Monroe brings a delightful touch of comedic charm and naive ambition to her brief appearance as Miss Caswell.

(With the recent quick succession of celebrity passing, here is an older example I could think of).

That brings you to tears every time.

I have 2 tied for 1st place (hence the question LOL)

Sound of Music when Capt Von Trapp joins his children to sing for the Baroness and his subsequent asking Maria to stay.

and

Casablanca, when Rick allows Laszlo to conduct the band to play "La Marseillaise" and all the customers join in singing it.

The scene where he heartbreakingly sang upon hearing news of his mother's death remains vivid; I think it's the only scene across all his movies where Newman sheds tears.

The inset post goes into more detail about HPL’s filmgoing and the history of BEN-HUR, but this is the key quote:

QUOTE (Dec. 11, 1926)

“I saw "Ben-Hur" last September, & found it intensely powerful.

My liking for broad scenic & architectural effects made me appreciate the settings very much, while my lifelong admiration of Rome & her warlike civilisation gave me many a thrill as the legions & their imperial eagles marched across the field of view.

Speaking of the cinema—it is my deepest regret that I never saw "The Cabinet of Dr. Caligari", which everyone tells me had more of the truly weird & fantastic than any other film ever made.”

END QUOTE 🛑

I’m sorry to say that, while he tried to see CALIGARI on multiple occasions, it seems that HPL never got to witness it directly.

This is TRAGIC, but of all the films for him to have been aware of and never got to see, that is the White Whale 🫍 of German expressionism.

He did see THE GOLEM (1920), and commented on it at length in multiple letters; more of this can be found on the subreddit r/LovecraftLovedMovies, where I am cataloging and sharing HPL’s filmgoing habits.

Have any of you seen the 1925 version of BEN-HUR, or other adaptations of the 1880 novel?

The actor/entrepreneur combo doesn’t seem as prominent among classic era stars. But perhaps I am not well educated. I know about Elizabeth Taylor and Paul Newman, but who were some others? What products or other enterprises did they launch?

Edit: Oh and I recall I read Ginger Rogers launched a clothing line with J.C. Penney, too.

Earlier tonight, I saw the film DAMAGED GOODS. It’s about a high school student, Jim, who’s got a bright future ahead of him, what with going to college and even marrying his sweetheart. However, a wild weekend with the boys ends up with some “unprotected activity” and our pal Jim ends up with a lasting memory of that fateful weekend (if you catch my drift).

Of course, his whole world shattered, he ends up going to see his coach who directs him to a doctor to basically lecture him on being irresponsible, having him watch a lengthy video detailing the horrors of STDs, and they talk about how best to handle Jim’s unfortunate situation.

Oh, and I almost forgot to mention that after the wild weekend, Jim ends up smashing Kathy, his best friend’s girl, and it’s implied that he may or may not have given her an STD after suspecting that he was infected.

As messed up as that is, the movie almost makes it sound like, since Kathy is the “new girl in town from the streets/neighborhood slut”, she kinda deserves to get “burned” (which is wrong on so many levels).

Now that I think of it, it’s also implied that Kathy & Jim’s friend Monk are also fooling around so Jim may have ended up burning his best friend as well.

This is somewhat acknowledged towards the end of the film, but the whole movie centered mostly on Jim being the victim here and how his life was nearly ruined and how he needs to recover and get back with his wholesome girlfriend.

The whole film is just a wild mess, but it’s entertaining as a teen PSA movie about the importance of sexual awareness.

For those who saw this film, what did you think?

"a genre that seamlessly encompasses all the great American themes -- the trek west, the shifting balance between individual independence and communal alliance, and the challenges of technology: the stagecoach, the telegraph, the railroad. It’s a genre about ceaseless change."

/r/ClassicWesterns

Two scenes capturing the cycle of female ambition in All About Eve: Eve replacing Margo with calculate innocence, and years later, Phoebe stepping into the same shadows—a chilling déjà vu of obsession, betrayal, and relentless desire for success.

A wonderful musical portrait of 24 hours in 1940s New York. Catchy, funny, romantic, picturesque, and nostalgic. Watching this film gave me a sense of joy for most of its entire runtime, and even a tinge of melancholic longing for the past. Moving along at an entertaining pace, full of beautiful technicolor, filled with dazzling song and dance numbers, plenty of laughs, and heartwarming moments along the way, On The Town really gives the feeling of spending the day with these characters. So much so, that at a certain point of the way through, I started to realize that eventually this day would end, and so too would this film; shore-leave can't last forever. It was bittersweet for many reasons. Spending time with these characters, and in this place, was like time in a bottle. Long gone is the New York of 1949, and the stars like Gene Kelly, Frank Sinatra, and Ann Miller have long since passed away; but forever they live on through their art. It's a privilege to have been able to visit this time, place, and these people, and just as much as it was hard to goodbye, it's comforting to know at least we have this to remember.

