kingrat
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Posts posted by kingrat
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I've been enjoying World on Fire on PBS. It's a big well-done WWII historical soap opera. Season 1, just finished but no doubt available on demand, had seven episodes set in 1939 with scenes in England, Poland, France, and Germany. The show has been renewed for Season 2, but who knows when it will be filmed, given the coronavirus. In addition to the young actors playing the romantic leads, stars include Helen Hunt as an American journalist (evidently based in part on Dorothy Thompson) and Sean Bean as the working-class socialist pacifist father of our plucky heroine Lois. However, Lesley Manville as the chilly mother of our hero Harry steals every moment of every scene she's in. A breathtaking performance of a character who could easily be a stereotype.
Some of the period details are bent a little to fit our current preferences. Would a black singer have been a headliner for the British equivalent of the USO, or would that group allow an unmarried pregnant woman as a headliner? Would Harry's mother and Lois' father call each other by their first names, given the class system at the time? On the other hand, I'm delighted we have a gay subplot, with an American doctor in Paris in love with a French North African jazz musician. I doubt that any jazz musician in France at that time would have a ripped and toned body, but oh well. I've noticed that several recent British films and TV shows (the Branagh Murder on the Orient Express and Darkest Hour, for instance) have gone out of their way to play down the actual British racial attitudes at the time. If you have known Brits of a certain age, this will ring false.
All in all, World on Fire has been great fun to follow, and I just hope it will survive.
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I appreciate the witty scheduling for Tuesday morning with a double feature of Grey Gardens and What Ever Happened to Baby Jane? Those two films belong together! A friend pointed out that Mad Love and The Red Shoes make another appropriate pairing.
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George Brent seems much better than usual opposite Myrna Loy in Stamboul and opposite Barbara Stanwyck in The Gay Sisters and My Reputation.
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The only two I have seen are The Lady Eve, a classic screwball comedy and a winner all the way, and No Man of Her Own, a most enjoyable domestic melodrama/film noir. I certainly agree that Jane Cowl, a prestigious stage actress, does a fine job as the "mother-in-law."
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4 hours ago, midwestan said:
Saturday afternoon, I caught the entire 4-film showings that Dave Karger had on offer. It's not very often I like so many films TCM shows in succession like that, but I liked each of them (Captain Blood, Out Of The Past, The Naked Spur, and The Hill). Maybe it's because it was laden with a lot of testosterone...I dunno. Only 'Out Of The Past' had multiple female parts that were vital to the story. I also thought it was interesting that Dave's picks spanned four consecutive decades (30's, 40's, 50's, and 60's). Was that by design or just a coincidence? I don't know, but it made for a nice Saturday afternoon of viewing pleasure.
I hadn't thought about it, but that is a lot of testosterone, isn't it? Four different genres, four really good films.
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7 minutes ago, Bronxgirl48 said:
James Shigeta....(sigh) Have had a crush on him ever since FLOWER DRUM SONG. You can keep Errol Flynn, Tyrone Power, et. al. Give me some Jimmie!!! In my opinion, one of the handsomest men in all moviedom.
James Shigeta: handsome, sweet, gentle strength, lovely soft voice. What's not to like?
SPOILER ALERT??: Eddie's intro gives away what was actually a plot twist for me. I knew nothing about the film when I saw it the first time a few years ago, and about an hour in I was thinking, "Well, if it were me, I'd dump Glenn Corbett for that dreamy James Shigeta," and then that was exactly where the movie went. The Crimson Kimono is one of my favorite Fuller films, just below Pickup on South Street and The Steel Helmet. Frequently, Fuller's directorial skill is undercut by his writing deficiencies. He knows how to pick a good subject for a film and open strongly (he was a tabloid journalist, and it shows), but often has problems developing the story and writing credible dialogue. The Crimson Kimono has a much better developed script than most Fuller movies, and this time around I appreciated the way he ties together the reason for the murder and the detective's assumption about his buddy's reaction.
By the way, you gotta love how Victoria Shaw says with surprise that she never gave Glenn Corbett reason to think she was interested. Uh, that's not what we saw, toots. He came on fairly strong, and she agreed to go out with him. Anna Lee is terrific. Eddie mentioned that Anna Lee was fondly remembered as Lila Quartermaine on General Hospital. A decade or so earlier, Victoria Shaw was also on GH as a TV reporter who was a love interest for John Beradino's Dr. Steve Hardy, but the character never caught on.
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Saturday has four pretty amazing movies, all in different genres, back to back: Out of the Past, The Naked Spur, The Hill, The General.
