list http://www.spout.com/ Recent community activity around It Happened One Night on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/It_Happened_One_Night/17510/default.aspx Title: It Happened One Night
Year: 1934
Director: Frank Capra
Plot: Frank Capra's seminal screwball comedy, which won all five major Academy Awards for 1934, is still as breezy and beguiling today. Claudette Colbert plays Ellie Andrews, a spoiled heiress who has married fortune-hunting aviator King Westley (Jameson Thomas), despite her father (Walter Connolly)'s objections. To keep Ellie from marrying this lothario, her father has been holding her prisoner aboard his yacht. But Ellie bolts from the yacht, swims ashore in her clothes, and eventually slips onto a Greyhound bus bound for New York. Aboard the bus is newspaper reporter Peter Warne (Clark Gable), who has recently been fired for drinking on the job. Peter gets the last seat on the bus -- but when he gets up to argue with the bus driver, Ellie takes his seat. Since it is the last seat on the bus, they have to share it. When Ellie has her purse stolen and she refuses to report it, Peter begins to suspect something. The next morning, they both miss the bus after a leisurely breakfast, and Peter reveals that he knows her identity. She makes a deal with him: if he helps her get to New York, he can write a scoop about her for his paper. Peter thinks she is a spoiled brat, however, and refuses a monetary bribe: "I'm not interested in your money or your problem. You, King Westley, your father -- you're all a lot of hooey to me!" But as they travel northward and engage in a series of misadventures, the gruff newspaperman and the spoiled rich girl, thrown together by circumstances, fall in love with each other. This movie set the pace for the "screwball" comedy, the witty and romantic clash of temperaments between a man and a woman mismatched in both personality and social position, a type of movie often associated with Katherine Hepburn in such classics as Bringing Up Baby (1938), The Philadelphia Story (1940), and, with Spencer Tracy, Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957), among others. The only other movies to win all five major Academy Awards (Best Picture, Actor, Actress, Director, and Screenplay) were One Flew Over the Cuckoo's Nest (1975) and The Silence of the Lambs (1991). ~ Paul Brenner, All Movie Guide
Times Tagged: 79
Number of Lists: 58
Number of blog posts: 6
Number of discussion threads: 5
SpoutRating: 4
]]>Fri, 24 Jul 2009 17:56:21 GMTIt Happened One Night1934Frank Capra<a href="/players/P____84082/default.aspx" style='text-decoration:underline'>Frank Capra</a>'s seminal screwball comedy, which won all five major Academy Awards for 1934, is still as breezy and beguiling today. <a href="/players/P____14003/default.aspx" style='text-decoration:underline'>Claudette Colbert</a> plays Ellie Andrews, a spoiled heiress who has married fortune-hunting aviator King Westley (<a href="/players/P____70583/default.aspx" style='text-decoration:underline'>Jameson Thomas</a>), despite her father (<a href="/players/P____14540/default.aspx" style='text-decoration:underline'>Walter Connolly</a>)'s objections. To keep Ellie from marrying this lothario, her father has been holding her prisoner aboard his yacht. But Ellie bolts from the yacht, swims ashore in her clothes, and eventually slips onto a Greyhound bus bound for New York. Aboard the bus is newspaper reporter Peter Warne (<a href="/players/P____10097/default.aspx" style='text-decoration:underline'>Clark Gable</a>), who has recently been fired for drinking on the job. Peter gets the last seat on the bus -- but when he gets up to argue with the bus driver, Ellie takes his seat. Since it is the last seat on the bus, they have to share it. When Ellie has her purse stolen and she refuses to report it, Peter begins to suspect something. The next morning, they both miss the bus after a leisurely breakfast, and Peter reveals that he knows her identity. She makes a deal with him: if he helps her get to New York, he can write a scoop about her for his paper. Peter thinks she is a spoiled brat, however, and refuses a monetary bribe: "I'm not interested in your money or your problem. You, King Westley, your father -- you're all a lot of hooey to me!" But as they travel northward and engage in a series of misadventures, the gruff newspaperman and the spoiled rich girl, thrown together by circumstances, fall in love with each other. This movie set the pace for the "screwball" comedy, the witty and romantic clash of temperaments between a man and a woman mismatched in both personality and social position, a type of movie often associated with Katherine Hepburn in such classics as <a href=/films/4471/default.aspx style='text-decoration:underline'>Bringing Up Baby</a> (1938), <a href=/films/26633/default.aspx style='text-decoration:underline'>The Philadelphia Story</a> (1940), and, with <a href="/players/P____71578/default.aspx" style='text-decoration:underline'>Spencer Tracy</a>, <a href=/films/412/default.aspx style='text-decoration:underline'>Adam's Rib</a> (1949), <a href=/films/26193/default.aspx style='text-decoration:underline'>Pat and Mike</a> (1952), and <a href=/films/8844/default.aspx style='text-decoration:underline'>Desk Set</a> (1957), among others. The only other movies to win all five major Academy Awards (Best Picture, Actor, Actress, Director, and Screenplay) were <a href=/films/25463/default.aspx style='text-decoration:underline'>One Flew Over the Cuckoo's Nest</a> (1975) and <a href=/films/31277/default.aspx style='text-decoration:underline'>The Silence of the Lambs</a> (1991). ~ Paul Brenner, All Movie Guide79Tag Target (>10)58654http://www.spout.com/ProductImages/t04821qckxw.jpghttp://www.spout.com/films/It_Happened_One_Night/17510/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40694.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:01:36 PM
Body: One of the most popular sex scenes of all time is the kitchen scene from the 1981 version of The Postman Always Rings Twice. But many people find the more implicit parts of the 1946 version to be sexier. These people include the earlier film’s female lead, Lana Turner, who wrote in her autobiography, “[The makers of the 1981 film] didn’t have to worry about the censors. I’d had to project a rather intense sexual presence, but always with my clothes on. I was amused to read that [NY Times film critic] Vincent Canby considered the remake a pale, rather sexless imitation of my version.” Yes, a film with neither nudity nor simulated lovemaking can be quite sexy, likely sexier than an explicit remake, for innuendo and other teasing maneuvers around either the Hays Code or the MPAA ratings board’s restrictions are far more tantalizing than any bare and balls-out displays of graphic sex common in movies today. Though many classic implications of sex on the big screen were rather obvious and quick, giving the audience a nudge but hardly a rise (think the Eisensteinian metaphors of a train entering a tunnel in North by Northwest or fireworks exploding in To Catch a Thief), loads of films turned up the heat through the use of careful camerawork, daring dialogue and more subtly suggestive actions. Sometimes such sexy moments of tension and/or playfulness are definite forms of foreplay and serve as lead-ins to actual sex acts, on or off screen. But not always. Everyone has his or her own ideas of what’s sexy, so feel free to disagree with our choices and/or suggest your own (I can guess what the first suggestion will be). Consider our list simply a starting point for discussion. “‘Makin’ Whoopee’ scene,” from The Fabulous Baker Boys (1989) Basically, this famous scene, in which Susie Diamond (Michelle Pfeiffer) sings “Makin’ Whoopee” while wriggling around atop a piano, is a slightly classier version of Whitesnake’s “Here I Go Again” music video. Just as loads of metal heads dreamed they were David Coverdale’s Jaguar, a few years later tons of moviegoers wished they could have been that piano. “Bogie gets wet,” from The Big Sleep (1946) Philip Marlowe (Humphrey Bogart) and the unnamed bookseller (Dorothy Malone) may actually get it on offscreen following this flirtatious exchange, but even if their little rye-drinking party is purely an innocent moment between two strangers waiting out a rainstorm, there’s no denying the sexual energy going on between them. While it may be hard for a guy to understand the appeal of the quite blunt and rude Marlowe (are the glasses really that big a