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About JonnyGeetar

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  1. It's an inn-teresting movie and a ballsey movie, and while it does show up a lot on the schedule- it's one of those "wow, they could actually say that/ do that or they knew that back then, huh?!" type sociologically/historically inn-teresting films that merits being in healthy rotation. I have to say though that I tittered more than once at Jimmy Stewart as a German. I get what they were going for, and I know Margaret Sullavan, Robert Stack and Frank Morgan didn't exactly try on a Von Stroheim routine either (and it's probably good that they didn't), but something about Stewart's built-i
  2. > {quote:title=Hibi wrote:}{quote}Who has dismissed (Ray Milland's "Lost Weekend" performance?) Ooooh. Good question. The only concrete answer I can give for now is Danny Peary. who wrote the excellent book Alternate Oscars for which he gives his own picks for actor, actress and picture from 1927 to 1991. Not only did he not think Milland even worthy of a nomination in 1945, but he argues that Boris Karloff should've taken the prize for his role in The Body Snatcher ! (For the record, Boris is fine, but it's supporting.) It *seems* in my rusty file cabinet of a mind that I've read oth
  3. > {quote:title=TopBilled wrote:}{quote}Teresa Wright is sensational in TRACK OF THE CAT. Each nuance, even in a scene with routine action, carries significant meaning. Yes, but it's very tough for me to watch her in that film. Shadow of a Doubt is one of my ten favorites of all time, and I worry as I watch Wright in Cat that this is how sweet little Charlie ended up, once her (perfectly understandable) issues with men ruined things with MacDonald Carey. ...Oh, and I do stand by me original assertion that the star wattage of the terrific trio of Wright, Milland and La Fontaine was (a
  4. How inn-teresting! I like the title, I *love* the cast (esp. Wright and La Fontaine), but I too have never hoid of it. In imdbing Stevens, i see that it came right before Shane and GIANT , so- clearly- he recovered all right critically, although he did not make many more films after this. It's inn-teresting that this came hot on the heels of his Oscar for A Place in the Sun - I assume all three principle actors were excited to be working with Stevens at this time, especially as the star wattage of all three former Oscar winners was decidedly dimming. I run the risk of de-reailing the
  5. *in re: the discussion of pre- American Graffiti films that had "dominant pop standard" soundtracks.* Yeah, I think The Graduate beats AG in that department by five or so years, although it's worth nothing that it (and Harold and Maude and others used *one* artist (or group) to provide the dominant score. (which in both cases is excellent.) But I just have to chime in (somewhat superfluously no doubt) that a MAJOR moment in film music history occurs at the start of Blackboard Jungle where Leo the Lion and the M-G-M logo fade out just as Rock Around the Clock by Haley and the Comets
  6. thank you one and all. The level of inn-teresting discussion this movie promotes is heartening and it needs to be an Essential. (Has it already?) There's so much I could say, but I can only get this out right now: I think I was a little harsh in the orinal post. Somewhere in there I should have said "it's a damn good and damn inn-teresting movie." I think I was still reeling from not hating Richard Dreyfuss in something that wasn't Jaws. (and even then he's smarmy, but it's so right for the role.)) Anyhoo, before I digress anymore, I was reading somewhere (wiki? imdb? I tried
  7. I caught (most of) this last night for the very first time. Some long-standing, concrete-foundationed "isms" and notions of mine have been shattered and I have nothing but random thoughts/observations/queries to throw at you. *It's about nothing. *It would be nothing without that AWESOME soundtrack and that GREAT cinematography....oh and the ace editing (Verna Fields, who also did Jaws ). And the solid direction and script... *It's cowritten by one of the most successful bad screenwriters in history, and the script and dialogue are terrific. (!!!!!!!!) *It's directed quite well by