The Hill, a brutal WWII prison camp drama--a camp the British have set up for British soldiers who have misbehaved. Sidney Lumet is one of the most inconsistent directors in film history, but this represents him in top form. Great B&W cinematography by Oswald Morris, who won a BAFTA for this, is a huge asset. Sean Connery shows that he has real acting chops, and either Harry Andrews or Ossie Davis is my favorite supporting actor for 1965.
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If you like Diary of a Country Priest and haven't seen A Man Escaped or Les Dames du Bois de Boulogne, those would be good ones to seek out. Bresson's view of God has changed, and not for the better, by Au hasard Balthazar, which some like but I destest.
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2 hours ago, CinemaInternational said:
Just borrowed it from the newly reopened video store, and I agree, film got a bum rap. Its a very fine twisty thriller with two wonderful pros.
CI, I have noticed that films that are geared to an older audience almost always get more negative reviews than the film deserves. This has been generally true for the last few years. Anyone who likes Helen Mirren and Ian McKellen will probably enjoy The Good Liar.
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As many times as I've mentioned my shuddering dislike for Barry Fitzgerald, it's only right to mention that he gives an altogether outstanding performance as a treacherous, sniveling villain in The Sea Wolf. He's also rather good as the hanging judge in And Then There Were None.
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16 hours ago, cigarjoe said:
Touchez Pas au Grisbi (1954) Classic French Noir Masterpiece
Don't touch the stash, is a French-Italian crime film directed by Jacques Becker (Le Trou (1960)). The film was written by Jacques Becker, Albert Simonin, and Maurice Griffe. It was adapted from Albert Simonin's novel of the same name.
The cinematography was by Pierre Montazel, the music was by Jean W*i*e*n*e*r.
The film stars Jean Gabin as Max, an semi retired Paris gangster. René Dary is Riton, Max's old partner in crime. Lino Ventura plays Angelo the drug lord of a narcotics gang. Paul Frankeur is Fats Pierrot the Mystific night club owner. Michel Jourdan is Marco, Dora Doll is Lola, the dancer who goes out with Max. Paul Œttly plays Oscar, Max's fence, Oscar's secretary is played by Marilyn Buferd plays Betty, she is also a mistress of Max. Jeanne Moreau plays Josy, dancer who goes out with Riton.
It's the story of two semi retired gangsters, Max and Riton good friends who are getting old. They live off the somewhat "honest" money they skim from their cuts and connections. They pulled one last big job years ago and the gold bars they stole is their hidden stash for their full retirement. They have their club, their restaurants, their girlfriends. When Josy Ritons gal pal begins to do coke and stray he brags about having the stash in an effort to reign her in. She becomes his femme fatale when she tells Angelo the pusher.
This is a perfect film, Jean Gabin's performance is excellent. Throw in Lino Ventura and a young Jeanne Moreau as a cabaret dancer and the exquisite Black & White cinematography of Pierre Montazel all under the direction of Jacques Becker and it all adds up to Masterpiece. 10/10. A fuller review with screencaps in Film Noir/Gangster pages
Joe, I liked this film even better the second time around. The first time I was expecting a little more action in the opening section, but on re-watching I loved all the details about the gangsters' lives. I also really liked the middle-aged woman behind the bar who used to be Gabin's mistress, but has evolved into a friend who just watches as he runs after much younger women. Lots to like about this film.
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8 hours ago, LornaHansonForbes said:
I'm still over the moon with this MOVIELAND channel, I have been watching (but have not finished) THE TEN COMMANDMENTS (1956) which I thought was only available on DVD or at Easter on ABC.
DeMille was- honestly- a GENIUS. this is one of the most LASCIVIOUS, HYPER-SEXUALIZED FILMS to come out of HOLLYWOOD since the enforcement of THE PRODUCTION CODE and he is able to get away with it by coating it with a blanket of religious respectability.
There are lots of bare chests and armpits and I swear you can see ANNE BAXTER'S nipples in one scene.
also JOHN DEREK:
My, they do look like the hottest couple in ancient Egypt, don't they?
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1 hour ago, mr6666 said:3:45 AMC - 103 m
TV-14warAshes And Diamonds (1958)Synopsis: On the last day of World War II, a Polish Resistance fighter is ordered to kill a Communist leader.
Dir: Andrzej Wajda Cast: Zbigniew Cybulski , Ewa Krzyzewska , Adam Pawlikowski .see: http://www.tcm.com/tcmdb/title/67693/Ashes-And-Diamonds/articles.html
LEONARD MALTIN REVIEW:😧 Andrzej Wajda. Zbigniew Cybulski, Ewa Krzyzanowska, Adam Pawlikowski, Bogumil Kobiela, Waclaw Zastrzezynski.
Stark, intelligent, perceptive account of the Resistance movement in Poland during the closing days of WW2. Cybulski, the Polish James Dean, came into his own with his portrayal of a young Resistance fighter. The last of Wajda's War trilogy, following A GENERATION and KANAL.
