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Post by Lebowskidoo 🦞 on Jun 14, 2019 15:37:12 GMT
An American Werewolf in London (1981)
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Post by hitchcockthelegend on Jun 23, 2019 12:55:48 GMT
From Beyond the Grave (1974)
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Post by hitchcockthelegend on Jun 23, 2019 13:47:17 GMT
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Post by teleadm on Jun 27, 2019 18:27:40 GMT
A picture I just stumbled upon from Fellini's La Dolce Vita 1960 with a reflection of Alain Cuny:
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Post by hitchcockthelegend on Jul 1, 2019 4:48:09 GMT
Carol Ohmart slinks in the rear view mirror - The Scarlet Hour (1956)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:35:53 GMT
Mickey Mouse in Plane Crazy (1928)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:41:44 GMT
Veronica Lake in Sullivan's Travels (1942)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:43:50 GMT
Thelma & Louise (1991)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:52:39 GMT
Rowan Atkinson in Bean (1997)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:54:57 GMT
Luke Evans in Beauty and the Beast (2017)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 13:56:29 GMT
The Little Mermaid (1989)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 15:00:40 GMT
Meryl Streep Edition: It's Complicated (2009) Mamma Mia! (2008) The Devil Wears Prada (2006) The Hours (2002) One True Thing (1998) with Renee Zellweger The Bridges of Madison County (1995) Death Becomes Her (1992)
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Post by Lebowskidoo 🦞 on Jul 1, 2019 15:03:56 GMT
I also found this, not sure where it's from, but seems familiar. I want to say It's Complicated but it might be Mamma Mia!, I'm not certain, anyone know?
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Post by Doghouse6 on Jul 8, 2019 22:59:17 GMT
Flesh and Fantasy (1943) Forgive me if this film's been mentioned already on the thread, but I've only just seen it for the first time and, as the self-proclaimed laziest man in town, have refrained from rechecking all ten pages thereof. Mirrors and reflections figure prominently in two of the three vignettes comprising director/producer Julien Duvivier's vaguely supernatural anthology of tall tales. In the first, embittered seamstress Betty Field believes her lack of physical beauty has kept her from love and fulfillment, until Mardi Gras, a mysterious stranger, a mask and a meeting with Robert Cummings - the man of her dreams she's admired from afar - convince her otherwise. The thematic territory covered will be familiar to those who've seen films such as The Enchanted Cottage and Mr. Skeffington. In the second, palm-reader Thomas Mitchell foretells that lawyer Edward G. Robinson will commit murder, and everywhere Robinson goes, his talkative reflection in mirrors, windows, glass tabletops and eyeglasses taunts him with suggestions that he take active measures to fulfill Mitchell's prophesy. The third (in which reflected images play no role at all) features Charles Boyer as a circus aerialist and Barbara Stanwyck as a woman about whom he dreamt before meeting her, and all three are linked by framing scenes with Robert Benchley as a gentlemen's club member who is unnerved by his own dreams. Each segment is reasonably predictable but well-presented and satisfying enough, with the aid of supporting players such as Dame May Whitty, Charles Winninger, C. Aubrey Smith, Anna Lee and Clarence Muse.
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Post by hitchcockthelegend on Jul 9, 2019 2:47:12 GMT
Adele Jergens about to steam up the mirror in Armored Car Robbery (1950)
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Post by hitchcockthelegend on Jul 9, 2019 3:02:20 GMT
Pat Garrett & Billy the Kid (1973)
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Post by Doghouse6 on Jul 9, 2019 15:49:25 GMT
Flesh and Fantasy (1943) Forgive me if this film's been mentioned already on the thread, but I've only just seen it for the first time and, as the self-proclaimed laziest man in town, have refrained from rechecking all ten pages thereof. Mirrors and reflections figure prominently in two of the three vignettes comprising director/producer Julien Duvivier's vaguely supernatural anthology of tall tales. In the first, embittered seamstress Betty Field believes her lack of physical beauty has kept her from love and fulfillment, until Mardi Gras, a mysterious stranger, a mask and a meeting with Robert Cummings - the man of her dreams she's admired from afar - convince her otherwise. The thematic territory covered will be familiar to those who've seen films such as The Enchanted Cottage and Mr. Skeffington. In the second, palm-reader Thomas Mitchell foretells that lawyer Edward G. Robinson will commit murder, and everywhere Robinson goes, his talkative reflection in mirrors, windows, glass tabletops and eyeglasses taunts him with suggestions that he take active measures to fulfill Mitchell's prophesy. The third (in which reflected images play no role at all) features Charles Boyer as a circus aerialist and Barbara Stanwyck as a woman about whom he dreamt before meeting her, and all three are linked by framing scenes with Robert Benchley as a gentlemen's club member who is unnerved by his own dreams. Each segment is reasonably predictable but well-presented and satisfying enough, with the aid of supporting players such as Dame May Whitty, Charles Winninger, C. Aubrey Smith, Anna Lee and Clarence Muse.
