I don't care. I actually kind of enjoy seeing them lighting up; often it's used as a bit of business, or to show a character is stressed; sometimes it's actually used as a romantic gesture, as in Paul Henreid lighting two cigarettes in "Now Voyager". And then there's Sterling Hayden's police detective in "Crime Wave", who's actually trying to quit and chews on toothpicks to soothe his craving.
Whatever the reason - and sometimes there's none at all, it's just there as part of the mise-en-scene - I don't mind one bit. That was then, this is now. There are a great many things that have changed in our culture since the days those old noirs were made, recognizing how bad smoking is for us is one of them. Just "go with it".
2. At the risk of offending not only you but possibly other readers here, I would say there's a lot of self-righteous indignation going on these days about all kinds of things in movies. We have to recognize that films were not made then, nor are they now, to delineate morality or proper, healthier ways of living (whatever that might be). I love it when the characters walk into someone's apartment and immediately light up and pour out some whiskey ! ( It always seems to be whiskey, for some reason. Either that, or champagne cocktails, if it's in a nightclub...) It's kind of fun. Plus, I can enjoy those "vices" vicariously, without inhaling nicotine or imbibing alcohol myself.
Honestly, why should we care if movies back then showed people drinking, smoking, or doing anything else for that matter that's not acceptable today ? (Ok, I won't touch racism or sexism, that's a whole different dog biscuit. But even then I can see that stuff in old films and just recognize that these movies are decades old, people were unenlightened then. It doesn't stop me from enjoying the movie.)
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17 hours ago, TheCid said:
As I understand it, there were only two types of movies - A and B. A was the main feature and the B was the second feature. It was not a grade type thing.
Cid, I'm guessing that Hibi just meant she thought Desperate wasn't that good; maybe not even of "B" calibre, so she called it "C". I don't think she meant that there's literally a "C" rating.
Although, "that said", I liked the film. But I also like Hibi, and she's welcome to deem it a "C" film if that's how she feels about it.
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22 hours ago, Hepburn Fan said:
.... If you always DVR it, then the time shouldn't matter. So, out here in the West, 7 AM Sunday is crazy. Out in the East, maybe Midnight is too.
My point: TCM has East/West on the Watch TCM app. Is it cost prohibitive to have a West Coast feed for TCM? My second point: It seems foolish/silly to have Film Noir on twice. Third and final point: Way too much smoke on the Film Noir site.
Hmm, don't agree with that - " it seems foolish /silly to have Film Noir on twice". Actually, I love it that they give you two chances to watch these films; and sometimes they're pretty rare, so more than one airing is a good thing. I don't always have the chance to watch Noir Alley on Saturday night. I agree, it's the best time for it, Sunday morning does not seem very noir-ish. Still, as I said, it's nice to have two opportunities to see whatever Eddie's showing that week.
Also, I do not record movies ( for boring reasons I won't go into here), so "real time" is the only time I can watch this stuff. Watching something on tv as it's actually being aired, as opposed to recording it, seems to be becoming more and more uncommon these days. I hope I'll always be able to do it.
By the way, what did you mean, "Way too much smoke on the Film Noir site." ???
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DESPERATE
I've seen this one a few times, and always enjoy it. As cigarjoe said, (in so many words), it's got some fine b & w cinematography, and a few of the "back room " scenes where our hero gets beaten up are definitively noirish. Especially that "swinging light" scene, to which cigarjoe provides a link. Has Raymond Burr ever looked more menacing?
I always liked this particular noir narrative: ( 'cause we all know there are a number of noir storylines, not just one...) The one where some innocent, well-meaning, decent guy, often just-married or in love with an equally innocent decent girl, gets inexorably drawn into to a web of crime and danger. Sometimes, as in the case of Deperate, he doesn't even commit a crime, but he's set up in such a way that it looks as though he has. In these kinds of noirs, the protagonist is pursued by both the criminals and the law. I like this kind of storyline because it seems as though there's nowhere for the hero to turn - his life (and more importantly, his wife's) is threatened by the bad guys, but due to circumstances outside his control (very noirish), he can't turn to the police. He has nowhere to turn - hence the title !
Steve Brodie is extremely sympathetic in the role of the nice ordinary law-abiding guy who just wants to work hard and spend whatever time he's not working with his sweet (and very pretty) wife. Despite the reasons Eddie gave in his intro for why Brodie didn't get cast in leads more often, I really liked him in Desperate and wish he'd been given more lead roles as this kind of hero.
