Beauty and the Beast

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Out of the extravagant variety of Jean Cocteau’s work the paintings and drawings, the poems, the plays and novels and memoirs, the opera librettos and ballet scenarios—it is likely his films that will have the most enduring influence, and among those, Beauty and the Beast (1946) will have the most pervasive effect. Few films brim with the kind of cinematic magic as Cocteau’s La Belle et la Bête. For its entire 93 minutes, Cocteau implores us to view the proceedings with childlike wonder and suspension of disbelief. His call to order in the prologue asks us to indeed suspend our disbelief form the start of the movie.

a debt-ridden man (Marcel Andre) accidentally stumbles into the lair of the Beast (Jean Marais), a fearsome-looking and seemingly ill-tempered nobleman. The man then steals a rose from the Beast’s garden as a gift for his beloved daughter Belle (Josette Day). At first, the incensed Beast threatens to kill him for those actions. But he relents, saying that he will spare the man if one of his children will take his place as none them but belle stays with him.

The film’s costumes and set designs were inspired by the illustrations and engravings of Gustave Doré (shown above), and the farmhouse scenes are an obvious nod to the paintings of Jan Vermeer. This sumptuous artwork is the perfect muse for Cocteau’s re-imagined fairy tale.

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Cocteau and his cinematographer Henri Alekan (who later shot Wings of Desire and Roman Holiday) use reverse and slow-motion shots, mirrors, and other camera tricks to striking effects to capture many of the scenes of the movie. Cocteau’s decision to keep the camera as still as possible was against the prevailing fashion of the time, and according to Cocteau’s diary, the source of some friction with Alekan. Cocteau had this to say in the press booklet that accompanied the film when it was released in America.

French actress Josette Day is perfectly cast as one of literature’s great heroines that really feels like the book’s belle come to life on screen. Belle’s character, played with sweetness and light by Josette Day, is aided immeasurably by the costumes of Christian Bérard. The costumes are somehow of their time and outside of it, both practical and fantastical that makes belle come to life upon the screen.

Like many films made during the early days of cinema, there is a charming quality considering the innovative efforts used to bring this fantasy tale to life upon the screen. . Actress Josette Day stars as Belle, and beloved French actor Jean Marais portrays the Beast. Marias spent five hours in make-up every morning to transform into the tragic character, and special fangs were made and adhered to his teeth transformed him into the Beast each day on set. 

Jean Marais who plays three characters  the foolishly obnoxious rapscallion Avenant whom Beauty loves, the self-pitying but elegant-looking Beast as the three characters he plays are all wonderfully acted by him. Cocteau’s conception of the Beast is a little more canine in appearance and behavior than subsequent versions like the animated film as he simply is quite more like the original version in the book. He is simply a book to screen perfect version of the beast.

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Bête slightly differs in comparison to Disney’s adaptations. Most notable is the inclusion of Belle’s sisters and brother, which closely resembles de Villeneuve’s original tale in contrast to Disney’s version which does not feel closer to the book. The metaphoric story is full of visually magical moments, which was new territory in film at the time of its release. Overall it was the cast and crew’s labor of love to create something unique that brought this tale to life. Cocteau’s focus on creating a visual poem gave the film a classical presentation. This is where the advance storytelling of early French cinema is best represented. There is a more romanticized element to Bête compared to its later adapted counterparts that told the tale. Beauty and the Beast (1946) will have the most pervasive effect. Few films brim with the kind of cinematic magic as Cocteau’s La Belle et la Bête shows upon the screen.

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The ending was more ambiguous than I had remembered.The Beast’s curse is lifted yes, and he turns into a beautiful Prince.  Belle hesitates to go away with him – she was looking for an escape but might be going in circles. But, with no other options, she flies into his arms and up into the sky to live as husband and wife, future king and queen  but perhaps not happily ever after as we would love to think about in the Disney classic film. Cocteau’s Beauty and the Beast is more than just a fairy tale but a beautiful enchanting story on how beauty can be in the eye of the beholder. He wanted to make a poem, wanted to express what he felt through images rather than words, and even though the story takes the form of the familiar fable to translate to screen a magical tale that has such wonderful charm and magic to watch upon the screen any time.

