The Annual FrankGrimes Torture Thread

[FrankGrimes]

Howdy, Denver -- *I'd love to know Frank's thoughts on HBTD.*

 

Something didn't connect with me. I'm not sure what it was. Maybe it was Charles Boyer's character. Maybe it was how he was with Olivia. Maybe it was the setting. I'm not sure. All I really went for was Paulette.

 

*I've been trying to see Le Plaisir for two or three weeks. My disc I recorded wouldn't play, Netflix stopped streaming it, The other site I was going to watch it at didn't work, and I finally got the disc from Netflx yesterday and it was cracked right down the middle. I should get a replacement disc on Thursday. If it works....*

 

 

All right! Such persistence! *Le Plaisir* is one of the most visually interesting films I have seen of late. I think you'll love that about it. Of the three stories, I liked the first story the most. I think the film does a very good job of stirring one's mind and senses. Have you seen *Le Notti Bianche* ?

 

 

*I didn't mind it, it certainly didn't interfere with my enjoyment of it, but it just didn't quite do it for me. I can't say why. I liked Sarah Miles quite a bit, I don't think she did anything wrong, but I kept imagining the depth Julie Christie might have lent to the role. Miles is good, but Christie would have given added gravitas, or something, made it a more universal story, or more complex perhaps.*

 

 

The reason I liked Sarah and why I'd prefer her to Julie is because I saw her as more of a child. I think of Julie as being a childish woman, but still a woman. What's interesting with me is that I just had watched *Term of Trial*, another film where Sarah gets an older crush in trouble.

 

 

*As for the three groups you mentioned, I was most definitely a Fleetwood Mac gal. I couldn't stand the Bee Gees in their disco incarnation.. except I did like the song Nights on Broadway.*

 

 

My poor Bee Gees!

 

 

*As for Ryan's Daughter - you guys were right... I did love the supporting cast. John Mills was just incredible. Trevor Howard was like the glue of the story... I loved his gruff and humorous religious man. He does exactly the opposite of what you'd expect a priest to do, and I loved that in his performance, especially at the end, when Charles thanks him, he turns away and gruffly disperses the thank you completely. Doesn't even accept it. It's his way to deflect praise and you love him for it.*

 

 

He's just wonderful in the film. He understands it all and he looks to apply his understanding with great humanity. My favorite scene with him is when he went after Charles, to make sure he was all right.

 

 

 

 

 

 

 

 

*But actually my favorite performance was from Leo McKern as Ryan. Wow! What a sad, heartbreaking thing. God certainly took his vengeance out on him for playing both sides against the middle. I can't think of a worse fate for a man. His life was over from the moment he made his decision not to speak up, or maybe from the minute he was weak enough to say yes to the Brits. I don't think he did it out of some sense that it was right, I think he did it out of fear. He was the very opposite of what he was posing as... and how sad! This is what delusion can do to you. Pretending to be something you are not can be deadly, because there will be a reckoning. He may have deflected the reckoning he should have had, at the hands of the townspeople, but he would live with this cancer of his own making all his life. I could see him drinking himself into oblivion. And Rosy knew deep in her heart he was the informer. I think I'd rather die than carry that shame and guilt around with me, that I let my daughter, my 'princess' go through something like that to save my own neck. Very human, though. And she forgave him. But would he forgive himself? I don't think he would be able to.*

 

 

He's a tough one for me to read. He's so very weak. He just blows in the wind. Whatever the crowd is for, he's for. If he's cornered by someone, he'll give in to them. I had a hard time liking him for those reasons. But, you're right, his weakness makes him quite human.

 

 

*Anyway, back to Mills, as the fool.... he was fascinating to me because his role was to mimic. We don't know it at the beginning, but he was a doppelganger for the villagers.... He breaks apart the living lobster, remember? right at the beginning? And Trevor Howard runs over to him and says, " It's one of GOD'S LIVING CREATURES! How many times do I have to tell you?" ...well, that to me was a portent. The villagers were so willing to break one another, to fixate on the ones who are 'other' or different or don't go with the crowd. The dreamers. They would break them in a heartbeat, for no real reason... just as Michael broke the lobster for no real reason - and as they do with Rosy at the end. They don't even know why they do it. It's a harsh life, and any tentative outreach from one person to another is food for them...something to latch onto and to destroy.*

 

 

Now that's superb. I did not make the connection between Michael (John Mills) and the townsfolk. His looking to destroy life is from an innocent ignorance. He had an excuse. The townsfolk did not. Their cruelty was a guilty ignorance. They attacked everything, for they were a miserable lot.

 

 

*But Michael is not only a doppelganger or symbol of the village, he's also Doryan's doppelganger. There's an amazing sequence where Michael is following Doryan, it's slightly comic, they are walking over the dunes, leaving their tracks in the sand.... and I suddenly realized that the tracks that Charles saw in the sand (which led to his knowledge of the affair) were perhaps not Doryan's at all, but Michaels. And of course, then Michael leads Doryan right to the stash of dynamite, his treasure because he has no idea what it is.*

 

 

I felt that Doryan (Christopher Jones) was purely using Michael. Michael was someone with information, and that's what Doryan was seeking the most. Michael just wanted a friend, so he had no idea what he was helping Doryan do. The strong taking advantage of the weak. In a way, it's another form of cruelty.

 

 

 

 

*Michael's body is also a prison to him, is also a wracked with health problems. He's broken, but he's actually less broken than Doryan. He doesn't walk straight either, and of course, I think we all fear the kind of all encompassing disability that Michael represents. Doryan couldn't live with his outer disability because it was a symbol of an inner disability far more terrible than even Michael's. The knowledge of one's own lack.*

 

 

Brilliant. You nailed that. This is where some ignorance helps. Once you know you are different than others, you really do find yourself in a worse place.

 

 

Rosy (Sarah Miles) helps Doryan feel like a whole man again. She brings him back to life. He does the same for her. He desires her, sexually. But is he committed to her or his duty? And does that matter to Rosy?

[FrankGrimes]

*that's too bad, i thought you might like it.*

 

I thought I'd like it, too. I like Boyer so much.

 

*it captures a kind of seedy desperation that i imagine could be found in that place and time.*

 

And maybe that was part of my not going for the film. I just didn't care about the main focus of the story.

 

*the side story with some of the other inhabitants were a little distracting (the child being born, etc) but i think it's a marvelous movie.*

 

I liked the child being born across the border. But, you're right, I did find the side stories to be distracting.

 

*suspenseful because you are on the edge of your seat whether she will get hurt, when she will find out about him and how and her reactions are not what you might expect.*

 

I figured she got burned and just moved on. This has to be where my not going for the film lies. It's Georges (Charles Boyer) and Emmy (Olivia de Havilland). I guess I didn't like them as a couple, so I wasn't into their being together.