Visually the film was marvelous. Seeing New York in all its glory was a delight. From the very beginning with the establishing shots of New York City and the dock worker singing "I Feel Like I'm Not Out of Bed Yet", in his bright red hard hat, I was captivated. Seeing Central Park from up high in all its glory was a wonder. The colors of the film are a treat for the eyes. From the natural scenery, to the handcrafted set design, to the wonderful wardrobe and costume. I don't always notice how great costume design in a film is; especially in the black and white films- but the colors of the dresses especially just pop, and accentuate the actual design and beauty of the outfits. The choreography also compliments this really well, and of course the dancing is phenomenal.

Musically, the film is pretty proficient. None of the numbers are particularly among my favorite of all time, but most of them had me smiling the whole time. There was just a real joy and comfort to the feeling and lyrically they were fun too. The dancing, choreography, set design, lighting, and cinematography were all great companions to the music. Gene Kelly of course is a great dancer, and the ladies were mesmerizing to watch. I like New York, New York of course, for multiple reasons. I also enjoyed the chemistry of Main Street. The Day in New York instrumental was also imaginative and expressive. Funny enough, my favorite number is probably Prehistoric Man, the set-up was a riot, and Ann Miller was a delight.

The entire cast was extremely entertaining. Gene Kelly as Gabey was the dancing heart of the film. Frank Sinatra was quite interesting to see in this boyish role. Jules Munshin as Ozzie was hysterical and the prehistoric man bit was gut-busting. Betty Garett as Hildy was a riot, and the most progressive character in the film, for multiple reasons. Ann Miller as Claire was beautiful and fun, I really liked her introduction and her number, and that green dress was mesmerizing. Vera-Ellen as Ivy Smith completed the heart that was Gene Kelly. Alice Pearce as Lucy Schmeeler kind of stole the show. I say that because I kind of felt bad for her, having to portray a character that is so annoying and treated so ugly, but she really was hilarious and her arc was quite bittersweet. I enjoyed all the romances and chemistry of the six leads, and I rooted for Gabey and Ms. Ivy Smith.

Some of the film was ridiculous, and didn't make sense. You have to buy into the giant coincidences that Gabey could meet the girl immediately, and find her again later. There's also a ridiculous and dangerous chase sequence towards the end, and the cops forgive them almost instantly. It's obviously a very light film, with nothing serious and nothing profound or really emotionally compelling, but it doesn't really need any of that. It's also not very culturally diverse, especially for a movie set in New York. It's a silly movie, it's not high art by any means; but for my own particular reasons, it really felt like a comfort movie.

I really adored On The Town. Not just for what it is on the surface, which itself is noteworthy- but for what it represents and how it made me feel in my heart. In such a short time, I fell in love with these characters, and spending time with them in wonderful New York. By the end of it, I didn't want to say goodbye, but I still felt happy I was able to experience it all. That's what the best movies do, don't they? Introduce you to a world you didn't know before, take you on a ride with the people in it, and set you up for a grand goodbye to leave with great memories. It might not be the most profound, emotional, or life changing picture, but it's a wonderful time, in a wonderful place, that may be a bygone era, but will live on forever.

4/5

Among war movie soundtracks, this one stands out as the most impressive. Unlike typical war films, it vividly conveys the overwhelming battle fatigue felt by American GIs.

need some movies to watch, i plan on watching a movie every night before bed so i was hoping to watch some oldies, i remember watching North by Northwest and Casablanca a long time ago and for the duration of the movie, i forgot about the real world, that's how good those movies were, I plan on watching them again. these are movie that I'm planning to watch:

1. 12 Angry Men (1957)
2. 2001: A Space Odyssey (1968)
3. A Shot in the Dark (1964)
4. An Affair to Remember (1957)
5. Anatomy of a Murder (1959)
6. Apocalypse Now (1979)
7. Arabesque (1966)
8. Artists and Models (1955)
9. Barry Lyndon (1975)
10. Becket (1964)
11. Ben-Hur (1959)
12. Butch Cassidy and the Sundance Kid (1969)
13. Casablanca (1942)
14. Citizen Kane (1941)
15. Cleopatra (1963)
16. Cool Hand Luke (1967)
17. Dr. Jekyll and Mr. Hyde (1931)
18. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
19. East of Eden (1955)
20. Easy Rider (1969)
21. Enter the Dragon (1973)
22. Freaks (1932)
23. Funeral in Berlin (1966)
24. Gentlemen Prefer Blondes (1953)
25. Gone with the Wind (1939)
26. Guess Who’s Coming to Dinner (1967)
27. High Society (1956)
28. How to Steal a Million (1966)
29. How to Stuff a Wild Bikini (1965)
30. I Confess (1953)
31. I Shot Jesse James (1949)
32. In the Heat of the Night (1967)
33. It’s a Mad, Mad, Mad, Mad World (1963)
34. Kiss Me, Stupid (1964)
35. Lawrence of Arabia (1962)
36. Marie Antoinette (1938)
37. Monty Python and the Holy Grail (1975)
38. Mr. Smith Goes to Washington (1939)
39. Mutiny on the Bounty (1935)
40. Mutiny on the Bounty (1962)
41. North by Northwest (1959)
42. Notorious (1946)
43. Papillon (1973)
44. Paths of Glory (1957)
45. Rear Window (1954)
46. Rebel Without a Cause (1955)
47. Roman Holiday (1953)
48. Roman Scandals (1933)
49. Some Like It Hot (1959)
50. Spartacus (1960)
51. Stagecoach (1939)
52. Strangers on a Train (1951)
53. Sunset Boulevard (1950)
54. Taxi Driver (1976)
55. The Apartment (1960)
56. The Awful Truth (1937)
57. The Chase (1966)
58. The Conversation (1974)
59. The Deer Hunter (1978)
60. The Dirty Dozen (1967)
61. The Good, the Bad and the Ugly (1966)
62. The Graduate (1967)
63. The Man Who Knew Too Much (1956)
64. The Manchurian Candidate (1962)
65. The Prince and the Showgirl (1957)
66. The Seven Year Itch (1955)
67. The Spy Who Came in from the Cold (1965)
68. The Thomas Crown Affair (1968)
69. To Catch a Thief (1955)
70. To Kill a Mockingbird (1962)
71. To Trap a Spy (1964)
72. Treasure Island (1950)
73. Vertigo (1958)
74. Wife vs. Secretary (1936)

