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So, a while back, I mentioned that it seems like- more often than not- bad things happen in ALL GIRL'S SCHOOLS in FILMS, citing THESE THREE, PICNIC AT HANGING ROCK, THE BRIDES OF DRACULA, BLOOD OF DRACULA. SATAN'S SCHOOL FOR GIRLS, and to some degree A LITTLE PRINCESS (and by that, I meant SHIRLEY TEMPLE'S TAP DANCING.)

Several posters chimed in with "oh and THE BEGUILED (1971)" and I was like "huh?" and then I was schooled on its existence (and the 2017 remake) and went on a fruitless search for it.

I came across it last night by DELIGHTFUL CHANCE.

I need to lay out two things before I go any further here: 1. there will likely be spoilers of some kind and you deserve to be in suspense if you do not know this movie already, so quit reading now and 2. I do not like CLINT EASTWOOD as a person or a filmmaker AND I AM ALLOWED to NOT LIKE CLINT EASTWOOD as a person or a filmmaker and- at this point- it tempers my view of him in anything.

thusly, it was rather refreshing to see him starring in an early 1970's variation on THE WICKER MAN with a decidedly feminist slant, that last point is debateable, but it will not negate the fact that I was HIGHLY AMUSED in the last half.

AND from the director of DIRTY HARRY NO LESS!!!!! (DON SIEGEL who also did INVASION OF THE BODY SNATCHERS)

overall, it's kind of like a FEATURE LENGTH version of the CASTLE ANTHRAX SCENE from MONTY PYTHON AND THE HOLY GRAIL- CLINT is a YANKEE soldier in 1863 who is wounded and taken in by GERALDINE PAGE AND ELIZABETH HARTMAN in their GIRL'S SCHOOL in the wilds of LOUISIANA and all sorts of SICK SEXUAL MINDGAMES ENSUE!!!!!!!!!!!

It's quite entertaining and the entire cast of actresses are great- although I have to say I am a little surprised GERALDINE PAGE took this role! (although I am thrilled she did, NO ONE plays PERIOD WOMeN quite so perfectly as she does.)

it also has that delightful 1970's "let's throw it at the wall and see if it sticks" sensibility about TOPICS THAT WERE THERETOFORE VERBOTEN ONSCREEN , the lack of restraint allows for some interesting things to happen- I had forgotten how COMMON the theme of INCEST is in films about the Confederacy.

THE PRINT I WATCHED had a very washed-out, VHS kind of thing going on, so I can't really comment on the cinematography, but the production design was great (there is such a feculent style in 1970's period films, it's right when filmmakers started deglamorizing historical films)

large-screenshot1.jpg

NORTH CAROLINA BORN MAE MERCER has the best scene in the film:

OIP.w9RnJQtLbi-g4uzI0EEAWQHaD8?w=338&h=1

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白日焰火 aka Black Coal, Thin Ice (2014) International Version Chinese Polar

Poster.jpg

Witten and directed by Diao Yinan. 'Daylight Fireworks'  (Chinese title) produced by Vivian Qu. The film won the Golden Bear award at the 64th Berlin International Film Festival. Cinematography by Jingsong Dong and Music by Zi Wen. 

Starring Liao Fan as Zhang Zili, Gwei Lun-mei as Wu Zhizhen, Wang Xuebing as Liang Zhijun, Wang Jingchun as Rong Rong, Yu Ailei as Captain Wang and Ni Jingyang as Su Lijuan.

The Story

1999. Heilongjiang, China's Alaska, Inner Mongolia to the West Siberia to the North and East. It's got five thousand foot mountains called the Greater Khingan Range the kind that stick up out of the high plains of Montana like the Bear Paws, the Judiths, the The Little Rockies. Only these plains are of the Black Dragon River. Its a little bigger than California a little smaller than Texas. The capitol city is called Harbin. The catalyst to the tale is a dismembered hand and arm that ends up on a coal conveyor at one of the nearby power plants. Harbin Detectives Zang (Fan) and Wang (Ailei) with their squad are sent to investigate. Zang. Woman Problems. Just went through a messy divorce, he's feeling down about life.

