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On 8/26/2019 at 4:27 AM, TikiSoo said:

Barkin is in a lot of films; her performances are consistently good, she always adds strength to any movie she's in. Why didn't she become a bigger star?

Also in a lot of films. Consistently overacts- silly, campy performances. Why did he become such a big star?

Oh yeah, I think BAMBI is Disney's masterpiece. Just gorgeous storytelling with pictures-the animators really got the movement & weight drawn correctly. I love the April Shower song and the mouse washing his face with one raindrop.

When I first saw THE LION KING at the theater, and the heavy handedness of the song & animation of "Circle of Life" I just groaned. No comparison.

I like, "It's alright....the water's STIFF"

 

I like "He can call me Flower if he wants to." 

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From Beyond the Grave  (1974)  -  6/10

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British horror anthology from Amicus. Four stories are connected by a visit to a strange antiques shop run by Peter Cushing. In the first story, David Warner buys a cursed mirror that compels him to murder. In the second, henpecked husband Ian Bannen makes friends with poor street vendor Donald Pleasence, who, along with his creepy daughter (played by Donald's actual daughter Angela Pleasence), offer to help deal with his shrewish wife Diana Dors. In the third tale, Ian Carmichael buys a snuff box that causes him to be targeted by an "elemental", a supernatural being that only spiritualist Margaret Leighton can get rid of. And in the fourth and final tale, Ian Ogilvy buys a strange medieval door imbued with satanic energy. This is typical of the other Amicus horror anthologies of the time, a passable way to waste some time, but nothing too memorable or extraordinary.

Source: Warner Archive DVD

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3 hours ago, LawrenceA said:

Evil of Dracula  (1974)  -  6/10

I've been contemplating picking up this trio of movies.

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Going Places  (1974)  -  8/10

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French comedy from writer-director Bertrand Blier. Jean-Claude (Gerard Depardieu) and Pierrot (Patrick Dewaere) are two young hooligans who drift from one petty crime to another, all in search of a good time. With Miou-Miou, Brigitte Fossey, Jacques Chailleux, Isabelle Huppert, and Jeanne Moreau. Never has youthful anti-social behavior been so much fun. Guaranteed to offend those with sensitive dispositions, there's a lot of sex and nudity, and the aforementioned disregard of the law, all played for laughs. There's a bit of violence, including some shocking bits that aren't humorous, which help punctuate the undercurrent of nihilistic danger in the two main characters' lives. I was reminded how good Depardieu could be before he became a punchline after Green Card, and Moreau is first-rate as usual. A very young Isabelle Huppert plays a 16-year-old, and is almost unrecognizable. Recommended.

Source: Amazon video

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Upon the urging of fellow members here, I watched KISS ME KATE, a 1953 MGM musical, most likely the only one I hadn't seen. I lurve Howard Keel, but can't stand Kathryn Grayson. I was told I'd feel differently about her in this one and they were right. I don't care for Grayson when she's an overly sweet, coquette with that trilling voice. But here, she was feisty, mature and really pretty, not sappy at all.

That said, I had a hard time concentrating on ANYTHING else besides Keel's magnificent mound:

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(follow the bouncing ball) I loved the costumes and the colors on all the gorgeous healthy young dancer's bodies. Excellent vocals, Cole Porter songs, yeah it was good.

One of the lithe young men in tights executed a perfect double spin leap I had to put back and watch in slo mo. I realized I had seen Bob Fosse credited-of course! This number really highlighted his new modern style.

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Ann Miller was adorable as usual and did a couple of dance numbers with other people-something I thought she never did-share screen time. The story centers around a professional couple in a stage musical together that mirrors Shakespere's Taming Of The Shrew.

As far as musicals go, it was the usual eye popping super lush production that I enjoyed very much. I doubt I'll revisit it, though.

