The Annual FrankGrimes Torture Thread

[MissGoddess]

i'll take advantage of a lull to ask why *detective story* landed at the top? i'm very surprised, i feared you might find it either too stagey or too much kirk, ha. what i do like about the film is the sub-plot with eleanor and kirk and his inability to handle the situation. i really need to watch it again, i wonder if it's on YouTube.

 

i am guessing it's McLeod's (Kirk Douglas) conflicts that you liked. he's somewhat like Jim Wilson (Robert Ryan) in *on dangerous ground* in that his job has become a personal mission for him. he's internalized his own frustrations and pain and uses his job to deal with them. his old man was rotten so the whole world has been tried and found guilty. he's not a peace officer, he's an enforcer of his own will and righteousness. it's a meaty role, and i suppose confining the film to it's single set (and day) helps concentrate all the anger that's simmering in the movie (not just McLeod's). I remember now that Bendix was, again, very good at playing a man who's bark belies a warm heart.

 

the movie reminds me of later police dramas on TV. it kind of makes you wish Wyler had done more in this genre.

 

claustrophic scene in a claustrophobic movie, douglas gives abortionist macready a beat down

[FrankGrimes]

I need to get going! I hope to reply to Jackie, CineMaven, and Quiet Gal tonight. I'd also like to post my feelings on all the films I just watched.

 

*i'll take advantage of a lull to ask why detective story landed at the top? i'm very surprised, i feared you might find it either too stagey or too much kirk, ha.*

 

Well, I tend to really like "stagey." The film reminded me of the cop version of *12 Angry Men*, which is one of my all-time favorite films. I liked how everything flowed together. It's really well-directed.

 

*what i do like about the film is the sub-plot with eleanor and kirk and his inability to handle the situation. i really need to watch it again, i wonder if it's on YouTube.*

 

That ends up being the turning point of the film. I was wondering if Quiet Gal had seen the film because I feel it does an excellent job of portraying the rigidity of "black and white" that I really dislike. McLeod (Kirk Douglas) is very "black and white." There's no middle ground with him. And I feel Kirk Douglas plays such characters to perfection. So "too Kirk" really works here.

 

*i am guessing it's McLeod's (Kirk Douglas) conflicts that you liked.*

 

I liked the entire film, really. But McLeod is the driving force of the film. I liked what we see of him and what comes of him.

 

*he's somewhat like Jim Wilson (Robert Ryan) in on dangerous ground in that his job has become a personal mission for him.*

 

Yes, exactly. That's a wonderful comparison. They are identical. They are both "Avenging Angels" who view themselves as "good" and in the "right." Yet they cannot see themselves at all.

 

*he's internalized his own frustrations and pain and uses his job to deal with them. his old man was rotten so the whole world has been tried and found guilty. he's not a peace officer, he's an enforcer of his own will and righteousness.*

 

Wow, you really do know the film. All of that is right on target. He is unforgiving. There is no "grey," no bending. In *12 Angry Men*, this role is played by Lee J. Cobb.

 

*it's a meaty role, and i suppose confining the film to it's single set (and day) helps concentrate all the anger that's simmering in the movie (not just McLeod's).*

 

Again, you've got it exactly right. This makes it very similar to *12 Angry Men*.

 

*I remember now that Bendix was, again, very good at playing a man who's bark belies a warm heart.*

 

He was wonderful in the film. Brody (William Bendix) tried and tried to help McLeod see the light.

 

*the movie reminds me of later police dramas on TV. it kind of makes you wish Wyler had done more in this genre.*

 

I was very impressed by it. Wyler has some really good films in his canon. This is one of them.

 

I could really feel "Barney Miller" in the film, too. The prisoners really helped to add a lot of personality and humanity to the film.

 

* claustrophic scene in a claustrophobic movie, douglas gives abortionist macready a beat down*

 

That's a perfect cap for the film! I'm really impressed by your grasp of the film, one you're not as keen on.

[MissGoddess]

> That ends up being the turning point of the film. I was wondering if Quiet Gal had seen the film because I feel it does an excellent job of portraying the rigidity of "black and white" that I really dislike. McLeod (Kirk Douglas) is very "black and white." There's no middle ground with him. And I feel Kirk Douglas plays such characters to perfection. So "too Kirk" really works here.

>

 

Ro does seem to like police dramas, so she may enjoy it. It's not a pleasant movie, though. Bendix is the heart.

 

> Yes, exactly. That's a wonderful comparison. They are identical. They are both "Avenging Angels" who view themselves as "good" and in the "right." Yet they cannot see themselves at all.

>

 

he really goes on a roller coaster of emotions in the course of just one day.

 

> Wow, you really do know the film. All of that is right on target. He is unforgiving. There is no "grey," no bending. In *12 Angry Men*, this role is played by Lee J. Cobb.

>

 

it's scary when the "angry" one carries a license to kill. i can see the comparison to *12 angry men*. kirk is practically twelve angry men rolled up into one man.

 

> He was wonderful in the film. Brody (William Bendix) tried and tried to help McLeod see the light.

>

 

i remember that, i just wish i could recall more details about Bendix's scenes.

 

> I was very impressed by it. Wyler has some really good films in his canon. This is one of them.

>

 

and yet it's seldom mentioned among his finest. i like it. he liked to try different genres, he was easily bored and never wanted to stick to one kind of movie. i kind of wish he would have made at least one more detective movie.

 

> I could really feel "Barney Miller" in the film, too. The prisoners really helped to add a lot of personality and humanity to the film.

>

>

 

i can see that, too, from what little i remember of "barney miller".

 

> That's a perfect cap for the film! I'm really impressed by your grasp of the film, one you're not as keen on.

 

it's a heavy movie, but i do like it. it's just rarely on TCM or discussed, but it should be. many have criticized it's stageyness, they want it to open up like *on dangerous ground*, but these people are in a claustrophobic city (new york) and their milieu (crime, police station) is that much more confining, so i think it works and Wyler was right to stick with the original play's setting.

[FrankGrimes]

*Ro does seem to like police dramas, so she may enjoy it. It's not a pleasant movie, though. Bendix is the heart.*

 

I think she'd like it. She wouldn't love it, though. Bendix really is the heart. He tries to push Jim in the right direction. But Jim is too set in his view of life and his code.

 

*he really goes on a roller coaster of emotions in the course of just one day.*

 

I'll say! What's so good about the film is how it takes the impersonal and makes it personal. I must say, Jim was consistent with both. His world is shattered when he finds out he's connected to the "dirt." He's not above them.

 

 

*it's scary when the "angry" one carries a license to kill. i can see the comparison to 12 angry men. kirk is practically twelve angry men rolled up into one man.*

 

 

That was funny! And you make a very good point about the "license to kill." You can see how he crosses the line. As you wisely pointed out, he's very similar to "Jim Wilson." It must be the name "Jim."

 

*i remember that, i just wish i could recall more details about Bendix's scenes.*

 

He has a nice scene with Kirk atop the precinct.

 

 

*and yet it's seldom mentioned among his finest.* *i like it.*

 

As you say, it's confined, so that usually eliminates many people from really liking it.

 

*he liked to try different genres, he was easily bored and never wanted to stick to one kind of movie. i kind of wish he would have made at least one more detective movie.*

 

 

He definitely delved into human relations. He's one of the best with that. He seemed to love bitter people to drive the conflict. The self-created monsters who come to hate. He also liked showing isolated characters.

