The Annual FrankGrimes Torture Thread

[JackFavell]

James - I agree with your assessment of Olivia, and you are right, yhr best of her films have her moving from terribly sensitive to showing deep reserves of stamina and strength. Perhaps this is what I like about her, especially in TSB. I think she's just wonderful, the way she looks up from under her eyelashes and lets us, the audience, see briefly what no one else in the story does...her warm and abiding love for Biff Grimes. It's a really moving and heartfelt performance.

 

Bronxie - I made it through the first two parts on youtube... no David Manners yet. Ricardo just showed up. Not really sure about the film yet. It looks like it was tailor made for Barbara Stanwyck so far, or perhaps Jean Harlow. We'll see....

 

What do you like about Lord Love a Duck? Help me to see something in it!

 

Edited by: JackFavell on Apr 10, 2013 5:51 PM

[FrankGrimes]

This is how I liked the recent group of films:

 

1. *Woman on the Run* -- I was very pleasantly surprised by this one. It's a very unique "female" noir. The story is about a witness (Ross Elliott) who has fled a situation. Or has he fled his wife (Ann Sheridan)? What makes the film fascinating is that the husband and wife have started to drift apart, so the wife needs to search their past to figure out where he may have fled to. The film is aided greatly by the San Francisco locales. I'm not sure if Jackie has seen this one or not, but I believe she'd really like it. It's an underrated flick.

 

 

 

 

 

 

2. *... And God Created Woman* -- Brigitte Bardot is mesmerizing in this one. Actually, she's that way most of the time. But she's especially so, here. I think she captures Miss G, perfectly. The film reminds me a little of *Far from the Madding Crowd*. The elusiveness of woman.

 

 

 

 

 

 

3. *The Man Who Never Was* -- A very solid WWII spy film that is carried by Clifton Webb. I've never seen Webb any better. I've only seen him as being "uppity," but he's nothing like that in this one. I just loved his tone. The tension at film's end is what really pushes it over the top. It ends strongly. And then there's Gloria Grahame. The only issue with Gloria (and others in the film) is that she is glowing... in a bad way. She looks like a waxy mess.

 

 

 

 

4. *Magnificent Obsession (1954)* -- Douglas Sirk's soap has been mostly resonating with me. I don't find this one to be as deep as some of his other 50s work, but it's emotionally solid. The emotion in the film is especially needed to overcome the ludicrous that make up this picture. It's a completely unbelievable story.

 

 

 

 

5. *Chandu the Magician* -- Lots and lots of style with this one thanks to the co-director, William Cameron Menzies. Bela Lugosi plays "Roxor," a man attempting to take over the world with a stolen death ray. He's highly entertaining. Edmund Lowe plays our hero, but he's got a 30s blandness to him.

 

 

 

 

And whoever June Lang is, she's gorgeous in this film. Evidently she was 15 years old. She sure doesn't look it!:

 

 

 

 

6. *The Man from the Alamo* -- A decent Budd Boetticher western that is made better due to Glenn Ford. Ford excels playing the man against many. In this one, he is branded a coward for leaving the Alamo, so just about everyone is looking to string him up. One person who supports him is a Mexican boy (Marc Cavell) who views him as his father. Their scenes together add some emotional depth to the film.

 

 

 

 

7. *The House on 92nd Street* -- A "docu-noir" about Nazi spies in Manhattan. There is the usual "dryness" with a "docu-noir," but there is also some nice tension that helps to elevate this film. The Nazis are the more interesting of characters, but I thought "no-name" William Eythe does quite well in the lead. He's from Pennsylvania, so he has to be good. One of the best aspects of the film is the location shooting in Manhattan.

 

 

 

 

8. *Abilene Town* -- This is a western about a town divided in two. On one side of the street is the saloon and "dance hall." On the other are the stores. One side of the town is for the cattle men and the other is for those looking to build a community. Can the town survive without the cattle men's money? Can it survive with them? Randolph Scott plays the Marshal. What I liked about the film is Scott's attempts to win over Ann Dvorak, the mule-headed dance hall star, fashioned after Miss G. . Scott wants to put a "kitchen apron" on Ann, but she doesn't want it. A little bit of *High Noon* ?

 

 

http://www.youtube.com/watch?v=QA5yJY34_0U

 

 

 

 

9. *Satan Met a Lady* -- A rather quirky version of "The Maltese Falcon," made so by Warren William's very playful characterization of the private eye. Bette Davis is busy fending off William's advances. I pretty much enjoyed this version. It's very spry. I prefer John Huston's *The Maltese Falcon*, though. Still, it's a fun watch.

 

 

 

 

10. *Gun the Man Down* -- Not a bad little western. It has a really good feel and mood to it. It's almost "Boetticher-like," in that way. Emile Meyer and Harry Carey, Jr. provide an interesting "narration" to the proceedings, particularly Meyer.

 

 

 

 

11. *How to Steal a Million* -- A very light and fluffy heist picture that is terribly charming thanks to Audrey Hepburn and Peter O'Toole. I thought it was pretty good. Hugh Griffith is magnificent as Audrey's "pa-pa." Their relationship reminded me of Audrey and Maurice Chevalier in *Love in the Afternoon*.

 

 

 

 

12. *Heaven with a Barbed Wire Fence* -- A very sweet and loving film, and I liked it because of that. It's really a sweeter version of *Wild Boys of the Road*. This is the best I've seen Raymond Walburn. Loved Jean Rogers' "Anita." Glenn Ford and Richard "Nicholas" Conte are so doggone young! A nice suggestion by Miss G.

 

 

 

 

 

13. *Personal Property* -- Yet another rather sweet film that I found enjoyable. I must say, I liked Robert Taylor acting more like James Stewart. Does anyone throw a fit better than Jean Harlow? Well, other than Miss Whosits.

 

 

 

 

14. *Dr. Renault's Secret* -- J. Carrol Naish, George Zucco, and Mike Mazurki in a weird horror film with mysterious killings afoot. What's not to like? I like these kind of simple horror pictures.

 

 

 

 

15. *Days of Wine and Roses* -- Oh boy, oh boy, oh boy. This one is a rough one. I can't say that I've ever seen Jack Lemmon any better. It's quite a performance from someone I expect humor from. I think that's what makes it a potent film. It was such a tough watch that I can't say that I enjoyed it, but thanks to Charles Bickford, I did end up liking it enough. Such a heartbreaking film.

 

 

 

 

16. *Vicki* -- A lesser remake of *I Wake Up Screaming*. Since I love the original film, I still found enough in this offering to enjoy it. The most surprising thing about the film? Richard Boone plays the psychotic cop.

 

 

 

 

 

 

 

 

17. *Dillinger* -- I was hoping for a little more than what I got with this film noir gangster pic. Lawrence Tierney does very well as "Dillinger." Does anyone have a more menacing look than he? He's frightening. There is some style to the film, I'll say that. The cast is quite good.

