SansFin

I knew Barbara Stanwyck only from movies such as: *Double Indemnity* (1944), *Jeopardy* (1953) and *The Two Mrs. Carrolls* (1947). To see her in *The Lady Eve* (1941) was surprising but her role was still strong and intelligent. I was not prepared for her to be such delightful ditz in *The Mad Miss Manton* (1938). It may be shock of seeing her in such a role that endeared movie to me. I do not have same reaction to *Christmas in Connecticut* (1945). I felt that movie very uneven. In my watching I have also found strong love/tolerate reaction to comedies. I know Bing Crosby and Bob Hope 'Road' movies are supposed to be very funny. I have no problem watching them but do not feel need to watch them again soon. I love most of Bob Hope's other movies I have seen and watched *My Favorite Spy* (1951) again the next day. *The Ghost Breakers* (1940) is also a new favorite I cannot justify.

> {quote:title=MissGoddess wrote:}{quote} > Do you have a few that have impressed you so much they are now among your favorites? I mean just two or three really outstanding ones? You are going to think me terribly shallow but my new favorites are almost all comedies. I never watched very much of them before this. All my friends and family and I mostly watched serious movies with only an occasional comedy. We did not consider comedies important. I did not know what I was missing. If I had to pick three of which I had never heard but now love: *I Love You Again* (1940) *Munchhausen* (1943) *The Mad Miss Manton* (1938)

> {quote:title=LoveFilmNoir wrote:}{quote} > Incredible. Have you been rating the films or even making a brief synopsis of each as you go? Would seem like an interesting little archive. I am thinking of doing this with my own DVD collection. Sadly I did not realize scope of what I was doing and made no records. I believed I would remember good films because I usually have a very good memory for such things. It was not until I was more than one month into it that I realized I was not sure which movies I had seen when looking at brief descriptions. I believe it was in June that I thought to start marking some which I would have to watch again because I felt as if I missed something and did not understand an ending. It was not until July that I thought to mark those I really liked and wanted to watch again. I have thought of many ways I could have done this differently. I see serious flaws in each alternate. I think it best I just keep on as I am going and consider it a good experience even though I have much confusion about the many films.

> {quote:title=MyFavoriteFilms wrote:}{quote} > I hoped that if I posted it in advance I could get some non-competitive feedback. After reading your reply, I don't feel too encouraged. I always try to keep my mind open because I very much like it when I am pleasantly surprised. I am looking forward to seeing your schedule.

> {quote:title=MyFavoriteFilms wrote:}{quote} > I just made a schedule. I think I will post it in this thread later today. I am very sorry for not understanding but I must ask: "Why are you doing such a thing?" If you truly believe you are good at making schedules why do you not wait for Challenge? You may surprise me but your description sounds to me to be more appropriate to film school list than what is appealing to viewing audience. To build schedule by date means putting best movies at times when few can watch. That is very academic. It is not how real world programmers should or would make schedule. I believed purpose of Challenge is to experience what TCM programmers have to do so we find new appreciation for their efforts. I am sorry to read that you do not see past "silly puns". For my schedules all themes came from question: "What theme will justify bringing together some movies I would very much like to see on TCM?". There were always times when there were not many great movies to fill out theme so I scrapped theme rather than show only a few great movies and having to add several mediocre movies. I do not speak for others but I believe most do the same. I am very surprised you can do whole week in five hours. You must be very special. It takes me longer than that even after I have schedule plotted out in CAD and am only doing cut-and-paste to move chosen titles from database to proper place in word processor document.

1000! Sadly I made very big mistake. I wanted to make 1000th movie to be a momentous one. There are several Hitchcock and Ford films left and some with noted actors in roles I have never seen. I was wanting to post some titles and ask for suggestions which would be best. I am sad to say I miscounted because when I choose DVDs to watch yesterday I forgot there were two movies on one disk and watched both. My 1000th movie was *Crime Unlimited* (1935). It was nice little period crime drama. Now only 341 more to watch!

The only thing I would change on that most excellent list is from 1950s sci-fi to 1930s sci-fi but I would truly be happy with either.

I love them! Thank you TCM for showing them back-to-back! I find new things in them every time I watch. They were very good at slipping in little quips which can slide under the radar. I cannot wait for the one in November. Edited by: SansFin on Sep 25, 2010 5:17 PM Edited by: SansFin on Sep 25, 2010 6:27 PM

MFF - What I love about a Challenge is how clever every entry is. I do not think any entrant expects their entry to be used as is as real schedule but it is definite plus that real programmers have used some of the cleverer ideas. It is standard part of communication skills that excellent way to influence people is to be a bit over the top so people can say to themselves: "This is ridiculous but we can use it if we tone it down a smidge." CineMaven - I agree it is a brain-buster. It is also great thrill when last piece falls into place. It is less than great thrill when I see I made a mistake and instead of being finished I had to redo entire day but that is the price one pays. I love your quote. I never heard it that way. It certainly seems apt from the gym teachers I knew. MFF - I believe each Challenge Setter can modify or create any rules to suit them but I found it is traditional that anyone can post an entry. New members have been particularly encouraged to enter. Voting is restricted to people who have been here a set period. I entered when I was not eligible to vote but entering made me eligible to vote. filmlover - I believe ClassicViewer's behavior was in quite bad taste but I did not see in it overt attempt at being obnoxious. It seemed to me they were saying: "I'm too good to do the work but I'm not too good to tell everyone how I could have made their mediocre efforts excellent." In my years of dealing with military administration and third-rate scientists and engineers I have seen this particular form of hubris often. I believe it is best to view such people with pity rather than contempt.

