Sgt_Markoff
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Posts posted by Sgt_Markoff
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"Die Brucke"
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'In a Lonely Place'. Much to my nausea and regret, saw it on the big screen. My god. What listless, limp, reeking, offal. I wish I could rinse my brain out after viewing this putrid carcass. Utterly clownish unconvincing drivel and rot. Almost hilarious in the degree of how incompetent it was.
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Question, where did you learn to type? The KGB?
Anyway I don't lend much credit to the allegations of Woody's misbehavior, myself. It's not for me to say one way or the other. Even if he committed some of the mis-deeds attributed to him, I'm willing to hedge in this case. Ultimately, the girl consented to marry him of her own free will.
His list of fave movies seems rather bland though. All the standard stuff.
The big dilemma of course, is betwixt him and Joan Didion. Who was right? I lean toward Didion; but I think he responded well and bettered himself after her tirade.
It's a colossal battle. Reprinted at link below.
What is extraordinary about it is that today all these barbs fall flat. We are all indemnified with what Didion is accusing Allen of. Bravo to her for raising a ruckus at all, by the way. She's my favorite American essayist. But we're all guilty of self-infatuation now. Is anyone today free of 'detachment' and 'remoteness' from others? Isn't the very idea, a scream?
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'King of Hearts' starring Alan Bates. It's not a Criterion release for nothin'
'The Americanization of Emily' starring James Garner, script by Paddy Chayefsky.
'A Bell for Adano' with John Hodiak. Source novel by John Hersey is so funny it put me in a laughing fit for five minutes.
'Catch-22' by Mike Nichols. Almost a classic. It did save the B-24 however.
Dr. Strangelove. What can one possible say?
The Private War of Harry Frigg. Starring Paul Newman.
The Private War of Major Benson. Stars Charlton Heston.
Teahouse of the August Moon. Glenn Ford and Marlon Brando.
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I have a 'pet theory' that the decline of comedy--mirrored by the decline in good crime films, good dramas, etc--matches the retreat-away-from the former sternness in our public institutions like law, military, government, homelife, religion, and education. This is no longer the era of the draft, the electric chair, the exam.
As we have moved from a 'strict' society (the 1950s) to a soft one, (one less striated by classes and authority-figures and hierarchical rules); the 'nervous system' of society becomes slack, listless, and torpid.
Laughter springs from tension; as does drama. Stiff, rigid, authoritarian societies not only have the most vigorous artistic spirit, but the hardiest overall survival skills, too (versus their lazier, more decadent neighbors).
Whereas in an overly-free, lackadaisical, and permissive culture, nervous reflexes wither. As HL Mencken was fond of pointing out, more equality and more democracy leads to more mediocrity. Jean-Jacques Rousseau as well, famously observed this.
Look at the career of Lenny Bruce and Richard Pryor and George Carlin. They had forces against which to rebel. But in a sense, they were doing really no more than the Marx Bros did.
Kafka's 'Penal Colony'--another poignant example.
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"People don't tell jokes like they used to
You don't hear many down at the mall
No one sits around joshing at the 7-11,
You can't repeat the ones on the men's room wall
People don't tell jokes the way they used to
We used to sit and tell them every night
Looked forward each month to Reader's Digest
Everyone now's all so self-righteous, I think that's why"
--Garrison Keillor
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Thanks for the compliment. By the way, I'm wondering how Ray Milland supposedly pricked Brian Donlevy with a prop sword which wouldn't have had any point on it. It's mentioned in the, 'I just saw" thread as well.
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What do you mean by 'they don't have the writers'? I would think that comedy writers today struggle for lack of material.
Popular culture in America romped when the nation was still young and undeveloped; when there was still elbow room and the order of things was not yet settled into a rigid pattern. When most Americans still lived in cities; things were different. The persistence of humorous traditions from the age of vaudeville and Broadway, the influx of humor which came with European immigrants; (Marx Bros for example) the ramshackle days of the early melting pot; everyone working together to build skyscrapers and subways--that was the era that was shoved aside by the onset of automation in the 1950s. We matured overnight. Modern culture today is stagnant in comparison; people stay at home with television sets. Its hard to find genuinely funny individuals --rebels--anymore.
Just thinking out loud here.
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Just skimming the page above. Lots of good stuff. One comment to make; 'hard-boiled' isn't usually noir. Noir usually takes 'average joe' type characters and thrusts them into difficult situations. Detectives are 'hard-boiled' because they're trained to be; they get that way from experiences in the course of their jobs. They hardly ever crack-up or get shaky; they've seen it all before; its all routine for them.
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What happened? Well...the Korean War, Vietnam, Watergate, suburban sprawl, the oil crisis, interstate highways, television, drugs, Bay of Pigs, sexual revolution, women's lib, the corporate revolution, recessions, product obsolescence, mass-market consumerism, answering machines, voice-menus, elevator muzak...
It's naturally hard to find anything funny in today's America.
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Maybe it was Goldman who said it--someone sure said it, because it lodged in my memory somehow--whether it was a documentary or what-have-you...someone in Hollywood, some critic or a film historian summed up 'Gunga Din' and at the end of listing all its fantastic merits, he posed the question to the audience: "What better adventure movie is there, really? If you're looking for the best adventure of all time, why not this one?"
