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Messages - Elizabeth77

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Just finished watching Play Misty for Me.  I think I appreciated it more this time around.  I hadn't forgotten how it ended, but I'd surely forgotten the chain of events leading to the finish.  I think the one thing I noticed this time was how the passage of time and the lulling of fear (because they think Evelyn is safely out of the way) is portrayed.  It lulls you along with it.  I really like the pacing of the whole movie.  I'm not fond of the story line because it's just not my type, but it sure is good story telling.  I really didn't like it the first time I saw it, but it seems to have grown on me.

I haven't re-watched The Beguiled yet, but isn't it possible that the brother was killed in the war? ??? I seem to recall thinking that when I've seen it before.

It's completely possible, but did no one notice the very small flashback scene with Hallie and Martha's brother in the barn?  There was a pitchfork involved and I just wondered if that had anything to do with his disappearance.  Like Matt said, maybe there's another sack buried on the property.  The scene goes by very quickly, but it was quite amazing when I went through it step by step to get the screencaps below.  The flashback occurs while McBurney is talking to Hallie while he's preparing to go down into the cellar to get drunk.

Eastwood News / Re: George Kennedy 1925-2016
« on: February 29, 2016, 09:17:26 PM »
George Kennedy was so good at playing some really nasty characters, that it took me a while to appreciate him.  It was when I saw him in a nice guy role (I can't remember what it was right now), that I saw another side to his screen persona and found myself liking him.  :)

I just finished watching The Beguiled.  It's not, and never will be, one of my favorite movies.  I do think it has fantastic acting from everyone, though.  I guess my main reason for not particularly liking this film is because of its obsession with sexual attraction, as if that's all there is in life.  I'm human, and I'll grant it comes naturally to most people, but I have a hard time identifying with stories where it's the prime motivating factor for everything that happens.  There are so many other reasons why people choose to do things, and they have nothing to do with sex.  The other major factor throughout the story that I can't identify with is jealousy.  It is something I was taught not to indulge in as a child and that has carried through into adulthood.  I'm sure that a natural disinclination toward jealous behavior helps, but I just can't understand letting it take over one's judgement.  I can understand Amy being more easily swayed by her emotions as she's still a little girl (although 12 isn't that little) and hasn't learned how to control them as well.

I've always been fascinated by the question of who is actually beguiled in this film.  Some of the definitions of beguile include: charm or enchant (someone), sometimes in a deceptive way; trick (someone) into doing something; or help (time) pass pleasantly. Another way of putting it, beguile is "thoroughly to deceive".  To some degree, all these meanings are present within the story.  Frankly, they all seemed intent on deceiving each other for various reasons.  They all seemed to deserve each other thoroughly.  McBurney was definitely no bargain.  Those flashbacks that show what he was really doing while he was weaving his stories to suit the occasion were very revealing.  It is those that keep me from feeling somewhat sorry for him.  He's definitely an opportunist, but he obviously never considers the risks of getting involved with so many women.  I've never liked guys who thought that they were charming fellows.

This was my second viewing and I noticed some details that I missed the first time around several years ago.  One thing in particular I wondered about.  Does Miss Farnsworth have the slightest idea what (or who) caused the sudden disappearance of her brother?  That seems fraught with strange possibilities.

I just finished Kelly's Heroes, and it really is fun.  It's got to be the improbability of it all that keeps one going.  There's one part that always chokes me up, though.  I think the last time I watched this was for a movie night, and my son watched with me.  He commented on the scene with the mined field.  I already knew so I was kind of braced for it, but it came as a total surprise to him, and he found that really hard to deal with.  It seems such a waste of good men, but of course, that is the whole point of that scene.  They've been exposing themselves to the same kind of risk day after day.  This just happened to be the wrong day for them.  Still, I always feel a bit like someone kicked me in the gut.  Curiously, this is always the scene which comes to mind first.