 

*paulette is terrific, not a very nice person but true to her nature and feelings and boyer is no better, for the most part.*

 

I like her emotions. She's all out.

 

*the way the story is "told" is unique, and rather makes you believe that's what wilder himself might have done when he came to the states and played the waiting game in Mexico.*

 

I didn't know any of that.

[MissGoddess]

> *it captures a kind of seedy desperation that i imagine could be found in that place and time.*

>

> And maybe that was part of my not going for the film. I just didn't care about the main focus of the story.

>

 

it's not so different a setting to *casablanca*.

 

> I figured she got burned and just moved on. This has to be where my not going for the film lies. It's Georges (Charles Boyer) and Emmy (Olivia de Havilland). I guess I didn't like them as a couple, so I wasn't into their being together.

>

 

i guess you're right, if you don' t like them together, then that sinks the ship.

 

 

> I didn't know any of that.

 

boyer is basically playing billy, without the love, ha.

 

can you post your list in order again? it's such a pain to have to go back so far to find it.

[FrankGrimes]

*it's not so different a setting to casablanca.*

 

Oh, I think they are completely different. All I remember is an everyday hotel and garage.

 

*i guess you're right, if you don' t like them together, then that sinks the ship.*

 

Olivia can really be elusive with me. And I just didn't like Charles' character. I found him less charming than in other films.

 

 

 

*boyer is basically playing billy, without the love, ha.*

 

Maybe that was my issue!

 

*can you post your list in order again? it's such a pain to have to go back so far to find it. *

 

I'll do that and try to write my quick take on each film. I'll work on it tonight.

[MissGoddess]

> Olivia can really be elusive with me. And I just didn't like Charles' character. I found him less charming than in other films.

>

 

he's not charming, no, he's an opportunist.

 

> I'll do that and try to write my quick take on each film. I'll work on it tonight.

>

 

great! we'll patiently await that.

 

[FrankGrimes]

*he's not charming, no, he's an opportunist.*

 

But doesn't he usually play an opportunist? I love him in *Cluny Brown*, *Algiers*, and *Arch of Triumph*. Maybe it's because I felt he was much warmer in those films. He seems awfully cold in *Hold Back the Dawn*.

 

*great! we'll patiently await that. *

 

Are you boozing, again?!

[MissGoddess]

> {quote:title=FrankGrimes wrote:}{quote}*he's not charming, no, he's an opportunist.*

>

> But doesn't he usually play an opportunist? I love him in *Cluny Brown*, *Algiers*, and *Arch of Triumph*. Maybe it's because I felt he was much warmer in those films. He seems awfully cold in *Hold Back the Dawn*.

>

 

I didn't really notice, except in so far as his character was supposed to be disreputable. cold to me was how he is in *gaslight*. but it's true to wilder, you know. his men are often flinty.

 

> Are you boozing, again?!

>

 

you would, too, if you were stuck with anthony franciosa.

[FrankGrimes]

 

*I didn't really notice, except in so far as his character was supposed to be disreputable. cold to me was how he is in gaslight. but it's true to wilder, you know. his men are often flinty.*

 

Maybe that's it. It's because Boyer is being led by Wilder. Boyer did not seem like Boyer to me. I usually fall for Boyer's charm.

 

*you would, too, if you were stuck with anthony franciosa.*

 

It could be far worse. You could be stuck with me!

 

Who is that picture of? Catherine Deneuve?

[MissGoddess]

> Maybe that's it. It's because Boyer is being led by Wilder. Boyer did not seem like Boyer to me. I usually fall for Boyer's charm.

>

 

and you usually like billy, but who can say.

 

> Who is that picture of? Catherine Deneuve?

>

 

you must be making up your lists.

 

[FrankGrimes]

*and you usually like billy, but who can say.*

 

I like him bitey!

 

*you must be making up your lists.*

 

That's a picture of Frank?! Wow! Do you mean I'm writing my capsules? I am. I've got a ways to go, too.

 

So it's Virna? She's beautiful! Almost as beautiful as you!

[MissGoddess]

> I like him bitey!

>

 

i think it's a very great script!

 

> That's a picture of Frank?! Wow!

 

No, it's Errol John.

 

>> Do you mean I'm writing my capsules? I am. I've got a ways to go, too.

>

 

> So it's Virna? She's beautiful! Almost as beautiful as you!

>

 

ha, i wish! i think she was gorgeous.

[FrankGrimes]

*i think it's a very great script!*

 

I didn't go for it. But I know I'm in the minority with that.

 

*No, it's Errol John.*

 

Who?!

 

*ha, i wish! i think she was gorgeous.*

 

Well, hello!

[MissGoddess]

> I didn't go for it.

 

[FrankGrimes]

You're just doing that to be in Frank's arms!

 

Did you make those captures? They're excellent!

[FrankGrimes]

*1. The Country Girl* -- I was very surprised to find myself really liking this film. I wasn't looking forward to watching it. What I loved about it was Grace Kelly and her character. She's caught in a tough spot for a wife. She's miserable because her husband is a shell of his former self due to a past tragedy, yet she still loves him. She also feels he couldn't survive without her. The film is full of torment. It's really good.

 

*2. Rebel Without a Cause* -- I was worried this film would be about teen angst and nothing more. Well, it's about teen angst but why the teen angst comes to be is what I loved about the film. What the theme of the film ends up being is friendship. It's definitely a film ahead of its time. *The Breakfast Club* was clearly inspired by it.

 

*3. Ryan's Daughter* -- A moody, picturesque film that deals with young love and older love and how different they can be. David Lean's favorite subject matter is once again offered up in a complex manner. Sympathies are played with. As Miss G pointed out, the film is fairly similar to *Doctor Zhivago*, with the difference being it's the woman that is tormented. I'm learning that I like David Lean and his torment.

 

 

*4. Le Notti Bianche* -- Yet another tormented film. This is probably the most tormented of the group. A woman is promised by her lover that he'll return for her in a year's time. So every night, she waits for him on a bridge. One day, she meets another man who is very taken with her. As the two spend time together, she starts to fall for him, as well. So does she choose the man she has come to know and spend time with or does she stay loyal to the man who is not around and may never show? It's a very simple film, but the look and feel of the film is just wonderful.

 

 

*5. Le Plaisir* -- If you ever wanted to see how genius Max Ophuls is with the camera, you need to see this film. It's remarkable. The film features three separate stories with the connective theme being "pleasure." The first and third stories are rather short; maybe fifteen minutes long. The middle story is three times as long. I preferred the shorter stories, but the middle one best exemplifies the film's theme. I'd say Jackie is someone who will appreciate the film more than most.