 

How I have liked Wyler:

 

1. Detective Story

2. Roman Holiday

3. The Westerner

4. The Big Country

5. The Best Years of Our Lives

6. The Letter

7. The Heiress

8. Dead End

9. The Little Foxes

10. Mrs. Miniver

11. Wuthering Heights

12. The Good Fairy

13. Dodsworth

14. Friendly Persuasion

 

*it's a heavy movie, but i do like it. it's just rarely on TCM or discussed, but it should be. many have criticized it's stageyness, they want it to open up like on dangerous ground, but these people are in a claustrophobic city (new york) and their milieu (crime, police station) is that much more confining, so i think it works and Wyler was right to stick with the original play's setting.*

 

It's more about the booking than the arresting. And the confinement does help to increase the level of tension while at the same time immediately helping to alleviate that tension with comedy or sympathy. It flows from one feeling to the next through a simple pan.

[movieman1957]

Now I have to go watch "Detective Story" again. Interesting discussion.

 

It's hard to disagree with your order either. I might move up "The Little Foxes" and "Dodsworth," The only one I haven't seen is "The Good Fairy." I even like "Friendly Persuasion." Sorry, rambling....

[JackFavell]

Gosh, you've seen a lot of Wyler! There are only about 6 or 7 left to see.

[MissGoddess]

> I'll say! What's so good about the film is how it takes the impersonal and makes it personal. I must say, Jim was consistent with both. His world is shattered when he finds out he's connected to the "dirt." He's not above them.

>

 

in a job where objectivity and personal distance is so critical, it's scary that McLeod violates this ethic so blindly. he thinks everyone is guilty until proven innocent (which they never can be, in his eyes) and it's not even part of his job to judge. still, it's like the other Jim once said (in On Dangerous Ground), you surround yourself with so much negativity (he called it "garbage") it can eat at you if you don't have balance. McLeod has a wonderful wife and possibility to achieve balance but he ignores it. It's similar to what almost happens to Dave Bannion (Glenn Ford) in The Big Heat.

 

> That was funny! And you make a very good point about the "license to kill." You can see how he crosses the line. As you wisely pointed out, he's very similar to "Jim Wilson." It must be the name "Jim."

>

 

ha! Well, Matt Dillon was played by "Jim" Arness.

 

> He definitely delved into human relations. He's one of the best with that. He seemed to love bitter people to drive the conflict. The self-created monsters who come to hate. He also liked showing isolated characters.

>

 

that's a terrific assessment of his whole career in just two sentences! i never thought about it, though i've often wondered what were the similarities in theme in his films. his last movie, *The Collector*, which bombed, was probably the most stark example of what you wrote.

 

>

> How I have liked Wyler:

>

>

> 1. Detective Story

> 2. Roman Holiday

> 3. The Westerner

> 4. The Big Country

> 5. The Best Years of Our Lives

> 6. The Letter

> 7. The Heiress

> 8. Dead End

> 9. The Little Foxes

> 10. Mrs. Miniver

> 11. Wuthering Heights

> 12. The Good Fairy

> 13. Dodsworth

> 14. Friendly Persuasion

>

 

it's funny you liked *Roman Holiday* so much.

 

> It's more about the booking than the arresting. And the confinement does help to increase the level of tension while at the same time immediately helping to alleviate that tension with comedy or sympathy. It flows from one feeling to the next through a simple pan.

>

 

i like that it does feature very strong emotional scenes and issues, not just crime solving, which can bore me. that's one reason I get antsy watching certain police shows which focus on procedure and catching crooks. i want to see the sometimes messy personal lives of the players. i'm not a "Dragnet" kind of girl (I need more than "just the facts, ma'am.".

 

Edited by: MissGoddess on Jan 30, 2013 4:07 PM

[FrankGrimes]

*Gosh, you've seen a lot of Wyler! There are only about 6 or 7 left to see.*

 

Do you mean films worth seeing? I'm going to be watching *How to Steal a Million* in the next few days.

 

The other "biggies" would be:

 

Ben-Hur

The Desperate Hours

Jezebel

The Collector

Carrie

Funny Girl

The Children's Hour

 

I know Miss G really likes *Counsellor at Law*. I don't have that one, though. I'm also interested in *Hell's Heroes*. That's one that I do have.

 

 

[FrankGrimes]

*Now I have to go watch "Detective Story" again. Interesting discussion.*

 

I hope you do! I was rather wary entering my viewing of the film. Once I saw what it was all about, I was hooked by it. The film almost feels like a "hostage" film. But what's crazy is that captor is also the hostage.

 

*It's hard to disagree with your order either. I might move up "The Little Foxes" and "Dodsworth," The only one I haven't seen is "The Good Fairy." I even like "Friendly Persuasion." Sorry, rambling....*

 

I'm probably a little too rough on *Friendly Persuasion*. I do like the love in that film. That's another film with isolation, codes, captors, and hostages. The difference is, it's sweet not bitter. What I like most about *The Little Foxes* is Teresa Wright and Richard Carlson. I think of it as being similar to *Sweet Smell of Success*. I'm probably one of the few on this board that is not a fan of *Dodsworth*.

[MissGoddess]

I forgot about *Carrie*. That's a movie that kind of disappointed me. Jennifer Jones' character is not all that sympathetic. She's a little like the female version of Monty Clift in *A Place in the Sun* (same author), or even *Madame Bovary*. I will say Jennifer is ideal for these "odd" female characters. And you can see how she'd drive a man like Olivier to ruin himself. It's an unusual role for him.

[JackFavell]

I mean films that are readily available, and I discounted Funny Girl.... you know why.

 

Oh goody, I love *How to Steal a Million*, I adore Hugh Griffiths, he cracks me up! It's a fun movie.

 

I also love *Counsellor at Law*. MissG is right, it's a terrific film.

 

*Carrie* is excellent, I won't say anymore about it, I don't want to let anything slip that will influence you.

 

I can't stand *Ben Hur.* I simply can't get through it, no matter how many times I try to watch.

 

*The Desperate Hours* is a good solid film, not one of my faves, to me it's very similar to *Suddenly,* but then I don't know if you've seen that one already.

 

It's interesting that Wyler directed both *The Children's Hour* and *These Three* (1936) which is the same story. I tend to prefer the first film, but the second is clearer and possibly truer to the original intent of the play.

 

The Collector is fascinating. A very good film, I'm surprised no one really brings it up much.

 

I haven't seen *Hell's Heroes,* where on earth did you get a copy?

[FrankGrimes]

*I mean films that are readily available,*

 

Oh!

 

*and I discounted Funny Girl.... you know why. *

 

I don't! I don't!

 

*Oh goody, I love How to Steal a Million, I adore Hugh Griffiths, he cracks me up! It's a fun movie.*

 

So that's two positive views about the film. I'm worried!

 

*I also love Counsellor at Law. MissG is right, it's a terrific film.*

 

Don't tell her that!

 

*Carrie is excellent, I won't say anymore about it, I don't want to let anything slip that will influence you.*

 

Hmmmmm...

 

*I can't stand Ben Hur. I simply can't get through it, no matter how many times I try to watch.*

 

But you love Chuck! That's a film I have major reservations about. But I'm sure I'll eventually get to it.

 

*The Desperate Hours is a good solid film, not one of my faves, to me it's very similar to Suddenly, but then I don't know if you've seen that one already.*

 

I have seen *Suddenly* and I was disappointed by it.

 

*It's interesting that Wyler directed both The Children's Hour and These Three (1936) which is the same story. I tend to prefer the first film, but the second is clearer and possibly truer to the original intent of the play.*

 

I didn't know that! *The Children's Hour* seems heavy.

 

*The Collector is fascinating. A very good film, I'm surprised no one really brings it up much.*

 

Maybe it bothers too many people. Of all the films I've yet to see of Wyler's, this is the one I wish to see most.

 

*I haven't seen Hell's Heroes, where on earth did you get a copy?*

 

TCM played it a couple times in 2009.

[MissGoddess]

i'm amazed i missed *hell's heroes*, too! i've only seen ford's and boleslawski's versions and thought wyler's was lost in space somewhere. i need to pay attention to the schedule better. i'm sure it's good, i really like charles bickford. i am interested in how he makes the "change" in character. and, of course, he would work splendidly with wyler again in *the big country*.

