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Post by Doghouse6 on Jan 27, 2018 20:56:49 GMT
If sweet and wildly romantic fables are up your alley, John Cromwell's lovely The Enchanted Cottage (1945) delivers a rewarding experience. Disfigured war vet Robert Young and plain-Jane Dorothy McGuire fall in love... ![](http://i0.wp.com/moviessilently.com/wp-content/uploads/2015/07/enchanted-cottage-1945-image-26.jpg) ...and become beautiful to one another. ![](https://s-media-cache-ak0.pinimg.com/564x/0b/0f/8b/0b0f8bb05619b874bba582308abeb14c.jpg) Blind Herbert Marshall is the only one who understands the change that no one else can see. ![](https://s-media-cache-ak0.pinimg.com/736x/1f/84/39/1f84393400cf9cd4bd8a1d3486217e83.jpg)
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Post by manfromplanetx on Jan 27, 2018 21:41:56 GMT
The Picture of Dorian Gray (1945) London 1886. Dorian Gray (Hurd Hatfield) is a handsome and wealthy young man. While generally intelligent, he is naive and easily manipulated. These faults lead to his spiral into sin and ultimate misery. Based on Oscar Wilde's 1890 novel of the same name... ![](http://www.brianrxm.com/comimg/cnsmovie_picturedoriangray_04.jpg) ![](http://l7.alamy.com/zooms/00b81197c3d740ff88d8726998951b0f/the-picture-of-dorian-gray-year-1945-usa-director-albert-lewin-hurd-fx7j0g.jpg)
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Post by BATouttaheck on Jan 27, 2018 21:47:56 GMT
THE Painting ^^^^^^^^^^^ ![](http://static.tvtropes.org/pmwiki/pub/images/dorianbeforeafter.jpg) ![](http://www.krogen.co/wp-content/uploads/2017/10/dorian-gray-painting-all-categories-the-downfall-of-materialism-images.jpg)
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Post by Chalice_Of_Evil on Jan 27, 2018 21:55:24 GMT
There are makeovers like... Annabelle Fritton (Talulah Riley) in the 2007 movie St. Trinian’s. ![]() ![](https://thumbs.gfycat.com/MaleUnfitHagfish-max-1mb.gif) ![](https://thumbs.gfycat.com/HappyRawKiwi-max-1mb.gif) ![](https://thumbs.gfycat.com/TallLikelyBetafish-max-1mb.gif) And then there are vampire makeovers, such as... Kirsten Dunst as Claudia in Interview with the Vampire (1994). ![](https://78.media.tumblr.com/tumblr_m7iikmu6JI1qdd44xo1_250.gif) ![](http://4.bp.blogspot.com/-eZgP8mMG_u4/VgXhc6NR2NI/AAAAAAAAEbU/5QBZRGw2krQ/s400/tumblr_lzu2a9NSpd1qbzdxyo1_250.gif) Karoline Herfurth as Lena in We Are the Night (2010). ![](https://pasadizo.files.wordpress.com/2017/03/foto53.jpg?w=450) ![](https://pa1.narvii.com/5988/52d9846a51ede601a5076a01ede3078455a2fedf_hq.gif) ![](http://horrorcultfilms.co.uk/wp-content/uploads/2013/03/we-are-night2.jpg) ![](http://media.filmz.ru/photos/medium/filmz.ru_m_71439.jpg)
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Post by petrolino on Jan 28, 2018 2:48:55 GMT
This threads a real delight, really enjoyed everybody's contributions. In sci-fi horror it's the classic scientist babe, she looks bookish with glasses and her hair tied up, comes out later looking like an extra in a Whitesnake video lol. Anyway, here's a big favourite ... Michelle Bauer, Linnea Quigley & Brinke Stevens in Disco Dave DeCoteau's cut-price bargain-basement succubus sensation 'Nightmare Sisters' (1988)!!!
Before
![](http://images3.static-bluray.com/reviews/14304_1.jpg)
After
![](http://images.static-bluray.com/products/20/49249_1_large.jpg)
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Post by BATouttaheck on Jan 28, 2018 5:00:45 GMT
I'm wondering if those parent and child switch bodies films would qualify for this thread. Father / Son switch = Vice Versa (1988)Mother / Daughter switch = Freaky Friday (1976) and remade in 2003. There seems to be a batch more with friends swapping bodies.