I really like Donald Sutherland in this.  His character is totally out of place, but he's just great and makes it worth sitting through.  This is one of those movies that really is fun because of the ensemble.  Yes, there are some more dominant characters, but without all of them, it wouldn't be special.  Each character brings something to the story.  It was worth watching again, but I don't think I'll need to sit through it again for a few more years.  :)

I'm so sorry, but I won't be able to make it.  I can get the movie, but haven't got the time.  I didn't plan on missing out on the entire week.  I've been out of commission with the flu since last Monday.  The whole family has been!!  I'm still not all better, but I've got to go to work tomorrow and someone  ::) has to do the laundry and clean the house.  I just found out this morning that my parents will grace me with their presence tomorrow.  I think the bathrooms ought to be cleaned before they get here.  It's really easy to hear my mother think.  :D

I shall rumble the songs along with Lee Marvin (my voice is that low right now) and keep in tune with you all.  I'm so sorry to miss out on this one.  I'll try whenever we have another movie night.

Happy drinking!!  ;D

Pardner.  He's a nice, quiet fellow who remembers to be concerned for others, not just himself.  He's such a contrast to most of the characters Clint plays.  Very few of Clint's characters are people I would have any desire to spend time with.

I think I'd like John Wilson . . . in very small doses.  His ego would drive me crazy, but I can see the attraction of a personality like his.  Rather like a moth near an open flame.

That would be great, Elizabeth.

I think anyone in the U.S. can just stream it for $3.99 from Amazon. You have 30 days to watch it, and 48 hours to finish it once you start watching it. So, for anyone who really wants to be there and doesn't want to buy the movie, you can check out that option here:

I've thought about it, but I live in horse & buggy country.  What that means is, we have one source of internet (because CenturyLink has a monopoly on the area).  Streaming is questionable at any time, but service on Sundays of an afternoon are the very worst.  Everyone (who isn't Amish) is home and online.  There aren't any towns in our county where stores (except gas stations) are open on Sunday.  And sorry, Matt, you wouldn't be able to find anything of an alcoholic nature here, either.  Ben Rumson would have absolutely no use for our community.

No, there's still plenty of time. I was just thinking in advance, since we had low participation.  :)

Thank you, Matt.  You make me feel much better.  That may sound funny, but in recent months, especially in recent weeks, I have experienced some very inconvenient incidents of memory recall failure.  It's a long-term "side effect" of my chemotherapy.  :-[

According to what SK wrote at the beginning of this thread,

All members are invited (encouraged) to participate in voting for what you think are Clint Eastwood’s Top Ten Best Movies.  (Even if you’ve never posted before!) We will be using a simple point system to determine a definitive (for now) Top Ten list.  The poll will run from now until March 18, 2016 to give everyone a chance to participate.

Did I miss something, or isn't this still February??  I was hoping to get a few more movies watched again before participating.

Trivia Games / Re: A-Z of Eastwood.
« on: February 17, 2016, 10:03:51 AM »
 Lewis Belding:  I got 18 people in my hotel! Where are they gonna go?
The Stranger:  Out.

Off-Topic Discussion / Re: Movies I have watched this week
« on: February 17, 2016, 09:44:52 AM »
Laura (1944) - Gene Tierney, Dana Andrews & Clifton Webb

Reap the Wild Wind (1942)

I'm humored by this poster.  In the actual film, Ray Milland gets top billing and the girl at the end of the story.  John Wayne does a nice job as the good guy/bad guy of the story.  The film is just fine, but isn't served well by the recurring theme about the importance of America's sea power.  The monologue during the opening credits doesn't really have anything to do with the story.  It's just 1942 propaganda.  That said, I still like the film and thoroughly enjoyed  the time spent with it.

That's the correct spelling "Maria", and it is pronounced "Mariah".

Mariah is an English given name, a variant on the names Maria and Mary. Mariah is usually pronounced "mə-RIE-ə", which reflects the older English pronunciation of Maria.  The meaning and origin of Mariah is unknown as the meaning for Mary is obscured, but popular theories suggest "wished for child" and "rebelliousness."  The name was further popularized in the 1990s by the singer Mariah Carey. The name Mariah appeared as early as 1550 in Great Britain.
So says Wikipedia.

