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ClassicMovieholic

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Everything posted by ClassicMovieholic

  1. Goodness, aren't we literal. Didn't mean to cause controversy. Yes, King Kong is a universally beloved and respected classic, and no one appreciates its merits more than I do. Sepiatone mentioned that One Million B.C. was the first movie his mother had seen and fallen in love with Victor Mature in. I indulged in a brief digression to share a bit of nostalgia about the first movie my grandfather and I had seen that had made an impression on us, which was King Kong for both of us, and happened to be a similarly themed movie. That wasn't a response to the original topic. For me, part of the fun o
  2. The Day of the Locust (1975). I don't know what about it my parents thought was appropriate for a child. To a child who didn't fully understand the themes, it seemed like a relatively straightforward Hollywood period drama until that ending (Jesus!). I laid awake for days sort of crying dry tears, and couldn't concentrate at school because I kept replaying it in my mind over and over again. I still can't listen to "Jeepers Creepers" without getting goosebumps. Three that didn't exactly scare me, but have a genuine sense of creeping menace and could easily be remade as horror films are Bla
  3. Very much so, still does. I would add Testament, a PBS movie that had a fluke wide-release, and garnered Jane Alexander an underdog Oscar nomination. It's not as graphic or harrowing as The Day After but in some ways is even more uncompromising in its bleak vision.
  4. 😂 Mr. Mature has never stood out to me much as an actor, though I do like most of the films I've seen him in. I understand he was something of a male "sex symbol" in his day, so your Mom probably wasn't alone. Both my grandfather's and my first movie that either could remember was King Kong; he on the big screen when he was a boy, and my on my parents VHS. We were both completely swept up in the magic of it, in 1933 and nearly sixty years later in the early '90s, and that spell still hasn't been broken for me! Such is the power of cinema.
  5. One I'm not even ashamed to admit I like a lot is One Million B.C. (1940). It had some pretty pioneering special effects for the time, for which it was nominated for an Oscar, and foreshadowed a lot of similar films by a generation. I found the trick photography with enlarged live reptiles quite effective and entertaining. Also, technically more scientifically accurate than its successors, as humans never walked the earth at the same time as dinosaurs, but did exist simultaneously with gigantic predatory lizards. Where it suffers is in not committing to one approach. I think it could have been
  6. I hadn't seen the post about Isn't She Great, but I very much enjoyed that too, and felt it was underrated by the critics and audiences who panned it.
  7. I like most of the films previously mentioned that I've seen. I don't even know that it's fair to call Pillow and Jason guilty pleasures. They're genre films, and very much of their era to be sure, but also still widely beloved by audiences, and respected for their contributions to cinema (Pillow Talk for its mid-century style, sharp script for the time, and ushering in many of the tropes that evolved into the modern romantic comedy; and Jason and the Argonauts for its still impressive special effects in the process of stop-motion, among the great Harryhausen's best!). I don't know that T
  8. And something of a dish in her heyday, if I may say so! Her Bride of Frankenstein has such a spark (forgive the on the nose phrase) because she treads this bizarrely alluring line between monster and sex symbol, which set the tone for that quirkily appealing quality you describe in her body of work. She was also one of those character players who were equally at home in high-brow and low brow-productions. She could elevate B material with her high-tone theatricality and yet not seem incongruously pretentious for the effort, perhaps a side effect of that same quirky gameness. I remember se
  9. As I recall, the main cast had only one (or maybe two?) sets of clothes in early season, but their wardrobe seems to multiply the longer they stay on the island. Ginger has that one iconic illusion-flesh-tone gown at the beginning; "Film star Ginger Grant, still wearing her evening gown from the night before..." I believe we hear over the Honolulu radio when the loss of the Minnow is reported. Around season three she seems to be going through glamorous gowns like kleenex, all spotlessly clean, of course. I agree that Natalie Schafer was beautiful in younger years, and still quite stylish
  10. A lot of great ones have been mentioned. If I may submit my own... Entrance: Gale Sondergaard coming through the beaded curtain to the ethereal tune of glass Chinese wind chimes in The Letter. Exit: Olivia de Havilland going up the stairs in The Heiress. I'm assuming somebody has already mentioned Rhett disappearing into the fog in GWTW? Almost too obvious to note.
