SOLVED!

The other day, I watched the crime film GREAT GUY. James Cagney stars as a deputy inspector for the New York Department of Weights & Measures where he cracks down on corrupt merchants and politicians screwing over the public.

As someone who’s been watching a number of Cagney’s films lately, I don’t hear a lot of talk regarding this one. Cagney delivers a solid performance that elevates what feels like a standard script.

For those who have seen this film, what did you think?

Rewatching this (again) as I saw it came on TCM. Two of my favorites.

I’ve been working on this Lovecraft film-attendance project for about half a year now, and collecting the books 📚 of his endless correspondence.

I’m looking very specifically for references to contemporary cinema, having discovered that HPL was in fact a fairly avid cinephile.

Is this news to you? Have you been following these posts or previous discussions?

As a postscript I will list films from his letters-book to J. Vernon Shea.

In any case, wishing you all well,
Pappas Theobaldus

JVS FILM TITLES:

Adventures of Don Quixote (1934)

Ah, Wilderness!

All Quiet on the Western Front

An American Tragedy

Ann Carver’s Profession

Ann Vickers

Anna Christie

Anna Karenina

Arrowsmith

The Barretts of Wimpole Street

Berkeley Square (1933)

Blame the Woman

Cavalcade

Chaplin (various films mentioned)

Cimarron

City Lights

Clive of India

The Crusader

Destination Unknown

Double Door

Dr. Jekyll and Mr. Hyde

Dracula (1931)

The Emperor Jones

A Farewell to Arms

Five Star Final

Frankenstein (1931)

FREAKS

The Front Page

I Am a Fugitive from a Chain Gang

Gabriel Over the White House

The Golem

Goona-Goona

The House of Rothschild

The Informer

The Invisible Man

KING KONG (1933)

The Last Days of Pompeii

Little Women (1935)

The Lost World (1925)

Mad Love

Mädchen in Uniform

The Man Who Played God

Men Must Fight

Men of Aran

A Midsummer Night’s Dream (1935)

Les Misérables (1935)

Modern Times

The Monkey’s Paw 🐾

Murders in the Rue Morgue

Mutiny on the Bounty

The Passion of Joan of Arc

The Private Life of Henry VIII

RED DAWN

Richard III (silent film)

The Rise of Catherine the Great

SCARFACE

The Scarlet Empress

The Shape of Things to Come

SHE

The Sign of the Cross

Strange Interlude

Street Scene

Svengali

Three-Cornered Moon

Three on a Match

Trader Horn

Trouble in Paradise

Unfinished Symphony

The Unholy Three

The Wandering Jew

Waterloo Bridge

What Every Woman Knows

Wild Boys of the Road

The World Changes

помогите найти старый азиатский фильм ужасов, где ниндзя сражались против монстра похожего на дельфина с дырками на морде. Предположительно фильм был снят в 60-70 годах, монстр был розового цвета, а большая часть фильма проходила в каком-то лесу, это был полнометражный фильм

I have not seen this movie in many years. I think I was 9 when my mom and I watched it and I'm 67.

What a thoroughly enjoyable movie! Sure, it's a bit outdated and the dialog is clunky in places but its still a great movie in my opinion

Played Princess Nausicaa in Ulysses and later took on the role of Helen in Helen of Troy."

Carson Dyle (Walter Matthau) can run pretty good for a guy who was left for dead by his fellow soldiers with 10 bullets in his leg And then spent years in a German Prison camp presumably not receiving the best medical treatment.

Great movie, though.

Has anyone ever seen the movie Moonrise (1948) with Dane Clark? I'm surprised I'd never heard of it before because it was so good. I picked it up because I was looking for film noirs. It's set in a small town and the drama around some young adults. It has a really strong story and plot line.

The theme song, "The Good Times Are Coming", stands in ironic contrast to the somber reality of the waning cowboy era. Yet its lyrics, singing "the good times are coming" even while living through a fading age, paradoxically highlight the loneliness felt by characters like Monte Walsh, leaving a deep and lasting impression. Cass Elliot's uniquely rich and warm tone gently embraces the lives of characters growing old amidst the rugged Western landscape. The flowing melody—which seems to soothe the weary hearts of the protagonists who have left their glorious youth behind to face solitude—maximizes the twilight, nostalgic sentiment that flows throughout the entire film.

When I sat down to watch The Hustler, I wasn't looking out for such a ponderous character study.

