#his girl friday 1941

[fuddlyduddly]

obsessed with how many Cary Grant movies have him doing a proto-Dreamworks face on the posters

[footprintsinthesxnd]

Just Friends?

Rosie Rosenthal x Y/n Summary: Y/n and Rosie had been friends ever since they were children. They did everything together and eventually Y/n ended up falling head over heels for her best friend, but she could never pluck up the courage to tell him, until it was too late. Warnings: heartbreak, unrequited love, childhood sweethearts

Y/n had known Rosie nearly all her life. Growing up alongside him in Brooklyn, New York, she’d instantly warmed to the curly, brown-haired boy that had bumped into her on the street outside her house. Her family was new to the area and Rosie’s family had instantly taken them in as a fellow Jewish family. From then the rest was history and they went everywhere together. Most weeks consisted of dinner at each other's houses, including family meals with each other's families on Friday nights.

Rosie had taken Y/n to her first jazz performance when she was sixteen and from then on the pair were hooked. It was their thing to do together and so any shows or clubs were often frequented by the pair. Rosie was a far superior dancer to Y/n, but she tried to keep up the best she could, allowing Rosie to spin her around the floor like she was the only girl in the world. It was moments like that when she was in Rosie’s arms that Y/n realised just how special Rosie was to her. She’d have done anything for him.

She’d been there for him during his time at Brooklyn Law School and when he graduated and joined a firm in Manhattan. It was one of the proudest moments of her life, seeing him become a lawyer. He’d always believed in fighting for what was right and now he was going to show the world what an incredible person he was. That night they’d spent time sitting on the roof of her family home, talking for hours as they watched the stars. It was the early hours of the morning before they snuck back inside and Rosie slept on her bedroom floor, to not disturb her parents. Y/n couldn’t sleep that night, instead listening to Rosie’s soft snores as she relished in him sleeping beside her.

She wasn’t exactly sure when she realised that she loved Rosie. Was it the time he’d taken her out to the cinema to catch a movie and they ended the evening with dinner and a walk home through Prospect Park? Or maybe the time that he’d taken her up to the top of his house to look through the night sky? They’d spent hours up there, lead on a blanket beside each other, pointing out the different stars. Or maybe it was on December 8th 1941 when he told her he’d enlisted? She’d cried herself to sleep that night, and many nights after that. The thought of losing him was too much to bear. The final straw was when she said goodbye to him before he headed to Laredo, Texas to learn to fly B-17 Flying Fortress. She’d nearly told him then. Nearly told him how she’d loved him for years and that he’d better come back to her, but she didn’t.

“I can’t believe you’re going on an adventure without me. We promised we’d always do things like this together,” she pleaded, clutching tightly to Rosie’s hand. “You promised me, Rosie.”

Rosie's own eyes were tearful as he pulled her in close, nuzzling his nose into her neck as he had always done when they were children. “I know I promised, Y/n, but this is the one time that you can’t follow me. It’s not safe for you and I want to keep you safe.” He looked at her sincerely, his large, blue eyes staring down at her with all the kindness and comfort he could muster as he fought his own emotions.

She knew he was only doing this because he felt a sense of duty and not because he wanted to leave her. If it was up to Rosie he’d never have left her side, but he couldn’t admit that not to Y/n. She was his best friend and the last thing he wanted to do was ruin their friendship before he headed off to war. What worried him more was that she would feel the same and that despite their love for each other he’d be shot down and killed in action, leaving her even more heartbroken. He couldn’t do that to Y/n, not his Y/n.

Neither of them could admit what they felt so instead, Y/n wished him luck and told him to be safe, and Rosie promised he would write. She saw him occasionally if he was home on leave, and they corresponded via weekly letters but she hardly saw him until she arrived at Thorpe Abbotts in late September 1943.

Y/n had finally had enough of trying to help the war effort back in the States, she’d signed up for the Red Cross when Rosie had enlisted but she wanted to be in the thick of it, to be alongside the men who were fighting for their freedom.

Her first experience of life on the base was the bear hugs she’d received from Tatty and Helen, her fellow Red Cross girls, who were ecstatic another woman was joining their team.

“We are going to have a lot of fun, don’t you worry,” Tatty reassured her as they stacked the crates of supplies into the Nissen hut being used as a warehouse.

“You can count on that,” Helen added, “There’s probably going to be another dance soon.” Helen smiled sadly, and Tatty and Y/n shared a sympathetic look. Y/n had heard that Helen had been sweet on Lieutenant Nash, whom she’d heard of in her letters from Rosie, she’d never met him but he seemed like a sweet man. She didn’t know what she’d do if she found out that Rosie was… she stopped herself before she worried herself into a frenzy. Rosie was fine, and he was somewhere here on base, she just had to find him.

Helen excused herself to go and collect some more boxes, while Tatty and Y/n continued stacking, chatting quietly amongst themselves. The first pilot Y/n met was none other than Major Cleven and Major Egan who gave her a warm welcome. They stuck their heads around the warehouse door, Major Egan smiling cheekily.

“Well, hello ladies, who do we have here?” He asked, leaning back against a stack of crates, his moustache twitching as he grinned at her.

Major Cleven stood beside him, a soft smile on his lips as he nodded towards her.

Before Y/n could introduce herself Tatty stepped in, “This is my lovely new colleague, Y/n who is off limits to the likes of you, Major.” She pointed her finger at the moustached Major who raised his hands in surrender.

“I wouldn’t dream of it, Tatty. Scouts honour,” he saluted her, sending a wink Y/n’s way that had her blushing for the next hour.

“You’ll soon get used to that sort of behaviour around here,” Tatty assured her, finishing up with the last of the boxes. “Just ignore Major Egan, he’s nothing but trouble.” Tatty linked her arm through Y/n’s pulling her in the opposite direction to the Majors. “Those pilots are all the same.”

“Oh I can imagine,” Y/n laughed, “Don’t worry I already have my heart set on a pilot,” she mumbled her thoughts drifting to Rosie and his boyish grin.

Tatty turned to head, eyes wide and mouth forming a small ‘o’ as she waited for more information, “Well don’t leave a girl hanging, Y/n. Who is he?”

Y/n grinned, shaking her head stubbornly, “I’m not telling you all my secrets on the first day, Tatty. You’ll just have to wait.”

She could see Tatty rolling her eyes dramatically, but she didn’t say anything else. Y/n wondered how long it would be until she ran into Rosie and that was when she did.

He was strolling along in his class A uniform, his brunette curls bouncing as he walked, and a beautiful woman on his arm. Her blonde curls sat perfectly on her shoulders, her lilac dress hugging her curves perfectly. She looked so small and dainty beside Rosie. She was perfect.

Y/n felt the lump growing in her throat, her lungs growing tight with each short breath. This couldn’t be happening. It couldn’t be true.

Just as she was about to turn away from the scene, turn and run away from the man who had her heart, his dark eyes caught hers and he stopped in his tracks.

“Y/n?” He called out, a beaming smile spreading across his lips as he jogged towards her. Why did he have to look so perfect?

Before she could protest, Rosie had lifted her into his arms, spinning her around effortlessly. Y/n wanted to feel safe in Rosie’s arms just like she had all the other times he’d held her, she wanted to stay in his arms forever but the blonde woman behind him caught her eye and she pushed against Rosie’s chest. He placed her down quickly, his hands still resting on her shoulders.

“I didn’t know you were coming to England!” He exclaimed, clearly excited by the arrival of his childhood best friend. Y/n only wished she could be this happy.

