AndyM108
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Posts posted by AndyM108
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That's interesting about "Free, *blonde,* and 21". In all my years I think I've heard that particular expression used maybe once or twice in the outside world, whereas I've heard "Free, *white* and 21" many scores of times, and I probably heard *"That's white of you"* close to a hundred times a year back in my mid-1950's childhood days in Washington, DC.
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> {quote:title=MaxvonMayerling wrote:}{quote}There are anti-smoking advocates who'd like to cut any scenes with smoking in them, with the idea that anything that glamorizes smoking will encourage young people to pick up the habit. Imagine what we would be left with... Paul Henreid offering Bette Davis a lollypop?
Which would make the audience feel like all-day suckers for licking on a scene like that. B-)
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Tom, sorry I messed up the details of Pitfall, but as I said, I've never seen it. Shouldn't have speed-read the long synopsis and jumped to the wrong conclusions.
But if Raymond Burr is the heavy in that movie, that's even more reason for me to want to see it. Talk about your classic villain, I'm not sure that for a combination of ambience and malice, anyone's ever topped Raymond Burr.
And I hope you didn't think I was classifying Too Late For Tears as a non-noir. I was referring to Bad For Each Other when I wrote that.
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> I hadn't really even heard of Too Late for Tears until a few years ago, but when I saw it was knocked out by the performances of Duryea and Scott. I guess that this film and Dead Reckoning are the two films that best represent Scott as a femme fatale.
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It's more of a straight drama rather than a noir, but Scott's Helen Curtis character in Bad For Each Other (1954, with Charlton Heston) hits pretty close to 10 on the Pure Evil scale, even if her actions in this case are 100% legal.
And then there's Pitfall (1948, with Dick Powell), which I've never seen, but which is high on my wish list. In that movie Scott plays an embezzler's moll who tries to wreck Powell's marriage to everyone's Mother of the Century (Jane Wyatt). And for the purposes of film noir, that makes her Our Kind of Woman.
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> {quote:title=Eddie_Muller wrote:}{quote}The Film Noir Foundation is restoring this film. We hope to have it back in circulation, on the big screen (and maybe TCM) in 2014. Truly a neglected classic of the genre. Like other films we have restored, it was independently produced and had no real protection by the distributing studio. These films slip through the cracks and it takes real detective work -- and luck -- to find enough surviving elements from which to rebuild the film. Agree that it is Liz Scott's best performance.
I have the 2003 "Dark City Classics" DVD version of Too Late For Tears, which has your video essays on "Dan Duryea, Lady Killer" and "Elizabeth Scott, Femme Fatale". Since that's been my only exposure to the movie, can you tell me if there are any missing parts that are likely to be in the 2014 restored version? I agree that it's Scott's best role, and as it's the one I most identify her with, it's always a bit disconcerting to see her in more sympathetic roles like Martha Ivers or even worse (much worse), her near-heroic character in The Company She Keeps. Watching Scott in movies like that almost leaves me with a sense of betrayal. B-)
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> {quote:title=NoraCharles1934 wrote:}{quote}
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> Dan Duryea was the quintessential scumbag, wasn't he? Of course, I say that with affection. To Joan Bennett's trampy Kitty March in Scarlet Street :
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> *-"And then you gave me a dirty look."*
> *-"I didn't give you a dirty look!"*
> *-"Listen - any girl that waits two hours in the rain for a guy is gonna give him a dirty look."*
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> Black Angel is another interesting chance to see him top-billed.
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Whenever you talk about Dan Duryea, don't forget three consecutive classics he made in 1949: Too Late For Tears; Criss Cross; and One Way Street. He really was one of the great noir heavies.
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A few highlights from tomorrow's FMC schedule for people who are less than thrilled with Esther Williams.
