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AddisonDeWitless

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Everything posted by AddisonDeWitless

  1. Well, it was something different and unusual, so I can't fault TCM for showing it, but OY! the 1931 version of The Maltese Falcon was *terrible.* However, one does learn as much from watching a bad movie as a good one, and I would have to say it is an invaluable lesson to any aspiring or otherwise actor/director/writer to see both versions as a sort of *Lesson A in* : *here it is done very badly* vs. *here it is done right.* Bold in my memory is the scene 1/2 way through the picture where Spade calls Miss Wonderly out on her "damsel in distress" routine once she's done laying it on with a trowel. (ps- was it just me or was there no mention of the name "Brigid O'Shaugnessy" in the 1931 version? Guess they thought the audience wouldn't get it) ( note- paraphrased [ possibly badly|http://forums.tcm.com/] from memory here ) SPADE: "I particularly like the look you get in your eyes when you say 'please help me, Mr. Spade' and that weak quality you get in your voice when you say it." From Bogart as Spade, it's him calling her out, saying "cut the crap, I get what you're all about. I'm not a sap, level with me and I'll level with you." He's a decent guy at heart, but the rules of the game preclude the use of said heart. From Cortez as Spade it became the most loathsome, icky, condescending, SMARMY put-down. His Spade is *100% HEEL.* No nuance, no decency. Cortez was nowhere near as good *and nowhere near as smart* an actor as Bogart and his turn as Spade lacks any sort of depth at all and thus the whole crux of the story is moot, it has no shoulders to rest upon. The supporting cast of the 1931 version comes off badly as well. Oh what an appreciation one had for Lorre and Greenstreet- doing *so much more* in pretty much the same roles with much of the same dialogue. The guy playing Cairo (not even called "Cairo" in this version) came off particularly bad to me. Dwight Frye made the most of his minimal use, but even a strong performance from him compares badly to the much more restrained (and effective) work of Elisha Cook in the remake. I think the 1931 director just didn't have an effing clue what he was doing. About the only cast member who comes off well is Una Merkel. She was terrific, but I kept yelling at her to wise up and drop Ricardo. Ugh- he was such a manpig! Props, I guess to Roy Del Ruth for at least making the sex pretty obvious. That's about all the 1931 version has going for it. I guess it would be too mean to compare what he does with the story with what Huston uiltimately crafted, and I'm running low on time. However, was it just me or was the four-minute-long montage of Spade searching Miss Wonderly's apartment the most *tedious use of screen time ever?* (They could've just had a montage of phone dialing scenes serve the same purpose.) 1931 The Maltese Falcon (aka Dangerous Woman ???): *one-and-a half stars out of four.* ps- Leonard Maltin gave it three stars. pss- Leonard Maltin huffs paint thinner. Edited by: AddisonDeWitless on Jun 8, 2013 10:18 AM
  2. But I was right in thinking Playback has never been filmed, which is kind of a shame, but I understand why. However, I again note that I was most pleasantly surprised by how much I liked it. I do not want to spoil the ending, but Chandler pretty clearly meant for it to be the last of the Marlowe series and it works. It also ties in nicely to The Long Goodbye, which you need to read first to fully appreciate Playback, (although I note, The Long Goodbye is the only one of Chandler's novels I didn't care for, and I read it twice.) Edited by: AddisonDeWitless on Jun 7, 2013 11:24 AM
