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ClassicMovieholic

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Everything posted by ClassicMovieholic

  1. 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.
  2. 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.😲😳😱😍
  3. 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
  4. 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
  5. 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
  6. Again, I think they're both super cool! No accounting for my own taste, I suppose.😂
  7. 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
  8. 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
  9. 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.
  10. 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
  11. 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!
  12. 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
  13. 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
  14. 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
  15. 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
  16. Oh, and by the way, I completely agree about her potential as Scarlett. She's one of perhaps a handful of actresses besides Leigh who I think might have been compelling in a different way in the role, Susan Hayward and Joan Bennett among them, but Goddard way at the top of that pack! Makes one wish for alternative realities where we can see the possibilities unfold.
  17. Absolutely. A choice every viewer has to make for oneself, and I certainly wouldn't try to "drive the point home." Not my place to tell a Black person how they should feel about anything. If one feels they can get past the stereotypes and see the value of the performer, great! If one feels personally hurt by it and just doesn't want to deal with the pain, totally a valid choice. My source is primarily the biography I mentioned, Opposite Attraction. Not sure where the author sourced their information. It was a library copy so I don't have it on hand, but I recall there was an extensive ind
  18. I got you. I imagine George Burns and Gracie Allen did something similar, though I can't pinpoint a specific episode. That gag had probably been around since vaudeville, or even Euripides long before it trickled down to Nothing but the Truth. I'll have to see the movie for myself before I can judge it on its own merits. I'm sure I can enjoy a bit of well-produced light comedy for what it's worth.
  19. I agree about Best, and have nothing but admiration for the great Black performers of yesteryear who made their talent, charisma, humor, and humanity shine through the demeaning stereotypes they were obliged to play to be working professionals in Hollywood. One reason I'm wary of "canceling" pop cultural artifacts that today's standards deem (often rightly so) racist; you're also canceling the legacy of these amazing performers who did the best they could with the only options they had at the time, and left some wonderful work despite what they had to face. On Goddard, I too developed an
  20. For sure. I can think of an episode of I Love Lucy with that exact premise, and a Jim Carrey movie with a very similar one. Seems to be recycled a lot.
  21. Curious to see Nothing But the Truth now, but of course can't speak for it, not having seen it. I'm glad you like The Ghost Breakers and Cat and the Canary as they are two of my favorites as well! Generally I'll watch almost anything with Paulette Goddard 'cause I just find her infinitely adorable, and Bob Hope is an American treasure for all the obvious reasons. I guess I can picture what you mean about him playing "comedian as well as hero," as I was perennially frustrated by the "Road" movies for him always having to play farcical second fiddle to Bing Crosby's romantic lead straight man, w
  22. I guess you're right that they weren't a particularly unusual pairing. I was thinking of the funny-man/glamour-girl "beauty and the beast" kind of dynamic...but then, that's a pretty standard trope in comedy, and unlike Lou Costello, Hope was quite handsome in his early years and always played opposite beautiful leading ladies. And while Goddard was always very trim and stylish, her screen persona in those movies is not a "glamour girl" type. The Costello and Marjorie Reynolds thing made me think of it, but I guess I was drifting outside the original topic. I've never seen Nothing But The
  23. The point about Lou Costello and Marjorie Reynolds Just reminded me that Paulette Goddard and Bob Hope had delightful chemistry in the two horror-comedies they made together, The Cat and the Canary, and The Ghost Breakers. I usually kick off the coming Halloween season with one or both of those. So much humor, and such a spirit of fun between them. I know the OP was referring more to non-romantic pairings, but this came to mind just now.
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