*6:00 AM Dangerous Crossing (1953) A bride's husband disappears on board a luxury liner in the mid-Atlantic and she desperately searches to find him amidst dangerous circumstances. Jeanne Crain, Michael Rennie, Carl Betz. Dir. Joseph M. Newman. BW-86 min.*
*7:30 AM Lisa (1962) A young Auschwitz survivor journeys from Holland to Israel as she's pursued by an ex-Nazi in post-war Europe. Cast: Delores Hart, Stephen Boyd, Leo McKern. Dir: Philip Dunne. C-112 min.*
*11:15 AM Hard Contract (1969) A hired killer begins to question his way of life when he falls in love. Cast: James Coburn, Lee Remick, Sterling Hayden, Lilli Palmer. Dir: S. Lee Pogostin. C-106 min.*
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The long and short answer to the question is that dialogue like Crawford's gives us a snapshot in time of the attitudes of the day, and for that reason alone should *NEVER* be cut.
And if it makes us squirm a bit, is that a bad thing? How many times have we heard William Powell, Clark Gable, or some other star from the 30's and 40's say *"That's mighty white of you"?* You could practically start a drinking game on that lovely little throwaway line, which in six short words reveals more about America's racial attitudes in that era than all the flowery 4th of July rhetoric. Cutting words like that out of a film is like giving us an undeserved mulligan.
Face it, with a handful of notable exceptions, our films are reflections of the mores and attitudes of whatever age they were made in, not only with regard to race, but to everything else. And IMO that's one of their biggest selling points. Beyond their intrinsic entertainment values, and taken as a whole, they're a history lesson all in themselves, even if it's a totally inadvertent one.
One dose of Al Jolson was enough to last me a lifetime, and you couldn't pay me enough money to watch The Jazz Singer again. But if TCM were ever to stop showing that movie, it would be depriving future generations of an education. So keep the "****" references, keep showing those pathetic Al Jolson performances, keep all those hundreds of "comic" Willie Best and Butterfly McQueen scenes, and think about what they meant about us. And if TCM throws in enough movies like Intruder in the Dust and Nothing But a Man, we might even begin to learn how those vile attitudes were gradually shed.
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> {quote:title=Sepiatone wrote:}{quote}
> Your mistake, Andy, is in thinking because no one responded to your KAPO thread, they must prefer old fashioned, John Wayne type war movies. Here's a flash for ya...
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> A lot of people DON'T like war movies AT ALL!
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> Possibly many who HAVE seen it weren't impressed by it, as one poster admitted. Another reason is that some people (like ME) can't take the way some foreign film makers construct their movies. Not having SEEN it, I really can't say much about this either way.
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> I feel it's unfair for you to make derogatory remarks about board members tastes simply because they didn't jump on your bandwagon. That's all I'll comment on this. I don't want Infinite1 to reply with some 12 paragraph post and get it locked down.
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> Sepiatone
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Some people don't like war movies, some people don't like certain types of war movies, some people don't like noir, some people don't like musicals, some people can't stand beach movies or Elvis movies, and some people don't like foreign films or silents.
This is life in the Big City, and I'm sure that my refusal to watch Annette or Elvis is no more defensible than others' aversion to movies with a bit more relation to real life. We like what we like, and I was merely expressing my personal opinion.
And BTW I'm not a fan of Jacques Tati, so it's not as if I think all foreign films are necessarily all that great. But as a class, I do think that foreign war films are far superior to the Hollywood brand, probably because foreign countries have had much more direct experience with war on their own soil in the past century.
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Clara had "It". Louise Brooks had "It". And Kramer had the Latvian "It", otherwise known as "Kavorka".