  3. Since this *Festivale du Filme Noir* is (apparently) themed by the writers of the pieces, I thought I'd take the moment to recommend some of me favorite romans noir ... roman noires? ... noirvels ? Whatever: *crime novels of the 20th century:* *The High Window by Raymond Chandler*. It's one of the least-discussed titles of the glorious "Unholy Sextet", but I remember it as being my favorite when I went on a six-novel-straight Chandler binge whilst living in LA. It is also- I think - the one novel of his besides (the also under-discussed and underrated) Playback- which has never been done for film (but maybe TV? With Powers Boothe?) *The Grifters by Jim Thompson.* I love this book. I have read most everything Dickens and George Eliot and Hemingway and Jane Austen and Thomas Hardy ever wrote and I -seriously- would cite The Grifters as at least one of the most perfectly written novels I've ever read. It is excellent and has this whizz-bang-right-jab-and-one-you-didn't-see'coming ending that blows you away. The film as a disappointment, if only because when reading it, *you must know how it ends* and you have to put forth that extra effort and focus required especially and uniquely bu reading to get there and then when you do it's like: "Oh.****." Everything a novel should be. *The Asphalt Jungle by WR Burnett.* Every bit as engrossing as the movie- with the harness of the Production Code lifted from the way the author tells it. I didn't think it would be as good as the movie. I was wrong. *Clean Break by Lionel White.* Retitled (and likely most editions bear the title of:) The Killing by Stanley Kubrick. This may knock the thread off the rails but here goes: *THE BOOK BLOWS THE MOVIE OUT OF THE WATER BY A MILE AND A HALF.* Kurbuck EFFED it UP. Order it on amazon or go to your library. Check it out. *Red Harvest by Dashiell Hammett.* I'm getting old. All I remember is that I really liked this the best of Hammett's Unholy Sextet, but I don't remember why. Maybe I'll take my own recomendation and check it out meself... ps- I've tried, but I'm not "in" to Cornell Woolrich or David Goodis. pss- would also recommend The Far Cry by Fredric Brown. Edited by: AddisonDeWitless on Jun 7, 2013 10:59 AM Edited by: AddisonDeWitless on Jun 7, 2013 11:03 AM Edited by: AddisonDeWitless on Jun 7, 2013 11:05 AM
  4. You're going to be getting a "cease and desist letter" any day now, PS- And it's all my fault, isn't it? I'm so flattered. PSS- It's not the first such letter I've been the root cause of. PSSS- And I don't think it shall be the last. Edited by: AddisonDeWitless on Jun 7, 2013 11:09 AM
  5. If given free hand in picking out titles for a ferstivale du filme noir I'd like to see No Man of Her Own (1950), Crime Wave, Desert Fury, The Sniper (which might not be too PC, but I really want to check it out), The Damned Don't Cry!, The Sea Wolf (maybe a stretch, but I see it as noir ), The Breaking Point, The Accused (1949), Odd Man Out, Detour, Stranger on the Third Floor (more for historical perspective than anything else), The Long Goodbye (1973), Farewell My Lovely (1975), The Friends of Eddie Coyle ...and I'm tempted to label Hangover Square a+ noir it deserves to be aired so highly.+ Some of these aren't as good, of course, as Ye Standardes, but aren't we all a leetle tired of Out of the Past by now? ps- Out of the Past is not included in the June Spotlight
  6. wait wait wait wait... Dunne and Boyer worked together twice in 1939 and the second was a James M. Cain adaptation?!? You guys just blew my mind!