  11. Agreed! That and the stop-motion animated vulture pit! Some creative Hays Code evasion with Lana's costuming, too😉. I think Land of the Pharaohs is fun camp that gets a bum rap from serious critics. Personally speaking, I am here for the Joan Collins nastiness! Nobody does it better. I agree that the ending is magnificent. Scared the bloody hell out of me when I was a kid, and still low-key obsessed with it all these years later.😲😳😱😍
  12. I thought of Darvi's final scene, too. It is indeed surprisingly moving. Personally, I like Richard Burton. I find him more real and relatable than, say, Laurence Olivier, whom I would say veers more toward bloviation. I do however like Larry in his non-Shakespearean roles, but I found him so pompous and contrived in his Shakespeare productions. Burton is over the top, but I find him charismatic. Yet, I can totally see how someone would not enjoy him. I think The Prodigal is marginally entertaining trash, but not a movie I would want to watch all the time. I remember once reading it
  13. Thank you, Terrence1, for the insight about the novel. I very much enjoy the fat, historical fiction epics of the time. I read Forever Amber to pieces; another that I think is underrated as a book, but is not nearly done justice by the censorship-stunted movie. I can't imagine Brando in this, but may be of a minority opinion that he was miscast in these kinds of wordy historical pieces, with one exception: I like his Napoleon in Desiree, which brings me to Jean Simmons. I don't think anyone has mentioned her yet, but she's lovely in this. For an English girl, she really thrived in these d
  14. In my opinion, definitely one of the most underrated epic movies, and one of my favorites of the decade. The historical accuracy and attention to detail that went into the production design (costumes, sets, etc.) is super impressive for the period. I may be in a minority that thinks Darvi was great in it. What she lacks in acting experience she makes up for in charisma and star power (though she never was a major star in the US that I'm aware of)...and those wigs! Another user commented on Gene Tierney's acting. Say what you will about her acting ability (I'm a fan, but don't remember her too
  15. Again, I think they're both super cool! No accounting for my own taste, I suppose.😂
  16. I feel similarly about The Opposite Sex. The addition of men into the cast totally undermines the whole point. Leave it to the '50s to be like, "You know what that movie The Women needed...men." Although the 1939 film did have the tagline, "It's all about men!"😂 At least the 2008 remake stayed true to the (radical for the '30s) all-female cast concept. But as for the lackluster The Opposite Sex, Joan Collins was fun in a sort of trial run for her later career image, and there were some competent supporting actors. I actually think the fashion show is really cool, but I understand others f
  17. Again, not a fan of the remake, but I don't know that the point of either the original or the remake was necessarily celebrating women. The tone of the original can be sharply (at times even brutally) critical. Internalized misogyny, yes, the absurd lengths that women will go to to meet societal beauty standards (it's right there in the opening scene of the original), and woman-on-woman viciousness are kind of part of the point. In the words of William Makepeace Thackeray, writing about a society an ocean away and a century before Clare Boothe Luce's, but not dissimilar in many respects, "...t
  18. I know what you mean. The "train to Reno" portion of the film is the most fun. I also find myself wishing they would just permanently settle and convert the divorcée ranch into an all-female (occasionally men-optional) commune and retreat. Peggy's a sweet kid, but you're right, the commune isn't really for her...she wouldn't be happy there. Miriam and the Countess on the other hand would keep things interesting! I know almost nothing about Louis Bromfield. I only know of the novel by way of the film. I would be interested to learn more about him or read some of his work.
  19. Thank you for your response. Sorry that mine is so late. I see what you mean about The Good Earth, and must also admit I haven't seen it in some years. As for what you refer to, I think I chalked it up to this story being about (as you say) traditional, cultural mores specific to pre and inter-revolutionary Chinese peasants at a specific moment in Chinese history. Of course, it should be acknowledged that though novelist Pearl S. Buck spent much of her life in China, she was writing from a Western woman's perspective looking in on that culture. I'm not familiar with the book, but no doubt the
  20. I would be happy to see a lot of the choices already mentioned here. It will take me time to think of a full list, but one I can think of now is El Cid (1961), 60th anniversary in 2021. Would love to see the full big-screen potential of that!
  21. I don't see why it couldn't work just fine as an adaptation of Pearl S. Buck's Pulitzer Prize-winning novel, and a period piece presenting China at a specific historical moment. Period pieces and adaptations of period literature remain popular and commercially viable (Jane Austen, to your point), even if they don't rack up the ticket sales and accolades they did in, say, the peak of the Merchant Ivory era. Could be a better one for a TV or web miniseries in today's market, but some of the recent ones have been quite good! And the time is ripe for an all-Asian cast movie/series for the Western
  22. I agree that it is well-directed and handsomely photographed. And Loy is very good in it, definitely one of her best dramatic roles of the 1930s. Her final scene is one of the more moving and realistic such scenes of the studio era, when there was a risk that this kind of material could drift a bit too far toward overwrought melodrama. It is subtle and beautifully articulated, which according to Loy herself was thanks to the guidance of director Clarence Brown; so you make good points on both counts. In any case, it's a magnificent production with many merits, among them the Oscar-winning
  23. I posted this on the "Tyrone Power" thread in response to TomJH's comments on The Rains Came, but perhaps more appropriate for this thread: This is one of those ones I would care to see remade with updated casting (while I love the original and totally agree that the special effects hold up marvelously!). It would be perfect for a British/Indian co-production. Could be a lavish big-screen epic, or alternatively might play well on the small screen in light of recent developments like Indian Summers and Beecham House. Could be released for English and Hindi markets and make big mo
  24. Wrong thread, but this is one of those ones I would care to see remade with updated casting (while I love the original and totally agree that the special effects hold up marvelously!). It would be perfect for a British/Indian co-production. Could be a lavish big-screen epic, or alternatively might play well on the small screen in light of recent developments like Indian Summers and Beecham House. Could be released for English and Hindi markets and make big money globally. The late Sushant Rajput, who played a romantic hero in the similarly themed film Kedarnath, could have stepped into Power's
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