Below is a transcription of the film's producer's letter expressing great frustration about the code and it's enforcers.

TO: Steve Trilling DATE: November 29, 1947

FROM: Jerry Wald SUBJECT: “Key Largo”

Dear Steve:

The attached [Jackson’s letter] is serious enough for us to get together

immediately with the Breen office and discuss it at greater length.

They mention in this note that Murillo’s character is definitely “a

gangster surrounded by his henchmen and his kept woman.” Apparently

the Breen office has not seen Brute Force, Kiss of Death, Desert Fury,

The Strange Love of Martha Ivers, The Gangster, Ride a Pink Horse, etc.

{all current films].

They go on to say in their note that the public reaction to gangster

stories, particularly where the gangster can be identified, is extremely

violent and vociferous. Again, I call your attention to such productions

as The Killers [1946], and a picture of that type.

To my way of thinking, the Breen office is narrowing our range of

properties down to where we can either make a musical or a comedy. It

is becoming more and more apparent that each story we do faces the same

problem—we might offend some vocal minority. As you know, the Breen

office condemned John Loves Mary [1947] in toto. You have seen the

play and you know there is nothing in it that is immoral. . . .

To me it becomes more and more distressing, as a producer, in

an attempt to find material that will cash in at the box-office, to learn

that you are limited in the type of material you can secure—material

that will please the Breen office. Must we find Going My Ways? [1944].

The Breen office is good in many ways, but somewhere along the

line we should get together and try to find out exactly what we can make

and cannot make. The Breen office today goes by a production code that

was written in 1930. Many important events have taken place since the

code was written. Is it possible that the code is dated? Certainly a reexamination

is due. The industry today is feeling the box-office slump

with bowed heads and long faces, but yet I notice that Body and Soul

[1947] and Gentleman’s Agreement [1947] are both doing stand-out business.

| understand that both these pictures had quite a job of getting past

the Breen office. Certainly Body and Soul is cluttered with gangsters and

henchmen and their kept women. It is also good box-office because it has

guts and vitality. The story we are trying to tell in Key Largo is a moral

one and certainly there is no better way to point a moral than to use a

gangster as a symbol of everything that we are trying to avoid going back

to.

Frankly, Steve, I am depressed and distressed at this note from the

Breen office . . . How [writer Richard] Brooks and [writer-director John]

Huston can be expected to follow the line of a play written by a very

eminent playwright [Maxwell Anderson] and eliminate all that was in the

play, is something beyond my powers of comprehension.

No wonder the industry is continually being ridiculed—no wonder

it has to continually apologize for itself. . . .

This piling up of continuous censorship is what is making all our

pictures empty, and running along with a competent mediocrity. We

could never have made Odd Man Out [1947] in this country, or Shoeshine

[1947], or Open City [1946], or many other outstanding films. Must we

try to copy films like Unconquered [1947]?

You've got to help us. This is serious.

Jerry Wald

Recently re-watched this for the first time in decades. On the DVD, there's a making of featurette that had some great trivia, including this piece about Welles.

I watched with subtitles so I didn't have a problem understanding him, but Welles never passed up an opportunity to dunk on method acting, did he? His reply to the reporter cracked me up.

The film was ok, a curiosity more than anything. Not director Martin Ritt's best, but I had a fun time watching it. The different parts of the Faulkner stories didn't seem to fit together quite right and I didn't enjoy where they took Newman's character, in contrast to Ritt's later film HUD (1963), which has aged very well.

The best part of the film was the shunned son Jody Varner played Anthony Franciosa. He was great and I remembered him from his brief role in A Face in the Crowd (1957).

Much of the cast came from the Actor's Studio, so there was a lot of speculation that Welles had done it deliberately as a way to show contempt for the what he called "mumbling" method actors.

See more of my classic clips and BTS posts on r/ classic films here

’Scorpio Rising’ (1963) by Kenneth Anger is considered to be one of the first films to feature a rock and roll soundtrack. Anger's needle drops was inspired by the experience of seeing people at Coney Island, NYC playing music out of their radios. Photo: Promotional flyer for an 1964 screening at the Film-Makers' Cooperative. Artist unknown.