kingrat

Inside Oscar - I have an old edition through 1987 Screened Out by Richard Barrios A Woman's View by Jeanine Basinger The Star Machine by Jeanine Basinger Easy Riders, Raging Bulls by Peter Biskind Pictures at a Revolution by Mark Harris Bad Movies We Love Though I don't own it any more, I learned of many now obscure films through the miscellany section of Pauline Kael's Kiss Kiss Bang Bang.

If you like Dane Clark, you need to see DEEP VALLEY and MOONRISE, if you haven't. DEEP VALLEY is my favorite of his films. Playing opposite Ida Lupino is a definite plus.

Lawrence, I'm not sure if I just haven't seen enough movies from 1930, but those are the three that stood out to me, too.

Cool idea for a thread, Bogie. My choices would probably be: Best Picture: ALL QUIET ON THE WESTERN FRONT Best Director, Lewis Milestone, ALL QUIET ON THE WESTERN FRONT Best Actor: Lew Ayres, ALL QUIET ON THE WESTERN FRONT Best Actress: Greta Garbo, ANNA CHRISTIE Although Groucho Marx and Margaret Dumont have given me so many hours of laughter, it's hard not to reward them.

Jake, thank you for some wonderful photographs. For those who didn't like THE REVENANT or, like me, have no interest in seeing it, let me recommend five of the other nominated films: BROOKLYN - My favorite of the five, perfectly executed, simple yet great direction by John Crowley. If you like the style of Preminger or Zinnemann, this is for you. THE BIG SHORT - Very entertaining. Steve Carell is terrific. SPOTLIGHT - If you can accept the subject and will overlook the first ten or fifteen minutes (awfully flat), builds in power. Tom McCarthy has no business being in the Best Director race (sez me), but the script is good, and so is the ensemble cast. ROOM - A real downer of a movie, but very well executed. BRIDGE OF SPIES - Not terribly original, but soundly done, as is usual with Spielberg.

A few more favorite roles: Audrey Hepburn, THE NUN'S STORY George Sanders, ALL ABOUT EVE Humphrey Bogart, IN A LONELY PLACE Gary Cooper, BALL OF FIRE Gene Hackman, BONNIE AND CLYDE

Gosh, I have to agree with Lawrence on a bunch of these. Marlon Brando, ON THE WATERFRONT Gene Tierney, LEAVE HER TO HEAVEN Anthony Quinn, ZORBA THE GREEK John Wayne, THE SEARCHERS Tyrone Power, NIGHTMARE ALLEY Check out Marion Davies in SHOW PEOPLE. She was a delightful and talented comedienne. GPFan, I'm also a big fan of THE GUNS OF NAVARONE, one of my three favorite action movies, the others being THE ADVENTURES OF ROBIN HOOD and THE HUNT FOR RED OCTOBER. A solid script and a great cast beat CGI any day.

Other Garfield recommendations: HE RAN ALL THE WAY, a top-notch man on the run noir starring Garfield opposite a suprisingly slender and surprisingly subtle Shelley Winters. Good direction by the soon-to-be-blacklisted John Berry. BETWEEN TWO WORLDS, a remake of OUTWARD BOUND that's better than the original. This afterlife fantasy (directed in film noir style by the truly unknown Edward A. Blatt) features the Warner Brothers stock company and holds up remarkably well.

Some of the full-length TV movies in the BBC POIROT series are excellent as well. THREE ACT TRAGEDY is a particular favorite, very well directed.

Joan Bennett. The problem with a potential SOTM for her is that she made films for a variety of studios, so gathering the rights to them at the same time presents a problem. It wouldn't be as difficult to do a birthday tribute some February, however.

Thank you for posting. This is really interesting. Who would have guessed that THE SNOWS OF KILIMANJARO was #2 on the box office list?

One of my favorite movie quotes is Susan Sarandon's line from BULL DURHAM, "Men will do anything if they think it's foreplay." Some of the people who put out DVDs clearly believe, "People will buy anything if they think it's noir." And sometimes we do!