I know this is long shot but I have to ask - would you allow individual and joint entries? Capuchin and I work with databases and CAD so we both finish very quickly. We have kept our ideas and selections secret from each other until we post our entries. I think it would be nice to work with him on an entry. I still want to do one of my own although my mind is totally blank about what I might do. -I think the nursery rhymes I used in last one will be the highpoint of my challenge career.- I know he wants to do an entry because he mentioned a strange idea for week-long UberTheme. Could you allow entry from me, entry from Capuchin, and entry co-created by both of us? Please please please

We have a copy of Sekely's *The Day of the Triffids* It is a Cheezy Flicks release and that seems to me to sum it up. It is a lot of fun and very camp sci-fi. I do not see the story so horrific or important as to warrant a remake but I think that about 99.99% of all remakes done in last two decades.

I feel 1990 was very thin year. Best of the year is *Nikita* (La Femme Nikita) by Luc Besson with Anne Parillaud. It has wonderful overlays of frustration, futility and sense of duty with moments of comedy and tenderness. I will always remember two bathtub scenes. *Rosencrantz & Guildenstern Are Dead* One of my favorite films. *Like the Clouds, Like the Wind* (Kumo no yoni, kaze no yoni) Very touching in odd way. *Almost an Angel* Paul Hogan in odd little movie. *La voce della luna* Fellini's last movie.

I believe it edges into conspiracy. It was led by one man but had many different people working independently. Good example is when Roman thief kidnaps boy and holds him for ransom. It is his normal work. When he learns boy is a friend of The Count he is very cross with his people because they did not tell him before kidnapping. He instantly apologizes to The Count and releases the boy. Thief later kidnaps banker and makes him buy his meals with money he stole from charity. Money is returned to charity. The thief keeps nothing. These incidents show thief and his gang are independent and steal from and kidnap people when and where they wish but respect The Count's friends and act without recompense to advance The Count's plans. The Count has similar relationships with smugglers and others. They do not need specific orders as employees would. They act towards The Count's goals when and where they can without consulting him. Another example is when prosecutor's illegitimate son is in court. He knows he has been sold down the river and he is doomed but he still makes revelations against the prosecutor which advances The Count's vendetta against the prosecutor even though those revelations may do little to help him. He is somewhat an unwitting conspirator but yet he plays his part in The Count's plans well. If you chose to read the book I suggest you find a copy which is not abridged. My copy is four separate volumes. I also have paperback copy which is 1095 pages of small print but it is missing many good scenes. I hope you enjoy reading it!

*Guys and Dolls* (1955) Made by The Samuel Goldwyn Company. Distributed by: Metro-Goldwyn-Mayer - Theatrical American Broadcasting Company - TV, original airing, pan/scan CBS/Fox - Laserdisc Hallmark Video - Video Image Entertainment - Laserdisc MGM/UA Home Entertainment - DVD Network Entertainment - VHS

> {quote:title=hamradio wrote:}{quote} > I wish they show M-O trying to clean up the completely trashed Earth after landing, poor thing would have blew a fuse. The one who blows a fuse is Burn-E. http://www.youtube.com/watch?v=2TkCTLNnCtM

Those I have seen definitely belong on list of most influential. I am surprised at how many I have not seen since it is one of my favorite genres.

Pinking shears are commonly associated with clipping things .... um ... down there Swann escaped but afterwards talked in a high falsetto and gained weight but he no longer had to worry about paternity suits.

> {quote:title=hlywdkjk wrote:}{quote} > "WALL-E" is a Sony Walkman cassette player. "EVE" is an Apple I-pod mp3 player. Your comparison is apt and balanced. I once experienced something unbalanced but more like what I feel when I see Wall-E and Eve together. We were spending our mornings learning to do simple repairs and replace accessories on diesel engines so we would not need as many mechanics in the field. We were spending our afternoons as guinea pigs for environment testing of heads up display. Because data to be shown in working model was classified and because lead technician was bit of a flake we were shown clips from animated movies. Any typical day I would be wrestling with heavy and grimy hydraulic pump and a few hours later watched dragons sweeping above the treetops. > *"Such things have not been seen to such great extent in movies since silents."* > > And that is the perhap the most admirable trait of *WALL-E* - that the first half of the film is not only unashamed at being a "silent" movie but celebrates it. To release a film in the 21st century with no dialogue for 45 minutes is a very daring choice and I can't help but applaud those responsible for taking that risk. It was so well done I doubt many watchers noticed lack of dialogue. That is proof you can do anything if you do it perfectly.

