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Post by teleadm on Oct 9, 2018 17:24:46 GMT
Five Weeks in a Balloon 1962, directed by Irwin Allen, based on a novel by Jules Verne, staring Red Buttons, Fabian, Barbara Eden, Sir Cedric Hardwicke, Peter Lorre, Richard Haydn, BarBara Luna, Billy Gilbert, Herbert Marshall, Reginald Owen, Henry Daniell, Mike Mazurki and others. Matinee adventure. In 1862, the British commission inventor Fergusson (Hardwicke) to claim uncharted land in West Africa for Britain by flying his giant hot air balloon there, and stop slave traders. It should be said that this movie is not politically corect by today's standards, there is quite a few Arabian stereotypes along the journey. Besides that, it's rather harmless entertainment. Fabian was obviously cast to attract teen audiences, but what is fun is offcourse all those familiar faces of the older actors in both big and small roles, and Hardwicke is actually funny as the inventor who can't stand the stuffy British represantative (Haydn). Even if they look a lot on maps, one never really get's any feeling where the actually are, most of it was filmed in America, with African scenery edited in from second-unit or traveloges, plus they edited in a waterfall that is in South America and nobody noticed, and some elephants are Asians, not African.
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Post by ZolotoyRetriever on Oct 10, 2018 2:04:47 GMT
Late Spring (1949), directed by Yasujiro Ozu, with Chishu Ryu and Setsuko Hara, along with Yumeji Tsukioka, Haruko Sugimura. DVR’d from TCM telecast a while back; first-time viewing.
Interesting work by Ozu that details the plight of widowed Mr. Somiya (Chishu Ryu) who has a 27 year-old daughter, Noriko (Setsuko Hara) who he feels needs to be married off already. This poses a difficult situation for both of them: the daughter is so devoted to her father that she seems to go about life in a dreamlike trance, doing little else than taking care of dad without complaint. She has absolutely no interest in love or marriage.
The widower father, who’s clearly a bit of an absent-minded professor type, can hardly afford to part with such a dedicated and capable helper as his daughter. But in both his heart and mind, long-honored Japanese tradition and custom must prevail, and as a dutiful parent, he therefore endeavors to get his daughter to the marriage alter one way or another. Without revealing too much, I’ll just say that some trickery is involved.
It makes for a compelling movie: somewhat sweet, somewhat sad, at times even a bit surreal, as the whole concept of arranged marriages is probably pretty foreign to most modern viewers. Also of note is that the film was written and shot during the post-WWII Allied Powers' Occupation of Japan and was subject to the Occupation's official censorship requirements. For those interested, details on this censorship, as well as many other facets of the film, can be found in a very good Wiki entry: en.wikipedia.org/wiki/Late_Spring
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Post by teleadm on Oct 10, 2018 17:29:21 GMT
Breach 2007, directed by Billy Ray, staring Chris Cooper, Ryan Phillippe, Laura Linney, Caroline Dhavernas, Gary Cole, Dennis Haysbert, Kathleen Quinlan , Bruce Davison and others. Crime drama based on traitor Robert Hanssen's last two months before his capture. FBI upstart Eric O'Neill (Phillippe) enters into a power game with his boss, Robert Hanssen (Cooper), an agent who lator was put on trial for selling secrets to the Soviet Union. I liked the tone of this movie, it's not an action movie, it's more a battle of wits against a person who acts like a patriot and a devout catholic, who turns out to be more complex, and sells secrets to the Soviet Union. Though we know who is the villain from the start, it's still interesting to see how they managed to nail him after nearly 25 years as a traitor. Chris Cooper is just great as Hanson, toned down, never knowing what mood he is in, always suspicious. The movie has a very wintry and cold cinematography that only enhances the story, and that this was at the end of the Cold War. Everything is very sparse and mattor-of-fact and that was something I though fitted this movie. A friend recomended this movie, and I'm very glad he did, though it took me many years before I finally watched it. I later read that some liberties was taken as to not show how the real FBI operates.
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Post by OldAussie on Oct 11, 2018 4:38:39 GMT
Never heard of this gem until I read Addison's review on his blog. Here it is -
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Post by teleadm on Oct 11, 2018 17:26:42 GMT
Earthquake 1974, directed by Mark Robson, screenplay by George Fox and Mario Puzo (!), staring Charlton Heston, Ava Gardner, George Kennedy, Lorne Greene, Geneviève Bujold, Richard Roundtree, Marjoe Gortner, Barry Sullivan, Lloyd Nolan, Victoria Principal and others. Disaster drama, about various interconnected people's struggle to survive when an earthquake of unimaginable magnitude hits Los Angeles, California. It's not fun when an old favorite has collected this much dust, I had totally forgotten what a sappy soap-opera style storyline it had up until the big shake comes. Very few theatres could show it with the newly invented Sensurround sound, so I've never experienced that gimmick even when it was new. Still, it was a nostagia kick to watch it again. Lorne Greene who plays Ava Gardners' father is only 7 years older than Ava, but liked the fact that an actress who was 50+ at the time could still get a leading role, even if it's not a sympathic character. I had totally forgotten about Richard Roundtree's flying daredevil motorcycle stunts show, and Marjoe Gortner's creepy, read gay, grocery store attendant. Heston by now could do this kind of roles in his sleep, half-heroic half unsympathic, so it's no wonder he said no to do Jaws. This was director Mark Robson's last completed movie, he died during Avalanche Express 1979. It won an Oscar for Best Sound, and an Special Achievement Award Oscar for visual effects.
