jondaris wrote:It seems they were upset because they weren't showing the movie in widescreen.

Is it bad that I read this and started thinking about The Outlaw in 3D?

Yeah, I've seen this one and while I'm hardly the target audience I thought it was an absolute gem. Along with Flesh and the Devil and Queen Christina, I think it's her best work. In fact in a book I'm writing on the IMDb Top 250, I use it as a huge contrast to Gone with the Wind. The relevant parag...

And after talking about differences between English and American humour in a different thread, I should add that I'm a huge fan of American slapstick. Silent humour really transcended any difference, and the greats were Americans (or like Stan Laurel, appeared to be). Who else was there in silent co...

OK, this thread really surprised me... As I travel through cinema, it became quickly obvious that English humour and American humour have always been completely different. That's come up here on a few threads. Put simply, Brits really don't find many American movies funny and Americans don't find ma...

I haven't seen this since 2004 so it's one of my early early Cagneys, if that makes sense. I thought it was a really good one though. And hey it's Jimmy Cagney and Joan Blondell. It's always going to be worth watching just for that!

I may be bucking the consensus here, but I enjoyed The Paradine Case very much. While it's hardly Hitch's best, it was at least a few times better than his next one, Rope. In fact with the possible exception of The Skin Game, Rope is my least favourite Hitch out of the 56 I've seen thus far. I'm onl...

In my humble opinion, Peter Lorre is one of the most underrated actors of the whole of the last century. I read his roles a little differently each time I see them, because I catch little nuances that I'd never caught before. That works whether the roles be small ones in films like The Maltese Falco...

Also, it's interesting how a lot of shows that started on the BBC now have American versions, like "Whose Line Is It Anyway?" and "Trading Spaces." There's a long tradition of comedy being stolen for the other side of the pond, and almost always the remake is awful. And while th...

Oh yeah, this was a good one. But with Ethel Barrymore and Elsa Lanchester in the same film, how could you go wrong?

I thought The Doorway to Hell was a great movie and to me it is for Cagney what Little Caesar was for Edward G Robinson. It feels more right as a companion than The Public Enemy does, and for this reason: In each, the future gangster star starts out as a nobody, both as an actor and especially as a ...

Yeah, there were a lot of surprises in this one. Here's what I wrote after seeing it last July: Here's Norma Shearer's last silent film, not that it ended up that way. She's Dolly Morgan, aka Angel Face, a con artist who gets recognised pulling scams in a hotel by a couple of crooks who want her to ...

It's also known as The Slippery Pearls and is everywhere, it seems. I first saw it on the Treeline Films Comedy Classics 50 film box set.

What makes this one so special to me is that any time I go back to it I recognise more people. It's like a 20 minute proof that I'm still learning.

Hmm. I honestly can't remember where I saw it, but I saw it on US TV in 2005, and I pretty much only ever watch TCM, Sundance or IFC.

I couldn't agree more, as long as they pick the right guests so that there's plenty of the insightful content that you talk of but it doesn't just become a spot for people to boast about how they knew someone. I've thoroughly enjoyed a few of the guests that TCM has hosted, both on themed series and...

Wow, I wasn't expecting a Hulot war! I should add that I'm new to Jacques Tati. I've seen precisely one, which may well not be his best, but I loved it. To my English eyes, he's just like Mr Bean except forty years earlier. I was also amazed not just by what he did as an actor in Mr Hulot's Holiday ...