Further poking around uncovers a fragment of a shirt and an I.D. card the victim is Liang Zhijun. More body parts are discovered, in locations three days drive away. They narrow down suspects and figure its got to be a coal truck driver who has a brother who helps him on his runs. Things aren't what they seem.

This is a great Noir, familiar and yet different enough to make it all fresh again. It may take you a couple of go rounds to make through the film, It's worth it. The Color Noir cinematography by Jingsong Dong is excellent. Streaming on Amazon Prime 9/10

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Joy in the Morning Poster

Joy In The Morning (1965) TCM 6/10

Young newlyweds (Richard Chamberlain and Yvette Mimieux) encounter problems in a 1920s college town.

It  was just a soap opera but I found myself drawn into the story. The two leads give sincere performances though Mimieux has a Irish accent that comes and goes. It seems like they were trying to do a Splendor In The Grass type 1920s love and sex story. There are some hot and heavy love scenes and characters like a florist who is considered a "sissy" and Mimieux befriends him. There is also subplot of a single mother carrying on an affair with an older married man (he is played by Oscar Homolka). Arthur Kennedy has two quick scenes as Chamberlain's father. Sidney Blackmer plays a college dean (3 years before Rosemary's Baby) And Chamberlain also gets to sing the title song.

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46 minutes ago, Det Jim McLeod said:

It was just a soap opera but I found myself drawn into the story. 

That's the mark of a good soap..

I don't know this one, but any movie that features Oscar Homolka as a love interest, I want to see. 

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I watched a film that has been much reviled through the decades, Bitter Sweet (1940). Noel Coward felt that Hollywood had destroyed his operetta and swore that he would never let Hollywood film another of his musical shows. That's what my mother used to call biting off your nose to spite your face. There was a British black & white film of Bitter Sweet starring Anna Neagle that dropped most of the songs (the few reviews of this version on imdb are not enthusiastic). Hollywood's Bitter Sweet does drop my favorite song from the show, "If Love Were All," but manages to pack a number of songs into an hour and a half. We're never far away from a song, which is how I prefer musicals.

W.S. Van Dyke is not exactly known for directing musicals. The color cinematography is appealing, and Jeanette MacDonald looks lovely and has many striking costumes by Adrian. Nelson Eddy as a Viennese music teacher uses the same accent that Spencer Tracy and John Wayne used when they played Germans (i.e., none at all) and he is not the most expressive actor, but his strong and attractive baritone offers some compensation. George Sanders is a hissable villain, and he seems to be sporting a crewcut. You might expect Felix Bressart and Sig Ruman to turn up in a film partly set in Vienna, and they do.

Those who don't want to try the whole movie might want to take a look at the elaborate production number of "Zigeuner" toward the end of the film. This really should have been included in one of the That's Entertainment films. The costumes are in a restricted palette of creamy white and dull gold, and Jeanette's costume has the Adrian-on-acid look of some of Joan Crawford's clothes in The Bride Wore Red. as does the enormous hat she wears in the cafe sequence.

All in all, Bitter Sweet was much better than I expected. Not for those allergic to Nelson Eddy and Jeanette MacDonald, but a decent show for those who enjoy their singing and/or Jeanette's looks.

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I have always liked Ladies in Retirement. Nicely paced and done in an understated manner, especially

considering the subject matter. And all the actors are fine in their roles. To me it has a definite Bronte

family vibe & atmosphere. Minor point: while the Louis Hayward character introduces himself as

Lupino's nephew, as the movie progresses there are a number of hints that they aren't really blood

relations, but definitely did know each other before, though their exact relationship is rather unclear. 

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5 hours ago, kingrat said:

I watched a film that has been much reviled through the decades, Bitter Sweet (1940).

 

The extremely rare 1933 British version with Anna Neagle can be found on You Tube in a very mediocre quality print. I haven't watched it but visually, of course, it can't compare to the colour of the lavish MacDonald MGM production. Another aspect of the version with Jeanette and Nelson that I appreciated was some of the comedy shtick briefly brought to the production by roly poly language mangling character actor Herman Bing. I wish the film could have had a bit more of it.

