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kingrat

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  1. I agree with Loran: Meryl Streep is great in A Cry in the Dark, and Sam Neill has a wonderful scene where he is brutally cross-examined. Not many actors with leading man looks (Sam Neill in the TV miniseries Reilly, Ace of Spies was sizzling hot) would be willing to play the role of a husband completely dominated by his unpleasant wife.
  2. Lois Smith won a critics' award (National Society of Film Critics, I think) as best supporting actress for Five Easy Pieces. Soap fans may also have seen her as the crazy Zoe Cannell on Somerset (married to Joel Crothers, no less) or on The Doctors as a woman who has an affair with a much younger male hustler (Franc Luz). I've always enjoyed her work and was delighted when she got the big role opposite Tom Cruise in Minority Report.
  3. As others have said, George was pretty good in The Rains Came. He has good chemistry with Myrna Loy in Stamboul Express and with Barbara Stanwyck in My Reputation and The Gay Sisters. He's pretty good in The Spiral Staircase. He does comedy surprisingly well in Honeymoon for Three with Ann Sheridan. I still don't get how George became a leading man rather than a character actor. As for Hedy Lamarr, maybe her best performance is in H.M. Pulham, Esq., where she plays a character named Marvin Miles.
  4. If you're looking for a noirish Monday afternoon double feature, Nobody Lives Forever and Cast a Dark Shadow would do nicely. Nobody Lives Forever: John Garfield is a con man, just back from WWII. His girlfriend (Faye Emerson) has dumped him, so he chooses a wealthy woman (Geraldine Fitzgerald) as his mark. Garfield and Fitzgerald have a surprising amount of chemistry, and Walter Brennan's turn as a weary and aging con man is my favorite of his performances, so much better than the lovable old codgers he played by the dozen. Cast a Dark Shadow is basically a filmed play, but very well don
  5. She's not the only lesbian writer of her era who writes mostly about male protagonists. Mary Renault and Marguerite Yourcenar come to mind, both of whom write very convincingly about male homosexual love in the ancient world, and in the case of Renault's The Charioteer, the present.
  6. Minghella's version of The Talented Mr. Ripley departs considerably from the novel in its last movement, although it keeps one element of the original which Purple Noon does not. I really like both films, although Purple Noon is special. I've read quite a few of Patricia Highsmith's novels and like most of them, although she is something of an acquired taste for many readers. Some of the books have the unsettling effect of showing how murder eventually becomes just another event in someone's life. French critics generally liked her books better than English or American critics did. Highsmith w
  7. Sorry if I sounded too testy. Dobson was one of those rare actors who could make nice guys seem interesting and complex. Since the same could be said about Michele Lee playing a nice woman, they were a great match onscreen.
  8. It is almost impossible to praise Alain Delon's looks too highly. In the first picture above he looks like the more handsome brother of Alan Bates. The direction and cinematography of Purple Noon are on a par with Delon's looks.
  9. I'm very disappointed that the obituary spent so much time talking about Telly Savalas. What is the relevance of Savalas winning an Emmy to Kevin Dobson's death? Surely a guy ought to get top billing in his own obituary? Kevin Dobson spent many years on Knots Landing, where he was the leading man and where he regularly gave outstanding performances. That is how most people will remember him.
  10. ABBA: The Movie is not exactly the best work of Lasse Hallstrom, who is listed as director, co-writer, and co-editor. ABBA was especially popular in Australia, as we know from such films as Muriel's Wedding and Priscilla, Queen of the Desert. Therefore, a documentary about an ABBA tour of Australia might tell us something about this phenomenon or about the music or the members of the group. Hey, how about this instead: we follow in excruciating detail a country music DJ who's forced by his station manager to come back with an exclusive interview with ABBA and instead he's always a day late and
  11. I loved the very fluid camerawork in this film. A little knowledge of French literature helps with some of the scenes, as the students have written essays about the characters in Corneille's Le Cid and Racine's Andromaque.
  12. Bogie, I believe TCM has shown Have I the Right To Kill before, and it's pretty good, with Alain Delon and Lea Massari in top form. However, for those just having one Alain Delon film, for me it's Purple Noon, brilliantly directed by Rene Clement. Delon is surprisingly good as a young male innocent in The Yellow Rolls Royce.
  13. I agree about not caring for The Prince and the Showgirl, but Marilyn Monroe sabotaged her co-stars, deliberately or innocently, because she messed up her lines so many times that the take where she got the line right was always the take they had to use. Sir Larry was probably perfect on his first take, but may have lost some focus and concentration by the time Marilyn finally got the line right and made the take all about her. Billy Wilder warned Tony Curtis about this when they were making Some Like It Hot.
  14. You can almost see Liberace thinking, "Imagine how good I'd look in those fishnet stockings!"
  15. There are many films this month which I have not seen. For me, the WOW!!!! is on November 8, the double feature of rarely seen Julien Duvivier movies, La tete d'un homme and Un carnet de bal. Un carnet de bal was once a very famous film (TCM has shown the American remake, Lydia, which is generally considered less good), and I was under the impression that it was hard to find and that the negative was not in good shape. I was expecting Fear to be the Roberto Rossellini/Ingrid Bergman film, La Paura, but it isn't. In the misleading titles category: Affair with a Stranger, one of the fe
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