Desperate is full of great scenes, many with Steve and his wife fleeing desperately (yes !) from everyone to get to a "safe place". I especially liked the bit where the law's set up a road block and they inspect the back of a truck to search for the fugitives. The truck is full of masks and giant carnival heads, under which Steve and Anne are hiding. The dumb cops don't think to look very hard for them, even though the truck is a treasure trove of hiding places for such runaways. It's those kind of bizarre images that make for good noirs. (I tried to find a still of this scene to post here, but no luck.)
Anthony Mann directed several really good noirs, as Eddie M. mentioned; later he turned to Westerns, where he did equally well.
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Thanks, DVDPhreak.
Yes, I know the final part of the ending is not as upbeat as one would think. I did mention the final notes of the music, how it becomes "mournful". To me this is more effective than a completely unambiguous "happy" ending would have been.
By the way, I got around the idiotic AutoCensor by writing the character's name as "Gweedo", instead of the correct spelling.
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Surprised no one's talked about the Oscar Micheaux film they showed last night: Within Our Gates. I'd heard of Oscar Micheaux of course, and had always been curious to see some of his work.
I was fascinated by Within Our Gates. I should mention that I love silent movies; to me, they're strange and mysterious, almost dream-like. Even the comedies move me; it's like I've been given a tiny portal into another time, impossibly long ago. I don't mind that there's no dialogue at all, that very element of silence enhances these films for me.
But in the case of Within Our Gates, that "mysterious" quality was augmented by a look into not just another world and another time, but a world that we're rarely given even a glimpse into: the world of black people living in 1920s America. As has been said repeatedly, so many mainstream Hollywood films, from the 20s right up to almost the present time, and certainly during the "Golden Age of Hollywood", depict black people almost as props. They're bellhops or porters or "Mammys". (They did discuss the "Mammy" thing in the program last night, right before airing "Imitation of Life".) So it was so interesting to see a film made by a black director, with a predominantly black cast and a black perspective - from 1920!
It's too bad much of this film has been damaged , and some lost entirely. But I could still piece the story together. When you watch something like Within Our Gates and you see such an interesting story and such realistic and terrible depictions of how black people were treated by whites, you have to lament the loss, the waste, of black talent in subsequent years. How come Oscar Micheaux seemed to be the last, rather than the first, black filmmaker in the decades in Hollywood to come?
As for "Imitation of LIfe": First, I'm writing this from my memory of having seen it a few years ago, I did not view it last night. So I could be misremembering some of it. Anyway:
Ok, it's got its points. But it seriously bothers me that Louise Beavers' character seems so willing to yield up most of the power and the profits of the pancake-mix venture to her white partner. She's the one who came up with the original recipe, if it weren't for her, Colbert's character would not have become rich. Yet Delilah seems content to let Bea take most of the wealth and credit for their joint venture. Guess this is how the original story was written?
And - again, I recognize that we're talking about 1934, when white people had all the power and black people had none (hasn't changed that much maybe, but I think most black Americans would take the current moment to live rather than the 1930s), but still, it bothers me that Delilah's daughter is so devastated that she is black, that white people wont' accept her. F-- those horrible white people, Peola, and be proud you're black !
Still, I know, maybe back then, if you could "pass" as a white person, you'd have a lot more doors open to you.
What the hell do I know, I'm white. Anyway, these glimpses into earlier times in America and the attempts by filmmakers to show what it might have been like to be a black person living back then are fascinating to me, and I appreciate that TCM is offering this series.
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I love 8 1/2. It's one of my favourite films, I'd list it in my top 20 for sure.Maybe top 10. Doesn't matter... I own the DVD ( the Criterion editon !) and am so glad I do.
8 1/2 is one of those films that has everything: it's by turns moving, imaginative, mysterious, nostalgic, thought-provoking, sardonic, and often funny as hell. I love it that Fellini just threw up his hands and went, basically, "I have no idea what my next film will be about, so I'll just make it about that - a cinematic rendering of the experience of writer's/ artist's block. It will be about everything and nothing."
This could have been disastrous, it could have ended up as horribly pretentious, as the film's characters, especially the agent, producer, writer, and journalist all seem to want it to be. But Fellini avoids that by embracing his lack of creative direction and making it both touching and funny. He seems to have lost his Muse, what's he to do? I always thought the simultaneously virginal and desirable Claudia Cardinale was supposed to represent his Muse. It's revealing how he idealizes her, and is disappointed when the real Claudia ( as opposed to the Dream Woman Claudia), demands to know where the film is going, what it's about, and what is her character and her lines, just like everyone else in Gweedo's world.
I love the childhood memories and the dream sequences. That scene with the pre-adolescent boys watching Saraghina dancing on the beach is priceless !