 

 

*6. The Baron of Arizona* -- Jackie was right about this film: it's pretty darn good. What really helps the film is that the very end is the best part. It's lovely. The film is about a scoundrel, played by Vincent Price, who lies his way to a court battle with the United States over the owernship of Arizona. Price is terrific. It's one of his better performances.

 

 

*7. Desperate Journey* -- Yet another excellent suggestion by Jackie! In terms of classic film, this is one of the most exciting films I have watched. It feels very contemporary in terms of its pacing. It's such a fun ride. Everything worked for me. There's great humor, great action, and great suspense. Even Ronald Reagan is great! I can see how Jackie would really like this one.

 

 

*8. My Favorite Brunette* -- I'd say this is Bob Hope's "*The Maltese Falcon*." Bob is pretty funny as the private eye, but what really adds to the fun with this film is the supporting cast. Peter Lorre and Lon Chaney, Jr. help to boost the humor and the danger.

 

 

*9. The Unsuspected* -- An off-center mystery that perfectly suits someone like Claude Rains. It feels a little like *Laura*, and I'm sure that was the aim, too. There's a group of strange characters that adds a lot of depth to the picture. That reminded me of *Lured*. The film can be called film noir, but it also plays like a horror. It's a good watch.

 

 

*10. Crack-Up* -- A film noir that revolves around an art museum? Huh? Well, that's what this film is about. And it's pretty good. In classic film noir fashion, a man (Pat O'Brien) believes he has seen something that didn't happen. How can this be? The ending is pretty tense. The cast is full of the un-noir (O'Brien, Herbert Marshall, Ray Collins), but they are great. And, ironically, Claire Trevor isn't as "noirish" here.

 

 

*11. Reap the Wild Wind* -- John Wayne is wrong? You gotta be kidding me?! Amazing! I've never seen Duke be more selfish than in this film. It was such an interesting switch. The film is a pretty entertaining watch. Ray Milland is quite good in a role I couldn't picture him in.

 

 

*12. As Young as You Feel* -- A comedy about age discrimation? Really? And I liked it! Monty Woolley is the reason why. It's his film and he's just wonderful. Thelma Ritter is pretty funny in a supporting role. Marilyn Monroe is beautiful, as always. And I really liked Constance Bennett.

 

 

*13. Bullets or Ballots --* Eddie G. vs. Bogie? Sign me up! Bogie is just seething in this picture. He really adds the fire and spice. Robinson is the cop who's gone bad who ends up taking Bogie's spot in the crime syndicate. Good luck with that!

 

 

*14. The Prisoner of Zenda (1937)* -- This one took a while to warm up, but the ending is pretty good. What makes the film for me is Douglas Fairbanks, Jr.. He brings such great energy to the film. An energy that Ronald Colman doesn't really bring until the end. I also love Raymond Massey as a villain. I had never seen that much of Massey until this group. He played great villains in two of the films.

 

 

*15. Legend of the Lost* -- I actually liked this one. It reminded me of *King Solomon's Mines*, a film I didn't like. Why did I like this one more? John Wayne, Sophia Loren, and Rossano Brazzi. The three of them together is rather captivating. Sophia reminded me a lot of Ava Gardner in this one. I just loved her.

 

 

*16. The Flame of New Orleans* -- A light comedy starring Marlene Dietrich. It's not the greatest, but I found it enjoyable. It actually has a "Pride and Prejudice" feel to it. Marlene plays a woman being courted by the rich Roland Young and the sailor she's attracted to, Bruce Cabot. Mischa Auer plays a pretty important role in the film. I also liked Theresa Harris. I tend to like the light of Rene Clair.

 

 

*17. Virginia City* -- I found this western to be mostly ordinary, particularly the second half. The best part was seeing Errol Flynn and Randolph Scott face off. Bogie as a "gringo"? What?! Awful! I will say, Flynn is so darn magnetic. His screen presence is truly amazing. I also like Alan Hale with Errol.

 

 

*18. Hold Back the Dawn* -- I think my expectations for this film may have been too high. It fell short for me. I usually love Charles Boyer but I didn't like him much, here. I loved Paulette Goddard. I've seen a lot of her, of late. Funny, I hadn't seen her at all until this past year.

 

 

*19. Vacation from Marriage* -- This film reminded me of a less-exotic version of Hitchock's *Rich and Strange*. A married couple stuck in a boring routine both enlist in the army and end up finding a life of excitement, which includes new mates. Will they stay together in the end?

 

 

*20. The Girl from Missouri* -- I think every time I watch a 30s film of late, Franchot Tone is there waiting for me. He's everywhere! Like usual, he's a likable chap in this one. He's set his sights on Jean Harlow and he pushes hard to get her. Lionel Barrymore is Franchot's powerful father who doesn't approve of the poorly-bred Jean. It's mostly fluff.

 

 

*21. Abbott and Costello in the Foreign Legion* -- A mostly fun A&C flick. This one takes place in the Middle East. So you've got lots of sand, camels, and angry Arabians. The screwy part of this? Why are they there? To track down a wrestler.

 

 

*22. The Killer Is Loose* -- A film that is somewhat similar to *Cape Fear*, just nowhere near as good. It's a taut picture with some good tension and a strange ending. There's some shocking violence to be found, too. My problem was how it all ends. I thought it was a stretch and a bit silly. Budd Boetticher sure did know how to make some quality films in a short amount of screen time.

 

 

*23. Journey Into Fear* -- I was mostly disappointed with this offering by the Mercury Theater crew. I kept wanting to really like it. It has the elements that I enjoy. There's a ship full of strange passengers and trouble is afoot. Distrust and danger is everywhere. That's perfect. But the pay-offs on the ship weren't that good. Once the ship hits land, more chicanery takes place. But, again, it just doesn't come off well.

 

 

*24. La Collectionneuse* -- This is an Eric Rohmer film. Rohmer is all about filming conversations. That's been the crux of the films I have seen of his. This is the most glaring example of this. The problem is, there's not much story to be found. The film revolves around two young men and a young woman. Each of them are just going through the motions of youthful indifference and boredom. Sexual games are played, mind games are played, sexual mind games are played. The film just sits there.

 

 

*25. Merrily We Go to Hell* -- I probably ranked this film a little too low. It's not that bad. It's an early film about alcoholism. Writer Fredric March wins the heart of Sylvia Sidney and then promptly drowns himself in his newfound fame and booze. The dramatic twist at the end is what lowered the film for me. Sylvia Sidney is really good in this one. Cary Grant has a small part. He's a player, of course.

