Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 28, 2019 4:29:10 GMT
Despite having briefly co-run an IMDb detective agency with Nalkarj , I have never seen any classic whodunnit films. I was thinking I'd start with the original Murder on the Orient Express. But any other reccomendations will be most welcome. I'm looking for movies that excel beyond the mystery aspect and also have good directing, cinematography ECT, and would qualify as classic movies in their own right.
|
|
|
Post by BATouttaheck on Dec 28, 2019 5:19:11 GMT
Definite on original Orient Express ! and then
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 28, 2019 5:55:21 GMT
Definite on original Orient Express ! and then Oh I've seen Maltese Falcon dozens of times! One of my favorite film Noirs.
|
|
|
Post by BATouttaheck on Dec 28, 2019 5:57:59 GMT
a really good one but lesser known than some is Yes, that IS Lucille Ball …. very different from Lucy Ricardo and very good !
|
|
|
Post by BATouttaheck on Dec 28, 2019 5:59:27 GMT
Oh I've seen Maltese Falcon dozens of times! One of my favorite film Noirs. ok then .. so you have seen at least one of the Great ones ! " I have never seen any classic whodunnit films. " fooled me
|
|
|
Post by Nalkarj on Dec 28, 2019 13:55:26 GMT
So, @forceghostackbar , do you mean the Agatha Christie-esque whodunit ones as opposed to the noirs? (Because I know you’ve seen lots of noirs! ) If so, here are a few I’d recommend… Murder on the Orient Express (’74) is OK, but I’ve always found it slow and dull after the opening. I love the scene where the train starts off, and I love the glamour of the sets, costumes, atmosphere, cast, etc. But the main problem with Christie’s book remains: most of the book consists of suspect interviews, and even the best cast (and this is one of the best casts money could buy) can’t keep the story from descending into longueurs. We do get some nice, unexpected directorial niceties at the end, but I’ve never been able to warm up to the film because of the middle section. Many people love this one, so don’t let me put you off it, but just keep in mind that it is a bit slow. Still, it’s the best MotOE adaptation we have, or are likely to get. I prefer the semi-sequel, Death on the Nile (’78), which replaces Albert Finney with Peter Ustinov as Poirot. Ustinov plays Poirot basically as Peter Ustinov with a French Belgian accent, but Peter Ustinov is so much fun that it’s hard to mind. This one is less glamorous, and its atmosphere, direction, and cinematography are all weaker, but the script’s much better; screenwriter Anthony Shaffer, who also wrote Sleuth, knew what he was doing, streamlining Christie’s plot, eliminating subplots, giving every character a lot to do, and livening suspect interviews (fewer than MotOE) with increasingly-hilarious flashbacks. Basically, whereas MotOE wins for direction, DotN wins for pacing. I also think DotN has a better plot, with this jaw-droppingly ingenious alibi. Shaffer also wrote the third one in the series, Evil Under the Sun. Less starry cast than the other two, but better direction than DotN (from James Bond veteran Guy Hamilton) and a fast pace. Good atmosphere, too. For the most part, it’s first-class, but the ending feels rushed, and I have no idea why they chose to make this one right after DotN—it repeats almost exactly the same plot! I love the old Basil Rathbone/Nigel Bruce Sherlock Holmes series. The ones I’d recommend for first-time viewers are the two that were made for 20th Century Fox, Hound of the Baskervilles and Adventures of Sherlock Holmes, and one of the 12 that were made for Universal, The Scarlet Claw. The Fox two are slower-paced than the Universals, but they put Holmes in his proper 1890s time period (the Universals modernize him) and have great acting and lots of atmosphere. The Scarlet Claw has the best of both worlds: atmospheric, mysterious, well-directed, spooky, fast-paced. I’ll probably be back with more , but here are two lesser-known ones you may want to check out. Remember Last Night? (’35) was directed by James Whale, the guy who helmed the first two Frankensteins, and is utterly weird and surreal and delightful. The Phantom of Crestwood (’32) is one of the most fun, twisty movie-mysteries of the ’30s.