  7. In looking over the choices of Herr Muller, I'm not really all that jazzed about anything outside of the alternaversion of The Maltese Falcon we're getting tomorrow night. They Won't Believe Me! is a really cool movie: *very engaging* and features a great (and surprisingly nasty) turn from Robert Young and a young Susan Hayward as a young Susan Hayward (you'll get it when you see it.) Deadline at Dawn is a Clifford Odets joint. I don't care for Clifford, nor would it seem does Muller as he's rather critical of this movie and (the mercifully not included in this festival) Clash By Night in his book Dark City. Will be inn-teresting to see his comments before and after the film. City Streets looks intriguing. Think After the Thin Man is a waste of air space WHY is this on in Prime Time and Satan Met a Lady on at, what? 4:00 am? The Glass Key is always welcome. I'd rather The Burgler was on at 8:00, but I'm inn-terested in it. I *hated* the book Shoot the Piano Player is based on. Would've liked to've seen some neo- noirs like The Long Goodbye (1973) and Farewell My Lovely (1975) on the list, heck, I still got a sweet spot for LA Confidential ...and I'm not nuts about the 1991 film adaptation of The Grifters, but if you're doing a festivale du writers du roman noires, you *must mention Thompson* and it would've made a better inclusion than, say, The Postman Always Rings Twice (bitchy eyeroll) again. Edited by: AddisonDeWitless on Jun 6, 2013 2:33 PM Edited by: AddisonDeWitless on Jun 6, 2013 2:35 PM
  8. > {quote:title=finance wrote:}{quote}I'm familiar with Dwight Eisenhower and David Frye, but I'm coming up empty on Dwight Frye. He played, as Hibi hinted, Renfield in Dracula, as well as the gruesome lab assistants in both Frankenstein and Bride of... and played a villager in a few of the other movies; he is also in The Vampire Bat, but it is an off performance. He died rather young I believe, some time before 1945 or so...
  9. > {quote:title=AddisonDeWitless wrote:}{quote}Dunno, I'm a Count Floyd fan meself. > > *ps- am I nuts or was there a "Cool Ghoul"" once upon a time as well hosting old horror films on tv?* Did some research. Apparently yes: 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! This is the character- looks kind of like the Old British Auntie of the Albino from The Princess Bride.
  10. Dunno, I'm a Count Floyd fan meself. ps- am I nuts or was there a "Cool Ghoul"" once upon a time as well hosting old horror films on tv?
  11. Just compared it to the DVD (yes, I am a loser) You can see the string in that too, I guess maybe the 2012 remaster is just cleaner and clearer and you can see the string. I've always thought it looked like a solid (glued together) stack of prop books. The new version is better though, *the added decay scenes really work and I wish they had been there along.* I could almost swear some of the reaction shots of Lee are different in this version. Either way: there's more of it and *it's better and it's awesome to be able to finally see it after hearing about it forever.*
  12. And it's worth checking out!: They include the famed extended shots of Christopher Lee's disintegration- his face not fully decayed; hands tearing off flesh; his hand and foot disintegrate with an extra reveal of the arm and leg bones and it seems as though there is more dust and powder in this version. (Culled I think from a Japanese print?) *It's cool.* I also note, and this is me being a TOTAL GEEK, but: is it just me or are the books Van Helsing knocks over on the library table now clearly bound with string whereas in the scenes used in the DVD and TCM-aired version, they are a single-piece prop? Edited by: AddisonDeWitless on Jun 4, 2013 12:47 PM
  13. well, I think there is one person who can sum up AMC more succintly than I: *COMMERCIALS EVERY FIVE MINUTES DURING THE 1931 VERSION OF "FRANKENSTEIN" ?!*
  14. gah, like $500 or something. (of course during the depression that could probably buy an entire midwestern state.)
