LornaHansonForbes

ah, MOTHER. I wish they'd bring back the [spoiler] function. it was a way we had on the boards here of hiding text you had to click on to reveal

I think I read this 3 or 4 times and kept thinking "who the HELL is Clint?" before I saw what you meant (abbreviation.) it's cool. I actually liked the VIRGINIA WOOLFE segments, but haaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaated the modern day scenes with MERYL and CLAIRE DANES and NIGHT OF THE LIVING ED HARRIS. (But I admire your admiration of the film and I salute you for it, Lord knows the Boards would be dull if we all always agreed.)

No worries here. I'm not the marrying kind.

I am concerned about this gentlemen to whom you refer and wonder just what (or who) he may have stuffed in his crawlspace wherever he lives.

I can't with JAMES CORDEN.

ALSO, THE STUNT MAN seems to me, RIPE FOR A REMAKE, the story is extremely open to translation. it's a film I would love to show to a room full of screenwriting students and then tell them to write their own interpretation of it.

it helped that I watched it on TUBI (with minimal commercials) and, as such, I was able to pause it at will to "come up for air" periodiclaly. in fact, i even watched an hour of it and went to bed and watched the rest the next day- which i know offends some of the film purists here, but for some films it just helps to take a breather. my advice if you wanna check it out again: 1. don't do it sober 2. watch it for the visuals, and O'Toole- DON'T BOTHER TO MAKE SENSE OF THE STORY.

I have been FIRMLY TEAM MERYL ever since her line read "can somebody PLEASE get THE GOD DAMN DOOR!!!!?" as she nurses a broken PUSSYCAT PINK NAIL that she has slammed the washing machine lid on in SHE-DEVIL (1989?) I LIVE for DEATH BECOMES HER, and I saw THE RIVER WILD and HOUSE OF THE SPIRITS in the theater. ditto THE BRIDGES OF MADISON COUNTY (and I HATE Eastwood) i even liked ONE TRUE THING and thought she was a hoot in ADAPTATION. (THE HOURS eats **** though) So it is with a heavy heart that, as a result of not just one but many small things, MERYL is officially ON PROBATION with me. (we take you now to 148 acres in Upstate Connecticut for MISS STREEP'S reaction to this news:) In all seriousness though, there is no point in arguing whether or not MERYL is a great actress, she is. But there got to be a point some time in her career (I would say ca. 1995) where getting NOMINATED STARTED TO mean more to her than it should have. And I dunno, I don't want to fault her for taking good roles, but she's developed "AND WITH ACADEMY AWARD WINNER JOHN GEILGUD" syndrome, where tacking on her presence at the end of a trailer is BLATANTLY INTENDED add a veneer of respectibilty to something...whether it deserves it or not. (ps- YES, i KNOW THAT'S GLENN CLOSE in the clip.)

I also watched 10 RILLINGTON PLACE from 1971 on TCM. it's a very well-made, if AGGRESSIVELY GRAY movie- seriously, are DIRTY, GREASE-SMEARED WALLS a major design trend in ENGLAND? (If so, I must say. I like them better than SHAG CARPETING and FLOCKED WALLPAPER, but not by much.) it's a PRURIENT TRUE CRIME STORY, and I'm sure it's had a couple hour long DISCOVERY ID episodes done about it...back in 1971 though, this was shocking stuff, and this VERY BRITISH feature film about a Notting Hill serial killer who frames an innocent tenant of his for two of his (many, many) crimes reminded me of DAVID LEAN'S MADELEINE, in that it seemed as if it wanted to keep a polite distance from the subject matter, turning to us every now and then to apologize for even telling such a lurid story as the protagonist digs another hole below the floorboards for his latest unfortunate victim. RICHARD ATTENBOROUGH was excellent in a very difficult role of an abortionist/serial killer/ guy with SERIOUS ISSUES WITH WOMEN and JUDY GEESON (of BERSERK!) was really terrific as well, JOHN HURT- who got most of the notices for the film- is also great, but his character is SUCH a question mark, I don't feel like he was done justice by the story and direction.

Ah, the Rich and Famous. Nice to see they have the exact same problems we do.

According to Wikipedia, the film received such a limited release that Peter O’Toole himself said “the film wasn’t released, it escaped.”

SAME. I love it with all my heart and I have since shared it with nieces who also adore it. were are NORTH CAROLINIANS and used to visit THE BILTMORE before it got to be $600 for four people to go (!!!!!!!!)

oh, just to add a little more in re: THE STUNT MAN, there is a pivotal plot point which involves A STUNT MAN drowning after driving a "Dusenburg" (which is clearly a MERCEDES) off a bridge which was- it would seem- not in California. the very next year, on the filming of the movie THE PRIVATE EYES on THE BILTMORE ESTATE, a stunt man almost drowned when he was driving a BENTLEY doubling for a ROLLS ROYCE into a lagoon on the property. OOGIE SPOOKY COINCIDENCE..." Either way, the crash and submerging scenes at the climax of the film are STUNNINGLY WELL DONE.