I think Maltin has it backwards, except chronologically. James Dean is the American Zbigniew Cybulski!
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3 hours ago, cigarjoe said:
Tuesday one Noir Undercurrent (1946) not a fave 9:00 AM ET
Not a fave of mine, either. Mitchum and Hepburn have zero chemistry on screen and detested each other off screen. Hepburn has very little chemistry with Robert Taylor, either. It's really a gothic or damsel-in-distress film rather than a noir. The story is familiar enough that it has to depend on the casting, and the casting doesn't work for me.
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Thank you, Bogie. Ashes and Diamonds is one of the greatest films ever made. Probably the ultimate noir film, but in a historical context.
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Tom, thanks for a great review. I remember how good the opening was, and how surprisingly sexy Bruce Bennett was. Who knew? Ida is outstanding, but then she usually is. She was one of the best actresses of her time.
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41 minutes ago, speedracer5 said:
Looking over the schedule...
I'm excited about the Tony Curtis SOTM. I don't believe that he has been featured before and I think he's underappreciated.
It looks like the summer theme is a spotlight on John Ford. I wonder if this coincides with another season of TCM's new podcast.
7/2 The Alphabet Murders. I am interested in seeing Tony Randall play Hercule Poirot.
7/8 Vincent Price marathon. I'm most interested in The Long Night.
The Long Night is an excellent remake of the French film Le jour se leve. Henry Fonda, Barbara Bel Geddes, Ann Dvorak, Vincent Price, and Elisha Cook Jr. are all outstanding. first-rate noir cinematography, too. This film doesn't get high marks in some of the guides, like Maltin's. They are wrong.
Tony Randall does a fine job as Poirot, if I remember correctly. Had the film been a big hit, there would probably have been a series of Randall/Poirot movies.
Speaking of Leslie Nielsen, I just saw him give a fine performance as an old flame of Jessica's on Murder She Wrote.
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On 5/4/2020 at 11:23 PM, skimpole said:
And I've always wanted to see Who'll Stop the Rain and Insignificance. Perhaps 1978 premieres will eventually get around to showing Go Tell the Spartans.
I am not a fan of Who'll Stop the Rain, which, as it goes on, delights in its own rancidness. Nick Nolte turns his girlfriend on to heroin, but he's somehow supposed to be the hero of the film. For those who care about such things, early in the film there is a brief shot of Nick Nolte frontally naked. Michael Moriarty, who is often a very good actor, isn't so good in this one. However, I am a fan of Go Tell the Spartans, one of the best films about the Vietnam War.
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On 5/4/2020 at 8:05 PM, cigarjoe said:
Affair in Havana (1957)
A weird little Noir shot in Havana and directed by Laslo Benedek, with John Cassavetes, Raymond Burr, Sara Shane and Lilia Lazo. Cassavetes is a piano player in a nightclub. Raymond Burr is a very wealthy almost albino looking invalid in a wheelchair, Sara Shane is his **** wife who starts making the over on Cassavetes. John is doing his usual shtick which always reminds me of a deranged Jerry Lewis. A time waster. 6/10
This is the best description of John Cassavetes I have ever seen.
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I'm excited about the daytime Thursday schedule as well. There are four films directed by Basil Dearden I haven't seen: Sapphire, The Silent Partner, Woman of Straw, and Masquerade. The three I have seen--Victim, All Night Long, and The League of Gentlemen--are all worth investigating. Victim uses the thriller genre to make some valid points about how the English laws forbidding homosexuality actually encouraged blackmailers, and Dirk Bogarde was brave to play the lead role. All Night Long is a version of Othello set in a jazz club in London. Some famous jazz musicians make guest appearances. Nice performances by Patrick McGoohan, Betsy Blair, and Richard Attenborough. The League of Gentlemen is a heist film with a script by Bryan Forbes, who knows how to write lines that actors can use; Forbes also plays the gigolo who's part of the gang.
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The Silver Cord was a prestigious Broadway hit, which is probably one reason why it wasn't re-imagined for the screen. The concept of the "silver cord" remained part of popular culture for at least another couple of decades. With such a good cast it should have been a better movie.
Speaking of imagined for the screen: The Sin of Nora Moran was very imaginatively shaped, structured, and shot. Like TopBilled, I really liked Zita Johann.
Once to Every Woman was enjoyable, too, with a fine cast. There have been several films with the "patients in the women's ward" concept. The operation scene was imaginatively filmed, with the other doctors looking on from above. I have not seen many of Fay Wray's films and did not realize how attractive and talented she was. It was great to see Ralph Bellamy as the romantic lead, not the guy who gets dumped for Cary Grant. Mary Carlisle was fun as the platinum blonde selfish hussy and Jane Darwell was fun as the most annoying of the patients.