turn-off, Bogie?), Malone is very sexy when communicating her eagerness for whatever, even before she complies with the eyewear request and then voluntarily lets down her hair. Just watch her reaction when he says, “I’d a lot rather get wet in here.” “Airplane scene,” from Chungking Express (1994) As far as suggestive imagery goes, the way Cop 663 (Tony Leung) plays with that toy airplane around the half-clothed stewardess (Valerie Chow) is only slightly subtler than the aforementioned montages from North by Northwest and To Catch a Thief, but Wong Kar Wai is much more sensual in the way he films his symbolic object. Certainly there is more direct sexiness to be found without Eisensteinian cutaways, anyway, and the additional innuendo provided by the airline safety instructions and the stewardess’ spilling of her beer gives the scene a delectable feeling of reciprocation. “Kiss scene on the beach,” from From Here to Eternity (1953) This scene is a bit of an obvious choice, and in a way it barely counts because the whole thing involves an explicit form of intimacy between two lovers (Burt Lancaster and Deborah Kerr) that can hardly be considered completely non-sexual. But the reason we’re including it is because it’s one of the greatest and most unmistakable substitutes for an actual, outright sex scene ever put on film. That’s why so many films have imitated it so faithfully, even in times when it’s been more favorable and more acceptable to recreate the scene without the bathing suits. “Gable takes off his shirt,” from It Happened One Night (1934) Unlike Bogie’s come on, the appeal of Gable’s undressing is completely understandable, to either sex. And it’s not just clear in the way Ellie (Claudette Colbert) stares and then rushes off to her side of the room all hot and bothered. Male audiences also recognized the sexiness of the scene, evidenced in the film’s infamous influence on the (misfortunate) undershirt business. There’s plenty of sexual tension going on in the rest of the “walls of Jericho” sequence, and Colbert’s behind-the-sheet undressing is also quite sexy (as is her iconic hitchhiking display in another scene), but considering male stripping in cinema is rarely so inviting, we have to go with this narrowed-down choice. “The phone scene,” from It’s a Wonderful Life (1946) Were you aware that such a seemingly family-friendly director as Frank Capra gave us so many sexy scenes? There’s not much in It’s a Wonderful Life that’s as arousing as those mentioned moments from It Happened One Night, but one of the all-time best shots depicting sexual tension is in this holiday favorite. If George (James Stewart) and Mary (Donna Reed) hadn’t finally kissed at the end of this scene, audiences would probably have just burst in their seats. “‘Moonglow’ dance,” from Picnic (1955) Beginning with Kim Novak’s sultry wiggle down the steps, this is one of the sexiest dances in cinema, and that’s compared to hundreds of more explicit numbers throughout film history. Even without the graphic double crotch shot, which is used to frame Susan Strasberg (though surely you’re not actually focusing on her, right?), the scene is as clearly a substitute for sex as the beach scene from From Here to Eternity. “Jane changes clothes in silhouette,” from Tarzan and His Mate (1934) It wasn’t the first time a silhouetted stripping scene was used in a film. But we just couldn’t include the moment from the “Petting in the Park” number from Gold Diggers of 1933, because the voyeuristic kid makes it just a little too creepy. Besides, the idea of a nude woman silhouetted against a tent wall is a more iconic image, one that’s been constantly redone both erotically and comically. A later scene in the film, in which Jane (Maureen O’Sullivan, though replaced at this moment by Olympic swimmer Josephine McKim) goes skinny-dipping with Tarzan (Johnny Weissmuller), is also quite a sexy non-sex scene. “Lusty eating scene,” from Tom Jones (1963) Did anyone else see the recent special episode of Anthony Bourdain: No Reservations about the concept of food porn? Or, has anyone else felt a little dirty watching Padma Lakshmi bite into an apple during Top Chef promos? Well maybe not all cinephiles are also foodies, but for those that are, the feast of food and foreplay in Tom Jones is certainly relatable. Watching Tom (Albert Finney) and Mrs. Waters (Joyce Redman) may not directly turn you on, but if you understand the erotic power of food, you should at least be able to appreciate the sexual energy here. “Returning stolen goods,” from Trouble in Paradise (1932) Far more than Frank Capra, Ernst Lubitsch was responsible for many of the sexiest films of the ‘30s and ‘40s, but it’s arguably Trouble in Paradise that tops them all. Using his signature “Lubitsch touch,” he had a way of getting around censors by only carefully alluding to censorable things, all through the trust in the audience’s ability to read between the lines and imagine what’s happening behind closed doors. His sexiest scene, however, is more blatant than all that; two master criminals (Miriam Hopkins and Herbert Marshall) fall in love while returning the items they’ve pickpocketed off each other. Decades later, people will see a similar sexiness in a scene from Mr. and Mrs. Smith, clearly derivative of this scene, in which Angelina Jolie and Brad Pitt pat each other down for weapons while dancing. Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:01:36 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:01:36 PMOne of the most popular sex scenes of all time is the kitchen scene from the 1981 version of The Postman Always Rings Twice. But many people find the more implicit parts of the 1946 version to be sexier. These people include the earlier film’s female lead, Lana Turner, who wrote in her autobiography, “[The makers of the 1981 film] didn’t have to worry about the censors. I’d had to project a rather intense sexual presence, but always with my clothes on. I was amused to read that [NY Times film critic] Vincent Canby considered the remake a pale, rather sexless imitation of my version.” Yes, a film with neither nudity nor simulated lovemaking can be quite sexy, likely sexier than an explicit remake, for innuendo and other teasing maneuvers around either the Hays Code or the MPAA ratings board’s restrictions are far more tantalizing than any bare and balls-out displays of graphic sex common in movies today. Though many classic implications of sex on the big screen were rather obvious and quick, giving the audience a nudge but hardly a rise (think the Eisensteinian metaphors of a train entering a tunnel in North by Northwest or fireworks exploding in To Catch a Thief), loads of films turned up the heat through the use of careful camerawork, daring dialogue and more subtly suggestive actions. Sometimes such sexy moments of tension and/or playfulness are definite forms of foreplay and serve as lead-ins to actual sex acts, on or off screen. But not always. Everyone has his or her own ideas of what’s sexy, so feel free to disagree with our choices and/or suggest your own (I can guess what the first suggestion will be). Consider our list simply a starting point for discussion. “‘Makin’ Whoopee’ scene,” from The Fabulous Baker Boys (1989) Basically, this famous scene, in which Susie Diamond (Michelle Pfeiffer) sings “Makin’ Whoopee” while wriggling around atop a piano, is a slightly classier version of Whitesnake’s “Here I Go Again” music video. Just as loads of metal heads dreamed they were David Coverdale’s Jaguar, a few years later tons of moviegoers wished they could have been that piano. “Bogie gets wet,” from The Big Sleep (1946) Philip Marlowe (Humphrey Bogart) and the unnamed bookseller (Dorothy Malone) may actually get it on offscreen following this flirtatious exchange, but even if their little rye-drinking party is purely an innocent moment between two strangers waiting out a rainstorm, there’s no denying the sexual energy going on between them. While it may be hard for a guy to understand the appeal of the quite blunt and rude Marlowe (are the glasses really that big a turn-off, Bogie?), Malone is very sexy when communicating her eagerness for whatever, even before she complies with the eyewear request and then voluntarily lets down her hair. Just watch her reaction when he says, “I’d a lot rather get wet in here.” “Airplane scene,” from Chungking Express (1994) As far as suggestive imagery goes, the way Cop 663 (Tony Leung) plays with that toy airplane around the half-clothed stewardess (Valerie Chow) is only slightly subtler than the aforementioned montages from North by Northwest and To Catch a Thief, but Wong Kar Wai is much more sensual in the way he films his symbolic object. Certainly there is more direct sexiness to be found without Eisensteinian cutaways, anyway, and the additional innuendo provided by the airline safety instructions and the stewardess’ spilling of her beer gives the scene a delectable feeling of reciprocation. “Kiss scene on the beach,” from From Here to Eternity (1953) This scene is a bit of an obvious choice, and in a way it barely counts because the whole thing involves an explicit form of intimacy between two lovers (Burt Lancaster and Deborah Kerr) that can hardly be considered completely non-sexual. But the reason we’re including it is because it’s one of the greatest and most unmistakable substitutes for an actual, outright sex scene ever put on film. That’s why so many films have imitated it so faithfully, even in times when it’s been more favorable and more acceptable to recreate the scene without the bathing suits. “Gable takes off his shirt,” from It Happened One Night (1934) Unlike Bogie’s come on, the appeal of Gable’s undressing is completely understandable, to either sex. And it’s not just clear in the way Ellie (Claudette Colbert) stares and then rushes off to her side of the room all hot and bothered. Male audiences also recognized the sexiness of the scene, evidenced in the film’s infamous influence on the (misfortunate) undershirt business. There’s plenty of sexual tension going on in the rest of the “walls of Jericho” sequence, and Colbert’s behind-the-sheet undressing is also quite sexy (as is her iconic hitchhiking display in another scene), but considering male stripping in cinema is rarely so inviting, we have to go with this narrowed-down choice. “The phone scene,” from It’s a Wonderful Life (1946) Were you aware that such a seemingly family-friendly director as Frank Capra gave us so many sexy scenes? There’s not much in It’s a Wonderful Life that’s as arousing as those mentioned moments from It Happened One Night, but one of the all-time best shots depicting sexual tension is in this holiday favorite. If George (James Stewart) and Mary (Donna Reed) hadn’t finally kissed at the end of this scene, audiences would probably have just burst in their seats. “‘Moonglow’ dance,” from Picnic (1955) Beginning with Kim Novak’s sultry wiggle down the steps, this is one of the sexiest dances in cinema, and that’s compared to hundreds of more explicit numbers throughout film history. Even without the graphic double crotch shot, which is used to frame Susan Strasberg (though surely you’re not actually focusing on her, right?), the scene is as clearly a substitute for sex as the beach scene from From Here to Eternity. “Jane changes clothes in silhouette,” from Tarzan and His Mate (1934) It wasn’t the first time a silhouetted stripping scene was used in a film. But we just couldn’t include the moment from the “Petting in the Park” number from Gold Diggers of 1933, because the voyeuristic kid makes it just a little too creepy. Besides, the idea of a nude woman silhouetted against a tent wall is a more iconic image, one that’s been constantly redone both erotically and comically. A later scene in the film, in which Jane (Maureen O’Sullivan, though replaced at this moment by Olympic swimmer Josephine McKim) goes skinny-dipping with Tarzan (Johnny Weissmuller), is also quite a sexy non-sex scene. “Lusty eating scene,” from Tom Jones (1963) Did anyone else see the recent special episode of Anthony Bourdain: No Reservations about the concept of food porn? Or, has anyone else felt a little dirty watching Padma Lakshmi bite into an apple during Top Chef promos? Well maybe not all cinephiles are also foodies, but for those that are, the feast of food and foreplay in Tom Jones is certainly relatable. Watching Tom (Albert Finney) and Mrs. Waters (Joyce Redman) may not directly turn you on, but if you understand the erotic power of food, you should at least be able to appreciate the sexual energy here. “Returning stolen goods,” from Trouble in Paradise (1932) Far more than Frank Capra, Ernst Lubitsch was responsible for many of the sexiest films of the ‘30s and ‘40s, but it’s arguably Trouble in Paradise that tops them all. Using his signature “Lubitsch touch,” he had a way of getting around censors by only carefully alluding to censorable things, all through the trust in the audience’s ability to read between the lines and imagine what’s happening behind closed doors. His sexiest scene, however, is more blatant than all that; two master criminals (Miriam Hopkins and Herbert Marshall) fall in love while returning the items they’ve pickpocketed off each other. Decades later, people will see a similar sexiness in a scene from Mr. and Mrs. Smith, clearly derivative of this scene, in which Angelina Jolie and Brad Pitt pat each other down for weapons while dancing. Originally posted on:SpoutBlog http://www.spout.com/groups/Coming_Soon/Superheroes_and_Sex_in_the_City_new_DVDs_12_9/216/38087/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/8/2008 4:47:20 PM
Body: New DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You
]]>Mon, 08 Dec 2008 21:47:20 GMTSkyPilotComing Soon12/8/2008 4:47:20 PMNew DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You http://www.spout.com/blogs/pippin06/archive/2008/11/11/37208.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 11/11/2008 12:29:36 PM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx It Happened One Night is on the following AFI lists: The Original Top 100 (#35)100 Funniest Films (#8)100 Years...100 Passions (#38)The Revised Top 100 (#46)10 Top 10's (#3 Romantic Comedy) I bought It Happened One Night for this project (the test passes) because when I saw it the first time, I absolutely loved it. I still absolutely love it. Branded as the first screwball comedy - and, therefore, a formula creator - this movie really makes me laugh. It's almost 75 years old now, and yet, it holds up very well. That could be owing to the fact that Clark Gable and Claudette Colbert, the leads here, were two of those stars that had impeccable comedic timing and an unusual but palpable chemistry. It could be owing to the fact that director Frank Capra (this is his third movie on the original AFI list after It's a Wonderful Life and Mr. Smith Goes to Washington) had a wonderful bead on the silly situations being depicted and milked those two actors and the situations for all they were worth. It is probably both of these things and more - this film is just one of those magical films that play very well and possess a certain timeless quality that make them as good as when they were first released, at least, as I can only guess. Let me see if I can summarize this plot with any effectiveness: Ellie Andrews (Colbert), a spoiled, selfish, rich girl who pays a price for her spoiled-ness by being under the thumb of her father, marries what he perceives to be a lothario, King Westley, in a whirlwind - though there is really no evidence that he's a womanizer of that proportion, but it was 1934, so what do I know? Mr. Andrews demands an ennulment and means to force Ellie into it - until she decides to run away and meet her beloved in New York City. So, she dives off the deck of her father's yacht in Miami and makes a break for it, which is great fodder for the newspapers. In the meanwhile, Peter Warne (Gable), journalist, gets fired for being drunk on the job and, let's face it, insulting his boss. He buys a ticket on the Greyhound to New York and has to fight the driver for the last seat, which Ellie silently sits in. Thus, the two are forced to share, and our screwball world is born. Peter quickly learns that Ellie is a "brat," prone to high-minded if misguided ideals and a skewed world perspective, but he's not all sunshine and roses himself. Snarky and sarcastic, even if gentlemanly, Peter, who recognizes Ellie, sees her as his "in" to get his job back. Thus, he makes her a promise: he will see her to New York and King Westley provided that she doesn't run away and provides him an exclusive interview. Of course, their journey is more complicated than that, given the fact that Ellie's father posts a reward for her return and, also, the fact that Ellie is perfectly hopeless in the real world, rendering Peter her guardian and guide. And wouldn't you know it - romance blossoms! This film was the first of only three films in history to win the Big Five Oscars - Best