KissMeKateFilm.JPG

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Moses  (1974)  -  4/10

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Biblical epic with Burt Lancaster as the Israelite raised in the Egyptian royal house who, after a period of exile, returns to secure the freedom of his people out of bondage. With Anthony Quayle, Irene Papas, Ingrid Thulin, Laurent Terzieff, Mariangela Melato, Simonetta Stefanelli, Paul Muller, and Paul L. Smith. This was the 142-minute feature version of a 6-hour TV mini-series, and as such it's very choppy. Familiarity with the story helps fill in the gaps, but it's still a mess. Producer Lew Grade and director Gianfranco De Bosio seem to be going for a neo-realist tone, rather than the slick showmanship exhibited in Cecil B. DeMille's 1956 The Ten Commandments. Everything looks ugly and dirty. There's also as much emphasis on the post-Exodus part of Moses' story as there is on the Egyptian/plagues section. It also doesn't sugarcoat the implementation of the New Law, with various gruesome executions committed against offenders. 

Source: Lionsgate DVD

Burt-Lancaster-in-Moses-Premium-Photogra

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The Night of the Sorcerers  (1974)  -  3/10 or 8/10

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Spanish horror film from writer-director Amando de Ossorio. A group of European scientists and surveyors camp near a village in the (fictional) African nation of Bomasa. Unluckily for them, there are zombie tribesman with a white vampire queen nearby. With Simon Andreu, Kali Hansa, Maria Kosty, Loreta Tovar, Jose Thelman, Barbara Rey, and Jack Taylor. This is terribly written and badly directed, but it's also so ridiculous as to be entertaining. The tribal ritual used to create more vampire women involves tying a woman between two trees, whipping her clothes off, then beheading her, causing the head to roll down a stone altar where it lands upright, springing to life with vampire fangs at the ready. Somehow the heads are reattached to the bodies, and the women are given leopard print bikini outfits complete with mini-capes and fringed boots. They also run around in slow motion, making it that much sillier.

Source: Scream Factory Blu-ray

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Slightly Scarlet (1956)

Entertaining, if unremarkable, crime drama, with John Payne as an ambitious wheeler dealer working within a crime organization who manages to work his way to the top, while at the same time helping an honest politician running for mayor win that office. He then looks for favours.

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Alan Dwan directed and John Alton photographed this production which some have labelled a Technicolor film noir. The cast is a good one. Aside from Payne the film features good ol' Ted De Corsia as the head of the crime organization, Kent Taylor as the newly elected mayor and, in a stunning treat for the eyes, the only screen pairing of two of the most celebrated redheads of '50s films, Rhonda Fleming and Arlene Dahl.

Fleming is the secretary of the future mayor, living in a spacious home about half the size of an average castle and with a maid, to boot (some secretary!), and Dahl plays her sister, just released from prison, with a predilection towards kleptomania and men. Dahl's character is the more interesting of the two and the actress is effective in her role, bringing a flirtatious kittenish irresponsibility to many of her scenes. As the film progresses it becomes apparent that she suffers from a few mental health issues, as well.

But Rhonda - in tight shorts and a torpedo bra - Momma Mia! - competes with Dahl in her own special way. Payne, perhaps a little overshadowed by the screen activity of the two lovely redheads, is still a credible tough guy, the film predictably leading up to his final confrontation with De Corsia and his mob.

Aside from the noteworthy contributions of Dahl and Fleming, Slightly Scarlet, based upon a novel by James M. Cain, may draw a bit of a surprise for some by the ambiguity of its ending.

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2.5 out of 4

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On 8/27/2019 at 10:00 AM, cigarjoe said:

Half of The Grey Fox (1982)

Image result for The Grey Fox 1982

before my chromecast crapped out, forgot how good it was.

Wait--The Grey Fox is SHOWING somewhere?  😮

It's been in limbo since the VHS 80's, now playing at the Bermuda Triangle's Amelia Erhardt Cineplex!  

Also in a lot of films. Consistently overacts- silly, campy performances. Why did he become such a big star?