A long time ago I saw the movie of Eugenie Danglars character. It was mostly faithful to book and I think it showed only things told in the book. Movie seemed to assume everyone knew all the other parts to the story. It was mostly her meetings with The Count of Monte Cristo and what a terrible father she had and her fleeing Paris to avoid being married off to her mother's lover. I will never forget scene where she was caught in bed with Louise d'Armilly. I have searched everywhere and can find no mention of it in any lists of The Count of Monte Cristo-related films. It may have been student film as I was watching many of those then. It was in black and white when almost all movies were being made in color but I think it was good enough it should have been distributed. I think that if good feature-length film can be made of one minor character then no movie can hope to capture the whole novel. If you do not see The Count using hashish or having murdering thief as friend or way he kept his protege from committing suicide then movie is not capturing vital parts of his character.

> {quote:title=traceyk65 wrote:}{quote} > I don't know, bit I will check out those titles. Thanks! There has never been good movie made of Count of Monte Cristo The story is much too large. I believe the book is four volumes. Each volume should be miniseries at least. Some chapters should be separate feature-length movie. *Prince of Foxes* shows only one incident in arc of domination-by-wealth. It is a very good movie but one must look for undertones to see 'I deserve to rule the world' mentality. Conspiracy part is implied by fact that others will do things they think Borgia wants and will increase Borgia's power.

> {quote:title=FredCDobbs wrote:}{quote} > What do you think about the pre-noirs, such as Scarface (1931) and Public Enemy (1931)? I love them both but I do not personally consider them film noir. They do not fit 'average guy with a dark side' idea. > I mean, those of us who have experienced similar situations with dames, know what he is thinking as soon as he sees her and as soon as we see him seeing her. I look more at woman's face when she knows he is looking at her. I am delighted to see: 'This is going to be fun.' look. You can tell whether she intends to play with his mind or with his body. It means there is going to roller-coaster of actions and emotions.

I believe basis for film noir is showing people are not simple constructs. There is so much good in the worst of us, And so much bad in the best of us, That it hardly behooves any of us To talk about the rest of us. - Edward Wallis Hoch Before advent of anti-hero most movies showed only one side of characters. Film noir showed good people can have dark side. Racism is one of those dark sides.

I have read that part of inspiration for The Count of Monte Cristo by A. Dumas pere was idea that people above certain level of wealth could create their own justice and secretly decide fate of others. *Prince of Foxes* (1949) is about machinations of Borgia family which was infamous for their wealth and power. Is that type of thing you mean?

I have seen *Short Circuit* (1986) only once. It was part of mindbend. Esso had me watch it and then watch *High Art* (1998) to see Ally Sheedy as naive greenie and then as junkie lesbian artiste. Is MO's name a play on Omnibot 17mu? -I am sorry I do not know how to put Greek letter into post but mu is English version of Greek letter used in name.- MO does not look like Omnibot 17mu but there is similarity to Omnibot 5402 as if it could be ancestor before species evolved very high foreheads: I saw connection between Wall-E and Buster Keaton. Sad eyes and fidgety hands. Always seeming to be out of place. I can believe Buster Keaton was part of inspiration and protomodel for robot. I loved contrast between Wall-E and Eve. He is mechanical, shabby and very self-conscious. She is sleek and clean, confident and somewhat magical. One feels they could take apart Wall-E and understand every part but one can only marvel at Eve. It is very stereotypical but it is how many men feel about themselves and it is how many women want to be seen by men. hlywdkjk - it is not safe to include only part of poem. When I saw your caption I immediately thought of: "Two roads diverged in a wood, and I took the one less traveled. Now I'm living on nuts and berries, and if the park rangers don't find me soon, I'm a goner." I found your reference very funny and apt but I had to pull my mind back to original poem. What I find amazing about good animation is use of body language to great effect. I have read that 95% of human communication is through body language to enhance or replace words. I could feel MO's frustration by posture and narrowing of eyes. In picture posted by HamRadio we see Wall-E's wistfulness while Eve giggles. It is so perfectly clear he is in love without saying a word. Such things have not been seen to such great extent in movies since silents. I think Wall-E might become classic movie as opposed to cult classic in future. Things that make it less than perfect for me are that I find songs grating on my nerves after short while and I find Fred Willard very irritating and too smarmy. I know that is why he was cast for part but it is far too much of 'good thing'. Edited by: SansFin on Sep 18, 2010 6:43 PM

Most of the recent movies I like are animation. It may be because they follow traditional storytelling techniques. It strikes me that good animation needs to make watchers identify with something which is not human and so does much more towards characterization than live-action movies do. Wall-E is defintely a character! I am chuckling now because I remember frustration of little brush robot trying to clean up after Wall-E. I will have to watch this movie tomorrow.