Fausterlitz

I assume from the accompanying photo that this is a quote from Balzac. Did he mean that the French Revolution (as also arguably turned out to be true of the Russian Revolution) was really a product of citified intellectuals, who cynically used "the masses" for their own ends? (Just trying to understand the Robespierre connection.)

Thanks, Chaya. I agree with you about Coburn, who had a very specific, somewhat unpredictable energy that always added value to anything he appeared in. My mom is a particular fan of The President's Analyst (which he also produced). ------------------------------------------------- Next: William Demarest Peter Lorre Cornel Wilde Ryan O'Neal Cary Elwes (This one is a bit tricky, so don't hesitate to request a clue.)

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Thanks, Chaya! James Coburn: in Dead Heat on a Merry-Go-Round with Harrison Ford; in The Americanization of Emily with Judy Carne, James Garner, and Melvyn Douglas; in Affliction with Sissy Spacek; in The Great Escape with Steve McQueen; and in Charade with Cary Grant and Ned Glass. (Also in The Great Escape and Maverick with James Garner, and in The Magnificent Seven and Hell is for Heroes with Steve McQueen.)

Robert Armstrong was in The Sea of Grass (1947) with Melvyn Douglas, who was in Hud (1963) with Paul Newman OR Robert Armstrong was in Mr. Winkle Goes to War (1944) with Edward G. Robinson, who was in The Outrage (1964) with Paul Newman OR Robert Armstrong was in Sweet Music (1935) with Rudy Vallée, who was in The Helen Morgan Story (1957) with Paul Newman. ------------------------------ Next: Claudia Cardinale

Jungle Fever (1991) Next: a studio-era movie where evil does triumph in the end (i.e. is not punished)

Richard Vernon and Ringo Starr (on the train) in A Hard Day's Night Next: "One murder makes a villain...millions a hero. Numbers sanctify."

Death Takes a Holiday (1934) and Meet Joe Black (1998) Lost Horizon (1937) The Devil and Daniel Webster (1941) A Guy Named Joe (1943) The Enchanted Cottage (1945) A Matter of Life and Death (1946) Portrait of Jennie (1948) What Dreams May Come (1998) The Curious Case of Benjamin Button (2006) Beasts of the Southern Wild (2012)

Harrison Ford and Judy Carne both appeared on Love, American Style. Judy Carne appeared with James Garner in The Americanization of Emily. James Garner appeared with Melvyn Douglas in The Americanization of Emily. Melvyn Douglas won a Golden Globe in 1980; Sissy Spacek won a Golden Globe in 1981. Sissy Spacek (1981, 1982, 1984) and Steve McQueen (1964, 1965, 1971) were both presenters at the Academy Awards three times. Steve McQueen (1964, 1965, 1971) and Cary Grant (1958, 1959, 1979, 1985) were both presenters at the Academy Awards multiple times. Cary Grant and Ned Glass appeared together in Charade (1963). Also, just to come full circle, Ned Glass and Harrison Ford both appeared on Love, American Style. -------------------------------------------------------------------------------- Chaya, thanks for playing! I don't know whether my answer is what you were looking for, but it was the only connection I could find. Just a heads-up for next time, btw: these lists are only supposed to have five actors or titles, according to Terrence1 (who created the game). 🙂

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Here's a restored version of White Zombie on youtube. Looks nice a nice print. The Spanish subtitles only appear if you click on the "CC" button. 🙂

Hi Chaya, do you have a new prompt in mind? If not, no worries, just let us know if you want to open the thread instead. Thanks! 🙂

Bring Me the Head of Alfredo Garcia (1974) Next: Salome (1953) (two decapitation requests)

Shirley Temple (as a political candidate, UN delegate + US ambassador to Ghana and Czechoslovakia) Next: an actor/actress who always seemed to be genuinely listening to fellow actors in the scene

Yes, but as with The Landlord that's partly because those actors were all relatively young at the time. Filming of The Godfather was completed in August of 1971, at which time those actors were (respectively), 31, 40, 31, 25, and 25 years old.

