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jerryalone1

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About jerryalone1

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  1. Hi, "bggalaxy" .. Thank you for letting me have the feeling that I matter in some way here. After the fact of the miserable way that is this I exist in, to find a place like this, that, due to the nature of the subject, is for me as a portal to where there are others who might be at least somewhat similar way in their hearts as I've the lonely burden of it having turned out to be my lot,.. then to find that, it be yet even here, I'd be not wanted, or either, would sense that my overly sobbingish sentimental musings and "romanticisticism" was thought by others who could never know, to amount to
  2. !!! ~ Well,~lol .. NOW, I'm starting to find the Threads that are more specifically pertaining and relevant ! Well, here's a copy 'n' paste of what I've written in other sections in the last two days, where I was finding any comments near to the subject of "TEARJERKING FILMS": Thread: FILM NOIR/FEMME FATALE ~ Re:[--"Mildred Pierce"; I think "Mildred Pierce" is a wonderful film. Its what got me into film scholarship. It's a hybrid of the women's picture ("weepie") and film noir (which they felt was essential in maintaining male interest). Lots of great symbolism. The final shot sums up t
  3. There are some moviestory endings, that I can't clarify to the feeling in myself, whether it was a "SAD" sentimental ending, or a "RESOLVED" sentimental ending, such as: "Portrait Of Jennie" -'48. In the end, was Miss Spinney (Ethel Barrymore's character's part -or, point- in the story) the older Jennie Appleton, who'd "found her way back" to Eben Adams ? !! ~ If so, it wasn't made clear enough for me to feel it was a "SAVED" emotional ending. And if his Jennie really was ended from time immortal, and wouldn't be returning again to Eben, then it was indeed for me, the type of ending that justi
  4. Yes, I agree, that "Waterloo Bridge" most certainly has one of the moviestory endings that leaves that haunting hurting in you, that you walk around contemplating over in your mind for several days afterward, with a need to cry stuck about midway down your neck in your throat. Romance Dramas are my most favorite genre of truly classic films. I divide the "tearjerkers" into three categories: 1~ MOST TEARFUL "SAD" (so unfair and unright seeming, or simply tragic) ENDINGS: ~ which includes such films as, "Waterloo Bridge" -'40, "Joan Of Paris" -'42, "Tomorrow Is Forever" -'46, "Humoresque" -'47,
  5. Now, that was right on the spot, to focus on my very favorite "sub-genre" - those '40s crossovers that were the mixture of "noir" -- in the sense of their "eerie" moody tones, at times dark, stormy, or windy, "skies hanging beyond" type of sceneries and techniques of cinematography; .. and "women's picture" (weepie, tearjerker) -- in their plot or storyline. All three of those Joan Crawford films - "Humoresque" and "Possessed", besides "Mildred Pierce" that you mention, were of that type. I consider a lot of those particular types of film to be "noirish" in style: "Rebecca", "Love Letters",
  6. I, too, recognize Lizabeth Scott as one who portrayed -or even, "styled"- "femme fatale" characters affectively. And, yes, many of her roles were sort of what I think of as "archetypical" or "quintessential" FEMME FATALE. Besides the film you mention, she was cast in that type of role very effectively in "Dead Reckoning" opposite Humphrey Bogart, and "A Stolen Face" opposite Paul Henreid. But, I also preferred her just as well, in her role which was almost the direct antithesis of femme fatale - infact, in a role that was juxtapositioned to the femme fatale character (Barbara Stanwyck) - in
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