AndyM108

To be honest, I've never dwelled too much on that "What's holding him up?" line, since O'Brien was dealing with a psychotic killer who would've drilled him in a blink. My view of undercover moles in general depends on the purpose of the plant, and while there are certainly sympathatic sides to Cagney's character, the bottom line remains that when you get into armed robbery and murder, you don't have much standing to complain about police tactics. When I think of great lines that end an O'Brien movie, though, I don't think of White Heat (that's Cagney's baby), but the final scene in The Killers, where O'Brien reports to his insurance company boss after wrapping up an investigation where he's dodged multiple muggings and bullets in a heroic (and successful) quest to find out what was behind Lancaster's murder. So after surviving all that, and perhaps awaiting a bit of a bonus for his saving the insurance company $5,000, his boss tells him *"This is Friday. Don't come in until Monday"* as O'Brien walks out the door with a sardonic grin on his face. It's about as fitting an ending as can be imagined for O'Brien's lunchpail character.

> {quote:title=EugeniaH wrote:}{quote}*the only major disappointment is the absence of* *I Walk Alone* > > That's a movie I've really wanted to see, because I've read a lot of raves about it on these boards... The only time that movie's played any time I can remember was during the first week of Kirk Douglas's SOTM tribute in September of 2011. Glad I recorded it then, because next to Out of the Past that may be my favorite Douglas movie ever. The rivalry between Lancaster and Douglas almost amounts to a tomcat fight.

T{font:sans-serif}he Atlantic Ocean was something then. You should have seen the Atlantic Ocean in those days.{font}

Hard to believe that an actor as great as Lancaster hasn't been SOTM since 1999, but better late than never. Looking over the schedule, the only major disappointment is the absence of I Walk Alone, a terrific 1948 drama of gangster betrayal he made with Kirk Douglas that was a reversal of their good guy / bad guy pairing in Seven Days in May. I also wish we'd gotten the caper drama Criss Cross, but I suspect that was left out due to acquistion issues. One pleasant surprise: The Swimmer, a very dark film based on an equally dark John Cheever short story. This one doesn't show up very often, and I'd recommend it highly to anyone who hasn't seen it. And what better choice to kick off the tribute than The Killers. That's one of those movies I could see a hundred or a thousand times and never get tired of it. *KITTY IS INNOCENT!* *KITTY IS INNOCENT!* *KITTY IS INNOCENT!*

I'm a big William Holden fan, too, and I guess my favorite is Executive Suite. What an all-star cast in that one! Holden, Stanwyck, March, Calhern, Paul Douglas, Pidgeon, Nina Foch, Dean Jagger, Shelley Winters and June Allyson. For those of us who appreciate the great actors of yesteryear who've slipped under today's radar, that's truly a movie to treasure. I checked on The Dark Past, and though I don't have it, the plot seemed familiar. And then I noticed that it was also known as Blind Alley. I checked my holdings on that title, and found that the Holden / Cobb version was actually a remake of a pretty good but not great 1939 movie starring Ralph Bellamy (the shrink), Chester Morris (the hood), and Ann Dvorak (the conflicted moll). Now I want to see the Holden / Cobb version to see how it compares to this earlier film.

> {quote:title=Fedya wrote:}{quote} > > By contrast, on the Fox Movie Channel, you get no music and only a few seconds between the beginning of the intro and the start of the movie, which doesn't give me enough time to finish up a rack before I start running up the stairs. > Are you sure of that? Don't they have the end of the Fox fanfare, followed by several seconds of "whooshing" with the "Next feature in..." and the thing going around like those old countdowns at the beginning of reels of film? Yeah, but it's all done in such staccato style that it's almost all over before you notice it. I haven't watched the new TCM intro in full yet, but their "classic" intros gave you nearly a full minute from the first familiar note to the actual start of the movie, with several distinct turning points in the music to help you re-set your internal clock. If you're in another part of the house but want to record the film, that elongated lead time with multiple interim cues is a blessing, and I hope the new one doesn't cut it short. One case where TCM hasn't lately followed tradition is with The Essentials, where it now just kind of fades into the introduction without any warning. But since I usually don't care about recording the introduction, that's a relatively minor issue.

The real trick would be to find actors and actresses whose birth names or marriage certificate names fit this description. I'd guess that would shorten the list considerably. No more "Bob Hope", for instance.

Since I often use the down time between films to practice pool, and since my pool table is five steps down on our house's lower level, the most important thing for me about the introductions is the rhythm and predictability of the music. I loved the intros TCM was using up through yesterday because I could easily time my sprint up the stairs to the precise point where I pressed the record button. Since I already had all of today's Bogarts, I'm going to have to wait to give it a test, and if they're still using it on the 29th with 24 hours of Glenda Farrell, I'd better have it down pat by then. B-) By contrast, on the Fox Movie Channel, you get no music and only a few seconds between the beginning of the intro and the start of the movie, which doesn't give me enough time to finish up a rack before I start running up the stairs. You'd think they'd have a little more consideration.

