speedracer5

I just found (and bought) #20 Shock in the Fox Film Noir collection. Shock stars Vincent Price. I only need one more film (#21 14 Hours) and I'll have the whole series.

Yes. The first couple seasons of Happy Days are different. They almost have a subdued quality. Even the color looks different. I liked Happy Days until Ritchie and Ralph Malph left. Then I was done with the show. I also really disliked Chachi.

I know I've seen 533, Sorry Wrong Number. I've seen 535 (unfortunately), The Prince and the Showgirl. 537 is The Swimmer which I've also seen. A couple others look familiar, but I'm not sure if I've seen them or not.

Thanks! That picture is terrifying; yet it makes me want to see The Entertainer. I'll set my DVR. It's on at 3AM for me. Okay. This has nothing to do with anything. But right now, I'm watching the first episode of Alfred Hitchcock Presents (its on Hulu) and it stars Ralph Meeker, Vera Miles, and Francis "Aunt Bee" Bavier. Ralph Meeker was hot! damn.

They don't even sound like basketballs that Kobe owned. It sounds like someone who either A) Brought their own basketball to a game and got it autographed; or b) attended a game and somehow was given a game ball that was then signed.

The only shows of Silverman's that I was able to watch when they were new-ish were Smurfs and Alvin and the Chipmunks. My dad HATED The Smurfs. I remember when I was really little, the very catchy theme song would come on ("La-La-La-La-La La-La-La-La-Laaaaa") and he'd groan. Lol. But so many of his shows that he greenlit I loved watching on Nick at Nite in the 90s: Mary Tyler Moore, Rhoda, Three's Company, Laverne and Shirley, Happy Days... I don't know if I should feel happy though that he canceled Green Acres. I love that show.

I've seen 522, 525 and 530--all three fantastic movies. I love The Clock because it shows that Judy Garland could be more than just a singer. The Night of the Hunter was amazing. Robert Mitchum was so creepy. What I loved about that movie though was the unusual look that the film had. It looked very whimsical and dreamlike, but with an underlying creepiness. Poor Shelley Winters. The little girl looked like a tiny Bette Davis. I loved LA Confidential. I remember seeing it when it first came out on video.

Godzilla was the monster of the month in 2019.

Lydecker, that would be fantastic if you could extend the contest. Though, now I feel obligated to complete a schedule! Lol. Maybe that'll give me time to actually watch a Sherlock Holmes movie.

That's pretty pathetic. You know that these people wouldn't be selling their Kobe memorabilia under any other circumstances.

I'm really hoping that I can find time before the deadline. I have a big writing assignment for work that I'm working on that I (hopefully) will have done by March 1. Writing about movies would be more exciting.

Right now I'm watching Too Late For Tears. The newly restored UCLA version is available for rental on the library's Kanopy streaming service. If your library participates all you need to do is create an account with Kanopy using your library card number. I am the member of two libraries and both of my libraries participate. I get 10 rentals/month with one library and 15 with the other.

Thanks for this! I've been waiting for this movie to be available forever! It's in my "To Keep" file on my DVR!

I agree completely about "preaching to the choir" with these films. These are often the films that will win the Oscar and are pretty much forgotten the day after the ceremony. Has anyone really re-watched Moonlight since it won a few years ago? Not that these films shouldn't be made, but they seem to be made to appeal to all the armchair activists out there. It's a movie with a built-in audience.

With the exception of Grand Hotel which I think I need to re-watch, I haven't seen any of the films that you listed. Perhaps that is where my disconnect is with Barrymore. I will keep an eye out for him. Thank you. I don't want to disappoint Errol.

I agree with this completely. There are actors whom are revered for their acting abilities who leave me cold. Laurence Olivier, whom I liked in Rebecca, I think can be too much at other times. Too intense I think. I haven't really seen what the big deal is about him. He's just too much at times. I'm still trying to get through Wuthering Heights. I think it's just my issue with 19th century literature. I struggle at times. I still haven't really seen what the big deal is about the Barrymores. Though I guess to be fair, I haven't seen any of them in very many films. But none of them really seem all that remarkable to me. John Barrymore Dinner at Eight Grand Hotel A Bill of Divorcement -And I need to really re-watch all these, because I only remember bits and pieces and nothing specifically about Barrymore. Lionel Barrymore It's a Wonderful Life You Can't Take it With You Grand Hotel Key Largo Dinner at Eight Lady Be Good -In the roles I've seen Lionel in, he more reminds me of the curmudgeon Edward Arnold type. Ethel Barrymore The Spiral Staircase (I actually thought she was great here) The Story of Three Loves (I've seen this, I don't remember her at all) Pinky Then there are the Method Actors, like Brando, who I don't see what the big deal is about him. He's fine in his 50s movies, but he loses me after that. I would hardly call him the greatest actor ever though. I just saw Julie Harris in a movie the other day and thought she was awful. I know James Dean was Method and yeah, he definitely gets a little too angsty, but I don't know what it is about him, he doesn't bother me like Brando does. The only thing that 1950s Brando had going for him was that he was pretty hot. I think James Dean is cute too. Lol. If he hadn't died, I could see him taking on perhaps a more Paul Newman or Steve McQueen type career, especially since he liked cars so much.