“Well, here I am. Surprise,” Y/n replied, a strained smile forming on her lips as she tried not to choke on her words. She didn’t want him to realise that he’d hurt her, she didn’t want to make a scene. They were childhood best friends after all, they had no ties, no commitment to one another so why shouldn’t Rosie find himself a girl of his own? “I finally managed to persuade the Red Cross to give me an overseas position.”

“I’m so pleased you’re here,” Rosie pulled her into another hug, this one more gentle. She pressed her nose into his chest, inhaling the familiar scent of his aftershave. The aftershave that Y/n had first bought him for his eighteenth birthday, had been expensive but Rosie had always been worth it.

“I’m happy to be here,” she assured him, stepping back and eyeing the blonde beside him suspiciously. She had her eyes trained on the ground as she pushed the earth awkwardly with her shoe. Y/n cleared her throat, motioning to the girl who Rosie glanced at quickly, his arm coming to rest around her shoulders.

“Y/n, I’d like you to meet my girl, Elizabeth,” he grinned widely, looking between the women.

Swallowing her pride Y/n reached forward with a warm smile, “It’s lovely to meet you, Elizabeth.”

The girl grinned in return, her nervousness from earlier disappearing, “Call me Lizzy, please. It’s lovely to meet you too, Y/n, I’ve heard so much about you from Robert.”

Robert. Of course, she called him Robert.

That name seemed foreign to her after calling him Rosie for so many years.

Lizzy couldn’t have been a nicer girl. She was young, pretty, funny and seemed besotted with Rosie, and he was with her. Y/n couldn’t help the jealousy building inside of her.

It should have been her tucked safely under Rosie’s arm. It should have been her that Rosie kissed sweetly on the cheek. Why wasn’t it her?

Tatty coughed quietly beside her, drawing her back to the present where she realised she was staring at Rosie. Her cheeks blushed furiously which couldn’t have been missed by anyone there. She berated herself for making it so obvious, she’d hidden her feelings for so many years and here she was making it plain to everyone.

Lizzy smiled sympathetically at Y/n and she hated that Lizzy was being so nice to her. She wanted to hate the girl, but how could she?

Rosie seemed oblivious to the situation, still grinning between the women.

“We should be getting on, Y/n, we’ve still got some things to organise this afternoon,” Tatty beckoned her to follow and Y/n nodded thankfully. Thank goodness for Tatty.

“Yes, we do,” Y/n agreed, stepping back from Rosie and Lizzy with a small smile. “It was great to see you again, Rosie, it is, and it’s lovely to meet you, Lizzy.”

Rosie went to speak but Lizzy pulled at his hand, silencing him, “It was lovely to meet you too, Y/n. I’m sure we’ll be seeing each other around the base.”

“Definitely,” Y/n agreed, and in truth, she didn’t mind seeing Lizzy around the base, it was seeing Rosie that would be the hardest thing.

Rosie’s dark eyes met hers, a warm smile on his lips as his eyes sparkled like they always had. His eyes always seemed to gleam when he smiled, something that had always made Y/n’s heartbeat a little faster. Why had he always had this effect on her?

Tatty’s grip on her arm tightened as she led Y/n away, keeping her steady until they rounded the corner. Y/n composure shattered like glass as she fell to her knees, lungs screaming to air as a broken sob fell from her lips. It felt like everything that Y/n had ever relied on, everything she had ever held dear had been ripped away from her in a matter of minutes, and all she had left were her memories.

“It’s Rosie, isn’t it?” Tatty asked, kneeling beside her and brushing the stray curls away from Y/n's face. “I’m so sorry, Y/n, I didn’t know…”

“No, no it’s… it’s not your fault. You didn’t know and I should…” Y/n sighed, wiping away the tears quickly, and taking a deep, shaky breath. “I should have told him how I felt a long time ago, I can’t expect him to just wait around forever.”

It was true, she’d had so many opportunities to tell him how she felt if only she had plucked up the courage. Now she would just have to live with her decision and try her best to be happy for him, after all, they were still friends. Even if it hurt like hell to see him with someone else at least he was still in her life. They could just be friends.

Tags: @georgieluz @docroesmorphine @major-mads @violetdaze25 @bcofl0ve @precious-little-scoundrel @blurredcolour @artlover8992 @b00ks1ut @xxluckystrike @hockeyboysarehot @groovin2beats @kmc1989 @ginabaker1666 @hesbuckcompton-baby

[emilysidhe]

Some day this week I’m going to actually watch a new old movie instead of just rewatching movies I’ve already seen.

[popculturelib]

Join us for our first ever Public Domain Film Festival!

All films will be shown in the BPCL reading room on the 4th floor of Jerome Library. Check out our other posts this week for some of our material in and about the public domain.

Tuesday, January 16, 4-7PM

Steamboat Willie (1928)

The Gallopin' Gaucho (1928)

Metropolis (1927)

Wednesday, January 17, 3-4:30PM

The Jackie Robinson Story (1950)

Friday, January 19, 2-4PM

His Girl Friday (1940)

Monday, January 22, 5-8PM

Reefer Madness (1936)

Teenagers from Outer Space (1959)

Tuesday, January 23, 6-8PM

Night of the Living Dead

Thursday, January 25, 3-4:30PM

The General (1926)

Friday, January 26, 3-4:30PM

Superman cartoons (1941-1943)

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States.  Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

[ufonaut]

Do you happen to have a compilation of queercoded Alan Scott panels from before Flashpoint by any chance? It's really interesting to know how even as far back as the Golden Age the seeds for his sexuality were there and nobody really noticed

i do! kind of! i have a bunch spread across various post so i'm just gonna put together a compilation of gaycoded alan scott moments from the golden age (and beyond) for you right now :)

in his 1940s stories alan not only shows a complete disinterest in women but he actively rejects their advances at every turn

(in green lantern 1941 #34 he refuses to go on a date by pretending his dog dislikes girls)

(in green lantern #33 he reacts with disgust to the idea of marrying a woman)

(in all-american comics 1939 #71, alan's completely immune to a mad scientist's daughter that's been specifically created to be irresistible to men)

(in green lantern #13 doiby falls for a debutante that only has eyes for alan, and alan can't stand her or any affection from her)

much of his gaycoding also revolves around the close and intimate relationship he has with his best friend doiby dickles, whom he shares a bedroom & a bathroom with

(an especially flagrant example from all american comics #60 but keep in mind this is the status quo for all their golden age appearances after doiby finds out alan's identity in aac #35)

(a couple other examples of such intimacy from gl #28, aac #54, the big all-american comic book 1944 #1, and gl #34)

there's also a story in comic cavalcade 1942 that implies a great deal about alan's relationship with a nightclub owner named jonah dayton, which stands out in stark contrast to alan's distinct lack of romantic & social life

(comic cavalcade #23, note doiby's strange insistence that alan is 'ruining his life')

these are all just examples because it'd be impossible to show you panels from all his 130+ golden age appearances but if you were to read them in full you'd discover that over the course of his 1940s stories alan has no romantic relationships whatsoever and he and doiby live together, go on vacations together, adopt a dog together, babysit doiby's nephew together, and generally share a closeness that is 'inexplicable' even for the comics of back then. notably, alan's first silver age appearance in green lantern 1960 #40 has alan & doiby still living together and alan's employees at gbc calling him alan's 'man friday'

the 1976 run of all-star comics (which picks up the golden age series' numbering) goes so explicit with the confirmed bachelor aspect that it's undoubtedly what led to roy thomas' subsequent retcons in infinity inc (and specifically infinity inc annual #1)

(missing doiby in all-star comics #60, after doiby's subsequent marriage in the silver age gl series)

