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Post by christine on Aug 1, 2024 11:44:47 GMT
There's always been something I've liked about Sandy Dennis. Most of the characters I've seen her play all have a vulnerability to them.
I confess this is another movie I've never seen!
Thanks for sharing this Fading Fast.
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Post by Fading Fast on Aug 1, 2024 12:00:22 GMT
There's always been something I've liked about Sandy Dennis. Most of the characters I've seen her play all have a vulnerability to them. I confess this is another movie I've never seen! Thanks for sharing this Fading Fast.
I few movies back I wrote about her in "Up the Down Staircase," which comparatively speaking, is a lighter - or less heavy - movie.
I also like that she's attractive in a real-world not Hollywood way. |
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Post by topbilled on Aug 1, 2024 13:44:40 GMT
I haven't seen THANK YOU ALL VERY MUCH. It looks like something I'd actually enjoy!
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Post by Fading Fast on Aug 1, 2024 16:07:00 GMT
I haven't seen THANK YOU ALL VERY MUCH. It looks like something I'd actually enjoy!
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Post by cineclassics on Aug 5, 2024 17:34:38 GMT
Been a LONG while since I last posted, missed you all. I've been thinking about possibly configuring another bracket challenge in the near future. For those of you who remember, many months ago, I designed a film noir bracket challenge and members of the forum voted on their favorites. I am open to suggestions on subject matter for an additional bracket challenge if forum users are interested.
As far as a classic film I've recently watched, TCM's first day of Summer Under the Stars was dedicated to William Powell, one of my personal favorite actors from the Golden Era.
I made sure to DVR a few of his films I have yet to see, and I started with "The Ex-Mrs. Bradford," starring Powell and Jean Arthur. Just on the sheer entertaining interactions between Powell and Arthur, who have great chemistry, the film earns my recommendation for those who have yet to view it. The mystery is, like many proto-noirs/detective comedies from the era, convoluted and essentially secondary to the purpose of the film. This is, much like The Thin Man, all about the repartee between the leads and the breezy pace (the film is less than 90 minutes).
The unraveling of the mystery and in particular the method of murder is probably one of the most outrageous I've yet seen from any film, and yet, it doesn't hinder the film whatsoever because the film is clearly not taking things too seriously. I also enjoyed a call back to The Thin Man when Powell arranges the suspects to attend a dinner in the third act of the film. "The Ex-Mrs. Bradford" isn't going to win any awards, and can't compare to the best of its genre, but it is an entertaining caper and recommended for fans of Powell and Arthur in particular.
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Post by Fading Fast on Aug 7, 2024 9:59:09 GMT
Green for Danger from 1946 with Alastair Sim, Trevor Howard, Sally Gray, Rosamund John, Leo Genn and Megs Jenkins
British filmmaking from the 1930s to the 1950s is a treat. Done with smaller budgets than Hollywood, the Brits more than made up for it with intelligent stories, talented actors, beautiful crisp black-and-white cinematography and sharp, fast and witty dialogue.
All of those features are on display in the murder mystery Green for Danger set in a rural English hospital during WWII where three nurses and two doctors are under suspicion for one, and then two murders.
Leo Genn and Trevor Howard play the doctors and Sally Gray, Rosamund John and Megs Jenkins play the nurses (what wonderful names the actresses playing the nurses have) whose love lives look like a complicated Venn diagram.
Into this mix of sex and murder enters a smart, irreverent Scotland Yard inspector, played by Alastair Sim. He's investigating the death of a postman/air warden who died on the operating table after being brought to the hospital, owing to injuries received in a Nazi "flying bomb" attack.
The story is complicated as heck, and you probably won't fully follow every twist or catch every clue. But you will enjoy the atmosphere of the hospital as the nurses and doctors all seem highly professional at work, while they lust after each other in a proper British way after work.
The sexual table setting: Gray breaks off her engagement to Howard, which is all the opening playboy Genn needs to take a run at Gray, which hurts Rosamund, who quietly pines for the handsome Genn, all while Gray spends the movie pinging back and forth between the two men.
You enjoy it because the actors are talented and appealing. Gray and John are British sexy in that reserved not-a-hair-out-of-place way English women do it. Howard and Genn are real-world handsome men who also stay cool, until they don't and finally have a fist fight over Gray.
With British calm on the surface, but libidos sizzling underneath, almost every scene crackles. This is all helped along by Sim, who intentionally stirs the carnal pot by playing his inspector role like a mirthful troublemaker at a boarding school.
