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ClassicMovieholic

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Everything posted by ClassicMovieholic

  1. You are right about the production values. I remember liking it very much as a kid for its fantastical Oz-like beauty, and Victorian nostalgia (I'm a sucker for any kind of reincarnation or love-across-different-times romance, truth be told☺️). Again, generally I do like the movie, and my impression may be tainted because the presenter (I think Robert Osborne) noted that despite their real-life marriage, they lacked onscreen chemistry and never made another film together. And yes, Brian Aherne is one of my favorites, too! His Emperor Maximilian is positively inspired in Juarez, and he als
  2. I won't pretend to be familiar with his overall body of work. And there's nothing really wrong with Smilin' Through. It's a colorful and entertaining film with some lovely songs on a touchingly sentimental theme. Perhaps it doesn't help that Raymond and Eddy were thought to somewhat resemble each other, which lends to the feeling that they were wanting him to be someone he wasn't in that film. I haven't seen it myself in years, and may not be doing them justice as a screen pairing. And I'm not above a bit of juicy gossip mongering about the dead, but I meant no disrespect to their marria
  3. Agreed! And, while even the great Bette Davis could not compare with Flora Robson as Q. E. 1, I also thought Flynn and Davis had an electric chemistry in The Private Lives of Elizabeth and Essex. I've seen/read interviews wherein Davis also speaks quite warmly of Flynn, and praises his charisma and game attitude, even as she denigrates his acting ability with characteristic shade.
  4. I got you. The first obvious choice that comes to mind is Jeanette MacDonald and Gene Raymond. He appeared as her "poor man's Nelson Eddy" if you will in Smiling Through, and had about as much chemistry with her as a "skid row" Nelson Eddy for that matter; this despite the fact that they were in fact married in real life and, and remained so for nearly 30 years. None of this is perhaps surprising if one accepts the soap-operatic (yet to appearances mostly credible) allegations regarding their complicated marriage.
  5. I would have to agree. Great cast, flashy production, and wonderful soundtrack wasted on that vaporous, self-indulgent, midlife crisis fantasy.
  6. Since Ruth Hussey has come up a number of times in relation to The Philadelphia Story, and since the original post did not refer specifically to romantic couples, I always felt that she and Ray Milland in The Uninvited make a compelling platonic pair as brother and sister. Honestly, not to get "flowers in the attic" about it, but they seem better matched to each other than to either of their love interests, who are rather too old for her and two young for him respectively, and have little of the humor and chemistry with them that Hussey/Milland have together. Their brother/sister dynamic is th
  7. The entirety of your post makes a lucid and beautifully articulated point! But why don't they have a "Men Make Film" segment once weekly to showcase male filmmakers? And, Garbo, careful there. She has at least one on-screen lesbian kiss that I'm aware of (Queen Christina), and we know how the OP feels about those. I'm speaking ironically, here, lest there be any doubt.
  8. Among myriad other problems regarding the original post with which I won't bother to take issue now, does TCM not still show films starring Joan Crawford, Jean Harlow, Clark Gable, Randolph Scott, or Alec Guinness? If you can't find at least a few films featuring at least a couple of those actors on the programming schedule for almost any given month (and this is a conservative estimate), I will eat my own hat. Look, the programming is not always to my taste, either...so on that night maybe I watch something else, read a book, or go out with friends. Not everybody is going to like every f
  9. I can relate to some of these. For example, I never cared for Frank Sinatra as a singer (still don't), but I grew to like him as an actor after seeing him in From Here to Eternity and later in films like The Manchurian Candidate which another user mentioned. Other actors people have mentioned, I never disliked, but can understand what people mean. Like Sinatra, Burl Ives I would consider a better actor than a singer (though unlike Sinatra, I love him as both). And the puzzling mix of mortal and immortal that one user mentioned regarding Loretta Young is perhaps what makes her so effective
  10. I couldn't agree more. I'm perhaps in a small camp of film nerds who loathe "director's cuts," like the plague. Unless there is some mitigating incentive, such as the standard release was censored, dubbed from the original language, badly recut or "dumbed down" for audiences, or there was valuable lost footage that was later restored; then when given the choice between a theatrical release or a director's cut and/or expanded special edition, I generally prefer the former. They give Oscars for best editing for a reason. Directors are creatures of ego, and a brief look at the deleted sce
  11. The remake with Susan Hayward was updated to the post-World War II era. It's pretty soapy, but good fun. Vera Miles is priceless as the villainous, alcoholic wife to Susan Hayward's long-suffering "other woman." I've also seen the other remake with Margaret Sullavan, which was set in the earlier era and I would imagine is closer to the book. Perhaps not as close, however, as the pre-code original with Irene Dunne that I regret to say I haven't seen. And they were indeed based on a novel of the same title by Fannie Hurst, who will also be known to classics fans as the author of Imitat
  12. And no doubt you'd be right to, though, from what I've heard, better off watching the films than having to go through several hundred pages of the (I'm told) even worse books. I can't speak to either of those, having neither read nor seen them. To my understanding, with attractive leads, exotic locales, and stylish clothes, the films at least have a certain sweep and glamour to them that is lacking in the crude eroticism of the books. As for paleolithic art, I find it quite captivating...but I don't know that I'd care to stare at an individual image for two hours straight.😉
  13. This discussion has already touched at the heart of where such topics must inevitably go, which is the nature of subjectivity. If a movie like Plan 9, universally considered to be of poor quality, is "fun," and a much-lauded more artistically elevated film is dull, which is really the worse film? If the purpose of a movie is to entertain, then one that entertains is a success, and one that fails to entertain is not, no? Then there are movies like Schindler's List that someone mentioned as a movie they will always have "yet to see." We all have those movies. The ones we know are ackn
  14. How about Charlotte Vale's South American cruise in Now Voyager? Or any of those beautiful, art deco liners from the golden age of travel one sees in the classics. Returning to Brideshead Revisited, I always thought that (SPOILERS) Charles' reunion with Julia aboard the transatlantic liner in the storm, bashing about the ship in the wind and rain, downing cocktails and swimming in furs, looked like the most romantic thing ever...though I know from the book that everyone else aboard was violently seasick. In the newer big-screen movie, they used Eltham Palace for the ship interiors; probab
  15. Yes, yes, and yes, to all three of those! I'd totally forgotten about that ranch in The Parent Trap. Gorgeous estate, as was Cary Grant's villa in To Catch a Thief. And that trailer looked like loads of fun, and had a great vintage charm from the golden age of road trips!