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Post by petrolino on Oct 11, 2018 17:53:46 GMT
'Operation Petticoat' (1959) - Operational comedy of manners about military procedure in which a retired submarine revists her past. It's directed by Blake Edwards. This box-office hit spawned a television spin-off aired in the 1970s.
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Post by kijii on Oct 11, 2018 21:43:33 GMT
'Operation Petticoat' (1959) - Operational comedy of manners about military procedure in which a retired submarine revists her past. It's directed by Blake Edwards. This box-office hit spawned a television spin-off aired in the 1970s.
petrolino-- This seems like a good idea for an independent thread: Movies That Spawned Radio and/or TV series: Sometimes I'm never sure which came TV series, Radio series, or movie: The Life of RileyMy Friend IrmaA Date with Judy The Great Gildersleeve
etc., but usually the Radio and/or TV series comes after a movie. However, Our Miss Brooks (1956) followed a series on radio and then TV.
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Post by kijii on Oct 12, 2018 14:26:38 GMT
A Star Is Born (1976) / Frank Pierson This is the worst of the three versions, saved only by Barbra Streisand great performance and singing. This version is the first about pop singers rather than movie stars, so it breaks away from the first two version in that way.
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Post by teleadm on Oct 12, 2018 17:06:36 GMT
I Confess 1953, directed by Alfred Hitchcock, based on a play by Paul Anthelme, staring Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne, O.E. Hasse, Roger Dann, Dolly Haas and others. Crime drama. Very early we look into a window and see a man laying on the floor, presumed murdered, then we follow a man walking quickly down the streets of Quebec, we see his face, so we now who he is, he enters a church, and confesses the murder to a priest. Thus begins this movie, later the priest comes under suspicion for murder but cannot clear his name without breaking the seal of the confessional. Usually mentioned as a lesser Hitchcock, but it's still a good movie as I see it. Very dark in it's story, with great location shots from Quebec. Clift as the priest is great, I usually have some difficulty in appreciating his acting style. Baxter as a former lover of the priest has a rather thankless role, Malden plays the police detective (maybe called something else in Canada) plays a methodic and clever police, and that is unusual for a Hitchcock movie, on the trial of the murderer. The murdered person is revealed as a dispicable person who blackmails persons, including Baxter's character. Popular German actors Hasse and Haas plays the murderer and his wife, who works as servents, handiman at the priest home, Hasse is very creepy as he reminds Clift about the seal many times. Not so popular at the time of it's release, but has somewhat become reavaluated over the years, and became a favorite among the French New Wave directors. It should be said that there is a great McGuffin in the story. Was this the only time Hitchcock worked with method actors? I'm not sure. The movie competed at the Cannes film Festival in 1953, but didn't win any prices.
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Post by petrolino on Oct 12, 2018 17:17:22 GMT
'Operation Petticoat' (1959) - Operational comedy of manners about military procedure in which a retired submarine revists her past. It's directed by Blake Edwards. This box-office hit spawned a television spin-off aired in the 1970s.
petrolino-- This seems like a good idea for an independent thread: Movies That Spawned Radio and/or TV series: Sometimes I'm never sure which came TV series, Radio series, or movie: The Life of RileyMy Friend IrmaA Date with Judy The Great Gildersleeve
etc., but usually the Radio and/or TV series comes after a movie. However, Our Miss Brooks (1956) followed a series on radio and then TV.
Good idea, kijii, I hope you'll start a thread.