I'll add some more to my previous post: Laurence Olivier, RICHARD III Jane Wyman, MIRACLE IN THE RAIN Humphrey Bogart, IN A LONELY PLACE William Holden, SUNSET BOULEVARD Audrey Hepburn, THE NUN'S STORY Marlon Brando, ON THE WATERFRONT Grace Kelly, REAR WINDOW Ernest Borgnine, MARTY Anthony Quinn, ZORBA THE GREEK Alec Guinness, THE HORSE'S MOUTH Elizabeth Taylor, NATIONAL VELVET Sophia Loren, TWO WOMEN Gregory Peck, DUEL IN THE SUN Sidney Poitier, SOMETHING OF VALUE Patricia Neal, A FACE IN THE CROWD Paul Newman, THE HUSTLER Rex Harrison, MY FAIR LADY Julie Andrews, MARY POPPINS Lee Marvin, THE BIG HEAT Julie Christie, BILLY LIAR Paul Scofield, A MAN FOR ALL SEASONS Rod Steiger, ON THE WATERFRONT Maggie Smith, OTHELLO Glenda Jackson, WOMEN IN LOVE Jane Fonda, KLUTE Jack Lemmon, SOME LIKE IT HOT Jack Nicholson, CARNAL KNOWLEDGE Peter Finch, THE NUN'S STORY Faye Dunaway, BONNIE AND CLYDE Richard Dreyfuss, THE COMPETITION Diane Keaton, MANHATTAN Sally Field, NORMA RAE Sissy Spacek, BADLANDS Daniel Day-Lewis, MY LEFT FOOT Jeremy Irons, REVERSAL OF FORTUNE Anthony Hopkins, THE REMAINS OF THE DAY Tom Hanks, FORREST GUMP Russell Crowe, L.A. CONFIDENTIAL Holly Hunter, BROADCAST NEWS

This is a really cool topic, skimpole. Instead of anguishing over which is my favorite Bette Davis performance, here are some I know right away: Katharine Hepburn, LITTLE WOMEN Judy Holliday, THE MARRYING KIND Greer Garson, MRS. PARKINGTON Jennifer Jones, LOVE LETTERS Henry Fonda, THE GRAPES OF WRATH James Stewart, VERTIGO John Wayne, THE SEARCHERS Ronald Colman, RANDOM HARVEST Paul Muni, I AM A FUGITIVE FROM A CHAIN GANG Loretta Young, MAN'S CASTLE Vivien Leigh, GONE WITH THE WIND Olivia De Havilland, GONE WITH THE WIND Clark Gable, GONE WITH THE WIND Gene Hackman, BONNIE AND CLYDE George C. Scott, PATTON Luise Rainer, THE GOOD EARTH Shirley Booth, COME BACK, LITTLE SHEBA Anne Bancroft, THE GRADUATE Jon Voight, MIDNIGHT COWBOY Yul Brynner, THE KING AND I Ingrid Bergman, NOTORIOUS Claudette Colbert, MIDNIGHT Charles Laughton, THE HUNCHBACK OF NOTRE DAME Joan Fontaine, THE CONSTANT NYMPH Gary Cooper, BALL OF FIRE James Cagney, WHITE HEAT Joan Crawford, GRAND HOTEL

I love all the comments Tom and Eugenia have made about THE FURIES. What I'd love is a version where Richard Widmark or Glenn Ford replaced Wendell Corey, but the rest of the movie is great. If it has a noirish feel, that's probably because Anthony Mann had been making some of the best noirs (RAW DEAL, for instance) just before he turned to westerns. TCM has shown THE FURIES, but not in the last five years or so. There are westerns that have a distinctly noirish feel, most of all PURSUED, but also BLOOD ON THE MOON and DAY OF THE OUTLAW. On another topic: CRIME IN THE STREETS, despite the title, is not very noirish. It's essentially a socially conscious play where a kindly social worker (James Whitmore) tries to reform a young hoodlum (John Cassavetes, who's a tad older than the character he plays). There's a gang fight that opens the movie, but the most noirish element is the character played by Mark Rydell, who has a huge crush on Cassavetes and is excited by the thought of committing a murder with him. To some viewers, no Hitchcock film is really noir, because Hitchcock more or less creates his own genre.

I saw ROOM, a well-made film not recommended to those who are already feeling depressed. Clever direction so that the room feels less claustrophobic that you would expect. This reflects the boy's view of his surroundings, the only world he has known. Brie Larson is very believable as the girl who has been imprisoned in a garden shed. The production design for the grandmother's house is excellent; many of us have been in houses like that. ROOM accomplishes what it sets out to do quite effectively. If you don't like films that are "downers," however, this is not for you.

Yes, THE GANG'S ALL HERE, in Fox Techinicolor, has some very surreal moments. Carmen Miranda sings "The Lady in the Tutti Frutti Hat" while dozens of showgirls dance around while wearing huge headdresses shaped like bananas. DAMES also has particularly surreal numbers. Berkeley seems like such a natural surrealist that he makes Luis Bunuel seem like a stuffy graduate student.