Picture, Director, Actor, Actress, and Screenplay. I think they were well deserved. This film is kind of ahead of its time, even though it turns out to be a perfect time capsule for the 30s. I get a huge kick out of seeing the various cultural conventions of the day, from the fashion, to the technology, to the expectations. My how the world has changed. But I digress. This movie is so good because its magical ingredients make it timeless, as I've said. Gable and Colbert are pitch-perfect romantic leads. Especially that Clark Gable - he had that scalawag sense of comedic timing, making him and his characters seem like the real bad boys a girl could fall for - and then he would turn on that smile and sensitive, fierce protectiveness within the character that could make a girl swoon. It was evident as Rhett Butler, too, though that character was more of a cad. The scene in the field, when Peter bends over Ellie after tucking her in under the hay, is a hearts-pitter-patter moment - thus, its high ranking on the AFI's Passions list. It was because Gable was so handsome, had so much romantic charisma, and had one of the best sarcastic deliveries I can think of in the history of film (bested, perhaps, only by Humphrey Bogart), while still willing to lay himself on the line for the slapstick or other physical comedy-moment. He was also very good at playing drunk for laughs - just watch his introductory scene in this film. Colbert also portrayed that giddy sense of comedy while still remaining ladylike. My favorite scene of hers is when Ellie's father's detectives track her down to the Auto-Camp where Peter and Ellie stay during the torrential rains that flood the road and prevent the Greyhound from driving through the night. They had posed as a married couple to share the cabin, even though Peter had erected the "walls of Jericho" via means of a blanket and a clothesline. In the scene, in order to thwart the detectives' trail, Peter makes a big fuss, and Ellie chimes in as the whiny, shrill, misunderstood wife while steadily combing her hair down over her eyes. I can't describe it to do it justice, but the whole thing is just very funny. And then, of course, there was that leg. Colbert reportedly hated making the picture and sort of loathed Capra based on previous films they'd made together (though she was under contract and negotiated twice her usual salary), but it doesn't show. Both actors, including Gable (on loan from MGM as "punishment," so it says), professionally never showed their distaste for their circumstances in their performances. I also like the perfectly executed story. Of course, it's all naturally preposterous, as screwballs often are, and it's formulaic, as romantic comedies often are (this is one of the first of each, technically), but that's what gives rise to the laughs. The film earns its place on the AFI Funniest list too because there are times I find myself giggling into stiches while watching this film. The film isn't quite a masterpiece - some of the scenes and situations come out of left field, even if they find some resolution - and we don't actually get the benefit of seeing Peter and Ellie together in the end, though it's insinuated heavily - but it's hugely entertaining and such a cute film. Technically, it's nothing partiuclarly special, but what can one expect from 1934 and, arguably, a comedy? That's not a complaint from me. I enjoy the movie so much and plan to enjoy it a few times more in the future. I think this film deserves a 9 for being perfectly entertaining because it does what it's supposed to do, at least for me - make me laugh, make me swoon, make me feel touched. My only question - I wonder where the title comes from? The film takes place over more than one night, and Peter and Ellie meet during the day. Anyone have any insight? Maybe I'll try looking it up.
]]>Tue, 11 Nov 2008 17:29:36 GMTpippin06Reel Thoughts11/11/2008 12:29:36 PMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx It Happened One Night is on the following AFI lists: The Original Top 100 (#35)100 Funniest Films (#8)100 Years...100 Passions (#38)The Revised Top 100 (#46)10 Top 10's (#3 Romantic Comedy) I bought It Happened One Night for this project (the test passes) because when I saw it the first time, I absolutely loved it. I still absolutely love it. Branded as the first screwball comedy - and, therefore, a formula creator - this movie really makes me laugh. It's almost 75 years old now, and yet, it holds up very well. That could be owing to the fact that Clark Gable and Claudette Colbert, the leads here, were two of those stars that had impeccable comedic timing and an unusual but palpable chemistry. It could be owing to the fact that director Frank Capra (this is his third movie on the original AFI list after It's a Wonderful Life and Mr. Smith Goes to Washington) had a wonderful bead on the silly situations being depicted and milked those two actors and the situations for all they were worth. It is probably both of these things and more - this film is just one of those magical films that play very well and possess a certain timeless quality that make them as good as when they were first released, at least, as I can only guess. Let me see if I can summarize this plot with any effectiveness: Ellie Andrews (Colbert), a spoiled, selfish, rich girl who pays a price for her spoiled-ness by being under the thumb of her father, marries what he perceives to be a lothario, King Westley, in a whirlwind - though there is really no evidence that he's a womanizer of that proportion, but it was 1934, so what do I know? Mr. Andrews demands an ennulment and means to force Ellie into it - until she decides to run away and meet her beloved in New York City. So, she dives off the deck of her father's yacht in Miami and makes a break for it, which is great fodder for the newspapers. In the meanwhile, Peter Warne (Gable), journalist, gets fired for being drunk on the job and, let's face it, insulting his boss. He buys a ticket on the Greyhound to New York and has to fight the driver for the last seat, which Ellie silently sits in. Thus, the two are forced to share, and our screwball world is born. Peter quickly learns that Ellie is a "brat," prone to high-minded if misguided ideals and a skewed world perspective, but he's not all sunshine and roses himself. Snarky and sarcastic, even if gentlemanly, Peter, who recognizes Ellie, sees her as his "in" to get his job back. Thus, he makes her a promise: he will see her to New York and King Westley provided that she doesn't run away and provides him an exclusive interview. Of course, their journey is more complicated than that, given the fact that Ellie's father posts a reward for her return and, also, the fact that Ellie is perfectly hopeless in the real world, rendering Peter her guardian and guide. And wouldn't you know it - romance blossoms! This film was the first of only three films in history to win the Big Five Oscars - Best Picture, Director, Actor, Actress, and Screenplay. I think they were well deserved. This film is kind of ahead of its time, even though it turns out to be a perfect time capsule for the 30s. I get a huge kick out of seeing the various cultural conventions of the day, from the fashion, to the technology, to the expectations. My how the world has changed. But I digress. This movie is so good because its magical ingredients make it timeless, as I've said. Gable and Colbert are pitch-perfect romantic leads. Especially that Clark Gable - he had that scalawag sense of comedic timing, making him and his characters seem like the real bad boys a girl could fall for - and then he would turn on that smile and sensitive, fierce protectiveness within the character that could make a girl swoon. It was evident as Rhett Butler, too, though that character was more of a cad. The scene in the field, when Peter bends over Ellie after tucking her in under the hay, is a hearts-pitter-patter moment - thus, its high ranking on the AFI's Passions list. It was because Gable was so handsome, had so much romantic charisma, and had one of the best sarcastic deliveries I can think of in the history of film (bested, perhaps, only by Humphrey Bogart), while still willing to lay himself on the line for the slapstick or other physical comedy-moment. He was also very good at playing drunk for laughs - just watch his introductory scene in this film. Colbert also portrayed that giddy sense of comedy while still remaining ladylike. My favorite scene of hers is when Ellie's father's detectives