I guess I don't see Paint Your Wagon as being as bad as some of you think, but I think the story line would have been better served if it were just a story, not a musical.  It would even be okay to have the actors sing, as their voices are just fine.  However, the film could have been shorted to a bearable length if it didn't have all those musical numbers.  I happen to like Lee Marvin's gravelly voice.  :)

I managed to finish Where Eagles Dare tonight, although I was deprived of some exciting parts toward the end.  I've got one of those double-sided disks with Kelly's Heroes on the other side.  I've only watched each side once, but it acts like it's badly scratched.  It's not, but the result is the same.  It was part of the Clint Eastwood: 35 Films 35 Years set a few years back.  That's one of the deficiencies of the set--most of the discs have movies on both sides.  Oh, well.  At the time it was the easiest way to get some of the films.  If I remember, I bought the set so I could watch White Hunter, Black Heart for Movie Night.

I've got a fever-induced headache, so haven't much to say about WED.  It certainly has it's rather unreal moments, but it's pretty fun for all that.  I've seen it just often enough so that I don't have to wonder who the bad guys are anymore.  Clint carries a fairly disgusted look on his face for much of the film.  That's understandable considering he's rarely let in on the secret of what's going on.  I still don't like the red titles in that font.  They used that color concept a number of times and I'm not particularly fond of it.  This isn't one of my favorites, but it does kind of grow on me.

I'm off to bed in the hopes that I'll feel better in the morning.

I'll try very hard to be here.  It all depends on whether or not I can get to the library on Tuesday before they close (the only possible day I can get there).  Here's hoping, because I happen to enjoy Paint Your Wagon.

I just started watching Coogan's Bluff and listened to the dispatcher repeatedly calling Coogan in his jeep.  It made me see curious parallels between Coogan and the man he's hunting.  They're both off the reservation and rather primitive, though Coogan is possibly more so.
. . .

I finished, so thought I'd just add to my earlier thoughts.  Going along the same lines as others expressed before, this film does pave the way from westerns to cop films with a mix of the two in the middle.  We just came from Hang 'Em High, where Jed Cooper is a lawman in Oklahoma Territory.  Now Coogan is a lawman in Arizona who takes his notions with him to New York.  While they don't like his methods (and there are some unhappy consequences), on more than one occasion Coogan displays a disturbing understanding of human nature.  He even shows signs that he may mellow slightly with time.

In the first twenty or thirty years of the 20th century, there was an endless stream of cheap novels written about the unsophisticated Westerner who comes to New York City and finds all kinds of strange adventures.  The Westerner's homespun wisdom and talents picked up in his daily trade (usually that of the cowboy) stand him in good stead in the big, dangerous city.  I find the plot for Coogan's Bluff to be very much in the same line, although Coogan's adventures probably cause the New York Police Department as much grief as Ringerman originally caused Coogan out in Arizona.

Like many other films, there's some time given to the (then) current notions in psychology.  The only thing that keeps me from getting really put out with what obviously isn't working, is the contrasting contempt displayed by Coogan.  While I don't condone his approach to law enforcement, I can sympathize with his contempt for a system that lets people get away with things while trying to discover what makes them tick.  It's funny that Coogan gets put out with the young man for showing disrespect to Julie, yet he shows disrespect for her (and other women he runs across), too.

Matt was right about the film being a time-capsule, giving us a glimpse into a moment before my time.  It doesn't increase my appreciation for some of those who came before me.  The attitudes for dealing with young people then have borne fruit that I find most distasteful and downright harmful to society.  Maybe I notice that more because I work with early-teens and try to get them to look beyond themselves and take an interest in the world and people around them.

Thank you, Matt, for the instructions for uploading images to imgur.  I finally had time to replace my avatar today after noticing a while back that it had gone missing.  It's my favorite moment from GBU.

I did it!  I finished Hang 'Em High!  I'm not particularly fond of hangings, and the idea of going out to a hanging as a social occasion has never appealed to me, but I've always liked parts of this film.  I like the opening, because it gives me a better appreciation of Jed than I might otherwise have.  I have one question that never occurred to me before today.  Why did Jed meet the men on foot instead of from horseback?  It seems like he put himself at a disadvantage that way.