Was there *ever* a dramatic movie that Ida Lupino didn't give a terrific performance in? High Sierra was just one of a long line of them. Out of the Fog, They Drive By Night, High Sierra, Moontide, The Hard Way, The Man I Love, Road House, etc., etc. It's actors and actresses like Lupino who make me keep coming back to TCM, far more than the "Big Names" whose films often get shown to the point of near exhaustion.

> {quote:title=jamesjazzguitar wrote:}{quote}Tootsie is indeed a very good film and I enjoy it a lot, but I do believe it is legit for people to question if TCM should show such a modern film as Tootsie (released in 1982). (as Fred would say, other stations already show movies like that, but they do NOT show many studio era movies like TCM does). > > So maybe you're not afraid to answer what I think is a key question for fans of TCM; What percentage of TCM's programming should be set aside for NON American studio era movies (1930 - 1968)? > > I say around 20%. Some like Fx are OK with up to 33% (if not more) while others (I believe the OP), would like to see less than 5% (and even wish modern movies are shown only from 1 - 6 AM!). > > To me, 20% allows for enough time to feature foreign films, post Hays code "classics" like Tootsie, silent movies, special programming like the Carson series, etc.. without making TCM's programming 'all over the place' (i.e. most of the time when I turn to TCM I know what to expect, but around a fifth of the time I might get something unexpected). > > > I'd definitely prefer about 25% of TCM to consist of silents, foreign films, and post-1968 movies. Within those groups, I'd want about 2 foreign films and 2 post-1968 movies for every silent. This is because the first two groups presumably have many more movies to choose among, not because I have anything against silents This amounts to maybe 4 movies a day. Considering the enormous number of great movies to choose from in those three categories, that doesn't seem like too much to ask. "Extras" like the Carson show come along so infrequently that I don't really care which genres they replace. But what I'd love to see more of instead of Carson are those original TV dramas that featured our favorite Hollywood actors. For example, The Barbara Stanwyck Show ran 2 years and produced lots of great drama. Running a bloc of maybe 6 of those shows would take up 2 and a half hours (3 hours if you included the original commercials), and would be a nice little addition to the regular programming. As for the time of day, IMO all of TCM's movies should be rotated around the clock in roughly equal segments. IOW the silents/foreign/post-1968 films should be shown about once or twice a week in prime time, and otherwise distributed equally between 2:00 am and 8:00 pm during the course of the month.

> {quote:title=finance wrote:}{quote}Who were they supposed to select to play the serial murderer? Ned Sparks? Sterling Holloway? Hugh Herbert? I can guarantee that the sight and sound of Hugh Herbert's nervous giggle would kill me a lot faster than Peter Lorre's knife. Give him about five minutes and I'll be history.

In my case it's not so much that I'll watch a recommended movie that's on the current schedule, since virtually no TCM movie can ever sneak under my radar to begin with. What comes into play much more is the mention of an unscheduled movie that I'd never previously heard of, which gets my curiosity up, and causes me to go look for it on Netflix. So yeah, I definitely get valuable information and insight out of these forums.

> {quote:title=misswonderly wrote:}{quote}"Film Noir" is generally agreed to be a "genre" (or sub-genre, or style ) roughly covering the period from the early '40s to the late '50s. Any movie made before that might have elements of noir, but would not be regarded as a true film noir. > There were no bona fide film noirs made in the 30s. Even the film often cited as the first actual film noir, *Stranger on the Third Floor*, was made in 1940. I wouldn't argue with that statement, as long as you're confining it to Hollywood movies. But it would be hard to argue that Fritz Lang's M, made in 1931, wasn't thoroughly noir from beginning to end, and in fact one might even say it was one of the top 2 or 3 noirs ever. And perhaps it's no mere coincidence that Peter Lorre, who gave such a chilling portrait of the child molester in the Lang movie, was also chosen to play the serial murderer in Stranger on the Third Floor.

> {quote:title=Dargo2 wrote:}{quote}Oh, okay. I see what your point is now, John. > > (...but hey, isn't it kinda "ironic" that THAT biopic made in 2002 is far superior in every way to the biopic made about Babe Ruth that starred William Bendix and that was made during Fred's "Hollywood's Golden Era", NOT to mention more than a few OTHER poorly made biopics done during "Fred's era" TOO?!!!!) > > LOL If you removed all the biopics from Hollywood's "Golden Era", the overall quality of the period would rise at least 10%. The sports biopics were merely the worst of the lot, though some of their unbelievably inane miscastings (Gary Cooper as Lou Gehrig; William Bendix as Babe Ruth) and invented incidents take that particular sub-genre into Ed Wood territory.

