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Thursday September 15, 2022 Bogart on TCM tokyo joe the caine mutiny

Thursday September 15, 2022

Wednesday September 14, 2022

Inescort, Frieda

THE LAST OF THE MOHICANS (1992) Next: War

I was thinking he had been featured in the last decade or so...but actually, it turns out, he was Star of the Month in 1998. So he's definitely due for another tribute.

I'm partial to her performance in TRIBUTE TO A BAD MAN (1956).

SKIPPING X Yardley, Alexander -- played by Sydney Greenstreet in CHRISTMAS IN CONNECTICUT (1945)

Douglass Dumbrille ***** Who was in: THUNDERBIRDS (1952) WOMAN THEY ALMOST LYNCHED (1953) FLIGHT NURSE (1953) JOHNNY GUITAR (1954) THE ROSE TATTOO (1955)

Gillette, Anita

DAY OF THE OUTLAW (1959) Next: Best

Is our friend MovieCollector no longer around? His database has not been updated since 7/18...meaning it only goes through the end of September, and the October titles are not included.

Yes, she should have had an Oscar. Especially for PICKUP ON SOUTH STREET. Most of the titles you mentioned have already been covered: ALL ABOUT EVE (1950)-- #84 A LETTER TO THREE WIVES (1949)-- #383 WITH A SONG IN MY HEART-- #644 REAR WINDOW (1954)-- #995 BIRDMAN OF ALCATRAZ (1962)-- #1116 THE MISFITS (1961)-- #1445 TITANIC (1953)-- #2534

Evans, Linda

Chandler, Jeff

Cooper is allowed to "steer" this British film in a way that she wasn't really allowed to take a central role in her Hollywood films...because as you say, she was usually assigned supporting parts in which she was stereotyped. So if she was playing a mean old lady role, the audience was not going to sympathize with her and she would have reduced screen time.

Varjak, Paul -- played by George Peppard in BREAKFAST AT TIFFANY'S (1961)

Arnaz, Lucie

PRIZZI'S HONOR (1985)

Someone on another thread said Cooper played cold and nasty characters. Maybe in NOW VOYAGER and other films, but in BEWARE OF PITY, she is the total opposite. She's the emotional anchor of the story. One thing I didn't mention in my review is that the story takes place in Austria on the eve of WWI, and an important plot point concerns the assassination of the Archduke Ferdinand which triggers the war. This is one of the reasons Lieven's character is needed at another outpost, which gives him a convenient escape clause. There is a framing device, where we see Lieven's character twenty-five years later, telling a young military man during WWII, about what happened to him just before WWI. And thus the whole film is a flashback. I think they did this because if it just ends with her plummeting off the side of the cliff, then we have a rather bleak ending. But after she kills herself, it returns to old Lieven and the soldier, where he tells the soldier never to pity a woman and never to go through what he went through, which means he regrets how badly things ended between him and Palmer. It sort of turns into a slightly preachy "don't do as I did" remark, meant for the soldier as well as the audience watching the film. A later remake doesn't employ the framing device. It instead ends with the lieutenant having a change of heart and arriving at the castle just as she's about to kill herself...with it implied that he prevents her from going over the edge and their having a happy ever after.

Did you mean Jean Peters or Jane Greer?

Heads up-- I'd like to mention that when we reach 3000, I plan to take a break from this thread. Though I'd like to sporadically revisit it in 2023 with a series of special themes, since those are always fun to do. I would like to thank everyone who has been reading and participating since the beginning!