Poster%20-%20Bitter%20Sweet%20(1940)_10.

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8 hours ago, kingrat said:

Not for those allergic to Nelson Eddy and Jeanette MacDonald, but a decent show for those who enjoy their singing and/or Jeanette's looks.

Thanks for acknowledging that, kingrat. I avoid Eddy/MacDonald movies finding them rather dated, but realize at some point they will be all that's "new" left for me to discover.

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2 hours ago, TikiSoo said:

Thanks for acknowledging that, kingrat. I avoid Eddy/MacDonald movies finding them rather dated, but realize at some point they will be all that's "new" left for me to discover.

If you start off with one film in their musical series, TikiSoo, may I suggest ROSE MARIE (1936)? This is the one remembered for Nelson playing a Mountie, with the two lovers at one point singing "Indian Love Call" to one another. Yes, it's dated, terribly so, but director Woody Van Dyke injects the film with energy and the rear screen projection  of Canadian north woods, while obvious, is still an enjoyable outdoorsy backdrop. The film also has more enjoyable humour than any of the others in their series.

More important than that, though, aside from the operetta singing, which may not be your cup of tea, is the skill of MacDonald's performance. Unlike most of the rest of the series with Eddy this film reminds you that Jeanette had started off playing comedy in Ernst Lubitsch films. Rose Marie has, for my money, possibly MacDonald's most engaging performance as an actress.

The film's early scenes have brief moments of self parody as a temperamental prima donna opera singer. Later, though, there's a scene in which Jeanette is trying to earn a little money in a rough northern tavern with patrons who only want their women wiggling as they belt out a h o n k y tonk song. Jeanette tries to emulate a hard boiled floozy there and she is clearly a fish out of water. MacDonald, so in her element on the opera stage earlier in the film, brings genuine vulnerability to this scene as a woman who is clearly out of her depth.

On a side note, a very young Jimmy Stewart has a brief role in this film as MacDonald's fugitive brother. The role might not be much but the Stewart charm is still on full display.

img_8757.jpg

 

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11 hours ago, kingrat said:

I watched a film that has been much reviled through the decades, Bitter Sweet (1940). Noel Coward felt that Hollywood had destroyed his operetta and swore that he would never let Hollywood film another of his musical shows. All in all, Bitter Sweet was much better than I expected. Not for those allergic to Nelson Eddy and Jeanette MacDonald, but a decent show for those who enjoy their singing and/or Jeanette's looks.

thanks for this review! I have been perusing my copy of 5001 NIGHTS AT THE MOVIES by PAULINE KAEL and she had an interesting write-up on this, going into detail on how miffed NOEL COWARD was about the changes made.

Does BITTER SWEET have the standard MCDONALD/EDDY FILM 70-30 split in screen time where JEANNETTE gets the LION'S SHARE and NELSON is relegated to appearing every now and then ( IE whenever they can get his hydraulics working properly a la' the SHARK in JAWS?)

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Boo Moon Poster

Boo Moon (1954) Youtube 8/10

Casper The Friendly Ghost goes to the moon.

This cartoon was originally released in 3D. It starts as a typical Casper cartoon as he tries to make friends but everybody runs in terror from him. He looks into a telescope and the man in the moon looks friendly so he goes there. There are many twists and turns in this 6 minute cartoon and it is highly entertaining, one that I remember well from my childhood days. Casper becomes a Gulliver type character as tiny moon men capture him. There is a very scary attack by some Tree-men. That scene has been burned into my memory for decades, it was great to watch it again.

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I am almost done with ROSEMARY'S BABY (1968); I think I have only seen it once before and that was ca. 1995, right after I read the book, which many of you probably know is just about exactly like the movie down to uncanny detail.