(Ray) Mala was in Son of Fury (1942) with Roddy McDowall, who was in The Life and Times of Judge Roy Bean (1972) with Paul Newman. OR Mala was in Red Snow (1952) with John Bleifer, who was in Turn Curtain (1966) (uncredited) with Paul Newman. ---------------------------------------------------------------------------- Next: Eddie Izzard

Wow, perfect answer, Chaya! Great job, and it's your thread. 🙂

It's not all that unusual to come across 70s films where nearly the entire cast is no longer living. For example: There Was a Crooked Man... (1970): Lee Grant is the only one of the first 16 listed cast members still living. The Angel Levine (1970): Harry Belafonte is the only one of the 11-member cast still living. The Organization (1971): Sidney Poitier is the only one of the 9-member cast still living. Hannie Caulder (1971): Raquel Welch is the only one of 7 credited actors still living. The Revengers (1972): none of the first 10 listed cast members are still living. Twilight's Last Gleaming (1977): Burt Young is the only one of the first 18 listed cast members still living. And so on. If anything, it's more surprising to encounter a film like Uptown Saturday Night (1974), where the three lead actors (Poitier, Belafonte, and Bill Cosby) are all still living. Or even a film like The Landlord (1970), where more than half of the 11-member cast are still living (Beau Bridges, Lee Grant, Louis Gossett Jr., Robert Klein, Marki Bey, Will Mackenzie)--and probably only because most of them (except Grant) were in their 20s or 30s when the film was made. When you consider average life expectancy in the US, the fact that the average age of most lead actors in their prime is somewhere around 40, and that they appeared in these films somewhere between 42 and 51 years ago, the result shouldn't really be a surprise. Of course, that doesn't stop it from still being a bit of an existential shock, especially if (like me) you were born in the early 60s and don't think of yourself as being "old." 🙂

Hint 1: there are actually two commonalities involved here. One involves names, and the other involves Oscar wins.

Thanks, cinemaman! I knew the first three, but not the other two. Next: Gene Wilder Sharon Stone Harrison Ford Stella Stevens Christopher Lee

Monument Valley appears in each film?

Johnny Cash was in A Gunfight (1971) with Dana Elcar, who was in The Sting (1973) with Paul Newman. Next: Timothée Chalamet

That's it, cinemaman! The surprisingly extensive silent careers of many well-known sound-era actors are often overlooked. Reginald Denny, William Powell, and Roland Young all appeared with him in Sherlock Holmes (1922); it was the debut film for both Powell and Young Frank Morgan appeared in Raffles, The Amateur Cracksman (1917) Conrad Veidt appeared in The Beloved Rogue (1927) ------------------------------------------------------------------- Nice work, and the thread is yours. 🙂

True, but to be honest I started crying just in the middle of reading your now ten-year-old description (at the line "Nothing...only I thought he had returned"). Just the anticipation of what I know is coming next, and the poignancy of the situation, triggered an involuntary reaction in me. I realize, of course, that much of that comes from the way Chaplin staged the scene, and the quality of the acting, rather than from the situation itself (which out of context could sound very contrived or even maudlin). This reminds me that many years ago, when I first read about the making of the film (for which the shooting alone took nearly two years), I tended to view Chaplin's habit of only working out the details of a scene once he was on-set, his relentless perfectionism and penchant for numerous takes, as being self-indulgent and needlessly hard on his actors. (My reaction may also have been colored by thoughts of what Buster Keaton could have done with similar artistic freedom and financial resources around this same time.) But these days, I find myself thinking instead that there's something infinitely touching about Chaplin's unwavering commitment to capturing a moment so fragile. His willingness to spend months constantly thinking about every nuance of the scene, so that he could arrive finally at something that felt true and honest to him, and (as it turned out) imperishable. Now obviously you can always overthink things, and lose any sense of freshness or spontaneity if you work them to death. The miracle is that this didn't happen, and I guess that is one mark of an artist--the ability to keep a constantly elusive goal clearly in mind without any loss of enthusiasm.