King Kong

Today I talk about king Kong, Escape is the most crucial function of Hollywood cinema. An audience supplied with hearty diversion forgets their daily troubles and returns for more, in turn supporting the entire industry; the relationship is one of mutual symbiosis of movies that was pure escapism started in the 1930’s as its the era that began the trend we see today of movies being escape from their troubles as at time of it was the great depression. I am happy to talk about one of my favorite movies all time which is King Kong.

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Cooper and Schoedsack sought to combine the awe of discovery with full-fledged drama, and then elevate their concept with irresistible Hollywood spectacle. Few forerunners to their eventual film King Kong exist, which further underlines their pioneering of filmic adventures. King Kong was the filmmaker’s challenge is to unite universal entertainment value with artistic vision, engaging both the audience’s emotions and intellect to make Hollywood spectacle that was unlike anything done before on the big screen before it

Cooper and Schoedsack’s King Kong was born. Conceived by Cooper and Edgar Wallace, and written by James Creelman and Ruth Rose, their yarn was about the very nature of escapism that was something diffrent form many movies of its age as its roots was to give viewers something they never seen before in a movie. It would take viewers to  an impossible world filled with wondrous things. In the end, their film would return to familiar territory, unleashing the unknown onto the everyday, smashing the illusion of escapism and confronting the audience head-on with this new idea of movies being an escape.

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Designing the Kong puppet was Marcel Delgado but it required more than than simple puppetry by way of stop-motion animation to create King Kong.  Employing every trick in the book to assemble a believable environment form back projection, matte and glass paintings, miniatures, and models, each disappearing into one another to create an incomparable magic show where the impossible lives and breathes. Pieced together with a metal skeleton frame, foam, and animal fur, the Kong puppet was made into an unlikely source of audience sympathy through O’Brien’s animation that was such a slow process like many works of this stop motion to bring to life king Kong‘s world.

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Modern day viewers might balk at the stop-motion effects having seen more convincing, photorealistic, computer-generated sensations in Jackson’s remake. From the perspective of today’s cinema but if you look upon the marvel of this work you would see how magical it is simply watch this movie upon the screen.I would say its acting is very good for everyone in its cast.Kong was one of the first movie monsters to receive credit as a main character. For the time, this speaks to the marvel of the film’s effects working in harmony with the power of the narrative, as the filmmakers relied on pure invention to render Skull Island, Kong, and the beast’s distinct personality onscreen.

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King Kong’s love for Ann Darrow fully described, his death painfully sad. There are moments where Kong’s behavior is best defined as idiosyncratic but strikingly true, such as when he verifies his Tyrannosaurus Rex kill by flapping its lifeless jaw, or when he smells his fingers after touching Ann. These moments grow throughout the film until the creature is no longer just a beast, but the story’s protagonist, elevating the B-grade monster movie into a moving tragedy when Kong falls to his death.

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Depression-era moviegoers found King Kong delivered them from their poverty and financial distress into the hands of a beast, but it was important to return them to the safety of the world when the adventure was over. ing Kong provides the underlying ambition of all Hollywood cinema. The film brings the movies to a colossal idea to the big screen which changed the face of Hollywood forever as the creators led the bold way to other flim-makers make groundbreaking changes that led to today’s Hollywood box office movie.

Black Narcissus

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Today I talk about Black Narcissus. Swiss film historian Fredrik Gustafsson describes Powell’s work in post-WW2 as having a quality of “extravagant dreamlike passion.” One such example is their 1947 production of “Black Narcissus,” a movie which propelled Deborah Kerr to stardom and featured a burgeoning Jean Simmons. I re-watch the movie often as its truly a classic movie. So I hope you enjoy My talk and review of the Black Narcissus now.

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Black Narcissus (1947) is perhaps most overtly infused with elements of horror and fantasy. It also stands out from their catalog of lush collaborative visions of both of them together make such masterpieces such as  The Red Shoes and their other remarkable classics as each of them are such wonderful classics. Cinema’s a multidisciplinary medium. In a perfect movie, all of its various elements would work together toward a unified goal: writing, acting, cinematography, editing, score that work so marvelous in this wonderful classic gem all are united to make this a marvelous classic that is perfectly one of the best movies ever made.

The flim is so hauntingly beautiful, and for good reason. Firstly, the film set a new technical benchmark for Technicolor cinematography building upon their past efforts such as The Thief of Bagdad (1940), The Life and Death of Colonel Blimp (1943) and A Matter of Life and Death as its color in Black Narcissus really is so impressive you feel like you are really visiting it with the cast as its a remarkable sight to behold upon the screen.