> {quote:title=LonesomePolecat wrote:}{quote} > > {quote:title=AndyM108 wrote:}{quote}Nineteen Thirty-Nine, Nineteen Thirty-Schmine. Give me this lineup from 1950 any day. > Andy, those are awesome movies. The '50s were a good solid decade, especially, for me, the early pre-widescreen '50s. > > Another great year for me is 1962 with classics like Lawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, Dr No, Days of Wine and Roses, Birdman of Alcatraz, The Longest Day, Cape Fear, The Man Who Shot Liberty Valance, and The Manchurian Candidate > Even though I like (and even love) many movies from the 1960's to the present, I do think that the black & white pre-widescreen films before that were far less fixated on cinematic gimmickry, concentrated more on plot and character development, and hence were on average much more compelling. Since I believe that 1962 was the first year that the majority of films were shot in color, that year makes a convenient cutoff point to mark the end of my favorite era, an era which began roughly in 1944 with the coming of so many noirs. As a crude generality, I think that the split between those who favor the 1935-45 "era" and those like me who prefer the decade+ that followed it, primarily depends on whether one more enjoys screwball comedies, musicals, costume dramas, and "romantic" adventure stories, or whether one favors more realistic dramas that are far more graphic in dealing with the less glamourous side of present-day humanity. There's plenty of overlap between the two "eras" with regard to the dominant genres presented, but as a whole it's pretty obvious that with the end of the war there was a clear turn towards gritty and away from pretty, at least in the black & white films. Of course the pre-codes gave us much realism, too, and at their best their take on political issues (Wild Boys of the Road; I Am a Fugitive From a Chain Gang; Heroes For Sale) can't be beat, but those are more the exceptions than the rule. And just to take another pair of outstanding examples from each of those periods, there's no way that The Public Enemy or Little Caesar, great (and I mean great) as they are, can seriously match films like The Killers or Out of the Past for either storyline or character depth.

Actually, there are lots of cerebral gangsters. There sure have been, and in fact this criminal mastermind was 100% cerebral, since his spirit was ruling the underworld from the great beyond:

Nineteen Thirty-Nine, Nineteen Thirty-Schmine. Give me this lineup from 1950 any day. 711 Ocean Drive, All About Eve, Armored Car Robbery, The Asphalt Jungle, Backfire, The Baron of Arizona, The Big Lift, Born to Be Bad, Born Yesterday, The Breaking Point, Bright Leaf, Caged, Convicted, D.O.A., The Damned Don't Cry, Dark City, Dial 1119, Edge of Doom, The File on Thelma Jordon, The Glass Menagerie, Gun Crazy Highway 301, House by the River, I Was a Shoplifter, In a Lonely Place, The Killer That Stalked New York, Kiss Tomorrow Goodbye, A Lady Without Passport, The Lawless, A Life of Her Own, The Man Who Cheated Himself, Mister 880, Mystery Street, Night and the City, No Man of Her Own, No Way Out, One Way Street, Outrage, Panic in the Streets, Quicksand, The Secret Fury, Shadow on the Wall, Side Street, The Sound of Fury, Stage Fright, Sunset Boulevard, Tension, Three Came Home, Three Secrets, To Please a Lady, The Underworld Story, Union Station, Where Danger Lives, Where the Sidewalk Ends, Winchester '73, (I'll even throw in a western) Woman in Hiding, Woman on the Run, Young Man with a Horn,

I can't even watch The African Queen (I sat through it once and gave up after half an hour the second time) because at bottom it's a hackneyed theme with certified Happy Breen Code ending. I suppose it's not really the "worst" Bogart movie by any objective standard, maybe not even in the bottom half, but it's the one I'd least like to sit through again. Give me Bugs Fenner or Glenn Griffin anyday. The irony is that I love pretty much everything about the real life Katharine Hepburn, and I'm a huge Bogart fan. But that movie just doesn't work for me.