|
|
|
Post by hi224 on Dec 28, 2019 14:43:09 GMT
So, @forceghostackbar , do you mean the Agatha Christie-esque whodunit ones as opposed to the noirs? (Because I know you’ve seen lots of noirs! ) If so, here are a few I’d recommend… Murder on the Orient Express (’74) is OK, but I’ve always found it slow and dull after the opening. I love the scene where the train starts off, and I love the glamour of the sets, costumes, atmosphere, cast, etc. But the main problem with Christie’s book remains: most of the book consists of suspect interviews, and even the best cast (and this is one of the best casts money could buy) can’t keep the story from descending into longueurs. We do get some nice, unexpected directorial niceties at the end, but I’ve never been able to warm up to the film because of the middle section. Many people love this one, so don’t let me put you off it, but just keep in mind that it is a bit slow. Still, it’s the best MotE adaptation we have, or are likely to get. I prefer the semi-sequel, Death on the Nile (’78), which replaces Albert Finney with Peter Ustinov as Poirot. Ustinov plays Poirot basically as Peter Ustinov with a French Belgian accent, but Peter Ustinov is so much fun that it’s hard to mind. This one is less glamorous, and its atmosphere, direction, and cinematography are all weaker, but the script’s much better; screenwriter Anthony Shaffer, who also wrote Sleuth, knew what he was doing, streamlining Christie’s plot, eliminating subplots, giving every character a lot to do, and livening suspect interviews (fewer than MotE) with increasingly-hilarious flashbacks. Basically, whereas MotE wins for direction, DotN wins for pacing. I also think DotN has a better plot, with this jaw-droppingly ingenious alibi. Shaffer also wrote the third one in the series, Evil Under the Sun. Less starry cast than the other two, but better direction than DotN (from James Bond veteran Guy Hamilton) and a fast pace. Good atmosphere, too. For the most part, it’s first-class, but the ending feels rushed, and I have no idea why they chose to make this one right after DotN—it repeats almost exactly the same plot! I love the old Basil Rathbone/Nigel Bruce Sherlock Holmes series. The ones I’d recommend for first-time viewers are the two that were made for 20th Century Fox, Hound of the Baskervilles and Adventures of Sherlock Holmes, and one of the 12 that were made for Universal, The Scarlet Claw. The Fox two are slower-paced than the Universals, but they put Holmes in his proper 1890s time period (the Universals modernize him) and have great acting and lots of atmosphere. The Scarlet Claw has the best of both worlds: atmospheric, mysterious, well-directed, spooky, fast-paced. I’ll probably be back with more , but here are two lesser-known ones you may want to check out. Remember Last Night? (’35) was directed by James Whale, the guy who helmed the first two Frankensteins, and is utterly weird and surreal and delightful. The Phantom of Crestwood (’32) is one of the most fun, twisty movie-mysteries of the ’30s. Should see Knives Out soon.
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 28, 2019 18:30:47 GMT
Oh I've seen Maltese Falcon dozens of times! One of my favorite film Noirs. ok then .. so you have seen at least one of the Great ones ! " I have never seen any classic whodunnit films. " fooled me If it's a whodunnit and a film noir then I've almost certainly seen it. I suppose The Killers would count too. And maybe The Third Man as well. Possibly even Touch of Evil? I guess I have seen more than I thought!
