johnm001

I don't believe Mike Nichols nor Ernest Lehman ever had any intention of using Davis or Mason, and Lehman was the person with the say. I find the four cast members, superb in the film. I'm glad neither Davis nor Mason is in it. I agree that it is a travesty that Burton lost, but not because Taylor won (they weren't in competition), but that Scofield did! It is Burton's finest screen performance, by a mile, and certainly their finest pairing.

THE SOUND OF MUSIC THE BIRDS VILLAGE OF THE DAMNED (1960) THE MAN WHO SHOT LIBERTY VALANCE THE TROUBLE WITH ANGELS THE SNAKE PIT IN THE GOOD OLD SUMMERTIME MARY POPPINS LADY AND THE TRAMP BLOW OUT JOHN CARPENTER'S THE THING IT'S A WONDERFUL LIFE EXORCIST 3 WEST SIDE STORY NORTH BY NORTHWEST

MY FAIR LADY LAWRENCE OF ARABIA (any David Lean film post BRIDGE ON THE RIVER KWAI, and even that one to some extent) FUNNY FACE 2001: A SPACE ODYSSEY STAR WARS (any of them) SAVING PRIVATE RYAN THE WOMEN THE LION KING AN AMERICAN IN PARIS ON GOLDEN POND

Can you please explain this post to me? Thanks.

I also believe that Capote also said that, although she wasn't a call girl, she would accompany men to parties and other events, for money and gifts in exchange. However, some of these men would be invited to spend the night with her. So, it all depends on your definition of call girl. Also, in the exact same interview, he refers to her, indirectly, as a prostitute, when answering the question of whether or not she had lesbian tendencies, and says something like, "at least 8o percent of prostitutes are lesbians."

I couldn't disagree with this statement, more. It is, exactly, BAT, that reflects her enduring image. Most people alive today, know the BAT image, even if they don't know who that actress is.

Watch it again, and picture MM saying the exact same lines. Also the exact same lines being said to her. It all makes sense, then.

It's one of only three Spielberg films that I like, along with CLOSE ENCOUNTERS OF THE THIRD KIND and JAWS. It was given a rather beautiful-looking DVD release quite a few years back. Of course that was till in the standard def days. Haven't watched it on an HD monitor to see if it holds up.

I just watched this, last Saturday, for the first time since I saw it in a movie theater during its original release!

Although I am positive it wasn't the first film I saw in a theater, the first one I remember seeing is THE TEN COMMANDMENTS, in 1957, during its roadshow engagement in Philadelphia at The Randolph Theatre.

I've seen many IMAX films, both 2D and 3D, going back to one of the very first IMAX theaters in North America, in 1976 for the Philadelphia Bicentennial celebration. They don't hold a candle to Cinerama. They're high, but not wide. Just 70MM VistaVision. I like them, but no comparison. The great big, widescreen films are my favorites. If you were to show HWTWW in an IMAX theater, you would have to either crop it, pan and scan it, or letterbox it. The IMAX screen just can't handle those films. Besides, no where near as many IMAX films are produced as the widescreen films from the 50s and 60s.

HOW THE WEST WAS WON and THE WONDERFUL WORLD OF THE BROTHERS GRIMM were the only two narrative films to be shot in true Cinerama. Of course, all the Cinerama travelogue films were done in the true format. There was nothing like true Cinerama. Certainly nothing since. IT'S A MAD MAD MAD MAD WORLD was the first film to be released in, what we called at the time, "fake Cinerama". However, the curved screen was still used for it. 2001 and others, as well. No matter how they marketed it, it just wasn't the same thing, at all. Although, compared to the little films of today, they were impressive in their own right.