 

 

 

 

18. *War Arrow* -- A mostly interesting western about the Cavalry recruiting Seminole indians to help them fight Kiowa indians. Jeff Chandler is a commanding lead with eyes for the widowed Maureen O'Hara. Both add a ton of gravitas to the film. It's Chandler's presence that brings this one home.

 

 

 

 

And this girl, Lucille Ball's tragic second cousin, is a lovely spitfire in the film:

 

 

 

 

19. *Beware, My Lovely* -- What Jackie wrote about this film was right on target. It's all about Robert Ryan and Ida Lupino, but it's especially about Ryan. He plays a damaged handyman that you end up fearing and feeling for. In a long line of terrific performances, this one would have to rank pretty high. The film itself plays more like an Alfred Hitchcock Presents episode. It also felt like a Barbara Stanwyck kind of film, ala *Jeopardy*. Overall, it falls short with me. I wasn't sure what to make of it all. But I'm sure the film will grow on me upon reflection.

 

 

20 *Cause for Alarm!* -- This is another film that played like an episode of Alfred Hitchcock Presents. It's like a housewife nightmare. For the most part, I thought it was entertaining in a lightweight manner. I liked Loretta Young. And Barry Sullivan was spitting bullets!

 

 

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

 

 

 

 

21. *The Devil at 4 O'Clock* -- I didn't dislike this film, but something was missing from it. The film is almost like a dramatic take on *We're No Angels*... with Spencer Tracy added to the mix as a priest. I usually don't like Spence as a religious figure. I thought Frank Sinatra was a bit muted.

 

 

 

 

22. *Jet Pilot* -- Janet Leigh is a Russian pilot? Really? Thank goodness she is, because the romance in this film at least had me liking it. But what a ridiculous film this truly is. I guess pilots were allowed to fly wherever the heck they wanted to during the Cold War.

 

 

Janet wins the Cold War with me!:

 

 

 

 

 

 

 

 

23. *A Slight Case of Murder* -- A Damon Runyon gangster pic with Edward G. Robinson leading the charge. It's a pretty decent little effort, although I prefer *The Little Giant*. Allen Jenkins, Ruth Donnelly, and Edward Brophy are quite good.

 

 

 

 

24. *Montana* -- It's sheeps vs. cows done Errol Flynn-style. You know darn well the Aussie is with the sheeps. Errol ends up falling for Alexis Smith, who happens to be the owner of the land he seeks for his sheep. There's not much more to it than that.

 

 

 

 

25. *Mexican Hayride* -- A rather average Abbott & Costello flick. The typical bullfighting comedy is to be found. My favorite scene is when Bud and Lou are both in disguise and trade replies after looking up the translation in their books.

 

 

 

 

 

 

26. *Thirty Day Princess* -- A "Lubitschian"-feeling film, just not as good. In some ways, it's also the starter set for *Roman Holiday*. It's about a banker (Edward Arnold) who is looking to win over America so he can "float a loan" to the country of Tyronia. But he needs a front to captivate America and its press. Enter Sylvia Sidney... twice. Cary Grant plays the newspaper man who is out to expose the phoniness. That darn love thing gets in the way. It's a cute film but it lacks the sophistication of Lubitsch. I do like Sylvia. Cary is a little more fun and "himself" than in some of his other early-30s work.

 

 

http://www.youtube.com/watch?v=4e8hZJPkA9s

 

 

 

 

 

 

27. *City Without Men* -- A rather dry film about the women of imprisoned men who share a boarding house across the way from the prison where their men are incarcerated. It's kind of like a much lesser *Stage Door*. Linda Darnell plays the fiancee of Michael Duane, who is wrongly imprisoned for the act of aiding and abetting the Japanese during World War II. She's a doll. Sara Allgood plays the "Mrs. Garrett" of the group. She's good. Margaret Hamilton, who I'm running into a lot these days, is entertaining as one of the wives. There's also Glenda Farrell. Sheldon Leonard is one of the main prisoners. The film can be seen as an allegory for WWII wives and girlfriends.

 

 

http://www.youtube.com/watch?v=csRR5assFck

 

 

 

 

 

 

28. *The Conqueror* -- John Wayne as "Genghis Khan." Can you think of anyone better to play such a role? Yes, it's as silly as it sounds. But I didn't dislike the film, actually. What made the film poor to me was that it's a film about nothing, really. If there was greater depth to it, I could have handled Duke as Khan. What does help the film is Susan Hayward is lovely. What really helps the film is that Pedro Armendariz is brilliant. The film is worth watching just for him, believe it or not.

 

 

http://www.youtube.com/watch?v=wuTWe2OLdco

 

 

 

 

 

 

29. *Adventure in Sahara* -- A not-so-interesting desert version of "The Mutiny on the Bounty." Paul Kelly is the lead, so that adds to the desert dryness. Samuel Fuller co-scripted this one. That stuns me. C. Henry Gordon is the best part of the film. He plays the power-mad "Captain Savatt."

 

 

 

 

30. *Torch Singer* -- This should be a film that Jackie will like a good deal. It's a "mother" film from the 30s, the kind she usually goes for. Claudette Colbert plays a torch singer who gets pregnant out of wedlock. Her circumstances dictate her actions and this leads her down a path that reaps her both good and bad benefits. Claudette is very good. It's a great role for her. I wasn't crazy about the film, but it does have an emotional kick. The "mother" pictures can be trying for me. I wasn't big on the ending.

 

 

 

 

 

 

31. *Dancing Lady* -- Clark Gable as the director of a theatrical production? It mostly works. I liked Gable. He brought some energy to the film. Joan Crawford is also good, and asked to do a lot. Franchot Tone is back to being the "other man." Seeing Fred Astaire and the Three Stooges were some of my favorite things about this film. I just don't like backstage dramas that much.

 

 

 

 

32. *Half a Sinner* -- I see there is a Joel McCrea film with the same title as this. The one I watched was from 1940. It's a "star-less" cheapie. A school teacher (Heather Angel) decides to change her boring persona and go have some fun, to "put herself out there." She promptly gets mixed up in a crime and finds herself on the lam. This is a fluffy film.

 

 

 

 

 

 

 

33. *Love Nest --* Fox just loved to toss out these light-hearted, terribly loose comedies in the 50s. Many of them fall woefully short with me. This is more of the same. The film is almost like a happy version of Uncle Charlie's (Joseph Cotten) "Merry Widows." Frank Fay plays "Charley." The film's focus is on William Lundigan and June Haver trying to maintain and rundown hotel that she bought while he was away in the service. Marilyn Monroe is William's "Army buddy." What luck! And Jack Paar has his eyes on her. On a side note, my city grandma told me Jack married her best friend from school. She spoke of Jack meeting her friend at a military dance. He told his future wife that he didn't dance, so they spent the night talking and ended up getting married. They were married for over 60 years.