track her down to the Auto-Camp where Peter and Ellie stay during the torrential rains that flood the road and prevent the Greyhound from driving through the night. They had posed as a married couple to share the cabin, even though Peter had erected the "walls of Jericho" via means of a blanket and a clothesline. In the scene, in order to thwart the detectives' trail, Peter makes a big fuss, and Ellie chimes in as the whiny, shrill, misunderstood wife while steadily combing her hair down over her eyes. I can't describe it to do it justice, but the whole thing is just very funny. And then, of course, there was that leg. Colbert reportedly hated making the picture and sort of loathed Capra based on previous films they'd made together (though she was under contract and negotiated twice her usual salary), but it doesn't show. Both actors, including Gable (on loan from MGM as "punishment," so it says), professionally never showed their distaste for their circumstances in their performances. I also like the perfectly executed story. Of course, it's all naturally preposterous, as screwballs often are, and it's formulaic, as romantic comedies often are (this is one of the first of each, technically), but that's what gives rise to the laughs. The film earns its place on the AFI Funniest list too because there are times I find myself giggling into stiches while watching this film. The film isn't quite a masterpiece - some of the scenes and situations come out of left field, even if they find some resolution - and we don't actually get the benefit of seeing Peter and Ellie together in the end, though it's insinuated heavily - but it's hugely entertaining and such a cute film. Technically, it's nothing partiuclarly special, but what can one expect from 1934 and, arguably, a comedy? That's not a complaint from me. I enjoy the movie so much and plan to enjoy it a few times more in the future. I think this film deserves a 9 for being perfectly entertaining because it does what it's supposed to do, at least for me - make me laugh, make me swoon, make me feel touched. My only question - I wonder where the title comes from? The film takes place over more than one night, and Peter and Ellie meet during the day. Anyone have any insight? Maybe I'll try looking it up. http://www.spout.com/blogs/spoutblog/archive/2008/11/7/37067.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/7/2008 3:01:08 PM
Body: Opening today, Soul Men features the final performance from Bernie Mac, who died unexpectedly on August 9. The movie also includes a cameo from Isaac Hayes, who died one day later. Both men join a long list of people whose last films were released after their deaths, a list that includes Brad Renfro, whose final performance, in The Informers, can be seen in theaters come next May. Unlike some names on that list, Bernie Mac, whose voice can also be heard in the new animated sequel Madagascar: Escape 2 Africa, isn’t likely to receive a posthumous Oscar nomination as a tribute to his final work. But as one of the most underrated comic actors of the past few years, Mac likely gives a great performance as soul singer “Floyd Henderson,” enough to fall in with the crop of posthumously released roles we’ve showcased below: 1. Spencer Tracy in Guess Who’s Coming to Dinner Tracy died from a heart attack June 10, 1967, a couple weeks after finishing his work on Guess Who’s Coming to Dinner, which was released that December. It would end up one of his most distinguished performances, earning him a posthumous ninth Oscar nom for Lead Actor. 2. James Dean in Rebel Without a Cause Dean received two posthumous Oscar nominations, but it’s easy to forget that neither of them were for Rebel Without a Cause, despite the film being Dean’s first posthumous release. Were it possible under the Academy’s rules, Dean could have been nominated for playing iconic teen Jim Stark, but he was instead recognized solely for East of Eden (the first official posthumous Oscar nomination for acting), which had been released a few months prior to Dean’s accidental death. Meanwhile Dean’s costars in Rebel, Sal Mineo and Natalie Wood, were each nominated for this film. 3. James Dean in Giant This film became Dean’s second posthumous release and earned him his second posthumous Oscar nomination (he won neither). The actor had pretty much finished his work on Giant right before his death, though some post-production vocal work had to be performed by a substitute later on, and the film wasn’t to come out in theaters until two months after the first anniversary of Dean’s death. 4. Clark Gable in The Misfits Like the death of Heath Ledger (see below), Gable’s was blamed on the demands of a role. Whether his performance in The Misfits was too physically demanding or he experienced immense tension from lack of things to do or he lost too much weight too quickly to prepare for the film, there may not have been one single thing that led to his having his third heart attack and then ultimately succumbing to coronary thrombosis mere weeks after finishing up principal photography. A few months later, on Gable’s birthday, his performance was unveiled to the world, and while not as historically remembered as his characters in Gone With the Wind and It Happened One Night, nor one of his three Oscar-nominated roles, it is arguably his greatest work. 5. John Cazale in The Deer Hunter Cazale should have been honored with a posthumous Oscar nomination at some point (I can’t believe I left him off that list), if for no other reason than to recognize his achievement of acting solely in features nominated for Best Picture (including The Godfather Part III, in which he’s only shown in archive footage). But an even bigger reason is that Cazale was a damn good supporting actor and he actually would deserve that statue. For all the talent he displays in The Deer Hunter, though, he was easily upstaged by his costar Christopher Walken, who actually took home the Oscar. 6. Bruce Lee in Enter the Dragon There are tons of artists who didn’t live long enough to see their work become huge successes. Unlike most of them, though, Lee at least experienced some level of stardom prior to his death on July 20, 1973. Unfortunately, he didn’t get to see his final film, Enter the Dragon, open to huge numbers in the U.S., eventually even topping the box office chart here after a few months in theaters. He also tragically never got to see how iconic, influential and culturally significant his performance would become. 7. Brandon Lee in The Crow Bruce Lee also never got to see his son grow up to have a #1 movie, too. Sadly, neither did the son, Brandon, who died accidentally from a malfunctioned prop gun on the set of The Crow. And while the star’s then-mysterious death may have helped to make the movie more popular than would otherwise have been expected, it’s primarily Lee’s performance, not his legacy, that has allowed the movie to remain worthwhile viewing 15 years later. Even if some of that performance was assisted through a controversial yet groundbreaking use of stunt doubles and digital effects. 8. Richard Harris in Harry Potter and the Chamber of Secrets There have now been more Harry Potter films released in which Michael Gambon portrays Albus Dumbledore, yet Harris will forever be remembered more clearly and favorably in the role. Even those of us who like Gambon as the Hogwarts headmasterhave more vivid memories of Harris’ performances in both Harry Potter and the Sorcerer’s Stone and Harry Potter and the Chamber of Secrets, the latter of which arrived in theaters less than three weeks after the actor’s death on October 25, 2002. Surely some fans would have preferred to see Harris reprise his role in the subsequent films courtesy of effects wizardry similar to that done in The Crow and Sky Captain and the World of Tomorrow (see below). 9. Laurence Olivier in Sky Captain and the World of Tomorrow It may have been morally wrong for Kerry Conran to digitally create a villainous performance from Olivier 15 years after the legendary actor’s death, but who doesn’t want to keep getting new performances from such a master thespian, even if it it technically consists of nothing but archive footage? Besides, it’s still better than making him posthumously hawk beer, vacuum cleaners, or McDonalds cheeseburgers. Too bad the film as a whole was such a disappointment. 10. Heath Ledger in The Dark Knight His performance as The Joker is better than anyone ever dreamed it would be, before or after he died suddenly last January. He’ll get an Oscar nomination, at least, and will probably even win. Will his final performance, in The Imaginarium of Doctor Parnassus, yet to be seen or released, be as remarkable? It’s quite possible that if this list is ever rewritten in the future that Ledger will join Dean as another actor with two slots, for two monumentally great performances released posthumously. Originally posted on:SpoutBlog