I've never really thought of Donald Pleasance as "overacting"--Even when playing "good" characters, that calm, creepy, under-emotional lobotomized drone adds to the unsettling atmosphere of whatever he's in.  (He mentioned that before "The Great Escape", he'd been in a prison camp during the War, and unlike gentleman-horror actors like Christopher Lee and Peter Cushing, I've always wondered whether he came out of it with every single marble intact.)

I remember one comic joking that there's nothing Pleasance could say that wouldn't sound creepy--Imagine him walking into a Denny's and saying "I would like...the Grand Slam breakfast...with extra bacon, please."  

17 hours ago, TikiSoo said:

Upon the urging of fellow members here, I watched KISS ME KATE, a 1953 MGM musical, most likely the only one I hadn't seen. I lurve Howard Keel, but can't stand Kathryn Grayson.

That said, I had a hard time concentrating on ANYTHING else besides Keel's magnificent mound:

(starts to make joke about watching the Blu version in 3D)

(thinks better of it  😅 )

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I watched (for the first time) RETURN TO PEYTON PLACE (1961) on TCM ON HULU...

gotta love the LITTLE GOLDEN BOOK STYLE TITLE SEQUENCE:

rp02.jpg

 

it unsettled me a little bit because it bore a striking similarity in a lot of respects to a screenplay that i have been working on up until April of this year.

ALTHOUGH: I'd like to think mine is nowhere near as goofy as this.

this is more or less a really dumb, but much more entertaining, re-interpretation of YOU CAN'T GO HOME AGAIN. (THERE is even a HEAVY HANDED quotation of THOMAS WOOLF in one scene.) 

NO ONE FROM THE ORIGINAL RETURNS, (which is always a GREAT sign) and it is directed with the trademark subtle touch that could STUN A HORSE by (first timer?) JOSE FERRER, HIS WIFE at the time, ROSEMARY CLOONEY sings a theme song about THE SEASON OF LOVE over the opening credits, the lyrics to which make the lyrics to COME-ON-A-MY-HOUSE seem like COLE PORTER by comparison.

CAROL LYNLEY is in this, for some reason, as the HEROINE. There are worse actresses than CAROL LYNLEY (LOIS CHILES comes to mind), but I'll be damned if I can think of any MORE BORING. She always seems to me as if SHE DOES NOT IN FACT WANT TO BE MAKING WHATEVER MOVIE SHE IS APPEARING IN THAT I AM WATCHING  AND WOULD RATHER BE, say, SITTING ON A PORCH STOOP AND PULLING THE LEGS OFF OF SPIDERS INSTEAD.

I DO NOT LIKE CAROL LYNLEY AND I AM ALLOWED TO NOT LIKE CAROL LYNLEY.

I do, however LOVE MARY ASTOR WHO STEALS THE DAMN FILM AS A HATE-FILLED OLD GARGOYLE WHO (AS PER WIKIPEDIA) ACTUALLY TRIES TO KILL HER DAUGHTER IN LAW BY BURNING DOWN THE HOUSE IN A SCENE THAT WAS FOR SOME CRUEL, CRUEL REASON DELETED.

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The scene at the TOWN MEETING, where SHE IS DEFEATED AND PUTS ON HER COAT AND WALKS OUT is amAzing.

Also her manipulation and shade game is A+++++. her story is, like, supposed to be the "C Story" of the plot, BUT HONESTLY, THEY COULD HAVE DELETED EVERYTHING ELSE BUT THE STORY OF HER AND HER MANIPULATING HER SON AND HIS CHAIN SMOKING PREGNANT ITALIAN WIFE.

TUESDAY WELD is in this. she is a brunette and it is not fair. she should have been BLONDE and THE **** LEAD because even TUESDAY WELD'S shaky early game beats the hell out of LYNLEY acting as though she's just pounded a fistul of thorazine before shooting her every damn scene.

I can see why LANA turned this down, the CONSTANCE MACKENZIE (ROSSI?) role in this is whittled down to nothing.

