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Everything posted by cinemaspeak59

  1. Count me in as a Harold Lloyd fan. He's my favorite comedian from the Silent Era. I find him charming, good-natured and, of course, very funny.
  2. On Approval (1944) is a light, slightly naughty British drawing room comedy that circumvents the norms of romance. George (Clive Brook who also directed) is an impoverished Duke forced out of his mansion. The estate is occupied by Helen (Googie Withers, ravishing in Victorian costumes) who wishes George would pay her more attention. Richard (Roland Culver), a friend of George, has set his sights on Maria (Beatrice Lillie), a bossy and difficult woman, but she’s rich. Maria plots to test Richard’s love by having him stay with her at her home in Scotland. The catch is Richard is not pe
  3. Time Table - 1956 A suspenseful insurance caper, with a homme fatale, Time Table has several nifty nourish scenes. The night-soaked streets of Tijuana; Bobik's bar, with its cheap blinking neon sign; and the bar's sleazy interior, reminded me of Touch of Evil, which was released two years after Time Table.
  4. Cover Up - 1949 This crime-drama keeps the viewer guessing as to the killer's identity. The anti-climatic ending is nonetheless satisfying. William Bendix, as the is-he-the-killer? enlivens everything he's in.
  5. I'll say 42nd Street. There's something hypnotic about it. The way it captures the energy, mood, and glamour of New York's Broadway scene in the early 1930s never seems to get old.
  6. The Day the Earth Stood Still resonates 65 years after its release. It looks splendid, one of the best science fiction pictures ever made. The visual effects may be technically primitive; but artistically they’re timeless. The sound effects also deserve praise; in particular, the deafening ringing Gort employs to revive Klaatu. The eerie score, and nourish lighting, mirror the undercurrent of menace that lurks in Klaatu: He’s peaceful, and kind, but no push-over, with little patience in human nature’s flaws, the dark side genetically induced to war and violence. Nor does Klaatu take a
  7. This is an excellent, but underrated Film Noir. Lizabeth Scott is terrific as the lethal femme fatale. I find Dead Reckoning to be more coherent and atmospheric than The Big Sleep.
  8. Emma Thompson, indeed, has that same aura. As for younger actresses, I like Felicity Jones, with that lovely overbite, and Keira Knightley, who always gives it her all. Alicia Vikander, although Swedish, could also step into a 1934 film set and fit right in.
  9. Jolly good stuff. Great pics. I loved Valerie Hobson, along with other great British actresses from the 1930s: Margaret Lockwood, Madeleine Carroll and Heather Angel, to name a few. They had talent, style, elegance. I never get tired of watching them.
  10. I bought Webb's performance and his unmasking as the killer. Noir by nature is twisted; the human psyche defies rational explanation. He may have been humiliated by Laura's rejections. Perhaps he was fighting within himself to embrace and accept (or not) he who was.
  11. Kubrick's A Space Odyssey does not need to be remade. I won't be narrow-minded and say it's impossible to produce a quality remake, but why bother. The dazzling imagery of the original, and the ambiguity, will continue to attract new viewers and discussions. The philosophical questions the film posed -- What is existence? How do we acquire knowledge? Is artificial intelligence a threat to humanity? -- are more important today than in 1968. I recommended A Space Odyssey to a friend in his twenties, an Xbox gamer with high standards for special effects, and he loved it.
  12. In no particular order: The Maltese Falcon Out of the Past Double Indemnity Murder, My Sweet The Killers Dead Reckoning Phantom Lady The Lady from Shanghai The Letter (Bette Davis one) This Gun for Hire
  13. Another Noir released in 1947 was DEAD RECKONING, starring Humphrey Bogart and Lizabeth Scott. It was not as good as OUT OF THE PAST (arguably the best Noir in film history), but it was still very good. When Jane Greer was interviewed about her role on TCM, she said director Jacques Tourneur told her in the first half of the film, she was to play the good girl. And in the second half of the film, Tourneur told her to be the bad girl. It takes a confident director to so beautifully simplify acting. Mitchum's performance has a fatalism even more pronounced than other noirs. He recogn
  14. I agree with you. Perhaps second viewings will change my opinion. I also was disappointed in Jackson's remake of KING KONG. Technically, it was flawless (like LOTR trilogy) but it lacked atmosphere. The CGI rendering of New York City was resembled a video game. There is too much shooting devoted to static space (endless journeys on LOTR) that stop the narrative flow of the films.
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