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9 hours ago, SansFin said:

Rosencrantz & Guildenstern Are Dead (1990)

 

Two characters with no story of their own and unsure of their identities are summoned by the king and queen and tasked with finding the cause of the affliction of young Hamlet.

Gary Oldman and Tim Roth are the title characters but it is not clear at all times which is which. Richard Dreyfuss is the leader of a troupe of actors and is the irreverent and slightly irrational voice of reason. 

This movie is a play which is a play of words and on words. It is absurdly existential and existentially absurd. It twines in and out of a larger play which the characters do not know exists. 

I love this movie so much that I watch it again about once a year.

8/9.2

It is available on several streaming services.

I'm just reading an excellent new biography of Tom Stoppard by Hermione Lee. It has a lot about the play and film. Here's a quote you may enjoy, related to that year's Venice festival:

"The expected winner was Scorsese's Goodfellas. After Rosenkrantz was shown on 5 September, Stoppard flew back to London and asked, breaking the rules of the Festival, that he might be told the result in advance; he couldn't face going back to Venice to see Goodfellas win. "Please return to Venice," came the message... Gore Vidal, who was chairing the panel of judges (which included Omar Sharif), described Stoppard's film as "a tribute to the force of the mind, of wit and logic in human affairs." Stoppard himself thought Goodfellas was in another league altogether, and told Scorsese he would have voted for him - 'don't blame me!'"

 

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14 minutes ago, Swithin said:

I'm just reading an excellent new biography of Tom Stoppard by Hermione Lee. It has a lot about the play and film. Here's a quote you may enjoy, related to that year's Venice festival:

"The expected winner was Scorsese's Goodfellas. After Rosenkrantz was shown on 5 September, Stoppard flew back to London and asked, breaking the rules of the Festival, that he might be told the result in advance; he couldn't face going back to Venice to see Goodfellas win. "Please return to Venice," came the message... Gore Vidal, who was chairing the panel of judges (which included Omar Sharif), described Stoppard's film as "a tribute to the force of the mind, of wit and logic in human affairs." Stoppard himself thought Goodfellas was in another league altogether, and told Scorsese he would have voted for him - 'don't blame me!'"

 

I thank you for posting that! 

Goodfellas (1990) was excellent but it is very much of a type. Rosencrantz & Guildenstern Are Dead (1990) is a blend of several cinematic traditions and had no direct precursors.

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The Smiling Ghost (1941)

I tend to like this type of movie, a vaguely horror plot, set in a mysterious mansion populated with a lot of odd characters. This one is surprisingly posh for the genre, in terms of cast and production values, but it just gets too silly.

Wayne Morris locks himself in his office, hiding from his creditors. His assistant (Willie Best) passes him milk over the transom. A phone call comes, inviting him for a job interview. Wayne and Willie go to the interview, where they are referred to Helen Westley, who is hiring a suitor for her granddaughter -- Alexis Smith -- whose boyfriends have been murdered, after each engagement. The family wants to stage a wedding to catch the murderer.

Morris and Best go to the mansion, where they meet the usual gaggle of strange relatives. Charles Halton is probably the strangest. He takes a fancy to Willie Best's head and wants to shrink it for his collection. Lee Patrick is another strange one. She's obsessed with a string of pearls (a very red herring!). Alan Hale is not your usual butler. A few miles away, there is a man in an iron lung who was one of the previous suitors. Brenda Marshall is a busybody reporter. Warner Brothers gives us an A-list cast.

It could have been a contender for a great film in its genre, but it just gets too crazy, and there are plot holes and confusing devices. How did the man in the iron lung (David Bruce) get inside the locked mausoleum? Why didn't Helen Westley know about all the secret passages in her house, which she has presumably lived in for decades? There are other silly and confusing issues that I won't go into. I love these movies, so I don't expect logical perfection (or perfect logic).

