365 films: Broad Mr. Nobody review

Broad Mr. Nobody holds the first role Eddie Albert, Joan Leslie, and Alan vigorous in this film 1941. Charitable goal rather deaf-transfers, Robert Smith (Albert) leaves others constantly walk above him, without even realizing. Really not meaning not to wound No matter whom, Robert does not curry out this half off time, it wounds his chances for happiness. His/her daughter, Mary (Leslie) supports it, goal hastes to see it, being around thorough, and generally, it obtains the inversion with the way in which He treats things. It had year good idea for has film, goal really did not hold much interest for me. Even with the difference in 19 old years, between Eddie and Joan, I honestly thought, they stays has good coupling. It is so-so has film, with has poor argument, which leaves it, not very memorable. Review for the tomorrow: Covetousness for gold
Great classic films, best all time movies

Bad Madam (1945): However splitting and the astute Young girl

In November 2004, the British Film Institute compiled a list of the all-time most popular films ever shown in England, not just those made in Great Britain but across the globe. This list wasn't created by opinion polls or statistics, but by the most accurate data available....the number of tickets sold. Not ticket sales, which can change dramatically over decades due to inflation, but actual tickets sold to viewers. What a novel idea! And of the tens of thousands of movies shown in Britain, number nine on the list was The Wicked Lady (1945), a lush and lusty historical potboiler made in England and starring the ravishing Margaret Lockwood and the rakish James Mason. You ! may have heard of it but chances are the average modern classic film fan hasn't and yet it beat out Jaws, the Harry Potter series and even each individual installment of the Lord of the Rings trilogy, none of which even made it into the top ten. What? How could an obscure little swashbuckler made just after the war, with a running time of only 104 minutes, sell more tickets than these blockbuster heavyweights?The Wicked Lady, released in December 1945, just so happened to be England's highest earning film for 1946. The British box office coffers fairly exploded with the bodice ripping tale, set during the Restoration. Critics thought very lit! tle of it but the public couldn't get enough. Based on a novel! by Magd alen King-Hall called The Life and Death of the Wicked Lady Skelton, the story apparently has its roots in real life events of the life of Lady Katherine Ferrers (pictured right), an heiress and wife of prominent landowner Thomas Fanshawe, in 17th century England. The conniving female of the film's title is Lady Barbara Skelton (Lockwood), who has been invited to the wedding of her childhood friend, Caroline (played by the lovely Patricia Roc). Upon arrival, the beautiful and scheming Barbara charms and bewitches bridegroom-to-be Sir Ralph Skelton (Griffith Jones), a wealthy, albeit uninspiring landowner. She marries the unassuming Ralph and becomes lady of the manor, a grand Jacobian mansion called Maryiot Cells (the huge estate is actually Blicking House in Norfolk, now a property of the National Trust). Bored with what she considers a dull life as a country lady, she dons a mask and men's clothes and becomes a highwayman, a rogue in days of old who worked as armed robbers! of passing carriages on remote highways. She meets up with another thief of the same order, the infamous Jerry Jackson (Mason) and, as bored with her her husband as she is with domestic life, she and Jackson become lovers. Wicked doesn't begin to describe our lass, as her shenanigans multiply, eventually leading to murder, as well as yet another man floating about in the background to raise her temperature (Michael Rennie).The Wicked Lady was a product of Gainsborough Pictures, a film studio in Islington, London, which was a part of the Rank empire, the leading movie production company in Britain. Gainsborough gave rise to a small group of up and coming actors which included Stewart Granger and Phyllis Calvert, as well as Lockwood, Mason and Roc, and specialized in interchanging these players in various historical, as well as contemporary dramas. Lady is a perfect example of the Gainsborough formula and by far the most commercially success! ful. One simple reason for the film's popularity was the fact ! that ris que Restoration romance was all the rage in 1945. American author Kathleen Windsor had just released her debut novel Forever Amber the previous year to enormous success, with a film version in the works by 1946. The Wicked Lady was very similar to Amber in atmosphere and theme and was a better representation of the genre for a fraction of the cost its American counterpart would incur. The fiery melodrama made no pretense of being high art, instead embracing its dime store romance novel status with sumptuous interior decor and lavish costumes given exquisite attention to detail.When it came to U.S. distribution of the film, the costumes became a huge bone of contention. American motion picture censors considered Margaret Lockwood's cleavage much too prominent to be allowed on Yankee movie screens and costly reshooting was required in order for the picture to be shown this side of the Atlantic. There was also no lack of innuendo and racy dialogue. Upon meeting! the dark and daring Jerry, who has no qualms about wrapping his hands around Barbara's nibble worthy neck, she asks: "Do you always take women by the throat?", to which the sensual thief wantonly answers, "No, I just take them."Lockwood is without doubt the star of the show. She had already made a name for herself nearly a decade earlier as the female lead in Alfred Hitchcock's The Lady Vanishes (1938). By the time she played Lady Skelton, she was one of England's most popular movie actresses. Bearing a striking resemblance to American film star Joan Bennett, Lockwood runs dramatically amok in The Wicked Lady. She is a cross between Jezebel and ! Lucretia Borgia, definitely the stronger character next to her! weaker male film counterparts. When all is said and done, number nine on Brits top list is just good dirty fun.
Great classic films, best all time movies

365 films: Broad Mr. Nobody review

Broad Mr. Nobody holds the first role Eddie Albert, Joan Leslie, and Alan vigorous in this film 1941. Charitable goal rather deaf-transfers, Robert Smith (Albert) leaves others constantly walk above him, without even realizing. Really not meaning not to wound No matter whom, Robert does not curry out this half off time, it wounds his chances for happiness. His/her daughter, Mary (Leslie) supports it, goal hastes to see it, being around thorough, and generally, it obtains the inversion with the way in which He treats things. It had year good idea for has film, goal really did not hold much interest for me. Even with the difference in 19 old years, between Eddie and Joan, I honestly thought, they stays has good coupling. It is so-so has film, with has poor argument, which leaves it, not very memorable. Review for the tomorrow: Covetousness for gold
Great classic films, best all time movies