Thanks for the great pictures and review, doghouse. I've never seen this one. It sounds and looks like something I'd really appreciate though. Wonderful cast, and I know that Duvivier is highly respected by a lot of important filmmakers. He didn't make a lot of films in America, and I've only seen one: Tales of Manhattan (1942) , another anthology film. I really liked it, and now I look forward to seeing this one. Thanks for the introduction. As anthologies go, this one leans more toward the direction of Dead Of Night than Tales Of Manhattan with its emphasis on Twilight Zone-esque, "there are more things in Heaven and Earth" unexplained phenomena. In this sense, it's more stylistically unified and harmonious, although the "assorted chocolates" sampling of suspense to rom-com to pathos of Tales has its own appeal, along with strut-your-stuff opportunities for displaying directorial versatility. As was characteristic of Universal in the '40s, every effort is made to see that each dollar shows on the screen (not the least of which is embodied by some of the high-priced imported talent), and the Boyer sequence employs some of the best early traveling matte work* I've seen to place him pretty convincingly on the high wire above the crowds and sawdust far below. Allied Artists could only have wished to achieve results as good sixteen years later when sending Gilbert Roland across Niagara Falls in The Big Circus. *I'm guessing that Boyer must have tiptoed along a white line painted on a broad, stretched, neutrally-colored canvas - against which was printed the circus crowd background plate - that would allow just enough flexible "give" to sell the illusion (see what you think if you happen to catch it). You know how I love nuts-and-bolts technical minutia.
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Post by teleadm on Jul 9, 2019 17:56:33 GMT
Some mirrors from Key Largo 1948:
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Post by bravomailer on Jul 9, 2019 18:14:42 GMT
The Ballad of Buster Scruggs (I hope it hasn't already been mentioned.)
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Post by hitchcockthelegend on Jul 10, 2019 9:01:51 GMT
Flesh and Fantasy (1943) Forgive me if this film's been mentioned already on the thread, but I've only just seen it for the first time and, as the self-proclaimed laziest man in town, have refrained from rechecking all ten pages thereof. Mirrors and reflections figure prominently in two of the three vignettes comprising director/producer Julien Duvivier's vaguely supernatural anthology of tall tales. In the first, embittered seamstress Betty Field believes her lack of physical beauty has kept her from love and fulfillment, until Mardi Gras, a mysterious stranger, a mask and a meeting with Robert Cummings - the man of her dreams she's admired from afar - convince her otherwise. The thematic territory covered will be familiar to those who've seen films such as The Enchanted Cottage and Mr. Skeffington. In the second, palm-reader Thomas Mitchell foretells that lawyer Edward G. Robinson will commit murder, and everywhere Robinson goes, his talkative reflection in mirrors, windows, glass tabletops and eyeglasses taunts him with suggestions that he take active measures to fulfill Mitchell's prophesy. The third (in which reflected images play no role at all) features Charles Boyer as a circus aerialist and Barbara Stanwyck as a woman about whom he dreamt before meeting her, and all three are linked by framing scenes with Robert Benchley as a gentlemen's club member who is unnerved by his own dreams. Each segment is reasonably predictable but well-presented and satisfying enough, with the aid of supporting players such as Dame May Whitty, Charles Winninger, C. Aubrey Smith, Anna Lee and Clarence Muse. 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.
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