And the ending is perfect. I've always thought of it as Gweedo just throwing everything and everybody into the mix, a great big joyous parade. For some reason I find the final scene joyful and life-affirming. It just works, I can't even articulate why.
One more thing about 8 1/2 I want to mention, and it's definitely a case of "last but not least": the wonderful soundtrack by Nino Rota. The music that scores this great film enhances it so much. The Saraghina rumba, the eerie notes when Gweedo's remembering the spooky things his friends/cousins tell him about the priests and the statue, and best of all the triumphant, exuberant 8 1/2 theme that's repeated throughout the film and accompanies the final all-inclusive march all the 8 1/2 characters participate in at the ending, gradually getting more and more frenetic and then winding down to a few mournful notes and the little boy (little Gweedo, I always thought) saying goodbye.
I think anyone who loves movies and movies about filmmaking should see this great film.
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On 9/4/2018 at 1:48 AM, Stephan55 said:
Since it was a day of foreign (non english speaking) language movies, perhaps TLDW (Too Long, Didn't Watch) would be more appropriate....
On second thought, since it was a day of foreign language movies (all captioned) perhaps your original acronym was the more appropriate, unless some variation of TLDW(or)R is acceptable?
Anyway Tiki, the point (if there is a point to all this) might be, not to deny yourself the opportunity to enjoy a foreign language movie, even if you don't feel like reading the captions at that time. You just might find yourself being entertained.
Stephan, I think maybe Tiki was referring to the original post itself, not the film.
I've never asked her, but as far as I know, TikiSoo does not have a problem watching foreign language films with English sub-titles.However, I shouldn't speak for her, I don't really know.
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12 hours ago, LawrenceA said:
My lack of participation is not a conscious act of disapproval, but more a matter of how and when I watch movies. Since I follow a fairly regimented schedule, I don't see the Noir Alley films until long after everyone else is done discussing them. Either that, or it's something that I saw so long ago that I can't recall enough specifics to add anything to the conversation. Of the remaining movies, I fairly recently watched Desperate, and I saw Angel Face and The Stranger many years ago. I have not seen The Gangster, and will be recording it.
I hope you did not take my comment to mean that I thought you did not post on the Noir Alley thread as a "conscious act of disapproval". Of course not. I just thought it was interesting, how we're all different here on these boards. And pretty much the only reason that I usually limit myself to this thread is simply because these days I don't have a lot of time to spend here. I used to, years ago, spend a lot of time on these boards - - too much, actually, as I realized after a while that an hour - or several hours ! - would go by as I read and watched and posted on the boards here. It made me kind of unproductive with my time. So now I discipline myself to just stick mainly to one thread, and this is just the thread topic I'm consistently the most interested in.
But of course I do read other threads, and sometimes even post in them.
Anyway, I absolutely was not suggesting any kind of criticism of you, Lawrence, as to how much or how little you contribute to this or any other thread. (We all know you never go on the "I Just Watched" thread !? )
We all gravitate to the topics here that interest us the most, and that's as it should be.
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15 minutes ago, LawrenceA said:
...I say this despite rarely joining in this thread myself.
Interesting, Lawrence baby...I'm kind of the opposite. This is about the only thread on the boards that I consistently participate in.
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Maybe The Locket is all discussed-out, but there's one last thing I wanted to say about it, which I don't know if anyone else posted about here.
That portrait of Cassandra ! Cassandra, as y'all probably know, is a figure from Greek mythology. She was given a gift / curse. The gift was, she could foretell the future. The curse was, nobody would believe her.
Anyway, so Mitch/ artist Norman Clyde, fascinated as he is by Nancy, paints a portrait of this ill-fated mythological woman, Cassandra, using Nancy as his model.
Here it is:
Pretty scary, eh? Guess he left the eyes blank to show she's looking into the future, or something. But damn, it 's a weird and oddly compelling painting. And I think it's supposed to show that even before he consciously knew it, he sensed on some level that Nancy would be a Cassandra-like figure in his life, someone who would bring him no good.
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Oops ! Apologies to Nipkow, who already mentioned Picnic. And to Swithin, who included The Pajama Game in a list of suggested Labour Day movies.
I really must take the time to read the entire thread before posting.
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Noir Alley
in General Discussions
Posted
That's a really good point, Hibi. Since it's an important part of the story, how devoted Diane is to her father, how much she loves him, it would have been gratifying to the audience to see a reaction shot from her when she realizes she killed not just her hated step-mother, but her beloved father as well. That was definitely not her intention.