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Post by Nalkarj on Oct 12, 2018 17:18:58 GMT
I Confess 1953, directed by Alfred Hitchcock, based on a play by Paul Anthelme, staring Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne, O.E. Hasse, Roger Dann, Dolly Haas and others. Crime drama. Very early we look into a window and see a man laying on the floor, presumed murdered, then we follow a man walking quickly down the streets of Quebec, we see his face, so we now who he is, he enters a church, and confesses the murder to a priest. Thus begins this movie, later the priest comes under suspicion for murder but cannot clear his name without breaking the seal of the confessional. Usually mentioned as a lesser Hitchcock, but it's still a good movie as I see it. Very dark in it's story, with great location shots from Quebec. Clift as the priest is great, I usually have some difficulty in appreciating his acting style. Baxter as a former lover of the priest has a rather thankless role, Malden plays the police detective (maybe called something else in Canada) plays a methodic and clever police, and that is unusual for a Hitchcock movie, on the trial of the murderer. The murdered person is revealed as a dispicable person who blackmails persons, including Baxter's character. Popular German actors Hasse and Haas plays the murderer and his wife, who works as servents, handiman at the priest home, Hasse is very creepy as he reminds Clift about the seal many times. Not so popular at the time of it's release, but has somewhat become reavaluated over the years, and became a favorite among the French New Wave directors. It should be said that there is a great McGuffin in the story. Was this the only time Hitchcock worked with method actors? I'm not sure. The movie competed at the Cannes film Festival in 1953, but didn't win any prices. Not one of my favorite Hitchcocks, but as you say a very good movie. Not all that “Hitchcockian,” but I like that about it; Hitchcock liked trying new things (e.g., Lifeboat), and many of his experiments range from excellent ( Lifeboat again) to good ( Rope) to mediocre ( Under Capricorn) but are always worthwhile and interesting. As for method actors…does Paul Newman count? He was apparently always asking Hitch “what’s my motivation?” on the set of Torn Curtain (another “lesser Hitchcock” that I like).
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Post by Nalkarj on Oct 12, 2018 17:23:42 GMT
"The only good human, is a dead human!" Beneath the Planet of the Apes was trying for a Roman epic feeling (the steam bath scene comes to mind). Yeah, Roddy McDowall's absence hurts though I assume if he had been in it, it would still have been written as it was. I think the Vietnam parallels was very heavy handed. Finally watched THE MUMMY (1932) and CAT PEOPLE (1942). Both I had known of quite well since the mid 70s yet never saw in complete form. I am convinced Karl Freund should have directed Dracula.It’s actually been long debated whether or not he did direct Dracula. ( mikef6 and I were recently discussing this.) David Manners claimed that he did, and his claims have been repeated over and over again, but that claim was never supported by anyone else; Lugosi, for example, always said it was Browning behind the camera. Dracula, one of my favorite Universal horrors, has always seemed to me like the work of both—Freund’s mood and atmospherics, Browning’s story-structure (Everson noted insightfully that Browning movies always have evocative openings and then grow weaker and more claustrophobic as the story progresses) and old carny trickery (those armadillos in particular). ____________ I’m a fan of Beneath the Planet of the Apes, mostly because it’s the only sequel that really looks and feels like the original (actually, its story is pretty much identical). As you say, McDowall’s absence hurts it, though David Watson’s impression isn’t bad. James Gregory is a hoot as the General, and I like how we get to see more of the Forbidden Zone. Heston is wasted, which is disappointing, but apparently he wanted it that way, and the ending is a huge anticlimax. But I do like it.
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Post by teleadm on Oct 12, 2018 17:38:05 GMT
I Confess 1953 Was this the only time Hitchcock worked with method actors? I'm not sure. Not one of my favorite Hitchcocks, but as you say a very good movie. Not all that “Hitchcockian,” but I like that about it; Hitchcock liked trying new things (e.g., Lifeboat), and many of his experiments range from excellent ( Lifeboat again) to good ( Rope) to mediocre ( Under Capricorn) but are always worthwhile and interesting. As for method actors…does Paul Newman count? He was apparently always asking Hitch “what’s my motivation?” on the set of Torn Curtain (another “lesser Hitchcock” that I like). In all haste I had forgotten about Newman and Torn Curtain. According to the extras on I Confess, Clift could at times drive Hitch mad, but appreciated that he took his role seriously, including little details like studying how a priest walks and adapting that kind of walk.
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Post by Nalkarj on Oct 12, 2018 17:45:54 GMT
Not one of my favorite Hitchcocks, but as you say a very good movie. Not all that “Hitchcockian,” but I like that about it; Hitchcock liked trying new things (e.g., Lifeboat), and many of his experiments range from excellent ( Lifeboat again) to good ( Rope) to mediocre ( Under Capricorn) but are always worthwhile and interesting. As for method actors…does Paul Newman count? He was apparently always asking Hitch “what’s my motivation?” on the set of Torn Curtain (another “lesser Hitchcock” that I like). In all haste I had forgotten about Newman and Torn Curtain. According to the extras on I Confess, Clift could at times drive Hitch mad, but appreciated that he took his role seriously, including little details like studying how a priest walks and adapting that kind of walk. No worries! I appreciate that Clift took the role seriously. He did a great job in the part, as maddening as he could be for Hitch.
