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movieman1957

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Posts posted by movieman1957

  1. You're right MissG. Earl and Mae are framed in a two shot. It was very much the two of them vs. Jerry. Maybe Earl wasn't bluffing completely as much as he was just being a jerk. Contempt for Jerry's intelligence and his for being a weak man. After all Jerry, for the moment, has just stolen his wife. Of course a man having an affair with a woman would buy her something like that but why she didn't do a better job hiding it is a question. If she did there would be no climax to the movie.

     

    Now I'm just being ridiculous.

  2. *The Great Train Robbery." Ten minutes in length, it was action-packed with a train robbery, a chase and a final shootout. It was an enormous success and the most profitable film of its time.*

     

    How much competition could it have had?

     

    TCM showed it a year or two ago and it is interesting from a historical standpoint. I think Robert O said there were 21 edits in it. A huge amount for that time. Unfortunately, there was no music to accompany it so it was a true silent movie.

  3. I agree Ryan's "Earl" is damaged. No question. He insists on showing it to everyone. I didn't sense any grief on his part for being damaged. He seems to wallow in it. There is some sadness is Mae but not enough to keep her from straying.

     

    One scene that did seem a bit out of sorts was when the three of them are having their argument and Mae is asked about the negligee. Ryan passes it off as just a friend buying another friend a gift. Douglas' reaction, at the moment, isn't quite so shocked. Really? What man buys his friend's wife a negligee? There must be a good line coming from Jerry somewhere but it doesn't come.

     

    I like your list of emotions for Mae. That is plenty to go through. She looks good in a slip though.

  4. Thanks for writing back.

     

    >Mae can be her ugly self with Earl. She can be "naked." Every woman needs to feel as if she can be naked with their man. I think Jerry makes Mae feel dirty (guilty) and that Jerry struggles to understand how dirty Mae really was, is, and still can be. Mae also knows she can hurt Jerry. She can't hurt Earl. This mean she's to be held accountable with Jerry. Again with the guilt.

     

    That is very true. There never seems to be complete comfort with Mae and Jerry. There is respect. There is an affection. Your choice of "naked" is very good. She can never totally relax.

     

    >Responsibility is a prison to the runner.

     

    I wish I had put it that way.

     

    I don't mean to belittle Stanwyck's performance. In retrospect I might be too direct. I like her work early on in the film and while she is going out with Jerry. Her speech to him to accept his proposal is gently handled. Maybe it is as it the film gets to her and Earl it has to do more with the character than her work there. At the risk of making some here question my sanity I thought Ryan was kind of one-note through the film. Always angry and no real nuance to anything but it probably wasn't called for. Maybe I am over thinking it.

     

    My favorite Stanwyck performances are her lighter films, "Double Indemnity" notwithstanding.

  5. I might include "The Rockford Files." (After including "Murder, She Wrote" that opens up quite a few shows.)

     

    As a tough guy who would really rather avoid a fight and surrounding himself with friends from both sides of the law he manages to take all kinds of work. There are often good characters and good story lines. Of course there is the obligatory car chase but what show didn't have one. (Great cars too.)

     

    He is not together unlike the Phillip Marlowe character.

  6. Except for the occasional day like yesterday I am not sure that is the case. There were several that fit into Robert Taylor's turn as SOTM and I think Donna Reed had one or two. You will get several next month with Gregory Peck as SOTM.

     

    I do like westerns and would look favorably on this "trend" if they didn't play the same ones too much as has been complained about with other films.

  7. >But he was rather deluded about his ability to make Mae happy.

     

    That is certainly true. I think Jerry must have felt that "love conquers all." That only works when both are in love. He must have known Mae didn't love him the same way.

     

    Clearly Mae was looking for a stronger man. A couple of times Mae lets Jerry have it for the way he lets Earl talk to him. Mae chastises Jerry for him letting Earl call him Jeremiah. She calls it condescending. And one other time she gets on him as well.

     

    Could Mae be more needy then we think? That she will take Jerry because he is handy and willing even though she knows he can be the strong man she told MM she wants.

     

    Edited by: movieman1957 on Jun 15, 2010 12:07 PM

  8. I can't possibly reply to so much in one post so I thought i'd give some initial thoughts and backtrack if anyone wants to go on.

     

    *Clash By Night* is too young to have invented melodrama but is certainly defines it. From the opening credits where my wife asked "Why does the music sound like a war movie?" we are in for some bad times in people's lives.

     

    I think Mae thinks she is a failure. "Home is where you come when you have run out of places." (or something close to that in her line.) Earl is a failure. He knows it but doesn't care. Jerry may not be a failure but he knows his limitations and he can deal with them. One thing they prove is that you cannot settle for something. Too much is at stake. Too many people settle for what they have in that life in that town. But don't we all to some level?

     

    I think Mae and Jerry are taking a chance on each other and for different reasons. Mae gets some kind of normalcy in her life. She is going to try and be what she is not - ordinary. Jerry sees himself as raising his life level. To him Mae is lovely and more importantly willing to "love" him. Mae thinks some stability will pacify her. Even though that is exactly what Jerry gives her it really is that last thing she wants. Jerry is the teddy bear Earl claims him to be. He knows he can protect Mae and love her which is just what he thinks she needs. He thinks Mae can make him better. It is really the other way round. What Jerry can't do is excite Mae.

     

    Earl is a terminal attitude. Mae and Earl are too much alike for there own good. This is what repels her but then attracts her to him. It is hard to imagine anyone loving Earl. There is no redeeming quality to him. He is angry, condescending, miserable and not nearly as clever as he thinks he is. He is in a permanent snarl but he is passionate. Even when he and Mae are going there is no warmth in it, just relief. It will do for now. It wouldn't last. Two people like that will get bored with each other when some of the heat wears off.

     

    When the film comes to a head it all comes quickly. Perhaps too quickly. Mae is ready to go - now. But a few minutes later and in an instant she changes her mind. In the blink of an eye she gets a conscience. Jerry is finally and rightfully angry. One soft look and he melts again. He is the kind that probably couldn't hold a grudge. He won't be fooled again though. "JF" thought Jerry got we he deserved. I would disagree in that nobody like Jerry deserves someone like Mae. Oh, he was warned and he shouldn't have been surprised but he deserved better.

     

    Is there a happy ending? Maybe but I wouldn't count on it completely.

     

    This may be Stanwyck's film but Paul Douglas, for me, does the best work. He has the widest range of emotions to carry. He is the wounded one. Stanwyck is fine. My bride liked the fact that Monroe didn't play her bombshell self here. Some quirky dialog aside there are some rich characterizations here and well done by the cast.

  9. Sandy:

     

    So glad you joined in. (Anytime, please.) Thanks for the info on Alexandra. How wonderful that you played that part. You would agree with Moira about her mother's desire to keep her young. She exerted that much influence on her.

     

    Any other thoughts would be most welcome.

  10. I am not terribly well educated in this matter but a lot of it boils down to two things. Availability - so many silent films are lost or are in bad condition. Economics - it is just not profitable to do anything with them. The few fans (comparatively speaking) who might buy them aren't enough to cover the cost of producing them. This maybe where things like The Warner Archive may play a role since they're done on an as-ordered basis.

     

    It might be that some of the big shots in those companies don't care. While storing them may cost some money it may not be worth what it would cost to pay a group to go in and get rid of them. (Hazardous waste issues? I'm not sure.) There may be some prestige projects they may attempt to do things with, likely in conjunction with a university or some TCM-like organization, but you can bet the studio won't be bearing too much of the cost.

     

    Just my guess on it.

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