[FrankGrimes]

*I forgot about Carrie. That's a movie that kind of disappointed me. Jennifer Jones' character is not all that sympathetic. She's a little like the female version of Monty Clift in A Place in the Sun (same author), or even Madame Bovary. I will say Jennifer is ideal for these "odd" female characters. And you can see how she'd drive a man like Olivier to ruin himself. It's an unusual role for him.*

 

A man ruins himself over a woman? That sounds like something I'd like. But I'm not that big on Olivier. I do like Jennifer.

 

*in a job where objectivity and personal distance is so critical, it's scary that McLeod violates this ethic so blindly. he thinks everyone is guilty until proven innocent (which they never can be, in his eyes) and it's not even part of his job to judge.*

 

That's precisely what's going on. And all criminals are seen as the same. He even "knows the future" with all of these crooks.

 

*still, it's like the other Jim once said (in On Dangerous Ground), you surround yourself with so much negativity (he called it "garbage") it can eat at you if you don't have balance.*

 

And I do agree with that. McLeod's past has created his bitterness and self-righteousness. He's so cocksure of himself and his views. Then he's blindsided.

 

*McLeod has a wonderful wife and possibility to achieve balance but he ignores it. It's similar to what almost happens to Dave Bannion (Glenn Ford) in The Big Heat.*

 

At least Dave is going after a corrupt system, one that has killed his wife. I can see how Dave could really lose it. McLeod is judge, jury, and executioner.

 

*ha! Well, Matt Dillon was played by "Jim" Arness. *

 

That's his real name!

 

*that's a terrific assessment of his whole career in just two sentences! i never thought about it, though i've often wondered what were the similarities in theme in his films. his last movie, The Collector, which bombed, was probably the most stark example of what you wrote.*

 

Really? You think so? Thank you!

 

*it's funny you liked Roman Holiday so much.*

 

A love that cannot be is going to attract me. *Roman Holiday* features isolation and a code, too. It's not self-created, though. Princess Ann (Audrey Hepburn) is born into it.

 

*i like that it does feature very strong emotional scenes and issues, not just crime solving, which can bore me. that's one reason I get antsy watching certain police shows which focus on procedure and catching crooks. i want to see the sometimes messy personal lives of the players. :Di'm not a "Dragnet" kind of girl (I need more than "just the facts, ma'am.". *

 

I do know that! *Detective Story* is very human.

[rohanaka]

I need to get going! I hope to reply to Jackie, CineMaven, and Quiet Gal tonight

 

 

 

Well I'd hope to tell you!! I have poor Adolphe on standby.. and my frozen ropes are GLISTENING in the newfallen snow and ice from this morning.. you better get busy... or...

 

 

 

I'd also like to post my feelings on all the films I just watched

 

 

 

Goodie!! I was hoping you were going to do that.

 

 

 

I was wondering if Quiet Gal had seen the film because I feel it does an excellent job of portraying the rigidity of "black and white" that I really dislike. McLeod (Kirk Douglas) is very "black and white

 

 

 

 

I have not seen this one... but I am interested based on what you and Miss G have been saying.. and also from what I have read on the TCM database too. It does sound like it would be a bit intense, given some of the subject matter.. I will see if I can check it out.. (I am editing my post.. just to say I just took a look and it appears that this one is on youtube.. so I will try to get a chance to give it a look sometime soon)

 

 

I am still hoping to find the one you mentioned to me from your last list too. (gulp.. oh what a slacker I am.. ha. Now who do I think I am pointing Adolphe and my frozen ropes at YOU.. ha.. and yet.. you know I will still do it.. it's how I roll!)

 

Edited by: rohanaka on Jan 30, 2013 9:41 PM

[FrankGrimes]

Ciao, CinemAva! -- *Yeah, I went the Amazon route too. )*

 

Fantastic!

 

 

 

 

 

*Jean Renoir painted a world. A living breathing world full of three-dimensional characters. What a wonderful film. I was struck by the honor and compassion and deep friendship of the men, in the midst of being prisoners of war. Their captors were not sadistic brutes. In fact, the captors mockingly taunted the Germans. ( But not too much. This ain't "Hogan's Heroes"! )*

 

It's a very humane film. It's much easier to be humane when treated humanely. Although, I'm sure some may start to feel as if they are being "fattened" for a reason.

 

*When we see the new recruits enter the camp...they were greeted by the men there before them. Recruits. Ha. I know - far from it. But it felt like watching fresh meat...new cadets coming into West Point. Each group passing on to the next, their experience. Listen to those who were there before you.*

 

 

That's funny! I suppose in a way, they really are "recruits."

 

 

*I was struck by the normalcy the men tried to inject into their existence there. Wow...they were allowed to receive packages from home. Food, books, wine. I felt so warmly towards these men who are just trying to make the best of a very bad situation. Here are men who are missing their wives and sweethearts and "Fifis." They settled for...looked forward to just the illusion of women being there with them was something else. Can you imagine in an American movie...in "Stalag 17" - the men being so happy to receive women's clothing so they could put on their own variety show with some of them portraying dance hall girls. Remember when one of the men was dressed in full regalia to see how it all fit? He came into that room of men who all stop what they were doing to look at him. The camera pulls back I believe to show all the men staring in silence. Wonderful. Moving.*

 

 

Yes, I was very struck by that scene. I felt some discomfort, but I understood the meaning of the scene and the feelings those men were having.

 

 

And just like *Grand Illusion*, *The Bridge on the River Kwai* also features a drag show by the captives. But it has a different feel to it.

 

 

*Yes, Marcel Dalio as Rosenthal was fantastic. What a crying shame he came to America to make movies. You make it in Hollywood you're seen all over the world. And once you sell your soul to Hollywood...sign on the dotted line...they take away the charm that is you, the thing that is you, and you're regulated to playing croupiers and head waiters. ( There are none so blind... ) Dalio was fantastic here;*

 

 

What I was most moved by with Rosenthal (Marcel Dalio) was his commitment to Marechal (Jean Gabin) by film's end. He was the third wheel, but it didn't seem to bother him one bit.

 

 

*I watched as his friendship deepened with Marechal, played by the incomparable Jean Gabin. I fell in love with Gabin. He didn't take anything seriously; even being in this camp he was sort of bemused ( ? ) No that's not the right word. Oh he knew he was in prison, but he was kind of humored by the goings on. ( Funny, wasn't it -- as though he was getting a 'tour' of the fortress he ultimately wound up in: "14th century...13th century." ) I noticed he didnot wear a woman's dress for the revue. Unh, unh...not him. ( But later the prison captain noted that Marechal disguised himself as a woman in one of his failed prison escapes. I liked that. )*

 

 

He was the independent man who just could not be caged unless it was by his choosing. Elsa (Dita Parlo) and her child finally get to him. The scenes at the farm house are some of my favorite in the film. The entire point of the film is found here. A love that is found between a man and a woman from two different countries, cultures, and languages. But they are not so different, for they are a man and a woman no matter where they come from. I also liked how the woman and her child were left to be alone because of the war. Yet another horrible truth of war that is exposed.

 

 

*Gabin - Gabin - Gabin. I could watch him all day. And when he was locked up in solitaire, zombied, in darkness I think he broke a little under those circumstances. And the kindly prison guard who gives him some smokes and his harmonica; when I heard the little harmonica playing a moment later gave Marechal some of his humanity back. I was relieved...he's going to come around*

 

 

There's a lot going on with Gabin. He's unbridled.