 

 

"His life was really Jack-and-Miriam. They were as close to being one as I have ever seen in a marriage. Miriam, nee Wagner, a little girl from Hershey, Pennsylvania (which was founded, along with the chocolate business, by her uncle Milton Hershey) was the cosmic ingredient in the great success of her husband."

 

 

 

 

 

 

34. *Another Language* -- I like the entire idea of the film: the newly-married wife (Helen Hayes) struggling to find her own space in a marriage because of her husband's (Robert Montgomery) need to be around his mother and family and his job. I just wasn't moved by the story or how it was told. I liked Henry Travers and Margaret Hamilton the most. That's usually a bad sign with me.

 

 

35. *Big Jim McLain* -- This is officially the worst classic film I have seen. There is nothing I liked about it! It's a mix of goofy and overly serious. And the subject matter doesn't fly with me.

 

 

[SansFin]

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

> 11. *How to Steal a Million*

> Their relationship reminded me of Audrey and Maurice Chevalier in *Love in the Afternoon*.

 

I am sorry to see that this did not make your "Top Ten".

 

It is odd to say that I do not remember any movie in which she had a father who looked in any manner that she might have been his daughter. Maurice Chevalier was close but it would have had to have been that her mother was very graceful and beautiful.

 

> 22. *Jet Pilot*

> I guess pilots were allowed to fly wherever the heck they wanted to during the Cold War.

 

It was very complicated. The usual practice was unlimited number of training flights in areas where it was not practical to carry the fuel necessary to cross a significant border. There were restrictions on training flights in areas where the fuel tanks had to be partially empty so that the aircraft could not reach a significant border and the amount of fuel on board was checked by a senior officer prior to the aircraft leaving the preparation area and checked again at the flight line Weights were added to the aircraft to mimic a full load of fuel. It was a mark of honor to train in an area where you could fly beyond the border and that privilege was taken away for even the slightest offense. It was at all times a grand party when a pilot was leaving to go to such a posting and it was a week or more of much drinking late into the night when a pilot was booted back down.

[MissGoddess]

what an odd assortment!

 

> 1. *Woman on the Run* -- I was very pleasantly surprised by this one. It's a very unique "female" noir. The story is about a witness (Ross Elliott) who has fled a situation. Or has he fled his wife (Ann Sheridan)? What makes the film fascinating is that the husband and wife have started to drift apart, so the wife needs to search their past to figure out where he may have fled to. The film is aided greatly by the San Francisco locales. I'm not sure if Jackie has seen this one or not, but I believe she'd really like it. It's an underrated flick.

>

>

>

 

i'm glad you liked that one. as i mentioned before, it was an unexpectedly entertaining little noir, the kind i like. i found it by accident on YouTube. forgot ross elliott was the husband, lol.

 

the print is not in the best shape, too bad.

[FrankGrimes]

Hi, SansFin! -- *... And God Created Woman (1956) I like this movie but I do not understand those who rave for it.*

 

I agree with your assessment. I didn't love the film. I liked it because Brigitte can be so mesmerizing to me. She's so dangerous because she's in that danger zone of being a "young woman."

 

*Another Language (1933) I hoped it would be much more than it is.*

 

Again, we're on the same page.

 

 

*Chandu the Magician (1932) I found this a neat little movie.*

 

Geez! We're connecting with all of these! The story isn't the strongest, but the entire scene and set-up are rather captivating.

 

 

*Dr. Renault's Secret (1942) I liked this.*

 

I thought it was pretty solid, as well. A good performance by J. Carrol Naish.

 

 

*The House on 92nd Street (1945) I found this movie to be a bit odd. I liked it even although there were many reasons I should not.*

 

 

All of the secret society stuff interested me. It usually does.

 

*How to Steal a Million (1966) I am sorry to say I do not know your tastes so well as to make predictions but I know that you do not like this movie as greatly as I do. I often think of it as my favorite of all time movie. There is no part of it which is not perfect.*

 

Your all-time favorite? Wow! Now that's saying a lot. It's a very enjoyable film, it's just not really my kind of film. It's a little too light for me to register deeply.

 

 

*Satan Met a Lady (1936) I believe I am one of six people in the world who prefer this movie above the remake.*

 

 

You may be right! This one plays much lighter and looser than John Huston's *The Maltese Falcon*. Even what they are chasing speaks to this.

 

*Thirty Day Princess (1934) I found it nice.*

 

You're right, it's a nice little film.

 

 

*Vicki (1953) I believe I would have liked it very much more if the cast had been different.*

 

Miss G is correct, the original is better, namely due to Laird Cregar.

 

 

*Woman on the Run (1950) An odd little noir.*

 

Agreed.

 

*It is odd to say that I do not remember any movie in which she had a father who looked in any manner that she might have been his daughter. Maurice Chevalier was close but it would have had to have been that her mother was very graceful and beautiful.*

 

 

I believe Hugh Griffith plays her grandfather.

 

*It was very complicated. The usual practice was unlimited number of training flights in areas where it was not practical to carry the fuel necessary to cross a significant border. There were restrictions on training flights in areas where the fuel tanks had to be partially empty so that the aircraft could not reach a significant border and the amount of fuel on board was checked by a senior officer prior to the aircraft leaving the preparation area and checked again at the flight line Weights were added to the aircraft to mimic a full load of fuel. It was a mark of honor to train in an area where you could fly beyond the border and that privilege was taken away for even the slightest offense. It was at all times a grand party when a pilot was leaving to go to such a posting and it was a week or more of much drinking late into the night when a pilot was booted back down.*

 

My goodness! How do you know this in such great depth?

[FrankGrimes]

Hi there, Movieman! -- *I've seen a few. I see your going through the "lesser" Wayne pictures. Oh, my.*

 

I've been watching John Wayne's films from late to early. I'm currently in the 50s.

 

*Abilene Town. As you know I love westerns and with Scott you usually get serviceable though seldom great pictures. That begins to change when Boetticher shows up. Some of them are almost interchangeable but they're okay.*

 

 

I agree with your quick analysis of Randolph Scott's westerns pre-Boetticher. The romantic side of *Abilene Town* is actually what interested me. The "western" part was less interesting. Lloyd Bridges as a sweet guy? I didn't see that one coming!

 

*Days of Wine and Roses. I think Lemmon is marvelous. It's a tough film to watch but I think extremely well done. Good though it may be it is not one you come back to too often. The greenhouse scene left its mark on me.*

 

 

Your feelings match my own with the film. It was a tough watch.