 

 

*26. Term of Trial* -- Pretty much a remake of *Personal Affair* (1953), which stars Gene Tierney. I greatly prefer that film, as well. Laurence Olivier is a meek professor who is being pursued by one of his students (Sarah Miles), who has a crazy crush on him. Olivier comes close to crossing the line but survives. Or does he? Simone Signoret plays Olivier's wife. Does anyone play worn out better? Her relationship with Olivier is pretty interesting.

 

 

*27. Black Widow* -- *All About Eve* as a murder mystery. I liked the crime and some of the performances, namely George Raft, Van Heflin, and Gene Tierney. What I didn't like was the ending and Ginger Rogers. It ends up being "too much."

 

 

*28. The Greatest Show on Earth* -- I was expecting to really dislike this film, but I didn't. When the film focused on the people and their relationships, it worked for me. The circus stuff was interesting but it just wore me out after a while. I thought James Stewart was superb. That was a great surprise to me. A really interesting role for him. One of his most interesting, actually. I loved Gloria Grahame, of course. Charlton Heston, Betty Hutton, and Cornel Wilde form a triangle and they all do quite well in their roles. It's just I'm not crazy about them.

 

 

*29. Assault on a Queen* -- A submarine is going to pull over a cruise liner and then rob it? Talk about far-fetched! I can't believe this was a Rod Serling script! It felt like film was attempting to mix *Ocean's Eleven* with *To Have and Have Not*. It didn't work for me. It seemed like the film took forever to get to the heist and then that was over in ten minutes. I thought Frank Sinatra was mostly muted in the film, too.

 

 

*30. Boomerang!* -- A rather dry courtroom flick with Dana Andrews, representing the state, helping the defense free a wrongly-accused man (Arthur Kennedy). There is an interesing outcome to the film. One that gets around the Code.

 

 

*31. Perfect Strangers* -- From the courtroom to the jury room. I wanted to like this film, but it just didn't come through for me. A budding romance between sequestered jurors Ginger Rogers and Dennis Morgan is the focus of our story. One problem: both are married. The twist? The case is of a man who murdered his wife. The set-up is great, but the execution isn't. It plays much too light.

 

 

*32. The Parent Trap* -- If only Maureen O'Hara and Brian Keith were the focus. They aren't. They don't spend nearly enough time together on screen. The film is mostly about Haley Mills. That proved to be too much for me. Draining.

 

 

*33. Cash McCall* -- I was bored with this one. The film gets bogged down by James Garner and his job of buying companies with the idea of selling them off for a profit. D-R-Y. Natalie Wood is his past flame that he wishes to re-ignite. Their time together is infrequent and uninteresting.

 

 

*34. Brigham Young* -- I can't believe Hanry Hathaway directed this one. It starts out pretty good, but it quickly starts to erode. The film's big finish is a strange one. It leaves you thinking, "that's the climax?" The conflicts in the film are uninspiring, as are the performances. I only liked John Carradine and Dean Jagger, who does play the lead.

 

 

*35. The Story of Vernon and Irene Castle* -- Is this really a Fred & Ginger film? It sure didn't feel like one. I thought this one was mostly uninspiring, as well. But I'm not crazy about bio-pics, as a rule.

[movieman1957]

THe Bride and I recently saw "Rebel Without A Cause" on the big screen. You are correct that it is about teen angst and friendship but it is even more than that. I'd say relationships.

 

Part of the angst comes from the main characters relationships with their parents. Dean wants his father to be a father and that means a man. He doesn't see that in him. Wood's father still wants that little girl/ daddy relationship with her father. He is clearly uncomfortable with that now that she is closer to woman the girl, physically at least. Poor Sal Mineo doesnn't have a relationship with either parent. He only has one with the housekeeper.

 

These things may help drive them to each other. After the awkwardness of getting to know each other they find comfort with each other. I think Dean is willing to take a chance on Mineo's friendship. It helps but it only goes so far.

 

There have probably been lots of copy cat films since but it is worth remembering this may have been the first like it. I don't quite remember where "The Blackboard Jungle" falls in with it but that is more about Glenn Ford than the kids.

 

[JackFavell]

My computer crashed again last night. I don't know how long I can chat with this problem.

 

 

> Something didn't connect with me. I'm not sure what it was. Maybe it was Charles Boyer's character. Maybe it was how he was with Olivia. Maybe it was the setting. I'm not sure. All I really went for was Paulette.

 

I think, like many of the films you described here, the film's execution is a bit lacking. It's why Billy Wilder started directing his own films. That being said, I just love this movie! You are right, it starts out as cold as can be, but as Boyer starts to change, I find it irresistible. And Olivia is such a good actress.... do you know how hard it is to play the good one? That takes real talent. Her reactions are so sincere. I agree about Paulette, she's a pistol, as usual, but there's a real bite to her here. And there's a not so nice background, very seedy, as MissG said. It's the more cynical Wilder coming out. I think if Wilder had directed, you might have liked the movie more. I love the whole vacation sequence, and Boyer can pull off anything and make you believe. I think the main problem with the film is the direction... you see the strings being pulled, but baby, I don't care!

 

> All right! Such persistence! *Le Plaisir* is one of the most visually interesting films I have seen of late. I think you'll love that about it. Of the three stories, I liked the first story the most. I think the film does a very good job of stirring one's mind and senses. Have you seen *Le Notti Bianche* ?

 

I hadn't even heard of it until you mentioned it. I'll try to give it a try, if I can get a hold of it.

 

> The reason I liked Sarah and why I'd prefer her to Julie is because I saw her as more of a child. I think of Julie as being a childish woman, but still a woman. What's interesting with me is that I just had watched *Term of Trial*, another film where Sarah gets an older crush in trouble.

 

I really liked that movie. I agree, Sarah is more simple, childlike. That's a great description. She's grown in body but not in heart. At least until the end of the movie. I used to love Sarah when I was a kid, I thought she was very pretty, I used to watch THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES when it was on TV.

 

> My poor Bee Gees!

 

No! Now I see that they were pretty good at that time. I just rebelled against the songs I heard over and over and over. I wasn't a big disco fan.

 

 

> He's just wonderful in the film. He understands it all and he looks to apply his understanding with great humanity. My favorite scene with him is when he went after Charles, to make sure he was all right.

 

That was a great scene. Very quiet. Howard has a sixth sense about things, just like Michael. He knows when something is in the air. I don't think they make religious men like that anymore, or at least not often. He never judged or came down with pronouncements, he knew that Rosy was human, and was only trying to help her understand how dangerous it was for her to follow her instincts.