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Post by Lebowskidoo 🦞 on Oct 12, 2018 18:08:18 GMT
Maybe not the most classic of Peter Cushing horror films, but The Ghoul (1975) was entertaining anyway. John Hurt has a large role and he easily steals the movie. The lovely Veronica Carlson has a very big part in a very Psycho-esque scene , she reminds me of someone else from the movies but I cannot place who that is just yet.
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Post by kijii on Oct 14, 2018 3:09:23 GMT
A Star Is Born (2018) / Bradley Cooper
We went to the movies today
I liked Lady Gaga a lot; I loved both her character and her voice. But, Cooper should keep his day job rather than either singing or directing. At first, I liked all of those closeups, but after a while they become too predicable (and there were too many of them too).
As a story, this movie added an extra dimension by adding Sam Elliot as Cooper's much older brother from-another-mother.
Since this is about concert rock singers, it is more like version 3 than versions 1 or 2. But, Cooper has his James Mason moment in which he stole Allie's moment by embarrassing her on stage while she was receiving an award.
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Post by kijii on Oct 14, 2018 18:52:23 GMT
CLARENCE BROWN'S WARTIME MOVIES - A Saga and a Montage
The White Cliffs of Dover (1944) / Clarence Brown
Viewed from a DVR'd broadcast on TCM
I have loved England, dearly and deeply, Since that first morning, shining and pure, The white cliffs of Dover I saw rising steeply Out of the sea that once made her secure. I had no thought then of husband or lover, I was a traveller, the guest of a week; Yet when they pointed 'the white cliffs of Dover', Startled I found there were tears on my cheek. I have loved England, and still as a stranger, Here is my home and I still am alone. Now in her hour of trial and danger, Only the English are really her own. Thus, begins Alice Duer Miller's very long poem about her love of all things English. Thus, begins the multi-generational story of a young American woman, Susan Dunn (Irene Dunn), visiting England with her father, Hiram Porter Dunn (Frank Morgan), on the eve of WWI.
After landing in England, Susan and Hiram board with the Lady Jean Ashwood (Gladys Cooper), her family where her family and friends reside. While Hiram is something of an cute American curmudgeon, set in his ways. The Ashwoods finally get him to play chess with his English counterpart, Colonel Walter Forsythe (C. Aubrey Smith). As they play chess, the two old men get into an argument about which country developed a particular chess move, which in turn, leads to a discussion about where Forsythe's chess set came from (the British had taken it from the White House during the War of 1812 before burning down Washington, D.C.---The chess game ends with a mild argument, with each man continuing to holding his own point of view about their respective countries. However, Susan it thrilled by the possibility of attending a ball when the aristocratic Forsythe invites her to be his guest and meet the king and queen of England as well as some of the English nobility:It happened the first evening I was there. Some one was giving a ball in Belgrave Square. At Belgrave Square, that most Victorian spot.— Lives there a novel-reader who has not At some time wept for those delightful girls, Daughters of dukes, prime ministers and earls, In bonnets, berthas, bustles, buttoned basques, Hiding behind their pure Victorian masks Hearts just as hot - hotter perhaps than those Whose owners now abandon hats and hose? Who has not wept for Lady Joan or Jill Loving against her noble parent's will A handsome guardsman, who to her alarm Feels her hand kissed behind a potted palm At Lady Ivry's ball the dreadful night Before his regiment goes off to fight; And see him the next morning, in the park, Complete in busbee, marching to embark. I had read freely, even as a child, Not only Meredith and Oscar Wilde But many novels of an earlier day— Ravenshoe, Can You Forgive Her?, Vivien Grey, Ouida, The Duchess, Broughton's Red As a Rose, Guy Livingstone, Whyte-Melville— Heaven knows What others. Now, I thought, I was to see Their habitat, though like the Miller of Dee, I cared for none and no one cared for me. While at the ball, she meets and dances with a young English nobleman, Sir John Ashwood (Alan Marshal), son of Lady Jean Ashwood. They start to fall in love as he shows her all of the English places that she has heard of and fell in love with from afar.John had one of those English faces That always were and will always be Found in the cream of English places Till England herself sink into the sea— A blond, bowed face with prominent eyes A little bit bluer than English skies. You see it in ruffs and suits of armour, You see it in wigs of many styles, Soldier and sailor, judge and farmer— That face has governed the British Isles, By the power, for good or ill bestowed, Only on those who live by code.
Oh, that inflexible code of living, That seems so easy and unconstrained, The Englishman's code of taking and giving Rights and privileges pre-ordained, Based since English life began On the prime importance of being a man.