 

*The Man From The Alamo. Another "perception is everything" picture. Ford has done nothing wrong and in fact did what he was told but because he had been from the Alamo and survived there must be something wrong. I enjoyed it and thought Ford was good trying to clear himself.*

 

 

What was great about John Stroud's (Glenn Ford) leaving is that it was a blind draw among a group of guys as to see who would leave the Alamo to look after the families. Ford "won" that draw. Others in the Alamo had no idea what had happened amongst those men. And Stroud never told anyone this with the exception of Carlos (Marc Cavell). He just took it. Who would believe him, anyways?

 

*The Man Who Never Was. Based on a true story this is a pretty good story that doesn't quite come off as well as I would have hoped. I don't know whether it's Webb or a bit slow but it is an interesting story.*

 

 

I liked this one a little more than you. It was Clifton Webb that greatly surprised me. I've never seen him like this. He was terrific.

 

*Montana. Ordinary late Flynn. Compact though.*

 

Your comment is compact, too! And accurate.

 

*As far as the Wayne pictures go this is probably the low point of his work since his 1930's B films.*

 

It really is a weak area in Wayne's filmography. It has reminded me of his 70s westerns. Probably worse, though. I've got *Big Jim McLain* and *The Barbarian and the Geisha* as my least favorite "Wayne" films. Both are from the 50s. *Blood Alley* and *The Sea Chase* do not rate highly for me, either.

 

*The story behind "Jet Pilot" is more interesting than the film.*

 

I have no idea about that.

 

*"The Conquerer" has its own legend.*

 

I do know of the story with this one.

 

*"Big Jim McLain" is a low end anticommunist film that is so stuck in that time that it has not lived well since.*

 

Boy, ain't that the truth.

 

*Wayne had more discrepency in the 50's than anywhere else. Among these weak films are some good films that helped the legend grow.*

 

 

You are very right about that.

 

*Your keeping busy is certainly keeping us busy.*

 

I'm open to watching suggestions. I try to watch films that are favorites of folks or at least genres that are favorites.

[SansFin]

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

> *... And God Created Woman (1956) I like this movie but I do not understand those who rave for it.*

> I agree with your assessment. I didn't love the film. I liked it because Brigitte can be so mesmerizing to me. She's so dangerous because she's in that danger zone of being a "young woman."

 

I find her pretty but I do not have the parts of anatomy which she stirs to such great effect.

 

> *Chandu the Magician (1932) I found this a neat little movie.*

> Geez! We're connecting with all of these! The story isn't the strongest, but the entire scene and set-up are rather captivating.

 

It is many years since I have seen it but I remember that there is an element of a concept which is great and they did not handle it so very brilliantly that the movie was a masterpiece but they did not also screw it up so badly as to leave a bad taste. There were many aspects to like.

 

> *The House on 92nd Street (1945) I found this movie to be a bit odd. I liked it even although there were many reasons I should not.*

> All of the secret society stuff interested me. It usually does.

 

I believe it is the documentary aspect which repels me because most such documentaries are: "see how kindly and smart and brave our people are when fighting evil". It had by this a high hurdle to pass and so the fact that I liked it speaks highly of it.

 

> *How to Steal a Million (1966)

> *I often think of it as my favorite of all time movie. There is no part of it which is not perfect.*

> Your all-time favorite? Wow! Now that's saying a lot.

 

It has Peter O'Toole who can make me melt. It has Audrey Hepburn whom I adore. It is a caper. They fall in love by happenstance. It is a comedy arising in natural ways with no contrivances to reach a punchline. How can I not love it?

 

> *It is odd to say that I do not remember any movie in which she had a father who looked in any manner that she might have been his daughter. Maurice Chevalier was close but it would have had to have been that her mother was very graceful and beautiful.*

> I believe Hugh Griffith plays her grandfather.

 

He is her father. It was her grandfather who sculpted the 'Cellini' Venus with her grandmother being the model before she began eating enormous lunches.

 

> *It was very complicated.*

> My goodness! How do you know this in such great depth?

 

I liked to date pilots because always they were intelligent and confident and agile. They were the best of the best of men their age. Their postings changed also at regular intervals so that there was at all times a new crop from which to chose. We were a place where training flights were limited in length because they were not allowed to have so much fuel that they could fly to a border if they became disoriented or lost because that might create an International incident.

[JackFavell]

>It is many years since I have seen it but I remember that there is an element of a concept which is great and they did not handle it so very brilliantly that the movie was a masterpiece but they did not also screw it up so badly as to leave a bad taste.

 

May I just jump in and say how much I like what you've said here and how much I like the way you said it? There are many movies from the classic era that fit this description and that I enjoy very much despite the fact that they are not masterpieces. Sometimes it's more about the charm of them, or their restful qualities... and not having to think too much while watching. Sort of like Melvyn Douglas in Ninotchka.

 

Edited by: JackFavell on Apr 11, 2013 9:19 PM

[MissGoddess]

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

> > It is many years since I have seen it but I remember that there is an element of a concept which is great and they did not handle it so very brilliantly that the movie was a masterpiece but they did not also screw it up so badly as to leave a bad taste.

> May I just jump in and say how much I like what you've said here and how much I like the way you said it? There are many movies from the classic era that fit this description and that I enjoy very much despite the fact that they are not masterpieces. Sometimes it's more about the charm of them, or their restful qualities... and not having to think too much while watching. Sort of like Melvyn Douglas in Ninotchka.

>

 

this is wild! you wrote this just as i was thinking how SansFin reminded me of the character Ninotchka!

[SansFin]

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

> There are many movies from the classic era that fit this description and that I enjoy very much despite the fact that they are not masterpieces. Sometimes it's more about the charm of them, or their restful qualities... and not having to think too much while watching.

 

I thank you for your kind words.

 

I remember many years ago watching a debate re continuing public support of artists. One person said that no masterpieces were ever created under such programs. The rebuttal was that there were four-hundred-and-forty-three paintings in the world which are acclaimed by all as true masterpieces and that the world would be a sad and dreary place if those were the only paintings ever created. I do not know if the person made up that number or if it was factual but it has stayed with me.

 

I believe it is much the same with movies. It would be a terrible thing if the only movies are ones which have deep meanings and great artistry and inspired characterizations. It is much like you can have many wonderful gowns and soft furs and beautiful jewelry but there are times you need to snuggle down in your flannel nightshirt and fuzzy socks.

[SansFin]

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

> i was thinking how SansFin reminded me of the character Ninotchka!

 

Capuchin has said that in the right light and at the right angle and with the right amount of vodka inside him that I look a little like Garbo.

 

I can assure you that I was never like that character. I have always liked to have fun. I did what was necessary to prevent interest by authorities but I have always hated the Soviet and the society-is-all-and-person-means-nothing mentality. I believe I come by this in honest fashion because my mother's family was White Russian and suffered greatly and my father's family was Cossack which still support the Tsar.