Congratulations to TCM for bringing these three movies to us.
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1. Marx Brothers - Duck Soup
4. Basil Rathbone - The Adventures of Robin Hood
5. Farley Granger - Strangers on a Train
6. Kirk Douglas - Spartacus
7. Natalie Wood - West Side Story
8. Bette Davis - All About Eve (The Letter, Now Voyager)
9. Sidney Poitier - Something of Value
10. Walter Matthau - The Odd Couple (and yes, great in support in Mirage)
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On 4/29/2020 at 9:08 AM, cigarjoe said:
Classic Noir was always about story and style. Visual Style is what made the original Noirs stand out. In B&W Film Noir we had the Chiarosuro clash of Shadows and Light the High Angle, Low Angle Shots, the Dutch angles, Depth of field etc., to give the sense of Alienation and Obsession and events spiraling out of control.
With color you can still get the sense of Alienation and Obsession with High Angle Low Angle Shots, the Dutch angles, Depth of field etc. but you also have new tools, extreme closeups, zooms and I've found that either a vividly clashing color palette or one is subdued, slightly disturbing, mildly nauseous, think of puke yellows, carnal reds, entrails green, and dead corpse blues can more than make up for lack of Black & White
Well you can look at it two ways. The Color Film Noirs that were produced within this 1940-1968 time frame were were, you could say, actually the first Neo Noirs (let's call these first phase neos or proto neos) so that the two sub genres/styles actually overlap. But until the Motion Picture Production Code weakened in the 1960s the only significant difference between Noir and Neo Noir was the use of color film. Post 1960 the Neo Noirs (second phase neos) both Color and Black & White began to drift away from predominantly crime centric stories into more previously taboo "dark" subject matter and employing various salacious visual depictions not possible before.
The catalyst for this new alignment is when I read a quote about Neo Noir that said that if the filmmakers made a conscience decision to film in black and white when color was the norm then it was an artistic decision and not one of necessity for budget purposes, Same should go the other way if B&W was the norm for low budget B Noirs then it was an artistic decision to film it color.
The color film Noir, or Neo Noir, running with this description, have been around now almost 70 years (again, my disclaimer, there maybe a few more to be identified) but they (Neo Noir) as a whole really up ticked in three decades, in the 70s (with 23), the 80s (with 17) and the 1990's (with 38) there was a dip, a lull, in the 2000s only 13 productions) with no films in 2000 or between 2002-4 and currently I count 7 in the 2010s, and with only three years left in the decade, it's lean times in the U.S., again these are almost all American productions about 120 total, there may and probably are more foreign films to find. Also it must be pointed out that as the majority of mainstream films are now predominantly catering to a youth and global market in general the subject matter has been sanitized, the story lines dumbed down and characters have been caricatured practically into cartoons. The new, creative and serious fountainhead for Noir is now actually cable television, and these productions should be considered now equal or even surpassing film (this however is an interesting subject to tackle for an entire different essay) :
# of Color Film Noir (Neo Noir) produced between 1945 and 1967 (there may be a few more that pop up)
1945 (1)
1947 (1)
1948 (1) ---------- 3 in the 1940s1953 (2)
1955 (3)
1956 (3)
1958 (1) ---------- 9 in the 1950s1966 (2)
1967 (2)................................... end of Black & White film production* I wrote this three or four years ago so the numbers for films in the 1990-2010s keep going up when I discover films of folks point one out. Example Fever (1999) is a pretty good psychological Neo Noir
Thanks, Joe. Serpico is one film that has a lot of the puke green look. I don't really care for the look, but it's clearly a deliberate choice.
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11 hours ago, LornaHansonForbes said:
GREGORY LA CAVA who directed MY MAN GODFREY did some interesting films, and has a lot of others I have yet to see. I tried watching THE HALF NAKED TRUTH the other day and was underwhelmed and did not finish, which surprised me as I like evryone involved
STAGE DOOR is- I think- his best, PRIMROSE PATH is good and one of the most PRECODE post-code films I have seen, GABRIEL OVER THE WHITE HOUSE is ****ing NUTS (think CAPRA ON COCAINE) and is on ON DEMAND now, I think.
I think the ideas in Gabriel Over the White House are those of William Randolph Hearst, the driving force behind the movie. Yes, it's wacko. This would be one of my examples of when the director of a film is not the auteur.
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HITS & MISSES: Yesterday, Today & Tomorrow on TCM
in General Discussions
Posted
Sister Kenny isn't actually a nun, which is confusing for us Americans. The British and Australian practice is to refer to all nurses as Sisters. Interesting fact: one famous person who received the Sister Kenny treatment for polio is Joni Mitchell.