 

 

*The movie moved quickly in the beginning. Showing two camps, the French, the German. Not so very different are they? The slight insouciance of Captain Boeldieu ( Pierre Fresnay ) as he prepares with Marechal to go off on a mission. Captain Von Rauffenstein, having his sip of brandy, dispatching another enemy plane. Then the next shot is Boeldieu and Marechal captured - invited to eat with Rauffenstein. Then next they are in the prison camp. Then the next, Rauffenstein's body is broken. ( The next brace reminded of that horrifying Peter Lorre movie whose name escapes me. Keep it moving Renoir. Keep it moving.*

 

 

I liked seeing some of the similarities and differences of two other films I recently watched in comparison to *Grand Illusion* and von Rauffenstein (Erich von Stroheim). The one film being *Five Graves to Cairo*. In that film, von Stroheim also invites his captors to join him at his table. But the tone is much different. His "Rommel" is reveling in his ability to fool the opposition. He has to share his tricks with them to gain acknowledgment of his greatness. Conversely, von Rauffenstein is mostly commiserating with his captives. He is placing them on even terms with him, even though he holds all the cards.

 

 

The other film where I found a similarity to *Grand Illusion* is *The Dawn Patrol*. *The Dawn Patrol* is about former pilots being "promoted" to commander, thus losing their place in the air and landing behind a desk. von Rauffenstein also experiences this and you can feel the change with him. We first see him as a vibrant fighter pilot who has just gunned down his twelfth plane. Later, he's a man who lives in physical pain and a much deeper emotional pain.

 

 

*The men have dug and dug and dug a tunnel. What a tense moment when we see their makeshift can alarm fall and none of the men see it. Will that little man die in the tunnel??!! I was freaking out.*

 

 

That was a wonderfully-done scene. I also felt the tension and worry. Such great feelings.

 

 

*How 'bout digging and digging and digging a tunnel, only now to be assigned to another camp. HA!! Oh man. How 'bout trying to impart your experience to the next group of detainees, to help them...but the British officer does not understand French, and is not even trying to deal with you. Listen to those who were there before you. Renoir, Renoir. He puts these little petals or pebbles in our paths. He makes these "grand" statements, these "grand allusions" in the smallest of ways.*

 

 

Very nicely said. I loved the twist of fate with the transfer to another prison camp. Fantastic.

 

 

*But of course the bulk of the movie belongs to Erich von Stroheim and Pierre Fresnay. I loved them. Poor little baldy bean Erich...he looks like a sad sad boy. Like that kid in tv's "Malcolm In the Middle" with the ears. And Fresnay reminds me of Alec Guinness or Robert Donat. They were both sooooo wonderful I couldn't believe it. They broke my heart. Their relationship, their friendship, their mutual respect ( or maybe it was one-sided on Rauffenstein's part. ) But there was a respect there, right? Or was Boeldieu in essence saying "I am never you." Rauffenstein seeing an "equal" in Boeldieu...which Marechal and Rosenthal clearly were not in Rauffenstein's eyes. ( I think this turned the tide for Boeldieu in some respects. )*

 

 

I definitely believe there was a shared respect between von Rauffenstein and Boeldieu. But I do feel von Rauffenstein was the more romantic of the two. I thought Boeldieu was colder and I'm not sure he would have done what von Rauffenstein does with the flower. Having said that, Boeldieu clearly viewed the two of them as similar, if not equals. His dying words speak to this. He understood that both were a dying breed.

 

 

*This might even be a Grand Canyon leap off topic here, but I felt Deborah Kerr was a bit like these two Capitans in her outpost high up in the Himalayas. She was kind of rigidly duty bound. But she was in a death grip of power against Sister Ruth - - as much as Fonda and Cagney were in "Mr. Roberts."*

 

 

I thought Clodagh's (Deborah Kerr) battle was as much a battle with herself as the external. She not only had to help others fight off their temptations, she had to fight off her own... and believe it to be right. Everyone is told to live a certain way, but do you believe it to be right? And even if you believe it to be right, can you fight off the desires of the wrong?

 

 

*Rauffenstein and Boeldieu. What more can I say that you guys haven't already covered so much better than I. I could say so much more but you guys have got a rhythm of conversation going on here so I'll butt out...but please let me say this one last thing: Boeldieu with his last sacrifice as a sort of tragic and noble "Pied Piper" playing the flute, climbing higher and higher...and Rauffenstein begging him to come down, wiped me out.*

 

 

That's great! He really was just that.

 

 

 

 

 

 

 

 

[CineMaven]

*Ciao, CinemAva!*

 

Grimesy! How are ya?

 

:-) *It's a very humane film. It's much easier to be humane when treated humanely. Although, I'm sure some may start to feel as if they are being "fattened" for a reason.*

 

 

Oh wow...Uh-oh! To Serve Man...IT'S A COOKBOOK!!

 

 

Can you imagine in an American movie...in "Stalag 17" - the men being so happy to receive women's clothing so they could put on their own variety show with some of them portraying dance hall girls...

 

 

*Yes, I was very struck by that scene. I felt some discomfort, but I understood the meaning of the scene and the feelings those men were having.*

 

 

I respect your discomfort, and am pleased that you went past it towards understanding and non-judgment.

 

 

*And just like Grand Illusion, The Bridge on the River Kwai also features a drag show by the captives. But it has a different feel to it.*

 

 

It's been a long while since I've seen *"The Bridge..."* and I've no doubt the feel is different. David Lean is no Jean Renoir.

 

 

*He was the independent man who just could not be caged unless it was by his choosing. Elsa (Dita Parlo) and her child finally get to him. The scenes at the farm house are some of my favorite in the film. The entire point of the film is found here. A love that is found between a man and a woman from two different countries, cultures, and languages. But they are not so different, for they are a man and a woman no matter where they come from. I also liked how the woman and her child were left to be alone because of the war. Yet another horrible truth of war that is exposed.*

 

 

The movie took its sweet gentle time unfolding the many plot lines. The farm scenes spread over us like a blanket...warmly, softly. Oh, if only people would understand that people are people. I had hoped he'd spend the rest of the war with Elsa. I have hope, real romantic optimism, that Marechal will come back to her at the war's end.

 

 

*I liked seeing some of the similarities and differences of two other films I recently watched in comparison to Grand Illusion and von Rauffenstein (Erich von Stroheim). The one film being Five Graves to Cairo. In that film, von Stroheim also invites his captors to join him at his table. But the tone is much different. His "Rommel" is reveling in his ability to fool the opposition. He has to share his tricks with them to gain acknowledgment of his greatness. Conversely, von Rauffenstein is mostly commiserating with his captives. He is placing them on even terms with him, even though he holds all the cards.*

 

 

I love your description of the difference between von Rauffenstein and Rommel. One man is courtly...honorable. And the other...well, you said it perfectly with your "...share his tricks with them to gain acknowledgment of his greatness." One can be a victor without totally vanquishing his oppponent. But here's the thing, Von Stroheim was able to play both types with conviction. Guess it's time for me to pull out *"The Great Flamarion."* Him waiting in his hotel room for that vixen Mary Beth Hughes is pitiful.

 

 

 

 

*( Von Stroheim ) ( Peter Lorre in "Mad Love" )*

 

 

I think of these two detectives:

 

 

 

 

*( "On Dangerous Ground" )* *( "The Detective Story" )*

 

 

One trying to clean up the dirt on the outside. The other, trying to clean away the dirt on the inside.

 

 

Do you have a team in the Superbowl or have you a team you're rooting for?