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 28, 2019 18:34:17 GMT
So, @forceghostackbar , do you mean the Agatha Christie-esque whodunit ones as opposed to the noirs? (Because I know you’ve seen lots of noirs! ) If so, here are a few I’d recommend… Murder on the Orient Express (’74) is OK, but I’ve always found it slow and dull after the opening. I love the scene where the train starts off, and I love the glamour of the sets, costumes, atmosphere, cast, etc. But the main problem with Christie’s book remains: most of the book consists of suspect interviews, and even the best cast (and this is one of the best casts money could buy) can’t keep the story from descending into longueurs. We do get some nice, unexpected directorial niceties at the end, but I’ve never been able to warm up to the film because of the middle section. Many people love this one, so don’t let me put you off it, but just keep in mind that it is a bit slow. Still, it’s the best MotE adaptation we have, or are likely to get. I prefer the semi-sequel, Death on the Nile (’78), which replaces Albert Finney with Peter Ustinov as Poirot. Ustinov plays Poirot basically as Peter Ustinov with a French Belgian accent, but Peter Ustinov is so much fun that it’s hard to mind. This one is less glamorous, and its atmosphere, direction, and cinematography are all weaker, but the script’s much better; screenwriter Anthony Shaffer, who also wrote Sleuth, knew what he was doing, streamlining Christie’s plot, eliminating subplots, giving every character a lot to do, and livening suspect interviews (fewer than MotE) with increasingly-hilarious flashbacks. Basically, whereas MotE wins for direction, DotN wins for pacing. I also think DotN has a better plot, with this jaw-droppingly ingenious alibi. Shaffer also wrote the third one in the series, Evil Under the Sun. Less starry cast than the other two, but better direction than DotN (from James Bond veteran Guy Hamilton) and a fast pace. Good atmosphere, too. For the most part, it’s first-class, but the ending feels rushed, and I have no idea why they chose to make this one right after DotN—it repeats almost exactly the same plot! I love the old Basil Rathbone/Nigel Bruce Sherlock Holmes series. The ones I’d recommend for first-time viewers are the two that were made for 20th Century Fox, Hound of the Baskervilles and Adventures of Sherlock Holmes, and one of the 12 that were made for Universal, The Scarlet Claw. The Fox two are slower-paced than the Universals, but they put Holmes in his proper 1890s time period (the Universals modernize him) and have great acting and lots of atmosphere. The Scarlet Claw has the best of both worlds: atmospheric, mysterious, well-directed, spooky, fast-paced. I’ll probably be back with more , but here are two lesser-known ones you may want to check out. Remember Last Night? (’35) was directed by James Whale, the guy who helmed the first two Frankensteins, and is utterly weird and surreal and delightful. The Phantom of Crestwood (’32) is one of the most fun, twisty movie-mysteries of the ’30s. Great reccomendations! What about Sleuth? The only thing I know about it is the "Who is the singer from Sleuth" question that gets repeated on here sometimes, so maybe if I watch the movie I'll finally know what you guys are talking about. Is The Thin Man series a mystery franchise? My uncle keeps reccomending it to me. Whenever it airs on TMC or some cable channel he sends me a text.
|
|
|
Post by BATouttaheck on Dec 28, 2019 18:43:33 GMT
@forceghostackbar
WHEN (not IF) .. you watch The Thin Man series .. be sure to watch them in order .. they run the end of the one into the beginning of the next one .. it's not crucial to the stories but it's kinda cool !
There is a question about the singer in Sleuth ? Someone should have let me know …..
Fun but not deep are the Charlie Chan and Mr. Moto (Peter Lorre) and Mr. Wong (Karloff) mysteries …. no worse than much of tv and rather fun to see the olde timey props and cars and clothes etc.