Why do we fall in love? I do believe That virtue is the magnet, the small vein Of ore, the spark, the torch that we receive At birth, and that we render back again. That drop of godhood, like a precious stone, May shine the brightest in the tiniest flake. Lavished on saints, to sinners not unknown; In harlot, nun, philanthropist, and rake, It shines for those who love; none else discern Evil from good; Men's fall did not bestow That threatened wisdom; blindly still we yearn After a virtue that we do not know, Until our thirst and longing rise above The barriers of reason—and we love. John and Susan are married, she becomes part of the Ashwood family, and her father, returns to his newspaper in the smallest state in America, though there is no such town as Toliver, Rhode Island (except in this poem). When WWI breaks out, John, as expected, joins the Royal army to fight the Huns. Johnnie and I were married. England then
Had been a week at war, and all the men Wore uniform, as English people can, Unconscious of it. Percy, the best man, As thin as paper and as smart as paint, Bade us good-by with admirable restraint, Went from the church to catch his train to hell; And died-saving his batman from a shell.
We went down to Devon,
In a warm summer rain, Knowing that our happiness Might never come again; I, not forgetting, 'Till death us do part,' Was outrageously happy With death in my heart. Lovers in peacetime With fifty years to live, Have time to tease and quarrel And question what to give; But lovers in wartime Better understand The fullness of living, With death close at hand. With the men away at war, Susan gets to know her mother-in-law:I settled down in Devon,
When Johnnie went to France. Such a tame ending To a great romance— Two lonely women With nothing much to do But get to know each other; She did and I did, too. Mornings at the rectory Learning how to roll Bandages, and always Saving light and coal. Oh, that house was bitter As winter closed in, In spite of heavy stockings And woollen next the skin. I was cold and wretched, And never unaware Of John more cold and wretched In a trench out there.
Eventually, John and Susan have a son: Out of the dark, and dearth Of happiness on earth, Out of a world inured to death and pain; On a fair spring mom To me a son was born, And hope was born-the future lived again. To me a son was born, The lonely hard forlorn Travail was, as the Bible tells, forgot. How old, how commonplace To look upon the face Of your first-born, and glory in your lot.What what will Susan and John name their son (played in the movie by young Roddy McDowall)?'I want him called John after you, or if not that I'd rather—' 'But the eldest son is always called Percy, dear.' 'I don't ask to call him Hiram, after my father—' 'But the eldest son is always called Percy, dear.' 'But I hate the name Percy. I like Richard or Ronald, Or Peter like your brother, or Ian or Noel or Donald—' 'But the eldest is always called Percy, dear.' So the Vicar christened him Percy; and Lady Jean (Gladys Cooper) Gave to the child and me the empty place In hr heart. Poor Lady, it was as if she had seen The world destroyed— the extinction of her race, Her country, her class, her name— and now she saw Them live again. And I would hear her say: 'No. I admire Americans; my daughter-in-law Was an American.' Thus she would well repay The debt, and I was grateful— the English made Life hard for those who did not come to her aid.
They must come in in the spring.' 'Don't they care sixpence who's right?' 'What a ridiculous thing— Saying they're too proud to fight.' 'Saying they're too proud to fight.' 'Wilson's pro-German, I'm told.' 'No, it's financial.' 'Oh, quite, All that they care for is gold.' 'All that they care for is gold.' 'Seem to like writing a note.' 'Yes, as a penman, he's bold.' 'No. It's the Irish vote.''Oh, it's the Irish vote.' 'What if the Germans some night Sink an American boat?' 'Darling, they're too proud to fight.'
But, finally the Americans do enter the war to everyone's delight:And at last—at last—like the dawn of a calm, fair day After a night of terror and storm, they came— My young light-hearted countrymen, tall and gay, Looking the world over in search of fun and fame, Marching through London to the beat of a boastful air, Seeing for the first time Piccadilly and Leicester Square, All the bands playing: 'Over There, Over There, Send the word, send the word to beware—' And as the American flag went fluttering by Englishmen uncovered, and I began to cry.
Then comes the news that John had died in action right before the armistice is signed:Bad news is not broken, By kind tactful word; The message is spoken Ere the word can be heard. The eye and the bearing, The breath make it clear, And the heart is despairing Before the ears hear. I do not remember The words that they said: 'Killed—Douai—November—' I knew John was dead. All done and over— That day long ago— The while cliffs of Dover— Little did I know.
Nanny (May Whitty) helps raise John Ashwood II as a Boy:Nanny brought up my son, as his father before him, Austere on questions of habits, manners, and food. Nobly yielding a mother's right to adore him, Thinking that mothers never did sons much good.
After some time, Susan's father (Frank Morgan) comes to England to visit his grandson:
My father came over now and then To look at the boy and talk to me, Never staying long, For the urge was strong To get back to his yawl and the summer sea. He came like a nomad passing by, Hands in his pockets, hat over one eye, Teasing every one great and small With a blank straight face and a Yankee drawl; Teasing the Vicar on Apostolic Succession And what the Thirty-Nine Articles really meant to convey, Teasing Nanny, though he did not Make much impression On that imperturbable Scot. Teasing our local grandee, a noble peer, Who firmly believed the Ten Lost Tribes Of Israel had settled here— A theory my father had at his fingers' ends— Only one person was always safe from his jibes— My mother-in-law, for they were really friends.