Bad Madam (1945): However splitting and the astute Young girl

In November 2004, the British Film Institute compiled a list of the all-time most popular films ever shown in England, not just those made in Great Britain but across the globe. This list wasn't created by opinion polls or statistics, but by the most accurate data available....the number of tickets sold. Not ticket sales, which can change dramatically over decades due to inflation, but actual tickets sold to viewers. What a novel idea! And of the tens of thousands of movies shown in Britain, number nine on the list was The Wicked Lady (1945), a lush and lusty historical potboiler made in England and starring the ravishing Margaret Lockwood and the rakish James Mason. You ! may have heard of it but chances are the average modern classic film fan hasn't and yet it beat out Jaws, the Harry Potter series and even each individual installment of the Lord of the Rings trilogy, none of which even made it into the top ten. What? How could an obscure little swashbuckler made just after the war, with a running time of only 104 minutes, sell more tickets than these blockbuster heavyweights?The Wicked Lady, released in December 1945, just so happened to be England's highest earning film for 1946. The British box office coffers fairly exploded with the bodice ripping tale, set during the Restoration. Critics thought very lit! tle of it but the public couldn't get enough. Based on a novel! by Magd alen King-Hall called The Life and Death of the Wicked Lady Skelton, the story apparently has its roots in real life events of the life of Lady Katherine Ferrers (pictured right), an heiress and wife of prominent landowner Thomas Fanshawe, in 17th century England. The conniving female of the film's title is Lady Barbara Skelton (Lockwood), who has been invited to the wedding of her childhood friend, Caroline (played by the lovely Patricia Roc). Upon arrival, the beautiful and scheming Barbara charms and bewitches bridegroom-to-be Sir Ralph Skelton (Griffith Jones), a wealthy, albeit uninspiring landowner. She marries the unassuming Ralph and becomes lady of the manor, a grand Jacobian mansion called Maryiot Cells (the huge estate is actually Blicking House in Norfolk, now a property of the National Trust). Bored with what she considers a dull life as a country lady, she dons a mask and men's clothes and becomes a highwayman, a rogue in days of old who worked as armed robbers! of passing carriages on remote highways. She meets up with another thief of the same order, the infamous Jerry Jackson (Mason) and, as bored with her her husband as she is with domestic life, she and Jackson become lovers. Wicked doesn't begin to describe our lass, as her shenanigans multiply, eventually leading to murder, as well as yet another man floating about in the background to raise her temperature (Michael Rennie).The Wicked Lady was a product of Gainsborough Pictures, a film studio in Islington, London, which was a part of the Rank empire, the leading movie production company in Britain. Gainsborough gave rise to a small group of up and coming actors which included Stewart Granger and Phyllis Calvert, as well as Lockwood, Mason and Roc, and specialized in interchanging these players in various historical, as well as contemporary dramas. Lady is a perfect example of the Gainsborough formula and by far the most commercially success! ful. One simple reason for the film's popularity was the fact ! that ris que Restoration romance was all the rage in 1945. American author Kathleen Windsor had just released her debut novel Forever Amber the previous year to enormous success, with a film version in the works by 1946. The Wicked Lady was very similar to Amber in atmosphere and theme and was a better representation of the genre for a fraction of the cost its American counterpart would incur. The fiery melodrama made no pretense of being high art, instead embracing its dime store romance novel status with sumptuous interior decor and lavish costumes given exquisite attention to detail.When it came to U.S. distribution of the film, the costumes became a huge bone of contention. American motion picture censors considered Margaret Lockwood's cleavage much too prominent to be allowed on Yankee movie screens and costly reshooting was required in order for the picture to be shown this side of the Atlantic. There was also no lack of innuendo and racy dialogue. Upon meeting! the dark and daring Jerry, who has no qualms about wrapping his hands around Barbara's nibble worthy neck, she asks: "Do you always take women by the throat?", to which the sensual thief wantonly answers, "No, I just take them."Lockwood is without doubt the star of the show. She had already made a name for herself nearly a decade earlier as the female lead in Alfred Hitchcock's The Lady Vanishes (1938). By the time she played Lady Skelton, she was one of England's most popular movie actresses. Bearing a striking resemblance to American film star Joan Bennett, Lockwood runs dramatically amok in The Wicked Lady. She is a cross between Jezebel and ! Lucretia Borgia, definitely the stronger character next to her! weaker male film counterparts. When all is said and done, number nine on Brits top list is just good dirty fun.
Great classic films, best all time movies

Ton take UP exotic haven the studios fate

MGM set sail in 1935 with "China Seas," an exotic trip from Hong Kong to Singapore -- although no one left the back lot. Still, the stars were out in full force, and producer Irving Thalberg kept everything moving full steam ahead, which keeps this film from capsizing.OK, how many bad boat metaphors can I use in one lead?Actually, think "Grand Hotel" meets "Mutiny on the Bounty." While it's not as good as either of these films, "China Seas" works in spite of itself. The stars look fabulous, the dialogue clips along at a fast pace, the action scenes are exciting, and the audience can just sit back and forget the fact that story is pretty flimsy. It's worth noting that Thalberg had produced "Grand Hotel" in 1932, which ! featured for an unheard-of five top-line actors and multiple story lines going at once. The formula works even today, and in the years following "Grand Hotel's" success, MGM wasn't afraid to tap into its vast acting pool and bring together that much talent for a film. "Dinner at Eight" from 1933 is a good example, and this film follows suit with three stars and story lines to spare. Thalberg knew that star power can detract from lesser material.The movie opens by introducing all of the various characters and plotlines -- and there are TONS of plotlines, big and small, for a 90-minute film. It's like every nook and cranny of the ship is filled with some intrigue. You've got Captain Alan Gaskell (Clark Gable), arriving somewhat drunk yet feared by his crew for being an unrelenting taskmaster. He's broken off with the earthy Dolly (Jean Harlow) in port, although she's decided to book passage to be near him. He then runs into Sybil (Rosalind Russell), a classy woman he befriend! ed years ago, and he pursues a romance with her. In retaliatio! n, Dolly works with Jamesy MacArdle (Wallace Beery), who is in cahoots with a band of pirates wanting to steal a secret gold shipment that's on board.These are the main plotlines. Then you have Davids (Lewis Stone), a fallen captain detested by the others for being a coward who Gaskell hires to be third officer; a female passenger with fake pearls she's trying to hide from her husband and a man blackmailing her; and McCaleb (Robert Benchley) as an author who's constantly inebriated. A few other minor characters are around for color and you've got to keep track of a lot. The plotting gets to be too much at first, and the romantic triangle isn't all that intriguing. Once you get to the action, though, the movie picks up. ! A typhoon and a pirate raid provide plenty of excitement, and the second half of the film is really quite fun.Plus there's plenty of focus on the stars. Harlow plays the dame -- typecast once again. But she does it with so much energy that it's hard to resist. The film cuts awkwardly at times to her closeups that clearly look like they were shot at a different time than the rest of the scenes, almost saying "here's the gratuitous star closeup for her fans." But what would a Harlow film be without a few gorgeous closeups of its star?Gable looks even more handsome and dashing than usual. His charisma is fully in use here -- he gets to be hero, lover and tough guy. Plus there's a chance to see him in an undershirt and a sleek black knit long-sleeve shirt during the typhoon that ups the swoon factor.Beery, like Harlow, plays the same type of character in his films. Usually they are earthy or men who have made something of themselves but are rarely polished. There's no exception! here. Gable, Harlow and Beery were all established stars at t! his poin t, and MGM knew it and draws on that star power here.On the other hand, Russell was just beginning her long movie career. For anyone who's enjoyed the force of her comedic skills or the strength of her dramatic talents, she's simply playing a throwaway role here -- the love interest, and one who is secondary to Harlow. Russell doesn't have much to do, but I don't think MGM knew what to make of her yet. Thankfully, that would change.During the past year, I've been watching a lot of MGM films from the 1930s, and I'm enjoying seeing how the great studio managed to turn out so many likable films, whether they were truly great or simply enjoyable like this one. MGM had the stars and instructed its directors and cameramen to make their stars look amazing, even if their characters weren't glamorous. This is a film where the studio's know-how is on full display.Or, really, it's Thalberg's touch at work once again. This was one of his first films after a long hiatus from the studio d! ue to his health. He was on the "China Seas" set constantly, giving advice to the actors, until director Tay Garnett confronted him and pointed out that Thalberg was undermining his authority. Thalberg immediately stepped back and thanked Garnett for being open and honest about it. This is one of the stories that makes me appreciate Thalberg. He was a genius, but he also tried to treat people with respect. So, with "China Seas" you've got MGM in the 1930s with Thalberg as producer and Gable, Harlow and Beery as stars. What's not to like about this crew?
! Great classic films, best all t! ime movi es

Open the thread

Is which one your spirit? So called one incoming goods. I wants roofridge go. I CUTs just now, since all children very quietly acres, and I everyone off the remarks quietly more one the second Visionierung like. Bening is like that, that, appointed OSCAR ton of fuel element of goes. What would you say off you? DO Which film/taking part/person, place gold thing luggage UP by your brain in this time?
Great classic films, best all time movies

âSiamo Givesâ

Young stag two segments off the collaboration off Rossellini/Bergman in 1953 “Siamo Gives. “Ingrid sort to solve the problem gold the mystery off which destroys its pinks. Appreciate thesis shorts! Individual It is enough to hear has Swede speak Italian! She knew so many languages (Swedish, German, English, French and Italian)! It astonishes me.
Great classic films, best all time movies