I did not like either particularly at the time, all these years later though, I can appreciate the mechanics of the movie and I can see why it was/is so popular.

nonetheless, at the end of the day, this film is pretty much wasted on me, I was born in 1978; I grew up watching even sicker more twisted stuff and I was raised Episcopalian, and we really don't get into The Devil much at all (sadly, I might add), so my view of THE DARK ONE is quite different from people who were raised BY STAUNCH CATHOLICS or BAPTISTS or any of the other religions that LONG AGO LEARNED that if you want to put some BUTTS in the seats, you HAVE TO TALK ABOUT FUN STUFF LIKE THE DEVIL EVERY SINGLE SUNDAY!

I also have the standard-model  Gay pitch black sense of humor combined with the standard-model Gay FULL-ON EMBRACE OF THE UNUSUAL AND MACABRE, so I find this film to be- like THE WICKER MAN- something of a DARK comedy, or at least tottering on the brink of it at almost all times. Plus, being filmed at THE DAKOTA, the YOKO ONO JOKES just write themselves (as they always do.)

At the end of the day, I am at something of a loss as to why RUTH GORDON won supporting actress for this; and yet, at times, I get it.

she looked great though:

OIP.PYrXv3Jm2-7S9ONZ5BxvyAAAAA?pid=ImgDe

I really think that the best performance in the film is from JOHN CASSAVETTES though.

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38 minutes ago, LornaHansonForbes said:

I am almost done with ROSEMARY'S BABY (1968); I think I have only seen it once before and that was ca. 1995, right after I read the book, which many of you probably know is just about exactly like the movie down to uncanny detail.

I did not like either particularly at the time, all these years later though, I can appreciate the mechanics of the movie and I can see why it was/is so popular.

nonetheless, at the end of the day, this film is pretty much wasted on me, I was born in 1978; I grew up watching even sicker more twisted stuff and I was raised Episcopalian, and we really don't get into The Devil much at all (sadly, I might add), so my view of THE DARK ONE is quite different from people who were raised BY STAUNCH CATHOLICS or BAPTISTS or any of the other religions that LONG AGO LEARNED that if you want to put some BUTTS in the seats, you HAVE TO TALK ABOUT FUN STUFF LIKE THE DEVIL EVERY SINGLE SUNDAY!

I also have the standard-model  Gay pitch black sense of humor combined with the standard-model Gay FULL-ON EMBRACE OF THE UNUSUAL AND MACABRE, so I find this film to be- like THE WICKER MAN- something of a DARK comedy, or at least tottering on the brink of it at almost all times. Plus, being filmed at THE DAKOTA, the YOKO ONO JOKES just write themselves (as they always do.)

At the end of the day, I am at something of a loss as to why RUTH GORDON won supporting actress for this; and yet, at times, I get it.

she looked great though:

OIP.PYrXv3Jm2-7S9ONZ5BxvyAAAAA?pid=ImgDe

I really think that the best performance in the film is from JOHN CASSAVETTES though.

She is wonderful in her Columbo episode. She is pure magic.

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41 minutes ago, LornaHansonForbes said:

I am almost done with ROSEMARY'S BABY (1968); I think I have only seen it once before and that was ca. 1995, right after I read the book, which many of you probably know is just about exactly like the movie down to uncanny detail.

I did not like either particularly at the time, all these years later though, I can appreciate the mechanics of the movie and I can see why it was/is so popular.

nonetheless, at the end of the day, this film is pretty much wasted on me, I was born in 1978; I grew up watching even sicker more twisted stuff and I was raised Episcopalian, and we really don't get into The Devil much at all (sadly, I might add), so my view of THE DARK ONE is quite different from people who were raised BY STAUNCH CATHOLICS or BAPTISTS or any of the other religions that LONG AGO LEARNED that if you want to put some BUTTS in the seats, you HAVE TO TALK ABOUT FUN STUFF LIKE THE DEVIL EVERY SINGLE SUNDAY!

I also have the standard-model  Gay pitch black sense of humor combined with the standard-model Gay FULL-ON EMBRACE OF THE UNUSUAL AND MACABRE, so I find this film to be- like THE WICKER MAN- something of a DARK comedy, or at least tottering on the brink of it at almost all times. Plus, being filmed at THE DAKOTA, the YOKO ONO JOKES just write themselves (as they always do.)