(writer paul levitz' retrospective on asc 1976 in the amazing world of dc comics #16, note how alan's the one jsaer to have never married and who has no family besides his close friend doiby)

it's within this context of alan's history that roy thomas' attempts to make him seem straight in infinity inc must be approached and how the confirmation of alan's sexuality in the present day is just that -- a confirmation, a return to form -- and not a retcon, after all for forty-one years of his existence there had been no women in alan's life.

this isn't to say though that with molly in the picture the gaycoding ever actually stopped, it just became rarer as any focus on alan himself or his personal life became rarer and the jsa-as-people (rather than heroes) sort of faded into the background. we still got the occasional gems like everything during the sentinel era (special shout out to the book of fate 1997 and the weird psychosexual things contained within) and how showcase '95 #1 has alan fighting the maybe-ghosts of his teammates while saying they have no right to judge him after they accuse him of not being 'a real man'

or green lantern: in brightest day, blackest night 2002 stating he'll never be able to settle down into a normal life because he's not a 'normal man'

and there's a lot to be read into molly's effective disappearance over the years, too. she's been pretty much erased post-early 2000s to the point that you could easily pinpoint their separation/divorce somewhere around 2007 or so.

there's certainly much more out there and having read all his appearances i've found next to none that didn't feature some hint of gaycoding but i hope you've enjoyed these examples! lmk your thoughts if you'd like :)

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

Girls Like Girls

Written By: Lily-May Young, Owen Thomas & Hayley Kiyoko

Artist: Hayley Kiyoko

Released: 2015

“Girls Like Girls” tells the story of a young girl actively looking to start relationships with girls currently involved with boys. In an interview with US Weekly, Hayley described the song as a “female anthem for a girl stealing another guy’s girl”, subverting the common theme of “guys always.. stealing other guys’ girls”. According to Hayley in an interview with Elite Daily, she didn’t have any artist that she could relate to when she was growing up, and so, she decided to tell her own stories. Kiyoko describes “Girls like Girls” as a story that she believes others can relate to: “There’s not a lot of representation for young girls who are best friends who might fall in love. A big point for me was to respect that and keep it real, so people can realize it’s not just a joke.” In a personal essay written by Kiyoko for Paper, she said that “Girls Like Girls” was born on a rainy day where she had a writing session with Owen Thomas and Lily May Young. “Growing up, everything I did was always about girls. I took dance because of girls. I got involved in student council because of girls. Not that I ever expected any of them to like me back, but I just felt comforted being around them, even if I could never date them. So there we were. The song “Girls like Girls” was born."

[Intro] (Boys) (Boys) Boys, (Boys) (Boys) [Verse 1] Stealing kisses from your missus Does it make you freak out? Got you fussing, got you worried Scared to let your guard down Boys, boys Tell the neighbors I'm not sorry if I'm breaking walls down Building your girl's second story, ripping all your floors out [Chorus] Saw your face, heard your name, gotta get with you Girls like girls, like boys do, nothing new Isn't this why we came? Gotta get with you Girls like girls, like boys do, nothing new Girls like girls, like boys do, nothing new [Verse 2] Always gonna steal your thunder Watch me like a dark cloud On the move collecting numbers I'ma take your girl out We will be everything that we'd ever need Don't tell me, tell me what I feel I'm real and I don't feel like boys I'm real and I don't feel like boys [Chorus] Saw your face, heard your name, gotta get with you Girls like girls like boys do, nothing new Isn't this why we came? Gotta get with you Girls like girls, like boys do, nothing new Girls like girls, like boys do, nothing new [Bridge] I've been crossing all the lines, all the lines Kissed your girl back made you cry, boys [Chorus] Saw your face, heard your name, gotta get with you Girls like girls, like boys do, nothing new Isn't this why we came? Tell me if you feel it too! Tell me, girls like girls like boys do, nothing new Girls like girls like boys do, nothing new

At Last

Written By: Henry Warren & Mack Gordon

Artist: Etta James

Released: 1960

Originally recorded by: Glenn Miller and His Orchestra feat. Pat Friday & John Payne, 1941

A song originally written in 1941 by Mack Gordon and Harry Warren and originally performed by Glenn Miller and His Orchestra for the 1941 movie Sun Valley Serenade, this ballad found its greatest success in the hands of the late Etta James in this 1960 recording. The tune became James' signature song. The song is featured on several “best of” lists, including inclusion in the Library of Congress' National Recording Registry and induction into the Grammy Hall of Fame in 1999.

[Verse 1] At last My love has come along My lonely days are over And life is like a song (Oh, yeah, yeah) [Verse 2] At last The skies above are blue My heart was wrapped up in clover The night I looked at you [Bridge] I found a dream that I could speak to A dream that I can call my own I found a thrill to press my cheek to A thrill that I've never known (Oh, yeah, yeah) [Verse 3] You smiled, you smiled Oh, and then the spell was cast And here we are in heaven For you are mine at last

[mogwai-movie-house]

A Film A Year

Going through an old hard drive today I found this almost-completed list from 2015 in which I'd set myself the task of choosing a single film for each year of the preceding hundred. It was interesting to see in what ways my tastes had changed and just how many more films I'd discovered and fallen in love with in the meantime.

Anyways, I thought I'd finish it off and update it to the present: I very much tried to keep it to just one film per year, but the competition some years was just too high so they've had to share joint first places:

1915 A Night In The Show 1916 The Vagabond 1917 Easy Street 1918 A Dog's Life 1919 Sunnyside 1920 One Week 1921 The Kid 1922 Dr Mabuse, The Gambler 1923 Safety Last / Why Worry? 1924 Sherlock Jr / The Last Laugh 1925 The Gold Rush 1926 The General 1927 Sunrise / Seventh Heaven 1928 The Last Command / Steamboat Jr. / The Man Who Laughs / The Passion of Joan of Arc 1929 The Love Parade / Un Chien Andalou / Lucky Star 1930 All Quiet On The Western Front 1931 City Lights/ The Smiling Lieutenant 1932 Horse Feathers / Love Me Tonight 1933 Duck Soup / The Invisible Man 1934 It Happened One Night 1935 The 39 Steps 1936 My Man Godfrey 1937 Nothing Sacred 1938 Adventures Of Robin Hood / Pygmalion 1939 The Cat And The Canary / The Wizard of Oz / The Hunchback of Notre Dame 1940 His Girl Friday / Pinocchio 1941 Citizen Kane / The Maltese Falcon / Dumbo / Sullivan's Travels 1942 Casablanca 1943 Le Corbeau 1944 Arsenic & Old Lace 1945 Les Enfants du Paradis / And Then There Were None 1946 A Matter of Life and Death 1947 Black Narcissus 1948 The Treasure of the Sierra Madre 1949 The Third Man / Kind Hearts & Coronets 1950 Sunset Blvd. / La Ronde 1951 A Streetcar Named Desire 1952 Singin' In The Rain / Le Plaisir 1953 Calamity Jane 1954 Hobson's Choice 1955 The Night Of The Hunter /The Ladykillers 1956 The Searchers 1957 The Seventh Seal 1958 Vertigo 1959 North By Northwest / Ballad of A Soldier 1960 Psycho / The Virgin Spring / Two Women 1961 Breakfast At Tiffanys 1962 Le Doulos 1963 The Great Escape / The Birds 1964 Onibaba 1965 For A Few Dollars More 1966 Blow Up 1967 Le Samourai / Cool Hand Luke 1968 2001: A Space Odyssey 1969 Butch Cassidy & The Sundance Kid 1970 Le Cercle Rouge 1971 Get Carter / Harold & Maude 1972 The Godfather 1973 Don't Look Now 1974 The Godfather Part II / Chinatown 1975 Jaws / The Rocky Horror Picture Show 1976 Network 1977 Star Wars / Annie Hall 1978 Halloween / Superman 1979 Apocalypse Now / Alien / Life Of Brian / Manhattan 1980 Stardust Memories / Raging Bull 1981 Raiders Of The Lost Ark 1982 Blade Runner / The Thing 1983 The Dead Zone / Zelig 1984 Ghostbusters / The Terminator / Blood Simple 1985 Back To The Future 1986 Hannah & Her Sisters / The Fly 1987 Withnail & I / Wings of Desire 1988 Dangerous Liaisons 1989 Crimes & Misdemeanors / Dead Poets Society 1990 Goodfellas 1991 The Silence of The Lambs / Terminator 2 1992 Reservoir Dogs / The Player 1993 Schindler's List / Groundhog Day 1994 Pulp Fiction 1995 Se7en / Casino / The Usual Suspects 1996 Fargo 1997 LA Confidential / Grosse Point Blank / Boogie Nights 1998 The Truman Show / Happiness / Buffalo '66 1999 American Beauty / Magnolia / Being John Malkovich / Fight Club 2000 Memento 2001 Mulholland Drive / The Royal Tennenbaums / The Piano Teacher 2002 Adaptation / The Lord of the Rings: The Two Towers 2003 Lost In Translation 2004 Eternal Sunshine Of The Spotless Mind / The Life Aquatic 2005 Me & You & Everyone We Know 2006 The Prestige / Perfume 2007 No Country For Old Men / There Will Be Blood 2008 The Dark Knight / Let The Right One In / Tropic Thunder 2009 Cold Souls / Up / Zombieland 2010 I Saw The Devil / The Ghost Writer 2011 The Hidden Face 2012 The Avengers 2013 Her 2014 The Grand Budapest Hotel / The Winter Soldier 2015 The Survivalist / The Lobster 2016 Like Crazy 2017 Coco 2018 Deadpool 2 2019 The Irishman 2020 Kajillionaire 2021 The French Dispatch 2022 The Banshees of Inisherin

