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MCM@tcm

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  1. Sorry for the two blank replies. I was trying to reply using my tablet, and it posted without recording what I wrote. I'll be brief: I loved reading your comments on Laura, and as a result of reading them, I plan to watch it again today on demand. Thank you so much for sharing them with us!
  2. A splendid week of reading and viewing! A couple of thoughts: The first comes from our video lecture, filmed in that beautiful theatre. Dr. Edwards discussed how the viewing of these films was meant to be a shared experience. For several years, Robert Osborne held a classic film festival at the University of Georgia in Athens. (His TCM intros at that time were filmed at Turner in Atlanta.) He spoke again and again of the idea of a shared viewing experience. Being at that festival allowed me to take part in that, and it is truly a completely different experience from watching these movies a
  3. This was my first time to see Gun Crazy. A few years ago I read Pictures at a Revolution (2009) by Mark Harris. It was about the new Hollywood and discussed how the five films nominated for academy awards in 1967 represented this shift. One of those revolutionary films was Bonnie and Clyde. As I was watching GC tonight, there were many elements that reminded me of B and C, and it struck me how ahead of its time it was in 1950. I didn't read today's viewing guide until after watching the movies today, and so just saw that Dr. Edwards discussed this comparison in his preview of GC. As Muller dis
  4. So, speaking of unredeemed protagonists, do we think that Johnny is redeemed by his sacrifice? Does the fact that he doesn't live to experience it take away from his redemption? I like that the dog is the beginning of his humanity. The previous post mentioned the bromance between Van and Robert. Watching that reminded me of a discussion of Double Indemnity that I participated in at one of Robert Osborne's Classic Film Festivals in Athens, Georgia. He had a guest that helped him introduce the film and lead a discussion after. I will do some research and see if I can find that person's name. The
  5. I also like Muller's point about protaganists who are "immoral and unredeemed." That is such a perfect description of Bette Davis' character in The Letter. I missed Maltese this afternoon but plan to stream it this weekend. One of my favorites, but even better now because of these discussions. I think I will see much evidence of Muller's point in that one. Watching Johnny Eager for the first time this evening. Love Van.
  6. I am paying special attention to the openings as well, thanks to our Daily Doses. I love seeing these films again with new eyes.
  7. I am very interested in seeing ideas about the question you have posted here. In Eddie Muller's article on Noir from GreenCine, he describes Noir this way: "Here's my take: If a private eye is hired by an old geezer to prove his wife's cheating on him and the shamus discovers long-buried family secrets and solves a couple of murders before returning to his lonely office - that's detective fiction. If the same private eye gets seduced by the geezer's wife, kills the old coot for her, gets double-crossed by his lover and ends up shot to death by his old partner from the police force - I can say
  8. I'm wondering the same about Watch TCM. I'm off today, but this many in a row is like eating a huge gourmet meal. I need to get up from the table every now and then.
  9. I had not originally put this film on my must-see list for tomorrow, but now it is number 1. Very eager to see it for the first time. When Bogart looks around at the striped fabric over the back seat, it seems an allusion to the prisoner's stripes (even though he is apparently not in stripes, but a metaphor, nonetheless?). And the driver's at-first friendly but then prying questions are nerve-wracking. Fabulous opening!
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