There's a night scene where, with a staff party in progress inside, several of the suspects and Sim play, effectively, a game of hide and seek in the heavily shrubbed surrounding outdoors, which all ties into one of the murders. Sim sparkles here as a Peck's bad boy with a purpose.
That night, when they stop hiding and seeking, the exchanges are fast and smart. Sim seems a bit goofy, but his sharp, pointed questions throw each suspect off his or her balance. Credit to the writers, though, as the suspects get in their shots too. It is verbal ping-pong at its best.
The murder mystery itself swirls around maybe all the bed hopping or maybe someone's personal demons related to the war, family, death or loneliness. The complex hospital equipment also plays a part in the, well, complex murders.
Today, part of the fun is the time travel to a studio-created version of a rural hospital, a set that won't fool you, but it still has a British village charm. It's so of-the-period that the nurses who share "rooms" have a coin-operated gas meter, which plays a part in the murder mystery too.
In addition to creating that intriguing set, director Sidney Gilliat shows he knew how to do a lot with a small budget. His camera draws you in, switching the atmosphere from idyll to film noir in a heartbeat, while the pacing keeps you engaged as it only slows down for crucial exchanges.
You also can't praise the actors enough as each one - Gray, Genn, John, Jenkins, Sim and Howard - gives his or her character a unique personality. They are all characters you come to care about, even the ones you don't like.
Green for Danger is one of the many quiet gems of British cinema from this era. You'll need to watch it more than once to catch all the clues, twists, and smart dialogue. That's not a problem, though, as this is one you'll want to see at least a few times.
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Post by I Love Melvin on Aug 7, 2024 12:51:33 GMT
Great job setting this movie up as a must-see, and I liked your observations about British film of that era in general. I'm a Hitchcock fan, but not just for the glossy American classics; I'm just as likely to be watching The Lady Vanishes or The 39 Steps when I want a Hitchcock fix.
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Post by Fading Fast on Aug 10, 2024 10:12:53 GMT
Hell's Heroes from 1929 with Charles Bickford, Fred Kohler and Raymond Hatton
Does an end-of-life act of kindness, of self-sacrifice and of charity change the eternal judgement of one's soul? Is a man the sum of all his life decisions, or can a final redeeming act reshuffle the moral deck?
Those and others are the weighty eschatological questions raised but not answered - who could answer them? - in Hell's Heroes, a short, very early "talkie" from noted director William Wyler. But you can also put all that "stuff" aside and just enjoy the movie as a darn good story.
Four crooks ride into a desert town, New Jerusalem (yup), rob the bank and shoot and kill a clerk in the process. Two of the crooks are also shot: one dies in the street, but the other one escapes into the desert with the remaining two gang members. It's a ruthless scene.
Now in the arid desert, the three remaining crooks – Charles Bickford plays the leader of the gang, Fred Kohler plays a gang member and Raymond Hatton plays the now-injured third gang member – plan to hit two known watering holes on their way to the distant next town.
A sandstorm causes them to lose their horses, though, so now on foot, they head to the first watering hole only to find it denatured. Hot, tired, and very thirsty, they head off to the second hole, but there, they come across a covered wagon.
When they find a young woman asleep in the wagon, the implication is that Bickford is going to "have his way" with her, but he discovers she is about to give birth. The rapid shift in tone from brutal carnal abuse to the men worrying about how to "birth a baby" is powerful storytelling.
This unexpected responsibility drastically changes their mission. Fast-forward and the woman gives birth, anoints the three men the baby's godfathers, asks them to promise to take the baby to his father in New Jerusalem and then dies.
But before she dies, when the men realize that the baby's father is the bank clerk they killed in the robbery, they all swear to her that they will take the baby to New Jerusalem. It's all moral conundrums from here.
What will the men do with the baby? Kohler and injured Hatton, despite being cold-blooded killers, never consider anything but taking care of the baby; Bickford, however, wants to "move on without it," a euphemism for letting it die.
They have very little water, especially once they discover the second watering hole has gone dry, so to keep the baby alive will mean more suffering for the men. A return trip to New Jerusalem also means the hangman's noose or jail for them.
Bickford argues against taking the baby with them, but a compromise is struck as the other two plan to honor their pledge to the mother and take the baby to New Jerusalem. Bickford says he'll go along until they get near the town, then he'll "head south."
