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kingrat

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  1. Did the documentary mention Hemingway's rather inept attempts to spy for the Communists?
  2. I'm trying to imagine Vivien Leigh as a timid, awkward, mousy virgin, and the picture is not coming through. Loretta Young believing she's not pretty? No way. Margaret Sullavan does smart, quirky, and sophisticated well in either comedy or tragedy, but the very blandness and nervousness that Joan Fontaine brings to the part makes her perfect. My very favorite Fontaine roles are The Constant Nymph and Letter to an Unknown Woman, but she connects to the essence of that unnamed narrator in Rebecca. The screenplay for Rebecca is very faithful to the novel, and the first viewers would have bee
  3. One might consider Missing or Tootsie or even The Verdict, or perhaps various unnominated films, to be superior to both Gandhi and E.T.
  4. SansFin, for a time it was fashionable to moan, "Oh, no! How could Gandhi have won Best Picture over E.T.?" Whatever one thinks of Gandhi, E.T. is very much as you describe it. You could also point out that the big scene where E.T. almost dies seems to be "borrowed" from Tinker Bell's "death scene" in Peter Pan. E.T. is efficiently made and Henry Thomas is much better than many a child actor, but a great film it isn't.
  5. Thank you, SansFin! This is exactly the one I mean. And Rod Taylor in the shot, too, is just fine.
  6. Those of you who had seen Hotel (1967) said that it didn't belong in the same category as Claudelle Inglish and Go Naked in the World, and you were right. Hotel must have seemed old-fashioned in the year of Bonnie and Clyde and The Graduate. In only a few years, stories like Hotel would have been adapted for a TV mini-series. It has the virtues of solid storytelling and competent but not flashy direction and cinematography, with plenty of drama, a little comedy, a little romance, some characters in danger, and even a sweet doggie. Carmen McRae singing and playing the piano is another plus; not
  7. If someone could find and post the orange hat Catherine Spaak wears in Hotel, it would be a worthy addition to this great thread.
  8. The last two films I've seen are Inside Daisy Clover and Almost Famous, and it was fascinating how well Almost Famous solves the problem that Daisy can't quite manage: showing the film from the young protagonist's point of view. High marks to writer-director Cameron Crowe for getting this right. Patrick Fugit as the young William doesn't have a lot of charisma, nothing at all like the star quality of Natalie Wood, but he's the right age and he seems to behave naturally in front of the camera. Like most characters based on the author (many examples from film and literature, Sons and Lovers bein
  9. Especially if there are parts for Jackee Harry and Queen Latifah!
  10. Now, Lorna, I wasn't going to say that--but the thought did cross my mind! Redford's screen persona often resembles the handsome guy in the gay bar who never approaches anyone, waits for someone up to his standards to approach him, and is never seen by others to be rejected. Of course Streisand is the aggressor in The Way We Were; that doesn't just fit her persona, it fits Redford's as well. Redford may be the most passive of Hollywood's leading men; he just lets them come to him.
  11. Thanks. I don't know if it's available, but I first saw Robert Redford on an episode of Bus Stop (short-lived series) where he and Barbara Baxley played a couple who kidnap the baby of an Irish Sweepstakes winner.
  12. Rue McClanahan played Caroline Johnson, baby nurse to Pat and John Randolph's twins. But--oh, no!--she had had twins who died at birth. Was she going to fall in love with John Randolph (Michael M. Ryan) and eventually go bonkers and kidnap the twins? Well, yes, of course, but this storyline was drawn out for months. Caroline had a friend, Jane Overstreet (Frances Sternhagen), whom Caroline told about the man she was in love with. This was the first time I had seen Frances Sternhagen, and I'd previously seen Rue McClanahan play a small role as the roller derby-obsessed neglectful mother of teen
  13. I watched Inside Daisy Clover. I'd seen the last half hour a couple of times, including the one great scene in the film, Natalie Wood in the sound booth. The film doesn't quite work, but I'm glad I saw it. Natalie Wood is too old to play a 16-year-old, yet, especially for a very feminine actress, she successfully gives Daisy a tomboyish, gamine quality. Ruth Gordon, Oscar-nominated as her mother, does her usual Ruth Gordon shtick, energetic and entertaining. Critics who had seen Ruth Gordon on stage in her earlier years said that she already had the mannerisms we're familiar with from her 60s
  14. I'm equally certain that Constance Ford was a lesbian. She turned up at an Another World cast party in a tuxedo (I recall seeing a picture of that). Not many straight women were doing that back in the 1970s, or gay women either. On the show she played a sympathetic, hard-working blue collar divorced mom with a selfish, narcissistic daughter from hell (Rachel). Ada worked as a beautician, at least in the 1960s, though Ada's position in the world went up a bit when Rachel married her millionaires (Steven Frame, then Mac Cory). Once she and Rachel arrived in Bay City, Ada met and married hard-wor
  15. Thanks to everyone who recommended Go Naked in the World. Fortunately, Ernest Borgnine did not take the title literally. As several imdb reviewers noted, this is another version of Camille or La Traviata. Gina Lollobrigida looks great. Some details I loved: 1) At the restaurant Gina is taken to a banquette the color of which can only be described as "*****house red." 2) Gina gets to wear some fancy clothes, especially a blue fox fur. 3) When Anthony Franciosa tells Borgnine he's going to marry Gina, it looks like Borgnine's eyes are actually going to pop out of his head (a ROFL moment for me).
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