[maximumwobblerbanditdonut]

"Love… Love means never having to say you're sorry"

Ryan O'Neal was a captivating actor and absurdly handsome movie star who became an instant star in the hit film "Love Story," the highest-grossing film 🎬 of 1970 died on Friday. He was 82. 💔

Ryan O’Neal had made the entirety of American womanhood fall devastatingly in love with him with his breakthrough performance in Arthur Hiller’s Love Story in 1970, the heart-wrenching date-movie weepie, in which he was the entitled Harvard rich kid falling for the smart, tough girl from the wrong side of the tracks: played by the formidable Ali MacGraw, who is to become terminally ill.

Ali MacGraw and Ryan O’Neal in Love Story. United Archives FilmPublicityArchive/Getty Images - Photograph

Their romantic dynamic had something to do with her being stronger and more assertive than O’Neal’s character, who had been so browbeaten by his wealthy father – but he achieves a kind of nobility and hard-won maturity through her sacrifice for him.

"Love means never having to say you're sorry" is a catchphrase based on a line from the Erich Segal novel Love Story and was popularised by its 1970 film adaptation starring Ali MacGraw and Ryan O'Neal.

Love Story was nominated for seven Academy Awards, including Best Picture; Directing (Arthur Hiller); Actor (Ryan O'Neal); Actress (Ali MacGraw); Actor in a Supporting Role (John Marley); and Writing (Story and Screenplay—based on factual material or material not previously published or produced) (Erich Segal), and Best Original Music Score.

But he was later known as much for his personal life, and health problems as for his acting. Ryan was also known for his high-profile relationship with Charlie's Angels actress Farrah Fawcett which lasted decades; The couple never married.

Ryan O'Neal and Farrah Fawcett (photographed in 1989) were romantically involved for nearly 30 years, and they had a son, Redmond, born in 1985. RAY STUBBLEBINE, AP

O'Neal was a familiar face on both big and small screens for a half-century. But he was never as famous as he was in the immediate aftermath of "Love Story."

He also starred in comedies, including "Paper Moon" with his daughter, Tatum O'Neal. Ryan worked with some of the top female stars of his day such as Barbra Streisand on What's Up, Doc, and The Main Event, and Marisa Berenson on Barry Lyndon.

Barbra Streisand has paid an emotional tribute to her two-time co-star Ryan O'Neal following his death

He maintained a high profile throughout the 1970s, appearing in films like "Barry Lyndon” a 1975 historical drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel The Luck of Barry Lyndon a picaresque novel by English author William Makepeace Thackeray.

Barry Lyndon received seven nominations at the 48th Academy Awards, including Best Picture, winning four for Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation, Best Cinematography, Best Art Direction, and Best Costume Design.

His son Patrick O'Neal confirmed the death in a post on Instagram. It did not give the cause or say where he died.

He will be remembered. 1941-2023 💔

#RyanO’Neal #actor #LoveStory #BarryLyndon @patrick_oneal

[byneddiedingo]

Tony Curtis and Burt Lancaster in Sweet Smell of Success (Alexander Mackendrick, 1957)

Cast: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Jeff Donnell, Sam Levene, Joe Frisco, Barbara Nichols, Emile Meyer, Edith Atwater. Screenplay: Clifford Odets, Ernest Lehman, based on a novel by Lehman. Cinematography: James Wong Howe. Art direction: Edward Carrere. Film editing: Alan Crosland Jr. Music: Elmer Bernstein.

What do Sweet Smell of Success, His Girl Friday (Howard Hawks, 1940), Sullivan's Travels (Preston Sturges, 1941), and The Searchers (John Ford, 1956) have in common? They are all among the critically acclaimed films that, among other honors, have been selected for inclusion in the National Film Registry of the Library of Congress. And none of them received a single nomination in any category for the Academy Awards. Sweet Smell is, of course, a wickedly cynical film about two of the most egregious anti-heroes, New York newspaper columnist J.J. Hunsecker (Burt Lancaster) and press agent Sidney Falco (Tony Curtis), ever to appear in a film. They make the gangsters of Francis Ford Coppola's and Martin Scorsese's films look like Boy Scouts. So given the inclination of the Academy of Motion Picture Arts and Sciences to stay on the good side of columnists and publicists, we might expect it to shy away from honoring the film with Oscars. But consider the categories in which it might have been nominated. The best picture Oscar for 1957 went to The Bridge on the River Kwai (David Lean), a respectable choice, and Sidney Lumet's tensely entertaining 12 Angry Men certainly deserved the nomination it received. But in what ways are the other nominees -- Peyton Place (Mark Robson), Sayonara (Joshua Logan), and Witness for the Prosecution (Billy Wilder) -- superior to Sweet Smell?  The best actor Oscar winner was Alec Guinness for The Bridge on the River Kwai, another plausible choice. But Tony Curtis gave the performance of his career as Sidney Falco, overcoming his "pretty boy" image -- in fact, the film makes fun of it: One character refers to him as "Eyelashes" -- by digging deep into his roots growing up in The Bronx. Burt Lancaster would win an Oscar three years later for Elmer Gantry (Richard Brooks), a more showy but less controlled performance than the one he gives here. Either or both of them would have been better nominees than Marlon Brando was for his lazy turn in Sayonara, Anthony Franciosa in A Hatful of Rain (Fred Zinnemann), Charles Laughton in Witness for the Prosecution, and Anthony Quinn in Wild Is the Wind (George Cukor). The dialogue provided by Clifford Odets and Ernest Lehman for the film crackles and stings -- there is probably no more quotable, or stolen from, screenplay, yet it went unnominated. So did James Wong Howe's eloquent black-and-white cinematography, showing off the neon-lighted Broadway in a sinister fashion, and Elmer Bernstein's atmospheric score mixed well with the jazz sequences featuring the Chico Hamilton Quintet. Even the performers in the film who probably didn't merit nominations make solid contributions: Martin Milner is miscast as the jazz musician who falls for Hunsecker's sister (Susan Harrison), but he hasn't yet fallen into the blandness of his famous TV roles on Route 66 and Adam-12, and Barbara Nichols, who had a long career playing floozies in movies and on TV, is surprisingly touching as Rita, one of the pawns Sidney uses to get ahead. As a director, Alexander Mackendrick is best known for the comedies he did at Britain's Ealing Studios with Alec Guinness, The Man in the White Suit (1951) and The Ladykillers (1955). His work on Sweet Smell was complicated by clashes with Lancaster, who was one of the film's executive producers, and after making a few more films he accepted a position at the film school at the California Institute of the Arts in 1967, where he spent the rest of his career.