TUBI TV continues to be where it's at, I came across THE STUNT MAN (1980)- which I have been curious about for some time. [note: this is not an easy film to describe or review] **EDIT: IT OCCURRED TO ME: THIS FILM IS LIKE WATCHING AN ACTION FILM WRITTEN BY VLADIMIR NABOKOV (with a REWRITE from VONNEGUT perhaps) It stars STEVE RAILSBECK as a man on the run, wanted for murder, who winds up being (more or less) kidnapped and forced into work as a stunt man on a troubled WWI picture that is being shot- for some reason never explained but amusing nonetheless- AT THE HOTEL CORONADO (in San Diego I think?) by a MACHIAVELLIAN MEGALOMANIACAL DIRECTOR played to b!tchy, deranged, grandiose perfection by PETER O'TOOLE, doing A wicked DAVID LEAN, but DAVID LEAN as one of the many personalities of his psychotic character in THE RULING CLASS. It's a wild film that blurs reality and challenges the viewer- it's META to THE CORE, but interestingly so, and even though it's 20 minutes too long and there's one scene in the third act between RAILSBACK and BARBARA HERSHEY, as the film's subservient, duplicitous leading lady that TRIED MY PATIENCE... But, not even knowing that much about film, you cannot help but be DAZZLED by the direction, which is showy because it can be, but not so showy as to interfere with the story. there are some shots and stunts in this movie that are years ahead of their time- amazing they were done before computers, and stunning for it. the film got OSCAR NOMINATIONS for BEST DIRECTOR for RICHARD RUSH (which he really deserved) and BEST ACTOR for O'TOOLE, it's a shame that his part verges on being supporting, but in terms of performance, he's a LEAD all the way. it's a rare example of a film that was nominated for BEST DIRECTOR but not BEST PICTURE and that's kinda how it shoulda been. good luck getting the theme song out of your head:

I DID NOT KNOW THAT! thank you!

I’d like to think that somewhere in Manhattan, there’s a small studio apartment, and in it,Faye Dunaway is sitting in a recliner eating cake frosting out of the container and obsessively rewatching the ending of DONT LOOK UP on loop …

I had a very good friend whose younger sister did not want to see “La Confidential” because she did not want to see a French film. [yes, she pronounced it “Lah con fih den shee al.”]

It’s “piscina” en Español. It’s one of those Spanish words I’ll never forget thanks to an obvious, and dirty, mnemonic device.

Nice MATT DAMON diss. I'm flirting with checking out TICK, TICK...BOOM ! this weekend as my own uneasy relations with 2021 IN FILM continue.... (my new rubric for assessing modern films is now: "does it feature a nude MERYL STREEP getting eaten by a giant chicken at any part?", if the answer is "no," then I am willling to proceed....but cautiously.)

honest to God, there have been MANY OCCASIONS where I called the plumber and they literally fixed the problem in front of my eyes by doing something pretty much along the lines of whacking the pipe (or tightening a screw) so, I dunno, I'll let it slide since I am not knowledgable on any and all things related to hardware. **EXCEPT DON'T EVER EVER EVER EVER EVER EVER FLUSH THOSE "DISPOSABLE WIPES" EVER EVER EVER EVER EVER. Someone, in fact, needs to LOBBY CONGRESS and ask they have a Government-mandated name change to INDISPOSABLE WIPES or, my idea "NO FLUSH 'EMS"

yeah, bless everyone's heart and all, but the souffle just don't rise on this one. have to say, I really do appreciate OLIVIA DeHAVILLAND warning us not to see it alone on the poster you included, originally, the advert read "MISS OLIVIA DeHAVILLAND WARNS YOU: THIS MOVIE WILL **** YOU UP FOR LIFE!" but they decided to go with something a little less "attention grabby."

I seem to recall hearing that THE GREEN YEARS was a major moment in the history of profanity on film, doesn't Charles Coburn get to swear mildly a couple of times?

1. dunno if you know this or not, but HERBERT MARSHALL lost either all or part of his leg in WWI, so every time "he" runs up the stairs in this film, it's a stunt double! after i found out that, MARSHALL became even more admirable in my eyes, just ONE HELL of an actor. 2. I dunno if you have heard of or seen CLUNY BROWN (1946)- it is LUBITSCH'S final film and I ABSOLUTELY ADORE IT, highly highly highly recommended, it is not often as referenced as some of his others (HEAVEN CAN WAIT, SMILING LIEUTENANT etc.) but it is just SO CHARMING!

Oh wow, that would have been a great alternate title for FRIDAY. nOT SUre if it fits the overall tone of the episode tho. ps- sorry, caps lock issues

spoiler kindasorta but not really- there were 2 LA LAW moments besides THE FALL OF ROZ that I will always recall- 1. There was a CIVIL RIGHTS case of some kind (police brutality?) and when the jury's verdict is to acquit, THE COURTROOM GOES BERSERK and erupts into violence, and (I think) this was BEFORE the LA RIOTS (ca. 88?) . It was jarringly prescient 2. aLSO there was a long story about 2 parents accused of murdering their infant son and you get the sense that they're being railroaded by the system and the lawyers fight for them and get them acquitted...and the last shot of the show is when the lawyer (Susan Dey?) realizes, having just gotten them off for murder, that they were in fact guilty.