Black Narcissus is also memorable for its incredible characters whom are all played by a remarkable cast of acting talents that all give out such wonderful performances. Deborah Kerr is remarkable in her role as tortured Sister Clodagha registers every emotion, every longing, every doubt and every fear with her eyes and movements as she truly is so marvelous in this role she plays on the screen. A beautiful young Jean Simmons is sensuous as Kanchi that is such a good role showing her talent as an actress. David Farrar is Mr. Dean, the Englishman that is a very impressive role for him to play upon the screen. They play out such remarkable roles in their respective roles that all showcase the wonderful talents of its acting cast upon the screen.

It is the destructive power of emotions repressed and released that is most obvious in ‘Black Narcissus’, but more fundamental to this beautiful film is a stronger, yet quieter, ancient and more subtle power, that of place. The Himalayan setting is established surprisingly convincingly for the period, in a series of vivid shots that disclose the fact of that landscape’s power from the beginning. And the particular quality, the particular power of that place is continuously present in the wind that blows constantly, stirring every fabric, every soft thing. Only as that power of place begins to work its insidious magic on the nuns does it begin to reveal its nature. Everyone there is affected, their practical efforts diverted by poetry and passion. Somehow flowers are planted, not potatoes. The Young General (Sabu) falls in love with a dancing girl (Jean Simmons). Two of the nuns are drawn to the rough Agent, already sunk into the life of the society around him. Sister Clodagh (Deborah Kerr), the Sister Superior, initially drawn back to memories of her lover in Ireland, remains strong in her faith, yet is softened, becomes more human. Sister Ruth (Kathleen Byron), on the other hand, becomes maddened by jealous passion and it is her tragedy, itself peculiarly bound up with the geography of the place that brings the drama to an end. The testing of a few people brought together in isolation is a familiar theme, but this is an unusual example. Black Narcissus’ has an unusual symmetry acceptance of this tainted life. Powell and Pressburger are experts at using color. Instead of employing their Technicolor to simply make their film look pretty, the color almost becomes a character in itself, creating a feverish, hyper-realistic glow to the film.

Legendary cameraman Jack Cardiff is responsible for the sterling and Oscar-winning cinematography. Equally stunning is the art direction, which created very realistic mountains out of papier-mache that stand out as some of best ever put to flim.

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Black Narcissus looks amazing but that visual glamour never spreads over film’s story and its characters, there’s no poetic romance or heartwarming humor here. Powell and Pressburger implant the darkest and most unsettling themes in film’s appealing pictures and thus create something that will terrify you with its contrasts to create an immensely powerful and thought provoking masterpiece to put it simply that you will adore watching again and again.

rear window

Today I talk about rear window which i review for The Second Annual Alfred Hitchcock Blogathon hosted by Maddy Loves Her Classic Films.  Rear window is one amazing thriller that is one of the best thrillers ever made. Hitchcock always crafts wonders so i will talk about another wonder done by Hitchcock today. I would also love to thank host and ask you check out other posts from this wonderful event as now to review this classic gem.

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Hitchcock isn’t the master of tension without good reason as his direction in rear window of how Rear Window is one of the best instances of how Hitchcock builds tension as he manages to slowly over each scene build tension throughout the film.

Rear window is is one of Hitchcock’s finest tales which is an tale of voyeurism in miniature as every open window in the blistering apartment complex that Hitchcock’s camera resides in leads to another character, another emotion, another scene, and another mystery that you are set upon to figure out.

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James Stewart’s performance on the screen as Jeff is one of the finest acted on the screen. He emotes with such detailed movements that shows each of his expressions with his eyes and detailed movements that makes his  performance truly special to watch unfold on the screen. James Stewart delivers possibly a career best performance as the stir crazy invalid. Restricted to only minimal body movement as its truly one amazing performance you watch unfold on the screen.

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Thelma Ritter plays such a fine role upon the screen. Grace Kelly gives out such an amazing performance on the screen.  Beautiful Grace Kelly is outstanding as the lovely girlfriend who turns into an adventurous spy as she gets interested in his boyfriend’s new hobby as she gets into the troubles of the mystery with her boyfriend. She is so charming to watch unfold on the screen.