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19 minutes ago, LornaHansonForbes said:

I watched (for the first time) RETURN TO PEYTON PLACE (1961) on TCM ON HULU...

gotta love the LITTLE GOLDEN BOOK STYLE TITLE SEQUENCE:

rp02.jpg

 

it unsettled me a little bit because it bore a striking similarity in a lot of respects to a screenplay that i have been working on up until April of this year.

ALTHOUGH: I'd like to think mine is nowhere near as goofy as this.

this is more or less a really dumb, but much more entertaining, re-interpretation of YOU CAN'T GO HOME AGAIN. (THERE is even a HEAVY HANDED quotation of THOMAS WOOLF in one scene.) 

NO ONE FROM THE ORIGINAL RETURNS, (which is always a GREAT sign) and it is directed with the trademark subtle touch that could STUN A HORSE by (first timer?) JOSE FERRER, HIS WIFE at the time, ROSEMARY CLOONEY sings a theme song about THE SEASON OF LOVE over the opening credits, the lyrics to which make the lyrics to COME-ON-A-MY-HOUSE seem like COLE PORTER by comparison.

CAROL LYNLEY is in this, for some reason, as the HEROINE. There are worse actresses than CAROL LYNLEY (LOIS CHILES comes to mind), but I'll be damned if I can think of any MORE BORING. She always seems to me as if SHE DOES NOT IN FACT WANT TO BE MAKING WHATEVER MOVIE SHE IS APPEARING IN THAT I AM WATCHING  AND WOULD RATHER BE, say, SITTING ON A PORCH STOOP AND PULLING THE LEGS OFF OF SPIDERS INSTEAD.

I DO NOT LIKE CAROL LYNLEY AND I AM ALLOWED TO NOT LIKE CAROL LYNLEY.

I do, however LOVE MARY ASTOR WHO STEALS THE DAMN FILM AS A HATE-FILLED OLD GARGOYLE WHO (AS PER WIKIPEDIA) ACTUALLY TRIES TO KILL HER DAUGHTER IN LAW BY BURNING DOWN THE HOUSE IN A SCENE THAT WAS FOR SOME CRUEL, CRUEL REASON DELETED.

6a00d8341c630a53ef0133f5df239a970b-pi

The scene at the TOWN MEETING, where SHE IS DEFEATED AND PUTS ON HER COAT AND WALKS OUT is amAzing.

Also her manipulation and shade game is A+++++. her story is, like, supposed to be the "C Story" of the plot, BUT HONESTLY, THEY COULD HAVE DELETED EVERYTHING ELSE BUT THE STORY OF HER AND HER MANIPULATING HER SON AND HIS CHAIN SMOKING PREGNANT ITALIAN WIFE.

TUESDAY WELD is in this. she is a brunette and it is not fair. she should have been BLONDE and THE **** LEAD because even TUESDAY WELD'S shaky early game beats the hell out of LYNLEY acting as though she's just pounded a fistul of thorazine before shooting her every damn scene.

I can see why LANA turned this down, the CONSTANCE MACKENZIE (ROSSI?) role in this is whittled down to nothing.

 

LOL! Good review. Mary is the only good part of the movie. Wish we coud've seen the house burning scene. Too bad. I read that too on imdb. Wonder if it came before or after the courtroom scene, or the courtroom scene replaced it? Definitely a few steps down from the original. And agree about Lynley. Can't recall a film or performance of hers that was beyond average (and plenty below!)

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9 minutes ago, Hibi said:

 

LOL! Good review. Mary is the only good part of the movie. Wish we coud've seen the house burning scene. Too bad. I read that too on imdb. Wonder if it came before or after the courtroom scene, or the courtroom scene replaced it? Definitely a few steps down from the original. And agree about Lynley. Can't recall a film or performance of hers that was beyond average (and plenty below!)

I think I'm literally the one person here who likes BUNNY LAKE IS MISSING, BUT she mostly manages to not get in the way with her built-in "CLINICAL DEPRESSION POUT" trademark, and her stiffness works there to some degree as her character is in shock.

I'm always **** she lives through THE POSEIDON ADVENTURE.

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Just now, LornaHansonForbes said:

I think I'm literally the one person here who likes BUNNY LAKE IS MISSING, BUT she mostly manages to note get in the way, and her stiffness works there to some degree as her character is in shock.

I'm always **** she lives through THE POSEIDON ADVENTURE.

I have never seen Bunny Lake is Missing but want to purely because of the title! 

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4 minutes ago, speedracer5 said:

I have never seen Bunny Lake is Missing but want to purely because of the title! 

it is a WILD FILM, a 1960's BLACK AND WHITE mystery set in LONDON about a little American girl who may or may not have been abducted from an ODD day care school. LYNLEY is the child's mother and KEIR DULLEA is her very belieavbly cast brother- I say that because they both act like mannequins, but IT WORKS FOR THEIR PARTS.

OTTO PREMINGER directed it right before HE TOTALLY LOST HIS MIND and started directing REALLY OUT THERE STUFF.

I think it's FANTASTIC, but I recall almost everyone else posting here at the time (years ago) HAAAAAAAAAAAAATED IT.

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edit- stick with this trailer even though MR FREEZE HIMSELF, OTTO PREMINGER NARRATES and is a little hard to follow at times.

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13 minutes ago, LornaHansonForbes said:

it is a WILD FILM, a 1960's BLACK AND WHITE mystery set in LONDON about a little American girl who may or may not have been abducted from an ODD day care school. LYNLEY is the child's mother and KEIR DULLEA is her very belieavbly cast brother- I say that because they both act like mannequins, but IT WORKS FOR THEIR PARTS.

OTTO PREMINGER directed it right before HE TOTALLY LOST HIS MIND and started directing REALLY OUT THERE STUFF.

I think it's FANTASTIC, but I recall almost everyone else posting here at the time (years ago) HAAAAAAAAAAAAATED IT.

I do love Valley of the Dolls, so I can appreciate ridiculous cinema.  I am still waiting to watch Legend of Lylah Clare.  I am thinking of pairing it with Myra Brecknridge.  I may need to watch some '90210' in between as a cleanser. 

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31 minutes ago, LornaHansonForbes said:

I think I'm literally the one person here who likes BUNNY LAKE IS MISSING, BUT she mostly manages to not get in the way with her built-in "CLINICAL DEPRESSION POUT" trademark, and her stiffness works there to some degree as her character is in shock.

I'm always **** she lives through THE POSEIDON ADVENTURE.

Yeah, she should've been the first one offed in that film.........Olivier helps make Bunny bearable.

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She does die in The Cardinal, speaking of bad acting in a good bad film.

(And I thought Lois Chiles was good in Broadcast News.)

 

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1 hour ago, LornaHansonForbes said:

I watched (for the first time) RETURN TO PEYTON PLACE (1961) on TCM ON HULU...

gotta love the LITTLE GOLDEN BOOK STYLE TITLE SEQUENCE:

rp02.jpg

 

6a00d8341c630a53ef0133f5df239a970b-pi

That's Mary Astor? Look at the size of her coffee cup!

Guess this deserves another viewing. Like Bunny Lake, I've completely forgotten anything about it. Liked it OK, but not burned in my brain.

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18 hours ago, TikiSoo said:

Upon the urging of fellow members here, I watched KISS ME KATE, a 1953 MGM musical, most likely the only one I hadn't seen. I lurve Howard Keel, but can't stand Kathryn Grayson. I was told I'd feel differently about her in this one and they were right. I don't care for Grayson when she's an overly sweet, coquette with that trilling voice. But here, she was feisty, mature and really pretty, not sappy at all.