Now the movie's magic can really kick in as three men, hardened criminals, have to figure out how to take care of a baby who gurgles, cries, fusses, smiles, eats, sleeps, laughs and wiggles his cute little hands and feet.
Watching these men, really Hatton and Kohler, men who have clearly never cared for a baby, try to figure feeding, diapering and all the rest out is subtle comedic gold. The book on babies they find amongst the mother's goods, that Kohler reads out loud, just adds to their confusion.
Look for the scene in which these hard-drinking, hard-living and hard-whoring men have built a tiny lean-to to protect the baby from the sun and night breeze. Or note the wonderful juxtaposition when a gurgle noise from the baby can garner all their attention.
Still, they now face a survival trek back to New Jerusalem in the broiling sun with few supplies and little water. Each man will face his own "come to Jesus" moment. What each is willing to sacrifice or not to keep the baby alive is the crux of the story.
Each actor, to that end, imbues his character with a complex morality. Hatton, an older man who is now dying from his wound, sees life in its full philosophical sweep. Kohler is more a man of emotion who just believes you have to take care of a baby. You come to know these men well.
It's Bickford, though, who has the furthest personal journey as he will face a clear "the baby's life or mine" decision. Even in only his second screen appearance, Bickford conveys an inner turmoil that explains why he would have a long and successful career in fickle Hollywood.
Also early in his career and in the first full year of "talkies," director Wyler shows he understood the value of "framing" a good story. His on-location desert shooting, with its barren, foreboding landscape, is the perfect backdrop for a Biblical-like tale of personal conscience and sacrifice.
Hell's Heroes, based on the novella Three Godfathers, has been filmed many times for the big and small screen. Each version has its own viewpoint, but in Hell's Heroes, 1929's rudimentary movie-making technology allows the raw emotion of the story to drive the picture.
Is it a tale of redemption, kindness and charity? Yes, of course. Is it a parable of the birth of Christ, yes, in its way. But you also can't watch Hell's Heroes and not think "what would I do; would I rise to the occasion?" Personalizing a struggle is what good movies and stories do.
N.B. At one point, Bickford, who is always against caring for the baby, but who always goes along grudgingly, turns to easygoing Kohler and asks him, "What the hell is a godfather anyway?" Bickford might not understand the term, but he becomes one all the same. |
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Post by Fading Fast on Aug 12, 2024 9:43:17 GMT
The Fastest Gun Alive from 1956 with Glenn Ford, Broderick Crawford, Jeanne Crain and Leif Erickson
The nuances of the story in The Fastest Gun Alive are complicated and come out rushed toward the end. Yet the high-level story of the eventual faceoff between a reluctant gunfighter and an egotistical one who is driven to always prove himself is Movie Western 101.
It's a common plot because it's a darn good story and a darn good metaphor. Metaphorically, it comprises everything from pithy expressions like "doers do" to our disdain for braggarts. It's the quiet professional versus the loudmouth. It's also Clark Kent becoming Superman.
As a story, it's just entertaining as heck, with the suspense building to the final showdown. Here, Glenn Ford plays the reluctant gunfighter, a man, effectively, hiding out in a small town with his wife under an assumed name and as a mild-mannered shop keeper.
The braggart, who opens the movie by shooting a man dead in another town simply because he wanted to prove he was faster on the draw than the now-dead man, is played by Broderick Crawford. Crawford is a big burly man born to play a loud-mouth braggart.
Crawford and his gang of two then rob a bank and escape into the desert. Meanwhile, unassuming Ford, liked but not respected as a man by the ranchers and men who carry guns in town, becomes a bit weary of being mildly looked down upon.
Badgering him the other way, albeit with good intent, is his wife, played by Jeanne Crain. She's pregnant, happy with their unassuming life and threatens to leave her husband if he takes up his gun again, which apparently has happened before and forced them to move.
For most of the movie, Ford's history is only alluded to, but the inference is that he's a top gunslinger with some tragedy in his past, maybe related to his father, that had him put down his gun for good, or so he has told his wife.
He's clearly still haunted by his history, but Crain's only interested in the gun staying put. Then, after being harassed by a customer over a dress order, Ford gets drunk and shows off his heretofore hidden gunslinger skills to the other men in town. It's a heck of a scene.
Ford dramatically sets up a test of his talents that includes him shooting two coins, tossed at the same time, out of midair. He's a man who knows guns. He's also feeling proud for the moment - the other men stand in awe of him (that had to feel good) - but Crain is none too happy.