At the end of the day, I am at something of a loss as to why RUTH GORDON won supporting actress for this; and yet, at times, I get it.

she looked great though:

OIP.PYrXv3Jm2-7S9ONZ5BxvyAAAAA?pid=ImgDe

I really think that the best performance in the film is from JOHN CASSAVETTES though.

Look into the location shooting of the picture. What a fascinating story that is. Filmed in NYC, the tenants complained of the noise and etc.  The building itself has an interesting history and I... Oh, heck, I'm going to watch it. 

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8 hours ago, LornaHansonForbes said:

I am almost done with ROSEMARY'S BABY (1968); I think I have only seen it once before and that was ca. 1995, right after I read the book, which many of you probably know is just about exactly like the movie down to uncanny detail.

I did not like either particularly at the time, all these years later though, I can appreciate the mechanics of the movie and I can see why it was/is so popular.

nonetheless, at the end of the day, this film is pretty much wasted on me, I was born in 1978; I grew up watching even sicker more twisted stuff and I was raised Episcopalian, and we really don't get into The Devil much at all (sadly, I might add), so my view of THE DARK ONE is quite different from people who were raised BY STAUNCH CATHOLICS or BAPTISTS or any of the other religions that LONG AGO LEARNED that if you want to put some BUTTS in the seats, you HAVE TO TALK ABOUT FUN STUFF LIKE THE DEVIL EVERY SINGLE SUNDAY!

I also have the standard-model  Gay pitch black sense of humor combined with the standard-model Gay FULL-ON EMBRACE OF THE UNUSUAL AND MACABRE, so I find this film to be- like THE WICKER MAN- something of a DARK comedy, or at least tottering on the brink of it at almost all times. Plus, being filmed at THE DAKOTA, the YOKO ONO JOKES just write themselves (as they always do.)

At the end of the day, I am at something of a loss as to why RUTH GORDON won supporting actress for this; and yet, at times, I get it.

she looked great though:

 

I really think that the best performance in the film is from JOHN CASSAVETTES though.

I'm not a fan of Rosemary's Baby, but that's more because it really isn't my type of movie at all.  It didn't really hold my attention.

What I did like about it was the over-enthusiastic woman who screamed out her line: HAIL SATAN! She was the best part of the film.

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oIA1qaF.jpg

 

Ed and His Dead Mother (1993)

 

Ed misses his mother who has been dead for a year. He mourns her loss even more than his uncle mourns the wreck of his first Studebaker and that is saying a lot. A slick salesman comes around who offers to bring the mother back to life. He proves that he is not a charlatan by offering to do it C.O.D. Complications arise almost immediately but they can all be readily resolved at increasing cost. Things begin to go completely off the rails when the mother becomes addicted to life.

To describe this movie as quirky is to say that the Pacific Ocean is moist. It does not edge into surrealism but it is never far away. It is quite appropriate that the director was Jonathan Wacks. It would be very easy for this type of humor to quickly wear thin but this is a truly wonderful little movie with good pacing and fine performances and gentle good humor. The gore is off-screen and evidenced only by a little blood splatter. 

The cast is perfection. Steve Buscemi is the meek and befuddled son. John Glover is the fast-talking salesman who connives ever-larger checks from Ed.  Ned Beatty is the socially reprehensible uncle.  Miriam Margolyes is the slightly-off mother. I did not recognize her at first but then realized that she played Professor Sprout in the Harry Potter movies. The remainder of the cast is equally superb in their roles. Veteran character actor Rance Howard is perfectly in form as a devout Reverend seeking bigger and nastier ways to kill his wife.

IMDb.com rating is 6.0

Rotten Tomatoes gives it 50% and 52% ratings.

8/9.4

Available free with subscription to Amazon Prime Video and available with ads on TubiTV.

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13 hours ago, LornaHansonForbes said:

thanks for this review! I have been perusing my copy of 5001 NIGHTS AT THE MOVIES by PAULINE KAEL and she had an interesting write-up on this, going into detail on how miffed NOEL COWARD was about the changes made.