  8. > {quote:title=Hibi wrote:}{quote}But dont forget lobotomies werent always considered nutty. I believe Williams sister, Rose, had one........ That's exactly why the lack of a clear time setting in Summer annoys me. By the fifties, when it seems like the film is set, we knew lobotomies were baaaad ideas- which makes Clift's character either a total nitwit and something of a potential villian. If we had a stronger sense of the fact that it is set in the late thirties, when lobotomies were considered potentially restorative (exactly why anyone ever thought this is beyond me, but whateve
  9. > {quote:title=Hibi wrote:}{quote}. I dont find (Suddenly, Last Summer) tedious at all. > I find it hilarious it's supposed to take place in the 30s or 40s and Liz is running around in spike heels.... You caught me. "Tedious" was not an apt word for the film. There are moments where it totters on the brink of tedium, but then something wacky happens, like Liz burning the nun with the cigarette or making out with Monty when he's the one making the call on whether or not to cut her head open. It's all so the last act of Soapdish. The lack of a sense of the time in which S
  10. > {quote:title=BrianMEwig wrote:}{quote} it was certainly not a congenial set. The director, Joseph L. Mankiewicz, apparently belittled the poor, broken down Clift at every opportunity, enraging Hepburn to such an extent that she actually inquired of Mankiewicz on the last day of shooting whether all the necessary footage had been completed. When Mankiewicz said yes, Hepburn reportedly spat on him and left the set. I've heard the same story and honestly, I'm not entirely sure it's true. Another poster here, the aforementioned Sprocket Man, is verrrrrrrry knowledgable on film and the films
  11. > {quote:title=Hibi wrote:}{quote}LOL. You are right, Kate (Hepburn in "Suddenly Last Summer" was more of a supporting part (but) why do you consider (her performance) a failure? I find her creepily effective in her monologues...... Well, it's not entirely Hepburn's fault as the film itself is an inn-teresting failure (and one I own on DVD and have watched countless times.) It's overwrought, a lot of the dialogue is ludicrous, the premise ( including lobotomies, psych wards and hints at cannibalism) is beyond ludicrous, the symbolism (including the turtles and birds) is a rather heavy-han
  12. > {quote:title=finance wrote:}{quote}YOUR point fizzles out when you fail to mention the films they appeared in. Kee-ripes, did Sprocket Man go on vacation and ask you to step in as guest editor or something? For the record, in my follow-up post I listed some of the (more substantial) performances Signoret won over and I included it in the original "Le Shelley" post, but deleted it as I thought it detracted from the topic of the thread, which is Les Diaboliques. Again, I take a side street: The 1959 Best Actress nominees: Doris Day in Pillow Talk, Audrey Hepburn in The Nun''s
  13. I really wish this film was getting the 8:00 pm spot, but it has been featured as one of Bob's picks in prime time, which is how I first came to see it. Directed by Jacques Teurnuer (sic I am sure) who also did Curse of the Cat People and Out of the Past, it's a really charming slice of Americana, very much in the vein of The Human Comedy or Meet me in St. Louis. Charming from start to finish, delightfully episodic, great acting and a wonderful story. One of Joel McCrea's absolute best, and one of his transition roles into father figures (it came out in 1950.) Mislabeled as a "Wester
  14. > {quote:title=Hibi wrote:}{quote} > I also seem to be in the minority that think Signoret didnt deserve the Room at the Top award. (not that I didnt think she was good......) Actually, I think the concensus of more than one present day critic is that Marilyn Monroe deserved it for Some Like it Hot. (although Marilyn did hang on to the consolation prize of Signoret's husband for a few months.) Personally, as goofy as Suddenly Last Summer is, Liz Taylor's work is an outright revelation worthy of being called the best of a great year, although Audrey Hepburn is awesome in The Nun's Story
  15. > {quote:title=Hibi wrote:}{quote}I was a bit ticked that RO and Drew fawned over Signoret and didnt mention Vera at ALL except to say she was MARRIED to the director (as if she didnt deserve the part) She outshined Signoret totally in the film. I thought we had agreed that it was best to just mute the introes to this round of Essentials. Simone Signoret has always struck me as the French, slightly masculine version of Shelley Winters- (minus Shelley's sometimes aggressive pathetic-ness.) I like her okay in Les Diaboliques, I like her a lot in Ship of Fools (but Vivien Leigh is
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