Susan reflects upon her home in America and compares it with her home in England:Was this America—this my home? Prohibition and Teapot Dome— Speakeasies, night-clubs, illicit stills, Dark faces peering behind dark grills, Hold-ups, kidnappings, hootch or booze— Every one gambling—you just can't lose, Was this my country? Even the bay At home was altered, strange ships lay At anchor, deserted day after day, Old yachts in a rusty dim decay— Like ladies going the primrose way— At anchor, until when the moon was black, They sailed, and often never came back.
After John II (Peter Lawford) grows up to fight in WWII........ Full TCM Synopsis with SPOILERS: As she prepares for an influx of wounded soldiers at a London military hospital, American-born Red Cross volunteer Lady Susan Ashwood worries about her son John, who is fighting overseas, and fondly recalls her arrival in England many years before: In April 1914, Susan and her father, Hiram Porter Dunn, a small-town newspaper publisher from Rhode Island, arrive in London for a two-week vacation. Hiram detests everything English, especially the rainy weather, which quickly aggravates his lumbago and keeps him in his boardinghouse bed. On their last day in London, Col. Walter Forsythe, an elderly boardinghouse resident, invites Susan to accompany him to a ball hosted by the Duke and Duchess of Waverly, and she eagerly accepts. At the ball, the colonel tricks young Sir John Ashwood into dancing with Susan by leading him to believe she is his friend's Australian cousin, whom John has been asked to entertain. John is immediately taken with the down-to-earth Susan and spends a long, romantic evening with her. Just before parting, John begs Susan to stay in England, but she tearfully insists that she has to leave with her father. The next morning, however, John shows up at the boardinghouse and announces that his mother, Lady Jean, has invited both Susan and Hiram to their country manor. After much cajoling, Hiram finally gives Susan permission to stay in England without him, and she is whisked away to the country.
Although they give Susan a warm welcome, John's family, including his brother Reggie, is unsure about her relationship with John and one night invite his childhood sweetheart, Helen Hampton, who is still in love with him, to dinner. John, however, is sure about his feelings for Susan and proposes, but she is too stunned to give an immediate answer. Susan then receives a telegram from her father, pleading with her to come home, and when John's family makes seemingly anti-American comments in front of her, she explodes in anger. Although Lady Jean apologizes and assures her that the English are reserved by nature, Susan prepares to sail home, convinced that she is too "American" for John. As she is about to board the ship, however, John appears and talks her into marrying him. In the midst of their honeymoon, war breaks out, and John, who, following family tradition as an Army officer, is sent off to fight.
After three years of separation, Susan and Lady Jean learn that the government has arranged for soldiers' wives to be reunited with their husbands for a brief leave in France. Their joy is shortlived, however, when a telegram announcing Reggie's death in battle also arrives. At an elegant resort in coastal France, Susan and the war-weary John relish every moment of their reunion. A year later, Susan, who now lives in London, watches hopefully with her newborn son, John Ashwood II, as American troops march through the streets. Just before peace is declared, however, John is killed in action, and Susan is devastated. Lady Jean finally brings Susan out of her embittered grief by impressing on her that John sacrificed his life in order to assure his son a peaceful future.
Many years later, Susan and Hiram, who now lives at the Ashwood manor, become concerned when they hear German acquaintances of young John predicting that Germany will soon "finish" the business of the previous war. Sure that another war is coming, Hiram convinces Susan to return to America with John, but while they are on the train to the coast, John, who takes seriously his duties as master of the manor, persuades her to stay in England, his home. When war finally breaks out, both John and his childhood sweetheart, farmer's daughter Betsy Kenney, go to the front. Back at the hospital, Susan's reveries are interrupted by the arrival of the wounded soldiers. As she had feared, John is among the injured and has only a few hours to live. When she sees American troops outside, marching side by side with English soldiers, however, she assures John that his sacrifice, like that of his father, will not be in vain. This 1944 wartime movie is a classic, much as Clarence Brown's The Human Comedy (1943) had been a year earlier. Both show the wartime as a series of images with a clear-cut message. Yes, they are sentimental, but I still think that they are both masterpieces in the way they deliver their messages about the people on the home fronts of wars.
In the case of The White Cliffs of Dover, the message derives from Alice Duer Miller's poem about a women with two counties.
In the case of The Human Comedy, the message derives from William Saroyan's Valentine to America.