Does BITTER SWEET have the standard MCDONALD/EDDY FILM 70-30 split in screen time where JEANNETTE gets the LION'S SHARE and NELSON is relegated to appearing every now and then ( IE whenever they can get his hydraulics working properly a la' the SHARK in JAWS?)

Nelson gets a little more screen time than that, though yes, it's more Jeanette. The play had a Prologue and an Epilogue set in present times (1920s), with the rest of the story being a flashback. Hollywood dropped those, which was probably part of the reason Coward was so upset. One of the oddest changes is that the song "Dear Little Cafe" is renamed "Sweet Little Cafe." I mean, why? Bitter Sweet was not a financial success, perhaps because the cycle of Nelson & Jeanette operettas had run their course.

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12 hours ago, speedracer5 said:

What I did like about it was the over-enthusiastic woman who screamed out her line: HAIL SATAN! She was the best part of the film.

Of course she was...

patsy-kelly-rosemarys-baby.jpg

Because she was played by Patsy Kelly, classic film comedienne:

patsy_kelly_1935.jpg

(^^^ready to launch a zinger-devil beware!)

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23 hours ago, LornaHansonForbes said:

I am almost done with ROSEMARY'S BABY (1968); I think I have only seen it once before and that was ca. 1995, right after I read the book, which many of you probably know is just about exactly like the movie down to uncanny detail.

I did not like either particularly at the time, all these years later though, I can appreciate the mechanics of the movie and I can see why it was/is so popular.

nonetheless, at the end of the day, this film is pretty much wasted on me, I was born in 1978; I grew up watching even sicker more twisted stuff and I was raised Episcopalian, and we really don't get into The Devil much at all (sadly, I might add), so my view of THE DARK ONE is quite different from people who were raised BY STAUNCH CATHOLICS or BAPTISTS or any of the other religions that LONG AGO LEARNED that if you want to put some BUTTS in the seats, you HAVE TO TALK ABOUT FUN STUFF LIKE THE DEVIL EVERY SINGLE SUNDAY!

Although there are no Episcopalians/Baptists in the big cities--Most of Nixon-era NYC was either Catholic (Latins, Irish and Italians) or Jewish, and the former were starting to lump the increasingly conservative and outdated Vatican in with the general "Establishment" of evil politicians, Pentagon and corporations as part of the general outdated malaise.  Complaining about Vietnam, Watergate, pollution, sexual mores, and the crime-decay of the cities was all homogenized into one big misery-loves-company atheist-whine of Why Doesn't God Stop All This, If He's There, and then working all its frustrations out on the usual paranoid targets.  Not coincidentally, we get a big shot of Time's famous 60's "Is God Dead?" cover from around that time, during the big scene where the, heheh, "sophisticated" upper-class neighbor has what seems like the usual NY-sophisticated cocktail-party discussion of why "established religion", meaning the Pope, is out of touch with todays society, etc.

That's what was going around the cities, during the days when folks who couldn't 60's-rebel, or had outgrown it into the early 70's, started realizing there was no fighting city hall, and everybody was having problems.  But most of those folk still being Catholic were at the mercy of their own subconscious fears that a Devil might really be out there and All This Occult Stuff might be real, and if "God was dead", maybe someone else ISN'T??  😱 

That's what fueled most of the 70's Occult Craze while we were picking up the idealistic pieces during the Nixon/Ford era, and the popularity of The Exorcist and The Omen, which also deal with rich upper-class white-people's-problems folks living in Georgetown/DC.

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The Manchurian Candidate Poster

The Manchurian Candidate (1962) TCM On Demand 10/10

A Korean war hero (Laurence Harvey) is brainwashed into being an assassin by the Communists.

First time I watched this all the way through in years, it is still one of the greatest thrillers I have ever seen. So many great scenes and performances. Frank Sinatra in one of his best as Harvey's superior officer who is plagued by nightmares after the war. The brainwashing scenes are brilliantly done, I don't want to say too much about them so others will be encouraged to watch this. Khigh Deigh has some wickedly funny moments as the main Korean brainwasher. There is one of the first martial arts fights in a American film between Sinatra and Henry Silva (playing a Korean). It is one of the best fight scenes I have ever seen. Angela Lansbury nearly steals the film as Harvey's cold hearted mother. James Gregory plays her henpecked red baiting Senator husband. Janet Leigh plays Sinatra's love interest and they have some of the weirdest dialogue when they first meet. The climax is a shocker.