]]>Fri, 07 Nov 2008 20:01:08 GMTSpoutBlogSpoutBlog on spout.com11/7/2008 3:01:08 PMOpening today, Soul Men features the final performance from Bernie Mac, who died unexpectedly on August 9. The movie also includes a cameo from Isaac Hayes, who died one day later. Both men join a long list of people whose last films were released after their deaths, a list that includes Brad Renfro, whose final performance, in The Informers, can be seen in theaters come next May. Unlike some names on that list, Bernie Mac, whose voice can also be heard in the new animated sequel Madagascar: Escape 2 Africa, isn’t likely to receive a posthumous Oscar nomination as a tribute to his final work. But as one of the most underrated comic actors of the past few years, Mac likely gives a great performance as soul singer “Floyd Henderson,” enough to fall in with the crop of posthumously released roles we’ve showcased below: 1. Spencer Tracy in Guess Who’s Coming to Dinner Tracy died from a heart attack June 10, 1967, a couple weeks after finishing his work on Guess Who’s Coming to Dinner, which was released that December. It would end up one of his most distinguished performances, earning him a posthumous ninth Oscar nom for Lead Actor. 2. James Dean in Rebel Without a Cause Dean received two posthumous Oscar nominations, but it’s easy to forget that neither of them were for Rebel Without a Cause, despite the film being Dean’s first posthumous release. Were it possible under the Academy’s rules, Dean could have been nominated for playing iconic teen Jim Stark, but he was instead recognized solely for East of Eden (the first official posthumous Oscar nomination for acting), which had been released a few months prior to Dean’s accidental death. Meanwhile Dean’s costars in Rebel, Sal Mineo and Natalie Wood, were each nominated for this film. 3. James Dean in Giant This film became Dean’s second posthumous release and earned him his second posthumous Oscar nomination (he won neither). The actor had pretty much finished his work on Giant right before his death, though some post-production vocal work had to be performed by a substitute later on, and the film wasn’t to come out in theaters until two months after the first anniversary of Dean’s death. 4. Clark Gable in The Misfits Like the death of Heath Ledger (see below), Gable’s was blamed on the demands of a role. Whether his performance in The Misfits was too physically demanding or he experienced immense tension from lack of things to do or he lost too much weight too quickly to prepare for the film, there may not have been one single thing that led to his having his third heart attack and then ultimately succumbing to coronary thrombosis mere weeks after finishing up principal photography. A few months later, on Gable’s birthday, his performance was unveiled to the world, and while not as historically remembered as his characters in Gone With the Wind and It Happened One Night, nor one of his three Oscar-nominated roles, it is arguably his greatest work. 5. John Cazale in The Deer Hunter Cazale should have been honored with a posthumous Oscar nomination at some point (I can’t believe I left him off that list), if for no other reason than to recognize his achievement of acting solely in features nominated for Best Picture (including The Godfather Part III, in which he’s only shown in archive footage). But an even bigger reason is that Cazale was a damn good supporting actor and he actually would deserve that statue. For all the talent he displays in The Deer Hunter, though, he was easily upstaged by his costar Christopher Walken, who actually took home the Oscar. 6. Bruce Lee in Enter the Dragon There are tons of artists who didn’t live long enough to see their work become huge successes. Unlike most of them, though, Lee at least experienced some level of stardom prior to his death on July 20, 1973. Unfortunately, he didn’t get to see his final film, Enter the Dragon, open to huge numbers in the U.S., eventually even topping the box office chart here after a few months in theaters. He also tragically never got to see how iconic, influential and culturally significant his performance would become. 7. Brandon Lee in The Crow Bruce Lee also never got to see his son grow up to have a #1 movie, too. Sadly, neither did the son, Brandon, who died accidentally from a malfunctioned prop gun on the set of The Crow. And while the star’s then-mysterious death may have helped to make the movie more popular than would otherwise have been expected, it’s primarily Lee’s performance, not his legacy, that has allowed the movie to remain worthwhile viewing 15 years later. Even if some of that performance was assisted through a controversial yet groundbreaking use of stunt doubles and digital effects. 8. Richard Harris in Harry Potter and the Chamber of Secrets There have now been more Harry Potter films released in which Michael Gambon portrays Albus Dumbledore, yet Harris will forever be remembered more clearly and favorably in the role. Even those of us who like Gambon as the Hogwarts headmasterhave more vivid memories of Harris’ performances in both Harry Potter and the Sorcerer’s Stone and Harry Potter and the Chamber of Secrets, the latter of which arrived in theaters less than three weeks after the actor’s death on October 25, 2002. Surely some fans would have preferred to see Harris reprise his role in the subsequent films courtesy of effects wizardry similar to that done in The Crow and Sky Captain and the World of Tomorrow (see below). 9. Laurence Olivier in Sky Captain and the World of Tomorrow It may have been morally wrong for Kerry Conran to digitally create a villainous performance from Olivier 15 years after the legendary actor’s death, but who doesn’t want to keep getting new performances from such a master thespian, even if it it technically consists of nothing but archive footage? Besides, it’s still better than making him posthumously hawk beer, vacuum cleaners, or McDonalds cheeseburgers. Too bad the film as a whole was such a disappointment. 10. Heath Ledger in The Dark Knight His performance as The Joker is better than anyone ever dreamed it would be, before or after he died suddenly last January. He’ll get an Oscar nomination, at least, and will probably even win. Will his final performance, in The Imaginarium of Doctor Parnassus, yet to be seen or released, be as remarkable? It’s quite possible that if this list is ever rewritten in the future that Ledger will join Dean as another actor with two slots, for two monumentally great performances released posthumously. Originally posted on:SpoutBlog http://www.spout.com/blogs/krishkmenon/archive/2008/10/20/36508.aspx Post By: krishkmenon
Post To: krishkmenon Blog
Post Date: 10/20/2008 1:06:11 AM
Body: It still keeps happening as this film continues to enthrall and enjoy audiences all over even 70 years after it was made. It has been copied in its entirety in many languages and the theme has been depicted in various forms but the original is unique. A madcap heiress escapes from the clutches of her domineering father to join her lover a 1000 odd miles away. A down-under newspaper reporter who has just been fired recognizes her and offers to help her reach her destination in exchange for her story exclusively. The fun begins when they board the bus and the hilarious misadventures are side-splittingly funny. The Walls of Jericho is folklore and the scene where the rich heroine is made to wait in queue to attend her toilet was way ahead of its time. The transition of the spoilt rich girl into a likeable pleasnt lady and her falling for the reporter are a treat to watch. Claudette Colbert was the perfect choice for the heiress and Clark Gable quite different from other roles he palyed. Both of the stars come out excellently. Special mention must be made about Roscoe Karns as a fellow traveller and Walter Connoley as the enraged father who dtests his future son-in-law and chooses Gable. A winner all the way and one would expect nothing less than this from the incomperable Frank Capra. Undoubtedly his greatest screwball comedy. Krishna Kumar Menon, Chennai(Madras), India.
