LornaHansonForbes

And THE PIANO (Even though I don’t like almost everything else about it.)

COMPULSION is certainly a less constrained film than the aptly titled ROPE.

it might even be THE BEST (if anyone pulled a gun on me and demanded I name STREEP'S FINEST WORK ON THE SPOT**, it's the title I'd blurt out without hesitation.) [Keeping in mind that I haven't seen IRONWEED or some of her more recent endeavors] she strikes a perfect balance of [incredible] TECHNICAL ACTING with [multifaceted] EMOTIONAL ACTING, it's a REAL PERFORMANCE and one HELL of a challenging part. SAM NEILL was SO CUTE back in the day too!!!!!! **and, Hell, you never know, we live in uncertain times.

if they had cast CLIFTON WEBB instead of JAMES STEWART, I could see that BEING DELIGHTFUL. At this point there are ENTIRE TRUE CRIME TV SERIES just about MURDEROUS CHILDREN, so I think the subject matter of ROPE wouldn't be shocking enough for a 2022 audience, maybe not even in THE THEATRE, we've all been desensitized to TRUE CRIME STORIES and GAY TRUE CRIME STORIES that the story of two dudes strangling another guy and then having a buffet dinner on top of his dead body afterwards is so tame as to almost be any given Sunday in West Hollywood.

This makes me wonder if GORE VIDAL did an uncredited rewrite...

MERYL remains on probation with me since getting eaten by the chicken in DON'T LOOK UP. But. Her work in A CRY IN THE DARK is ONE HELL of a piece of acting.

I'm not actually that big a JIMMY STEWART fan, BUT, I acknowledge his skill as an actor (I'd be a fool not to), and ROPE is one film where he really reminds you of just how gifted he was (and it's a demanding part) and honestly, he blew me away to the point where I don't remember much else about the film besides really liking the actress who played the poor beleagured domestic. It's a truly incredible performance on his part, one of the best of 1948 and right up there with HARVEY and DESTRY and VERTIGO.

I don't wanna hype it up too much for you- but I like BOMBSHELL a lot, it is a brilliant early example of meta-storytelling, honestly it would make a pretty good double feature with ADAPTATION (2004?) It is a story within a story, a cinema verite about the fakest place on earth: HOLLYWOOD CA. 1933.

I mean, LYLAH CLARE was an MGM film...

keeping in course in mind the fact that NO ONE has made SICKER, MORE TWISTED AND PERVERSE FILMS than the big studios have...going all the way back to at least THE SOUND OF MUSIC....

i guess. still though, if you said "underground film" or "underground filmmaking" to most people with some know of movies and their history, they would not qualify BIG STUDIO FILMS as Underground, in fact, I get the feeling more than a few would be offended at the suggestion.

adapted from WHAT though?? (not mad at you, just bewildered.) Was VALLEY OF THE DOLLS some kind of halfassed retelling of LA BOHEME all this time and I missed it?

imagine a retelling of THE TOWERING INFERNO set in 1979 in ATLANTA in an 87 story building (not a 135 story building in SAN FRANCISCO, as it bewilderingly is in the original)- same character set-up MORE OR LESS, but make the architect character SOUTH ASIAN, and a genuinely competent and good guy; and conversely don't make the SON IN LAW CHARACTER such a complete sh!theel- consider making him more of a careless idiot savant- minus the savant. the following is gonna thrill a lot of you, I know, but the FIRE CHIEF should be black, as should THE MAYOR as should ALL OF THE SERVERS in THE PROMENADE ROOM, and YES, ABSOLUTELY the film should explore the RACIAL DYNAMIC involved in who gets to get out and when. YOU COULD DO a three part series even just on the SHIRTLEY JACKON/LOTTERY storyline of what goes down IN THE PROMENADE ROOM as the guests at the party are lied to, the danger ignored, and then things snowball from there as the panic increases over each means of escape- just a real parable for any number of scenarios in real life. in reading up on the film, I was surprised to see an important scene was omitted wherein it is revealed that two of the elevators aren't working because of a strike at the plant; the scene where the desperate partygoers charge into the main elevators after being warned and then having the doors open on the fire floor where they are IMMOLATED by backdraft is great, that stays in for sure- but we need to explain why the freight/service elevators aren't working. we're absolutely keeping THE SENATOR CHARACTER- played by ROBERT VAUGHN- who bless his heart is struggling to even BE in the movie, poor thing. I want BOTH GA SENATORS there and I WANT THEM PLAYED BY LOOKALIKES FOR RAND PAUL AND TED CRUZ and the scene where THEY FIGHT LIKE MIDDLE SCHOOL GIRLS over the BREECH'S BUOY BEFORE PLUMMETING TO THEIR DEATHS is EPIC! ps- yes, I know they're not the Senators from GA at present. I just really like picturing that scenario in my head.

Wasn’t there an Oscar nod for the scoring…?

God help me though, I love SHOWGIRLS. (don’t worry, I’ll show myself out….)

VALLEY OF THE DOLLS was, in fact, super mainstream.

that's irritating and lazy on the part of UNDERGROUND. NEITHER one of those are UNDERGROUND FILMS.

Yes, I’m sorry I was given incorrect information. Mr. 6666 actually posted the full Siskel and Ebert review of American Pop somewhere in this thread.

I don’t know what ANYBODY was thinking- except “damn, I hope the check clears.”

The idea of having SINESTRO come straight from THE CATSKILLS DINNER CIRCUIT worked out comparatively well tho.

(Sorry, had some issues editing your quote) I watched THE ROAST episode of LEGENDS OF THE SUPERHEROES a few days ago. It overloaded my senses so deeply I decided not to post a review here, but I have to note just today I was thinking of the “Ghetto Man” segment from the same. I then wondered out loud whether or not there is actually something to this whole idea of reparations and went on with my business.

Maybe a circus peanut or a Charleston Chew…

You get to see him SHIRTLESS in THE TEN COMMANDMENTS!

For the past few years, BATMAN 66 has been available thru FILMRISE, which is a weird add-on service in that it has a standalone channel and also pimps its stuff out to TUBI and IMDBTV. I've gotten to where I use AMAZON PRIME as more of a rental service, because their B/Cult/PSYCHOTRONIC whathaveyou selection is a little too lowbrow even for me. I also have to salute the fact that TUBI does not FIREHOSE YOU WITH COMMERCIALS AT ALL TIMES unlike PLUTO TV, which I just deleted because it's just not worth it trying to watch something that way.

or italicize the entire word...