The humour is over the top, and diminishes the movie. But you know what? Willie Best is an excellent actor, and he has some good lines. When he and Wayne Morris go to the job interview, the woman at the desk asks, "Which one of you is the applicant?"  Best replies, "The light complected gentleman."  Best's exchanges with the man who wants to shrink his head are also amusing. But then, they just get so into the stereotypical stuff, including fear of cemeteries; and the very end is embarrassing. For the first part of the movie, though, Best is a fairly equal sidekick to Morris.

Despite my caveats, I guess I enjoyed it.

25.JPG

thesmilingghost1941.90569.jpg

images?q=tbn:ANd9GcQIdm0I1UUR1CAAfPHJchU

 

 

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I just watched the first episode of ADAM-12 where the series sets up a dynamic between Pete Malloy and Jim Reed.  It may be MARTIN MILNER's voice when he talks into the squad-car radio but it sure is NOT KENT McCORD... his voice was dubbed by somebody who did not sound like him at all! 

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16 hours ago, SansFin said:

Goodfellas (1990) was excellent but it is very much of a type. Rosencrantz & Guildenstern Are Dead (1990) is a blend of several cinematic traditions and had no direct precursors.

I couldn't make it through 15 minutes of GOODFELLAS (even my Mother loves it!) the violence horrified me. I can't wait to give R&GAD a chance, although I bet it's going to require concentration watching at home on TV.

11 hours ago, Swithin said:

Willie Best is an excellent actor, and he has some good lines. When he and Wayne Morris go to the job interview, the woman at the desk asks, "Which one of you is the applicant?"  Best replies, "The light complected gentleman."  Best's exchanges with the man who wants to shrink his head are also amusing. But then, they just get so into the stereotypical stuff, including fear of cemeteries; and the very end is embarrassing. For the first part of the movie, though, Best is a fairly equal sidekick to Morris.

Well I enjoyed it, haunted house movies are one of my favored genres. I love Willie Best in this and am not embarrassed by his performance. I think it was a sincere attempt at making a "buddy" picture, wish it caught on. Is this the movie where Morris says, "Stop acting scared" and best replies, "Who's ACTING?" 

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59 minutes ago, TikiSoo said:

I couldn't make it through 15 minutes of GOODFELLAS (even my Mother loves it!) the violence horrified me. I can't wait to give R&GAD a chance, although I bet it's going to require concentration watching at home on TV.

Well I enjoyed it, haunted house movies are one of my favored genres. I love Willie Best in this and am not embarrassed by his performance. I think it was a sincere attempt at making a "buddy" picture, wish it caught on. Is this the movie where Morris says, "Stop acting scared" and best replies, "Who's ACTING?" 

I agree with you about the buddy aspect, which worked well. But the movie should have ended with the resolution, and not have had Best running out like a terrified lunatic. 

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6 hours ago, TikiSoo said:

I couldn't make it through 15 minutes of GOODFELLAS (even my Mother loves it!) the violence horrified me. I can't wait to give R&GAD a chance, although I bet it's going to require concentration watching at home on TV.

 

Rosencrantz & Guildenstern Are Dead (1990) is available on: TubiTV. I believe that you must use the: Search function to find it as I do not recall ever seeing it in any of their category menus. 

I would not class it as: 'concentration' as much as: 'attention'. Much of the wit mimics Shakespeare in that it is fast and subtle. 

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On 4/28/2021 at 8:40 PM, Swithin said:

The Smiling Ghost (1941)

 

Willie Best certainly got a physical workout with all the running around he does in this film whenever he thinks there's a ghost around. But he also has a few good lines of dialogue. At one point Wayne Morris asks him if he's afraid, to which Willie replies, "I ain't afraid but my feets ain't gonna stand around and see my body abused."

Best, a wonderful comic actor, always had great deliveries of these lines. It's a shame that enjoyment of many of his performances today is often impacted by the cringing modern audiences might experience due at the racially stereotypical material.