]]>Mon, 20 Oct 2008 05:06:11 GMTkrishkmenonkrishkmenon Blog10/20/2008 1:06:11 AMIt still keeps happening as this film continues to enthrall and enjoy audiences all over even 70 years after it was made. It has been copied in its entirety in many languages and the theme has been depicted in various forms but the original is unique. A madcap heiress escapes from the clutches of her domineering father to join her lover a 1000 odd miles away. A down-under newspaper reporter who has just been fired recognizes her and offers to help her reach her destination in exchange for her story exclusively. The fun begins when they board the bus and the hilarious misadventures are side-splittingly funny. The Walls of Jericho is folklore and the scene where the rich heroine is made to wait in queue to attend her toilet was way ahead of its time. The transition of the spoilt rich girl into a likeable pleasnt lady and her falling for the reporter are a treat to watch. Claudette Colbert was the perfect choice for the heiress and Clark Gable quite different from other roles he palyed. Both of the stars come out excellently. Special mention must be made about Roscoe Karns as a fellow traveller and Walter Connoley as the enraged father who dtests his future son-in-law and chooses Gable. A winner all the way and one would expect nothing less than this from the incomperable Frank Capra. Undoubtedly his greatest screwball comedy. Krishna Kumar Menon, Chennai(Madras), India. http://www.spout.com/blogs/jimbell/archive/2008/10/13/36244.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 10/13/2008 2:39:56 AM
Body: It Happened One Night cleaned up at the Oscars in 1934, but is it too dated to enjoy today? It is dated, but not in the bad sense that we cannot relate to the people, but in the sense that people in 1934 were somewhat different than we are today. We can, I hope, appreciate that. This is a romantic comedy about a spoiled rich girl (Claudette Colbert) and a wise-cracking unemployed reporter (Cary Grant) who slowly fall in love. Today we might think of a Paris Hilton making porno tapes, but in the 1930s, a spoiled rich girl was somewhat helpless because she had led a sheltered and pampered life under her father’s protection. The father’s (Walter Connolly) dominance, which a knee jerk from us declares evil and patriarchal, was much more of a social reality than it is today. But that doesn’t mean we cannot appreciate it in its historical context. And, if we relax our political correctness for a minute, we notice that at the end of the movie the father is sensitive enough to notice that his daughter is unhappy, insightful enough to find out why, and audacious enough to supply her with a get-away car so she can flee from her unwanted marriage to the wrong man. Similarly with the daughter: She may be so incompetent that she has her handbag stolen on the bus, but she is also feisty. In fact the entire movie is her defying her father and running away to New York to be with the (unloved) guy she married on the spur of the moment. Along the way, when the reporter treats her coldly or cavalierly, she usually responds with spirit even though she is out of her element. After the reporter is unsuccessful hitching a ride, she steps forward, slides up her skirt, and proves, she says, that “the limb is mightier than the thumb.” Such a sense of humour in the battle of the sexes has long disappeared. There aren’t many guys like the reporter around today. He lives in a man’s world and has a confidence born of that advantage. Early in the movie, he and his buddies are drinking from mickeys when he phones his editor to give him an ear full, he gets fired over the phone, he pretends he quits, and he dances off joking about being a king and catching his royal ride when he has less than $20 to his name and is catching the over-crowed bus. He firmly believes that if he writes a superb story, he will get his job back. He is not consulting his lawyer about a wrongful dismissal suit; he is not learning a lesson about being more politically correct; he is not worried about a racial and/or gender hiring quota. So he seems quaint to moderns. Even more so because he has a dislike of the rich. While we worship the super-rich, he has a Depression era distrust of the wealthy elite, and this, more than any archaic sexism, accounts for his sometimes disdainful treatment of his little rich girl. Given the way the free market banks have almost destroyed the country this month much as they did in 1929, we might have some empathy for the reporter’s antipathy. The good acting—so rare in 30s films—helps us make the trip back three-quarters of a century. Claudette Colbert sometimes looks like a frail damsel in distress, but she has a wonderfully rich voice which carries some authority. Clark Gable does not play the stereotypical handsome ladies man but rather an abrasive career reporter out to make a buck in hard times. And the light-hearted tone—so rare in current films—helps make the visit to the 1930 thoroughly enjoyable.