  15. First off: how can you not love this guy?: Second: I can only give you my personal thoughts and feelings on the matter which is that, yes, once upon a time, the programming was *really bad,* but - honestly- there has been a *wonderous turn around in the last three years.* I mean it, I've been saying this for a while and- *believe me no one is a harsher critic than I.* (ed. note: I did something and the following paragraph is entirely in italics and apparently unchangeable) (ed note 2: these are all off the top o' me head, I'm sure I'll remmeber a s***pile more after signing off.) <address>The last two-three years have seen gobs of premieres- for whatever reason- and it's great. Some of the Usual Suspects have been allowed a rest. It was an utter thrill to check out *Down to the Sea in Ships, Hold Back the Dawn, Five Graves to Cairo, *So Proudly We Hail!, The Glass Key, The Blue Dahlia, many of the recent Friday Night Spotlight choices, ALL the precode stuff, the 1929 version of The Letter, Midnight Mary, dare I mention it?- Wilson, *Cluny Brown,* Johnny Guitar I didn't really care for Jesse James, Night Flight, In Old Chicago, The Razor's Edge, Deep Valley, Looooooooove is a Mannnnny Splendorrrred Thing, and some others, *but I'd watch them all again in a heartbeat.* And heck, even The Iron Petticoat is new. </address> Are things perfect? (esp. in regard to the Universal films of the 40's and 30's?) No. But, I will toss out: The Creature From the Black Lagoon (PREMIERE) Frankenstein, The Wolf Man The Bride of... and The Invisible Man (and Woman!) have all shown up on the network in full and unedited. Heretofore they'd only been broadcast on AMC and I would rather not discuss what *those people* do to films as I don't have all day to spend on this. ps, TCM, look into getting The Old Dark House if you can. It's a fun one. Alls I can give you on Dracula is that the blu-ray was recently released and it was restored. It looks pretty cool: Alls I can give you on Universal is that I worked there once AND THEY ARE SOME OF THE STUPIDEST PEOPLE I HAVE EVER MET IN MY LIFE. Like, half my day was spent freeing executives who'd wandered into the supply closet and gotten lost. ( non sequitor- I held Dwight Frye's contract in me hands and it was crumbling to bits.) (ed. note: This post is all over the place, I probably need to get to work.) ps- re: title of the OP. thank you, I've always thought the word was spelled "exhasperated." as in, one's hasp had become undone. Learn something new every day. Edited by: AddisonDeWitless on Jun 4, 2013 11:32 AM
  16. Maybe this'll lighten the mood. Thirty second, virus free (insofar as I know) youtube link. (A clip of a truly mesmerizing line read- SFW, nothing dirty etc.)
  17. Actually, I think it's lattke (did I spell that right?) (and Finance, for what it's worth [which is absolutely nothing|http://forums.tcm.com/] *I thought it was funny.* ) Edited by: AddisonDeWitless on Jun 3, 2013 7:49 PM accidentally left off the "I" oops.
  18. > {quote:title=misswonderly wrote:}{quote}heuriger, I don't get it. How does Addison's dictionary definition of "ham" and his accompanying comments make you think of someone throwing up? > Is it an insult, a comment, or a joke? Are you saying that "hammy" acting makes you sick? Or maybe ham, *the viande,* has that effect on you? Viande? (I think he just doesn't like ham. I understand, I eat neither pork nor beef meself.)
  19. *from dictionary.com:* *Ham·my* adjective, ham·mi·er, ham·mi·est. 1. characteristic of a person who overacts. 2. [overacted|http://dictionary.reference.com/browse/]. 3. [exaggerated|http://dictionary.reference.com/browse/exaggerated]. *Soes, I guess you're right. Both meanings are correct- however, since one of those meanings of the word does have a negative connotation (overacting)- to me, I'd rather a praise a performance for its grandness or "exaggeration" than to call it "hammy."* *I also note that below is the primary entry for "hammy" per dictionary.com:* *Hammy (1)* adjective, ham·mi·er, ham·mi·est. resembling [ham|http://dictionary.reference.com/browse/ham] in taste, flavor, appearance, etc. *Origin: * 1860–65; [ham|http://dictionary.reference.com/browse/ham]^1^ + [-y|http://dictionary.reference.com/browse/-y]^1^ *Two things:* *1. There is an equation for hamminess? And if so, does it only apply to the ham content of literal ham and not the metaphorical ham of the second definition?* *2. I love that they include the adjective superlatives for hammy (ier and iest.) "Damn, that was the hammiest ham we've had all winter. I can think of none hammier."* Edited by: AddisonDeWitless on Jun 3, 2013 4:12 PM