13: THE SMILING GHOST / Warner Bros. - 1941

The Smiling Ghost would also be the last Wayne Morris film released for another six years. After he returned from his military war service, having gone on 57 aerial sorties with four Distinguished Flying Crosses and two Air Medals awarded to him, that boyish charm he demonstrated in this film would be gone forever.

Bert DeWayne Morris, Jr., Lieutenant Commander, United States Navy

Anyone else find it ironic that Morris is probably best remembered today for playing an army coward in Paths of Glory? Ever since reading about his sterling WW2 military service (a least once one of the planes in which he returned had to be scrapped because of the damage done to it by bullet holes) I take off my hat to Wayne Morris, a true American patriot.

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The Iceman Cometh Poster

The Iceman Cometh (1973) DVD 9/10

Taking place in New York tavern/flophouse in 1912, a depressed group of barflies await the arrival of their jovial and generous friend Hickey (Lee Marvin).

Eugene O'Neill's emotionally draining play is brought to the screen by director John Frankenheimer and a powerhouse group of actors. Fredric March (his last film) plays the irascible Harry, the owner of the bar. He does a great job switching from venomous anger to wallowing self pity in a heartbeat. Robert Ryan gives one of his last and most effective performances as Larry Slade, a former anarchist and now hoping for death. Marvin has some powerful scenes as the deceptively chummy guy who has dark secrets. It was great seeing Marvin and Ryan together again, as they appeared in 3 other films-Bad Day At Black Rock (1955), The Professionals (1966) and The Dirty Dozen (1967). I would have liked to have heard their offstage conservations, if they had any. The youngest member of the cast, Jeff Bridges, is able to hold his own with the other heavyweights, playing the son of Slade's former lover.

This was the full 4 hour version filmed for The American Film Theatre. Despite the length I was riveted the whole way. It was on two DVDs, 2 hours each. I took about an hour break in between. 

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14 hours ago, Det Jim McLeod said:

This was the full 4 hour version filmed for The American Film Theatre. Despite the length I was riveted the whole way. It was on two DVDs, 2 hours each. I took about an hour break in between. 

Wow thank you for that review. You mention all the great things about this story and the daunting running time. Knowing Jeff Bridges career path, not surprised he had the talent/chutzpah to rise to the old gents level, must have been an early learning experience for him.

Can't believe you watched with only an hour break, guess sometimes you don't want to lose the momentum! 

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Just Saw the Animated Flick,,

- -- the Mitchells Vs the Machines,. --- (2021.

..So, If Really Really Recent Stuff Turns AnyOne Off.. ... ..Save Yourself. Lol

_

Its no Spider-Verse.. ...but it WAS.. ...Surprisingly Goode,.

👏👏🤖🤖👏👍🤖👍👏🚙👏👏🚙🤖👏👏👍🐊🐢🦖🦕👍

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so, i watched a filme we have all been discussing in another thread

DANGEROUS LIAISONS (1988)

See the source image

 

 

I was ten years old when this came out, growing up in SOUTHEAST NORTH CAROLINA and I remember everyone talking about it and then within a year or so of its release, I found myself HOME ALONE (hands on the face, screaming) and LO AND BEHOLD, it was on HBO in the middle of the day.

And I watched it and I "got" it, and I was proud of myself for "getting" it and also liking it; and also been stirred by the scene where MLLE. CECILLE'S LADIES MAID offers herself, nude to MALKOVICH after being with HIS VALET thinking he is blackmailing her.

Even at age 11 (or so), this film SPOKE TO ME.

All these years later, I still "get" it, although I think I have been smoking too much weed- I had a little bit of a hard time following this plot this here go-round; it certainly helped that I remember it thanks to CRUEL INTENTIONS.

Not meaning to ignite a firestorm, BUT THIS REALLY IS THE ULTIMATE GAY FILM. Even more than MOMMIE DEAREST.