The first time I ever watched this film was because Ben Johnson is in it.  He is my favorite cowboy.  I was so disappointed that he has such a small part in the story, although he is important.  I found it interesting that when Marshall Bliss brings in the tumbleweed wagon, that he stops in the street so that Rachel can look over the prisoners before they get down to the dungeon.  Is this so that she doesn't have to go down there where it's so unbearable?

A curious coincidence?  The same year that Hang 'Em High came out, Ben Johnson played a character named Jed Cooper in the TV series The Virginian.  Apparently that Jed Cooper tended to skirt on the wrong side of the law.

Having watched this film two or three times before, I was able to watch some of the individuals more than I may have in the past.  I find Judge Fenton to be a heavily burdened man.  He takes his job seriously and tries to do his best.  He frankly acknowledges that he's made mistakes, wishing fervently that he could know without a shadow of a doubt that he is making the right decisions regarding the lives of these men.  He doesn't throw up his hands and give up because the job is too big, although it is.  He carries on and seeks others who will help him do what is necessary to bring about a better condition of things.

This film covers the same general theme of The Ox-Box Incident.  We shouldn't be too quick to dispense "justice" in the heat of the moment.  The process of law may be cumbersome and slower than we'd like, but it can prevent a lot of unnecessary regret and anguish.  If the men in both films had been willing to listen and take the time to learn the truth, they would have had nothing to regret and they could have gone home unscathed in conscience.  Mob "justice" becomes rather mindless and usually has disastrous results.

The sad thing about this story, is that the men in the hanging party weren't "bad" men.  They were ordinary men with dreams and plans not unlike Jed's own.  They made a poor decision in haste, then had to face the consequences.  The one man who turns himself in when he realizes that Cooper is still alive gets a death sentence, too, just not pronounced from the bench.  Two men are still on the run (and will likely always be running) at the end of the film, another breaks under the strain and is killed as a result, and the rest decide to compound their first mistake by making a worse one.  On one hand they admit they are wrong, but they don't seem to think they should have to face the consequences.  Instead, they want to get rid of the man whose existence condemns them.  Don't they think that the law would catch up with them even more surely if they actually killed him?

I think this story would have done just fine without trying to add a romantic aspect to it.  The story of Rachel is fine and gives character interest, helping to give a wider perspective on the world Jed lives in, but it's just too neat and tidy she should now fall for Jed.  Rachel has always seemed somehow out of step with the time of the story.  She is out of character in comparison to the other "good" women of the town, which Rachel is implied to be.  Curiously, the story writers seem to want her to be "good", while being seen in the company of women whom the "good" women of the town would have stayed away from.  Maybe her past experience puts her in a kind of social limbo.  I don't have any particular problem with Inger Stevens as Rachel, but I surely don't like her hairstyle.  They went to enough trouble to give a degree of authenticity to the attire of ordinary people in the film, but in their attempt to set her apart, they overdid it.  Her dress indicates the same ambivalence to period accuracy.  Ordinary women of the day did not go around wearing low or revealing necklines as an everyday thing.  She would have worn a sober-looking dress and behaved accordingly.  You get that general feeling from how Rachel's part is acted, they just don't back it up visually.  The other curious thing, grown women didn't go about with their long hair down.  They had long hair, but they wore it up.  So much for picking on the aspects of this film that have always bugged me.

I like the score in places, but it definitely has moments when it is too heavy handed.  Still, while not in my top 10 (or 20) list of westerns, I like Hang 'Em High.

I finally got around to watching GBU today.  I had a "million" things to do today, but life has a way of changing one's plans.  I've been confined to my Lazy-Boy recliner most of the day.  The only bright spot was that I was able to agreeably while away three hours of the day.  I don't think I've ever sat so still for so long through this film.