It all depends on how it sounds. Since the original was not a dance version, I am skeptical, but I would listen to it. Right now, I'm really tired of 80s music since the local radio seems to think that that was the end-all-be-all of music. 80s is all they play. Ugh. I just got Sirius XM in my new car though, so I've been listening to a lot of 40s jazz and 50s doo w o p . Lol. The 50s station played James Darren's song from "Gidget" the other day! Speaking of "Gidget"... Like my segue? After I finish Where the Boys Are, I think I'm going to read the novel version of Gidget. I got a Kindle for Christmas. As much as I love physical media, it's nice having the Kindle. It's easier to pack around than a bunch of books. It's especially nice to have on an airplane.

I'm watching Stage Door. I've seen this movie multiple times and really enjoy it. I find it interesting that the film's only acting nomination was for Andrea Leeds. I think she's one of the weaker characters in this film. If Kay's acting is anything like how she acts in the boarding house, no wonder she didn't get the part in Enchanted April. If anything, I think Ginger Rogers and Katharine Hepburn deserved the acting nods for this film. This is such a great ensemble film--such an amazing cast: Hepburn, Rogers, Lucille Ball, Eve Arden, Ann Miller, Gail Patrick...

I liked the idea of the color red being a trigger. I could even somewhat get behind the backstory as to why "red" was such a scary color for Tippi. I liked Tippi Hedren's wardrobe. I absolutely hated Sean Connery's character in this film. The way he treats Marnie ruins the film for me.

I did read the Wiki page. I am curious about how Castro's revolution fits into the plot lines in the story. I have a feeling that the book will be racier than the movie. I'm glad they changed the title--otherwise, we wouldn't have the fabulous Connie Francis song, "Where the Boys Are."

I don't like Marnie. I've seen it before, and while I liked the idea of it, I don't care to ever see it again. I am not a fan of movies that feature rape. Even if it's not displayed on screen, knowing that it happened or is happening is not something that I want to see when watching movies.

Right now I am reading Louisa May Alcott's original Little Women novel. I never read this book during childhood (when I think it is more often read). With all the iterations of Little Women that I've seen lately, I wanted to see how the source material was adapted throughout the years. It is interesting, but the writing style reaffirms why I am not a fan of 19th century literature. In the novel, the way that the teenaged characters speak seems so unnatural to me. Who knows though, I wasn't alive during the Civil War era, so maybe this is how 12-year olds speak. After I'm done with this book, I may read the novel version of Where the Boys Are which I just discovered existed. I love the movie.

Along the lines of what Tiki and Sepia have said... I think Old Hollywood films often serve as a form of escapism. Much like how the screwball comedies (often set in opulent settings) in the 1930s distracted people from the Great Depression or the splashy 1940s musicals served as a diversion from WWII, audiences wanted to forget about their problems. Even the more realistic, grittier films o f the 1940s (e.g. Noir) can serve as a form of escapism for today's audiences because the situations, actors, dialogue, etc. is so different than today that they're fun to watch and forget about life for awhile. Today's society seems to be all about appearing "woke" and every film seems to want to beat you over the head with the social issue du jour, that it's very hard to escape today's problems. Classic film, vinyl, everything "old" seems to be experiencing a renaissance these days.

503 isn't The Sea Hawk. I think that's Tyrone Power, not Errol Flynn. I think 503 might be The Mark of Zorro with Power and Basil Rathbone.

I liked Lady on a Train. I think it's thought of as a noir, but the film is a little sillier than your usual noir. It's more of a screwball noir if such a thing exists. I had never seen a Deanna Durbin film before. While I'm not the biggest fan of her singing, though I do agree with TB that her rendition of "Silent Night" was beautiful, I thought she performed her part well. I also liked the supporting cast of Dan Duryea and William Frawley.