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Post by bravomailer on Jan 28, 2018 5:03:12 GMT
Dustin Hoffman in Little Big Man ![](http://thegreatwesternmovies.com/wp-content/uploads/2014/02/LittleBigYoungOld.jpg)
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Post by HirundoRustica on Jan 28, 2018 14:08:54 GMT
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Post by HirundoRustica on Jan 28, 2018 14:14:12 GMT
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Post by HirundoRustica on Jan 28, 2018 14:41:52 GMT
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Post by Chalice_Of_Evil on Jan 28, 2018 21:43:28 GMT
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Post by BATouttaheck on Jan 29, 2018 4:19:38 GMT
Trading Places (1983)A snobbish investor and a wily street con artist find their positions reversed as part of a bet by two callous millionaires. ![](http://is5.mzstatic.com/image/thumb/Video/v4/31/0b/c8/310bc804-6a8a-edb3-877f-64262fbf6fb2/source/1200x630bb.jpg) ![](https://img4.goodfon.com/wallpaper/big/f/56/trading-places-dan-aykroyd-eddie-murphy-movie-pomeniatsia-me.jpg)
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Post by BATouttaheck on Jan 29, 2018 4:29:25 GMT
The Prince and the Pauper (1937) ![](http://images4.static-bluray.com/products/20/31012_1_large.jpg) ![](http://iv1.lisimg.com/image/2104609/545full-the-prince-and-the-pauper-screenshot.jpg) A poor boy named Tom Canty and the Prince of Wales exchange identities but events force the pair to experience each other's lives as well. and 2000 2007![](https://upload.wikimedia.org/wikipedia/en/thumb/9/94/A_Modern_Twain_Story-_The_Prince_and_the_Pauper_VideoCover.jpg/220px-A_Modern_Twain_Story-_The_Prince_and_the_Pauper_VideoCover.jpg) even Barbie:and Mickey Mouse
![](http://iv1.lisimg.com/image/8560196/475full-barbie-as-the-princess-and-the-pauper-poster.jpg) ![](https://images-na.ssl-images-amazon.com/images/I/51P2MvViWKL.jpg)
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Post by BATouttaheck on Jan 29, 2018 6:28:54 GMT
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Post by jervistetch on Jan 29, 2018 11:20:22 GMT
Nick Nolte in DOWN AND OUT IN BEVERLY HILLS ![](http://i.dailymail.co.uk/i/pix/2007/02_02/nolteREX2002_468x349.jpg) ![](https://img.yescdn.ru/2015/12/30/cover/down-and-out-in-beverly-hills.jpg)
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Post by Doghouse6 on Jan 29, 2018 20:54:50 GMT
If sweet and wildly romantic fables are up your alley, John Cromwell's lovely The Enchanted Cottage (1945) delivers a rewarding experience. Disfigured war vet Robert Young and plain-Jane Dorothy McGuire fall in love... ...and become beautiful to one another. Blind Herbert Marshall is the only one who understands the change that no one else can see. One of my favorites, doghouse. A lovely film from a lovely play. Generally, I'm not a fan of remakes of good films, but sometimes I wish there were a director who could do a good remake of this one, like Blake Edwards did with Victor, Victoria. Love the performances in this one. That's a fascinating proposition, spiderwort, and one bringing me smack-dab against a conundrum confronting me at least since the century began. I'm not sure how well I can put this, but I'll forge ahead. By the late-'60s - early-'70s, American films had entered an era of freedom allowing candor and graphic representation inaccessible to their forebears, even in subjects as innocuous as comedy and romance. And without leaving any of that behind, film makers and the latter-day technology available to them have brought us to a point at which out-and-out fantasy pervades popular entertainment. One might think such an era could be receptive to such a remake, yet I still wonder if it would "play" in the early 21st Century. Would the story be considered hopelessly passé or trite? If so, why might that be? What's absent from contemporary entertainment that enabled what was already a 20+ years-old play to be accepted on film by 1945 audiences (or by those of us who can do so 70+ years after its release)? The innocence or naïveté of what we call "simpler times" (or the ability of we later viewers to contextualize it as such)? While fantasy, mythology and the like seem to exist today in service primarily to spectacle, my take is that those of earlier eras in the mold and tone of TEC indulged in them as stylized commentary on basic human truths. Like I said, a fable.