[everydayesterday]

(My favourite films by decade are below the cut)

Tonight, I watched 'Safety Last!'—the slapstick silent comedy from 1923 with the indelible 20-minute clocktower scene—which means that I've now seen at least one film from every year since 1891, shortly after the invention of motion pictures (I've also seen the few recordings that came before that, such as the 12-slide ‘Horse in Motion,’ but there are gaps in the years, and we're talking about film segments that were roughly 2 seconds in length—films didn't even get to 3 minutes in length until 1898; the first hour-long movie was in 1906).  

I've got 916 movies on my list (it's probably more than that; my mind has no idea if it's ever seen a sequel).  I posted a while ago about only having 600 movies logged; to fill out the list I went through box office charts to identify what I'd likely seen in the 80s, 90s, 00s, etc. but had forgotten about.  

I was missing so many from the 90s, when we had our family movie nights.  On average, from 1989 to 2000, I saw 28 films per release year.  That dropped to 15 once I finished undergrad, and has remained pretty constant.  Going by the box office charts, I don't feel I've missed much of what I've wanted to see; there have been far too many sequels and metaverses, which simply don't interest me.  Over these COVID years, I've been watching more than just the newest releases, catching up on earlier decades; I've seen 173 that were released before I was born (most pre-1970 releases are from COVID onward).  

My favourite films by decade (because I like lists):  

1890-99: The Astronomer's Dream (1898).  Directed by Georges Méliès; the first film as real artistic production; multiple scenes and stages, special effects, 3 minutes.  

1900-09: The Great Train Robbery (1903).  The first epic action movie, at 13 minutes.  Fantastic production value; it's got better cinematography and editing than a lot of current movies.  

1910-19: I'm unsure.  ...perhaps The Conquest of the Pole (1912), another by Georges Méliès.  I need to see more films from this decade.  

1920-29: Wings (1928) and Metropolis (1927), take your pick.  One, the Oscars' first Best Picture winner and the benchmark for romantic drama (and with Clara Bow!), the other the most impressive film ever made.  

1930-39: My Man Godfrey (1936), my favourite Carole Lombard role (she's a fuckin' hoot!).  

1940-49: Citizen Kane (1941), Casablanca (1943) are both fine choices, but my choice would be His Girl Friday, because snappy dialogue is like a hit of cocaine.  

1950-59: Roman Holiday (1953).  Audrey Hepburn and Gregory Peck are both so charismatic; the chemistry here is palpable.  

1960-69: The Great Escape (1963) is an excellent pick, as is Ingmar Bergman's Persona (1966).  I'd take The Graduate (1967); it felt so unique, not your typical love story, and Anne Bancroft's vulnerable seductiveness turn felt so dangerous.  

1970-79: This was such a great decade (Harold and Maude, Chinatown, Monty Python and the Holy Grail, Up in Smoke) ...but Apocalypse Now (1979) is my all-time top pick.  

1980-89: The Gods Must Be Crazy (1984).  Timeless.  Wholesome.  Simple and effective.  

1990-99: I'm trying to pick one film out of the 300 that I've seen from this timeframe, so maybe one [Ed. note: or more] per year?  Edward Scissorhands (1990), Point Break (1991), Wayne's World (1992), Jurassic Park/Schindler's List (1993), The Madness of King George/The Hudsucker Proxy/Quiz Show/Malcolm X (1994), Babe (1995; yes, the pig movie), The Young Poisoner's Handbook (1996), Life is Beautiful (1997; La vita è bella), ...not sure on 1998...maybe Waking Ned Devine/Pleasantville..., Office Space/Lock, Stock, and Two Smoking Barrels (1999).  

2000-09: Gladiator/Girl, Interrupted/American Psycho (2000), Amélie/Ali (2001), Super Troopers/Secretary (2002), Dogville (2004), No Country for Old Men (2007), There Will Be Blood (2008), Dead Snow (2009).  

2010-19: The Artist (2011), Argo (2012), Beasts of No Nation (2015), Rogue One (2016), Coco (2017), The Nightingale/Parasite/Knives Out (2019).  

2020-23: One Night in Miami... (2020), Nitram (2021).  

If you’ve made it this far, thanks for watching.  🎞️

[randomkiwibirds]

missavagardner:

↳ MissAvaGardner’s Top 100 Classic Motion Pictures These are my top 100 favorite classic films, the films I consider every classic fan should watch, its just my list and my opinion, I tried my best I love so many films and as a classic lover you always want to include more, for those who ask for movie recommendations this is for you. Please report any broken links and enjoy! 

