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The ending that I hate is in "The Rainmaker" (1956) when Katherine Hepburn, as Lizzy Curry, decides to stay in that dust bowl with Wendell Corey, for pity's sake!!!!

 

And there's Burt Lancaster as Starbuck the Rainmaker, at his improbable best, offering her a life of adventure on the road, calling Lizzy by the name of Melisande in a gentle voice, with his blazing blue eyes, a smile so bright you could read the New York Times by his grin at midnight, a form as beautiful as mortal sin--offering Hepburn his hand and his heart...and she chooses WENDELL COREY!

 

Go figure...I guess it was 'cause it was the fifties??

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"Female" (1933), a great pre-code with Ruth Chatterton as the CEO of a company. She runs her company efficiently and goes through a selection of boy-toy secretaries. And in the last two minutes she learns that women are just too weak and emotional to do that and should leave the business world to men. A real shoes-thrown-at-screen ending.

 

-Brian

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There are sooooo many pre-Codes ruined by having to whitewash everything at the end. Here are two, for example: BABYFACE--why don't they let Lily run off with the jewelry, bucks, securities and let George Brent die? STRANGERS MAY KISS--Norma Shearer should have flipped him the bird and told him where to get off after he told her man told her about being afraid of "shadows on the wall," his way of fearing the men she'd slept with would come back to haunt him! Well, she does give him the air, but all of a sudden at then end, she takes him back! Why?

 

 

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I hate the ending of "New York, New York," with Robert DeNiro and Liza Minnelli. It is a pretty good film, but at the end, after DeNiro and Minnelli have split up, he goes to see her perform at a nightclub, and then afterwards they decide they're going to meet. As Liza is leaving to go, she then turns around and forgets about it. And after waiting for her for awhile, he walks away and thats it, The End. I'm not saying I wanted a happy ending where they get back together, but after 3 hours of drama, I expected a finish that packed a little more of a punch than that.

Another one that bugs me is "Woman in the Window," with Edward G. Robinson, and Joan Bennett. It is a great film which is a favorite of mine, but when he wakes up at the end to realize that everything was a dream, it is somewhat of a let down. It would have been better if after he woke up, he would walk out to the street, still in a daze from the incredible dream, and pass by Joan Bennett, and have the two exchange glances. Have them look at each other like they both know something, yet they're just strangers. That would have been cool.

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