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IL0VM6V2Vgufx90S/svODu0flUdN4m2G4PJTLFjjXP0ta3dWYsMWtkObPNOkJ2IUccLHGSSzx8I7lKFTAZHFzjrbb0Tn1NMxzn5gHW1B7JWZM17bpkoqHRivItgF4F1URYozUUjTrdB6uQXsE/HJMhyQ4shpe62x1nls3RYC3TRFMBZDd3jam3lHF6a42KhKmMfTmGOnic6QmzfgaCfMjFPdthOyr6exVjIw0bjS37IhjrWtLJG/NuFHONHTwzbq/pOF2qIBiFU70UgP9ElNDZnmArGH0V0UzTs5AYyStDY070/TBj/AFJf7IZqdxOxDgtL3HkaJUaxwEkLYysmHzX90EvHkvo2HmY5MZ6WcbLQ6AOGgiWIcUN/O36hGsPxJpOhh0SMojJcZ9GGbDyx3iQcbs4W0sFVCTH5ZRo5vdaKwah7PqFrwuNmfOBZ2l/UeqpxJNk2VNR6FOgwaMSZKpzo83wkWtftdME36c3F4prj1FymnEOn4526i1wh9N07UQAiGqIYNcrm3A/KtSOVKSsDU36cuv55dPRqbKOjhoo/M4AD5nFKNVjdW25dMMoNtG2Jt9V2gDaol8hLraAOOgPsvPFu2Ep/pluL41LVvtTgtjFwZDyPRRgoWwscRq6xJcdyt0r2xsNrANF7DhAMbxjQHMfdGopASbYuUb80rndyUzUuyVMLJN9FHoFzvIezpeJaLHvspU77i6hijA1hcdFjpa5jQNQufJbOkraKOpJDdo4UIq4Fvay7i9UyVtmnzDlLV3ZrXVGPGpJE2TK4BpmIkG/HdbYsVvoCQ47WCXC7jleu9N9NQeC12UF2UFxOpunxx06RLLPe6EOvmkczK1rnE75Wkn6rJh9E4A5wWnsdCvYYaCOFmcaLz7r3Eh4rCwAO59QilCXEGGTlIDOp7tPCVphqbJtbU5mOt2QKlwsuFzpqvYmorYvyIcnoy0VPm5srYW5XEcos/DMrbg6GRgh/v3T1kVCPW4mtkckMgz6XsR2smOpxQSNDW3PclVzRCVjfK4gDexKw0oaHgOdbXblIySXaLMCfTGbDZSd9EXjehLAAAtMUnZTbFTpnl4Flaxygxt1cWgLq/TjJJkmvKnm9VUSoXQuKew7cTQZLKYeHb6Husl7q5qXxT7DjklHaC1NiLmCzvM38orQ17QQ4HtccpVzqcU2XVCocdopXkc1Uj1Sp6hEIZmFw62vZfR9URPdlaRfb3Xnc2Jl7QHbLNQEIA3Vx2Ctg1VsinDeg1jTwwv7kmwWbpypDMzToT9lRjtPKxwMrbX27LBBPlKZJqQMaiX1Na68jS4m/rwhc0hyht9Bsu1ps86rJIUubSR5Pk9B3pukzXefYJqomWCG4FT5Ymjk6o8xthsuPmds7GFcYmWtDS2ztR2SjPG0OI44CaMVdlaSkirmu64/wB0EU2O5Ui8SgXsFlfp5ueOylSh0hyhdjkbcsft3VMYtEs58jVhsBl8wF7bhOmGYvIxuSTyjgnYhYOixFDFK5/mLiMp9Ars3jxloIyk7bkLVLYnjaotxzqq0YYL5b78JIq6szyBxO9gPReg0fTcMrfBBPrfceyU8Y6VkpX3zAtGxG4902URCbjIlBEGDLmBP5WjQWvoVjkqPFyA5RlYAZj7lWVJaRd3HN7KdwKvaktovramzQALkEXRetwM1cLXQtDZQQO2hSnmc5hcCMo7bp4/T/ABTxYix3xx8d2ooRcXYnJNZFoM0GeEIoSNct3W2J5S111BETdvlczgaXTLiXUgj0ygn8hec9R4r4sxI25TdJNA47TthnDK3NGL2utfj22Sxh9RY+6JSz9lE/0dNU9iu2Wy8W6yh67mXU/k4tv4aN1PKs2ddzFa2Y3XZqZYKMxCoz2XBIgpNmuZeHLoKrD1JhuvNHlZojdwVogeWODm7jZYc1lYZroWqVBqVDNLjombllFztdLdb5L217FQDyuukzCzkcG0elxkCvGJ1KlTZwHcorT4SH7PYPc2VFJREVIjPGp7IsvLdgY1aHzCo/K30RJxsFlpbNFlypmAXInZ2UjDi89mlIzpvMdrJhxicv8AK3UoC2lA1fojg39Bkn8OwVeU3aLFTY0O8xA13VTWtB0N1rZYjkJjlXR6GNvsI4RVtYx0bidT5SDr7Inh9KQ64BNtd0AmmibuDm/dN/SWFuqWiSMFoYEmxXk2xWWKj9NVDjccUhe85NLN7E6Bdd9TtkAiisXOJ3Ydk3ZoWSCORgBbsLaflIn6j4a0TCaNoax29hpf2VeNU2QZHYAwpsQ07IhV4eX6g2/ZBYo9f9Eeheco7JWRqLsdBc1sz4fG6PMx