|
|
|
Post by Nalkarj on Dec 29, 2019 1:05:54 GMT
Great reccomendations! What about Sleuth? The only thing I know about it is the "Who is the singer from Sleuth" question that gets repeated on here sometimes, so maybe if I watch the movie I'll finally know what you guys are talking about. Is The Thin Man series a mystery franchise? My uncle keeps reccomending it to me. Whenever it airs on TMC or some cable channel he sends me a text. Thanks! Sleuth is fun, though ironically, for all my singer-searching, I think the original play it’s based on is better. But Michael Caine and Laurence Olivier are great in it. A similar movie, also with Caine and also based on a play, that I think is superior is Deathtrap (’82)—but please watch out for spoilers! The Thin Man is indeed a mystery franchise, and one of the all-time great ones. The first one (’34) is a masterpiece, and the first two sequels are great as well (and, even after that, they’re still pretty good). I should note, though, that unlike the Agatha Christie adaptations, or even Sleuth and Deathtrap, here the plots aren’t important: the important thing is the relationship and humor (comity and comedy!) between Nick and Nora, and the mysteries are usually afterthoughts. (In the first one, Nick pretty much pulls the killer’s identity out of a hat!) So trying to keep track of the clues and everything isn’t necessary in most of them, though the third one has a good mystery plot. All in all, they’re hilarious, sweet, and charming. And extremely ’30s, in all the best ways. Oh, by the way: the first one’s set at Christmas, and the second one’s set at New Year’s, so they’re apropos right now. The Last of Sheila (’73) is a longtime favorite of mine, though people tend either to love it or despise it. It’s a super-twisty, clue-packed murder mystery with a great cast, written by the unexpected duo of Broadway lyricist-composer Stephen Sondheim and ex-Norman-Bates Anthony Perkins. The plot is diabolically ingenious, and the humor is caustic and witty—but nearly everyone in the movie is basically an SOB. Still, it’s tons of fun (I think). There have been about a million adaptations of Agatha Christie’s Ten Little Indians/ And Then There Were None, but most film fans and Christie fans, myself included, agree the best one is René Clair’s 1945 version, which plays the story for black comedy and, like many of these, boasts an all-star cast. It’s a treat. Most of these are thrillers or Christie-esque whodunits… I kinda feel like many of the great hardboiled ones fall into a separate genre category, to be honest. In addition to The Maltese Falcon, you have Howard Hawks’ The Big Sleep, which boasts one of the world’s most confusing and most irrelevant plots and is brilliant for exactly that reason—because you’re really watching it for Bogey and Bacall, and their steamy chemistry, and the ’40s L.A. atmosphere, and all the censor-pushing hardboiled dialogue, and the needless scenes Hawks put in just because he felt like it.
|
|
|
Post by hi224 on Dec 29, 2019 1:52:44 GMT
Great reccomendations! What about Sleuth? The only thing I know about it is the "Who is the singer from Sleuth" question that gets repeated on here sometimes, so maybe if I watch the movie I'll finally know what you guys are talking about. Is The Thin Man series a mystery franchise? My uncle keeps reccomending it to me. Whenever it airs on TMC or some cable channel he sends me a text. Thanks! Sleuth is fun, though ironically, for all my singer-searching, I think the original play it’s based on is better. But Michael Caine and Laurence Olivier are great in it. A similar movie, also with Caine and also based on a play, that I think is superior is Deathtrap (’82)—but please watch out for spoilers! The Thin Man is indeed a mystery franchise, and one of the all-time great ones. The first one (’34) is a masterpiece, and the first two sequels are great as well (and, even after that, they’re still pretty good). I should note, though, that unlike the Agatha Christie adaptations, or even Sleuth and Deathtrap, here the plots aren’t important: the important thing is the relationship and humor (comity and comedy!) between Nick and Nora, and the mysteries are usually afterthoughts. (In the first one, Nick pretty much pulls the killer’s identity out of a hat!) So trying to keep track of the clues and everything isn’t necessary in most of them, though the third one has a good mystery plot. All in all, they’re hilarious, sweet, and charming. And extremely ’30s, in all the best ways. Oh, by the way: the first one’s set at Christmas, and the second one’s set at New Year’s, so they’re apropos right now. The Last of Sheila (’73) is a longtime favorite of mine, though people tend either to love it or despise it. It’s a super-twisty, clue-packed murder mystery with a great cast, written by the unexpected duo of Broadway lyricist-composer Stephen Sondheim and ex-Norman-Bates Anthony Perkins. The plot is diabolically ingenious, and the humor is caustic and witty—but nearly everyone in the movie is basically an SOB. Still, it’s tons of fun (I think). There have been about a million adaptations of Agatha Christie’s Ten Little Indians/ And Then There Were None, but most film fans and Christie fans, myself included, agree the best one is René Clair’s 1945 version, which plays the story for black comedy and, like many of these, boasts an all-star cast. It’s a treat. Most of these are thrillers or Christie-esque whodunits… I kinda feel like many of the great hardboiled ones fall into a separate genre category, to be honest. In addition to The Maltese Falcon, you have Howard Hawks’ The Big Sleep, which boasts one of the world’s most confusing and most irrelevant plots and is brilliant for exactly that reason—because you’re really watching it for Bogey and Bacall, and their steamy chemistry, and the ’40s L.A. atmosphere, and all the censor-pushing hardboiled dialogue, and the needless scenes Hawks put in just because he felt like it. I love The Last of Sheila although I actually figured out the killer halfway through the movie. It gave me my Ian Mcshane, James Mason fix basically.