 

> He's a tough one for me to read. He's so very weak. He just blows in the wind. Whatever the crowd is for, he's for. If he's cornered by someone, he'll give in to them. I had a hard time liking him for those reasons. But, you're right, his weakness makes him quite human.

 

But your noir characters are all like this! You know I like to peek around the corner at the folks less looked at. It didn't really surprise me that he was the informant... Lean set it up perfectly with the photograph of him and the IRA hero shaking hands. What really blew my mind was his reaction to his daughter's possible fate, I mean they could have stoned or raped her, not just cut off her hair and paraded her naked around the town. And yet, he could not bring himself to tell. To me, that was the most interesting part of the story. It's epic, it's Shakespearean, it's tragic.

 

> Now that's superb. I did not make the connection between Michael (John Mills) and the townsfolk. His looking to destroy life is from an innocent ignorance. He had an excuse. The townsfolk did not. Their cruelty was a guilty ignorance. They attacked everything, for they were a miserable lot.

 

You put that so well, 'guilty ignorance'. This is something I've never understood about human nature. The need to tear down what you don't understand so you can feel better than.

 

> I felt that Doryan (Christopher Jones) was purely using Michael. Michael was someone with information, and that's what Doryan was seeking the most. Michael just wanted a friend, so he had no idea what he was helping Doryan do. The strong taking advantage of the weak. In a way, it's another form of cruelty.

 

I would agree with that, except I'm not sure he was simply using Michael. It fell in his lap and he didn't have much choice. I think Doryan was as trapped in his role as any of the others in the movie. Yes, ultimately he was a user.

 

And this is where I really am not sure about Christopher Jones as an actor... did Lean WANT a cipher? Someone who could not be read? Or would another actor have shown us Doryan's problems better? I just don't quite know what to make of the character, and I think it's the actor who is blank, perhaps not Lean's choice. He's kind of Lawrence of Arabia....you never really know where he falls as he straddles the fence.

 

> Rosy (Sarah Miles) helps Doryan feel like a whole man again. She brings him back to life. He does the same for her. He desires her, sexually. But is he committed to her or his duty? And does that matter to Rosy?

 

I think he's committed to his duty, to his life back home, which is not all that wonderful. But he is also trapped by it. I think Rosy sees his weakness, his humanity under it all, or at least she thinks she sees it. I think at first she would liked to have run off with him, but by the end I don't think she cared at all about whether he had other commitments. She understood him. They simply needed one another. Just the same, she understood her father and his weakness.

[JackFavell]

> {quote:title=movieman1957 wrote:}{quote}THe Bride and I recently saw "Rebel Without A Cause" on the big screen. You are correct that it is about teen angst and friendship but it is even more than that. I'd say relationships.

>

> Part of the angst comes from the main characters relationships with their parents. Dean wants his father to be a father and that means a man. He doesn't see that in him. Wood's father still wants that little girl/ daddy relationship with her father. He is clearly uncomfortable with that now that she is closer to woman the girl, physically at least. Poor Sal Mineo doesnn't have a relationship with either parent. He only has one with the housekeeper.

>

> These things may help drive them to each other. After the awkwardness of getting to know each other they find comfort with each other. I think Dean is willing to take a chance on Mineo's friendship. It helps but it only goes so far.

>

> There have probably been lots of copy cat films since but it is worth remembering this may have been the first like it. I don't quite remember where "The Blackboard Jungle" falls in with it but that is more about Glenn Ford than the kids.

 

That's really interesting, Chris, because I was watching The Wild One yesterday afternoon, and was thinking how similar it is to Rebel.

 

The daughter wants something better than her life in a small town. She knows her father the sheriff is not all that strong, he tries to be fair but ends up caving to the local businessmen who are all jerks but he has to keep his job. I see the seeds of Rebel in the movie, just as in so many post war movies... there are actually a few that were about 'being a man'... not just macho stuff, but like The Hucksters, where Gable has to decide whether to become a corrupted talking head, or to stand up for what he actually really believes in. There's also Gregory Peck's Man in the grey Flannel Suit. But none of the stories was told from the p.o.v. of the kids, and as such it's a really scathing indictment of 50's parents who just grabbed for the good life without really thinking about what was honest and real.

 

Going with the flow or keeping the peace at any cost can actually corrupt you, and the upshot is your kids don't respect you. Look at Best Years of Our Lives... Fredric March gives that speech at the bankers meeting, and how proud is Myrna... that's what we want from our husbands and dads, but look how far we've come when we get to Rebel and Ryan's Daughter... dads are weak and deluded like everyone else, even when they are posing as the real deal.

 

Edited by: JackFavell on Apr 4, 2013 10:46 AM

 

Edited by: JackFavell on Apr 4, 2013 10:47 AM

 

Edited by: JackFavell on Apr 4, 2013 10:50 AM

[rohanaka]

Wow.. I go away for a day or two.. and look at all the fun I missed. ha. I wish I had more time to go in and read all the posts in depth.. but will have to wait to do that later.

 

 

 

Meanwhile.. just wanted to drop a note or two regarding:

 

 

 

my quick take on each film

 

 

 

 

 

 

 

 

 

Woo HOO, I love when you do that, Mr. Grey. So many of your choices are films that I have not seen before. And while I can go in and look up the movies and see what they are about on other sites.. it is fun for me to get YOUR reasons (for why you liked them and how you rated them)

 

 

 

 

MOST of the ones on this recent list are the ones I have not seen yet. So will look forward to reading up on them all. (PS.. Glad the "wrong" Duke was at least somewhat to your liking. ha. It was a bit of a different sort of role for him, wasn't it?)

 

 

 

 

 

PS: Jackie.. when we finally get together for that TCM Family reunion. (ha) you bring your Oboe, and I'll break out my clarinet.. OH boy.. we'll do a concert.. a duet. We can call it "An Evening of Marching/Pep Band Hits from the 1970's" ha. (it can be the kick off concert to our TCM Family Reunion World tour) I can picture it now.