Yes, it does work in those films, and in others she simply gets by on her charm and great face. However, there are only two films where I think she actually impresses as an actress, THE NUNS STORY and BREAKFAST AT TIFFANY'S. Mostly, THE NUNS STORY. In TIFFANY'S, it's remarkable to me, that she is so miscast. None of it makes any sense with her in the role, yet she and Edwards and the others make it work so incredibly well.

https://vimeo.com/60803154

It was an event picture. Mostly due to the darkening of the movie theaters during a critical scene in the film. Originally the theaters went to pitch black, but during its run, theaters were told to leave the exit lights on. Hepburn was nominated for an Academy Award. There's nothing particularly memorable about her performance, and like many of her films, she comes off like a kid, playing a grown-up. She's not lousy in the role, by any means, just not anything special. Unlike Remick and Jones, she never really seems frightened by what's happening; and she never comes off like anyone real, just Audrey Hepburn.

Wow! Even more boring and nonsensical than say, FATAL ATTRACTIONS?!

I tried to answer this, but I can't. The top three would be among, Jimmy Stewart, Kurt Russell, Dirk Bogarde, Claude Rains and John Wayne.

Anne Bancroft is my favorite actress, and she is superb in THE PUMPKIN EATER. However, I find the character she plays, so unlikeable, that the film is not a favorite of mine.

Not such a great idea, entirely. For films done in VistaVision (THE TEN COMMANDMENTS) it would be good, since IMAX is really ust a 70MM VistaVision format; but for widescreen films done in Cinemascope, SuperPanavision 70, Todd-AO, etc., they would either have to show the films letterboxed, or crop them on both sides. Or both! IMAX is high, not wide.

I saw it on a double-bill with EYES WITHOUT A FACE, back when SOULS was first released. It remains one of my favorite movie=going experiences, ever.

I wish Doris Day had done Nellie in SOUTH PACIFIC. A more perfect actress to role combination I can't imagine. Mitzi Gaynor sings of being an optimist, then spends most of the film, sulking. Unfortunately for Mitzi, she required a better director than Josh Logan, who seems more concerned with color filters and not changing a step of staging he had done on Broadway, than character development. Robert Wise's original choices for Tony and Maria (Keir Dullea and Barbara Luna) might have been interesting; but, as I consider WEST SIDE STORY, the first great screen musical, it's only a curiosity, rather than thinking the film would have been better. I also wish Lee Remick had reprised her role in WAIT UNTIL DARK. She didn't stand a chance. Warner's originally offered it to Julie Andrews, then Audrey Hepburn swopped-in and offered to defray the production cost, and bought herself a role. I saw Remick (who was superb) on stage in the role (also saw Shirley Jones on stage in it). Both were far better than Hepburn, who is okay, but of out of her league in the role.

I love way too many movies to make a list. I have a three-way tie for favorite film, mostly due to how many times I've seen each (in excess of 100), and continue to want to see them, again and again. VILLAGE OF THE DAMNED (1960) - the first film that became an obsession with me (there are many). During its original 1960 release, I saw it 16 times. Virtually countless times since then. THE BIRDS (1963) - like nothing I had ever seen before (or since, really). It was something of an event back when it originally played in theaters. People actually ran out of the theater when Melanie headed up the stairs with the flashlight, at the end of the film. It was the first time I saw that happen during a movie. For me, though, I love the cast, the location and the lack of score. Also, it is my favorite dialog movie. I just love how the characters speak to one another. If you took out every scene with birds attacking, it would remain a favorite. They are completely incidental to my loving this film. THE SOUND OF MUSIC (1965) - the perfect screen musical. A true cinema miracle. A film that improves upoin its source material. In my opinion, the only film version of a Broadway musical that does so. Every second of its run time, it knows it's a film. Breathtaking, both in scope and the performance of its leading lady, who along with Anne Bancroft in THE MIRACLE WORKER, gives the performance of the decade. Seeing it on the enormous Todd-AO screen, changed my life.

Who the hell could possibly be offended by SONG OF THE SOUTH?!?! Are these same people offended by the endless portrayal of blacks as thugs and hookers in Hollywood? Because if they are, no one's paying any attention.

I like films from every era, uncut and without interruption. It matters not, what year they were made.