My sons and I affectionately refer to The Good, the Bad and the Ugly as "The Bad, the Worse and the Worst".  We used to have discussions over which one was actually worse, Angel-Eyes or Tuco, and seriously questioned calling Blondie "good".  While Tuco has an endearing quality to him in spite of everything, he is actually ruthless and heartless.  What comes across as funny is his childish tendency to switch sides to whichever one appears to be to his advantage.  The swiftness with which he does this is amazing.  Blondie obviously has him figured out and uses this knowledge to his own benefit (and safety).  Blondie doesn't go out of his way to do kind things for others, and he can definitely be cold blooded with the riff-raff that he tends to associate with, but he has moments when he shows a remarkable understanding for the needs of his fellow men and has his own code of behavior.  I am always touched with his understanding of the Captain's anguish regarding the waste of his soldiers' lives.  Tuco sees the opportunity to get rid of the soldiers (and give the Captain what he wants), but Blondie goes out of his way to give him some hope, even in his dying moments.  Angel-Eyes seems so terribly heartless and cold, yet even he is somewhat touched by the terrible waste that is war, if only for a moment.  Still, he uses it to his own advantage and obviously doesn't work alone.  The others may not know his plans, but he always seems to have a number of henchmen.  Still, when it comes down to something as valuable as $250,000, that seems to have been a private project.

I find it interesting how Angel-Eyes deals differently with Tuco and Blondie.  He knows that torture will get what he wants out of Tuco, but he knows it won't work with Blondie.  The only thing he seems to underestimate, is Tuco's ability to wriggle out of tight places.  His brain is full of ideas and his ruthlessness allows him to do whatever it takes to survive.  Angel-Eyes and Blondie have a different kind of respect for each other.  They are obviously known to each other, at least by reputation.  At the final showdown, Angel-Eyes is afraid of both men because he knows that they will go for him first, but his respect for Blondie seems to make his fear stronger in that direction.  Tuco is afraid of both men facing him because he gives them the full benefit of the ideas of treachery that fill his own brain.  Blondie doesn't appear afraid.  Of course, he stacked the deck, so he knows that he doesn't have to fear Tuco.  While the movie is definitely dominated by Tuco, he would be unbearable without the balancing effect of Blondie.  It's like fire and ice.

While watching today, I pondered (again) on the scene between Tuco and his brother.  I think there is a great truth touched on and passed by without too much comment.  Tuco may have caused shame and heartbreak to his parents by his choices in life, but Pablo's religion caused him to desert his parents for the life of the church.  That was his way of gaining honor, while Tuco chose banditry.  They both seem to blame the other for abandoning the family, but the reality is that they both carry guilt for what they have done.  Perhaps Pablo tried in some way to atone, but Tuco's words obviously hit home and hit hard.

Thinking of the scenes in Pablo Ramirez' church, I noticed something.  Sergio Leone's first two films come across as rather sacrilegious in their treatment of churches as houses of worship, and of religious themes generally.  I'm not saying he's wrong, I just find it unnecessary.  In GBU, however, he shows them in a different light.  They have a use as a place of refuge for those injured by life's experiences.  The nearly destroyed church near the cemetery is another place of refuge for the dying.  Generally, there is not so much sarcastic treatment of religious themes.  Either that, or they are more subtle and I didn't notice them.

I just noticed something this time.  My version is the extended English language one.  In the scene where Blondie meets Angel-Eyes' six friends that Blondie reduces to five, he says that he has six more bullets, one for each of them plus Angel-Eyes.  Once they get to whatever town it is that they take possession of while everyone else is fleeing it, there are seven horsemen, which adds up.  However, Blondie kills one (the one with the note found on him later), then he and Tuco each kill two more while walking up the street, then Blondie kills one last one, whereupon Tuco tells Blondie that Angel-Eyes is his.  Where did the sixth gunman come from?  It's not important, but I noticed it this time.  Probably did before, but couldn't be bothered to go back and count them.

For A Few Dollars More is still my favorite of the trilogy, but GBU has the best and funniest lines.  I readily admit the many reasons why it is the favorite of so many.

I'd better stop writing and get to watching Hang 'em High.

Off-Topic Discussion / Re: Baby news
« on: February 03, 2016, 07:41:15 PM »
Congratulations, allycat!

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