|
|
|
Post by Morgana on Dec 29, 2019 9:42:51 GMT
So, @forceghostackbar , do you mean the Agatha Christie-esque whodunit ones as opposed to the noirs? (Because I know you’ve seen lots of noirs! ) If so, here are a few I’d recommend… Murder on the Orient Express (’74) is OK, but I’ve always found it slow and dull after the opening. I love the scene where the train starts off, and I love the glamour of the sets, costumes, atmosphere, cast, etc. But the main problem with Christie’s book remains: most of the book consists of suspect interviews, and even the best cast (and this is one of the best casts money could buy) can’t keep the story from descending into longueurs. We do get some nice, unexpected directorial niceties at the end, but I’ve never been able to warm up to the film because of the middle section. Many people love this one, so don’t let me put you off it, but just keep in mind that it is a bit slow. Still, it’s the best MotE adaptation we have, or are likely to get. I prefer the semi-sequel, Death on the Nile (’78), which replaces Albert Finney with Peter Ustinov as Poirot. Ustinov plays Poirot basically as Peter Ustinov with a French Belgian accent, but Peter Ustinov is so much fun that it’s hard to mind. This one is less glamorous, and its atmosphere, direction, and cinematography are all weaker, but the script’s much better; screenwriter Anthony Shaffer, who also wrote Sleuth, knew what he was doing, streamlining Christie’s plot, eliminating subplots, giving every character a lot to do, and livening suspect interviews (fewer than MotE) with increasingly-hilarious flashbacks. Basically, whereas MotE wins for direction, DotN wins for pacing. I also think DotN has a better plot, with this jaw-droppingly ingenious alibi. Shaffer also wrote the third one in the series, Evil Under the Sun. Less starry cast than the other two, but better direction than DotN (from James Bond veteran Guy Hamilton) and a fast pace. Good atmosphere, too. For the most part, it’s first-class, but the ending feels rushed, and I have no idea why they chose to make this one right after DotN—it repeats almost exactly the same plot! I love the old Basil Rathbone/Nigel Bruce Sherlock Holmes series. The ones I’d recommend for first-time viewers are the two that were made for 20th Century Fox, Hound of the Baskervilles and Adventures of Sherlock Holmes, and one of the 12 that were made for Universal, The Scarlet Claw. The Fox two are slower-paced than the Universals, but they put Holmes in his proper 1890s time period (the Universals modernize him) and have great acting and lots of atmosphere. The Scarlet Claw has the best of both worlds: atmospheric, mysterious, well-directed, spooky, fast-paced. I’ll probably be back with more , but here are two lesser-known ones you may want to check out. Remember Last Night? (’35) was directed by James Whale, the guy who helmed the first two Frankensteins, and is utterly weird and surreal and delightful. The Phantom of Crestwood (’32) is one of the most fun, twisty movie-mysteries of the ’30s. Should see Knives Out soon. I've seen it and I would say, don't bother. I was very much looking forward to seeing it but it was a huge disappointment. Daniel Craig's accent and acting were the among the worst I've ever seen/heard.
|
|
|
Post by hi224 on Dec 29, 2019 21:58:44 GMT
Should see Knives Out soon. I've seen it and I would say, don't bother. I was very much looking forward to seeing it but it was a huge disappointment. Daniel Craig's accent and acting were the among the worst I've ever seen/heard. Everybody can feel differently about a movie.