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You get the impression Hitchcock was a director that liked to be pushed and tested to his limits. From the early days of the cramped Lifeboat to the cleverly edited one-shot Rope, Hitchcock has enjoyed being technically restricted and challenged. Rear Window may have been filmed on the largest indoor soundstage at the time but he forced himself to remain tightly focused on the important elements of the story which was cleverly written by John Michael Hayes.

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Rear window is superbly directed by Hitchcock with great use of suspense, the film presents the director in complete control of his film-making wizardry that is so smartly crafted out with wonderful Cinematography by Robert barks and a wonderful musical score by Franz Waxman that all make this movie truly come to life upon the screen.

Rear Window is a wonderfully simple thriller that also flirts with comedy and drama. With the always active photographer, L.B. ‘Jeff’ Jefferies, confined to a wheelchair he is left with little to do but spy on his fellow neighbours across the courtyard. Jeff becomes a voyeur in the same way we do when we watch movies upon the screen. Rear Window is an undisputed masterpiece that you simply will adore to watch anytime.

The Ruth rating:

The Searchers

Today I talk about The Searchers which in terms of classical westerns really outshines many others of the genre. John Ford’s most compelling Western avoids  association with the genre’s established precepts. Its one of the best movies ever made for the screen as my review today looks upon this classic movie as i define this classic gem.

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In terms of classical storytelling The Searchers John Ford’s most compelling Western avoids many of the genre’s older traits. The film stars John Wayne, an actor eternally linked to Westerns, perhaps giving his best performance in any Ford film as he plays a very racist man that hates Indians with a passion in many ways you shouldn’t connect to this hero yet he is an interesting hero that is deeply flawed with so many diffrent sides to this man.

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By 1955 when production began on when production began, The Searchers would be Ford’s first Western in five years a personal risk after a number of commercial failures and artistic missteps caused him to contemplate retirement as he filmed what would be one of the finest westerns ever made. The Searchers comes naturally, as beyond its unequivocal beauty and dramatic intensity, there exists what appear to be incompatible narrative developments, symbolism, and thematic undercurrents signifying the end product that is something so profound upon the screen with amazing shots and an interesting character and story that unfolds upon the screen. When Edwards (John Wayne) returns home to Texas after the Civil War.

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When members of his brother’s family are killed or abducted by Comanches, he vows to track down his surviving relatives and bring them home. Eventually, Edwards gets word that his niece Debbie (Natalie Wood) is alive, and, along with her adopted brother, Martin Pawley (Jeffrey Hunter), he embarks on a dangerous mission to find her, journeying deep into Comanche territory.(plot form goggle) 

The Searchers sets up grim set of conditions, ranging from the landscape to individual character histories. The first iconic shot (mirrored by the film’s last iconic shot) of Martha opening the front door seems to frame the outer terrain like a photograph that shows us the vast landscape upon the screen. I would say many do hate this movie because its hatred towards Indians as the villain is common in many westerns.

A clue to Ethan’s hatred for Comanche Indians appears early in the film, when the younger Debbie goes to her hiding place before Scar first attacks in the film. He kneels down in the graveyard by a headstone, which, appearing for only a few frames, reads: “Here lies Mary Jane Edwards killed by Comanche’s May 12, 1852 A good wife and mother in her 41st year.” Sixteen years earlier, was Ethan’s own mother massacred by Comanche’s? He is a deeply flawed man on a quest to save a woman for years. It’s the quest of this man and his drive to save his family that really drives this hero to many points of rage that you see his hate come upon us and the dark humor used is often to tame down the ways of this dark hero characterizes the film’s fundamental struggle whether or not Ethan and Martin actually find Debbie is less the fear than what Ethan will do when he finds her.

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In the film’s most memorable scene, one of the greatest single moments of film, Ethan emerges from Scar’s tent on his horse and spots Debbie, who, dressed in full Comanche attire, runs in terror. Ethan chases her down a hill and corners her; Martin trailing behind yelling “No!” for Ethan not to do what he has intended to do from the outset. Ethan gets off his horse and picks Debbie up, raises her in the air like a child, the fear radiating from her. He lowers her into his arms, and says, “Let’s go home, Debbie. Ethan also is genuinely scary. His obsessiveness, his absolute hatred of Comanche’s and all Native Americans and his loneliness set him apart from any other characters Wayne played as its one of his finest with many layers to him making you wonder about him throughout the film.