 

I believe I can be as serious as needs be for tasks but I would be quite miserable if I did not laugh each day.

[FrankGrimes]

Howdy, Fordy Guns! -- *that is a good description and "Margo" came to my mind, only i like Bette acting childishly diva-ish whereas Ginger can seem so utterly lacking in self-awareness, like Jackie said. Maybe Lela (her mother) brainwashed her for so long to be an overachiever that she finally accomplished it.*

 

You said it. With Bette Davis, it works. With Ginger Rogers, it doesn't.

 

*I don't remember her in We're Not Married, wow---so that's two she did with Marilyn (who is the best thing about both movies).*

 

Ginger is the wife of Fred Allen in the film. They are the primary couple; the happy radio couple who are miserable in reality. I actually wasn't that crazy about Marilyn's segment in *We're Not Married!*. I liked Louis Calhern and Paul Douglas.

 

 

*Another I thought you'd seen! I really like that one. Brian Keith has nothing to do with that, of course. *

 

I'll look to watch *Tight Spot* in the next group.

 

*more and more your lists are containing movies i never saw or barely remember!*

 

That's because I'm watching the "lesser" films I have on DVD. The ones many people wouldn't recommend to watch.

 

*This is one of the Randolph Scott movies that blurrs into his multitudes of westerns. I can't recollect anything about it.*

 

 

I think you'd like his relationship with both Ann Dvorak and Rhonda Fleming. It's rather similar to Chihuahua (Linda Darnell) and Clementine (Cathy Downs).

 

*Either I never saw it or don't remember anything about it.*

 

I'm guessing you've never seen *Adventure in Sahara*. It doesn't seem like your kind of film.

 

 

*I actually enjoy the scenery in this movie more than anything, but I'm a girl! How I wish Saint Tropez was still like that.*

 

 

Oh, I love the "scenery" in the film, too. That looks good anywhere!

 

*I like it; it's creaky in places but a nice attempt at examining some age-old marriage conflicts (with an early 20th century spin).*

 

 

You are right, *Another Language* does offer up the ol' "my husband doesn't have any time for me" and "his family comes before me, especially his mother."

 

*I've tried and wanted to like this movie so much, and for all the reasons that Jackie eloquently listed, but the last two times I watched it was disappointing and I felt no sympathy for Ryan. I will give it another chance, though---I'm sure I am underrating it.*

 

I actually felt for Ryan. He's a wreck, but he's also such a kind, caring man. I loved the shot of his scraping the dirt off the window. He cares that much about his lowly job. He takes pride in it. Then he loses his mind over his not serving in the War and he starts to attack others for his inadequacy. The psychological aspects of the film are very good. It just plays more like a great episode of Alfred Hitchcock Presents more so than a film.

 

*Like Chris said, it's dated and heavy handed but I love the setting (Hawaii).*

 

If only Hawaii were the setting for something good!

 

 

*An interesting suspenser with Loretta Young and a very venomous Barry Sullivan. It manages to have made me pretty anxious about the mail!*

 

 

That's funny! I thought the panic of attempting to retrieve a letter to be good. I liked the friendly roadblocks.

 

*I think I have this on DVD but I don't believe I've ever seen it.*

 

I can't see you going for *Chandu the Magician*. It was based on a popular radio serial at the time.

 

*City Without Men*

 

*It's about Manhattan, right? *

 

You're bad!

 

*The Conqueror*

 

*I've never seen it all the way through.*

 

I certainly believe that!

 

*I like it okay for the cast and what may have been Fred Astaire's first movie appearance (you even get the 3 stooges), but I can't see you liking it at all! It's one of the slew of backstage musicals that were all the craze.*

 

 

You were right. *Dancing Lady* wasn't for me.

 

*A terrific film but very heavy. I like Lee, especially in the first part, and found Charles Bickford very touching. Have to add that this is one of the most lovely movie theme songs ever. Just beautiful.*

 

I thought Lee was very cute in the beginning, as well. You definitely have some "Lee" with you. The biz people were right. I really liked Charles Bickford. His big, dramatic scene really helped me like the film.

 

*The Devil at 4 O'Clock*

 

*Disappointing.*

 

That's surprising since you're such a big fan of Spence and Frankie.

 

*With Larry Tierney? I didn't care for it, I may have not even seen it all the way through.*

 

It's not your kind of film, no. I thought it was rather flat. I liked the cast, though.

 

*Dr. Renault's Secret*

 

*It sounds intriguing.*

 

You may find it passable because of Mike Mazurki. Do you like J. Carrol Naish? If you do, then you'll be okay with it.

 

*Gun the Man Down*

 

*You're ahead of me! I still haven't gotten it from ClassicFlix (it says "short wait").*

 

 

It probably won't rate highly with you, but I think you'll like it enough. It's good to see James Arness carrying a film.

 

*Half a Sinner*

 

*Is this about a magic act?! You have what looks like a lot of pre-codes included this time.*

 

 

No. It's the fluffy crime film from 1940. It's on the cute side.

 

*Heaven with a Barbed Wire Fence*

 

*I thought this was cute.*

 

It's a very sweet film. I loved Raymond Walburn and Jean Rogers.

 

*A favorite from the 60s, very breezy. Not quite as good as Charade (what is?) but Peter O'Toole definitely surprised me by handling romantic comedy very well. I never would have thought he could be that kind of player.*

 

 

It was my first look at Peter O'Toole and I liked him. He was very smooth and charming, but I also liked his awkwardness, too. I definitely like *Charade* more.

 

*Jet Pilot*

 

*You have to see it to believe how bad it is, ha! Janet's wardrobe is far out, ahem.*

 

 

Those pilots sure knew how to dress!

 

*Love Nest*

 

*I don't remember this little Monroe movie too well.*

 

 

Huh? You? I thought you knew all of Marilyn's films.

 

*I don't like it as much as All That Heaven Allows, but it is a handsome production and very much what I come to associate with Sirk's style. His use of color is a pleasure to watch.*

 

Sirk was definitely using the palette. He loves purple flowers. I like the emotion in the film but the story is so darn unbelievable. How I like Sirk:

 

1. All That Heaven Allows

2. Summer Storm

3. The Tarnished Angels

4. Magnificent Obsession

5. Written on the Wind

6. Lured

7. Shockproof

8. A Scandal in Paris

 

*I like this Glenn Ford western. I had never heard that story, either...and I grew up in Texas!*

 

You were too busy being a snob!

 

*The Man Who Never Was*

 

*I have never seen this movie. It sounds like odd casting.*

 

 

I believe you'd find it too boring.

 

*Montana*

 

*I haven't seen it or don't remember this particular Flynn western.*

 

Not much depth to be found. You have to like Errol and Alexis' byplay.