2zvwnfpnConiKSB4jmbo4X8rge6UqqwYSd7ae6eOhPCnhY5zcr4zYkckclDbYEoV0aeounZX7AF3caBeeVuBTRuOdp01vx917rMze6QevcaayPK0Xc7T1CpULQn2NMQoYyNQtTCSsFzFoIcLg9EfoaUHUKKapnSwytCGCu3UGlfXXSSRydluZfZ1AFfXXqo8W5vRfXVJltuqJZSdkNM20a3TALgquwVEMF91rZGBwtcL7PJsiJyeFYx5XznqOZDKCTZpfJoqWyKsvUXuWdnmzUyoIIc07G6L4fXsM3iOADjoSlsOU/FIS5wbVDcWRRds9C/jQdihdfiQ2uliPEHLTLOHC5UEvHafZ18fkQkiDpn5vKSD3WSY75jcrRSvDnBvPvotNZFG07bm1k2CS0BkuStGKNl232WOR3Yq2aUE2Gyzv3VMIo5uWbvsOu69a/TbHrQtiIylugNjZw90r/AKfdPCreTIP5TCL9yTwvaYqKKKMNYxoa0aCw2RVy6CG5LsVOsaU52yyuAYOOfuvNerMW8dwa0ktavU8boopmP8AEzEAHIL6Ay8UniLXuaeDE112bF/CEBsQmmmprtFtksxwk6gfhN/TsgLcp4/Kizl/jq1sqnoLixTB0Fhk/nyACO41Pf0CrdACQLbp7pamOCID4bAXHqgxtt0DnSXRwYdID8QIXm/X3Tk8b/ABnOEjCTYAG7V6MzHGO2uFfX1MbmFsmoI91dFkLi7PGsPwxz9TsU10VMGgD2XGMylwA0ubey007bkfRc7I3Z1MaSjZ//2Q==!
*Jerry: What is that stench? I got it. (He follows the smell to Kramer’s*
*door) Ah hah.*
**knock, knock, knock**
*Kramer opens his door. He is wearing a ring of garlics around his neck.*
*Kramer: Hey.*
*Jerry: Hey. What are you doing?*
*Kramer: I’ve got the Kavorka Jerry.*
*Jerry: The Kavorka? What’s that?*
*Kramer: The lure of the animal. I’m dangerous.*
*Jerry: What is this thing around your neck?*
*Kramer: The priests they’re helping me. I just bathed in vinegar.*
*Jerry: You know you’re funcifying the whole building.*
*Kramer: Keep away Jerry. Keep away.*
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What would really be great would be to replace "The Essentials" with a regular Muller-hosted Saturday night program of noirs, concentrating on the more obscure ones for the two prime time slots. And I'm only half saying this just to get under FBT's skin. B-)
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> {quote:title=finance wrote:}{quote}Right. Cash McCall was a great name. Also "Dollar Bill" Bradley. and James Bond. and Dean STOCKwell.
Yeah, but this guy retired the Cool Name trophy...
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!
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> {quote:title=FlyBackTransformer wrote:}{quote}Just look at tuesday the 11th's schedule. Nothin' but film noir. It seems that's what TCM's daytime schedule is mostly these days which is undistinguished 1930s and 40s film noir so why does TCM have to set aside fridays for more of the same??? X-(
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!