John Ford was particularly proud of The Searchers, as was Wayne, who named his son Ethan after his character. The film’s initial critical reception, however, lacked passion, as did its box office receipts, and Ford was devastated by its apparent dismissal reputation at the time of its release.  The picture’s reputation would grow over time, earning recognition on top film lists as it is one of the finest movies made form this genre with marvelous acting by everyone in its cast and marvelous direction and the cinematography of The Searchers is one of films finest gems ever made upon the screen. It contains painterly images of majestic scenery, some of the most remarkable ever captured. Historians and film scholars attest to its supremacy and recognize its influence on the medium and the artists working therein. And yet, the motion picture Ford considered his own masterpiece confronts prior standards, meets issues of revenge and discrimination within a ponderous text, and revises the director’s Western model forevermore as its one of the finest movies ever crafted upon the screen. John Ford amends The Searchers from a traditional Hollywood Western into an uncommon human tragedy that makes this movie one of the finest classics you will ever see ever upon the screen that you should see today.

The Ruth rating:five bette's

The lost art of screwball comedy

 Today I talk about The lost art of screwball comedy as i will give more in depth talk about the classic genre of screwball comedy which i consider a lost art by today’s time with its funny slapstick humor to its witty and charming lines to its wonderful love stories that have couples matching wits with each other. The screwball comedy was a genre that defined 1930’s and 1940’s in many ways as its what defined the comedies of its period. So lets begin this talk about them.

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In the 1930’s and 1940’s,We had movies had movies that began with  a fanciful message printed on screen, beginning “Once upon a time A hangover from the silent era but also an invitation to view a modern urban setting as somewhere romantic and faraway. The device was especially common in screwball comedy.

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Screwball comedy (the term was coined by a publicist in the mid-1930s) is one of those genres, like film noir that remains hard to define as what exactly is a screwball comedy or a comedy drama or comedy?  Originally, screwball films were those in which glamorous stars were persuaded to behave like clowns like in bringing up baby.

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A full-fledged screwball comedy is always a romance: the story of a man and a woman who remains at arm’s length yet manage to take the utmost delight in each other’s cleverness or foolery to try outwitting the other person. I would point out man of the genre many consider screwball do have these kinds of stories or slapstick humor which is another form of screwball comedy.  I would point out another fine example of the screwball is the battle of sexes comedies where both sexes battled wits with each other. I would say comedy of that would be better refined if we went back to that system of comedy which we be the movies that starred Kate Hepburn in the 1940’s which were comedies.

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The screwball also could be very risky subject matters such as the Lubitsch touch comedies which are Trouble in Paradise and Design for Living among other Ernst Lubitsch comedies which were broadly about sex and things you didn’t discuss in society at the time. It’s such a taboo yet a very fun outline that still defines comedy to our date now.

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Movies with most of the essential screwball ingredients started to show up on the screen in 1932, notably Trouble in Paradise which led to movies such as bombshell starring jean Harlow in the same year the thin man had another sub-genre of comedy show up the mystery comedy of the 1930’s which has some very delightful classics you should see today.

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Myrna Loy and William Powell, went on to make five more movies about Nick and Nora Charles as well as several very good non-mystery comedies, including I Love You Again and Libeled Lady as the duo would be one of the most iconic duos of comedy of any era. I simply adore the thin man movies as they are such classic gems. The powerful nature of the fast talking screwball comedy genre is such a charming one to watch on the screen anytime. You have such wonderful wit and humor and sharp writing and such great humor with wonderful acting to match them upon the screen. It’s time for some examples of this genre now.

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 screwball comedy reviews

His girl Friday review

His girl Friday is a classic comedy classic that is directed by Howard hawks. His girl Friday is one of my favorite movies all time to watch again and again. . Cary Grant plays a wonderful performance in his girl Friday. Rosalind Russell gives out an amazing performance in his girl Friday. Cart Grant and Rosalind Russell who make a great team together on the screen. Howard hawks compositions are layered with fore and background action and depth to each of its scenes. His girl Friday is about its dialogue more than its visuals elements on the screen. It comes so fast and sharp on the screen. This is a comedy classic that you will simply adore watching unfold as it’s just so much fun to watch it unfold on the screen.

My Girl Friday successfully combines screwball romantic comedy with biting satire that truly makes it the true comedy classic that you should see today.