  16. When I first saw that movie as a teenager, I had the biggest crush on Susan Strasberg's character. Her angsty, repressed-intellectual rabble rousing spoke to me at that age. "I'm going to write books that will shock people out of their minds." (Swoon!😍). Serious young Grace Metalious "Pandora in blue jeans" vibes! And her awkwardly adorable attempts to conform her tomboyish cuteness to the feminine ideals of '50s beauty culture melted my 16-year-old heart. At that stage of life, I would have taken that vacation just to spend the day with her!
  17. I'd happily book passage on that Nile cruise, or on the Orient Express, circa 1930s! Although, maybe on a run with equally glamorous but less murderous fellow passengers😏
  18. I don't doubt it. She did also (convincingly I thought) portray Algonquian princess Pocahontas, at just age 14 in one of her breakout roles. To clarify, I have the utmost respect for Ms. Kilcher, who is certainly a capable actress with a lot of charisma, and a great beauty to boot, and has done valuable work for representation. I just would that there were more Indigenous actresses of her profile to highlight diversity among First Peoples, whom Hollywood and Western media seem content to typecast as a monolithic group with Ms. Kilcher as its default representative. And I'm not of the opin
  19. I actually thought of her, too, because she's the highest profile Indigenous American actress I'm aware of, having appeared in big films like The New World and lead roles like Princess Ka'iulani. In this case, she is Indigenous South American, as I believe she is of half Native Peruvian Quechua ancestry. Residing in Honolulu, myself, I know there was a mild controversy in Hawaii when she played Ka'iulani. Though Kilcher did grow up largely in the Islands, some Native Hawaiians understandably found the conflating of Indigenous Polynesian with Indigenous Peruvian (obviously very distinct cultur
  20. Just that mid-century modern house overlooking Rushmore, alone! Also, any of the homes in Leave Her to Heaven, though perhaps not the Santa Fe one in summer.😉
  21. I'd also like to spend a couple weeks with the Schlegel Sisters in Howard's End (1992). I feel like they'd be fun, even if it would be a bit difficult to keep up with the rapid-fire conversation. This would be before the Wilcoxes and Basts get entangled in their lives and bring down the party.
  22. Venice and avant-garde London circa 1910 in The Wings of the Dove (1997), and Venice and Brideshead circa 1920s in Brideshead Revisited (2008). Sorry, not really classics (the films anyway...the books are classics), but it all looks so lush and opulent and decadent!!!
  23. That's a good point. Susan Hayward had superhuman star power! Regrettably, I can't think of a Cherokee or other Native American actress who could replace her in the role, not because I don't believe qualified ones are out there, but because the industry hasn't elevated them to star status or they haven't had the opportunities for representation, even now. Somewhere out there there's a gorgeous, part-Cherokee (I want to say she was a quarter in the original film?) actress fighting her way through her program at NYU or Yale School of Drama, pounding pavement for off-broadway auditions; a te
  24. Tulsa (1949). Watched this the other week and was struck by how contemporary and relevant much of it still was. At its heart is a conservationist, anti-big-oil, pro-indigenous, anti-colonialist narrative; but this inevitably gets sidelined by the dated stereotypes and cinematic conventions of the time. Even so, it was surprisingly forthright about these issues for the era, but there were understandably a lot of missed opportunities to explore this further, which the climate is ripe for now! Susan Hayward is a powerhouse as always, but I would start by rewriting aspects of her character. F
  25. Gloria Steinem! Maybe seems a bit off base as she hails from the world of journalism, activism and politics, but if you've read her writings or heard her in interviews, she's super film-obsessed. Of course she famously wrote a book of essays on Marilyn Monroe, but more than that she frequently pays reference to golden-age cinema such as They Drive By Night, Gentlemen Prefer Blondes, and The Best of Everything. To loosely paraphrase something I once heard her say in an interview on Marilyn, "I almost never walk out of a film, no matter how bad, because I'm so hooked on narrative I just keep goi
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