*You got a problem, sonny? - - - - - - - - - - - -* *Send him around to me, Dix!*
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> {quote:title=finance wrote:}{quote}Sylvia is an EXTREMELY ugly name. My apologies to all the Sylvias out there. "Sidney" doesn't score any points either. If an actress came to Hollywood today with the real name "Sylvia Sidney", the studio would change it so quickly that she wouldn't know what hit her.
>
> Edited by: finance on Jun 11, 2013 9:28 AM
Yeah, they'd probably change it to some lovely name like "Meg", or "Reese", or "Esther", or "Meryl", or "Emma", or "Romola", or "Cate", or "Carey", or "Glenn". Poor Sylvia wouldn't have had a chance.
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> {quote:title=ValentineXavier wrote:}{quote}I recorded it, but haven't watched it yet. Given that he directed *The Battle of Algiers*, I have high expectations.
Both of those Pontecorvo movies, but especially Kapo, show the protagonists in morally ambiguous situations. I won't say anything more than that, but this isn't your grandfather's war movie.
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> {quote:title=GreatMoviesFan wrote:}{quote}Did anybody catch this on the Sunday night import last night? I don't know how many years it's been since they last showed this movie, but I finally managed to get it recorded!
I tried to start a thread about Kapo early yesterday and got all of one response. I get the strong feeling here that most American moviegoers like the John Wayne and John Garfield versions of World War 2, and that a brutally honest film like Kapo is a bit too much for most of them to digest. We all love our nice happy endings where the Good Guys always win.
I think it was last shown here between 2006 and 2008. I know it was before I got my DVD recorder in late 2009, because at the time it was shown I was cursing the fact that a movie as great as this wasn't yet available on home video. I broke down and bought it when it finally got released, but I was thrilled to get a backup copy last night.
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> {quote:title=NoraCharles1934 wrote:}{quote}And now that all you smart people have provided your insightful comments on City Streets , I'll just jump in to say -
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>
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> * Oh Kid, what was up with that coat during the prison visit? Anybody else flash back to the 90s and David Puddy's man-fur on Seinfeld ? :^0
> * Did Dashiell Hammett *really* refer to my beloved Ms. Sidney as "that ugly little baby"?!? :0
> * So - is Guy Kibbee more unsettling as a hit man or a dirty old man?
> * (Slightly) more serious - it is interesting to imagine what Clara Bow might have done with the lead. Sylvia was so much more delicate (aiding and abetting mob hits aside), while Clara had her own uniquely dynamic energy. They both possessed a special capacity for vulnerability though, not to mention beautiful, highly emotive eyes.
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> Edited by: NoraCharles1934 on Jun 9, 2013 11:48 PM
>
Yeah, that coat of Coop's definitely was a forerunner of Puddy's man-fur. But at least he didn't come to the jail wearing a motorcycle jacket with a giant 8-Ball on it. *"You got a question? Just ask the 8-ball."*
If Hammett really had made that nasty crack about my Proletarian Princess, my only reply would have been *"What, as opposed to Lillian Hellman?"*
Kibbee practically invented the Dirty Old Man role during his pre-code films, so I'd have to say it was more of a surprise to see him as a hit man, though he was the jolliest hit man I've ever seen.
As for Sidney vs Bow, with Clara it would have been a different movie, maybe just as good, maybe better, maybe not. I'm glad she didn't get the part, much as I love her in everything I've seen.
Digressive thought about second try movies: Has there ever been a "carbon copy" remake as good as Vicki, the 1953 remake of the 1941 I Wake Up Screaming ? When I first saw the remake, I couldn't believe that anyone could successfully replicate Laird Cregar's sublime take on the perverted detective Cornell, but lo and behold, Richard Boone was every bit as creepy, and if anything, "looked" the part even better.
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> {quote:title=sewannie wrote:}{quote}I had the DVR set to record KAPO already and will add THE SEARCH as well. I've seen neither.
The Search works on so many levels. This was Montgomery Clift's film debut, and his star quality is immediately evident. And Aline MacMahon was never better suited for a part than that of the UN refugee worker.