01 | 1950 - All About Eve → WATCH & WATCH 02 | 1939 - Gone With The Wind → WATCH & WATCH 03 | 1966 - Who’s Afraid Of Virginia Woolf → WATCH & WATCH 04 | 1944 - To Have And Have Not → WATCH & DOWNLOAD 05 | 1938 - Bringing Up Baby → WATCH & DOWNLOAD 06 | 1959 - Some Like It Hot → WATCH & DOWNLOAD 07 | 1943 - Casablanca → WATCH & DOWNLOAD 08 | 1946 - Gilda → WATCH & DOWNLOAD 09 | 1934 - The Thin Man → WATCH & WATCH 10 | 1938 - Vivacious Lady → WATCH 11 | 1931 - City Lights → WATCH & DOWNLOAD 12 | 1951 - A Place In The Sun → WATCH & DOWNLOAD 13 | 1946 - Notorious → WATCH & DOWNLOAD 14 | 1940 - The Philadelphia Story → WATCH & WATCH 15 | 1965 - The Sound of Music → WATCH & DOWNLOAD 16 | 1953 - Roman Holiday → WATCH & DOWNLOAD 17 | 1947 - It’s a Wonderful Life → WATCH & DOWNLOAD 18 | 1961 - La Dolce Vita → WATCH PART 1 & PART 2 19 | 1953 - From Here To Eternity → WATCH & DOWNLOAD 20 | 1935 - Top Hat → WATCH & DOWNLOAD 21 | 1967 - The Graduate → WATCH & DOWNLOAD 22 | 1950 - Sunset Blvd → WATCH & DOWNLOAD 23 | 1965 - Doctor Zhivago → WATCH PART 1 & PART 2 24 | 1952 - Singin’ in the Rain → WATCH & DOWNLOAD 25 | 1957 - An Affair to Remember → WATCH 26 | 1940 - Waterloo Bridge → WATCH 27 | 1951 - An American in Paris → WATCH 28 | 1936 - Camille → WATCH 29 | 1955 - Rear Window → WATCH & DOWNLOAD 30 | 1950 - In A Lonely Place → WATCH 31 | 1932 - Red Dust → WATCH 32 | 1963 - 8½ → WATCH 33 | 1958 - Cat on a Hot Tin Roof → WATCH & DOWNLOAD 34 | 1942 - Now Voyager → WATCH & DOWNLOAD 35 | 1954 - Dial M for Murder → WATCH & WATCH 36 | 1945 - Leave Her to Heaven → WATCH 37 | 1955 - To Catch a Thief → WATCH & DOWNLOAD 38 | 1959 - North by Northwest → WATCH & WATCH 39 | 1936 - Swing Time → WATCH 40 | 1957 - Pal Joey → WATCH 41 | 1951 - A Streetcar Named Desire → WATCH 42 | 1956 - Giant → WATCH & WATCH 43 | 1968 - Funny Girl → WATCH & DOWNLOAD 44 | 1939 - The Wizard of Oz → WATCH & DOWNLOAD 45 | 1959 - Pillow Talk → WATCH & WATCH 46 | 1960 - Psycho → WATCH & DOWNLOAD 47 | 1934 - It Happened One Night → WATCH & WATCH 48 | 1959 - On The Beach → WATCH PART 1 & PART 2 49 | 1954 - Phffft! → NETFLIX 50 | 1962 - Whatever Happened to Baby Jane? → WATCH & WATCH 51 | 1945 - Mildred Pierce → WATCH 52 | 1966 - Un homme et une femme → WATCH 53 | 1951 - The African Queen → WATCH & DOWNLOAD 54 | 1961 - West Side Story → WATCH & DOWNLOAD 55 | 1964 - My Fair Lady → WATCH & DOWNLOAD 56 | 1957 - 12 Angry Men → WATCH & DOWNLOAD 57 | 1936 - My Man Godfrey → WATCH & WATCH 58 | 1944 - Meet Me in St Louis → WATCH 59 | 1939 - Dark Victory → WATCH & DOWNLOAD 60 | 1945 - The Lost Weekend → WATCH & DOWNLOAD 61 | 1953 - Mogambo → DOWNLOAD 62 | 1944 - Laura → WATCH & DOWNLOAD 63 | 1954 - The Last Time I Saw Paris → WATCH 64 | 1940 - His Girl Friday → WATCH & DOWNLOAD 65 | 1937 - The Awful Truth → WATCH 66 | 1941 - Ball of Fire → WATCH 67 | 1960 - The Apartment → WATCH & WATCH 68 | 1944 - Arsenic and Old Lace → WATCH & DOWNLOAD 69 | 1942 - To Be or Not to Be → WATCH 70 | 1955 - This Property Is Condemned → WATCH & DOWNLOAD 71 | 1941 - Citizen Kane → WATCH & DOWNLOAD 72 | 1939 - The Women → WATCH 73 | 1961 - One, Two, Three → WATCH 74 | 1941 - Suspicion → WATCH & DOWNLOAD 75 | 1927 - Wings → WATCH 76 | 1949 - The Heiress → WATCH & WATCH 77 | 1941 - The Lady Eve → WATCH 78 | 1940 - Rebecca → WATCH & DOWNLOAD 79 | 1941 - Little Foxes → WATCH 80 | 1942 - Cat People → WATCH & DOWNLOAD 81 | 1944 - Double Indemnity → WATCH & DOWNLOAD 82 | 1946 - The Big Sleep → WATCH 83 | 1954 - A Star Is Born → WATCH 84 | 1967 - Belle de Jour → WATCH 85 | 1952 - The Quiet Man → WATCH 86 | 1958 - Vertigo → WATCH 87 | 1961 - Splendor in the Grass → WATCH 88 | 1955 - Rebel Without a Cause → WATCH 89 | 1954 - Sabrina → WATCH & DOWNLOAD 90 | 1962 - Lawrence of Arabia → WATCH PART 1 & PART 2 91 | 1954 - On The Waterfront → WATCH 92 | 1960 - A Bout de Souffle → WATCH 93 | 1963 - Love With The Proper Stranger → WATCH & DOWNLOAD 94 | 1942 - Woman of The Year → WATCH 95 | 1937 - Stage Door → WATCH 96 | 1967 - Cool Hand Luke → WATCH 97 | 1967 - Bonnie & Clyde → WATCH 98 | 1964 - The Night of the Iguana → WATCH 99 | 1962 - Lolita → WATCH 100 | 1961 - Breakfast At Tiffany’s → WATCH

[paulrennie]

Things I Like (films) • A Canterbury Tale • Micheal Powell + Emeric Pressburger • 1944

The British Film Institute (BFI) is having a Powell and Pressburger moment. This comprises a series of films at the South Bank, an exhibition and various events under the title, Cinema Unbound.

Powell and Pressburger had a unique cinematic language that was all their own… they were willing to break and reinvent any ‘rule’ that movies had Greta Gerwig

Hailed as quintessentially British, Powell and Pressburger’s often-controversial films emerged from the creative energy sparked when Man of Kent Michael Powell combined in cross-border collaboration with Jewish Hungarian emigré Emeric Pressburger. Their Archers production compny was made up of creatives from across Europe

The BFI is providing the most extensive celebration of their work ever undertaken. It includes new BFI restorations, remasters of Powell’s early films, titles Pressburger wrote for others and a major exhibition drawn from the collections of the BFI National Archive. The programme is presented across the UK with the BFI Film Audience Network and on BFI Player.

We're lucky, in Folkestone, to be hard-wired into the celebration. That's just as it should-be, because Michael Powell grew up in Kent. One of the delights of rural Kent, even today, is to find oneself unexpectedly in a Michael Powell landscape.

That's especially the case in relation to A Canterbury Tale (1944), Powell and Pressburger's most local film. That's showing at our local cinema, the Silver Screen.

The story concerns three young people: British Army Sergeant Peter Gibbs, U.S. Army Sergeant Bob Johnson and a Land Girl, Miss Alison Smith. The group arrive at the railway station in the fictitious small Kent town of Chillingbourne, near Canterbury, late on a Friday night, in 1943.

As they leave the station together Alison is attacked by an assailant in uniform, who pours glue on her hair before escaping. It transpires that this has happened to other women, and the mystery attacker is known locally as the glue man. Alison asks Bob if he will spend the weekend in Chillingbourne to help her solve the mystery. The three decide to investigate the attack, enlisting the help of the locals, including several small boys who play large-scale war games.

The three use their detective skills to identify the culprit as a local magistrate, Thomas Colpeper, a gentleman farmer and pillar of the community. On their train journey to Canterbury on the Monday morning, Colpeper joins the three in their compartment. They confront him with their suspicions, which he does not deny, and they discover that his motive is to prevent the soldiers from being distracted from his lectures by female company, as well as to help keep the local women faithful to their absent British boyfriends.

On arriving in the city of Canterbury, devastated by wartime bombing, all three young people receive blessings of their own. Peter decides not to report Colpeper to the Canterbury police, as he had planned to do.

Much of the film's visual style is a mixture of British realism and Irwin Hillier's Expressionist style that is harnessed through a neo-romantic sense of the English landscape. The concept that the past always haunts the present in the English landscape was already part of English literary culture.

Within the context of WW2 and its aftermath, Powell and Pressburger chose to explore the expressionist potential of a cinema of feeling. In Catnterbury Tale, the landscape, its history and the community are all identified as having a transcendent potential upon the experience of the individual. This is especially so in relation to the idea of the pilgrim and the miracles and penance (joy and suffering) along the way.

Many of the themes in Canterbury tale align with those of George Orwell's famous essay, The Lion and the Unicorn (1941). The idea of war, progress and change combining to produce feelings of anxiety and ambivalence. This tension between tradition and progress is exemplified in the personality of Colpeper, the magistrate and antiquary...