Kay, I'm also a fan of THEY MADE ME A FUGITIVE and especially BRIGHTON ROCK. Richard Attenborough doesn't seem the likeliest actor to play a budding young psychopath, but he is brilliant. I also recommend IT ALWAYS RAINS ON SUNDAY, SO EVIL MY LOVE, the 1950s noir THE LONG MEMORY, and Joseph Losey's early 1960s film THE CRIMINAL. There are also American noirs set in England. NIGHT AND THE CITY and SO WELL REMEMBERED come to mind. Some favorite 1940s noirs: BORN TO KILL THE LONG NIGHT THE MASK OF DIMITRIOS LAURA LEAVE HER TO HEAVEN NIGHTMARE ALLEY RAW DEAL GUN CRAZY CRISS CROSS THE LOCKET

Ralph Bellamy gets the girl in BROTHER ORCHID, and of course he has the girl in SUNRISE AT CAMPOBELLO. Usually, though, he does not get the girl.

Katie and other first-time attendees, Just a note about food. There are several food options in the Hollywood and Highland open-air mall where the multiplex with the smaller screens is located, including several fast-food options. These have been known to change from year to year, but several are located near the entrance to the multiplex, which is on the second level of the mall. Across the side street from the Roosevelt is a Coffee Bean & Tea Leaf, and a fast-food Mexican place is only a few doors down. There's an In & Out Burger a block or so behind the Roosevelt (Californians swear by In & Out). There are restaurants and fast food close to the Egyptian Theater as well. After the first day this will all make sense to you. The locations are within easy walking distance. On Hollywood Boulevard you'll have to push past tourists (not our film festival people) and people in tacky costumes trying to get cash from the tourists. This is the only down aspect of the festival, and it doesn't matter next to all the great things. Do schedule time for meals. Some of us try to squeeze in one decent meal a day (granted, I once had dinner at 4:00 because of the movie schedule) along with breakfast at your hotel and a quick grab for another meal. I've had a Classic Pass for the first six festivals, and that's always been a great choice for me. If there's a movie that's a must-see for you, show up an hour in advance to get your "Queue Card," which gives you a numbered place in line. They start seating about 20-30 minutes before the show starts. In six years I've never missed a movie this way, although at one of the smaller venues I cut it close and got one of the last six seats. Do talk to people in line. All you have to do is ask, "What movies have you seen?"

People may not recognize that someone is an impostor or an evil twin, but doggies always know. Nice people always drink milk, even in bars. (If I believed in conspiracy theories, I would believe that classic Hollywood was run by the American Dairy Association.)

I believe it is now time to begin posting ten favorite supporting actor performances. This list includes two Oscar winners, three other Oscar nominees, and five who were not nominated. In chronological order: Van Heflin, JOHNNY EAGER Claude Rains, NOTORIOUS Michael Redgrave, DEAD OF NIGHT Juano Hernandez, INTRUDER IN THE DUST Oskar Werner, DECISION BEFORE DAWN Burl Ives, DAY OF THE OUTLAW Robert Mitchum, CAPE FEAR George C. Scott, THE HUSTLER Gene Hackman, BONNIE AND CLYDE Christopher Walken, THE DEER HUNTER

The female lead should always give up her nice boyfriend for the exciting bad boy. The male lead should always give up the exciting bad girl for the nice girl.

So many good choices by JLewis and Bogie. I'll just second a couple of those choices: 1939 - GONE WITH THE WIND is exactly what Clark Gable feared it would be, a woman's picture. It just happens to be the greatest woman's picture ever made, with representative types of all the possibilities for women within their society. Once you realize that the key relationship is the one between Melanie, the ideal woman of her society (as was Scarlett's mother), and Scarlett, who doesn't even realize how she violates those ideals, everything about the picture falls into place. 1965 - Of course the best picture is KING RAT. Bryan Forbes' script is even better than James Clavell's novel. The established social order is overturned, just as in LORD OF THE FLIES and, yes, the second half of GONE WITH THE WIND. A great cast, with James Fox in the pivotal role the best of the best. 2015 - Though I haven't seen some of the possibilities, it's hard to imagine that there's a better film than BROOKLYN out there. The camera is always in the right place at the right distance showing the right emotion.

Bogie, I'm completely with you on ignoring the Oscar categories when it comes to deciding who's a lead actor and who's a supporting actor. The most absurd categorization ever was Richard Burton's nomination as supporting actor for MY COUSIN RACHEL. 1) He's the male lead; 2) he's on screen probably twice as much as his leading lady, Olivia De Havilland; and 3) he's in just about every scene of the darn movie. But he wasn't a star at the time and Olivia had top billing. I also agree that Brando in THE GODFATHER and Bogart in THE CAINE MUTINY have supporting roles. You've also pointed out that Meryl Streep actually has a supporting role in THE DEVIL WEARS PRADA. There are cases, however, where it's difficult to decide. For instance, Eva Marie Saint had been considered for Best Actress in some pre-Oscar awards. She certainly has the female lead. But is it Brando's movie to the extent that she's a supporting player? I could argue that Patricia Neal is really a supporting player in HUD because Paul Newman and Brandon de Wilde have the lead roles. Sometimes it's a judgment call.