 

Edited by: rohanaka on Apr 4, 2013 3:03 PM

[Bronxgirl48]

Hi, Frank! I love your mini-reviews, they're like candy! You're so succinct and literate, delicious! A little too much torment for me in THE COUNTRY GIRL; I'm always aware of Bing "acting". I can never get through REBEL WITHOUT A CAUSE, (Ditto THE WILD ONE, lol) although I think the scene in the planetarium is excellent. I'm not a fan of wide-screen David Lean, so things like RYAN'S DAUGHTER (John Mills scares me with that make-up), DR. ZHIVAGO, and LAWRENCE OF ARABIA kind of bore me. Your description of LE NOTTI BIANCHI sounds like a Russian short story I remember reading years ago. Tolstoy, I think. Haven't seen LE PLAISIR. Hardly recall THE BARON OF ARIZONA, but Vincent seemed to be having a field day in that kind of role. I haven't seen DESPERATE JOURNEY -- is this a WWII tale? I get the Hope "My Favorites" mixed up. He did one with Hedy Lamarr, too, if I'm not mistaken. Agree about THE UNSUSPECTED, it's very LAURA-ish -- sophisticated, but rather overly arch. Claude is wonderfully sinister. I've seen bits and pieces of CRACK-UP but it didn't stand out for me much, except I believe O'Brien has a scene where he actually shows some real emotion, ha! REAP THE WILD WIND -- isn't that the one with the famous octopus, lol? It probably is the most believable character in the movie. Never saw AS YOUNG AS YOU FEEL but it sounds like some '50's pablum-type stuff, maybe infused with a bit of unexpected cynicism and charm. I get confused with late '30's Warner's rat-a-tat-tat comedy-gangster outings, like BROTHER ORCHID, etc., so I'm wondering if BULLETS OR BALLOTS falls into that same category. I have never been able to sit through any version of THE PRISONER OF ZENDA. I wish someone could tell me why! Never saw LEGEND OF THE LOST, ditto THE FLAME OF NEW ORLEANS, which sounds like the kind of low budget '40's Dietrich vehicle where she's mainly brawling around a saloon floor with various people, when not knocking out bar tunes. (Rene Clair, vraiment?) I like the idea of Errol as a cowboy, but have never seen VIRGINIA CITY. (I'm fond of DODGE CITY, however) In no hurry to see HOLD BACK THE DAWN, but I'm an Anatole Litvak fan. I saw VACATION FROM MARRIAGE years ago -- of course I love Robert Donat, but strangely don't really remember this too well. BLACK WIDOW -- constipated, lol. I'm beginning to appreciate turtle-face Franchot Tone as a very fine actor, and feel he's wasted in THE GIRL FROM MISSOURI. I tend to confuse A&C IN THE FOREIGN LEGION with MEET THE MUMMY, because they have similiar scenes in the desert -- one where Lou is having hallucinations amidst the sand and sees a newsboy hawking papers. Lou asks him what he's doing there, and the kid replies: "Can I help it if they gave me a bad corner?" Haven't seen THE KILLER IS LOOSE. I'm not really familiar with the Boetticher ouvre. I've never seen JOURNEY INTO FEAR all the way through, but would like to. Sounds intriguing. I've just seen one Rohmer, and that's CLAIRE'S KNEE. Only responded to scenic Lake Annecy, and not the script with that hairy '70's protagonist. From the title, MERRILY WE GO TO HELL sounds like one of those be-happy-you're poor mid-Depression era comedy-dramas where everybody is supposed to whoop it up and spend money because that's what life is all about. Perfect description of Simone Signoret -- "worn out". I like her in everything, including TERM OF TRIAL. I hardly remember BOOMERANG, ditto PERFECT STRANGERS. CASH McCALL had annoyingly cutesy banjo-type music to underscore how ironically "amusing" and apparently corrupt James Garner's character was. I always like to see more of Brian Keith and Maureen O'Hara so yes, THE PARENT TRAP is not one of my favorites. I don't think I've seen BRIGHAM YOUNG. Re: THE GREATEST SHOW ON EARTH -- clowns have always scared me so circus dramas are not something I gravitate towards. ASSAULT ON A QUEEN sounds like fun in a cheesy ring-a-ding '60's way, lol. THE STORY OF VERNON AND IRENE CASTLE is a bit depressing, with lots of foreshadowing, but an interesting spin on the Astaire-Rogers chemistry with this "bio"-pic.

 

Oh, speaking of Anatole Litvak, do you like GOODBYE AGAIN? His direction has a satisfying European feel with the b&w cinematography. (stylistically it reminds me a bit of Preminger's BONJOUR TRISTESSE) Yves Montand is very good. But I just cannot imagine any woman, no matter how much neglected by her smooth French lover, falling into the arms of callow, skinny, obsessive, stalker-ish Anthony Perkins. I may be shallow, but, what is Ingrid so upset about? Okay, so Montand is not exactly faithful. But think of her perks -- she's got an independent career -- as an interior decorator -- a beautiful Paris apartment probably in the 6th or 7th arrondissement, lovely wardrobe with exquisite jewelry, and a loyal maid! All this talk of love and lonliness, who cares? I just want to see the City of Light! (the ending is perfect, however, and really "makes" the movie)

 

Edited by: Bronxgirl48 on Apr 5, 2013 6:09 PM

[Bronxgirl48]

Ooops -- I always keep thinking Anatole Litvak directed HOLD BACK THE DAWN. It's Michael Leisen.

[Bronxgirl48]

I'm really screwing up tonight.

 

MITCHELL Leisen.

 

(Our impending tornado is distracting me...)

[JackFavell]

Ro - I can hear us now in my mind's ear. It ain't pretty! I don't even have my oboe anymore. I sold it for ready cash once when I needed it. I can still remember the fingerings though.

 

> {quote:title=FrankGrimes wrote:}{quote}*1. The Country Girl* -- I was very surprised to find myself really liking this film. I wasn't looking forward to watching it. What I loved about it was Grace Kelly and her character. She's caught in a tough spot for a wife. She's miserable because her husband is a shell of his former self due to a past tragedy, yet she still loves him. She also feels he couldn't survive without her. The film is full of torment. It's really good.

 

I think the film is enjoyable for seeing these two actors turn their own images on their ear. Bing gets me. I'm still laughing over what MissG said about Grace crying over her wardrobe....

 

 

> *2. Rebel Without a Cause* -- I was worried this film would be about teen angst and nothing more. Well, it's about teen angst but why the teen angst comes to be is what I loved about the film. What the theme of the film ends up being is friendship. It's definitely a film ahead of its time. *The Breakfast Club* was clearly inspired by it.

 

I mentioned The Wild One earlier, what I was trying to say was, the disappointment in ones parents is prevalent in the other film, but isn't the actual story, Do you think kids were disappointed in their parents before WWII? I mean in general, not specific cases. We came through this great war, full of hero worship, and then the next generation comes along and finds that their dads can't even stand up to their bosses or their wives. It's interesting how the modern world made sheep out of men who had previously been heroes to their kids. What happened? Was it a basic change in our economy, from field to desk jobs? I just don't know.

