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About williamasmith

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  1. Did you watch the same film as I did? I've seen Kiss Me Kate at least 10 times, and the dance numbers are magnificently photographed--particularly "From This Moment On".
  2. I recently made an estimate of Hitchcock's batting average--basing my judgments on having seen nearly all of his films. (The only ones I haven't seen are a couple of the silents and among the sound films Juno And The Paycock, Mary, Strauss's Great Waltz, Young And Innocent, and Under Capricorn.) I rated it at 60% very good to great; over 80% for the films after and including the first versionof The Man Who Knew Too Much. Most of the silents I've seen except The Lodger are just about unwatchable--the flashes of the Hitchcock touch are buried in typically bad silent film acting and impossi
  3. I confess to being more than a little disappointed with some aspects of Hitchcock 50. 1. Far too many of the early British films. Those of us who love Hitchcock would naturally want to believe that every one of his films is a masterpiece. Personally, I think that about 80% of his films from The Man Who Knew Too Much to Family Plot are somewhere between very good and masterpieces, and I'm including in that number some I don't particularly like, like The Wrong Man, The Birds, and The Trouble With Harry. Except for The Lodger, the rest of the silents are darned near unwatchable--flashes o
  4. I started the course a bit late, or I would have posted some thoughts on this topic earlier. To make my position clear--my comments come from a background as a long-time student of film, a noir enthusiast, and several advanced degrees in English literature, with an emphasis on historically-based readings of literature. Much of the material here has been first-rate, particularly the material of realist versus formalist style and the literary, artistic, and studio system milieu within which film noir takes shape. The readings on the studio system and A and B films were completely to the po
  5. I found this podcast interesting, but it raises some very important issues in critical methodology. For the record, I'd rate D.O.A. very near the top of the noir output--I'm a long-time enthusiast for film noir, and am well on the way to watching every film that TCM has broadcast in the current noir series. (I'm contributing capsule reviews of each on a thread on Amazon's Movie Forum.) I'm a long-time student of film. I also come to this task with a couple of advanced degrees in English literature--I say that only to clarify my approach. E. D. Hirsch makes a useful distinction in Valid
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