The Ruth rating:five bette's

Trouble in Paradise (1932) review

This pre-code sophisticated comedy epitomizes the European attitude toward sex. It is more open in sex. It is pre-code in that nature toward how it plays sex. It is based on Laszlo Aladar’s play The Honest Finder which was the springboard for the movie. The sexual undertones are very frank. I would not call it as sexually open as Design for Living which is far more sexual in nature. This was a taste of what was to come for his works. Trouble in Paradise is a comedic counterpart to a melodrama.

Lubitsch was best known for what we call the Lubitsch touch is a subtitle way of referencing sexual shenanigans that his characters do upon the screen. Lubitsch’s Magnum Opus faced controversy three years after its initial release because of the conservatism of the Production Code. This pre-code sophisticated comedy epitomizes the European attitude toward sex which is more open in sex that feels modern. . The movie is tamer than his other film design for a living for its sexual tone on the screen. It’s a spellbinding comedy classic about a a suave jewel thief (Herbert Marshall) falling in love with his intended victim (luminous Kay Francis) much to the displeasure of his girlfriend (Miriam Hopkins) whom all give out wonderful performances in their respective roles for the screen. . Kay Francis steals this film as she truly shines in her wonderful role that is hard to do with Miriam Hopkins. She is exquisite and enchanting and absolutely charming. Miriam Hopkins gets the better comedic lines and the guy even if lesser then Kay she still gives out a marvelous performance. Herbert Marshall shows an unexpected flair for light comedy while Charlie Ruggles and the ubiquitous Edward Everett Horton provide their usual first class supporting roles that that truly shine in their performances on the screen. Ernst Lubitsch crafts out a masterpiece of early comedy that truly shines in every manner making it a must see comedy classic for all time.

The Ruth Rating:five bette's

Ball of fire review

Howard Hawks Ball of Fire is an urban update of the Snow-White fairy-tale with an urban twist. Ball of fire was written by Billy Wilder with Howard hawks directing this movie. It remains one of the finest screwball comedies ever put to the screen.

Ball of fire remains one of my favorite screwball comedies all time. This movie has such wonderful acting by Barbara Stanwyck and Gary Cooper. The ever wonderful Barbara Stanwyck really leads the show as Sugarpuss O’Shea who hides with them for her gangster boyfriend whom she becomes best friends to them in the end. She plays the role in a very wonderful way that really charms you to watch on the screen. Barbara Stanwyck is warming up in this movie for her acting skills are truly growing as it goes along to its ending. . Gary Cooper gives us one amazing performance for the screen.

The groups of professors are all very good supporting actors as Oskar Homolka and Henry Travers and S.Z. Sakall and Tully Marshall and Leonid Kinskey and Richard Haydn and Aubrey Mather whom I would say all give out such wonderful performances on the screen. I would say Henry Travers is among cast of the stand out character actors as he played the angel its Wonderful Life as he plays such an amazing role for this movie. I would say each of these professors are played by very wonderful character actors that each give out wonderful performances. Allen Jenkins is a garbage man seeking knowledge for pecuniary gain as he gives a very good acting   performance. The movie has very wonderful acting by everyone in its cast of talents.

Dana Andrews plays against type as a gangster in one very good performance for this amazing actor of the screen as he as the gangster boyfriend of Sugarpuss O’Shea for this movie. Mary Field as Miss Totten, the daughter of the wealthy inventor who created the foundation really gives a good performance in her role. The whole of supporting cast of many great acting legends all give such wonderful performances.

Ball of Fire is one amazing classic that you should see today.

The Lady Eve (1941)

It’s no accident when wealthy Charles (Henry Fonda) falls for Jean (Barbara Stanwyck). Jean is a con artist with her sights set on Charles’ fortune. Matters complicate when Jean starts falling for her mark. Jean is fixated on revenge and still pining for the millionaire, devises a plan to get back in Charles’ life. With love and payback on her mind, she reintroduces herself to Charles, this time as an aristocrat named Lady Eve Sidwich.

The Lady Eve is one of my favorite movies of the 1940’s. It is one of the best movies that Barbara Stanwyck ever on the screen. This comedy treat truly always delights me anytime I watch it on the screen. Henry Fonda and Barbara Stanwyck truly shine together as a duo as both acting legends give us their finest performances all time on the screen. It has brilliant writing and direction provided by Preston Sturge whom crafts a wonderful comedy classic.

Screwball lost art closing thoughts.