[FrankGrimes]

Howdy, Denver -- *I found Marechal's frustration with de Boeldieu almost as interesting as the friendship between the two highborn officers. He simply can't understand de Boeldieu. I adored the scene where Marechal asks de Boeldieu why he can't do anything normal. it made me laugh out loud. Marechal is so vital, it's obvious that he will live, I don't know how you could kill him off, he's the future, as well as the common middle class or even lower class man. It's the de Boeldieu's and the Rauffensteins who will die off, without progeny. Again, I feel a certain neutered quality with these two men, they have outgrown life itself, but not love. There is no reality for them anymore. Rauffenstein only has his picture of a beautiful woman, and his phonograph and his fine wines before de Boeldieu enters the picture. And of course his flowers. The two are bloodless, except for this kinship, born of racial superiority. It's very sad, but they must go, these two men. It's the way of the world.*

 

That was just lovely. You've really captured a lot of what I feel Renoir was looking to say with these two characters and their stations. I view de Boldieu and von Rauffenstein as very prideful when it comes to war and its code. Marechal is nothing like this. That's why I see similarities between de Boldieu and Nicholson and Marechal and Shears.

 

 

 

 

 

 

 

I love that he has pictures of horses on "his" wall. Do you think Marechal would have the same?

 

 

*It is beautiful. I found the two of them the most interesting and sympathetic part of the film. They are like two of a kind, the last of an endangered species, that find one another, just a bit too late.*

 

 

You're right. de Boldieu and von Rauffenstein are basically best friends on different sides of the war.

 

 

*They break one barrier, the barrier of country, but are holding up another, class. And they can't do different. de Boeldieu actually breaks that barrier, by sending Marechal and Rosenthal off to escape.... into the future he has no part in, nor any wish to be a part of.*

 

 

Again, you're right on it. Their barrier is class. I also think the reason de Boeldieu sends Marechal and Rosenthal off is that its in keeping with his code and etiquette. It's the nobley thing to do. He's so mindful of his place and takes great pride with it. Do you think Marechal is thinking about being noble? Rosenthal? Again, I see this as being very similar to Nicholson and Shears in *The Bridge on the River Kwai*. Shears is one to lie and cheat to get what he wants. He's gonna break the rules and sometimes for selfish reasons.

 

 

*That's a GREAT catch! The most symbolic moment of the whole film. I feel more for these two than anyone else in the film. I am a dreamer, and so there sometimes feels like there is no place in the world for me. It is a harsh world for sure...you are right. It's broken Rauffenstein to bits.*

 

 

von Rauffenstein really is feeling isolated. You don't get that sense with de Boeldieu, though.

 

 

 

 

 

 

I'm also a dreamer but I certainly find more of myself with Marechal because I hate the rigidity of rules. Yet, I'm one who always plays by the rules. It's just the idea of a strict view on life that drives me nuts.

 

 

*And this is the best part of the old ways and old views. It's almost non existent now. Sadly, decency and that chin up attitude are out the window in our complaining society. As I age, I feel more and more outmoded.*

 

 

It is true, we're now in a "win at all costs" society. And I don't like it. Maybe I really am more like de Boldieu and von Rauffenstein.

 

 

*I've only seen him in two other films, so I'm very unfamiliar with him as an actor. *

 

 

*Which movies?*

 

 

I've seen Pierre Fresnay in *Le Corbeau* and *The Man Who Knew Too Much*.

 

 

*He really is. So vital and strong. He's impressive. I had to get used to him, everyone says he's the Spencer Tracy of french films, but I hate that definition (not that I can't see the comparison) it's so limiting. I see the Burt comparison a bit more. I find Gabin interesting, but I hadn't yet decided if I liked him or not. Now I think I like him. Maven was right, he's got a bemused quality that I really enjoyed here in this movie. You can't cage a man who is laughing at you. Kind of like Steve McQueen in The Great Escape. You know he will escape, and he knows he will escape and it becomes a kind of game. A game of life or death. That to me is Gabin in a nutshell. Life's a game.*

 

 

You get the feeling Gabin is a force of nature, ala Lancaster. He exudes confidence. I also love his version of indifference. I get the feeling he's "what the hey." And you do get the feeling he's taking life as it comes. It really is a game. With de Boldieu, life is a game to be played within a set of rules.

 

 

*What did you make of the scene where the black prisoner of war came over to the men and gave his opinion? They all ignored him, and this struck me full in the face for some reason. I don't know if he said something wrong, or I missed it, but this was the only barrier that really shocked me in the movie. Maybe this was part of the mirror Renoir was holding up? Ugly. Very 1937. The rest of the movie was timeless.*

 

 

It's a startling moment. It's a very ironic scene. The whites, no matter their class, have judged a man of color and created yet another horrible barrier. I'm not sure if Jean Renoir has judged him, too, or not. The white men are planning their escape and the black man is happy about his picture. So there's a serious discussion that is interrupted by a childish happiness.

 

 

 

 

 

 

 

 

 

 

 

 

What the picture is about, "Justice Pursuing Crime," makes me believe Renoir is damning the racism and those who are blind to it.

 

 

*I agree. Just as every nation in the world is tied together, we may not like it but it's either love or blow each other up. I found that scene very very moving. Men do have to blow off steam, and argue, but we don't leave each other to die. And that's the code of the common man. Or should be.*

 

 

Such a lovely sentiment. It's so hard to love thy neighbor. The problem? We attach hatred to differences, not love.

[FrankGrimes]

*Grimesy! How are ya?*

 

Ohhhh, I'm doing all right. How are you this cold night?

 

 

*Oh wow...Uh-oh! To Serve Man...IT'S A COOKBOOK!!*

 

 

Exactly! I know I would be suspicious of such kindness.

 

*It's been a long while since I've seen "The Bridge..." and I've no doubt the feel is different. David Lean is no Jean Renoir.*

 

The tone of each director is different. Renoir is more loving. At least what I have seen. Lean is more pained. I like both approaches. I found *The Bridge on the River Kwai* to be mostly damning of the British military approach. *Grand Illusion* is making a bigger statement. It's about all sides of war and the overall view of humanity.

 

*The movie took its sweet gentle time unfolding the many plot lines. The farm scenes spread over us like a blanket...warmly, softly. Oh, if only people would understand that people are people.*

 

That was lovely. And to find this kind of warmth in a film about prison camps is remarkable.

 

*I had hoped he'd spend the rest of the war with Elsa. I have hope, real romantic optimism, that Marechal will come back to her at the war's end.*

 

I share your optimism. Once you experience the kind of love Marechal does, it's hard to get it out of your system. He will long to be with Elsa and her daughter.

 

This shot is rather "Fordian":

 

 

 

*I love your description of the difference between von Rauffenstein and Rommel. One man is courtly...honorable. And the other...well, you said it perfectly with your "...share his tricks with them to gain acknowledgment of his greatness." One can be a victor without totally vanquishing his oppponent. But here's the thing, Von Stroheim was able to play both types with conviction. Guess it's time for me to pull out "The Great Flamarion." Him waiting in his hotel room for that vixen Mary Beth Hughes is pitiful.*

 

I've only seen von Stroheim play it at one speed, but he's magnificent at that speed. I really like *The Great Flamarion* because of how hapless von Stroheim's "Flamarion" is and how devilish Connie (Mary Beth Hughes) is. I also like the milieu. It kind of plays like a Lon Chaney flick.

 

Loved seeing von Rauffenstein and Gogol!

 

*One trying to clean up the dirt on the outside. The other, trying to clean away the dirt on the inside.*

 

Awesome!

 

*Do you have a team in the Superbowl or have you a team you're rooting for?*

 

 

I'm picking the 49ers but I'm pulling for the Ravens.

[FrankGrimes]

What's the good word, Ma Stone? -- *Well I have only seen the LAST one on your list. ha. But I have at least seen a poriton of #1 (though I really don't remember much of it) After all the reading here I see that I need to see your #4 for sure. That sounds like a truly amazing film. I will try to keep an eye out for it*

 

Thanks to the discussion here, I can say my appreciation for *Grand Illusion* has already grown. It's a remarkable film. But of the four films you haven't seen on my list, I'd say *Men in War* is the one you'd find the most enjoyable.