I'm hard put to disagree with him.
One possible contender might be the Korda's "Thief of Baghdad" or whatever it was called--but that might better be termed a 'fantasy'. Others? Maybe "Beau Geste"? Or, "The Four Feathers"? "Charge of the Light Brigade"? "Adventures of Robin Hood"?
Yet there's still something more in 'Din' than there is in anything else.
It's gotta be grainy, shot in black & white, and in the 1930s, whichever the choices are.
p.s. "Lost Horizon" --I've visited the actual site of Shangri-La in Tibet/China where James Hilton got his inspiration for that marvelous novel
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He sure is. Although there may have been some other actors who could've taken the role; there's no one I'd rather have seen do so. That cultured voice of his; his intensity; his work-ethic.
My favorite movie critic cried when Mason died and I don't blame him.
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These are delicate waters. But for proof that moderation is fairly lenient and forgiving around here, look no further than my continued presence.
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Natalie Wood in 'The Searchers'
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The one flick I enjoyed last night --a newspaper comedy--turned out to be 'You Can't Escape Forever' (1942). Strange, deceptive title (also a film I haven't seen before, which is always unusual).
Anyway it was fairly amusing even if filled with old 'Front Page' tropes. George Brent was deft. His co-star turned out to be neither Thaxter or Lane but --of all actresses--Brenda Marshall. I haven't seen Miss Marshall in too many pics; and her lips being so similar to the other two lasses, I was gulled. She was certainly sprightly and capable enough.
The cast is full of well-loved Warners stock players but the real foil to Brent is an actor named Charles Halton.
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I've seen 'Blast of Silence' on the big screen and its a shocker. Leaves a lasting impact. There's some weak and threadbare aspects of the story in Act II (a tough hitman losing his edge because of a random encounter with his high school sweetheart?) but somehow the film pushes past this stumbling block. It wasnt written or acted well; just that one scene. It's important because its the tipping-point of the movie; but...groan.
But once the tale gets past this part, the rest of the groundwork laid in Act I takes over and the denouement' in Act III is properly grim and icy. Whew. It's got that queasy-feeling-in-the-pit-of-your-stomach which is the hallmark of really good noir.
One of the all-time great final shots to end a film. If you know the New York cityscape at all, you will relish it. The protagonist in this flick dies as hard as I've ever seen any male lead die, in any flick ever. It is rough viewing.
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Oh I certainly agree that taken in context, Rathbone knew his topic (fencing). My quibble is just that his statements lend themselves too readily to Hollywood backbiting.
A former crony of mine was heavily involved with swordfight choreography; all these nuances have been aired many times on other forums and that's why I haven't bothered to restate the plain and obvious such as Rathbone's expertise. I'm just focusing on what I thought was a good point you made, namely that Rathbone's approval or disapproval in itself, ought not always be blandly accepted outright.
By the way my fave flick with Flynn and Rathbone together is 'Dawn Patrol'. No swords at all. They are finally on par with each other there and demonstrate some good chemistry.
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Terrible night on TCM tonight, I am definitely not a fan of the 'Carry on' series.
One flick was fun; I gotta go look it up somehow. George Brent and ...either Priscilla Lane or Phyllis Thaxter in a newspaper room romp
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My remarks were perhaps poorly constructed but they weren't directed at any specific individual. Perhaps this wasn't clear; my fault.
My point remains. It was this: quotes from decades ago are easily bandied about. They're often used to spurious purposes. No one's to blame. It's just a habit people have. "Whisper down the lane" effect, I'm sure you know it.
I believe in not taking comments at face-value as was stated above. There's not a single quote referenced in this thread I'm willing to take as iron-clad; I don't care where it comes from or who quoted it.
Certain infirmities in the record --we speculate on them--and although we're still just construing --its fairly safe ruminations to air. Human nature being what it is.
There's no reason to assume Rathbone was free from personal spite. Everyone's human. Whatever he may have said about anyone, I won't let my own judgement be guided by it.
He's not the arbiter of anything, at this date so far removed.
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Its not a bad theory at all to suggest that personal pique might have been behind Rathbone's sneering comment about respective dueling ability. I like it.
I think its wise as well, to be aware of how easy it is to misattribute quips this far removed from the fray. I'd rather see a firm source for anything Rathbone stated, rather than vague recollection.
Indeed, since Rathbone's prowess is so well-known its almost become a tool in the hands of any heckler to say "Rathbone said such-and-such about his fencing ability you know".
I can even do it myself: see, "I happen to recall Rathbone praising the skill of Danny Kaye". It's terrible!
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Ack! I've seen 'Mephisto'. Unnerving film; not for the least of which reason is that lead actor. He is creepy (at least he is, in that flick). I can't abide the side of him with that crazy-looking, smirking, mug of his.
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I've seen this hilarious play starring Jeremy Brett (of Sherlock Holmes fame) and ...Penelope Keith? BBC production.
Worth seeking out!
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it's a nice little film, and made legendary to train buffs too, for the fact of them crashing an actual locomotive.
p.s. fine write-up, above!!
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It's a superb flick
British comedies
in Comedy
Posted
She must have been pretty wild in the sack to land a hunk like Holden.