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On 3/5/2021 at 9:55 AM, TomJH said:

If you start off with one film in their musical series, TikiSoo, may I suggest ROSE MARIE (1936)?

It should be in a double-bill with MOREY AMSTERDAM.

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This may need to be moved to another thread since it's not a classic movie, but I just finished JUDAS AND THE BLACK MESSIAH. I thought it was excellent. The subject matter won't appeal to everyone. It interests me because I love history and I lived through these times. The issues portrayed seem to still plague our country over fifty years later.  While not very well known Fred Hampton was a significant player in the civil rights movement in the late 60s regardless of whether he's considered a hero or a villain. 

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On 3/5/2021 at 8:31 PM, speedracer5 said:

I'm not a fan of Rosemary's Baby, but that's more because it really isn't my type of movie at all.  It didn't really hold my attention.

Now that’s interesting.

being not terribly religious or afraid of THE DEVIL, I admit to not being scared or even unsettled by ROSEMARYS BABY...

but, 

As I watched it I kept thinking to myself “man if I was a woman I bet this probably would scare the **** out of me”

Not just because of all the scary pregnancy stuff, but just the fact that poor Rosemary has absolutely no autonomy as a woman in her situation in 1966 in America, even in the heart of the biggest city in the nation. 

And frankly not that different from the plight women are facing right this very minute across the world. (I mean just leave out all the devil stuff.)

So the fact that the film didn’t even hold your attention much less scare you as a woman, must mean you’re pretty hard-core.
 

I respect that.

 

*Made in 1968, the film is set in 1966. In fact the due date For the titular infant is in June of 1966, aka 6/66.

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3 hours ago, Hoganman1 said:

This may need to be moved to another thread since it's not a classic movie...

it's established in the bylaws of this thread that it's about WHATEVER you just watched. be it a classic film, modern film, TV SHOW or even live productions. Sometimes I even post about things I'VE JUST READ if they're a topic that I think would be of interest (ie film related)

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5DL1B9xGBnvqiTmOUzowZg2AhSNLscxtjgR2Zt2M

I watched CHARLEY VARRICK (1971) aka CHARLEY VARRICK: THE LAST OF THE INDEPENDENTS aka KILL CHARLEY VARRICK, all of which make fine titles.

It's about a wily crop duster/stunt pilot who decides to rob a bank and ends up knocking over one in a small southwestern town that is, in fact, a laundering operation for the mafia; surprisingly, JIM THOMPSON had nothing to do with it, but I would bet that, if he saw it, he loved it.

it's a good movie, but one that would not  be nearly as unique and memorable had it featured, oh I dunno, WARREN OATES or LEE MARVIN or STEVE McQUEEN, as the titular BANK ROBBER, instead someone, somewhere smoked some good **** (it was the seventies after all) and said "hey, what if we got WALTER MATTHAU TO DO IT?"

And Matthau ends up, like STANWYCK in DOUBLE INDEMNITY, turning in a performance that endears a decidedly amoral protagonist to the audience; his CHARLEY VARRICK is almost impossible to dislike, and believe me, i wanted to.

The film is not without its flaws: there is an unforgivably bad exposition scene early on; and FELICIA FARR aka MRS. JACK LEMMON appears in a particularly unnecessary and somewhat confusing part at the end, also- forgive me for being a Stickler on this but it just always rubs me wrong- TIRES DO NOT SQUEAL ON DIRT ROADS!!!!!! I know it's ONE OF THOSE MOVIEMAKING things, but I DON'T KNOW WHY IT IS, and it irritates me.

eta: this is also one of those GREAT "TIME CAPSULE" FILMS, you see ALL SORTS of cars, locations, billboards, etc. as there were in 1970/71

 

 

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