The story, so far, is pretty straightforward, but now the writers get cute. The quick and dirty is that the town and Ford want to keep Ford's skills a secret because, otherwise, gunslingers from far and wide will come to challenge him and turn the town into a place of violence.
It's a good plan on paper and even includes a wonderful scene where everyone swears an oath of secrecy in church, at a time when everyone went to church. Yet while everyone is swearing, coincidentally, Crawford and his small gang ride into town, but only looking to steal fresh horses.
With the stage about to be set, there are several good scenes of Crawford, after learning about Ford's gunslinger skills by chance, strategically bullying his way into a gunfight with Ford. The man knows how to push buttons.
Meanwhile, Ford, under pressure to fight to save the town, bares his soul to the townsfolk, revealing a deeply hidden part of his psyche. More than the pending gunfight, it's the movie's money moment.
After the Ford-Crawford showdown, which we all knew was coming early on - and which is surprisingly fast, yet effective - there is one more twist left. You'll want to see it fresh, even though it's a bit hokey, because it kinda fits.
The movie works because Ford is outstanding playing the tortured soul at the heart of the picture. All along he conveys that there is something eating away at him as he impressively runs the gamut of emotions from unassuming, to showing off, to scared, to quietly brave.
Crain is excellent, too, as the wife who is fighting for her family. She's supportive, but she has also had enough. Basically, she's okay with her husband crying a bit on her shoulder in private, but then it's time for him to shut up, let the other men make fun of him and open the store.
Crawford is very on brand as the braggart, insecure and insane gunslinger. Still, after a movie of playing the called for cliched gunman, he shows why he was a top star. In the final scenes, we see, like with Ford, the deeper emotions and insecurities that drive Crawford's character.
A note is owed to Leif Erickson's performance as Ford's friend who supports Ford through his painful emotional journey. We can't help focusing on the stars, but Erickson's pivotal scene, as Ford is facing his personal crisis, is supporting-character acting at its best.
Shot in black and white on what look like "rent a Western town's facade" sets, director Russell Rouse kept the attention on Ford. This is a personal-drama western, not an open-range picture where Russell's smartly shot closeups of the guns/gunplay draw you into the story's action.
Tweak the story just a bit and you have the better version of this movie in 1950's The Gunfighter. That's no knock, though, as every picture is derivative of an early picture or story, and only one can be the best version.
The Fastest Gun Alive is a bit too constructed - Ford's emotional journey is overly complex - but still, it's a good tale, with characters you care about and a final gunfight that has you gripping your armrests: a good accomplishment for any Western. |
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Post by Fading Fast on Aug 14, 2024 9:11:06 GMT
The Chalk Garden from 1964 with Hayley Mills, Deborah Kerr, Edith Evans, John Mills and Felix Aylmer
Almost all movies are contrived; how else can life be distilled down to a couple of hours or less of film. The good ones distill it well, and the really good ones, like The Chalk Garden, distill it powerfully.
In the movie, five lives intersect at the English estate of an offbeat, imperious, lonely but not unkind dowager, played by Edith Evans.
She lives there with her recalcitrant granddaughter, played by Hayley Mills, and her loyal, perceptive butler, played by Hayley's father, John Mills.
Then enters a new governess, without references, but with a smart and serious mien, played by Deborah Kerr. Kerr's task is to rein in H. Mills, a not easy task, as H. Mills is an inveterate liar and fire starter. She is an angry, intelligent child who lives to push other people's buttons.
The risk hanging over Evans and H. Mills is that H. Mills' mother – who left her daughter with Evans years ago when she left H. Mills' father (who subsequently died) and remarried – now wants H. Mills back. Evans, dealing with her own demons, is determined not to let this happen.
That's the table setting that sees H. Mills try to foil Kerr's efforts to be a good governess. It's an odd battle of wills as Kerr wants to do right, and H. Mills is really angry at her mother for abandoning her, so her anger toward Kerr is really a surrogate one that wobbles at times.
Kerr is dealing from an odd deck, herself, as her past, which is only revealed late in, is an incredible one that plays into her understanding of H. Mills in a deeply personal way. But it also provides provocative H. Mills with a secret to unearth, which is her superpower against adults.
J. Mills, as the quiet, smart and kind butler, shoots in and out of the drama not quite as a Greek Chorus, but more as a rational voice who knows he has no authority as a "servant," so he helps by persuasion and enlightenment.
