FredCDobbs
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Posts posted by FredCDobbs
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The character was so racist that since the race he hated had violated his kin he was willing to kill his kin. This is what I meant by my reference to the Indians soiled her. Yea, hating Indians because they are a threat to home and family is one thing, but killing one's own because they, against their will, associated with Indians is a mental illiness.
He didn't kill any Indians except from Scar's crazy brutal "terrorist" band of Nawyeka Comanches, and they were the ones who killed Aunt Martha, Ethan's brother, and his niece Lucy. And Ethan's own mother's name is on a tombstone in the family cemetery, with a note that Comanches had killed her.
Ethan was quite friendly with the Navajos and even did some trading with them and he felt bad when he discovered that the soldiers had killed Look (Martin's Indian Wife).
The white girls in the guardhouse at the fort, the ones who had gone crazy, had gone crazy because of the years of multiple rapes and sexual abuse by Scar's band. That, and the murders of his family members, is why Ethan hated Scar's band, and you would hate them too if they did that to your family.
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I do agree that the loss of the girl is related to those Ford themes. That is why I find The Searcher one of Ford's best movies. Here the Wayne character starts out wanting to find the girl but ends up wanting to kill her because contact with the Indians destroyed her (from the character's POV).
Actually, he ends up wanting to save her, and he did save her, and he was the only person in that entire cast who kept searching and searching until he did it.
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I think it has more to do with that than the wife being cute, and this is why NOT having some type of love affair (even implied), between the wife and stranger was the right way for Stevens to go.
That makes me admire Shane a lot. And the screenwriter and director too.
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Right. Shane has been around a lot and is leery of a lot of adults. Joey's innocence helps to make this naturally guarded man more relaxed when he's with him.
It's a two way relationship. Joey quite understandably idolizes this buckskin wearing man who rides out of the mountains and knows how to handle a gun, while Shane, in turn, experiences a comfort zone with the young boy that he lacks with many adults, who may cynically question his background.
That's a good point about Shane being relaxed around Joey. And especially since Joey's gun is broken and won't shoot. And especially since Joey's mother is cute and the father is friendly, and the food is good and the roof don't leak.
I also get the feeling that Shane likes seeing what normal family life is like. He even helps Joey's pa remove that ol' stump.
Even as a kid, I remember that reviewers talked about that and I remember some men in my family who saw the movie talked about that stump thing too. All those men came from family backgrounds and mostly grew up on farms in the 1930s. They said the stump removal cooperation proved that Shane missed having a normal family life.
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I love to see the backgrounds, the hills of California, the telephone poles, cars going willy nilly across trolley tracks. Very cool stuff!
I love to see the new homes in "rural" Los Angeles, such as in Hollywood, the farmland of the San Fernando Valley, Burbank, etc. Lots of vacant land and only a few houses.
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Could it be MON ONCLE?
Lots of big American cars in France:
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Ha, ha, ha......
What about all the young actor guys who specialized in imitating Brando in A STREETCAR NAMED DESIRE?
What was that kind of acting called?
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I love this movie. It is so funny, and so realistic, as anyone would know if they had ever tried to repair an old house or build one in an odd location.
I owned a hundred-year-old Victorian one time, and owning it was just like this movie in many ways.
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Kid, I'm going to have to back off on this a little. I spent way too much time on that last one. I've got to clean my house and go shopping for groceries. These photo puzzles are an obsession with me. Sometimes I work on them all day long, sometime 12 hours, morning, noon, and night. Sometimes I wake up at 3 and 4 am and have an idea and stagger in an turn on my computer to do some research.
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After about 20 times of watching this film, I finally heard Ryker (in the bar that last time) call Shane a "gunman" and said something about his "time being over" (like out of date). I missed this line every time before, and it is the only one that confirms Shane had been a professional gunman.
I used to wonder why the cattle men and the farmers didn't just compromise by having the farmers put up fences to keep the cattle out of the crops, and that would still leave millions of acres of cattle grazing land.
But then I decided that the poor farmers could not afford that much fencing back in those days.
I love this movie, and Shane is my hero too. I can't believe Jean Arthur is in her 50s. I think she looks like she is in her early 30s. She should have continued to make movies while Joan Crawford and Bette Davis should have stopped.
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I've always thought that Joey's hero worship of Shane was pretty easy to
understand. No doubt he loved his dad, but dad was an everyday sodbuster
and that must have paled after a while to a boy with a lively imagination.