]]>Mon, 13 Oct 2008 06:39:56 GMTJimBellJimBell Blog10/13/2008 2:39:56 AMIt Happened One Night cleaned up at the Oscars in 1934, but is it too dated to enjoy today? It is dated, but not in the bad sense that we cannot relate to the people, but in the sense that people in 1934 were somewhat different than we are today. We can, I hope, appreciate that. This is a romantic comedy about a spoiled rich girl (Claudette Colbert) and a wise-cracking unemployed reporter (Cary Grant) who slowly fall in love. Today we might think of a Paris Hilton making porno tapes, but in the 1930s, a spoiled rich girl was somewhat helpless because she had led a sheltered and pampered life under her father&rsquo;s protection. The father&rsquo;s (Walter Connolly) dominance, which a knee jerk from us declares evil and patriarchal, was much more of a social reality than it is today. But that doesn&rsquo;t mean we cannot appreciate it in its historical context. And, if we relax our political correctness for a minute, we notice that at the end of the movie the father is sensitive enough to notice that his daughter is unhappy, insightful enough to find out why, and audacious enough to supply her with a get-away car so she can flee from her unwanted marriage to the wrong man. Similarly with the daughter: She may be so incompetent that she has her handbag stolen on the bus, but she is also feisty. In fact the entire movie is her defying her father and running away to New York to be with the (unloved) guy she married on the spur of the moment. Along the way, when the reporter treats her coldly or cavalierly, she usually responds with spirit even though she is out of her element. After the reporter is unsuccessful hitching a ride, she steps forward, slides up her skirt, and proves, she says, that &ldquo;the limb is mightier than the thumb.&rdquo; Such a sense of humour in the battle of the sexes has long disappeared. There aren&rsquo;t many guys like the reporter around today. He lives in a man&rsquo;s world and has a confidence born of that advantage. Early in the movie, he and his buddies are drinking from mickeys when he phones his editor to give him an ear full, he gets fired over the phone, he pretends he quits, and he dances off joking about being a king and catching his royal ride when he has less than $20 to his name and is catching the over-crowed bus. He firmly believes that if he writes a superb story, he will get his job back. He is not consulting his lawyer about a wrongful dismissal suit; he is not learning a lesson about being more politically correct; he is not worried about a racial and/or gender hiring quota. So he seems quaint to moderns. Even more so because he has a dislike of the rich. While we worship the super-rich, he has a Depression era distrust of the wealthy elite, and this, more than any archaic sexism, accounts for his sometimes disdainful treatment of his little rich girl. Given the way the free market banks have almost destroyed the country this month much as they did in 1929, we might have some empathy for the reporter&rsquo;s antipathy. The good acting&mdash;so rare in 30s films&mdash;helps us make the trip back three-quarters of a century. Claudette Colbert sometimes looks like a frail damsel in distress, but she has a wonderfully rich voice which carries some authority. Clark Gable does not play the stereotypical handsome ladies man but rather an abrasive career reporter out to make a buck in hard times. And the light-hearted tone&mdash;so rare in current films&mdash;helps make the visit to the 1930 thoroughly enjoyable. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_21_Road_Trip/625/32852/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Weekly Theme
Post Date: 7/21/2008 4:22:20 PM
Body: It Happened One Night! Great pick! In that vein I would like to add Sullivan's Travels. Make my screwball comedies with social commentary please.
]]>Mon, 21 Jul 2008 20:22:20 GMTtheunemployedshortstopWeekly Theme7/21/2008 4:22:20 PMIt Happened One Night! Great pick! In that vein I would like to add Sullivan's Travels. Make my screwball comedies with social commentary please. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_21_Road_Trip/625/32851/1/ShowPost.aspx Post By: The_American_Dream
Post To: Weekly Theme
Post Date: 7/21/2008 4:13:13 PM
Body: Of corse "Fear and Loathing" is a true road trip. Adding a whole new meaning to the second word of that phrase. Hunter Thomson is a classic road tripper as well as an acid tripper. Interestingly, "Fear and Loathing in Las Vegas" does not feature allot of moving. They are in Las Vegas. But that sometimes is half the point of a road trip, not going any where. "Cars" and "Local Hero" do this far more benignly. Just to add to the list now, there are some classics that come to my mind as road trip movies; "It Happened One Night" a perfectly enjoyable comedy that is in many ways the original road trip, and "Two for the Road" where a more than a dash of drama is thrown into the mix of the comedy that is often in road trip movies, and "O Brother, Where Art Thou?" as a road trip version of perhaps the first road trip ever; The Odyssey.
]]>Mon, 21 Jul 2008 20:13:13 GMTThe_American_DreamWeekly Theme7/21/2008 4:13:13 PMOf corse "Fear and Loathing" is a true road trip. Adding a whole new meaning to the second word of that phrase. Hunter Thomson is a classic road tripper as well as an acid tripper. Interestingly, "Fear and Loathing in Las Vegas" does not feature allot of moving. They are in Las Vegas. But that sometimes is half the point of a road trip, not going any where. "Cars" and "Local Hero" do this far more benignly. Just to add to the list now, there are some classics that come to my mind as road trip movies; "It Happened One Night" a perfectly enjoyable comedy that is in many ways the original road trip, and "Two for the Road" where a more than a dash of drama is thrown into the mix of the comedy that is often in road trip movies, and "O Brother, Where Art Thou?" as a road trip version of perhaps the first road trip ever; The Odyssey. http://www.spout.com/groups/HORROR_MOVIES_101/Re_Uwe_Boll/222/27270/1/ShowPost.aspx Post By: mercurial
Post To: HORROR MOVIES 101
Post Date: 4/14/2008 4:19:03 AM
Body: [quote user="TheWorkingDead"]/quote]...but it is STILL a Horror Movie and it is better than the best romantic comedy... So where does that leave us... I hate it because it is terrible and yet I still love it...[/quote] I have to say something here, because I seriously don't think it's fair to say Alone in the Dark is better than, say, It Happened One Night, or As Good As It Gets, or any Billy Wilder film. [/quote] To you though. Everything is relative. It's undoubtedly my education getting in the way but who's to say anything is better than something else. Gor loves his gore and that is awesome. Not to dissuade further discussion because I think it's fundamental to this site and everything, but blanket statements like that are rather inconsequential since everyone has their own independent thoughts about movies. Obviously As Good As It Gets is a pile of shit to some portion of the population compared to Alone In The Dark. It's completely unfair to question anything that says otherwise.
]]>Mon, 14 Apr 2008 08:19:03 GMTmercurialHORROR MOVIES 1014/14/2008 4:19:03 AM[quote user="TheWorkingDead"]/quote]...but it is STILL a Horror Movie and it is better than the best romantic comedy... So where does that leave us... I hate it because it is terrible and yet I still love it...[/quote] I have to say something here, because I seriously don&#39;t think it&#39;s fair to say Alone in the Dark is better than, say, It Happened One Night, or As Good As It Gets, or any Billy Wilder film. [/quote] To you though. Everything is relative. It&#39;s undoubtedly my education getting in the way but who&#39;s to say anything is better than something else. Gor loves his gore and that is awesome. Not to dissuade further discussion because I think it&#39;s fundamental to this site and everything, but blanket statements like that are rather inconsequential since everyone has their own independent thoughts about movies. Obviously As Good As It Gets is a pile of shit to some portion of the population compared to Alone In The Dark. It&#39;s completely unfair to question anything that says otherwise. http://www.spout.com/groups/HORROR_MOVIES_101/Re_Uwe_Boll/222/27269/1/ShowPost.aspx Post By: TheWorkingDead
Post To: HORROR MOVIES 101
Post Date: 4/14/2008 2:04:50 AM
Body: /quote]...but it is STILL a Horror Movie and it is better than the best romantic comedy... So where does that leave us... I hate it because it is terrible and yet I still love it...[/quote] I have to say something here, because I seriously don't think it's fair to say Alone in the Dark is better than, say, It Happened One Night, or As Good As It Gets, or any Billy Wilder film.
]]>Mon, 14 Apr 2008 06:04:50 GMTTheWorkingDeadHORROR MOVIES 1014/14/2008 2:04:50 AM/quote]...but it is STILL a Horror Movie and it is better than the best romantic comedy... So where does that leave us... I hate it because it is terrible and yet I still love it...[/quote] I have to say something here, because I seriously don&#39;t think it&#39;s fair to say Alone in the Dark is better than, say, It Happened One Night, or As Good As It Gets, or any Billy Wilder film. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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