  20. we-ell, I have to say that I would in no way label any part of Miss Swanson's revalatory turn in Sunset Blvd. "ham." "Ham"- to me- has a pejorative sense to it when used to describe non-comedic acting, implying that it's somehow not a genuine performance or a real success and that too much visible effort is involved on the part of the actor, too many stitches and seams are apparent. Miss Swanson's Norma Desmond is a *genuine* loonball, and *every note of her performance rings true to me.* I don't see her straining or trying, I don't see the gears whirring in her head, I don't see her doing "GLORIA SWANSON as GLORIA SWANSON as NORMA DESMOND" She. Is. That. Role. And it fits the tone of the piece perfectly. (Remember also, Norma was of the silent school- thus grand gestures are called for as well.) Someone once complained about Lon Chaney's samesuch theatricality in The Phantom of the Opera, to which I replied "well, it wasn't called The Insurance Salesman of the Opera- who the hell would want to see that?" ie: Sometimes a little (or a lot) of theatricality is called for by the tone of the piece. Pulling it off- as Swanson does in Sunset, or as Anna Magnani does in The Rose Tattoo or James Cagney in One, Two, Three or Norma Shearer in- well, most everything she ever did- is not ham- it's an accomplishment of the highest order. Edited by: AddisonDeWitless on Jun 3, 2013 1:36 PM
  21. > {quote:title=Sepiatone wrote:}{quote} > I somewhat disagree, James. There are enough survivor accounts to tie together to make compelling watching as a theatrical release that romantic side stories aren't needed. And I *strongly agree* with that statement. ps- I don't think they're going to be doing Titanic: Redux any time soon tho'. That vein has been thoroughly tapped (including the recent IMAX, 3-D rerelease to "commemorate" the 100th anniversary.) (Not that I put ANYTHING past HOLLYWOOD these days or ever.) pss- and by "commemorate" I mean strip one last lode of ore from the very last bearing wall of the gold mine. psss- The Last Voyage has better remake potential. pssss- there actually is an animated version of Titanic called Titanic Goes On. It is Italian and came out in 2000. It features a rapping mouse and defies explanation. seriously: http://en.wikipedia.org/wiki/Titanic_Animated Edited by: AddisonDeWitless on Jun 3, 2013 11:23 AM
  22. > {quote:title=finance wrote:}{quote}Speaking of ignoring females. I raised the question last week regarding which actresses were known as method actresses, and got no response. Let me try again with this one actually, I think someone *did.* They mentioned Kim Stanley re: The Goddess and a couple others ( Seance on a Wet Afternoon ). It's maybe somewheres back on page 5...?
  23. I have been posting here for three(ish) years, and in all that time, I don't think I have ever gotten so many incendiary replies to anything (even programming and/or Mankiewicz related) as I did the time I brought this up before, but what the hey? It's been too long since the villagers have come after me with pitchforks and torches and I think I've been getting too complacent in the meantime. It seems as if this thread has been decidedly male-centric in its listings of the great and notso great hams of *Motion Pictuh History,* and I was wondering if maybe scene-stealing and heavy emoting was *not as tolerated* in the fairer sex as it was from the men. But I *can* come up with one *excellent example of the female of the species. Ladies and gentlemen, the Viennese Mother of Heavily Stilted Emoting: Miss Luise Rainer:* "zhank you, ooooooh, zhank you SO mush!" First off, I know she's still with us (she's what, 120? 125?) *I'm not saying* I think she's a terrible person or that I hope she passes from the mortal coil any time soon (although, damn, homegirl is up there.) I *really kind of doubt* she's reading this right now too for the many of you worried I'm going to hurt Luise's feelings. But yes, reach for the pearls, *because I AM saying that she is a terrible, terrible actress and a TOTAL ham and I will stand by that statement to the fiery end.