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About Motorcitystacy

  • Rank
    Advanced Member
  • Birthday October 29

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  • Location
    Detroit MI
  • Interests
    pre code, film noir, pin up girls, burlesque

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  1. Doris as Calamity Jane shows that women wanted to be equal to men, even back in the 19th century. We see as the wold, untamed tomboy in the first clip who wants to be one of the guys, even if she has to use her pistols to get her way. In the second clip she becomes a "gentlewoman", still wearing trousers but looking more refined. It may have to do with how women looked in the 50s with Vogue and other fashion magazines showing such sophisticated ladies. Doris has always been portrayed as a "good girl" in most of her films. i can tell why she said this was her favorite role, being allowed
  2. First film I saw of Judy's was, naturally, The Wizard of Oz. Her beauty and extraordinary talent won me over and basically was the first stepping stone to falling in love with classic films. Later films I saw further proved she was quite the talent with her singing style and even choreography. She was so naive and innocent in The Wizard of Oz, and continued that with Andy Hardy films. As the 40s progressed she starts to become more mature and by the 50s, very sophisticated (what was happening off screen was nothing short of tragic) In the "For Me and My Gal" clip you can tell how she
  3. Ah, Fred and Ginger in Top Hat. The way they dance....and the way Prof Ament describes it makes it sound like it was the first dance battle on film. 1. If there is a battle of the sexes, it occurs BEFORE the clip started. Dale is out riding when the storm breaks out and the gazebo is the only place she can take shelter. She tries to tell him she doesn't need his help but when a flash of lightning occurs she briefly clings to Jerry, stating the noise frightens her. That's when Jerry attempts to charm her with his romantic storm talk. Dale seems put off, and tries to keep a strai
  4. Oh the love parade is on Even against all odds It'll go on forever The love parade Only matinee shows The love parade --"The Love Parade" by The Dream Academy 1. Lubitsch adds sooo much glamour and sophistication to his wicked wit. The elegantly dressed characters and the props that suggest something very risque has been going on once the garter is revealed. The French dialogue makes it confusing to anyone who does not speak French, but the tones and body language have no language barrier. Chevalie
  5. If the first clip was in real life, they would be interrupted by those blasted blackflies (ask any Canadian). I have heard in real life, Eddy and MacDonald often feuded, yet their chemistry works perfectly in the films. 1. The way Eddy tries to court MacDonald is very old-fashioned and proper, and screams post Code. MacDonald does not seem interested in Eddy as she's on a mission for reasons not involving love. Eddy seems to be working his charms on her until he starts mentioning other names. MacDonald appears to interpret this as past lovers of Eddy's and the mood is broken. (I al
  6. Sadly I have not seen this film yet. Wishing the Redford Theatre in Detroit would show more classic musicals.... But from the clip, I can tell this is loaded with escapism with the light-hearted background music during the conversation between Ziegfeld and the doorman and the light jokes, especially the one about 5 pounds. The musical number is also very playful and teasing. Beautiful girls singing and dancing always pop up in other Depression era musicals. The elaborate costumes and exquisite set designs all further contributed to the escapism of these musicals. The song would
  7. I watched Singin' in the Rain quite a bit as a kid, as Jean Hagen always cracked me up with her high pitched voice and wild demeanor. The dances between Gene Kelly and Cyd Charisse always captivated me. The Busby Berkeley musicals were also a delight as I always wondered how he managed to pull those complicated sequences off.
  8. In The Lodger we immediately see a screaming woman followed by a flashing marquee. Then we see the crowd around the dead body. It starts much more subtly in Frenzy with a dramatic dolly shot across the Thames to a politician giving a spirited speech to clean up the Thames when someone yells "LOOK!" and we see the corpse. No one screams in this clip (did they afterwards or are 1970's crowds more used to gore and dead bodies, or are they just plain British?). The landmark scenes are one of his touches with the panorama view of London. Another is his cameo in the crowd listening to the sp
  9. We know Marnie is very experienced in a life of crime based on her multiple Social Security cards and dyeing her hair to change her appearance. She also appears to have expensive tastes based on the clothing and lingerie she tosses into her luggage along with the large sums of money. The score is repetitive, probably referring to her repeated crimes committed then gets dramatic as we see Marnie rise up from the sink like a siren out of the ocean. Hitch breaks the fourth wall for his cameo and seems to ogle Marnie as she is quite attractive. He seems to know something is up with her and
  10. Indeed it is more of a romantic comedy at first when Melanie goes into the pet shop to get her mynah bird. She is put off at first when Mitch thinks she is the salesgirl but decides to play along with him. When he learns she knows little about birds, we start to see she is a playful challenge for him and that she likes to get what she wants. (Mitch does have a Cary Grant personality, wanting to be the dominant one but sees he is meeting his match in Melanie) The sea gulls do dominate the first part of the scene and sound small at first until Melanie looks up at the sky and sees how many th
  11. With the first slashing notes of Herrmann's score and the racing lines of Saul Bass' title design we know that this is not going to be any ordinary movie--especially when the film's title and Hitchcock's name suddenly shift abruptly in different directions. The opening score is meant to keep us on edge. The notes of the time, date and place give it a film noir feel (recently Eddie Muller mentioned on Twitter that he considers Psycho film noir!) like we are experiencing a crime that took place and how it all began. We enter the hotel room similar to entering Uncle Charlie's boarding room in
  12. Ever since discovering vintage glamour I have always tried to mimic the sophistication of yesteryear. Cary Grant and Eva Marie Saint simply ooze sophistication in this scene. Both were known for unique roles and Hitch knew what he was doing when he selected these two for North by Northwest. Cary Grant was known for charming women, and Eva looks like she's thoroughly enjoying herself in this scene. The matchbook seems to be a tool of seduction. This was indeed an era when a gentleman would always light a lady's cigarette. The way Eva takes Roger's hand and pulls it towards her to light
  13. We see a very tight close-up of Kim Novak's face. There is fear in her eyes, like she has seen something disturbing. What has she seen that will affect what will happen in the film? The Lissajous figures hypnotize us, giving us a feeling of being transported to another time and place. The eye is the most powerful. It is said the eye is the window to the soul, and we will be seeing two very disturbed souls in this film. The spinning Lissajous indicate that in the title sequence. The two set each other off perfectly. with the tempo matching the movement of the spinning images. If it were
  14. Just about everything we need to know about L.B. Jeffries is in just a few short minutes. It is the viewer's vantage point, as we have become voyeurs, whether we want to or not. We see it is a brand new day with the neighbors all preparing for their day; the couple sleeping outside, Miss Torso getting dressed (GASP! Topless with her back turned to the camera!) and doing leg stretches while getting ready, a cat prowling around. Another reason we know it's hot is from sweat on Jeff's forehead followed by a glance at the thermometer. The writing on Jeff's cast; the busted camera; the firs
  15. Professor Edwards, if you're reading this, these questions are deja vu from the Film Noir class two years ago as this film was also brought up in that class. Anyway, the criss-cross motif is definitely noticeable in the first few minutes with the railroad tracks, the style of dress Guy and Bruno wear, even the blinds on the train behind Guy give a criss cross look. The way the characters walk is noticeable, as if they are preparing for a duel, walking one way in the station, then walking up to the table in the club car and the first move is made when their shoes touch. Indeed Bruno is
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