The Human Comedy (1943) / Clarence Brown Full TCM Synopsis with SPOILERS: In the small town of Ithaca, California, teenager Homer Macauley takes a night job as a telegraph messenger in order to help his widowed mother Katie make ends meet during his older brother Marcus' military absence. The eager Homer is awestruck by his manly new manager, Tom Spangler, a former valley champion in the 220 low hurdles, the same track and field event in which Homer competes, and is undaunted when the elderly, eloquent wire chief, Willie Grogan, issues instructions on how to rouse him when he is drunk. After Homer delivers his first wartime death notice, however, he is burdened by the grim realities of his job and confides a sudden loneliness to his mother. The understanding Katie, who has come to terms with her own husband Matthew's untimely death, reassures him that his confusion is a natural part of growing up. Later, at school, Homer and his rival, the well-to-do Hubert Ackley III, get into trouble with Miss Hicks, their ancient history teacher, for trading insults in class. As punishment, Miss Hicks orders the teenagers to stay after school and miss their scheduled 220 low hurdle race. The boys's coach, Blenton, however, lies to Miss Hicks that the principal has ordered Hubert to compete and pulls him from detention. Angry at Blenton's deception, Miss Hicks allows Homer to go, and to everyone's surprise, Homer wins the race. Later, Homer is forced to sing Hubert's telegraphed birthday greeting to Helen Elliot, the object of Homer and Hubert's desire, at a party to which Homer has not been invited. Although humiliated, Homer accepts Hubert's subsequent apology, and both boys agree to make peace with each other. The down-to-earth Tom, meanwhile, reluctantly accepts an invitation from his wealthy girl friend, Diana Steed, to meet her parents for the first time. Just before he is to be introduced to her father, however, Tom bolts from the Steed house and confesses to Diana his fears that her parents will not approve of him. After Diana assures Tom that her parents are not snobs, the two pledge their love, and Tom greets Mr. Steed wearing one of the elder man's bow ties. At the same time, in town, Homer's older sister Bess and next-door neighbor Mary Arena, Marcus' fiancée, meet three soldiers on the way to the movie theater and shyly invite them along to the show. The soldiers are grateful for the women's company, and Bess and Mary, seeing Marcus in each of them, are happy to have brightened the lonely men's day. Far from home, at his Army training camp, Marcus, meanwhile, tells his buddy, Tobey George, about his idyllic life in Ithaca, and Tobey, an orphan, decides to move there after the war and "become" a Macauley. Just before Marcus is to be shipped out, Homer receives a heartfelt letter from him. Unnerved by Marcus' advice to prepare for his possible death, Homer declares to Willie that he will "spit at the world" if Marcus is killed. Months later, while attending a Sunday festival, the newly married Tom confesses to his bride, Diana, that he has enlisted in the Navy, and although she is pregnant, Diana bravely endorses his decision. In town, meanwhile, Homer notices Willie in the telegraph office while walking with Bess, Mary and his little brother Ulysses, and stops to say hello. Willie is passed out and, as a message starts to come in, Homer runs for some hot coffee. When Homer returns, he discovers that Willie has died, having succumbed to a heart attack after receiving a message about Marcus' death. Tom then comforts the grief-stricken Homer, and while Homer gathers his courage to tell his family the tragic news, the two play horseshoes in the park. At the same time, Tobey, who was wounded during battle, has arrived in Ithaca and is headed for the Macauley home. Outside his house, Homer meets Tobey, about whom Marcus had often written, and sadly accepts Marcus' class ring from him. Bolstered by Tobey's love, Homer yells to his family that "the soldier's come home" and walks through the front door with him, ready to face his family. Watching his now mature son, the spirit of Matthew comments to the spirit of Marcus that "the ending is only the beginning."
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Post by ZolotoyRetriever on Oct 14, 2018 19:24:36 GMT
Just finished binge-watching all 4 of the Dean Martin "Matt Helm" movies, recently telecast on TCM: The Silencers (1966), Murderer's Row (1966), The Ambushers (1967), The Wrecking Crew (1969).
What can I say? These are real "groaners"... Yes, they're pretty bad, but I guess one can't be too negatively critical towards them, as they were meant to be spoofs of the James Bond films, and in that sense, they are sometimes pretty clever. Each film also manages to squeeze in a little poke at Dean Martin's fellow Rat-Packer, Frank Sinatra.
The Matt Helm persona also served as part of Mike Myer's inspiration for his Austin Powers films.
The 3rd film in the series, The Ambushers, received this quaint little mention in Wikipedia: Ouch.
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Post by kijii on Oct 14, 2018 23:14:31 GMT
Just finished binge-watching all 4 of the Dean Martin "Matt Helm" movies, recently telecast on TCM: The Silencers (1966), Murderer's Row (1966), The Ambushers (1967), The Wrecking Crew (1969).
