MyFavoriteFilms
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His birthday today.
*SHE'S GOT EVERYTHING*
It's Ann Sothern's picture. He would eventually play lead with Ann a decade later in APRIL SHOWERS.
*THIS MARRIAGE BUSINESS*
Jack gets a few little comic moments. He made 14 RKO pictures in a single year, mostly doing bit parts. This is how he learned the movie business.
*LUCKY PARTNERS*
By his third year at RKO, he was already third-billed (this time after Ginger Rogers and Ronald Colman).
*BLUES IN THE NIGHT*
By 1941, he's at Warners.
*MAKE YOUR OWN BED*
Top billing with Jane Wyman, when she was still doing frothy comedies.
*SHINE ON HARVEST MOON*
Supporting Ann Sheridan and pal Dennis Morgan.
*MILDRED PIERCE*
A very good supporting role in a top-grade melodrama...but he doesn't get the chance to do anything serious.
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The way you describe the pairing of Janet Leigh and Paul Douglas in the original ANGELS IN THE OUTFIELD is exactly how I feel about John Candy and Ally Sheedy in ONLY THE LONELY. They have not one drop of romantic chemistry. It seems very unlikely they would have sex. On the other hand, the pairing of Ernie Borgnine and Betsy Blair in MARTY does work.
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Well, maybe the films can stimulate a discussion and encourage students to seek out literature on a given historical topic. Stranger things have happened.
I rented SO PROUDLY WE HAIL from Netflix. And while the love story is fictionalized, a lot of the military scenes seemed very realistic. There were a few different technical advisors on the picture, and director Mark Sandrich really seems to push the story beyond the limitations of the script.
It wasn't a documentary on Pearl Harbor or Bataan by any stretch of the imagination, but the project conveys a certain kind of historical importance. It helps that it was made in the middle of the war (1943) and not years later like those war films done in the 50s or 60s. There's a sense of urgency and realism in it that can't be discounted.
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Well, the intentional walk is a strategy...but it doesn't always work the way the pitcher hopes.
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TAKE ME OUT TO THE BALL GAME is the one with Esther Williams and Gene Kelly.
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Tonight's the last night...of course, INHERIT THE WIND is must-see (even if you have seen it a hundred times).
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Love these fun movies!!
Question: In ELMER THE GREAT, why didn't the pitcher just walk him at the end? Wouldn't it be smarter to give up one run with bases loaded than to risk him getting a homerun and losing the game? They could've tried to get to a weaker hitter and get the out.
*ELMER THE GREAT*
*ALIBI IKE*
*BIG LEAGUER*
*KILL THE UMPIRE*
*ANGELS IN THE OUTFIELD*
*FEAR STRIKES OUT*
*THE WINNING TEAM*
*THE BABE RUTH STORY*
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An interesting example of a film depicting the judicial process is
*A MATTER OF LIFE AND DEATH (STAIRWAY TO HEAVEN)*
David Niven's character argues before a celestial court and Raymond Massey is an attorney.
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Good ideas. I like them. It's a little bit different than the way I envision it. But that's what makes it fun to share.
I tend to like SUMMER HOLIDAY, because Mickey Rooney is more mature and he gets a bigger role. The production values are richer: it's Technicolor, it's a musical so the energy is a lot more 'up.' But I think the combination of Walter Huston and Frank Morgan really works with them playing the two older male relatives. I like Wallace Beery and Lionel Barrymore in AH WILDERNESS, but I think their roles in THE BAD MAN suit them better.
The screenwriter for THE SHOOTIST is a friend of mine, and we've discussed the historical aspects of the story. As such, I tend to end the western era with either THE SHOOTIST or THE GOOD GUYS AND THE BAD GUYS. In both these films, we see what hastened the demise of the old west: progress. BIG JAKE also shows the beginning of the automobile and the industrial age, but it's not as good a film as the other two. THE SHOOTIST occurs in 1901, since that is when President McKinley visited El Paso, a key event in the novel.
I usually put SAN FRANCISCO with other natural disaster movies, though it is indeed historical.
You didn't say much about WWI. When I was making my lists, I thought it was going to be difficult to come up with films that take place during the first world war. But there are a fair number of them. And if you segue into films on the Great Depression, it isn't so terrible.
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I think diverse cultures comprise world history and U.S. history.
For instance, a film like SERGEANT RUTLEDGE or CHEYENNE AUTUMN would feature multiple cultures in the area of westward expansion.
For this project, I am using films from the beginning of the sound era to the end of the production code. I don't think it has to omit anything, because a lot of cultures seem to have been represented on film during these years.
I don't know if I answered your question. And I don't want to imply that only John Ford films meet this criteria, but those were ones that came immediately to mind.
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So, other references are excluded from your "posts?"
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Thanks Errol23.
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Great one...Audie Murphy is one I forgot.
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I have two of her books, autographed by her. She signs them 'Dale Evans'...no ifs, ands or Butts about it!
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SOME LIKE IT HOT has not aired since June. But I am sure in 2011, it will return to TCM.
As for Bogey and war films, PASSAGE TO MARSEILLES aired just last week. I know; I recorded it.
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A lot of classic films do have closing credits...
Many of the RKO films do...especially the ones from the 30s, I think someone went back and did them for television broadcasts since the font seems a bit more modern.
All the MGM programmers have credits at the end.
Fox classics usually do not.
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I think she had been married several times but they often did not like to mention that to the public. She was a very devout Christian in later years and wrote many books about her philosophical views on life, mostly unrelated to her film career.
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I have been putting together lists of films that I think fit this discussion.
I have subdivided it into categories:
- World History, Monarchs, Imperialism & the New World (many costume dramas)
- American Revolution, Civil War & Westward Expansion (many westerns)
- WWI & The Great Depression/Migrant Issues (a fair number of precodes)
- Pre-WWII Europe, U.S. Involvement in WWII, Cold War (war films & homefront dramas)
- Prison System, American Gangsters, Urban Crime (precodes to film noir)
- Justice & Ethics, National Security (wide variety of sources, but all classic films)
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But maybe I am a mediocre source. LOL
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I said it was an unofficial guess. LOL And I am quoting myself. I am the source. Ha!
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A THOUSAND CLOWNS has aired on TCM. I remember seeing it at least twice in the past year or so...but it has been awhile.
Last December Bogey was SOTM...but they also showed a lot of Frank Capra films, including his very first ones for Harry Cohn in the late 20s. But this year, we haven't seen as many.
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Well, PATTON has been in frequent rotation on FMC. It's one of their great titles.
I think the weekend matinees with Ben M usually have westerns or war pics, because his focus seems to be more on male-oriented action flicks.
Of course, during Memorial Day weekend, it was all war movies.
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Yup, if I could take an unofficial guess, I'd say about 80 to 85% of what's on wiki is accurate.
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I think jury pictures are almost a sub-sub genre. PERFECT STRANGERS with Ginger, Dennis Morgan and Thelma Ritter is another good one, with more of a romantic angle to it.
March in October
in General Discussions
Posted
One thing that worked in his favor is that he was not afraid to take third-billing (something Spencer Tracy refused to do).
Freddie has third-billing again in movies like HOMBRE and TICK...TICK...TICK. But he knows that sometimes this means he has almost if not more screen time than the leads, or that his character is so integral to the plot (like playing the president of the United States) that it becomes a more memorable part than that of his costars'.
I think this pattern of playing third lead began when, as a favor to David Selznick (who produced many of his big films in the 30s like ANNA KARENINA), he took a role in THE MAN IN THE GRAY FLANNEL SUIT. From this point forward, he sort of carves a niche for himself in Hollywood as an above-the-title character actor.