But even better than those two were the two Czech actors who played the mother and son, Jarmila Novotna and Ivan Jandl. Novotna was a celebrated opera singer in Prague and Berlin who was forced to flee after the Nazis took over, then fled to Vienna and New York, where she began a long career with the Met. Somehow amidst all that, she found time to act in movies, and lived a long and productive life.
The real life contrast between the mother and the boy couldn't have been more stark. Ivan Jandl didn't speak a word of English when the filming of The Search began, but his performance was so overwhelming that it looked as if he was going to have a promising film career in his future. The problem was that the same year the film was made (1948), the Communists staged a coup in his native Czechoslovakia, and his career was aborted when he was forbidden to leave the country. He wound up quitting the screen a few years later and died at the age of 50, with nothing but his role in The Search for American audiences to remember him for.
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In case anyone hasn't seen Gillo Pontecorvo's Kapo, which is tomorrow's Sunday night foreign film that airs at 2:00 am, it's one of the true can't-miss movies on WWII, right up there with Open City, Come and See, and a handful of others. Pontecorvo was the director of The Battle of Algiers, and this movie is every bit as unforgettable. Rather than bloviate any more and get carried away with my admittedly subjective POV, here's the long TCM synopsis. Don't miss it for anything.
During World War II, Edith, a 14-year-old Jewish girl from Paris, is sent to a concentration camp with her family. Her parents are exterminated, but Edith escapes death when the camp doctor gives her the name and clothes of Nicole, a non-Jewish political prisoner who has died in the hospital. "Nicole" is transferred to a camp in Poland where her suffering becomes intolerable; only the friendship of Thérèse, a French partisan, keeps her from total despair. She is selected to "entertain" German soldiers, and eventually, motivated by a fear of death, she collaborates with the Nazis and becomes a "kapo," or camp guard. Her fellow prisoners grow to detest her as she becomes increasingly absorbed in the role. She falls in love with Sascha, a Russian prisoner who shares the hatred of his comrades for the brutal "kapo." The Germans cut back food rations, and Thérèse is driven to suicide. Deeply shaken, "Nicole" grows to regret her collaboration and shifts to the Russian side. As the Russian army nears the camp, she suggests a plan for a mass escape and reveals her true identity to Sascha. She falters, but at the fateful moment her love for Sascha gives her courage, and she sacrifices herself for the other prisoners.
And as a bonus, immediately following at 4:00 am is the 1948 Montgomery Clift / Aline MacMahon film, The Search. Here's the TCM synopsis for this one:
In the days following the end of World War II, a train carrying dozens of war orphans from all over Europe arrives at a United Nations Relief and Rehabilitation Administration camp that has been established to temporarily house the children. Many of the children have been found wandering the bombed-out ruins of Europe's cities and countryside, or have been rescued from various concentration camps. Their spirits are broken and their faces register only fear and distrust. After the children are cleaned and fed, interviews are conducted to determine their identities, a process that is conducted under the supervision of Mrs. Murray, an American. One of the young boys interviewed is French, and he explains that his mother was taken away from him and that his father was killed. After hearing the heartbreaking story of two Polish children whose parents were killed in a concentration camp, the interviewers listen to the equally sad story of a Hungarian girl who was ordered to sort the clothes of concentration camp victims, and who found her own mother's blouse among the clothes. The children are severely traumatized by their experiences, especially a young Czechoslovakian boy named Karel Malik, who had been separated from his family and last saw his mother Hanna at the Auschwitz concentration camp. The only words Karel is able to speak are in German: "I don't know." While being transported to more permanent camps in ambulances, some of the children panic, convinced that they are going to be gassed, and break out of the ambulances. Several of the children escape, and while most are quickly recovered, Karel and another boy elude capture by jumping into a river. Karel's companion drowns in the river, and Karel, whose identity is still unknown by the UNRRA authorities, is presumed drowned as well after his cap is found floating in the water. Meanwhile, Hanna, who has survived the concentration camp experience, has begun a search for her family. After learning that her husband and daughter have been