What can I say? These are real "groaners"... Yes, they're pretty bad, but I guess one can't be too negatively critical towards them, as they were meant to be spoofs of the James Bond films, and in that sense, they are sometimes pretty clever. Each film also manages to squeeze in a little poke at Dean Martin's fellow Rat-Packer, Frank Sinatra.
The Matt Helm persona also served as part of Mike Myer's inspiration for his Austin Powers films.
The 3rd film in the series, The Ambushers, received this quaint little mention in Wikipedia: Ouch. ZolotoyRetriever-- Do you have a favorite Dean Martin movie?
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Post by kijii on Oct 15, 2018 15:52:06 GMT
They Met in Bombay (1941) / Clarence Brown Seen on TCM
Part of the Clarence Brown movie quest.
This movie is mediocre at best, in spite of having Clark Gable, Rosalind Russell, and Peter Lorre in the cast.
The two people that "meet in Bombay" are Gable and Russell. The reason for them meeting there is that they both want to steal an extremely valuable necklace from Duchess of Beltravers (Jessie Ralph) who happens to be there at that time.They are both trying to steal the same necklace by using totally different methods and phony identities. Russell tries to get Jessie drunk and steal it from her; Gable poses as an agent detective from Lloyds of London who is in Bombay to protect the necklace. Once they find out that they are both thieves, they join forces and try to make off with the necklace. While doing this, they fall in love, run away from Bombay on a steamer (Peter Lorre is the captain), and ending up in China, etc., etc.
Gerald Meldrick (Clark Gable) : Easy now, we're not caught yet. Anya Von Duren (Rosalind Russell): No, we're not, are we? [They embrace and kiss] Gerald Meldrick : I'm a liar... I'm caught alright. Anya Von Duren : So am I. Full TCM synopsis with SPOILERS: While the Duchess of Beltravers travels to Bombay, India, jewel thief Gerald Meldrick has a perfect fake made of her famed "Star of Asia" pendant. Gerald then goes to India, posing as a Lloyd's of London detective looking after clients' jewels. Registering at the same hotel is Baroness von Duren, to whom Gerald is immediately attracted. Unknown to Gerald, the baroness is actually Anya von Duren, a thief who also has designs on the pendant.. Gerald soon becomes suspicious of the well-rehearsed Anya, especially when she playfully asks him how someone might steal the pendant. That evening, Anya arranges to dine next to the duchess and, pretending to be a friend of her relatives, Anya accompanies her to her suite. After the inebriated duchess falls asleep, Anya steals the necklace, after which Gerald sneaks into the duchess' room and replaces the real pendant with his fake. He then goes to Anya, takes the pendant from her and convinces her that he is letting her off to rehabilitate her. Anya's gratefulness soon ends when she discovers that he has switched the necklaces, and the next day she confronts him. Gerald suggests that they become partners and they narrowly escape arrest when police Inspector Cressney discovers the theft.
Forced to flee on a tramp steamer, they encounter the greedy Captain Chang, who soon receives a wireless offering a £10,000 reward for them. Gerald and Anya soon fall in love, then jump ship together after discovering that Chang plans to turn them in. In Hong Kong, Gerald and Anya are happy, despite their enforced poverty, and Anya dreams of a normal life. Gerald, however, insists that they would hate settling down. One day, Gerald, who was once a British officer, poses as "Captain Huston" in a scheme to confiscate money from a Chinese merchant accused of stealing from the army. Gerald commandeers some unsuspecting soldiers to help him and is so convincing that he is ordered to report to the Hong Kong Garrison for emergency duty. Because the Japanese army is advancing, all Europeans and friendly Chinese must leave nearby Chang-lin, and Gerald is ordered to lead a regiment there. He cannot leave the barracks, but arranges for Anya to meet him at Chang-lin. She is there when he arrives and the evacuation proceeds until Japanese troops march in and refuse to allow any Chinese to leave. Gerald confronts the Japanese colonel, then leads his men and the civilians through their ranks. Additional Japanese forces confront them on the road and a battle ensues. Gerald heroically risks his own life to destroy Japanese machine guns and is seriously wounded before the battle is won.
Several weeks later, as Gerald is released from the army hospital, he plans his and Anya's escape, unaware that he is to be awarded the Victoria Cross. Realizing that the army must now know that he is a fake, he wants to leave before the ceremony but cannot get away. After Gerald receives the medal, Inspector Cressney arrives from Bombay to arrest him, and Anya admits that she sent for Cressney after the army uncovered Gerald's subterfuge, but begged them to delay arresting him until after the ceremony. Gerald arranges for some soldiers to arrest Cressney and escapes. Cressney is furious until Gerald returns, admitting that he just wanted to talk with Anya before returning the pendant. He then asks his colonel to keep the medal until he can come back and enlist.
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