 

*This is a vapid remake of a rather charming drawing room comedy which Robert Montgomery made in the early 1930s, called The Man in Possession. The earlier one has sparkle and vivacity, not so of the remake.*

 

But this one has Jean Harlow! And she's doing her best to try and shake Robert Taylor.

 

*I saw this version of The Maltese Falcon once a long, long time ago and don't remember it well enough to comment. I only recollect it seemed like just one of many 1930s potboilers of the period---enjoyable, but not up to the verve of the Huston film.*

 

I wouldn't call it a "potboiler." It's a rather light and airy affair. John Huston's *The Maltese Falcon* has more kick.

 

*A Slight Case of Murder*

 

*I either never saw it or don't remember.*

 

 

It's a film Jackie would like more than you.

 

*Thirty Day Princess*

 

*Never saw it.*

 

 

I can't see you going for a cutesy film with Sylvia Sidney in the lead.

 

*Vicki*

 

*As I wrote Sansfin, this is another disappointing remake of a better film.*

 

 

Agreed. Elliott Reid (Who?!) ain't no Victor Mature.

 

*Another I don't remember/never saw. But I like both Jeff Chandler and Maureen O'Hara so I would like to catch it.*

 

Jeff Chandler would appeal to you, for sure. He has a wonderful presence in this one. Maureen is very "womanly." She's quite comfortable in such a role.

 

*I liked this little "noir"! Annie and Dennis O'Keefe as a very uneasy married couple, made worse by the fact that he's on the lam. Good location shots, too----San Francisco, I think it was, right?*

 

That's a pretty good recall for a "minor" film. You're right, the film was shot in San Francisco. The locations really add to the film's value. The only thing you were a little off on was Ann Sheridan and Dennis O'Keefe are not married. They are looking for her husband.

 

*the print is not in the best shape, too bad.*

 

That's a great point. The print I watched was really poor. It's a film worth cleaning up.

 

*what an odd assortment!*

 

That's because I'm talking to an odd assortment!

[Bronxgirl48]

>Unfortunately, I have seen THE SWEET RIDE, yes, lol.>

 

 

 

 

 

Oh, geez, no, I'm so sorry!

[Bronxgirl48]

> Bronxie - I made it through the first two parts on youtube... no David Manners yet. Ricardo just showed up. Not really sure about the film yet. It looks like it was tailor made for Barbara Stanwyck so far, or perhaps Jean Harlow. We'll see....

> > > > What do you like about Lord Love a Duck? Help me to see something in it!>>>>

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

So did David finally pop up? So soothingly handsome and bland, gentlemanly-British, just the guy a girl needs to hold her hand when cads like Ricardo use and abuse her..

 

 

About LORD LOVE A DUCK -- I haven't seen it in ages and need to refresh my memory in order to give you specifics, but, in general, I think Axelrod and screenplay anticipates the dumbing down of our society; the banality of celebrity; the family unit as a consumerist-Freudian mess, lol, and other prescient observations.

 

 

I'm running into some gems -- DAMIEN: OMEN II. The most frightening thing is seeing Bill Holden deteriorating into a dessicated mummy, and no, I'm talking about just what he normally looked like in those unfortunate years. The son of Satan himself resembles Joseph Bologna, so you can imagine the fear engendered in everyone who meets him. Lee Grant says things like "Who wants a corned beef sandwich?" but it just doesn't have the panache and dramatic intensity of her "I'm gonna heat up the lasagna!" from VALLEY OF THE DOLLS. However, when doctors keep trying to examine Damien, Lee rises to the occasion: "WHY DO YOU HAFTA TEST HIM AGAIN?"

 

Edited by: Bronxgirl48 on Apr 12, 2013 6:13 PM

[Bronxgirl48]

The first time I saw JET PILOT years ago, I thought the ostensible Cold War plot was meant to be taken as a satire on machismo in general, and that Janet Leigh was directed to project a heightened, absurdist, sexuality. I also remember thinking the movie played a bit Sirkian, too.

[JackFavell]

> {quote:title=Bronxgirl48 wrote:}{quote}

> So did David finally pop up? So soothingly handsome and bland, gentlemanly-British, just the guy a girl needs to hold her hand when cads like Ricardo use and abuse her..

 

Actually, Ricardo did the hand holding and Manners was the use and abuse one. It was a nice twist, giving Ricardo a wonderful exit, and Manners a little more intensity.

 

Frank, I liked *Torch Singer,* but didn't love it. It felt a bit forced, and the direction was stodgy. The idea that the mere mention of "torch singing' made everyone pale struck me as pretty funny. However, Claudette was sensational, I really liked Ricardo's sweetness under the caddish exterior, and there were a couple of really great lines in the script. Due to weak direction and those meh songs, it just didn't add up to much. But I'm glad I saw it. Colbert was really good. If you like her naughty, as she was in this one, you'll like her in *Cleopatra* more.

 

 

> About LORD LOVE A DUCK -- I haven't seen it in ages and need to refresh my memory in order to give you specifics, but, in general, I think Axelrod's vision anticipates the dumbing down of our society; the banality of celebrity; the family unit as a consumerist-Freudian mess, lol, etc., and lots more.

 

WoW! And here I thought it was just a mess of a movie! I'll have to give it another go now that I have your words in mind. If I can stand it. You'd think I'd love a movie with Roddy and Tuesday.... but alas...

 

> I'm running into some gems -- DAMIEN - OMEN II. The most frightening thing is seeing Bill Holden deteriorating into a dessicated mummy, and no, I'm talking about just what he normally looked like in those unfortunate years. The son of Satan himself resembles Joseph Bologna, so you can imagine the fear engendered in everyone who meets him. Lee Grant says things like "Who wants a corned beef sandwich?" but it just doesn't have the panache and dramatic intensity of her "I'm gonna heat up the lasagna!" from VALLEY OF THE DOLLS. However, when doctors keep trying to examine Damien, Lee rises to the occasion: "WHY DO YOU HAFTA TEST HIM AGAIN?"

> That's my brash New Yawk Grant!

 

I love Lee Grant in just about anything... but I never could get into those Damien movies. Your line about Satan looking like Joe Bologna had me in stitches! Man, I guess Satan really is a New Yawker...

 

Frank, I also finally watched *Le Plaisir*.... and it was everything I'd hoped it would be. Its spectacular mise en scene made me dizzy. Sheer heaven to watch.

 

My favorite was the Simone Simon story, but all were interesting. The mid section in the country was charming witty and sad. I liked the way the entire crowd assembled in the church for the children caught Rosa's emotion.

 

Edited by: JackFavell on Apr 12, 2013 10:44 AM

[movieman1957]

Sir Francis:

 

Have you seen "The High and The Mighty"? A decent, but not great, Wayne movie. One of the guys at our other playground saw it so I thought I'd bring it up. I think it's safe to say that this one created all those later airplane movie cliches.