 

 

> *3. Ryan's Daughter* -- A moody, picturesque film that deals with young love and older love and how different they can be. David Lean's favorite subject matter is once again offered up in a complex manner. Sympathies are played with. As Miss G pointed out, the film is fairly similar to *Doctor Zhivago*, with the difference being it's the woman that is tormented. I'm learning that I like David Lean and his torment.

 

Again with the torment! Now I know what to look for in movies you might like. If you are like me, you enjoy the kind of blooming Lean's characters experience, as they come out of their closets.... metaphysically speaking. The inner comes out.

 

> *4. Le Notti Bianche* -- Yet another tormented film. This is probably the most tormented of the group. A woman is promised by her lover that he'll return for her in a year's time. So every night, she waits for him on a bridge. One day, she meets another man who is very taken with her. As the two spend time together, she starts to fall for him, as well. So does she choose the man she has come to know and spend time with or does she stay loyal to the man who is not around and may never show? It's a very simple film, but the look and feel of the film is just wonderful.

 

 

This sounds so good! We as movie fans must certainly understand these feelings... go for the real, or the imaginary? My favorite Woody Allen film The Purple Rose of Cairo deals with just this dilemma. I think you'd like it.

 

 

> *5. Le Plaisir* -- If you ever wanted to see how genius Max Ophuls is with the camera, you need to see this film. It's remarkable. The film features three separate stories with the connective theme being "pleasure." The first and third stories are rather short; maybe fifteen minutes long. The middle story is three times as long. I preferred the shorter stories, but the middle one best exemplifies the film's theme. I'd say Jackie is someone who will appreciate the film more than most.

 

I've got it! Now to watch it, if the copy actually works... I'm getting paranoid about this movie...

 

> *6. The Baron of Arizona* -- Jackie was right about this film: it's pretty darn good. What really helps the film is that the very end is the best part. It's lovely. The film is about a scoundrel, played by Vincent Price, who lies his way to a court battle with the United States over the owernship of Arizona. Price is terrific. It's one of his better performances.

 

The ending really does makes the film. A true love story. I think this is one of Price's best from that time. The thing that's amazing is its a true story.

 

> *7. Desperate Journey* -- Yet another excellent suggestion by Jackie! In terms of classic film, this is one of the most exciting films I have watched. It feels very contemporary in terms of its pacing. It's such a fun ride. Everything worked for me. There's great humor, great action, and great suspense. Even Ronald Reagan is great! I can see how Jackie would really like this one.

 

I just love Raoul Walsh for all the reasons you mentioned. There is no one who can have as much jaunty fun making a movie as Walsh. The men are such a good fit together, and of course you've got Flynn and Hale again, the perfect combo. You are right, even Reagan is loose and comfortable looking here. Walsh = pure adventure.

 

> *8. My Favorite Brunette* -- I'd say this is Bob Hope's "*The Maltese Falcon*." Bob is pretty funny as the private eye, but what really adds to the fun with this film is the supporting cast. Peter Lorre and Lon Chaney, Jr. help to boost the humor and the danger.

 

I haven't seen it for years but I always thought this was Hope's best movie, now I'd say this one and Lemon Drop Kid.

 

> *9. The Unsuspected* -- An off-center mystery that perfectly suits someone like Claude Rains. It feels a little like *Laura*, and I'm sure that was the aim, too. There's a group of strange characters that adds a lot of depth to the picture. That reminded me of *Lured*. The film can be called film noir, but it also plays like a horror. It's a good watch.

 

It's not as complex as some other noirs, but it looks great and the acting is good. I really get the Lured connection. To me it's like the Columbo (Peter Falk) prototype.

 

> *11. Reap the Wild Wind* -- John Wayne is wrong? You gotta be kidding me?! Amazing! I've never seen Duke be more selfish than in this film. It was such an interesting switch. The film is a pretty entertaining watch. Ray Milland is quite good in a role I couldn't picture him in.

 

I really like this one, even though it's all over the place. Maybe that's why I like it! It goes everywhere, is every type of movie you could want. It's part drama, part adventure, part GWTW, part screwball. What's not to like?

 

> *13. Bullets or Ballots --* Eddie G. vs. Bogie? Sign me up! Bogie is just seething in this picture. He really adds the fire and spice. Robinson is the cop who's gone bad who ends up taking Bogie's spot in the crime syndicate. Good luck with that!

 

I haven't seen it in years but I remember just loving this one. I have to rewatch to chat about it.

 

 

> *14. The Prisoner of Zenda (1937)* -- This one took a while to warm up, but the ending is pretty good. What makes the film for me is Douglas Fairbanks, Jr.. He brings such great energy to the film. An energy that Ronald Colman doesn't really bring until the end. I also love Raymond Massey as a villain. I had never seen that much of Massey until this group. He played great villains in two of the films.

 

This is another one of those films like Robin Hood that just makes me happy.The story was a chestnut when it was made, already old fashioned, but Colman has such a light touch here, he doesn't take any of it seriously. I love watching him as the drunkard king... it's so different from his usual roles and it's exciting to me to see him as a scoundrel. And he and Maddie are divine together, their teasing at first and then the realization that they love one another but it can never work out.... I am a sucker for nobility. And you are absolutely right, Doug, jr. is great. He is marvelously slimy and you can't take your eyes off of him. Every person pulls their weight in the cast, right down to little Byron Foulger as the informant who gets killed opening the gate. Of course, I am a fan of ANY movie that has more than one villain, Massey is cold, mean and stunted, and Doug, jr is simply a psycho! Again, what's not to love? It gets me every time.

 

> *16. The Flame of New Orleans* -- A light comedy starring Marlene Dietrich. It's not the greatest, but I found it enjoyable. It actually has a "Pride and Prejudice" feel to it. Marlene plays a woman being courted by the rich Roland Young and the sailor she's attracted to, Bruce Cabot. Mischa Auer plays a pretty important role in the film. I also liked Theresa Harris. I tend to like the light of Rene Clair.

 

I had no idea it was a Rene Clair movie! I've got to see it pronto! He's a favorite, I even like I Married a Witch, which to me is his weakest movie. If that's the weakest, then he's doing really well. Have you seen any other Rene movies? My favorite is Le Million.

 

> *18. Hold Back the Dawn* -- I think my expectations for this film may have been too high. It fell short for me. I usually love Charles Boyer but I didn't like him much, here. I loved Paulette Goddard. I've seen a lot of her, of late. Funny, I hadn't seen her at all until this past year.

 

I wonder if you don't initially buy the love story? If you dislike Boyer so much at the beginning that you can't feel a sense of redemption at the end, then it won't work for you. I just think his changeover is great. So romantic. I know you are having trouble with Olivia... have you seen The Strawberry Blonde yet? Speaking of marriage movies?