This is all nothing more than rumination, as my exposure to 21st-century entertainment is limited largely to observing what appear to me to be prevailing trends, and I'm equally unfamiliar with directors and/or screenwriters that might be suitable to the property. That being the case, my instinct - or maybe uninformed knee-jerk reaction - tells me that TEC very much belongs to that "simpler time." That's not to say there aren't necessarily film makers currently working possessed of the artistry and sensitivity to do it justice, but as Boris Karloff once said about his own abilities, "I'm sure I'd make a damn good Little Lord Fauntleroy, but who'd pay ten cents to see it?" And you now know one of the myriad reasons I never made it to studio exec.
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Post by BATouttaheck on Jan 30, 2018 4:05:38 GMT
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Post by Doghouse6 on Jan 30, 2018 5:48:57 GMT
Laurence Olivier as Heathcliff in Wuthering Heights (1939) The impoverished, lovestruck young man ![](http://images4.fanpop.com/image/photos/20200000/Wuthering-Heights-wuthering-heights-film-20268810-660-559.jpg) The elegant, embittered gentleman ![](https://s-media-cache-ak0.pinimg.com/736x/7c/9f/f1/7c9ff1c3e64c135cf565c8ca70c72c67.jpg) The aging, haunted mourner
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Post by MCDemuth on Jan 30, 2018 6:55:14 GMT
I'm not sure if you were wanting the occasional example of animation characters or not... But, this technically qualifies... and it is a good one. Transformers (G1): "War Dawn" (1985)Orion Pax thought Megatron, the leader of the Decepticons, was very cool, and wanted to be friends with him... That is until Megatron attacked him and his friends, and left them for dead, so that he could steal the energon from their storage facility... Alpha Trion, rebuilt Orion Pax into a more powerful being to fight the Decepticons... Optimus Prime, the leader of the Autobots.
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Post by Doghouse6 on Jan 30, 2018 15:14:01 GMT
That's a fascinating proposition, spiderwort , and one bringing me smack-dab against a conundrum confronting me at least since the century began. Oh, Doghouse, I'm so afraid that you are right, much to my own dismay. Still, I wonder if the dilemma isn't more due to the fact that audiences are so conditioned now to the "new norm," to borrow a pitiful but true phrase of this era. I say this because I have from time to time taught a few workshops utilizing older works in my classes, and I've always found myself amazed by the students' reactions to what they were seeing. They were so often inspired and profoundly moved, many saying, "I want to do that!" They were inspired by something they didn't know existed. It was literally so often like a light bulb went on right over their heads. It's a shame, because they can't do what they haven't seen, and God knows one doesn't see much these days that isn't vacuous, vulgar, and full of style over substance. It's hard to say for sure, given that we now have nearly two generations of audiences who don't know what they are missing. But I have seen clearly that they are missing something, and, when they see it, they know it. But you're probably right about THE ENCHANTED COTTAGE. Maybe if it were updated to the modern era with a veteran from one of the many conflicts in the world now it would work. Oddly, the story is about such universal themes, basic human truths, as you say, and so devoid of the need for specifics in the society at large, it might actually be possible. On the other hand, it might lose some of it's charm, as you fear. I've thought about it a lot over the years - a remake - but I've never pursued it. But with the sea change occurring in Hollywood right now maybe the time is right. It would take the right director, and the right cast, that's for sure. One can hope. Causing dismay was the last thing I intended, so I hope it'll help to hear that I found your observations encouraging, particularly those about your workshops. And I'm reminded now that there have been any number of smaller-scale sleeper hits within this latter-day period that told simple, human stories. The trick, as you suggested, is making it relevant to contemporary audiences, and themes of alienation and yearning for connection are probably pretty much universal, as there are likely very few of us who haven't felt apart or outcast, and even after getting over it, the experience and memories of it stay with us. What I can't guess is whether 21st-century audiences would be more receptive to restraint and understatement amid a sea of excess, or would be more inclined to embrace something emphasizing over-the-top romanticism and magical mythos. I'd hope the former, but what do I know? See? First, I talked myself out of it, and now I'm talked into it but have no idea what direction it should take. Another reason I never made it up the ladder: indecisiveness.
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