I absolutely love the classic screwball comedies of the 30’s and 40’s. They are indeed fascinating… funny, frenzied and full of crazy antics, witty dialogue and numerous quirks and mishaps. Also starring some of the finest comedy actors and actresses of the era or any era of the screen as such wonderful legends.

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I talked about the lost art of screwball comedies today in some depth as i talked about many movies that dealt with this marvelous genre that had such broad and diffrent ranges in the 1930’s and 1940’s. Its such a fun genre that died out by end of 1940’s which should return to our screens today. I hope you enjoyed today’s talk about it and join me again for another talk in the future.

Flash Gordon

Today I talk about Flash Gordon for the Outer Space on Film blogathon today. I am paying tribute to Flash Gordon which is one of my favorite serials all time to watch and re-watch often as its inspired many movies including star wars. I really adore classic Science Fiction serials and classic movies of that genre that all shine so brightly on the screen.

I hope you enjoy this tribute to flash Gordon for the Flash Gordon for the Outer Space on Film blogathon as always do check out other posts form the event today. Let’s begin our adventure into space now.

Flash Gordon serials introduction talk 

Flash Gordon is often called one of the cheesiest shows all time by so many people that often dismiss the amazing levels of depth beyond this series. It is cheesy at times the series but the series is embracing pulp Science Fiction tales that shaped the genre of Science Fiction. Flash Gordon serials were based upon the Flash Gordon comic strip which was created to compete with the already established Buck Rogers adventure strip which happens to be another serial that inspired star wars. Flash Gordon is directly inspired by John Carter of Mars which was what they wanted originally to make the strip based upon but ended up with Flash Gordon. The Flash Gordon comic strip has been translated into a wide variety of media, including motion pictures, television and animated series as today I am talking about the serials it’s such a joy to talk the classic serial flash gordon today.

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Flash Gordon serials review

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Flash Gordon begins with the strange planet Mongo hurtling towards Earth on a collision course. People across the world, from London to darkest Africa, are panicking as their seemingly certain doom draws near. One of the doomed Earthlings, polo player and all-around athlete Flash Gordon as it begins its story(plot intro form web)

Flash Gordon is probably the most popular and certainly the best known of all movie serials all time. Flash Gordon has wonderful sets and performances and creatures and unabashedly emotional moments to make it one of the most enduring serials of all time.

The cinematography of Flash Gordon further augments the serial’s atmosphere with some strikingly stylish camera angles that capture the action as one example is  flash’s fight with the “monkey-men” in the first chapter. The cinematography of this serial really captures such marvelous moments of action upon the screen.  I would say some moments it captures is so much fun to watch unfold on the screen and wonderfully captured on the screen by Frederick Stephani whom crafted out remarkable moments upon the screen.

One should not forget that The director Stephani and the more experienced Basil Dickey, George Plympton, and Ella O’Neill all really deserves credit for the wonderful things in the serials dialogue. Its cheesy at times some of the lines for our time today but you can always enjoy them if taking in context of time period.

Many serials divide the villainy between a brain and villains and action heavy it features a heroic team that one could say the main hero that does most of the action of the series which i feel unfolds upon the screen with such marvelous action upon the screen.

Jean Rogers’ Dale Arden is a pleasure to watch; her stunning beauty has never been seen to better advantage as her acting is also excellent, particularly in her reactions to the bizarre terrors of Mongo; critics have always seemed compelled to make silly comments about her propensity to scream and faint in times of danger or emotional stress but she is marvelous to watch upon the screen. Priscilla Lawson is also very good as Ming’s daughter that gives out such a marvelous job upon the screen. Richard Alexander has one of the most unusual roles of his career as Prince Barin, the rightful heir to the throne of Mongo who allies with Flash against the usurping Ming handles his archetype so well. He is simply marvelous in his performances on the screen. I would say its acting is Flash Gordon’s strongest suit along with its action and other wonderful elements to make this classic serial really come to life upon the screen.

Flash Gordon represents a near-perfect convergence of superior production values, imaginative scripting, and strong acting make this serial one truly classic serial series that one should see today.

The Ruth rating:five bette's

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I would love to express my great joy today that I got to talk about Flash Gordon today. I am happy I got to talk about these marvelous serial classics. I felt such joy to talk this serial classic today for the Outer Space on Film blogathon.  I would love to thank everyone i hope you return next time for another magical review soon.