killed, Hanna sets out to find Karel. She travels from one children's camp to another for many months and without success before she meets Mr. Crookes, an Englishman who tells her that her son is in the Catholic orphanage he oversees. Hanna's excitement is quickly dashed, however, when she realizes that the boy is not her son. The boy says he is Karel Malik, but it is later learned that he is a Polish Jew who had adopted Karel's name when it was read during a roll call and no one responded. Karel, meanwhile, continues to wander among the war-torn ruins of Germany until he is found one day by an American soldier named Ralph "Steve" Stevenson. Steve gives Karel food, takes him home and teaches him English. Though Karel makes rapid progress learning the new language, he is unable to remember enough details about his identity for Steve to locate his parents. Hanna's search eventually leads her to the UNRRA camp where Karel was first processed. When Hanna describes Karel's features and clothing, Mrs. Murray recalls the cap found by the river and grimly shows it Hanna as evidence that Karel had drowned. Hanna, however, refuses to accept the news that her son is dead, and continues her desperate search. Hanna eventually gives up her search, however, and accepts a job working with Mrs. Murray at the UNRRA camp. Steve, meanwhile, becomes convinced that Karel's mother is dead, and makes plans to take the boy back to the States with him. One day, after the Jewish orphans at Mrs. Murray's camp leave for Palestine, Hanna decides to quit her job and continue her search for Karel. Only minutes after Hanna leaves the camp, Steve arrives with Karel to secure formal permission from Mrs. Murray to take the boy back to the States. Mrs. Murray recognizes Karel and races to the train to prevent Hanna from leaving, but she arrives just as the train is pulling out. Hanna, however, is not on board the train because she has decided to stay on at the camp. Without telling her the news, Mrs. Murray takes Hanna back to camp, where mother and son are reunited.
Unlike Kapo, this film shows up fairly regularly on TCM, but if you haven't seen either, I'd strongly recommend setting your recorder to pick up both of them. You won't regret it. You'll never see a better back-to-back pairing, and it's too bad it isn't showing in prime time.
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> {quote:title=TopBilled wrote:}{quote}
> > SATAN MET A LADY is offbeat enough to be a howler and it's enjoyable
> This is the first thing I have agreed with in this thread. LOL
>
> SATAN MET A LADY is my favorite version of the three. I think the '31 offering is too sexual in a childish way. I think the '41 version is too middle-aged.
>
> But the '36 version is the one I like. Why? I think the performers are the right age for the characters they play. And I think that the director (William Dieterle) figured out that Hammett's story is so absurdly implausible that the only way it could be made intelligently was as a tongue-in-cheek crime spoof.
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> I especially love the warped relationship between Skippy's old broad Madame Barabbas and the nephew that she smothers into killing for her. This is fun stuff to watch. Even Davis, while playing it more dramatically, doesn't take it all too seriously if you watch her reactions to the others. Then, there's Marie Wilson who really steals the whole picture and gives it just the right comic punctuation at the end.
I still think the Bogart version is the "best" one in terms of the plot, but that William / Davis duo is a lot better than the Bogart / Astor combination in terms of any sort of electricity. Astor is middle aged and slightly dowdy, whereas Davis is in her nubile prime and it's easy to see where the sparks come from. You rightly mention Marie Wilson's comic ending, but right before that Bette Davis certainly handed William a farewell line on her way to jail that he would remember. It's been a long time since I can remember a more perfect screen "couple", even if that's not exactly the word for them.
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Just finished watching Satan Met a Lady, and while it's not nearly up to the Bogart version, and it butchers the plot (a ram's horn instead of a falcon, good grief), it's a sheer delight on its own terms. I'm sure I'm in the minority in saying that, but seeing Warren William and Bette Davis matching double crosses makes all the movie's farcical flaws worth enduring. Just forget you ever saw the real thing and take this one for what it is, a programmer with two of Warner Brothers' liveliest stars leading the cast, and with Alison Skipworth, Arthur Treacher, Marie Wilson*, and Maynard Holmes filling in the missing parts with aplomb.
*Don't underrate Marie Wilson's performance as William's dizzy blonde secretary. Think of Marilyn Monroe in The Asphalt Jungle, right down to the high pitched giggle.