 

*Hmmm... I think my top three actual "war" films (in no particular order) would have to be*

 

*Battleground* at the top? I would have never guessed that. *Glory* is a very good film. If I were choosing "contemporary" war flicks, that would rank high for me. I'm planning on watching *Wings* fairly soon. And you did guess my Christmas present correctly. It's *So Proudly We Hail*. This better not be a "chick flick"!

 

 

 

 

 

 

*It is likely my favorite out of all the films I am listing here (in terms of being a favorite overall) because I know you already know.. ha... for all that I have tried to get you to WATCH it.. it is one of my all time fave movies ever.. I rate it pretty high up on my all time list, for sure. And by the way.. though it may just seem like I am trying too hard.. ha.. but I think it would make a really great "companion"film to watch with BOTRK... because despite the fact that the two stories are really NOT about the same "thing", still they have a LOT in common all the same. And I see a lot of similar "moments' in the two.. again, even though they are about two entirely different subjects.*

 

*{font:Times New Roman} {font}*I just haven't been in the mood to watch films outside of the "classic" realm. It's just a personal preference with me. I believe my brother likes the film.

 

 

 

 

 

 

*They did have some things in common.. arrogance.. pomp.. a total misunderstanding for their primary goal (overall) and how to achieve it. But that is about where it ends for the "similarity" because the biggest difference between them would have to be that Nicholson actually had the respect (most of the time) from his men that Thursday could only dream of or imagine. NONE of Thursday's men supported him or thought he was anything but a pompous jerk pretty much all the way through the entire story. Nicholson actually had the men cheering for him and WANTING to follow him.. that is a huge difference in the two for sure.*

 

And I think that could very well be the difference between American soldiers and British soldiers. Americans will question their superiors. The other reason for the difference is that Nicholson sacrificed himself in front of his soldiers and ultimately ended up winning their respect. Little did they know that a big part of Nicholson's motivation for his stand was ego.

 

But where Nicholson and Thursday are very similar is in their demanding to live by a strict code with their personal ego being a driving force behind it all. Thursday was even molded by his time in Europe. He brought this kind of thinking back with him to America. He then imposes this code on a bunch of soldiers stuck in the middle of nowhere.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*And see.. I took him to be crying from shame.*

 

Correct. In a private moment, Saito has lost and he feels great shame from his defeat. Yet, he is the one who brought the shame.

 

*He HATES the British (ha.. I love the scene where Nicholson is let out for a while.. and Saito LOSES it in front of him and starts yelling how MUCH he hates them) .. and ultimately the "British" (through Nicholson) bested him in front of everyone. And whats more.. both sides knew it. I don't know.. I imagine there might have been some level of "lonely" to his tears.. but I think he was all but dying from shame. He lost face the moment his bluff was called (about the shooting) even though he never got to shoot.. and it went down hill (for his "face" from there) he never got "the high ground" back again.. and he was only looking "up" to Nicholson from there on out.. even if he did have power over him (by keeping him locked in the hot house for so long)*

 

By lonely, I meant in private. It's a wonderful moment. From that moment on, I was on Saito's side more so than Nicholson's. He was the bigger, better man. Saito did lose his confidence from then on, though. He trusted Nicholson's words more than his own beliefs. And he was right to do so because Nicholson's squadron was smarter with constructing a bridge. So even though his power was neutered, he was wise to relinquish. Nicholson, on the other hand, is proven to be a fool and a stooge. A willing one, at that.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*And you are right.. in that one moment, I think he IS sympathetic. and you know what else.. through much of the film.. he is ALMOST right.. in fact, I think he is exactly right.. all up to the point where he just sort of "forgets" that despite all the work they'd done.. and despite all the effort they put in.. that BRIDGE was not "his" or even his men's.. it belonged to the Japanese.. and was aiding them in the war effort and it could NOT be allowed to succeed.*

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I believe differently. I feel Nicholson was exactly wrong about most everything. His building the perfect bridge is aiding and abetting the enemy. What he should have been doing is looking to sabotage the efforts. The bridge was in the exact right spot to start with. It would have been a major disaster for the Japanese. Instead, Nicholson has them move the bridge and pushes his officers and the sick to finish the bridge. And what was his grand stand at the outset all about? Why did he sit in that sweat box for all those days? Because the Geneva Convention stated his officers could not be forced to work. Amazing.

 

 

At the very end, I was hoping they'd shoot Nicholson and blow up the bridge. That's what I was hoping for. I was far more upset by seeing Shears get killed, a guy who escaped that very prison camp only to be asked to lead an expedition back to blow up a bridge. A bridge? It's not even about saving the prisoners, it's about the bridge. And unlike Nicholson and Warden (Jack Hawkins), he didn't give a darn about the glory. He rather be at the beach with a lovely nurse. That's Shears. Still, he does what he's asked and risks it all for something that doesn't mean anything to him. Madness, indeed.

 

*I have not seen this one... but I am interested based on what you and Miss G have been saying.. and also from what I have read on the TCM database too. It does sound like it would be a bit intense, given some of the subject matter.. I will see if I can check it out.. (I am editing my post.. just to say I just took a look and it appears that this one is on youtube.. so I will try to get a chance to give it a look sometime soon)*

 

*Detective Story* is a good character study. I love how it all unfolds. It's definitely about judgment and real forgiveness.

 

*I am still hoping to find the one you mentioned to me from your last list too. (gulp.. oh what a slacker I am.. ha. Now who do I think I am pointing Adolphe and my frozen ropes at YOU.. ha.. and yet.. you know I will still do it.. it's how I roll!) *

 

I don't even know what film you're referring to!

[SueSueApplegate]

I just wanted to chime in and say that I am really enjoying what everyone has written about war films. There are so many aspects of these films that touch me deeply because of my father's comments and remembrances of his experiences during World War II in the European theater. We watched so many of these movies together.

> Frank Grimes said:

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> I believe differently. I feel Nicholson was exactly wrong about most everything. His building the perfect bridge is aiding and abetting the enemy. What he should have been doing is looking to sabotage the efforts. The bridge was in the exact right spot to start with. It would have been a major disaster for the Japanese. Instead, Nicholson has them move the bridge and pushes his officers and the sick to finish the bridge. And what was his grand stand at the outset all about? Why did he sit in that sweat box for all those days? Because the Geneva Convention stated his officers could not be forced to work. Amazing.

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> At the very end, I was hoping they'd shoot Nicholson and blow up the bridge. That's what I was hoping for. I was far more upset by seeing Shears get killed, a guy who escaped that very prison camp only to be asked to lead an expedition back to blow up a bridge. A bridge? It's not even about saving the prisoners, it's about the bridge. And unlike Nicholson and Warden (Jack Hawkins), he didn't give a darn about the glory. He rather be at the beach with a lovely nurse. That's Shears. Still, he does what he's asked and risks it all for something that doesn't mean anything to him. Madness, indeed.

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My Dad expressed some of these same sentiments when we watched *The Bridge on The River Kwai* together, but never so eloquently as you just did.

[FrankGrimes]

*I just wanted to chime in and say that I am really enjoying what everyone has written about war films. There are so many aspects of these films that touch me deeply because of my father's comments and remembrances of his experiences during World War II in the European theater. We watched so many of these movies together.*

 

What a sweet image that is. I love it when a father and daughter share time together. It's always so important.

 

*My Dad expressed some of these same sentiments when we watched The Bridge on The River Kwai together, but never so eloquently as you just did.*

 

Wow! Thank you. I'm glad to share similar opinions with your father. I feel honored.

 

I had a few of the men in my family serve in World War II. My country grandpa was a parachute rigger in Europe. My great uncle was on the first LST to reach Normandy. He somehow lived. He was a bit like Forrest Gump because he was on the USS Arizona just days before Pearl Harbor. And another great uncle of mine ended up at Iwo Jima, but I don't believe he was in the action.