* Dramatic School was just on. She does Joan of Arc. The audience in the film cheers and gives her a standing ovation. I actually yelled at my screen "WHAT THE HELL? DON'T ENCOURAGE HER!" She does a movie with Spencer Tracy where he's a taxi cab driver and she's his wife. Spence turns in the standard solid, seemingly effortless, salt-of-the-earth and believable performance. Luise seems like she's been doing whippets between takes. The Great Ziegfeld - I guess her "best" performance, in that it's a supporting role and mercifully brief. She is stilted, unnatural, awkward, you know- Luise. It's been a while since I've seen The Great Waltz but I remember not liking her in that. ...And then there's The Good Earth. Ugh. Do you see this picture below?: Look to the far right, that is the closest (and most accurate) reenactment of Luise in every scene of that film I can think of. In her role as the inexplicably Viennese-accented Chinese peasant O-lan, she chooses to convey to the audience that her character is suffering by having a look on her face AT ALL TIMES as if she has just been hit (hard) with a cold fish. (Had I been on-set back in 1937-8, I'd've been only too happy to help her get all "method" in this manner.) For anyone who thinks the Oscars had- at any time- any sense of legitemacy, I say show a clip of Irene Dunne (who should've won) doing Gone with the Wind in The Awful Truth ( "whoo-hoo-hoohoo- get it?" ), a clip of Stanwyck's final scene in Stella Dallas, *any* scene of Garbo in Camille, Janet Gaynor at the funeral in A Star is Born and *then show* the scene where Luise teaches her kids how to act extra pathetic when begging for alms in The Good Earth " *oh puhleeze kind suh! SPARE US AAAAAALMS!!!!!!!!!!!!*" (Hand gestures, roll eyes up into head, and...scene.) She's awful and I'm not backing down from that position. All right. I said it. Could I have said it more nicely? Sure, but DeWitless ain't here to be nice (obviously). But it will always stick in my craw that her heavy, baaaaaadly dated, and WHOLLY UNNATURAL style beat *in two successive years,* the four BEST ACTRESSES to NEVER win the Oscar- Stanwyck, Dunne, Garbo and (in 1936) Carole Lombard. All right, it's done. I guess I better get up to the roof and heat the cauldrons of oil- 'cause I know no one ever agrees with me on this. But there it is: she stinks. I said it, I own it, I'll believe it to me dying day.
  24. As far as the *"panic on an ocean liner" genre* goes, there is no title I could recommend more highly than Juggernaut (1974). It is an *awesome, awesome* movie- sharp direction, really compelling and well-done. Other than it Titanic (1953) and A Night to Remember, the quality of the other entries is iffy. The Last Voyage (1960) has promise and starts off quickly- but the characters aren't interesting or likeable enough for us to care- nice stunt work and special effects though. There's still a certain "movieness" to that Poseidon Adventure topsy-turvy ballroom scene, but the rest is so grim and overwrought, AND LET'S PLEASE NOT BRING UP THE REMAKE(S). Never seen Nazi Titanic. Dante's Inferno (1935) has a GREAT shipboard-disaster finale, but that's not the main focus of the film- it is still an awesome movie and a smashing climax. Am I missing anything? Edited by: AddisonDeWitless on Jun 2, 2013 10:23 PM
  25. although I think the *ham acting* is called for in The Ten Commandments and is much more appropriate (and entertaining) in that film than the ham acting is in Ben-Hur. The source material for Commandments ( The Bible ) is *GRANDIOSE* -even including elements of the fantastic- it calls for *LARGER THAN LIFE* acting (and OH HOW many of the actors step up to the plate and swing!) Ben-Hur is far more earth-bound in its source material- published in 1880, it was not even 100 years old when it was filmed in 1959- the characters are all mortal, the scale of the tale (while EPIC) is still less MASSIVE than the 1956 film. Like The Song of Bernadette- the most powerful moment in the film is supposed to be *the brief intersection of the real and the fantastic, therefore the acting* *needs to be of a more natural style for at least 99% of the thing* (as opposed to the audaciously bad over-the-top performance of Stephen Boyd and the often laughable clench-jaw theatrics of Heston's Roman-Era Rent Boy.) (They should've just made it a damn silent movie again. It'd be better. Or at least less silly.) Edited by: AddisonDeWitless on Jun 2, 2013 8:44 PM
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