[FrankGrimes]

Hi, Musicman -- I have seen *The High and the Mighty*. I thought it was all right. I liked some of the stories. I mostly liked Jan Sterling's story, if I remember correctly. The film had the feel of a more serious "Love Boat" in the air.

 

I have three more "John Wayne" films from the 50s to watch. I don't have the one: *I Married a Woman*. The other two, *Trouble Along the Way* and *Operation Pacific*, I'm going to watch in the next group. I still have to watch *The Greatest Story Ever Told*, from the 60s, as well. I'm gonna have to get in the mood for that one.

 

How I have liked John Wayne in the 50s:

 

1. The Searchers

2. The Quiet Man

3. Rio Grande

4. Rio Bravo

5. Island in the Sky

6. The Wings of Eagles

7. The Horse Soldiers

8. Legend of the Lost

9. Flying Leathernecks

10. Hondo

11. The High and the Mighty

12. Jet Pilot

13. The Conqueror

14. The Sea Chase

15. Blood Alley

16. The Barbarian and the Geisha

17. Big Jim McLain

 

[movieman1957]

 

Those two Wayne does cameos. It's a long wait in "The Greatest Story Ever Told."

 

As far as your list goes I might put "Hondo" a little higher but I'm with you, more or less, on the rest.

 

Some good stuff too coming up in his 40s films.

 

 

[FrankGrimes]

*Those two Wayne does cameos. It's a long wait in "The Greatest Story Ever Told."*

Uh-huh. That's why I'm not in a rush to watch them.


*As far as your list goes I might put "Hondo" a little higher but I'm with you, more or less, on the rest.*


Most people like *Hondo* more than I do. Something doesn't grab me with it. But it's been a while since I've watched it.


*Some good stuff too coming up in his 40s films.*


I'm afraid I've already watched the "good stuff." What I have to watch is:


Tycoon
Dakota
Back to Bataan
Flame of Barbary Coast
The Fighting Seabees
In Old Oklahoma
Reunion in France
Flying Tigers
In Old California
Lady for a Night
Lady from Louisiana
A Man Betrayed
Three Faces West

I don't have a few of those.

[MissGoddess]

> Ginger is the wife of Fred Allen in the film. They are the primary couple; the happy radio couple who are miserable in reality. I actually wasn't that crazy about Marilyn's segment in *We're Not Married!*. I liked Louis Calhern and Paul Douglas.

>

 

Oh, yes, now I do remember. And you're right, Ginger and Fred are an annoying pair.

 

> I think you'd like his relationship with both Ann Dvorak and Rhonda Fleming. It's rather similar to Chihuahua (Linda Darnell) and Clementine (Cathy Downs).

>

 

Reading about it here makes me want to check it out. Encore plays a lot of Randy Scott westerns.

 

> Oh, I love the "scenery" in the film, too. That looks good anywhere!

>

 

I still think this whole last bunch of films was a bit of a wash with you, even the ones you rate highly.

 

> You are right, *Another Language* does offer up the ol' "my husband doesn't have any time for me" and "his family comes before me, especially his mother."

>

 

It is a timeless theme you must admit!

 

> I actually felt for Ryan. He's a wreck, but he's also such a kind, caring man. I loved the shot of his scraping the dirt off the window. He cares that much about his lowly job. He takes pride in it. Then he loses his mind over his not serving in the War and he starts to attack others for his inadequacy. The psychological aspects of the film are very good. It just plays more like a great episode of Alfred Hitchcock Presents more so than a film.

>

 

I wonder what I missed. He mostly seemed transparently psychotic and not as sympathetic as I wanted him to be. I thought his "Jim Wilson" ever so much more layered.

 

> I thought Lee was very cute in the beginning, as well. You definitely have some "Lee" with you. The biz people were right. I really liked Charles Bickford. His big, dramatic scene really helped me like the film.

>

 

He's so sad and touching. I like how she talked about her parents' devotion to each other. It seemed to tragically foreshadow how far short her own marriage would fall from that ideal.

 

You say you liked Jack's performance...what about the character? Do you blame him a little for dragging hers down?

 

>

> *The Devil at 4 O'Clock*

>

>

> *Disappointing.*

>

>

> That's surprising since you're such a big fan of Spence and Frankie.

>

 

They were both wasted in this one, and should not have been. I don't know why it came out so lack-luster.

 

> *Dr. Renault's Secret*

>

>

> *It sounds intriguing.*

>

>

> You may find it passable because of Mike Mazurki. Do you like J. Carrol Naish? If you do, then you'll be okay with it.

>

 

Yes, I do. He's a chameleon. He can play so many different types.

 

>

> *Gun the Man Down*

>

>

> *You're ahead of me! I still haven't gotten it from ClassicFlix (it says "short wait").*

>

>

> It probably won't rate highly with you, but I think you'll like it enough. It's good to see James Arness carrying a film.

>

 

I like the idea of a movie starring to of my favorite TV performers. The only time I remember Angie appearing on "Gunsmoke", she played an Indian girl!

 

> It's a very sweet film. I loved Raymond Walburn and Jean Rogers.

>

 

Walburn was really good.

 

> Sirk was definitely using the palette. He loves purple flowers. I like the emotion in the film but the story is so darn unbelievable. How I like Sirk:

>

>

> 1. All That Heaven Allows

> 2. Summer Storm

> 3. The Tarnished Angels

> 4. Magnificent Obsession

> 5. Written on the Wind

> 6. Lured

> 7. Shockproof

> 8. A Scandal in Paris

>

>

 

I do like *Lured* much better than you, and *Scandal in Paris*.

 

> But this one has Jean Harlow! And she's doing her best to try and shake Robert Taylor.

>

 

They should have changed the setting, because it's too wild to believe them, especially Jean as a social climbing English girl. It plays too cute and I don't like "puppy dog" Taylor as much as you.

 

The original is very adult, you may not like it if you're looking for sweet, it's rather satirical and much racier and the leads are more believable in the setting.

[MissGoddess]

of your '40s Wayne list, I like *Three Faces West* the best. An odd little movie. John Wayne is concerned about soil erosion! lol.

[movieman1957]

Sorry, I thought it was more chronological than it has been. (I know some of them you'd seen.) Out of what you have Miss G is right in that "Three Faces West" is pretty good despite what it might seem. Depending on your take on WW!! movies and how rah-rah they are "Back To Bataan" and "The Fighting Seabees" are both decent. (You get Duke dancing too if I recall correctly.) "The Flying Tigers" is good.

 

"Tycoon" is okay but long. "Dakota" and "In Old California" are programmers that are okay but certainly not top notch. I didn't care for "Reunion in France." I guess you've seen "Pittsburgh." Wayne and Scott fared much better in "The Spoliers."