 

I was very surprised by how damning David Lean was of the Brits and their military protocol in *The Bridge on the River Kwai*. He shows the American soldier in a much different light. The British doctor, Major Clipton, is also the voice of sanity in the film and is given the harrowing final words.

[SansFin]

My father, grandfathers and many of my uncles and granduncles stayed to fight when our city was captured. They lived mostly in the catacombs for more than two years. My grandfather won medals because of what he did and he would take me down and show me where they lived and where they hid their weapons and food. He taught me also their tricks for not becoming lost.

 

He showed me also where he and his men blew up three trucks which carried ammunition. The street had been repaired but there remained slivers of brass and steel between the bricks. It was the street on the east side of our house.

 

My grandmother's house was much more than one hundred years old and shells damaged it so badly it could not be repaired. I believe I was four years of age when it was torn down at last. In every street of the city could be seen where the Germans and Romanians had destroyed things of no use to them. The stone wall on each side of the doorway to our house had gouges made by bullets. The steps of our school had patches to fill holes made to anchor artillery pieces.

 

I was honored in school to be chosen to stand guard at the Tomb of the Unknown Sailor which honors what so many sacrificed to defend our city.

[SueSueApplegate]

> {quote:title=FrankGrimes wrote:}{quote}

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> I had a few of the men in my family serve in World War II. My country grandpa was a parachute rigger in Europe. My great uncle was on the first LST to reach Normandy. He somehow lived. He was a bit like Forrest Gump because he was on the USS Arizona just days before Pearl Harbor. And another great uncle of mine ended up at Iwo Jima, but I don't believe he was in the action.

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> I was very surprised by how damning David Lean was of the Brits and their military protocol in *The Bridge on the River Kwai*. He shows the American soldier in a much different light. The British doctor, Major Clipton, is also the voice of sanity in the film and is given the harrowing final words.

>

I found the contrasts between the American and British soldiers part of the visceral conflict that made *The Bridge on the River Kwai* so mesmerizing. I had an uncle who died on the *Arizona* and my father's other brother served with the Marines in the Phillippines. Dad, a tank commander, was eventually assigned to Patton's Third Army. One of his favorite films was *Patton*, and we all were glued to the telly when *The Winds of War* was broadcast. We both had read Herman Wouk's *The Winds of War*.I have a couple of letters from my uncle postmarked from the *Arizona,* and his name is on the memorial at Pearl Harbor.

 

Sansfin, I also thank you so much for sharing your stories. You must have been very proud of your service.

[FrankGrimes]

1. *Detective Story* -- I was very surprised by this film. I was not expecting to find a "*12 Angry Men*" kind of cop flick. I thought it was engrossing. The big twist in the film is a huge one. It really takes the film to another level. It turns it on its head. Right starts to become wrong.

 

http://www.youtube.com/watch?v=O8NnjbzsTP8

 

 

 

2. *The Tall Target* -- Anthony Mann's "*The Lady Vanishes*." It's really good. It's hard to find a detective any better than Dick Powell. He's superb in such roles. Loved the mystery of the film and the entire set-up. A wonderful little film.

 

 

3. *The Lineup* -- Evidently this was a television show that chose to make a film. It's a very interesting film. It starts off as a police procedural but that changes drastically once Eli Wallach enters the picture. From then on, it's his film. He's a loon... and a joy to watch. The San Francisco locations really add to the film's value, too.

 

 

 

 

 

 

 

4. *Jubal* -- A Movieman suggestion, and it was a definite winner. The entire feel of this western is that of uneasy. Glenn Ford is being Glenn Ford. Ernest Borgnine is being Ernest Borgnine. Rod Steiger is being Rod Steiger. It all fits. Love the paranoia in the film. What's a guy to do?

 

 

http://www.youtube.com/watch?v=uWAEoe-djpA

 

 

 

 

5. *The African Queen* -- A great relationship film. Lots of sharing and sacrifice. I like how Charlie (Humphrey Bogart) and Rose (Katharine Hepburn) are so very different, but they love each other and care about one another. That's all that matters. A relationship is very much like the journey of the "African Queen." The ending is beautiful.

 

 

6. *The Dawn Patrol (1938)* -- Here's another film that really took me by surprise. I'm very early on with my Errol Flynn viewing, but this has been his best performance from what little I have seen. Love the change of emotions. David Niven is also great in the film. Does anyone play the playboy any better? Love the pairing of Flynn and Niven. And Basil Rathbone is burning in this one. I liked the flying footage, too. The film feels very "Hawksian." I'm guessing it's because it's a remake of one of his films.

 

 

 

 

7. *Grand Illusion* -- I may rank it a little higher after the wonderful discussion we've had on it. It's definitely a great film. Love the love for humanity. I just love the emotion that is found within Jean Renoir's films. I look forward to watching more of his work.

 

 

8. *The Bridge on the River Kwai* -- Yet another terrific war film with a great message. "Madness." For me to want a character shot, that's great acting. That's Alec Guinness for you. The look and sound of the film are wonderful.

 

 

9. *The Adventures of Robin Hood* -- I wasn't expecting to like this one that much, but I was wrong. Errol Flynn grabs you right from the start. He's magnetic. The opening scenes with him are great fun. Love his swagger. The overall story wasn't as interesting to me, but Flynn easily makes up for this.

 

 

10. *The Longest Day* -- What a great looking film. I was amazed by all of the recreations, especially that of Normandy. I really liked seeing the German side of operations alongside the Allied. I wouldn't say the film touched me emotionally, but I was interested throughout. Loved seeing John Wayne, Robert Mitchum, Robert Ryan, and Richard Burton. Henry Fonda's bit is a little off. Curd Jurgens is excellent in the film.

 

 

 

 

 

 

11. *The Lemon Drop Kid* -- A very sweet, Christmasy comedy. It's both funny and touching. Bob Hope is very good in the film, but I was even more taken by the supporting cast. Loved the mugs.

 

 

 

 

12. *I Love You Again* -- What a terrific little comedy. William Powell is at his best in this one. And I just love how disagreeable Myrna Loy is. Frank McHugh is very funny as Powell's partner in crime. One of the best Powell-Loy films I have seen.

 

 

 

 

 

 

13. *Footsteps in the Fog* -- This was a recommendation from Jackie and it was a good one. Love the irony in the film, ala an episode of Alfred Hitchcock Presents. Stewart Granger being a jerk really works in this kind of film. Jean Simmons is a dangerous treat.

 

 

http://www.youtube.com/watch?v=D-iCeMRAqE0

 

 

14. *5 Against the House* -- If you're looking for a strange mix of genres, this film may interest you. It's a heist film yet there is comedy to be found. The mix can be a bit jarring. As the film unfolds, it starts to become Brian Keith's pic. He's very good in the film, playing a William Bendix kind of role. Kim Novak has some sizzling moments and kisses in the film. That's always a major plus.

 

 

 

 

15. *Tomorrow Is Another Day* -- A rather strange "lovers on the run" film. It has similarities to *The 39 Steps*, *They Live by Night*, *Shockproof*, and *You Only Live Once*. My expectations were pretty high for this film and the film fell short of them. Still, it's a pretty solid film noir. Ruth Roman plays a character much different than the ones I associate with her. I liked her.

 

 

16. *The Rose Tattoo* -- I didn't realize this was a Tennessee Williams play until the opening credits. Once I saw that, I was excited. I wasn't disappointed. The story is very "Williams." The greatest part of the film is easily Anna Magnani, for it's all about her. She ended up winning the Oscar for "Best Actress." I can see why. She's brilliant. I loved her "love blind" widow and protective mother. The only negative with the film is Burt Lancaster. He's out of place and mostly annoying as heck.

 

 

http://www.youtube.com/watch?v=uBoHmsMEZ1g

 

 

17. *The Ghost Breakers* -- This was an average comedy to me with Bob Hope being rather below-average. So what saved the film for me? Willie Best. He was funny from start to finish. And he received a ton of screen time. I loved seeing him.