Ton take UP exotic haven the studios fate

MGM set sail in 1935 with "China Seas," an exotic trip from Hong Kong to Singapore -- although no one left the back lot. Still, the stars were out in full force, and producer Irving Thalberg kept everything moving full steam ahead, which keeps this film from capsizing.OK, how many bad boat metaphors can I use in one lead?Actually, think "Grand Hotel" meets "Mutiny on the Bounty." While it's not as good as either of these films, "China Seas" works in spite of itself. The stars look fabulous, the dialogue clips along at a fast pace, the action scenes are exciting, and the audience can just sit back and forget the fact that story is pretty flimsy. It's worth noting that Thalberg had produced "Grand Hotel" in 1932, which ! featured for an unheard-of five top-line actors and multiple story lines going at once. The formula works even today, and in the years following "Grand Hotel's" success, MGM wasn't afraid to tap into its vast acting pool and bring together that much talent for a film. "Dinner at Eight" from 1933 is a good example, and this film follows suit with three stars and story lines to spare. Thalberg knew that star power can detract from lesser material.The movie opens by introducing all of the various characters and plotlines -- and there are TONS of plotlines, big and small, for a 90-minute film. It's like every nook and cranny of the ship is filled with some intrigue. You've got Captain Alan Gaskell (Clark Gable), arriving somewhat drunk yet feared by his crew for being an unrelenting taskmaster. He's broken off with the earthy Dolly (Jean Harlow) in port, although she's decided to book passage to be near him. He then runs into Sybil (Rosalind Russell), a classy woman he befriend! ed years ago, and he pursues a romance with her. In retaliatio! n, Dolly works with Jamesy MacArdle (Wallace Beery), who is in cahoots with a band of pirates wanting to steal a secret gold shipment that's on board.These are the main plotlines. Then you have Davids (Lewis Stone), a fallen captain detested by the others for being a coward who Gaskell hires to be third officer; a female passenger with fake pearls she's trying to hide from her husband and a man blackmailing her; and McCaleb (Robert Benchley) as an author who's constantly inebriated. A few other minor characters are around for color and you've got to keep track of a lot. The plotting gets to be too much at first, and the romantic triangle isn't all that intriguing. Once you get to the action, though, the movie picks up. ! A typhoon and a pirate raid provide plenty of excitement, and the second half of the film is really quite fun.Plus there's plenty of focus on the stars. Harlow plays the dame -- typecast once again. But she does it with so much energy that it's hard to resist. The film cuts awkwardly at times to her closeups that clearly look like they were shot at a different time than the rest of the scenes, almost saying "here's the gratuitous star closeup for her fans." But what would a Harlow film be without a few gorgeous closeups of its star?Gable looks even more handsome and dashing than usual. His charisma is fully in use here -- he gets to be hero, lover and tough guy. Plus there's a chance to see him in an undershirt and a sleek black knit long-sleeve shirt during the typhoon that ups the swoon factor.Beery, like Harlow, plays the same type of character in his films. Usually they are earthy or men who have made something of themselves but are rarely polished. There's no exception! here. Gable, Harlow and Beery were all established stars at t! his poin t, and MGM knew it and draws on that star power here.On the other hand, Russell was just beginning her long movie career. For anyone who's enjoyed the force of her comedic skills or the strength of her dramatic talents, she's simply playing a throwaway role here -- the love interest, and one who is secondary to Harlow. Russell doesn't have much to do, but I don't think MGM knew what to make of her yet. Thankfully, that would change.During the past year, I've been watching a lot of MGM films from the 1930s, and I'm enjoying seeing how the great studio managed to turn out so many likable films, whether they were truly great or simply enjoyable like this one. MGM had the stars and instructed its directors and cameramen to make their stars look amazing, even if their characters weren't glamorous. This is a film where the studio's know-how is on full display.Or, really, it's Thalberg's touch at work once again. This was one of his first films after a long hiatus from the studio d! ue to his health. He was on the "China Seas" set constantly, giving advice to the actors, until director Tay Garnett confronted him and pointed out that Thalberg was undermining his authority. Thalberg immediately stepped back and thanked Garnett for being open and honest about it. This is one of the stories that makes me appreciate Thalberg. He was a genius, but he also tried to treat people with respect. So, with "China Seas" you've got MGM in the 1930s with Thalberg as producer and Gable, Harlow and Beery as stars. What's not to like about this crew?
! Great classic films, best all t! ime movi es

DVDs: Epeist off Percy and Crazies: The machine, which makes rises up

I feel abso-schizo looking at the new releases from this week and last. Every variety of film seems to be accounted for. Whatever will you make me watch? Previous write ups from this reader request series (my version of DVD on Demand) include: Bad Lieutenant, Fantastic Mr Fox, An Education and The Road with Doctor Zhivago still pending (I'll get to that one soon).But the new stuff...

• The Crazies (horror)A town in Iowa (where Timothy Olyphant and Radha Mitchell live) goes violently insane.
• Creation (biopic)Paul Bettany & Jennifer Connelly play the Darwins in this science vs. God marital drama.
• Don McKay (indie thriller)Thomas Haden Church rekindles an affair with Elisabeth Shue but darkn! ess looms.
• Green Zone (action)Matt Damon is a rogue army officer in this action thriller set in Iraq.
• Hot Tub Time Machine (comedy)John Cusack and friends travel back to the 80s through a hot tub accident. You know how these things happen.
• The Last Station (period drama)Stormy Helen Mirren, mustache twirling Paul Giamatti and virginal sexpot James McAvoy fight over the dying Russian legend Leo Tolstoy (Christopher Plummer)
• Percy Jackson and the Olympians: The Lightning Thief (fantasy)In which a teenager discovers he's the new wannabe Harry Potter son of a Greek God. But shouldn't Uma Thurman as Medusa be the headline?
• Raging Sun, Raging Sky (queer)A Mexican man searches for his abducted lover in this award winning erotic drama.
• Return of the One Armed Swordsman (1969 wuxia)A famous action extravaganza about a retired swordsman recalled to action by the sons of ransomed clan chiefs.
• She's Out of My League (comedy)Jay Ba! ruchel can't believe his luck when a gorgeous gal is intereste! d in his geeky self. I'm confused... hasn't he ever been to the movies? Gorgeous movie gals are always into nerds.
• A Star is Born (1954 musical)James Mason is a fading star and Judy Garland a rising one in this oft told showbiz tale.
• The White Ribbon (parable)Michael Haneke's German children's tale about a village suddenly plagued with troubles.
• Wolf Moon (lycanthropic / straight to dvd)A country girl falls for a drifter. But she doesn't know what happens during a full moon.

Of these films I've already seen The White Ribbon (admire but don't love), The Last Station (liked at first but major fast fade) and A Star is Born (♥ I purchased it already. newly restored) but since I've written none of them up proper like, I figured I'd include all of them.So, whaddya say? Make your case in the comments to sway other voters. poll by twiigs.com
Great classic films, best all time movies

365 films: The more the merrier Re-examined

The first role Jean Arthur, Joel McCrea, and Charles Coburn holds the more the merrier, in this film 1943 off George Stevens. Because off the lack off residences in Cd. off Washington, the girl off career Connie (Arthur) feels her her patriotic duty, to upwards take half off her apartment for the rent. What to obtain it account has woman to divide the apartment with, goal in the place has its older Mister, that goes by the name off Benjamin Dingle (Coburn). Mr. Dingle has character rather stamped, goal He wants to say well, and the test two to remain out off the manner off each one, which really does not function to spout out. While Connie with far with work, Mr. Dingle decide to rent, half off its share to has Young comrade called Joe Carter (McCrea), who seeks just has place to remain for the weekend, goal it obtains more out off him, which it provides. It is right butt most beautiful, funniest, the adorable film majority, I saw. It is certainly in my higher preferred film! s, and for the good reason. The direction off film is completely marvellous, and off action and argument the mesh so much well together, it is magic! Jean and Joel are admirably re-creation to Be observed, and Charles in the mixture off him all, never does this one off best films! Such agreeably re-creation and romantic film! Review for the tomorrow: Broad Mr. Nobody
Great classic films, best all time movies

âSiamo Givesâ

Young stag two segments off the collaboration off Rossellini/Bergman in 1953 “Siamo Gives. “Ingrid sort to solve the problem gold the mystery off which destroys its pinks. Appreciate thesis shorts! Individual It is enough to hear has Swede speak Italian! She knew so many languages (Swedish, German, English, French and Italian)! It astonishes me.
Great classic films, best all time movies

365 films: Honeymoon review

The honeymoon holds the first role the temple off Shirley, the tonality off Franchot, and the standard Madison in this 1947, film off William Keighley. Almost 18 years, Barbara (temple) moves to Mexico City, to meet her beautiful (Madison) in preparation off obtaining married. The only problem is, both hardly know another, goal for has some odd reason, they want to obtain hung in any vent. Trying to find her beautiful and slightly lost, Barbara meets David (tonality), year older American and completely tended, who sort to bring together the Young people lovebirds, goal the best chance in the world does not cuts. It missed so much in this film. Terrible The manuscript is and the scenes between the tonality and the temple disturb more than slightly. I cuts so many things to say, that I did not like approximately this film, goal I C not want to make this post to skirt, than it must Be. Even old At “old” the off 42, I always found Franchot to Be very beautiful and full with ! spirit, goal it just should not Be could in this film. Shirley, while Nice, lack off any capacity to Draw me inside. It was thus badly allotted in that! Standard The just looked terrible At so, playing been engaged, and I saddened him, to see it playing has so stupid character. Certainly, I would recommend to jump this! Review for the tomorrow: The more the merrier (Re-Observes!)
Great classic films, best all time movies

âSiamo Givesâ

Young stag two segments off the collaboration off Rossellini/Bergman in 1953 “Siamo Gives. “Ingrid sort to solve the problem gold the mystery off which destroys its pinks. Appreciate thesis shorts! Individual It is enough to hear has Swede speak Italian! She knew so many languages (Swedish, German, English, French and Italian)! It astonishes me.
Great classic films, best all time movies

365 films: Honeymoon review

The honeymoon holds the first role the temple off Shirley, the tonality off Franchot, and the standard Madison in this 1947, film off William Keighley. Almost 18 years, Barbara (temple) moves to Mexico City, to meet her beautiful (Madison) in preparation off obtaining married. The only problem is, both hardly know another, goal for has some odd reason, they want to obtain hung in any vent. Trying to find her beautiful and slightly lost, Barbara meets David (tonality), year older American and completely tended, who sort to bring together the Young people lovebirds, goal the best chance in the world does not cuts. It missed so much in this film. Terrible The manuscript is and the scenes between the tonality and the temple disturb more than slightly. I cuts so many things to say, that I did not like approximately this film, goal I C not want to make this post to skirt, than it must Be. Even old At “old” the off 42, I always found Franchot to Be very beautiful and full with ! spirit, goal it just should not Be could in this film. Shirley, while Nice, lack off any capacity to Draw me inside. It was thus badly allotted in that! The so terrible type just looked At, playing been engaged, and it saddened me, to see it playing has so stupid character. Certainly, I would recommend to jump this! Review for the tomorrow: The more the merrier (Re-Observes!)
Great classic films, best all time movies

âSiamo Givesâ

Young stag two segments off the collaboration off Rossellini/Bergman in 1953 “Siamo Gives. “Ingrid sort to solve the problem gold the mystery off which destroys its pinks. Appreciate thesis shorts! Individual It is enough to hear has Swede speak Italian! She knew so many languages (Swedish, German, English, French and Italian)! It astonishes me.
Great classic films, best all time movies

Ton take UP exotic haven the studios fate

MGM set sail in 1935 with "China Seas," an exotic trip from Hong Kong to Singapore -- although no one left the back lot. Still, the stars were out in full force, and producer Irving Thalberg kept everything moving full steam ahead, which keeps this film from capsizing.OK, how many bad boat metaphors can I use in one lead?Actually, think "Grand Hotel" meets "Mutiny on the Bounty." While it's not as good as either of these films, "China Seas" works in spite of itself. The stars look fabulous, the dialogue clips along at a fast pace, the action scenes are exciting, and the audience can just sit back and forget the fact that story is pretty flimsy. It's worth noting that Thalberg had produced "Grand Hotel" in 1932, which ! featured for an unheard-of five top-line actors and multiple story lines going at once. The formula works even today, and in the years following "Grand Hotel's" success, MGM wasn't afraid to tap into its vast acting pool and bring together that much talent for a film. "Dinner at Eight" from 1933 is a good example, and this film follows suit with three stars and story lines to spare. Thalberg knew that star power can detract from lesser material.The movie opens by introducing all of the various characters and plotlines -- and there are TONS of plotlines, big and small, for a 90-minute film. It's like every nook and cranny of the ship is filled with some intrigue. You've got Captain Alan Gaskell (Clark Gable), arriving somewhat drunk yet feared by his crew for being an unrelenting taskmaster. He's broken off with the earthy Dolly (Jean Harlow) in port, although she's decided to book passage to be near him. He then runs into Sybil (Rosalind Russell), a classy woman he befriend! ed years ago, and he pursues a romance with her. In retaliatio! n, Dolly works with Jamesy MacArdle (Wallace Beery), who is in cahoots with a band of pirates wanting to steal a secret gold shipment that's on board.These are the main plotlines. Then you have Davids (Lewis Stone), a fallen captain detested by the others for being a coward who Gaskell hires to be third officer; a female passenger with fake pearls she's trying to hide from her husband and a man blackmailing her; and McCaleb (Robert Benchley) as an author who's constantly inebriated. A few other minor characters are around for color and you've got to keep track of a lot. The plotting gets to be too much at first, and the romantic triangle isn't all that intriguing. Once you get to the action, though, the movie picks up. ! A typhoon and a pirate raid provide plenty of excitement, and the second half of the film is really quite fun.Plus there's plenty of focus on the stars. Harlow plays the dame -- typecast once again. But she does it with so much energy that it's hard to resist. The film cuts awkwardly at times to her closeups that clearly look like they were shot at a different time than the rest of the scenes, almost saying "here's the gratuitous star closeup for her fans." But what would a Harlow film be without a few gorgeous closeups of its star?Gable looks even more handsome and dashing than usual. His charisma is fully in use here -- he gets to be hero, lover and tough guy. Plus there's a chance to see him in an undershirt and a sleek black knit long-sleeve shirt during the typhoon that ups the swoon factor.Beery, like Harlow, plays the same type of character in his films. Usually they are earthy or men who have made something of themselves but are rarely polished. There's no exception! here. Gable, Harlow and Beery were all established stars at t! his poin t, and MGM knew it and draws on that star power here.On the other hand, Russell was just beginning her long movie career. For anyone who's enjoyed the force of her comedic skills or the strength of her dramatic talents, she's simply playing a throwaway role here -- the love interest, and one who is secondary to Harlow. Russell doesn't have much to do, but I don't think MGM knew what to make of her yet. Thankfully, that would change.During the past year, I've been watching a lot of MGM films from the 1930s, and I'm enjoying seeing how the great studio managed to turn out so many likable films, whether they were truly great or simply enjoyable like this one. MGM had the stars and instructed its directors and cameramen to make their stars look amazing, even if their characters weren't glamorous. This is a film where the studio's know-how is on full display.Or, really, it's Thalberg's touch at work once again. This was one of his first films after a long hiatus from the studio d! ue to his health. He was on the "China Seas" set constantly, giving advice to the actors, until director Tay Garnett confronted him and pointed out that Thalberg was undermining his authority. Thalberg immediately stepped back and thanked Garnett for being open and honest about it. This is one of the stories that makes me appreciate Thalberg. He was a genius, but he also tried to treat people with respect. So, with "China Seas" you've got MGM in the 1930s with Thalberg as producer and Gable, Harlow and Beery as stars. What's not to like about this crew?
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Top Ten: New members 2010 off academy

it's not Tuesday but it's time for a Top Ten anyway... as this is yesterday's news already! AMPAS used to hide their membership roster like the vote tallies but in the information age, they've opened up. Now we get to see the whole list of new invitees each year. I wonder how they keep they're membership around 6,000 given how many people they invite annual. Maybe enough people reject the offer, stop paying their dues, or pass from this mortal coil each year to balance it out?You can read the full list of recipients at Indiewire, but as is the Film Experience tradition, we like to pinpoint the newest (potential) members whose future ballots we'd most like to see. So let's have at it.New Academy Member Ballots We Most Want To S! ee10 Bono & The Edge (music)They're two separate people but we'd like to imagine them filling out their ballots together inbetween sets. We'd like to also imagine that they'll have better taste than the rest of the often confounding music branch.09 Bob Murawski (editor)We love his work on The Hurt Locker and the Spider-Man films and he's a fellow Michigander. Extra points for that. Plus editing happens to be the most fascinating category in terms of how one judges it? How do you know how well an editor is doing if you can't see all the unused footage? And are they really that obsessed with just choosing the movies they love as their nominees or are their individual ballots so very individual that only the absolute common de! nominators are able to rise up to snag nominations, the common! denomin ators being the pictures people love most, regardless of editing skill (i.e. Best Picture nominees)08 Laura Rosenthal (casting director)It's the job I'm personally most jealous of in Hollywood. I assume the casting directors can only nominate in the Best Picture category but in a way, shouldn't they have a say in all four acting categories? Their very business is studying actors and deciding who is best... for the part. Some interesting things on her resume: The Messenger, Chicago, I'm Not There, Far From Heaven and Savage Grace. It's worth noting that this woman was smart enough to give Samantha Morton her first two American gigs (Sweet and Lowdown and Jesus's Son)07 Janet Patterson (costume designer)Her filmography is short but damned if her accomplishments aren't tall. Consider: Peter Pan, The Piano, Oscar & Lucinda, Bright Star, Holy Smoke!, The Portrait of a Lady. She should already be an Oscar winner by now but after four nominations, it's nice that they're extendi! ng an offer. Strangely, the Academy's costuming branch is so small that last I checked it wasn't even listed among their categories. Are there really more makeup artists in AMPAS than costumers (click here and scroll down to bottom of page). If so, why? But then again, maybe my numbers are out of date.06 Peter Sarsgaard (actor)He finally wore down their resistance. That Shattered Glass (2003) snub still stings years later. He works a lot and even if we're starting to want him to truly surprise us again (we fear he's going to become a Ben Kingsley i.e. a great actor who shamelessly phones it in for too many paychecks) we like him. Who will he vote for? Besides Maggie & Jake.05 Adam Shankman (director)He! 's had experience in producing, acting and directing and was a! key pla yer in this last Oscar ceremony. We don't mean this in a judgmental way but he strikes us as the type that will vote for his friends. But he seems to have so many of them that won't he have to snub most of them each time he votes? Does having a million friends, mean voting for your friends doesn't really compromise your ballot? Now, Academy members can only nominate in the category of the branch they're invited to join (as well as Best Picture... then they can vote for the winners in most other categories when the final ballots go out). So this means that he'll be able to have his say at who did the best directing job each year. We love Hairspray and we don't begrudge him Academy membership -- he's a serious power player -- but as a director? Wouldn't he be a better fit for the producer's branch?04 Zoë Saldana (actor)This All American beauty (of Dominican/Puerto Rican descent) was probably invited due to those back-to-back blockbusters (Avatar, Star Trek) but if you stop to consider that she's acted opposite everything from green screens (Avatar and the like) to wood (Britney Spears, Crossroads) and on to A grade thespians like Johnny Depp and Sigourney Weaver she probably knows a thing or two about the acting process in all its iterations. And having recently singled out Tang Wei in Lust, Caution as one of her favorite performances, we know the girl is discerning and willing to look beyond Hollywood for "best". AMPAS could use more of that. We would love to see her nomination ballot in all four acting categories this coming January.03 Jacques Audiard (director)This French auteur's last three features Read My Lips, The Beat That My Heart Skipped and A Prophet have all crackled with intelligence, ! electricity, fine acting and interesting choices. Now being gr! eat at s omething is not the same thing as being great at judging it... but it surely can't hurt. We're always curious about AMPAS's foreign outreach. How many of them say yes to membership and when they do, how international are their ballots compared to, say, Ron Howard's... or Adam Shankman's for that matter?Audiard directs with his hands.02 Vera Farmiga (actor)Her breakthrough, critically speaking, came when she won the LAFCA Best Actress prize for Down to the Bone (2004). Incidentally that film was directed by Debra Granik, who's currently helping Jennifer Lawrence break through with Winter's Bone (2010). Will more actresses line up to work with Granik? That'd be a smart move. It took the Academy another five y! ears to notice Farmiga. Given her frequently fine rapport with male co-stars, we're actually more curious about how she'll vote for the male acting categories than her own. We know she loves Michael Fassbender so... points for that. But the real reason she's ranked so high is those crazy eyes. What do they see? We like to theorize that people with crazy eyes are actually crazy. And crazy is way better than same ol' same ol' when it comes to awards balloting.01 Mo'Nique (Actor)Admit it, she'd top your list too. On account of what the hell would that ballot look like? Her already legendary performance in Precious showed previously hidden depths so maybe she'll be able to see it in others, too? In addition to her being an atypica! l Oscar winner (they don't usually go for female comics) we're! intrigu ed by whether or not she'll take the process seriously given that when last year's race first began she seemed famously disinterested. Will that initial skepticism make her one of those types that just votes for her friends, or doesn't vote at all or even refuses membership? Or will she just crack herself up like she does onstage while she scribbles down outlandish performances? Or did the Oscar journey, which culminated in that beautiful shout out to Hattie McDaniel's history-making win for Gone With the Wind (1939), convert her to the importance of the legacy of Hollywood's High Holy Night?*The rest of the lists if you're curious [source]Actors: Tobin Bell (Saw), Miguel Ferrer (Traffic), James Gandolfini (In the Loop), Anna Kend! rick (Up in the Air), Mo’Nique (Precious), Carey Mulligan (An Education), Jeremy Renner (The Hurt Locker), Ryan Reynolds (The Proposal), LaTanya Richardson Jackson (Mother and Child), Peter Riegert (Traffic), Sam Robards (American Beauty), Saoirse Ronan (The Lovely Bones, pictured left), Adam Sandler (Funny People), Gabourey Sidibe (Precious), Shaun Toub (Iron Man), Christoph Waltz (Inglourious Basterds), George Wyner (A Serious Man)

Animators:
 Ken Bielenberg (Monsters vs Aliens), Peter de Seve (Ratatouille), Steve Hickner (The Prince of Egypt), Angus MacLane (Toy Story 3), Darragh O’Connell (Granny O’Grimm’s Sleeping Beauty), Simon Otto (How to Train Your Dragon), Bob Pauley (Toy Story 3), Willem Thijssen (A Greek Tragedy)

Art Directors/Set Decorators/Production Designers:
 Kim Sinclair (Avatar), Dave Warren (Sweeney Todd), Maggie Gray (The Young Victoria), Douglas A. Mowat (The Sixth Sense), Caroline Smith (The Imaginarium of Doctor Parnassus), 
Kir! k M. Pertruccelli (The Incredible Hulk), Edward S. Verreaux (G! .I. Joe: The Rise of Cobra)

Cinematographers:
 Barry Ackroyd (The Hurt Locker), Christian Berger (The White Ribbon, pictured left), Hagen Bogdanski (The Young Victoria), Shane Hurlbut (Terminator Salvation), Tom Hurwitz (Valentino The Last Emperor), Dan Mindel (Star Trek), Tobias Schliessler (Hancock), Stephen Windon (The Fast and the Furious: Tokyo Drift), Robert Yeoman (The Squid and the Whale)

Costume Designers:
 Catherine Leterrier (Coco before Chanel)

Directors:
 Juan Jose Campanella (The Secret in Their Eyes), Lee Daniels (Precious), Claudia Llosa (The Milk of Sorrow), Lone Scherfig (An Education)

Documentary:
 Nancy Baker (Born into Brothels), Rick Goldsmith (The Most Dangerous Man in America: Daniel! Ellsberg and the Pentagon Papers), Davis Guggenheim (It Might Get Loud), Tia Lessin (Trouble the Water), Cara Mertes (The Betrayal), Frazer Pennebaker (The War Room), Julia Reichert (The Last Truck: Closing of a GM Plant), Morgan Spurlock (Super Size Me)Film Editors: Robert Frazen (Synecdoche, New York), Dana E. Glauberman (Up in the Air), Joe Klotz (Precious), John Refoua (Avatar)Live Action Shorts: Joachim Back (The New Tenants), Gregg Helvey (Kavi)Makeup Artists and Hairstylists:
 Kris Evans (X-Men The Last Stand), Jane Galli (3:10 to Yuma), Mindy Hall (World Trade Center), Joel Harlow (Star Trek), Jenny Shircore (The Young Victoria, pictured left)Music:
 Christophe Beck (The Hangover) T Bone Burnett (Crazy Heart), ! Brian Tyler (Fast & Furious)Sound: Frank Eulner (Iron Man ! 2), Adam Jenkins (I Love You, Man), Tony Lamberti (Inglourious Basterd), Dennis Leonard (The Polar Express), Tom Myers (Up), Paul N.J. Ottosson (The Hurt Locker), Resul Pookutty (Slumdog Millionaire), Gary A. Rizzo (How to Train Your Dragon), Michael Silvers (Up), Gwendolyn Yates Whittle (Avatar)

Visual Effects:
 Matt Aitken (District 9), Karen Ansel (Angels & Demons), Richard Baneham ( Avatar), Eric Barba (The Curious Case of Benjamin Button), Paul Debevec (Avatar), Russell Earl (Star Trek), Steve Galich (Transformers), Andrew R. Jones (Avatar), Dan Kaufman (District 9), Derek Spears (The Mummy: Tomb of the Dragon Emperor), Steve Sullivan (Avatar), Michael J. Wassel (Hellboy II: The Golden Army)Writers:
 Neill Blomkamp ! (District 9), Mark Boal (The Hurt Locker), Geoffrey Fletcher (Precious), Nick Hornby (An Education), Alex Kurtzman (Star Trek), Tom McCarthy (Up, pictured left. He's also an actor), Roberto Orci (Star Trek), Terri Tatchell (District 9)

At Large, Executives, Producers & Public Relations Christopher W. Aronson, Jim Berk
, Philippe Dauman
, Sheila DeLoach
, Donald Peter Granger
, Nathan Kahane
, Andrew Karpen, Ryan Kavanaugh, David Kosse
, David Andrew Spitz
, Emma Watts, Stephanie Allain, Gregory Jacobs, Jon Landau, Marc Turtletaub, Glenn Williamson, Dwight Caines, Suzanne M. Cole
, Tommy Gargotta
, Sophie Gluck
, Josh Greenstein
, Pamela Levine
, Wendy Lightbourn, Michele Robertson, Tony Sella, Darcy Antonellis and John Lowry Which ballots do you want to see?Do you think anyone will reject the offer?,

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365 films: The edge off the review off coils

The edge off the coils holds the first role Keira Knightley, Sienna Miller, Matthew Rhys, and Cillian Murphy in this film 2008. When Vera (Knightley) unite together with its ex-coils (Rhys), it does not count so that it is married. Its Dylan ex (Rhys) is year insane poèt by drunk individual, who worries more butt, for his wife and child. It seldom treats his wife with any respect, and spends more time oogling At Vera. His wife Caitlin (Miller) finds the friendship in Vera, and the lucky find two which they cuts in common, which right Dylan. It has film which did not hold my interest off the whole. Half off time, I gold really tried to keep my attention one film, gold I spaced just quite simply outside outside. The film rather shorts, goal it is honestly felt ace the film would not finish. I really started to ask me, yew there never went is year end with this film. In has general way, very tedious and insipid and me advise my readers, to jump this film. Review for the tomorr! ow: The queen off Virgin
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White beet against Miriam, access off the divas: Meow

About a year ago, I wrote a short piece on the legendary feud of two legendary Hollywood actresses, Bette Davis and Miriam Hopkins. Since then, I have expanded this forum and also, delved deeper into the abyss that was the Davis/Hopkins relationship. Bette was infamous for her battles with certain co-stars, male (paging Mr. Flynn! Mr. Errol Flynn!) as well as female (calling Joan Crawford!), but they seemed to pale in comparison to her feeling for Miriam Hopkins. Their’s was a deep seeded, long standing rivalry, which began even before either woman made a single movie.Round 1In 1928 both young actresses were in a stage production on the east coast called Exc! ess Baggage. Both were part of a repertory acting company headed by director George Cukor, although at this point, unlike their future film pairings, Miriam, not Bette, was the big cheese. Hopkins also made leading lady status in Hollywood long before Davis, with star turns in Dr. Jekyll and Mr. Hyde (1931) and Design for Living (1933), among other notable films of the early 30’s.Round 2In 1933, Hopkins starred in Jezebel on Broadway. It was the story of a tempestuous Southern belle (a part tailor made for the real life Southern spitfire) in the era before the Civil War, ala Scarlett O’Hara. The play was unsuccessful, running only a ! few dozen performances and closing after a month. Not only did! Miriam star in the play, but she was part owner of the rights to it. When Warner Brothers studio showed interest in the story as a vehicle for its rising star, none other than Miss Bette Davis, Hopkins balked, refusing to sell the rights unless the deal included her in the lead role of Julie, which she had originated. In order to obtain the rights, she was given the impression that she would be cast, so when top brass gave the plum part to Davis, Miriam was livid. To add insult to injury, Bette won her second Oscar for her performance in Jezebel. The story goes that Miriam cried.Round 3In late 1938, with her career in somewhat limbo, Hopkins signed a two picture deal with Warner Brothers. The first film under her new contract was the historical melodrama The Old Maid (1939), based on an Edith Wharton story. In the film, she played second lead to guess who….Bette Davis, Warners reigning queen supreme. But neither actress was a shrinking violet and! there was tension aplenty on the set, with director Edmund Goulding at the helm. A studio memo summed up the stressful situation when it relayed, “…Goulding has a tough job on this picture with these two girls. Not that they want to cause him any trouble or worry, but each one is fighting for a scene when they go into it…”Davis had fought hard with the studio to get where she was professionally, and she wasn’t about to take guff from her rival. But Miriam certainly tried to get a rise out of her at any opportunity. On her first day on the set, Hopkins wore an exact duplicate of the dress Davis had worn in Jezebel. Davis reflected on this time with Hopkins in her autobiography with the following observations: “Miriam used and, I must give her credit, knew every trick in the book. I became fascinated watching them appear one by one…When she was supposed to be listening to me, her eyes would wander off into some other world in which she was the ! sweetest of them all. Her restless little spirit was impatient! ly await ing her next line, her golden curls quivering with expectancy." Warner Brothers publicity department took full advantage of the dueling divas and played up their feud to boost ticket sales for the upcoming film. They even went as far as to circulate a photo of the actresses in full costume with boxing gloves on, ready to duke it out, with director Goulding looking resigned between them. (above)Round 4During the making of The Old Maid, Hopkins was married to director Anatole Litvak. Litvak had directed Bette Davis in her follow up film to Jezebel called The Sisters (1938), and Miriam suspected the two were having an affair,! but Davis was too taken with her Jezebel director, William Wyler, at the time to look at Litvak. However, reportedly Litvak and Davis DID have a short affair during the filming of All This and Heaven Too in 1940, but by that time the director and Hopkins had already divorced.The Old Maid was excellent box office, and Warners signed Miriam on for another spin with her nemesis in 1943 to make Old Acquaintance, the story of two childhood friends/rivals who spar incessantly over men, career, and a child. The romantic yarn was perfect for the pair, but wasn’t without its backstage fireworks. Edmund Goulding was again slated to direct but had a heart attack shortly into the production. Knowing the emotional state of the set and the stress Goulding had been under with the two high maintenance queens, studio head Jack Warner jokingly accused him of having the heart attack on purpose. At 40, the dew was off the l! ily for Miriam, and when production wrapped on Old Acq! uaintanc e, she sold her house in California, packed her bags and went back east to the stage. When she returned to Hollywood, it would be in character roles over half a decade later.
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âSiamo Givesâ

Young stag two segments off the collaboration off Rossellini/Bergman in 1953 “Siamo Gives. “Ingrid sort to solve the problem gold the mystery off which destroys its pinks. Appreciate thesis shorts! Individual It is enough to hear has Swede speak Italian! She knew so many languages (Swedish, German, English, French and Italian)! It astonishes me.
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Ton take UP exotic haven the studios fate

MGM set sail in 1935 with "China Seas," an exotic trip from Hong Kong to Singapore -- although no one left the back lot. Still, the stars were out in full force, and producer Irving Thalberg kept everything moving full steam ahead, which keeps this film from capsizing.OK, how many bad boat metaphors can I use in one lead?Actually, think "Grand Hotel" meets "Mutiny on the Bounty." While it's not as good as either of these films, "China Seas" works in spite of itself. The stars look fabulous, the dialogue clips along at a fast pace, the action scenes are exciting, and the audience can just sit back and forget the fact that story is pretty flimsy. It's worth noting that Thalberg had produced "Grand Hotel" in 1932, which ! featured for an unheard-of five top-line actors and multiple story lines going at once. The formula works even today, and in the years following "Grand Hotel's" success, MGM wasn't afraid to tap into its vast acting pool and bring together that much talent for a film. "Dinner at Eight" from 1933 is a good example, and this film follows suit with three stars and story lines to spare. Thalberg knew that star power can detract from lesser material.The movie opens by introducing all of the various characters and plotlines -- and there are TONS of plotlines, big and small, for a 90-minute film. It's like every nook and cranny of the ship is filled with some intrigue. You've got Captain Alan Gaskell (Clark Gable), arriving somewhat drunk yet feared by his crew for being an unrelenting taskmaster. He's broken off with the earthy Dolly (Jean Harlow) in port, although she's decided to book passage to be near him. He then runs into Sybil (Rosalind Russell), a classy woman he befriend! ed years ago, and he pursues a romance with her. In retaliatio! n, Dolly works with Jamesy MacArdle (Wallace Beery), who is in cahoots with a band of pirates wanting to steal a secret gold shipment that's on board.These are the main plotlines. Then you have Davids (Lewis Stone), a fallen captain detested by the others for being a coward who Gaskell hires to be third officer; a female passenger with fake pearls she's trying to hide from her husband and a man blackmailing her; and McCaleb (Robert Benchley) as an author who's constantly inebriated. A few other minor characters are around for color and you've got to keep track of a lot. The plotting gets to be too much at first, and the romantic triangle isn't all that intriguing. Once you get to the action, though, the movie picks up. ! A typhoon and a pirate raid provide plenty of excitement, and the second half of the film is really quite fun.Plus there's plenty of focus on the stars. Harlow plays the dame -- typecast once again. But she does it with so much energy that it's hard to resist. The film cuts awkwardly at times to her closeups that clearly look like they were shot at a different time than the rest of the scenes, almost saying "here's the gratuitous star closeup for her fans." But what would a Harlow film be without a few gorgeous closeups of its star?Gable looks even more handsome and dashing than usual. His charisma is fully in use here -- he gets to be hero, lover and tough guy. Plus there's a chance to see him in an undershirt and a sleek black knit long-sleeve shirt during the typhoon that ups the swoon factor.Beery, like Harlow, plays the same type of character in his films. Usually they are earthy or men who have made something of themselves but are rarely polished. There's no exception! here. Gable, Harlow and Beery were all established stars at t! his poin t, and MGM knew it and draws on that star power here.On the other hand, Russell was just beginning her long movie career. For anyone who's enjoyed the force of her comedic skills or the strength of her dramatic talents, she's simply playing a throwaway role here -- the love interest, and one who is secondary to Harlow. Russell doesn't have much to do, but I don't think MGM knew what to make of her yet. Thankfully, that would change.During the past year, I've been watching a lot of MGM films from the 1930s, and I'm enjoying seeing how the great studio managed to turn out so many likable films, whether they were truly great or simply enjoyable like this one. MGM had the stars and instructed its directors and cameramen to make their stars look amazing, even if their characters weren't glamorous. This is a film where the studio's know-how is on full display.Or, really, it's Thalberg's touch at work once again. This was one of his first films after a long hiatus from the studio d! ue to his health. He was on the "China Seas" set constantly, giving advice to the actors, until director Tay Garnett confronted him and pointed out that Thalberg was undermining his authority. Thalberg immediately stepped back and thanked Garnett for being open and honest about it. This is one of the stories that makes me appreciate Thalberg. He was a genius, but he also tried to treat people with respect. So, with "China Seas" you've got MGM in the 1930s with Thalberg as producer and Gable, Harlow and Beery as stars. What's not to like about this crew?
! Great classic films, best all t! ime movi es

Streep @60: Music off the heart

Angela Bassett would like to welcome you back to Streep at 60: Live From Carnegie Hall. Today's topic: Wes Craven's Music of the Heart (1999)."I want to thank each of you for your generous support and I sincerely hope that you enjoy the blog post."If you need someone to introduce something, you choose Angela Bassett. It's the only way to go. She will always e•nun•ci•ate for you. I lead off with Angela's intro to the concert which concludes Music of the Heart because this is the sort of film that is entirely about its heartwarming climax. In fact, when it comes to movie narratives, the Inspirational True Story is the subgenre that most begs a swift telling. Inspirational Stories are about inevitable! triumphs. The audience knows it's coming so too much dilly-dallying is deadly.Music of the Heart tells the story of Roberta Guaspari (Meryl Streep) who started a violin program in East Harlem. The program was forever endangered due to a lack of funding for arts education (same as it ever was), but it changed the lives of Roberta, her family, and thousands of students while it lasted.<-- Streep with her screen son (Michael Angaro way back when!) When we first meet Roberta she's angry and red eyed, tearing up photos and screaming out the window at movers. Her husband has recently left her and she's moving back in with her mother (Cloris Leachman). With the help of her pushy mom and an old school friend who always had the hot! s for her (Aidan Quinn) she crawls towards a new life. She win! s a teac hing job from an East Harlem principal (Angela Bassett) who's impressed by her talent and chutzpah. We spend the rest of the movie watching Roberta find her footing as a single mom, teacher, and Inspirational True Person.Like The River Wild (previously discussed), the simplistic story is complicated by Streep's detailed characterization. We know when Roberta is worried, turned on, sad, relieved, amused or angry... and she's often angry though Streep is careful to delineate the varieties thereof. Streep's violin skills won attention during the film's release -- is there anything she can't do or pick up quickly should a role require it? -- but that's a technical aspect of the performance that's a necessity rather than an interesting character interpretation. The most intriguing element of her performance is undoubtedly the push and pull between her meek wifely persona and the iron willed single woman she's forcing herself to become. You can feel this especially in the arc of h! er relationship with Aidan Quinn. Though he's helping her move forward into her new persona, she often seems to be retreating in his presence, replaying her marriage as it were.Though it's not often discussed when praising her work, Streep's always been particularly skilled at conveying external romantic arcs and the erotic internal (which will hopefully serve her well in Great Hope Springs). I don't mean this in a garish "I'm sexy!" way but in a grounded flesh and blood way. She can hit all the notes that any good actor can about sexual attraction but she also drops enough conflicting suggestions into her performances to keep you guessing about how much Character A likes being with, romantically loves and desires to have sex with Character B and how consistently or deeply she feels or has ever felt those things and whether those types of love are satisfyingly portioned out. If you stop to think about romances, isn't that far more truthful than merely portraying attraction ! or the lack of it."Whoa. Slow down here a minute.That's a little too much like getting married."But it's strange to talk about how much she does or doesn't want to have sex with Aidan Quinn in Music of the Heart, because A) who wouldn't? and B) she's playing this romance while entirely buried in Wal-Mart's Old Maid line. Question for all: Is Roberta Streep's frumpiest character? You'd barely know she had breasts or hips underneath all those layers and heavy ankle length dresses. Roberta barely remembers that she has them either, given that her two sons are forced to play matchmaker in the second act.About that second act. Music of the Heart is more enjoyable than its reputation suggests but it does lose considerable steam when it jumps forward ten years. There's a fun moment sho! rtly before the movie's phantom intermission when Roberta conspiratorially teaches her students to make the audience wait for the final notes of a song. The promised moment of silence and release in the mini-concert is quite a satisfying finish. (There's even a slo-mo fadeout like the movie is ending!) Until, you realize, that was only the curtain on Act 1. You've now seen Roberta triumph over her past meek self, lazy students, disbelieving faculty, and her commitment-phobic boyfriend. Now, you'll watch her triumph all over again but on a larger scale.Roberta's artful baiting , that "wait for it..." theatrical finish, only lasts a few beats. Craven's "wait for it" finish involves a whole second movie. Roberta teach her student! s discipline. Wes Craven, taking a rare step outside the horro! r genre for this true story, merely tests his audience's patience.Music of the Heart is moving, yes. I teared up, I did. But what Inspirational True Story involving kids and learning isn't? Streep makes a valiant effort with Roberta, though, and her sensitive performance is the best and arguably only reason to see this inelegantly structured, awkwardly told story. ♫As you may know, Music of the Heart netted Streep her 12th nomination. Some context now.That honor tied Katharine Hepburn's nomination record and kept Jack Nicholson permanently at bay (the next time he was nominated, she was too). It took Hepburn 49 years to win 12 nominations. Streep did it in only 21. Hepburn is still the champ for Oscar wins with 4 competitive statues to her name. Streep's insane nomination record is working against her when it comes to actual wins. When you're nominated in more than 50% of the Oscar races in your working lifetime -- she has been -- what incentive do they have to give you yet more r! ecognition in the form of a win?for 1999 the nominees were

• Annette Bening, American Beauty
• Janet McTeer, Tumbleweeds
• Julianne Moore, The End of the Affair
• Meryl Streep, Music of the Heart
• Hilary Swank, Boys Don't Cry *Nathaniel's vote*

Whatever one thinks of the merits of Streep's nominated performance, deserving or not, it was her most obvious "default" gong. My guess is it's the only competitive field in which she ran 5th in the final voting tallies.Other 1999 women for contextIt was not a competitive Best Actress year. Though there was critical love for Reese Witherspoon (Election) anti-comedy bias and poor box office worked against her worthy hilarious perform! ance as Tracey Flick. Cecilia Roth (All About My Mother) had a! passion ate but very small fanbase. Beyond that, it didn't seem like anyone was really competing: Michelle Pfeiffer (Deep End of the Ocean, The Story of Us) had a double dose of loud pre-release hype that didn't translate to actual buzz once the films underwhelmed, other Oscar-types like Jodie Foster (Anna and the King), Sigourney Weaver (A Map of the World) Susan Sarandon (Anywhere But Here), Kate Winslet (Holy Smoke!) and Kristin Scott Thomas (Random Hearts) failed to generate enthusiasm for one reason or five others. Meanwhile, Julia Roberts (Notting Hill, The Runaway Bride) ruled the box office and Franka Potente (Run Lola Run) made a frantic dash through the nation's arthouses.Nathaniel's medals would divvy up like so...

• Go! ld (Winslet. I still think Holy Smoke! is her best work)
• Silver (Swank)
• Bronze (Bening or Witherspoon?)For the fifth nominee I'd go with either Moore, Potente or Roth. (I haven't seen McTeer's much lauded Tumbleweeds performance.)

Do you have strong feelings, warm or otherwise, towards Music of the Heart? Who would make your 1999 Best Actress list?*
Great classic films, best all time movies

White beet against Miriam, access off the divas: Meow

About a year ago, I wrote a short piece on the legendary feud of two legendary Hollywood actresses, Bette Davis and Miriam Hopkins. Since then, I have expanded this forum and also, delved deeper into the abyss that was the Davis/Hopkins relationship. Bette was infamous for her battles with certain co-stars, male (paging Mr. Flynn! Mr. Errol Flynn!) as well as female (calling Joan Crawford!), but they seemed to pale in comparison to her feeling for Miriam Hopkins. Their’s was a deep seeded, long standing rivalry, which began even before either woman made a single movie.Round 1In 1928 both young actresses were in a stage production on the east coast called Exc! ess Baggage. Both were part of a repertory acting company headed by director George Cukor, although at this point, unlike their future film pairings, Miriam, not Bette, was the big cheese. Hopkins also made leading lady status in Hollywood long before Davis, with star turns in Dr. Jekyll and Mr. Hyde (1931) and Design for Living (1933), among other notable films of the early 30’s.Round 2In 1933, Hopkins starred in Jezebel on Broadway. It was the story of a tempestuous Southern belle (a part tailor made for the real life Southern spitfire) in the era before the Civil War, ala Scarlett O’Hara. The play was unsuccessful, running only a ! few dozen performances and closing after a month. Not only did! Miriam star in the play, but she was part owner of the rights to it. When Warner Brothers studio showed interest in the story as a vehicle for its rising star, none other than Miss Bette Davis, Hopkins balked, refusing to sell the rights unless the deal included her in the lead role of Julie, which she had originated. In order to obtain the rights, she was given the impression that she would be cast, so when top brass gave the plum part to Davis, Miriam was livid. To add insult to injury, Bette won her second Oscar for her performance in Jezebel. The story goes that Miriam cried.Round 3In late 1938, with her career in somewhat limbo, Hopkins signed a two picture deal with Warner Brothers. The first film under her new contract was the historical melodrama The Old Maid (1939), based on an Edith Wharton story. In the film, she played second lead to guess who….Bette Davis, Warners reigning queen supreme. But neither actress was a shrinking violet and! there was tension aplenty on the set, with director Edmund Goulding at the helm. A studio memo summed up the stressful situation when it relayed, “…Goulding has a tough job on this picture with these two girls. Not that they want to cause him any trouble or worry, but each one is fighting for a scene when they go into it…”Davis had fought hard with the studio to get where she was professionally, and she wasn’t about to take guff from her rival. But Miriam certainly tried to get a rise out of her at any opportunity. On her first day on the set, Hopkins wore an exact duplicate of the dress Davis had worn in Jezebel. Davis reflected on this time with Hopkins in her autobiography with the following observations: “Miriam used and, I must give her credit, knew every trick in the book. I became fascinated watching them appear one by one…When she was supposed to be listening to me, her eyes would wander off into some other world in which she was the ! sweetest of them all. Her restless little spirit was impatient! ly await ing her next line, her golden curls quivering with expectancy." Warner Brothers publicity department took full advantage of the dueling divas and played up their feud to boost ticket sales for the upcoming film. They even went as far as to circulate a photo of the actresses in full costume with boxing gloves on, ready to duke it out, with director Goulding looking resigned between them. (above)Round 4During the making of The Old Maid, Hopkins was married to director Anatole Litvak. Litvak had directed Bette Davis in her follow up film to Jezebel called The Sisters (1938), and Miriam suspected the two were having an affair,! but Davis was too taken with her Jezebel director, William Wyler, at the time to look at Litvak. However, reportedly Litvak and Davis DID have a short affair during the filming of All This and Heaven Too in 1940, but by that time the director and Hopkins had already divorced.The Old Maid was excellent box office, and Warners signed Miriam on for another spin with her nemesis in 1943 to make Old Acquaintance, the story of two childhood friends/rivals who spar incessantly over men, career, and a child. The romantic yarn was perfect for the pair, but wasn’t without its backstage fireworks. Edmund Goulding was again slated to direct but had a heart attack shortly into the production. Knowing the emotional state of the set and the stress Goulding had been under with the two high maintenance queens, studio head Jack Warner jokingly accused him of having the heart attack on purpose. At 40, the dew was off the l! ily for Miriam, and when production wrapped on Old Acq! uaintanc e, she sold her house in California, packed her bags and went back east to the stage. When she returned to Hollywood, it would be in character roles over half a decade later.
Great classic films, best all time movies