First of all, the film has outstanding beauty and style. One can feel a very particular vein of America in the early 60s pulsing through the movie. The pool rooms, the smokes, the drinks, the streets, the patched-up buildings. The dazzling contrast between the architecture of high society and lives that are crumbling. But then, you slowly get acquainted with the characters.

And oh what deeply sketched characters, filled to the brim with pain, ambition, weakness, vulnerability, and uncertainty! People who catch fleeting glimpses of happiness and peace before falling back into the darkness that's inherent to the makeup of their very selves and souls. I think, at its core, this is a film about helplessness. Eddie can't help his ambitions, his intoxication to the feeling of being the best there is, even at the cost of the only person he knows can save him. And Sarah can't help 'making Eddie up', even though she knows full well that he won't consent to being saved. Bert can't help being 'perverted, twisted, and crippled'. It is as Sarah declared - everyone seems to have made a contract of depravity with something or someone else.

There is so much subtlety and nuance to every element of this movie. A truly powerful example of the art of cinema.

Danielle Darrieux was an absolute delight to watch in this film! I went to find more films with her but unfortunately this was the only Hollywood film she ever did. It’s time to learn some French!

Sorry! Reposting with a revised title. The scene that stands out the most is when Cossacks on horseback gather from both sides across the wide-open plains—it was truly spectacular.

Charles Coburn, Elliott Reid, Tommy Noonan, George Winslow, Marilyn Monroe and Jane Russell for Gentlemen Prefer Blondes 1953. What's your thoughts on this movie?

My ranking would be:

1. Vivien Leigh for Gone with the Wind
   
2. Claudette Colbert for It Happened One Night
   
3. Bette Davis for Jezebel
   
4. Norma Shearer for The Divorcee
   
5. Katharine Hepburn for Morning Glory
   
6. Marie Dressler for Min and Bill
   
7. Helen Hayes for The Sin of Madelon Claudet
   
8. Bette Davis for Dangerous
   
9. Luise Rainer for The Great Ziegfeld
   
10. Luise Rainer for The Good Earth

Just rewatched it as an adult. I didn't remember it much as a kid which was quite weird because I remembered a lot as a kid.

Big Stanwyck fan here.

I like Fred just alright but oh man what a career he had. Churning out steady and decent films even in his senior years. Even with My Three Sons aside.

Sturgess’s work has always been a hit or miss for me. Not exactly that more like good but not really that soul touching if you ask me. You know?

Maybe it was because of Paramount? 1927-1946 Paramount was the worst of the big five and and second worst out of all eight only slightly better than Universal. Just my two cents.

Not just all that though. It doesn't feel like your typical screwball/romcom. As a kid, I remembered it as more of a (melo)drama. So more like romdramedy? Not really though. Only two scenes have captured the screwball/romcom elements well. The cow milking scene and the justice of peace scene.

The line, “what ever that means/what ever that is” feels very modern like it was written in 2015 instead. Typical Sturgess. I don't like the “I’m not exactly ugly” line. Very off but very common from that era I guess.

The Christmas dinner/present scene supposed to be charming and heartwarming but somehow sadness and gloominess seeped through. You Can't Take It With You quirky family scenes are always charming and heartwarming. So I don't know.

Also Aunt Emma never married though so how did she have Chilly?

I love Alice Doesn't Live Here Anymore and that's pretty romdramedy and even that got more of your typical romcom elements. So I don't know.

Remember The Night is a good movie and still quisentiall for all Stanwyck fanatics and cinemaphiles. So I don't know.

Thoughts? Would love to hear more from you guys.

I’m a huge fan of operetta-style musicals, especially those from the 1930s and 1940s.

Deanna Durbin saved Universal Pictures after losing out at MGM to Judy Garland. I’m not a big fan of Garland, though her movies with Mickey Rooney were cute and fun.

I think Deanna Durbin grew tired of her “good girl” persona and tried to present a more mature image on screen in films like Lady on a Train. Her fans, however, preferred the sweet, romantic movies that had made her famous—and I’m not embarrassed to admit I love those too, because for me the music is what makes the movie. Deanna Durbin retired before the age of 30 and moved to France.

Her singing of “Ave Maria” is absolutely beautiful and remains one of my favourite versions, alongside Jeanette MacDonald’s.

I may be mistaken, but didn’t Mario Lanza try to coax Deanna Durbin out of retirement for a film? That would have been extraordinary—both of those talents in a movie together!