 

 

 

 

18. *Death in the Garden* -- I've been trying to watch a Luis Bunuel film in each of my groups. I like him very much as a director and I've been really wanting to discover his films. This is a Bunuel film that isn't too "Bunuelian." For this reason, it plays rather ordinary. Georges Marchal, who plays "Shark," our lead, is a decisive brute, which makes him attractive to Simone Signoret. The film is an "escape through the jungle" flick.

 

 

 

 

19. *The Fly* -- The opening to this film really captured my attention. It was dark and mysterious. Once the film turned to the past, it started to lose me. The ending brought me back some. I do think it's a good sci-fi flick. Certainly a true classic. It's on the creepy side.

 

 

http://www.youtube.com/watch?v=VyIZ4wh_9Kg

 

 

 

 

20. *Good Sam* -- I was surprised to find myself liking this super-sweet comedy. Gary Cooper plays the good samaritan "Sam." It's his nature to help anyone in need, even at the price of his own family. This drives his wife, played by Ann Sheridan, batty. I thought there were some really nice moments in the film and some decent laughs. I liked Ann. I thought she played the exasperated wife quite well.

 

 

21. *Wichita* -- I was a couple films short of having seen ten Jacques Tourneur flicks, so I chose to watch this one. It's a solid but unspectacular western. Joel McCrea plays "Wyatt Earp" to the hilt. He's deadly serious through most of the film. The film kind of plays like *High Noon* in that the town is split on being behind Wyatt and it all comes to a boil. I can't say that I've seen Joel so serious.

 

 

22. *Brannigan* -- The ending to this film is really bad. The rest of the film is actually enjoyable. It's rather funny. John Wayne has some great lines and reactions. Richard Attenborough is also funny. The bar room brawl is definitely a tip of the cap to the Ford brawls of the past. It's very "*Donovan's Reef*."

 

 

 

 

23. *Marked Woman* -- This is one of the more unique films that I watched in this group. It's a woman's gangster flick with a "*Stage Door*" feel. I can't say that I've ever seen such a film like it. Quite a few big moments done 30s style. The biggest relates to Betty (Jane Bryan), who plays Bette Davis' younger sister in the film. Bette is very "Bette," here. She's quite good. Bogie plays a young district attorney. He's not very "Bogie." Eduardo Ciannelli is the most interesting of performers. He's ruthlessly good.

 

 

 

 

24. *Reckless* -- A mostly dramatic Jean Harlow film starring William Powell. It's pretty good. Powell is in love with Harlow but he struggles to let her know. She ends up marrying Franchot Tone. Powell has some nice scenes with May Robson, who plays Jean's "granny."

 

 

 

 

25. *Nevada Smith* -- I had a tough time believing Steve McQueen as a "kid." I also found the message of the film to be very confusing. One moment it's saying one thing, the next another. I did like the scene with Brian Keith. That was one of the best moments in the film. I also liked McQueen's encounters with the women.

 

 

 

 

26. *Ten Wanted Men* -- Randolph Scott vs. Richard Boone is usually a treat and there's just enough of that in this film to make it solid. Boone's character was the most interesting to me.

 

 

27. *It Started in Naples* -- A bit of a comedic take on *Summertime* and a little similar to *Houseboat*. I just couldn't get into it. I was okay with Clark Gable and Sophia Loren, but I wasn't taken by them as a couple. I was particularly annoyed by Nando (Marietto).

 

 

28. *Move Over, Darling* -- I didn't realize this was a remake of *My Favorite Wife* until I started watching it. I didn't like it nearly as much. They really shortened the scenes with "the island man" in this version. That was no good. I also found Polly Bergen to be annoying. Her shrieks are deadly. And with me, James Garner just doesn't compare to Cary Grant. The scenes in front of the judge are funny in both films.

 

 

 

 

29. *The Left Hand of God* -- This was too "dry" of a film for me. Bogie was good, Gene is darling, and I like the twist of the film. But the story itself and the conflicts in the story just don't move me.

 

 

http://www.youtube.com/watch?v=AX5LIv6HDTs

 

 

30. *Cast a Giant Shadow* -- It's an interesting film because of the topic matter, but it's a bit too much. The film actually reminds me a bit of *Topaz* in terms of the relationships and the scenario.

 

 

 

 

31. *The Bottom of the Bottle* -- I found this film to be a bit tedious. I liked the ending. I also liked Jack Carson and his shirt. I have liked Van Johnson in the films I have seen him in. That has surprised me.

 

 

32. *Crime of Passion* -- I thought the film was rather silly. Poor Sterling Hayden! He was stuck playing a horrible character. I like Barbara Stanwyck in just about everything, and she does give it her all. I guess if you feel like a trapped wife in the 50s this will appeal to you. That doesn't appeal to me.

 

 

 

 

33. *The Women* -- Another one of the most unique films in this bunch. The dialogue crackles with the best of them. But this just isn't my kind of film. I did like some parts of it. I liked most scenes with Norma Shearer. I also liked Phyllis Povah, Lucile Watson, and Joan Fontaine. Roz Russell annoyed the heck out of me. Joan Crawford, Paulette Goddard, and Mary Boland are all good.

 

 

My favorite exchange in the film:

 

 

 

 

 

 

34. *The Importance of Being Earnest* -- Oh, boy, oh, boy. This was a tough one. It's an exceptionally clever film, but it's dry as a bone. I think Joan Greenwood was born to play such characters. It comes so easy for her.

 

 

 

 

35. *The Moving Image* -- A Fritz Lang silent that was just released on DVD last November. The story is off the beaten path and quite confusing. At the outset of the film, we see a woman fleeing but we don't know why. Eventually, we are told an interesting story. The look of the film is quite good, for it takes part in the mountains.

 

 

 

 

 

 

36. *You and Me* -- Of all the films in this group, this is the one I wanted to see the most. It was an elusive Fritz Lang title. TCM hasn't played it and it's not available on DVD. I was elated when Miss G sent me a link to see the film on YouTube. The film didn't match my anticipation. There is a cringe-worthy scene at the end of the film with Sylvia Sidney and a chalkboard that really sank this picture for me. The entire idea of the film, a department store serving as a place of employment for reformed criminals seemed very far-fetched.

 

 

37. *Hot Saturday* -- An "odd duck" pre-code about a young woman (Nancy Carroll) who gets branded a tramp and then pays the societal price for such a tag. There's one person who is on her side:

 

 

 

 

And this guy is also in the picture:

 

 

 

 

38. *The Lion* -- A rather odd flick. It's a triangle film with Capucine in the middle of feelings for her ex-husband (William Holden) and current husband (Trevor Howard). Caught in this mix is the daughter from her first marriage. How it all unfolds never captured me. The best part of the film is seeing the wildlife and the lion, who is really the star of the film.

 

 

http://www.youtube.com/watch?v=7r-Kr2VmfAw

 

 

39. *Blonde Fever* -- One of my "mini-goals" for the year is to watch Gloria Grahame's films, at least those from the "classic" era. This was my "Gloria" selection for this group. Like a few films on this list, this is a strange one. It's a comedy but with dramatic elements. Gloria plays the young thing that Mary Astor's husband has his eyes on. Gloria is a golddiggin' blonde. Mary is a pro who teaches her a lesson. It sounds better than it is.

 

 

40. *We're Not Married! --* An episodic film about marriages that were conducted unlawfully, thus rendering them null and void. The "Louis Calhern/Zsa Zsa Gabor" episode was the one I liked most. I was also amused by Paul Douglas and Eve Arden. I was annoyed with Fred Allen and Ginger Rogers, the primary couple.

 

 

http://www.youtube.com/watch?v=WOFcxF8HAho

 

 

 

 

 

 

 

 

 

 

 

 

Oh, and then there's this: