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Post by Doghouse6 on Jul 13, 2019 14:41:59 GMT
Thanks for the heads up! I have a bent for these type of tales and recently watched and loved The Enchanted Cottage, so I tracked it down and watched last night. Will have a review up for next weeks thread, but quick interim thoughts. I find the running order disappointing, the last segment should have kicked things off and the superb Eddie G segment as the finale. That last segment outside of the high wire sequences I found pretty dull, which when considering the talent on show is such a shame. Eddie G rocks as usual, this part is a perfect aperitif to his Night Has a Thousand Eyes (1948) . The photography is superb, Cortez stamp all over things, with the first episode wonderfully off kilter, the Mardi Gras setting very noirish. Interesting to note that another episode was filmed to open this film but was pulled and would be extended to make the feature film Destiny (1944) (I'll have to see if that's available). Finally, there is at least one mirror shot in the last episode, right at the end with Boyer in his trailer sitting in front of the make-up mirror. Reading your remarks, I realize now that I gave no thought to the order of the stories while watching it. But I can speculate after the fact about reasons they might have chosen to place them as they did. One could be that the order amps up the star power with each successive story: from Cummings and Field to Robinson to Stanwyck and Boyer. Another might have had to do with wartime entertainment tastes and moods: it opens with a very easy-to-take and wildly romantic fable; the middle episode, good as it is, is a brutal downer; the final one sent audiences home with another dose of romance along with feelings of hope and optimism. Just guesses. About the third segment, it's interesting to me that Stanwyck signed up for a role and story covering some thematic territory similar to that of Remember the Night, which she'd done only three years earlier. (Ginger Rogers and Joseph Cotten would do so the following year in 1944's I'll Be Seeing You). Elements of the Sadie Thompson character and story are echoed as well. And wouldn't Stanwyck have made a wonderful Sadie? I intend to see if I can track down Destiny too. I wish us both luck.
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Post by hitchcockthelegend on Jul 17, 2019 13:41:00 GMT
Thanks for the heads up! I have a bent for these type of tales and recently watched and loved The Enchanted Cottage, so I tracked it down and watched last night. Will have a review up for next weeks thread, but quick interim thoughts. I find the running order disappointing, the last segment should have kicked things off and the superb Eddie G segment as the finale. That last segment outside of the high wire sequences I found pretty dull, which when considering the talent on show is such a shame. Eddie G rocks as usual, this part is a perfect aperitif to his Night Has a Thousand Eyes (1948) . The photography is superb, Cortez stamp all over things, with the first episode wonderfully off kilter, the Mardi Gras setting very noirish. Interesting to note that another episode was filmed to open this film but was pulled and would be extended to make the feature film Destiny (1944) (I'll have to see if that's available). Finally, there is at least one mirror shot in the last episode, right at the end with Boyer in his trailer sitting in front of the make-up mirror. Reading your remarks, I realize now that I gave no thought to the order of the stories while watching it. But I can speculate after the fact about reasons they might have chosen to place them as they did. One could be that the order amps up the star power with each successive story: from Cummings and Field to Robinson to Stanwyck and Boyer. Another might have had to do with wartime entertainment tastes and moods: it opens with a very easy-to-take and wildly romantic fable; the middle episode, good as it is, is a brutal downer; the final one sent audiences home with another dose of romance along with feelings of hope and optimism. Just guesses. About the third segment, it's interesting to me that Stanwyck signed up for a role and story covering some thematic territory similar to that of Remember the Night, which she'd done only three years earlier. (Ginger Rogers and Joseph Cotten would do so the following year in 1944's I'll Be Seeing You). Elements of the Sadie Thompson character and story are echoed as well. And wouldn't Stanwyck have made a wonderful Sadie? I intend to see if I can track down Destiny too. I wish us both luck. There's a very good chance that a feel good factor was grabbed for due to the wartime era, though it's not a fully formed feel good, it's still ill fated love come the resolution. Maybe though? What we do know is that it wouldn't be long before noir would hit its straps and film makers were more than happy to close out their pics with bleak finales. I love Remember the Night, lovely and ideal Xmas fare. I'll add another mirror image from F&F for the thread
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Post by Doghouse6 on Jul 17, 2019 15:43:56 GMT
I'll add another mirror image from F&F for the thread I'm glad you found an image depicting the lens reflections. That's one I couldn't track down, so back at ya.
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Post by teleadm on Jul 18, 2019 17:13:59 GMT
A few mirrors from White Heat 1949: Writing an important message for the police. Mama Jarrett knows a policecar when she see's one in the rearview mirror.
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Post by hitchcockthelegend on Jul 21, 2019 12:37:49 GMT
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Post by london777 on Jul 21, 2019 18:10:24 GMT
The Cranes are Flying (1957) Mikhail Kalatozov
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Post by BATouttaheck on Aug 1, 2019 1:25:02 GMT
The Bad Seed
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Post by Lebowskidoo 🦞 on Aug 6, 2019 1:32:18 GMT
Jim Carrey in Me, Myself and Irene (2000) Ed Helms in The Hangover (2009)
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Post by BATouttaheck on Aug 6, 2019 2:29:58 GMT
The Last Picture Show
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Post by BATouttaheck on Aug 7, 2019 4:00:20 GMT
Strangers on a Train
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Post by BATouttaheck on Aug 7, 2019 4:01:51 GMT
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Post by BATouttaheck on Aug 7, 2019 23:58:52 GMT
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Post by Chalice_Of_Evil on Aug 10, 2019 21:02:29 GMT
Apologies if this has already been mentioned, but there are two memorable instances of reflected images in the film Road to Perdition (2002). One is in a mirror on a door, the other is in a window.
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Post by hitchcockthelegend on Aug 11, 2019 15:05:06 GMT
Miss Potter (2006)
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Post by Chalice_Of_Evil on Aug 12, 2019 5:20:53 GMT
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Post by teleadm on Aug 16, 2019 15:38:22 GMT
While seaching for something else I stumbled over this pic from a West-German (as it was called back then) movie called Dieses Lied bleibt bei Dir (called Cabaret in USA) 1954, the man is Paul Henried and the woman might be Eva Kerbler.
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spiderwort
Junior Member
@spiderwort
Posts: 2,523
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Post by spiderwort on Aug 22, 2019 0:03:14 GMT
Victor Sjöström and Bibi Andersson in Wild Strawberries (1957) Citizen Kane (1941) The Lady from Shanghai (1957) Margaret Sullavan in The Good Fairy (1935) Dick Powell and Claire Trevor in Murder My Sweet (1944) Peter Lorre in M (1931)
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Post by teleadm on Aug 22, 2019 18:14:42 GMT
Flaming Youth 1923, Colleen Moore and maybe Milton Sills. Found it when searching for material for an eventual Colleen Moore thread. The movie in itself is partially lost, one reel has survived and is housed at the Library of Congress. A Jazz Age movie.
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Post by kijii on Aug 22, 2019 18:31:57 GMT
In Sophie's Choice (1982) there is a great example this when Meryl Streep is explaining to Peter MacNicol the story behind her "choice." In the scene I am thinking of there is a mirror behind Streep as she tells her story to Stingo in a dimly lit room. Too bad, I can't find a screenshot of this... This is Stingo's reaction shot to what she is telling him...
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Post by divtal on Aug 22, 2019 18:55:05 GMT
The Nun's Story (1959) ... Sister Luke (Audrey Hepburn) looks carefully at her reflection in a glass case in Dr. Fortunati's office. The nuns weren't allowed mirrors, as they were considered to be an instrument of vanity.
A Christmas Carol (1951) ... Scrooge (Alistair Sim), being "reborn" as a caring person, looks at himself in the mirror, to confirm that he really exists. (This is an often cited "film flub," because a crew member's face is briefly visible in the mirror.)
Snow White and the Seven Dwarfs (1937) ... The wicked queen (voiced by Lucille LaVerne): "Mirror, mirror, on the wall ... who's the fairest of us all?"
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