His scenes with Evans – we eventually learn there is a history that explains J. Mills' respect for his quirky and often curt-with-him employer – are wonderfully English. He's clearly "the servant," but he still manages to say the things he wants to say and Evans even sometimes listens.
All the crosscurrents and subtext finally come to a head when Evans summons her old friend, a judge played by Felix Aylmer, to the house to advise her legally on how to stop her daughter from taking her granddaughter, H. Mills, from her. His visit brings everyone's secrets and fears into the open.
The all-revealing "luncheon," with the five players, J. Mills serves, is moviemaking at its best as the verbal bombs and emotional expiating is wonderfully exhausting. It's smart dialogue, smart acting and smart plotting all paying out in one heartrending scene.
The movie's well-constructed story, though, only works because you care about the players. H. Mills imbues her obnoxious-child character with a vulnerability that makes you understand she acts out from pain, not malice. She can irritate you, but you never hate her.
The dialogue throughout is scintillating, as H. Mills fires off barbs well beyond her years that Kerr often calmly returns with equal effectiveness, as does J. Mills in his own reserved way. Evans is louder, but her volleys, especially with Kerr later in, are verbal ping-pong at its best.
Director Ronald Neame had a clear vision for this intelligent and emotionally moving movie. It feels like the stage play it comes from as almost the entire picture takes place on Evan's estate. That is a feature, not a bug, though, as the estate is the field of play for this battle of wills.
Life is never this well constructed with everyone having the perfect line to say, while the emotional moments fall into place like soldiers assembling for inspection. Yet, done right, as it is in The Chalk Garden, this kind of scrupulous plot construction makes for powerful storytelling.
The movie won a few awards and, with Hayley Mills' stardom near its peak back then, it did well at the box office, but it deserves more attention today, as it has aged surprisingly well.
Once you see past the datedness of an English estate with a high-handed dowager, you can take in the timeless story of a wounded child crying out to wounded adults for help. The magic in The Chalk Garden lies in how, through healing the child, the adults find their own path to healing.
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Post by Andrea Doria on Aug 14, 2024 11:21:23 GMT
Thank you for another great review, Fading Fast.
The Chalk Garden is the only movie I can remember seeing with just my mother and no brothers around. It was perfect for us because she loved Kerr and I wanted to be Hayley. Unfortunately we were distracted by the clothes. My mother was memorizing details for when she made some of them for the two of us. She was an excellent seamstress and deserved someone like BunnyWhit for a daughter, instead of me, who could run a wild seam across a fine piece of fabric just by walking past the Singer.
So I didn't appreciate the movie for itself until many years later. It really does have a brilliant script and the acting is perfect. Now I want to watch it again.
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Post by Andrea Doria on Aug 16, 2024 12:15:52 GMT
Last night I dreamed I was at Manderley again, and again and again and again. Yes, after reading the book last week, I watched four versions of Rebecca.
First is Hitchcock's luscious, powerful version, his cinematography was enhanced with fabulous sets, paintings and models. One model was scaled large enough to make the fire scene almost as thrilling as the burning of Atlanta.
Joan Fontaine plays the lead with the perfect amount of shyness and fear, seeming to actually cower as she creeps through the halls of Manderley. Her scenes with Judith Anderson as the frightening Mrs. Danvers were chilling. Laurence Olivier was born to play the distant, brooding gothic hero, just as George Sanders was born to play Favell, the handsome cad with no morals.
This version takes liberties with Miss DuMaurier's work but is worth watching over and over.
After Hitchcock's inventive endings I craved something truer to the book and found it in a wonderful 1979 mini-series. Rebecca is a long book and really benefits from having three and a half hours to tell the story. The script is almost word for word clear through to the last line. It stars Jeremy Brett and Joanna David in the two leads. Joanna looks exactly like the books description with a modest beauty that manages to shine through a very plain, "Joan of Arc," hairstyle and frumpy clothes. ( She also looks a lot like DuMaurier herself -- I also watched a biography of her on Tubi that tells us Hitchcock's movie made her enough money to buy her own version of Manderley so she never complained about his changes.)
In this version Anna Massey plays a very good Mrs. Danvers. My only complaint is the actor cast as Favell, he's definitely not what you might expect "the most beautiful creature on earth," to fall for.
That version was followed by a 1997 mini-series starring, interestingly, Joanna David's daughter, Emelia Fox, and Charles Dance. Dance was 51 at the time and although I'm a fan, he seemed too old opposite Miss Fox who looked like a teen at the time. His character, Max de Winter is 42 in the book and that's really enough contrast with the lead who should be about 20.