Today's neglected film is from 1946. It has aired two times on TCM. Before you watch this film you have to know what pity is. You need to have experienced it, been on the receiving end of it, in order to fully empathize with Lilli Palmer’s character. The person who is pitied is never envied, but made to feel sorry for, because they suffer some disadvantage in life. Their differentness is perceived as a disability or handicap. The film is based on Stefan Zweig’s novel Ungeduld des Herzens. Miss Palmer plays the daughter of an influential baron (Ernest Thesinger). Years earlier she had been severely crippled in a horse riding accident on her father’s estate. While dealing with the pain of her injuries, as well as the emotional scars of becoming a woman dependent on others for help, she has withdrawn from life and become reclusive. The family’s castle sits high atop a hill, and behind it is a steep drop off the side of a cliff. One night the baron decides to entertain some military officials, and a lieutenant (Albert Lieven) is among the guests. He seems taken with Palmer, studying her from across the room. A short time later, he approaches to ask her for a dance. She is eager to join him for a waltz, then she remembers she’s crippled. It’s an interesting way for two people to meet, since it’s a mixture of sincerity, social awkwardness and yes, pity. Sometimes the film quickly slips into overwrought melodrama, but I guess we need to see how conflicted she is. She’s like a bird without wings that thinks she can still fly. Lilli Palmer is wonderful in the role, though I do think she might have been too old. The filmmakers try to present her as a naive virgin, but Miss Palmer is a bit mature and all-knowing here. I wonder what it would have been like if a less sophisticated, more innocent type actress had been cast. Of course, it’s a difficult role to play and Palmer is more than capable of plumbing the emotional depths required of her. One thing that works for me– there are points in the narrative where the main character plays a supporting role to the others. Sometimes the story shifts so that we see how the others are coping. There is a faithful friend (Linden Travers) and a mayor (Gerhard Kempinski) as well as the baron who are all affected by Palmer’s tragic condition. Besides these characters we have a dedicated doctor (Cedric Hardwicke) who makes regular visits to the castle. Because Lieven’s character claims he has heard of a new experimental treatment, the doctor is asked whether there might be any hope for Palmer to have an operation which would restore her ability to walk. Hardwicke is cautious and needs time to research the matter. Palmer quickly clings to the idea she can regain mobility. She not only dreams of dancing with the young lieutenant but marrying him. She has become hopelessly infatuated with him and declares her love. A lesser film would become all saccharine and make it about the two lovebirds overcoming all odds. But this is not that type of motion picture. After Hardwicke makes inquiries, he learns the surgery will probably not help Palmer and she will remain paralyzed. Since Lieven has been leading Palmer on, he tries to back out of the relationship insisting he is her friend and that he doesn’t love her in the same way she loves him. I don’t think Lieven’s character is necessarily a cad, but he’s very flawed. He becomes guilty of doling out pity, though at the same time he does have genuine feelings for Palmer. It’s an extraordinary performance, and we get the sense that he may be in just as much anguish as the girl. The two ultimately become engaged, but it is a promise of marriage built on false hope. Palmer is still determined to try the operation, and Lieven is unwilling to give her the home truths she needs. She is being coddled and to some extent, deluded. In a memorable scene in town, Lieven’s fellow officers have learned about the engagement which he vehemently denies. He acts ashamed of being promised (and compromised) this way. He goes to visit Hardwicke but learns the doctor is away, so he speaks to the man’s wife (Gladys Cooper). In my opinion Miss Cooper plays the best character in the movie. She is blind, and we are told Hardwicke had once attempted to operate on her and this resulted in her permanent loss of vision. Obviously, the disability of Cooper’s character mirrors what Palmer’s been experiencing. There is some very good dialogue where Cooper describes having been pitied, but marrying Hardwicke because the pity turned into compassion which turned into real love. Unfortunately, Lieven is not as unselfish or as kind as Hardwicke. He accepts a transfer to another post and plans to leave without seeing Palmer. Cooper agrees to go to the castle to give Palmer the heartbreaking news. In one of the final scenes, the two handicapped women talk about what’s happened. Palmer is unable to cope with the devastating turn of events…it sends her over the edge. Literally.

POT O' GOLD (1941) aired when Paulette Goddard had a Summer Under the Stars tribute. It's been broadcast on TCM ten times, and yes it is a neglected film. However, it is in the public domain which means it is easy to find online.

two thousand five hundred fifty-eighth category Feel good movies IT’S A WONDERFUL LIFE (1946) SINGIN’ IN THE RAIN (1952) SLEEPLESS IN SEATTLE (1993)