 

The rest is only fair. I wouldn't consider them memorable. The rest of the 40s films certainly beats what's coming in the 30s after "Stagecoach" if you are going that far.

[FrankGrimes]

*of your '40s Wayne list, I like Three Faces West the best. An odd little movie. John Wayne is concerned about soil erosion! lol.*

 

What?! You've seen them all? That's remarkable. Of that group, I'm most curious about *Reunion in France* since Jules Dassin directed it.

 

*Oh, yes, now I do remember. And you're right, Ginger and Fred are an annoying pair.*

 

 

I'm not familiar with Fred Allen, but he really bothered me. Did Fox specialize in finding annoying guys?

 

 

*Reading about it here makes me want to check it out. Encore plays a lot of Randy Scott westerns.*

 

 

It's no great shakes, but Randy and Ann go at it a little. He wants her to settle down with him. Randy and Rhonda like each other in a quiet way, too.

 

 

*I still think this whole last bunch of films was a bit of a wash with you, even the ones you rate highly.*

 

 

You just hit a home run. I wasn't thrilled with many of the films I just watched. I'd say only *Woman on the Run* rated well with me (7 out of ten). Everything else was a "6 out of ten" or less. Most films rate a "six" with me. I did love seeing Brigitte in *... And God Created Woman*, though. She rates much higher! But the film itself isn't the best.

 

 

*It is a timeless theme you must admit! *

 

 

Maybe for a woman!

 

 

*I wonder what I missed. He mostly seemed transparently psychotic and not as sympathetic as I wanted him to be. I thought his "Jim Wilson" ever so much more layered.*

 

 

Howard (Robert Ryan) keeps asking Helen (Ida Lupino) if he's done a good job. He genuinely wishes to do right. He views himself as a grand failure because of his being rejected by the military. There's a lot of sympathy to be found for him. But then when he's confronted with anything that makes him seem like less than a man, namely anything to do with the War, he explodes and starts to lash out. It's women he gets most upset with because he feels they are the ones who are really judging him as less than a man because he didn't serve. Howard is the insecurity of Man in the physical. "You think I'm not a man because of my poor job and I'm not strong for not serving."

 

 

*He's so sad and touching. I like how she talked about her parents' devotion to each other. It seemed to tragically foreshadow how far short her own marriage would fall from that ideal.*

 

 

There's actually something devoted but also tragic with Kirsten's (Lee Remick) parents' saying of "together in Heaven." Can they only be happy in Heaven? So, you're right, there is definitely some foreshadowing going on.

 

 

*You say you liked Jack's performance...what about the character? Do you blame him a little for dragging hers down?*

 

 

Oh, yes, I blame him a lot. I'm Charles Bickford in the film. I'd want to kill him. I'm not a drinker, so the entire idea of needing alcohol to enjoy life is something that doesn't compute with me. To see others push their drinking onto another, those who are weaker and just trying to feel accepted, is horrible. Joe (Jack Lemmon) tells Kirsty that he'll take her back anytime, yet he doesn't. Joe is so full of himself. When he's drinking, he's great. When he's sober, he's once again great. He's done it. I did find him to be more humble by film's end. I feel the film does capture alcholism and addiction extremely well. The weakness and selfishness of it all. And once addiction takes hold, it's tough to instill strength and unselfishness. What takes the place as a stress reliever or a "hooray!"?

 

 

*They were both wasted in this one, and should not have been. I don't know why it came out so lack-luster.*

 

 

Mervyn LeRoy can get to be "too much," sometimes.

 

 

*Yes, I do. He's a chameleon. He can play so many different types.*

 

 

There are some plastic performers that make *Dr. Renault's Secre*t a little bland, but then the colorful performers ultimately make it interesting. They would be J. Carrol Naish, Mike Mazurki, and George Zucco.

 

 

 

 

 

 

 

 

 

 

 

 

 

* :)I like the idea of a movie starring to of my favorite TV performers. The only time I remember Angie appearing on "Gunsmoke", she played an Indian girl!*

 

Ohhhhh, those early roles.

 

*Walburn was really good.*

 

I've never seen him better. He's really good as the "Guardian Angel." He even finds a lost love! It's just a sweet and loving film. Lots of goodness. And there's Ward Bond, too.

 

 

*I do like Lured much better than you, and Scandal in Paris.*

 

 

I believe you do. *Lured* may play better to me today than when I first watched it. I've seen so much more since then, so I may accept its style more now. I like *A Scandal in Paris*, but I prefer the heavy-handed emotions of later Sirk more. I do like Sirk, but he doesn't rank highly overall because I can't say that I love any of his films. *All That Heaven Allows* is my favorite of his and it only ranks # 449 on my overall list. That's low for a top favorite. And I'd say all of his films are grouped closely with me. *The Tarnished Angels*, *Lured*, and *A Scandal in Paris* are probably separated by 100 films or so. They are almost interchangeable.

 

 

*They should have changed the setting, because it's too wild to believe them, especially Jean as a social climbing English girl. It plays too cute and I don't like "puppy dog" Taylor as much as you.*

 

 

I do like "puppy dog" Taylor more than his usual serious tone. And I do agree with you about Jean and the setting being a mismatch.

 

 

*The original is very adult, you may not like it if you're looking for sweet, it's rather satirical and much racier and the leads are more believable in the setting.*

 

 

I like racy and satirical! Maybe I'll like it.

[FrankGrimes]

*Sorry, I thought it was more chronological than it has been. (I know some of them you'd seen.)*

 

I've been filling in the gaps. After I watch the 40s, I should be at 100 films watched for Duke.

 

*Out of what you have Miss G is right in that "Three Faces West" is pretty good despite what it might seem.*

 

It's good to know there's potentially a decent film on the way.

 

*Depending on your take on WW!! movies and how rah-rah they are "Back To Bataan" and "The Fighting Seabees" are both decent. (You get Duke dancing too if I recall correctly.) "The Flying Tigers" is good.*

 

I'm not crazy about "rah-rah" unless the emotions surrounding it are good.

 

*"Tycoon" is okay but long.*

 

Nooooooooooooooooo!

 

*"Dakota" and "In Old California" are programmers that are okay but certainly not top notch.*

 

I'm expecting that.

 

*I didn't care for "Reunion in France."*

 

That's the one I'm most curious about because it's directed by Jules Dassin.

 

*I guess you've seen "Pittsburgh." Wayne and Scott fared much better in "The Spoliers."*

 

I have seen *Pittsburgh*. I didn't like it. I greatly prefer *The Spoilers*.

 

*The rest is only fair. I wouldn't consider them memorable. The rest of the 40s films certainly beats what's coming in the 30s after "Stagecoach" if you are going that far.*

 

Yeah, I'm going all the way. But I won't be able to track down as many in the 30s, I'm sure. I've got Duke's serials to watch, though. That would be the "biggest" thing for me in the 30s.