Finally I watched some of the newest 2020 version with Lily James and Armie Hammer. Just no. Anachronisms everywhere, I couldn't go on.
I haven't said anything about the actual story. An innocent young girl, companion to a loud, pushy, rich, American woman (is there any other kind in English literature?) meets and falls in love with a fabulously wealthy widower while vacationing in Monte Carlo. After a quick marriage the couple return to England and his stately home, Manderley. She is not welcomed by the cold, menacing housekeeper, her husband sinks into a dark mood, and she becomes haunted by the myths surrounding the previous Mrs. de Winter. Mystery, romance and murder -- and atmosphere, lots and lots of atmosphere.
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Post by Fading Fast on Aug 16, 2024 13:25:39 GMT
Last night I dreamed I was at Manderley again, and again and again and again. Yes, after reading the book last week, I watched four versions of Rebecca.First is Hitchcock's luscious, powerful version, his cinematography was enhanced with fabulous sets, paintings and models. One model was scaled large enough to make the fire scene almost as thrilling as the burning of Atlanta.Joan Fontaine plays the lead with the perfect amount of shyness and fear, seeming to actually cower as she creeps through the halls of Manderley. Her scenes with Judith Anderson as the frightening Mrs. Danvers were chilling. Laurence Olivier was born to play the distant, brooding gothic hero, just as George Sanders was born to play Favell, the handsome cad with no morals.This version takes liberties with Miss DuMaurier's work but is worth watching over and over.
After Hitchcock's inventive endings I craved something truer to the book and found it in a wonderful 1979 mini-series. Rebecca is a long book and really benefits from having three and a half hours to tell the story. The script is almost word for word clear through to the last line. It stars Jeremy Brett and Joanna David in the two leads. Joanna looks exactly like the books description with a modest beauty that manages to shine through a very plain, "Joan of Arc," hairstyle and frumpy clothes. ( She also looks a lot like DuMaurier herself -- I also watched a biography of her on Tubi that tells us Hitchcock's movie made her enough money to buy her own version of Manderley so she never complained about his changes.)
In this version Anna Massey plays a very good Mrs. Danvers. My only complaint is the actor cast as Favell, he's definitely not what you might expect "the most beautiful creature on earth," to fall for.
That version was followed by a 1997 min-series starring, interestingly, Joanna David's daughter, Emelia Fox, and Charles Dance. Dance was 51 at the time and although I'm a fan, he seemed too old opposite Miss fox who looked like a teen at the time. His character, Max de Winter is 42 in the book and that's really enough contrast with the lead who should be about 20.
Finally I watched some of the newest 2020 version with Lily James and Armie Hammer. Just no. Anachronisms everywhere, I couldn't go on.
I haven't said anything about the actual story. An innocent young girl, companion to a loud, pushy, rich American woman (is there any other kind in English literature?) meets and falls in love with a fabulously wealthy widower while vacationing in Monte Carlo. After a quick marriage the couple return to England and his stately home, Manderley. She is not welcomed by the cold, menacing housekeeper, her husband sinks into a dark mood, and she becomes haunted by the myths surrounding the previous Mrs. de Winter. Mystery, romance and murder, and atmosphere, lots and lots of atmosphere.
This is so well worded, "Joan Fontaine plays the lead with the perfect amount of shyness and fear, seeming to actually cower as she creeps through the halls of Manderley."
Thank you for your wonderful post. |
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Post by topbilled on Aug 16, 2024 16:07:01 GMT
Andrea,
How much do you think the success of the 1940 version is owed to David Selznick?
I am now eager to watch 1979 miniseries, as I am a fan of Jeremy Brett's later work as Sherlock Holmes. Great actor.
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Post by Andrea Doria on Aug 16, 2024 18:08:46 GMT
Andrea,
How much do you think the success of the 1940 version is owed to David Selznick?
I am now eager to watch 1979 miniseries, as I am a fan of Jeremy Brett's later work as Sherlock Holmes. Great actor. Oh yes, a wonderful actor! I loved Jeremy Brett in this! I think Selznick had quite a lot to do with the movie's success! According to one source I read, Selznick had brought Hitchcock over from England and Selznick was very much the boss, often overriding Hitchcock's choices in order to keep the film closer to the book. Selznick loved the book and watched every detail even hiring handwriting experts to get Rebecca's handwriting exactly right. |
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