Then in rides Shane in his fringed getup, a mysterious, laconic, stranger
with a semi-mystical gun vibe going on. Not hard to see his appeal. And
didn't he also buy Joey candy? That couldn't have hurt. A six shooter and
candy. Hard to beat.
Of course you are right yet again.
Also, keep in mind that Joey was alone as a kid and had no one to play with. There were other kids but they were miles away.
So Shane was a big hero to Joey and his own special adult playmate. Plus, Shane's gun really worked, while Joey's did not.
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So you have (had), some issues with horror films but not with musicals where men, in order to get mates, kidnap women?
It's an old Anglo-Saxon tradition. If the kidnappers are cute young men, and they can sing and dance, the legal system will sometimes overlook their old fashion habits, especially if the girls eventually give in and then dance and sing together with their kidnappers.
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I've brightened up the train still, and it shows a train on a track that passes to the right of the camera, maybe moving East.
On the left side of the screen is a telephone pole with four cross-bars, carrying maybe as many as 24 cables. The background is not clear, maybe a farmland area, a plains area, or maybe a desert area. No obvious trees.
Kid, that last film of yours seems to have several European actors in it, and they are just about impossible to identify. I finally had to search a lot of NYC noir films from the late 40s and early 50s.
The Keefe & Keefe Ambulance service is still in business in the Bronx.
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July 1945, a B-25 Bomber crashes into the Empire State Building at the 90th floor.
http://www.damninteresting.com/in-heavy-fog/
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C-Man (1949) DEAN JAGGER
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Yeah, well.... we ain't dead yet.
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Bebe Daniels, silent version of The Wonderful Wizard of Oz, 1910:
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Hollywood had dealt before with cultural assimilation and and the complexities of mixed marriage, but with the introduction of the Production Code in 1934, a lot of the old ethnic clichés became out of bounds. Identifiably Jewish character actors like Benny Rubin suddenly couldn't find work. Ed Wynn, Jack Benny and the Marx Brothers prospered, but without the Jewish jokes.
According to this IMDB page, Benny Rubin made 198 movies and TV shows, up until 1985. He died in 1986.
http://www.imdb.com/name/nm0748014/
I think the reason he might have had to tone down some of his early ethnic humor for movies was because he was perceived among Jews around the US as ridiculing and being demeaning to Jews.
For example, see his 1931 satire short, “JULIUS AND SIZZER”, which is based on the movie LITTLE CAESAR and in which he plays both the head gangster and the twin brother merchant.
LOL, this is funny stuff. Ahh, the good old days!
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because of the production code,
What "production code"? And please quote the clause.
Was it the NAB Code, the FCC Code, or which one?
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I wonder how much that dog got for that job?
It's little details like this that add a lot to a film.
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I never noticed that, Fred. I'll have to pay closer attention to that snow globe the next time I see Kane.
The snow globe is on the left, on the dresser, in front of the old photo of the little girl:
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When you see a film often enough you sometimes start paying attention to the little things that you hadn't really noticed before. I was paying attention to the dog in last night's broadcast of Shane.
Here's the dog.......
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Can anyone think of favourite little aspects or moments in a film that might slip the eye of another viewer, but has added to your pleasure of a film?
I was delighted when I finally discovered that the Snow Globe in CITIZEN KANE first appears on the dresser of Susan Alexander's apartment, the first night Mr. Kane meets her. And after I discovered that, then I realized that she asked him where he was going and he said he was on the way to a warehouse to locate some items from his early childhood that are stored there. That means the sled and other things from when he was a boy, and if you study the snow globe, the little house inside the globe is similar to the little house he grew up in, in the snows of Colorado.
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One observation I'd like to make about pre-code enforcement movies is that, while they are full of the risqué, and the daring, all but a slim few retreat to a reaffirmation of conventional mores at the end.
That's because every town and many states already had their own "morality" laws, long before movies were invented. The laws related to live theatrical acts, bordellos, book and other printed material.
If a film went too far, the theater could have been shut down, and in some cities they could even put the theater out of business and take over the property.
In some places around the country now you won't find any X rated book stores in small towns, but you might be able to find them in the county areas (different laws in the counties).
So, general morality laws already controlled the films to some great extent. That's why the pre-codes don't show outright nudity.
Some old no-code part-nude films do exist and were shown in some theaters in some big cities that allowed them to get away with it. See Child Bride for example.
Many films have lost some of their best scenes, since they were made in the early 30s and were still being distributed in 1934, and they had to have scenes cut to allow them to continue to be distributed.
the macguffin in john ford's "the searchers".
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Debbie and all her surviving family and friends do regard him as a hero.