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 30, 2019 0:56:07 GMT
Great reccomendations! What about Sleuth? The only thing I know about it is the "Who is the singer from Sleuth" question that gets repeated on here sometimes, so maybe if I watch the movie I'll finally know what you guys are talking about. Is The Thin Man series a mystery franchise? My uncle keeps reccomending it to me. Whenever it airs on TMC or some cable channel he sends me a text. Thanks! Sleuth is fun, though ironically, for all my singer-searching, I think the original play it’s based on is better. But Michael Caine and Laurence Olivier are great in it. A similar movie, also with Caine and also based on a play, that I think is superior is Deathtrap (’82)—but please watch out for spoilers! The Thin Man is indeed a mystery franchise, and one of the all-time great ones. The first one (’34) is a masterpiece, and the first two sequels are great as well (and, even after that, they’re still pretty good). I should note, though, that unlike the Agatha Christie adaptations, or even Sleuth and Deathtrap, here the plots aren’t important: the important thing is the relationship and humor (comity and comedy!) between Nick and Nora, and the mysteries are usually afterthoughts. (In the first one, Nick pretty much pulls the killer’s identity out of a hat!) So trying to keep track of the clues and everything isn’t necessary in most of them, though the third one has a good mystery plot. All in all, they’re hilarious, sweet, and charming. And extremely ’30s, in all the best ways. Oh, by the way: the first one’s set at Christmas, and the second one’s set at New Year’s, so they’re apropos right now. The Last of Sheila (’73) is a longtime favorite of mine, though people tend either to love it or despise it. It’s a super-twisty, clue-packed murder mystery with a great cast, written by the unexpected duo of Broadway lyricist-composer Stephen Sondheim and ex-Norman-Bates Anthony Perkins. The plot is diabolically ingenious, and the humor is caustic and witty—but nearly everyone in the movie is basically an SOB. Still, it’s tons of fun (I think). There have been about a million adaptations of Agatha Christie’s Ten Little Indians/ And Then There Were None, but most film fans and Christie fans, myself included, agree the best one is René Clair’s 1945 version, which plays the story for black comedy and, like many of these, boasts an all-star cast. It’s a treat. Most of these are thrillers or Christie-esque whodunits… I kinda feel like many of the great hardboiled ones fall into a separate genre category, to be honest. In addition to The Maltese Falcon, you have Howard Hawks’ The Big Sleep, which boasts one of the world’s most confusing and most irrelevant plots and is brilliant for exactly that reason—because you’re really watching it for Bogey and Bacall, and their steamy chemistry, and the ’40s L.A. atmosphere, and all the censor-pushing hardboiled dialogue, and the needless scenes Hawks put in just because he felt like it. I LOVE The Big Sleep! Very true about its plot being confusing. I've seen it half a dozen times and I still have NO idea who killed the guy in the car . Supposedly even the director didn't know! Ten Little Indians... Is that the story where All the characters die one by one and the killer is revealed to be one of the early victims who faked his own death, then committed suicide in the same way he was originally "killed", then left a message in a bottle revealing the truth?
|
|
|
Post by Morgana on Dec 30, 2019 8:38:08 GMT
I've seen it and I would say, don't bother. I was very much looking forward to seeing it but it was a huge disappointment. Daniel Craig's accent and acting were the among the worst I've ever seen/heard. Everybody can feel differently about a movie. That's true.