 

> *19. Vacation from Marriage* -- This film reminded me of a less-exotic version of Hitchock's *Rich and Strange*. A married couple stuck in a boring routine both enlist in the army and end up finding a life of excitement, which includes new mates. Will they stay together in the end?

 

Yes but what did you think of it? I did not know where this one was going to go... I had no idea what it was about when I watched so I was at first taken aback by the way they reacted to their separation, then I thought it was brilliant, and I loved the way it all worked out. It's not a perfect movie, but it enjoyable and a bit modern, shocking to me from a 1940's film.

 

> *20. The Girl from Missouri* -- I think every time I watch a 30s film of late, Franchot Tone is there waiting for me. He's everywhere! Like usual, he's a likable chap in this one. He's set his sights on Jean Harlow and he pushes hard to get her. Lionel Barrymore is Franchot's powerful father who doesn't approve of the poorly-bred Jean. It's mostly fluff.

 

This one is a disappointment. Doesn't really present the good side of any of the actors.

 

 

> *22. The Killer Is Loose* -- A film that is somewhat similar to *Cape Fear*, just nowhere near as good. It's a taut picture with some good tension and a strange ending. There's some shocking violence to be found, too. My problem was how it all ends. I thought it was a stretch and a bit silly. Budd Boetticher sure did know how to make some quality films in a short amount of screen time.

 

Does this one have Joseph Calleia in it? I thought I recognized the title but I have never seen it.

 

> *23. Journey Into Fear* -- I was mostly disappointed with this offering by the Mercury Theater crew. I kept wanting to really like it. It has the elements that I enjoy. There's a ship full of strange passengers and trouble is afoot. Distrust and danger is everywhere. That's perfect. But the pay-offs on the ship weren't that good. Once the ship hits land, more chicanery takes place. But, again, it just doesn't come off well.

 

I would like to see this one, the bits I've seen are gorgeous looking, and that goes a long way for me.

 

> *25. Merrily We Go to Hell* -- I probably ranked this film a little too low. It's not that bad. It's an early film about alcoholism. Writer Fredric March wins the heart of Sylvia Sidney and then promptly drowns himself in his newfound fame and booze. The dramatic twist at the end is what lowered the film for me. Sylvia Sidney is really good in this one. Cary Grant has a small part. He's a player, of course.

 

This is a film everyone has mentioned and yet I've still never seen it. It's high on my list.

 

> *26. Term of Trial* -- Pretty much a remake of *Personal Affair* (1953), which stars Gene Tierney. I greatly prefer that film, as well. Laurence Olivier is a meek professor who is being pursued by one of his students (Sarah Miles), who has a crazy crush on him. Olivier comes close to crossing the line but survives. Or does he? Simone Signoret plays Olivier's wife. Does anyone play worn out better? Her relationship with Olivier is pretty interesting.

 

I started to watch because of Simone, who is greatin everything I've ever seen her in. I usually don't care for British films of this time period or type. I really liked it, but simply because of Olivier and Signoret's twisted relationship. Their acting is impeccable. Loved the ending.

 

> *27. Black Widow* -- *All About Eve* as a murder mystery. I liked the crime and some of the performances, namely George Raft, Van Heflin, and Gene Tierney. What I didn't like was the ending and Ginger Rogers. It ends up being "too much."

 

I like it! It's phony and ridiculous. So much fun to make fun of. And when else are you going to see Reginald Gardiner get such a plum of a role? Ginger is a bit off.

 

> *28. The Greatest Show on Earth* -- I was expecting to really dislike this film, but I didn't. When the film focused on the people and their relationships, it worked for me. The circus stuff was interesting but it just wore me out after a while. I thought James Stewart was superb. That was a great surprise to me. A really interesting role for him. One of his most interesting, actually. I loved Gloria Grahame, of course. Charlton Heston, Betty Hutton, and Cornel Wilde form a triangle and they all do quite well in their roles. It's just I'm not crazy about them.

 

I totally agree, and I went in with the same thought, that I would hate it. It's one of De Mille's best. Jimmy is just great. Period. Have you seen De Mille's Cleopatra? With Claudette Colbert? That's another of my favorites. It's got all that De Mille crap in it, but it works.

 

> *29. Assault on a Queen* -- A submarine is going to pull over a cruise liner and then rob it? Talk about far-fetched! I can't believe this was a Rod Serling script! It felt like film was attempting to mix *Ocean's Eleven* with *To Have and Have Not*. It didn't work for me. It seemed like the film took forever to get to the heist and then that was over in ten minutes. I thought Frank Sinatra was mostly muted in the film, too.

 

I'm really surprised this one didn't rate higher. I thought it was very interesting. I loved Errol John and Frankie in this one. And Virna is a knockout who can act.

 

> *30. Boomerang!* -- A rather dry courtroom flick with Dana Andrews, representing the state, helping the defense free a wrongly-accused man (Arthur Kennedy). There is an interesing outcome to the film. One that gets around the Code.

 

I never really liked this one, though it has good moments. Sam Levene is a great favorite of mine.

 

> *31. Perfect Strangers* -- From the courtroom to the jury room. I wanted to like this film, but it just didn't come through for me. A budding romance between sequestered jurors Ginger Rogers and Dennis Morgan is the focus of our story. One problem: both are married. The twist? The case is of a man who murdered his wife. The set-up is great, but the execution isn't. It plays much too light.

 

Ack! This is not for me. I don't generally like late Ginger. She always seems to me to be trying to be something more than she is and it bugs me.

 

 

> *32. The Parent Trap* -- If only Maureen O'Hara and Brian Keith were the focus. They aren't. They don't spend nearly enough time together on screen. The film is mostly about Haley Mills. That proved to be too much for me. Draining.

 

It's fun!

 

 

> *35. The Story of Vernon and Irene Castle* -- Is this really a Fred & Ginger film? It sure didn't feel like one. I thought this one was mostly uninspiring, as well. But I'm not crazy about bio-pics, as a rule.

[movieman1957]

I'm with you on "Parent Trap." it's fun. In lesser hands than Mills this could have been a disaster. For us I get that Sir Francis would have wanted more with Keith and O' Hara but I understand that this is all about the "girls."

 

I've seen fewer films or it's been so long since I've seen them I just as well not count them than any of his prior lists.

 

I like "Zenda." Ronald Colman and Fairbanks, Jr. make up a fine cast in a fanciful story.

 

Favorite joke about marching band was Woody Allen playing cello in a marching band in "Take The Money and Run."

 

Did they do "airgrams" when you were in marching band?

[JackFavell]

I don't think so... what's an airgram?

 

That was me...the cello guy. only it was easier to carry