I think more deserving of praise than ANYONE ELSE is THE SCREENWRITER/playwright who adapted it; HOLY MOLEY did he take one DULLASSED SNOOZE OF A BOOK and PUMP IT FULL OF FIRE AND ICE AND BLOOD. (I tried to read THE SOURCE NOVEL by Choderles DeLaclos and man does it EAT!)

Did you know that GLENN CLOSE kept her costumes and loaned some to MADONNA for her VOGUE performance at the VMA's?

this film walks a VERY FINE LINE with regard to the issues of consent, but i think it survives the post-ME TOO world; THERE is a brilliant scene between UMA THURMAN and CLOSE that is liberating; but I think it's fair to say that even in 1988 this was the reason JOHN MALKOVICH didn't get an OSCAR NOMINATION, even though he deserved it. [doubtlessly a lot of female members of the Academy recognized this behavior and were repelled.)

The acting is pretty great except for KEANU REEVES; although SWOOSIE KURTZ seems somehow out of place. I had forgotten UMA THURMAN is in this, and she really is tremendous in a difficult role.

word fail me when it comes to anything I could say about the work of MICHELLE PFEIFFER and GLENN CLOSE and THE COSTUMIER and THE SET DESIGN and THE DIRECTION and THE EDITING.

THE ENDING OF THIS FILM IS MY EVERYTHING. I SOMETIMES WATCH THE CLIP OF GLENN CLOSE THROWING HER FIT THEN GOING BOOED AT THE OPERA ON YOUTUBE WHEN I AM FEELING DEPRESSED. THE BEST PART IS WHEN SHE STUMBLES ON THE WAY OUT IN UTTER, BROKEN DEVASTATION.

I'm not saying that they should secretly invite Ivanka to The Met Gala in September just to re-enact this scene...

                                                                                                                                                                     (But they should secretly invite Ivanka to The Met Gala just to re-enact this scene. )

 

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I just watched this...on my computer...and after it somehow queued up on it after watching something completely different on YouTube...

And then offered up a little remembrance of my own in the comments section and just below the bachelorette Deana Martin's (Dean Martin's daughter) recently posted comments about her date with the wild and crazy guy back then.

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8 hours ago, LornaHansonForbes said:

so, i watched a filme we have all been discussing in another thread

DANGEROUS LIAISONS (1988)

I was tidying up today -- having my first dinner party in more than a year tomorrow (everyone vaccinated) -- and came across my programme for the RSC production, which I saw in London in 1986. Programme includes some interesting articles about Laclos, who wrote the novel. Loved the play. Not sure if I've seen the film.

tumblr_ohonc5XCma1tdl1ono1_1280.jpg

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17 hours ago, LornaHansonForbes said:

and THE COSTUMIER and THE SET DESIGN and THE DIRECTION and THE EDITING.

 

17 hours ago, LornaHansonForbes said:

I SCREAMED WHEN SHE SHOWED UP IN THIS:

SO FUNNY! I had seen this movie at the theater (was maybe 25) with my friend who was costumer for Eastman School of Music Opera- now a professional costumer working in Hollywood. Although I remember NOTHING of the movie, I will never forget her grabbing my sleeve & whispering "THAT...did you see that?" eventually so many times she downshifted to simple nudges and almost silent squeals. A cherished memory of a fellow artist wholly into their job.

Thanks, your review has prompted me to see this again after all these years.

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Paris When It Sizzles (1964)

 

An innocent young typist is morally, romantically and cinematographically corrupted by a wanton alcoholic screenwriter.

It is easy to have high hopes for a movie written by George Axelrod, directed by Richard Quine and starring William Holden and the always-charming Audrey Hepburn. It is very easy also for pseudo-intellectuals and stiffs to howl because it is not a simple-minded romance and does not live up fully to its potential.

The framework is a screenwriter and temp falling in love while attempting to create an entire movie script within two days because he has squandered both all the time allotted and all the advance which he was paid. Interspersed throughout are fantasies of the scenes he is writing. 