Powell is a film-maker who is better known, these days, in the USA and in France, (where cinema is taken more seriously as a 20C cultural form). Martin Scorsese is a big fan. The famous opening sequence in Stanley Kubrick's, 2001 - a Space Odyssey (1968) repurposes Powell's opening for Canterbury Tale where falcon and Spitfire merge.

Here is a poster, from about 1955, by the artist, John Piper. It shows the exterior of Canterbury cathedral, where Powell and Pressburger's film ends...

[bread--quest]

[ID: Text in an old newspaper. It reads: "Minden, La., Box 561 December 15, 1941

Dear Santa, I've got a big sumpin' to ask of you this year, and I hope you can do it for me. You see, Santa, I've been hearing my mother talk about the under-privileged children and how she was going to give all my toys you brought me last year to them, and let you bring me some new ones. Now you see, Santa, my old trac- tor is as good as new. One of the treads is broken, but I've tied a string around it, and it runs nearly like new. I just wanted another one to kinda help my old one pull. But I got to thinking, why can't you bring the new one to the un- derprivileged boy and let me keep mine, 'cause I've even got her named. I call her "Old Mae."

Last night when 1 said my prayers, I told Jesus to help you to see this my way, and I know you will. I won't ask but for one thing if you will do this. I do want a cowboy suit.

My teacher says I'm a real good boy, and I heard some of my mother's lady friends say they knew I was the best boy in the world. I know I'm not, but I have been pretty good.

Please bring my little brother a cowboy suit, too. He has a job and works while I am in school. He saves his money, and we are buying defense stamps with it. Don't you think he's smart? Please remember him.

Bring my sister something pretty -also my Mother and Daddy. Please remember the little boys and girls who live where the war is going on.

If I knew the date of your birthday, I would send you something. Mike's birthday is Friday. He will be five years old.

Will close now, hoping you can visit all the children this year. Love and best wishes for a Happy New Year.

Your friend, Robert Moss.

End ID.]

Robert Moss was diagnosed with polio at the age of six, the year before he wrote this letter. He would spend the next nine years of his childhood in and out of hospitals.

He made a full recovery and was a decorated athlete in High School and College, as well as an Eagle Scout. After college, he became a junior high science teacher, while also coaching football, basketball and track.

During summer break from teaching in 1965, his childhood struggle with polio inspired him to spend the summer working at the Louisiana Lions Camp for Crippled Children. He went back the next summer and was hired as camp director.

Robert was the Executive Director of the Lions Camp for 41 years. Over his tenure he expanded the camp to include programs for children with pulmonary disorders, muscular dystrophy, diabetes and autism.

He assisted in programs to set up similar camps in Puerto Rico and Australia, as well as a camp for children with terminal illnesses in Texas.

The Lions Camp still operates and is 100% free of charge for all attendees.

(source: The Minden Herald, December 19, 1941.)

[gardeninghoe98]

Cleaning out my movie lists

SciFi List 👽

Barbie Movie List 💖

Barbie List Round 2 📝

Phone Gallery 📷

Off the top of my head ⭐

1920s deep dive 🎞

From an old Tumblr post ⏪

--------------

The Cabinet of Dr.Caligari (1920) 🎞

The Kid (1921)🎞

Häxan (1922)🎞

Hard Luck (1922)🎞

Norrtullsligan (1923)🎞

Aelita (1924)🎞

Sherlock Jr (1924)🎞

The Battleship Potemkin (1925)🎞

Gold Rush (1925)🎞

Body and Soul (1925)🎞

The Big Parade (1925)🎞

Strike (1925)🎞

Faust (1926)🎞

A Page of Madness (1926)🎞

Menilmontant (1926)🎞

Metropolis (1927)🎞

Sunrise (1927)🎞

The Passion of Joan of Arc (1928)🎞

Steamboat Bill Jr (1928)🎞

The Docks of New York (1928)🎞

The Man Who Laughs (1928)🎞

Jujiro (1928)🎞

Zvenigora (1928) 🎞

The Crowd (1928)🎞

The Fall of the House of Usher (1928)🎞

Blackmail (1929)🎞

Finis Terræ (1929)🎞

Un Chien Andalou (1929)🎞

Twentieth Century (1934) 📝

Modern Times (1936) 👍

Gold Diggers of 1935 (1935) 📝

His Girl Friday (1940) 📝

Philadelphia Story (1940) 📝

Citizen Kane (1941) ⏪

Matter of Life and Death (1946) 📝

The Red Shoes (1948) 📝

The Day the Earth Stood Still (1951)👽

Tales of Hoffmann (1951) 📷

An American in Paris (1951) 📝

Earrings of Madame De... (1953) 📝

Creature from the Black Lagoon (1954) 👽

Forbidden Planet (1956) is 👽

1984 (1956) 👽

Mon Oncle (1958) 📝

The Children's Hour (1961) 📷

The Ladies Man (1961) 📝

The Cat Who Wore Sunglasses (1963) 📷

Umbrellas of Cherbourg (1964) 💖

Dr. Strangelove (1964)👽

Young Girls of Rouchefort (1967) 📝

Playtime (1967) 📝

2001: A Space Odyssey (1968) 📝

Model Shop (1969) 📝

Solaris (1972) 👽

The Godfather (1972) 📝

The Wicker Man (1973) 📷

Close Encounters of the Third Kind (1977)

Saturday Night Fever (1977) 📝

Invasion of the Body Snatchers (1978) 👽

Attack of the Killer Tomatoes (1978) 👽

Heaven Can Wait (1978) 📝

All That Jazz (1979) 📝

Wrath of Khan (1982) 👽

And the Ship Sails On (1983) 📝

Splash (1984) 📝

Pee Wee's Big Adventure (1985) 📝

Wings of Desire (1987) 📝

Akira (1988) 👽

Woman on the Edge of a Nervous Breakdown (1988) 📝

Troop Beverly Hills (1989) ⭐

Edward Scissorhands (1990)💖

Party Girl (1995)📝

Ghost in the Shell (1995) 👽

Watermelon Woman (1996) ⏪

Goodwill Hunting (1997) ⏪

The Royal Tenenbaums (2001) ⭐

Big Fish (2003) 💖

Saving Face (2004) ⏪

Little Miss Sunshine (2006) 📷

Waitress (2007)📝

Pariah (2011) ⏪

Inception (2010) 👽

Ex Machina (2014) 👍

Grand Budapest Hotel (2014) 📷

Tangerine (2015) ⏪

Brooklyn (2015) 📷

Jackie (2016)💖

The Love Witch (2016) 💖

Lady Macbeth (2016)⭐

Handmaiden (2016) ⏪

Moonlight (2016) ⏪

Roma (2018) ⏪

Mama Mia 2 (2018) ⭐

Little Women (2019)💖

Greener Grass (2019) 💖

Knives Out (2019) ⭐

Barb and Star go to Vista Del Mar (2021)💖

White Noise (2022)💖

Do Revenge (2022) 💖

Knives Out 2 (2022) ⭐

X (2022) ⭐

The Wonder (2022) ⭐

Nope (2022) ⭐

[monstermaster13]

- Main character crew

Nathan: My character...Doctor Nathan Forester is a shapeshifting monsterologist (scientist who studies monsters), he is socially awkward and shy but has a bit of a sense of humor about himself, his shapeshifting powers are complicated, sometimes he'll change into another character or person via the result of an encounter, sometimes he'll do it at night, on some ocassions it is the result of psychic visions and dreams he has. He also has some half-vampiric traits.