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City Streets is one of those movies that I know isn't really all that great, or even all that good. Hackneyed plot, lots of overacting, not all that well cast.
But for a mediocre film, it sure has plenty of highlights....
- Seeing Gary Cooper in the only movie I can stand to watch him in for more than about five minutes....Love the way he bites into that toothpick, and when Sylvia Sidney asks him how he can afford his spiffy new clothes, he just grimaces and replies....*"Beer".*
- Sylvia Sidney. What more can I say? *" KID! KID!! KID!!!"*
- Guy Kibbee, barely looking up from his Sunday funnies in order to give Paul Lukas the ok to bump off his daughter's beau - *"IT'S OKAY WITH ME, CHIEF!"*
And then there's that final scene, with Cooper and Sidney driving off into the sunset, with the birds flying above the sea, on what must be the most deserted highway in America, and what do we hear?
*DIE MEISTERSINGER!*
How can anyone not love this movie?
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Gotta agree with Addison about that 1931 version of The Maltese Falcon, and I like Cortez in just about every other movie I've seen him in. I *might* not have found it so terrible if I'd seen it before the Bogart version, but I don't think even that would've added half a star to its rating.
OTOH since I'm the perpetual Charlie Brown when it comes to trying movies I know will disappoint, I'm looking forward to seeing the second version from last night, the 1934 Warren William / Bette Davis remake. So far the only "bad" William roles I've seen have been when he plays Goody Two Shoes characters ( Gold Diggers of 1933, Three on a Match, Imitation of Life ), and the young Bette Davis is always worth a look, so maybe there's some hope for Satan Met a Lady. At least it can't be worse than the Cortez version.
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Here are 10 Anne Baxter movies already shown by TCM that would make a good start for at least a SUTS day. These are only the ones I've recorded since late 2009, and I'm sure that others could add to the list:
*The Blue Gardenia (1953)*
*Bedevilled (1955)*
*All About Eve (1950)*
*I Confess (1953)*
*Homecoming (1958)*
*Jane Austen in Manhattan (1980)*
*Chase a Crooked Shadow (1958)*
*The Magnificent Ambersons (1942)*
*Carnival Story (1954)*
*Angel on My Shoulder (1946)*
Should offensive dialogue be removed to satisfy political correctness?
in General Discussions
Posted
> {quote:title=SansFin wrote:}{quote}I believe that many are missing a key element in the phrase: "free, white and over 21".
>
> The reason both: "free" and "white" must be included in that statement is because not all white people were free.
>
> The phrase originated at a time when Caucasians were subject to several forms of what can be termed slavery. As late as the early part of the 20th Century a white person could be an indentured servant in United States with nearly no rights. Serfdom existed in some part of the world until approx. 1960. It is still held in some religions that a girl must marry whomsoever her parents chose for her. Some people consider the right of a government to conscript soldiers into an army is a form of slavery.
>
> The "free" meant they were not under the authority of a master, debt-owner, legal decree, conscription or church restriction.
>
> The "white" meant they were able to travel with no restrictions in most places. This was at a time when people in many parts of Asia, Africa, India and Europe could not leave their immediate home area unless they had permission from the authorities. It was noted by some world travelers as an inconvenience that in many places it was necessary to hire a succession of guides because no single one could take them through more than one province or locale unless the traveler could or would post a bond to ensure the guide would return home when the trip was done.
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> The "over 21" meant they were not under the authority of a parent or guardian and the law allowed them to perform any legal action with no supervision.
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> I do not know how the phrase became associated with racism.
Well, if the "white" part had to be included to complete the sentiment, isn't the answer to your question rather obvious? Though in an era (the 1930's) where there were about 5.5 million whites who were under some form of sharecropping debt, your point about the "free" isn't so easily dismissed, and it's one that's worth mentioning for historical purposes.
But while I doubt if anyone would hold Cary Grant or William Powell to a particular racial view merely because of their use of that then-widespread catchphrase, if there weren't a racial implication behind the expression, it would've been merely "free and 21".