|
|
|
Post by Nalkarj on Dec 30, 2019 13:51:32 GMT
I LOVE The Big Sleep! Very true about its plot being confusing. I've seen it half a dozen times and I still have NO idea who killed the guy in the car . Supposedly even the director didn't know! Ten Little Indians... Is that the story where All the characters die one by one and the killer is revealed to be one of the early victims who faked his own death, then committed suicide in the same way he was originally "killed", then left a message in a bottle revealing the truth? Aha! So this thread was a TRAP all along—you already knew what I’d recommend! There’s a famous story that even original author Raymond Chandler didn’t know exactly who killed whom, though that’s kinda been debunked. Yes on Ten Little Indians, though even if you know the plot the ’45 (titled And Then There Were None) is entertaining on its own. The James-Bond-like 1965 version is fun enough, but the ’45 is the best. (At some point, some enterprising producer should stop remaking Ten Little Indians and adapt Anthony Horowitz’s delightful spoof version, “I Know What You Did Last Wednesday,” instead.) Seconding BATouttaheck on Chan and Moto, which are fun b-movies (and perfect viewing when you’re sick) but don’t really offer the good directing and cinematography you’re looking for. Similarly, the 1960s Miss Marple movies with Margaret Rutherford are consistently entertaining but by no means masterpieces of cinema. Two very similar murder-mystery spoofs: Murder by Death (1976) and Clue (1985). I’ve long thought the first one, written by Neil Simon, is superior (the monologues are hilarious), but the second one is a genuine mystery with clues, along with all the humor. Oh, and it has Tim Curry at his Tim Curry-est.
|
|
|
Post by Nalkarj on Dec 30, 2019 13:57:43 GMT
I love The Last of Sheila although I actually figured out the killer halfway through the movie. It gave me my Ian Mcshane, James Mason fix basically. Actually, I too figured out the killer halfway through the first time I saw it—though I think that’s director Herbert Ross’s fault, not Perkins and Sondheim’s. DON’T LOOK, ACKBAR: Ross shows us Coburn in the priest box, and he [Coburn] looks dead, which kinda gives away the major trick and allows you, by process of elimination, to twig onto Benjamin as the killer. YOU CAN LOOK NOW! That said, everything else in the solution (which is a lot—much more than just the killer’s identity) came as a complete surprise to me.
|
|
|
Post by Nalkarj on Dec 30, 2019 13:59:32 GMT
Also, @forceghostackbar : Not mysteries, but as you loved The Big Sleep, you may want to check out the rest of Howard Hawks’ filmography. Ones I particularly recommend:
Twentieth Century Bringing Up Baby Only Angels Have Wings (I always feel this one, a tense thriller about pilots in South America with one of Cary Grant’s best performances, gets overlooked—it may be my favorite Hawks movie.) To Have and Have Not Red River Rio Bravo El Dorado
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Dec 30, 2019 19:32:42 GMT
I LOVE The Big Sleep! Very true about its plot being confusing. I've seen it half a dozen times and I still have NO idea who killed the guy in the car . Supposedly even the director didn't know! Ten Little Indians... Is that the story where All the characters die one by one and the killer is revealed to be one of the early victims who faked his own death, then committed suicide in the same way he was originally "killed", then left a message in a bottle revealing the truth? Aha! So this thread was a TRAP all along—you already knew what I’d recommend! There’s a famous story that even original author Raymond Chandler didn’t know exactly who killed whom, though that’s kinda been debunked. Yes on Ten Little Indians, though even if you know the plot the ’45 (titled And Then There Were None) is entertaining on its own. The James-Bond-like 1965 version is fun enough, but the ’45 is the best. (At some point, some enterprising producer should stop remaking Ten Little Indians and adapt Anthony Horowitz’s delightful spoof version, “I Know What You Did Last Wednesday,” instead.) Seconding BATouttaheck on Chan and Moto, which are fun b-movies (and perfect viewing when you’re sick) but don’t really offer the good directing and cinematography you’re looking for. Similarly, the 1960s Miss Marple movies with Margaret Rutherford are consistently entertaining but by no means masterpieces of cinema. Two very similar murder-mystery spoofs: Murder by Death (1976) and Clue (1985). I’ve long thought the first one, written by Neil Simon, is superior (the monologues are hilarious), but the second one is a genuine mystery with clues, along with all the humor. Oh, and it has Tim Curry at his Tim Curry-est. My fourth grade teacher actually read us Ten Little Indians in class! That's how I know the plot. I found it extremely disturbing at the time. Not sure why she thought a mass murder/suicide story would be suitable for ten year olds.
|
|