Melanie 'Mel' Sanders: A koala-girl with brown hair and brown eyes who is adorkable yet adventurous, she has a couple of transformations of her own including a werekoala form and a she-hulk-esque form.

Eucalyptus: Eucalyptus or Eukie is Mel's best friend, a bluish-green koala-girl who is adorkable and quirky and slightly unhinged, she is very much into aquatic species, 80s horror, musical theater, HP Lovecraft, and Dan Aykroyd. She owns a copy of the 'cursed script' that both of the teams of Aykroyd characters have their eye on, she has dark green hair. In addition to this she has pet Audrey II plants.

Matthias: Matthias T.Radke aka That Werebelushi In The Shades is a ranter/reviewer who tackles bad media but mainly bad sequels, bad remakes, bad fanfiction and whatever else irks him, in-universe it is explained he used to be a Channel Awesome hopeful. He is a monster version of John Belushi and dressess like the Jake Blues character.

'Dan': Nathan's were-aykroyd alter-ego who is a leader of a group of Dan Aykroyd characters who view him as his brother, he is a supernatural version of Dan Aykroyd and is a 'Were-Aykroyd' as in someone who turns into Dan or his characters, he is extremely strong and intelligent and also has psychic abilities and can possess people. He can also make people he chooses into were-aykroyds too. He has a number of different appearances but the one that he sometimes commonly has resembles the character Bob from Twin Peaks.

Dan's siblings:

- Vic Zeck (Neighbors), The Aykroyd character who gave 'Dan' his powers, each Aykroyd character has unique abilities of their own, Vic has hypnotic blue eyes that enable him to condition people he chooses, except instead of using mind control to do so (he doesn't use mind control if at all), his is more acceptable. He is a bit unhinged and unpredictable but he's still a very good mentor to Nathan and his Were-Aykroyd alter-ego. He has the habit of mistaking Matthias for Earl Keese.

- Ray Stantz (Ghostbusters): The heart of the Ghostbusters and the heart of the team.

- Elwood Blues (The Blues Brothers). The best brother ever to the late Jake Blues.

- Roman Craig (The Great Outdoors).

- Louis Winthorpe III (Trading Places). At first Louis comes across as a bit cocky, a bit too cocky for his own good but he's actually a nice guy at heart and is willing to share his wealth with others.

- Joe Friday (Dragnet).

- Sgt Tree (1941).

- Clifford Skridlow (Doctor Detroit)

- Ellis Fielding (Loose Cannons).

- Grocer (Grosse Pointe Blank). This version of the villain from Grosse Pointe Blank is slightly different than his counterpart in the movie, instead of dying...he came back to life and he decided to become a good guy instead, originally he was part of Vic Frohmyer's gang of Aykroyd characters who are antagonistic in someway but he reformed and joined Nathan, even though he was the one that caused Nathan to turn in the first place, he later made up for it. He has a tendency to always come back from the dead.

- Austin Milbarge (Spies Like Us). The stealth expert.

- Jimmy Flaherty (Celtic Pride).

- Ray Zalinski (Tommy Boy)

- Boolie (Driving Miss Daisy).

- Tom Everett (Caddyshack II). The least popular member of the group, mainly because the movie he is from tanked, hence why nobody loves him, which makes him sad because he tries his best to be the best he can be. He however did get adopted into the group because Nathan took pity on him despite not liking Caddyshack II. Used to have the title of 'Worst Aykroyd Character' until Vic Frohmyer came along.

- Steven Mils (My Stepmother Is An Alien).

- Yortuk Festrunk (SNL).

- Beldar Conehead (Coneheads). Dubbed 'the best alien dad ever', he is the team's resident alien, he has all the powers he has in the Coneheads movie.

- Darren 'Mother' Roscow (Sneakers). The tech-expert and conspiracy theorist, he is also the admin and owner of the official Aykroyd-verse website and wiki.

- Passenger (Twilight Zone: The Movie). Nobody knows what kind of monster this Aykroyd character is, because some suggest he's a deadite, some say he's a ghost and some say he's a demon, basically what is known about him is that he likes to scare people who go driving at night, also in his Aykroyd-verse wiki bio it is mentioned he knows of the Haunted Mansion since he has met the movie version of Ezra and also met Ramsley and Master Gracey (and also because he used to hang out on The Twilight Zone Tower of Terror he says he knew the late Gilbert Gottfried, a reference to the Disneyworld Inside Out halloween special), he also says that he met Large Marge once. He has the ability to shift between his normal cute Aykroydian appearance and a blue skinned ghoul with white hair and sharp claw-like fingernails and sharpened teeth.

- Mike Webber (Soul Man). The mentor figure or spirit guide of the group, a widowed father who is a priest and also a bit of a music lover, he may come across as stern sometimes but has a good heart. It's also revealed that he does know the character of Otho Fenlock from Beetlejuice since he knows a priest that looks and sounds like him (a reference to Glenn Shadix's role in Heathers).

[byneddiedingo]

Ray Milland and Carole Lombard in Mr. & Mrs. Smith (Alfred Hitchcock, 1941)

Cast: Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale, Lucile Watson, William Tracy, Charles Halton, Esther Dale. Screenplay: Norman Krasna. Cinematography: Harry Stradling Sr.. Art direction: Van Nest Polglase, Albert S. D'Agostino. Film editing: William Hamilton. Music: Edward Ward.

If Alfred Hitchcock's name were not attached to Mr. & Mrs. Smith, would we remember it at all today? Perhaps as one of the last films of Carole Lombard -- it was the last released before her death in January 1942, though the posthumously released To Be or Not to Be (Ernst Lubitsch, 1942) was the last one she completed filming. Or perhaps as one of the lesser examples of the romantic/screwball  comedy genre that flourished in the 1930s and '40s. But even hardcore Hitchcockians find it difficult to fit it into the director's canon. Hitchcock had said he wanted to work with Lombard, and when Lombard liked Norman Krasna's story and screenplay, the teaming was put into play. Lombard and Robert Montgomery play Ann and David Smith, who discover that their three-year-old marriage is invalid, owing to a legal technicality. Complications ensue, especially when David doesn't rush into remarriage as quickly as Ann likes. She kicks him out of the apartment, and then his law partner, Jeff Custer (Gene Raymond), makes a play for her affections. Lombard is very much at home in this kind of comedy, and Montgomery is good at it too. The weak link is Raymond, who has the kind of role, the "other man" patsy, at which actors like Ralph Bellamy in The Awful Truth (Leo McCarey, 1937) and His Girl Friday (Howard Hawks, 1940) and John Howard in The Philadelphia Story (George Cukor, 1940) excelled. Raymond plays his part with a pinched, rather prissy manner that hardly sits well with the fact that he's supposed to have been the best fullback at the University of Alabama. In fact, the character seems to have been coded as latently gay: Witness Lombard's reaction when Ann learns that he decorated his own very tasteful apartment. Much of the film skirts around matters forbidden by the Production Code, including whether the now-unmarried Smiths should sleep together, which a director like Lubitsch or Hawks would have treated with more wit and finesse than Hitchcock does. This was only his third film made in Hollywood, and it was his first with a completely American setting; the first two, Rebecca (1940) and Foreign Correspondent (1940), were set in Europe and England. His unfamiliarity with American idiom shows up particularly in his treatment of the Alabama football jock Jeff and his parents (Philip Merivale and Lucile Watson), proper Southerners who are shocked at the suggestion that Ann has been sleeping with David. But whenever Hitchcock is working with Lombard and Montgomery, especially using Lombard's great gift for uninhibited physical comedy, the movie comes to fitful life.