That said, I had a hard time concentrating on ANYTHING else besides Keel's magnificent mound:

11500_5.jpg

(follow the bouncing ball) I loved the costumes and the colors on all the gorgeous healthy young dancer's bodies. Excellent vocals, Cole Porter songs, yeah it was good.

One of the lithe young men in tights executed a perfect double spin leap I had to put back and watch in slo mo. I realized I had seen Bob Fosse credited-of course! This number really highlighted his new modern style.

z04q06KPhFwOoqAqV4= 

Ann Miller was adorable as usual and did a couple of dance numbers with other people-something I thought she never did-share screen time. The story centers around a professional couple in a stage musical together that mirrors Shakespere's Taming Of The Shrew.

As far as musicals go, it was the usual eye popping super lush production that I enjoyed very much. I doubt I'll revisit it, though.

KissMeKateFilm.JPG

I agree completely about Kathryn Grayson. In her earlier roles she came across as bland and dull. But in Kiss Me Kate she truly shines. It makes you hope MGM, or another studio, would have given her parts with a hard edge.

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52 minutes ago, Roy Cronin said:

She does die in The Cardinal, speaking of bad acting in a good bad film.

(And I thought Lois Chiles was good in Broadcast News.)

 

i've never seen THE CARDINAL, but I want to because I like JOHN HUSTON as an actor very much and it was the one time he was nominated for an Oscar for his acting. it's also the second of PREMINGER'S TWO BEST DIRECTOR NOMINATIONS, the other being for LAURA.

I don't remember her in BROADCAST NEWS! It's been A LONG TIME.

I have seen DEATH ON THE NILE A WHOLE WHOLE LOT OF TIMES GOING BACK TO MY YOUTH, and even as an eight year old, I remember thinking, "WOW, SHE SUCKS!"

LOIS CHILES'S two best worst moments IN DEATH ON THE NILE are

1.a scene with ANGELA LANSBURY which is amazing for its demonstrative AND INVALUABLE lesson in GOOD BAD ACTING vs. BAD BAD ACTING. Her reading of the line that ends with "...your vulgar dribble!" is SO BAD and yet SO DUBBED, it is mindboggling to sumise that THIS WAS THE BEST READ SHE GAVE OUT OF MULTIPLE TAKES WHILE SITTING IN AN ADR BOOTH IN LONDON.

2. The scene where SHE IS SUPPOSED TO BE DEAD AND SHE BLINKS. I think even DREW BARRYMOORE could convincingly play dead...although she always has the capacity to surprise me.

 

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Lois plays the news reporter Jennifer who is a competitor of Jane's, Holly Hunter for the attention of William Hurt.

There is a funny scene where Jane Craig needs to send a reporter to Alaska to cover a mass murderer.

"Jennifer.  Let's send Jennifer."  On the TV screen you next see Jennifer reporting in a huge parka during a blizzard.

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5 hours ago, EricJ said:

Wait--The Grey Fox is SHOWING somewhere?

You can find it streaming.

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16 minutes ago, cigarjoe said:

You can find it streaming.

The Grey Fox is a terrific movie.

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2 hours ago, LornaHansonForbes said:

I think I'm literally the one person here who likes BUNNY LAKE IS MISSING, BUT she mostly manages to not get in the way with her built-in "CLINICAL DEPRESSION POUT" trademark, and her stiffness works there to some degree as her character is in shock.

I'm always **** she lives through THE POSEIDON ADVENTURE.

I like Bunny Lake Is Missing but always felt that it suffered because of . . . Carol Lynley in the lead role. The casting is off in some other roles, too. If you were casting a heterosexual lecher, would you say, "I know! Let's get Noel Coward!" And Olivier needed the money, and his performance is certainly decent, but really, John Williams could have played the detective more stylishly. Now Keir Dullea is appropriately cast, and Martita Hunt romps off with the film as the loony, creepy lady who tape records children's dreams. The movie as a whole isn't bad, but not up to the standard of Preminger's 40s and 50s noirs.

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