I like it! It is hokey. It is absurd. It pokes fun at a wide variety of movie-making tropes.

The major flaw is that it is uneven. A few of the fantasy scenes are superb. Most are fine. One is spectacularly bad. The pacing of the developing romance between screenwriter and temp staggers and lurches rather than simply grows.

A significant flaw also is that William Holden is genetically and idealistically incapable of comedy. He lacks all sense of timing and possesses the je ne sais quoi of a dead frog. 

I believe that anyone who can simply let go and accept it for what it is will enjoy it. I believe also those who sit in judgement on movies will see only the flaws and grouse.

7.4/9.2

It is available for viewing on: PlutoTV.

 

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19 hours ago, LornaHansonForbes said:

so, i watched a filme we have all been discussing in another thread

DANGEROUS LIAISONS (1988)

I've always wanted to see this movie.  Based on your review, the title, and the amazing costumes, this is a must watch for me! ... And I see it's streaming on HBO Max!! Woohoo!!

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3 hours ago, SansFin said:

Paris When It Sizzles (1964)

 

An innocent young typist is morally, romantically and cinematographically corrupted by a wanton alcoholic screenwriter.

It is easy to have high hopes for a movie written by George Axelrod, directed by Richard Quine and starring William Holden and the always-charming Audrey Hepburn. It is very easy also for pseudo-intellectuals and stiffs to howl because it is not a simple-minded romance and does not live up fully to its potential.

The framework is a screenwriter and temp falling in love while attempting to create an entire movie script within two days because he has squandered both all the time allotted and all the advance which he was paid. Interspersed throughout are fantasies of the scenes he is writing. 

I like it! It is hokey. It is absurd. It pokes fun at a wide variety of movie-making tropes.

The major flaw is that it is uneven. A few of the fantasy scenes are superb. Most are fine. One is spectacularly bad. The pacing of the developing romance between screenwriter and temp staggers and lurches rather than simply grows.

A significant flaw also is that William Holden is genetically and idealistically incapable of comedy. He lacks all sense of timing and possesses the je ne sais quoi of a dead frog. 

I believe that anyone who can simply let go and accept it for what it is will enjoy it. I believe also those who sit in judgement on movies will see only the flaws and grouse.

7.4/9.2

It is available for viewing on: PlutoTV.

 

SansFin, the French original, La fête à Henriette (sometimes known in English as Holiday for Henrietta, according to imdb) is one of Julien Duvivier's masterpieces. This is sometimes available on YouTube or certain websites. All the French actors can do comedy, and all the imagined scenarios are good.

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2 hours ago, kingrat said:

SansFin, the French original, La fête à Henriette (sometimes known in English as Holiday for Henrietta, according to imdb) is one of Julien Duvivier's masterpieces. This is sometimes available on YouTube or certain websites. All the French actors can do comedy, and all the imagined scenarios are good.

 

I am reasonably sure that I have watched that at some point in time but it was surely several decades in the past. 

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5 hours ago, LornaHansonForbes said:

I bet ALAN RICKMAN made ONE HELL of a VALMONT.

His performance was said to be masterful. There was a large air of discontent, I have read, when he was not cast in the film, because WB reckoned that he was a name that nobody outside of theatre audiences knew. He ended up making his film debut in Die Hard, released 5 months before Dangerous Liaisons and he pretty much stole the show as the flamboyant villian. But as good as he was there, it would have been nice if his Liaisons performance had been recorded for posterity.

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18 hours ago, Swithin said:

I was tidying up today -- having my first dinner party in more than a year tomorrow (everyone vaccinated) -- and came across my programme for the RSC production, which I saw in London in 1986. Programme includes some interesting articles about Laclos, who wrote the novel. Loved the play. Not sure if I've seen the film.

tumblr_ohonc5XCma1tdl1ono1_1280.jpg

Alan Rickman looks incredibly sexy in this picture. He rarely got to show this in his movies, although Truly Madly Deeply is a welcome exception.

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