> {quote:title=jamesjazzguitar wrote:}{quote} > Good take here Andy. > > I would add The African Queen as a movie with Bogie as "slightly scary paranoid"; He is paranoid of the Germans as well as Kate Hepburn's character. (and rightfully so in both cases!). But unlike the other paranoid roles you mention in Queen Bogie starts off as paranoid and comes around to be a romantic hero. > Which is an interesting variation. The African Queen is actually my least favorite Bogart movie (because the ending is so utterly predictable), but it does have that "two fer" aspect of Bogey's character. A Bogart movie I like infinitely more combines his gangster role (even though he's framed and not really a gangster) with an eventual romatic lead: Dark Passage. At the beginning he's an escaped convict, but yada yada yada in the final scene he winds up dancing with Bacall on a South American beachfront cafe under the hypnotic strain of "Too Marvelous For Words". For a perfect ending, I like that one even better than Casablanca, since this time he actually gets the girl. BTW speaking of Casablanca, I was just reading Otto Friedrich's City of Nets, about Hollywood in the 40's, and learned that Paul Henreid broke off his friendship with Bogart when Bogart backed away from a protest against the House Committee on Un-American Activities. Seems like several actors weren't too pleased with Bogart's actions during that time, though I don't know anyone other than Henreid who formally broke with him because of it.

Most pleasant surprise of any previously unseen movie this week: *Anna Lacosta.* A hidden gem I'd never even heard of, and a movie that frankly surprised me that Hollywood would even have been capable of producing back in 1958. Biggest disappointment of any first time viewing: *Hi-de-ho.* With Cab Calloway as the lead, I was really looking forward to a movie at least on the level of Lena Horne and Ralph Cooper's *The Duke Is Tops,* but this one turned out to be a total clinker.

My only Brando "story" is that when I was involved in civil rights activity in Cambridge, MD 50 years ago, there was a hot rumor that Marlon Brando was going to come by to participate in a demonstration. He never showed up, and we were told - - - not sure whether it was true or not - - - that the reason for his cancellation was that he'd had an appendicitis attack. I'm not the world's biggest Brando fan, but I would've loved to have seen the local reaction if he'd actually been able to make it, especially since so many of the white counter-demonstrators looked as if they'd stepped out of the set of The Wild One.

Fred, *Diner *is a good movie. I didn't think it was as GREAT as many critics and other viewers at the time thought, but it's passable. I'll agree that Diner is a passably good movie, but another one in that trilogy, Tin Men, is arguably one of the top half dozen comedies of all time. Dreyfuss and DeVito were born to play their roles, and even if the opening scene was right out of the W.C. Fields segment of If I Had A Million, that slight case of plagiarism doesn't diminish the film in the slightest. And in terms of atmosphere, you couldn't depict the Baltimore of the early 60's any better if you could step into a time machine.

I couldn't agree with you more that The Treasure of the Sierra Madre gives us Bogart's best performance, and although I love him in many other movies, just in terms of acting skill I think Fred C. Dobbs leaves Rick in the dust. Bogie really had three "Bogart" archtypes during his long career: brutal gangster; romantic drifter; and slightly scary paranoid. His Duke Mantee in The Petrified Forest probably embodies the first type the best, and of course for the second type there's Casablanca or To Have and Have Not. But while he's primarly remembered today for those first two types, in many ways his "paranoid" roles are the ones where his acting skills come into best display: In A Lonely Place and The Caine Mutiny also show this side of Bogart, but he really lets it all hang out from beginning to end in The Treasure of the Sierra Madre. So which would you choose as Bogart's signature line? Bogart the gangster: "He'll never see sixteen!" ( After he zaps a 15 year old German soldier at the beginning of The Roaring Twenties ) Bogart the romantic drifter: "Louie, I think this is the beginning of a beautiful friendship" Or Bogart the paranoid: "Nobody gets the best of Fred C. Dobbs" Personally I'll remember that last line above all others. B-)

> {quote:title=wouldbestar wrote:}{quote}I tried to find *The Killers* online to see why you like it but couldn't. Can I do it on You Tube or Hulu as every time I put it in I got everything but? They've pulled the movie from YouTube, but here's the soundtrack for the "Bright Boy" scene in the diner, with Conrad and McGraw holding the owner and everyone else temporary hostage. Conrad is the one with the deeper voice, and in the photo below he's the one with the mustache, looking more than a bit like the pre-bearded Hemingway himself. 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!

I almost wanted to start a thread on this one myself, if only to note Dan Duryea's Fred Blake character. By coincidence, I've just finished watching the Dustin Hoffman version of Death of a Salesman, and Duryea in Storm Fear was the closest thing I've seen to Willy Loman in a long, long time. Like Hoffman's utterly delusional Willy Loman with his neverending manic outbursts, Duryea's cuckolded and physically disabled character in Storm Fear is almost too painful to watch, but it gives him a dimension that goes far beyond his usual stock role as a demented gangster. The rest of the movie was very well played, but not particularly memorable as ransom movies go, although the somewhat ambiguous nature of the Wilde character and the boy's attachment to him in the face of his mother's violent objection does elevate it above the run-of-the-mill. I'd definitely recommend it.