WHAT FILMS HAVE YOU SEEN LATELY?

[Lomm]

Last night I watched Esther Williams' Million Dollar Mermaid, having just finished her autobiography. It's a good thing she was such a talented showperson as a swimmer, because as an actress, she's...well, a good swimmer. I hadn't seen her in anything before.

[Vecchiolarry]

Hi Lomm,

Fanny Brice's famous statement about Esther Williams:
"Wet, she's a star; dry, she ain't!!".......

Larry

[Lomm]

Hi Lomm,

Fanny Brice's famous statement about Esther Williams:
"Wet, she's a star; dry, she ain't!!".......

Larry

That captures it for sure, Larry! I was at first amazed that she became such a big star with one bit, but then on reflection, it's hardly unprecedented.

[feaito]

Re. Heist films. WEN, have you seen the French film "Rififi" with Jean Servais (1955) and the Italian film "I Soliti Ignoti" (Big Deal on Madonna Street) (1958) with Vittorio Gassman? They are both SUPERB.

[ChiO]

Re: Heist Films and my completely unsupportable thoughts --

Heist films do mean different things at different times as do all films -- means (maybe) one thing when it's made and another when it is viewed, the latter reflecting more on the viewer's take on the current time and on what the era in which it was made now seems to represent.

Maybe heist films play on: thrill of the crime; mystery (how will it be planned and will the plan succeed?); all levels of violence are available (it can be heist only with no violence or a blood-bath, or a comedy - all the options are available); sympathy, empathy or, at least, vicarious thrills (since heist movies are not inherently violent, it may be the type of crime movie that allows for a more sympathetic character, which may allow for more empathy, and, therefore, less guilt about wanting a crime to succeed).

Heist films are fun - we all want to get away with something and they allow us to fantasize about that something.

[RedRiver]

Rita Hayworth, I'm so glad your PBS channel ran SOME LIKE IT HOT as well. Maybe this is a national thing, but I doubt it. In my area, they show a classic every Saturday. It's almost always the best thing on all week!

Wendy, your suppositions on the economy and heist films are intriguing. Huston and Kubrick made theirs in the prosperous 1950s. As for the 1970s, we thought the economy was bad at the time. Little did we know it would get much worse. Now that looks like the good old days! I don't think I've ever seen a heist film I didn't like. RIFIFI is so good it's mind-boggling. And I don't even care for foreign language films. ASPHALT JUNGLE is the mold. I compare all the others to this one. When DOG DAY AFTERNOON came out, I saw it with two friends. They both thought it was OK. No big deal. I said, "Are you guys nuts? That's the best movie I've seen in years!"

I even like David Mamet's HEIST. It's not as good as some of the others, but I have no complaints. ARMORED CAR ROBBERY, FIVE AGAINST THE HOUSE. KANSAS CITY CONFIDENTIAL is not about the big job so much as the aftermath. But what the hell? Count it!

[mrsl]

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Lomm:

Back to Esther Williams. I hope by now you've seen a few more of her movies. It's true that she never did any award winning acting, but her personality carried her in most parts. She was always sunny and charming. Other than The Unguarded Moment and Raw Wind in Eden, she never really tried to do anything that would require heavy dramatic acting, even Million Dollar Mermaid was mainly underwater. But that's my old nemesis again, if I like the actors, I have a hard time criticizing them.
.

[Lomm]

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Lomm:

Back to Esther Williams. I hope by now you've seen a few more of her movies. It's true that she never did any award winning acting, but her personality carried her in most parts. She was always sunny and charming. Other than The Unguarded Moment and Raw Wind in Eden, she never really tried to do anything that would require heavy dramatic acting, even Million Dollar Mermaid was mainly underwater. But that's my old nemesis again, if I like the actors, I have a hard time criticizing them.
.

I haven't yet, but I didn't give up on her after just the one; all of her movies (that are available) are still mixed into my Netflix queue, and I will get to them. Despite my opinion of her acting, I do find her very charming as well; the swimming scenes alone are enough to carry me through, and she has that going for her in most of her movies.

[CineMaven]

Jack Favell writes: “It does seem that certain types of movies are made during certain times, doesn't it, Masha?”

I agree with you. Things seem to be cyclical in the business. ( Disaster films anyone? ) If Studio A makes money from this, then Studio B, C and X have to put their version out. Remember when tv had medical shows ( “Ben Casey” “Dr. Kildare” “The Nurses” “Medical Center” “Marcus Welby, MD” ) or westerns ( “The Virginian” “Bonanza” “Sugar Foot” “The Big Valley” ) law shows ( “Perry Mason” “Owen Marshall” etc. ) or cop shows ( “Racket Squad” “M” Squad” “The Untouchables” ) though these cycles might not have anything to do with what was happening in the world at the time and more to do with copycatting others' success.

For me, my interest in heist films has waned. I did see “The Anderson Tapes” back in the 70’s, and “Set It Off” a plain ol’ bank robbery film of fifteen or so years ago starring Queen Latifah. But I loved legends like: “The Killing” and “The Asphalt Jungle.” Where it used to be a metaphor for character study the heist film is now used to show “how-clever-and-hip-I-am-to-have-a-cast-of-superstars-in-one-movie-thinking-how-clever-and-hip-they-are-for-appearing-in-it.” ACK!!! ( “Oceans 11, 12, 17 1/2” ) But it makes sense to me what you say Wendy that the“heist films made their appearances in economically more well off or flush times rather than in poor ones.” Heaven forbid the Wall Street-types want to give the poor middle-class any ideas for robbing them. Maybe I’ve lost some steps in my attention-span ( or patience ) for the intricate deals and double double crosses in this genre. I've got to sit with “Rififi” again and the Gabin film that Moira introduced on TCM.

[JackFavell]

Oh I've never really waned on the heist film. Certain ones don't seem as good as they once were, I'll agree, but I still very much enjoy them. Just as I enjoyed all the responses here about what they really mean, or what they provide for an audience. Thanks for jumping in to help me clarify my feelings for the genre.

I guess what I'm hearing is that heist films provide the same kind of release that the Marx Brothers do - a safe way to rebel or lash out against society, against a structured, safe life or job. Other films I feel fit into this category that aren't actually heist films include Cool Hand Luke, Miracle of Morgan's Creek, and The Reckless Moment....but wait a minute. Is it possible that movies in general provide this service? screwball also provides the audience with a sense of rebellion against the status quo, and so does noir. Hmmm. Now I've really confused myself.

[Rita Hayworth]

Rita Hayworth, I'm so glad your PBS channel ran SOME LIKE IT HOT as well. Maybe this is a national thing, but I doubt it. In my area, they show a classic every Saturday. It's almost always the best thing on all week!

They had it on twice on consecutive weekends here and I was tickled pink seeing this enduring classic starring Tony Curtis, Jack Lemmon, and Marilyn Monroe. It was a hoot seeing it Red River.

[Lzcutter]

Mr. Cutter and I are off to see The Wolf of Wall Street this evening.

Coming up in the next two weeks, we will see Saving Mr. Banks and Lone Survivor.

We keep hoping that 12 Years a Slave will be re-released because of the Oscars but it's not looking good.

Also, hope to see Gravity before the awards are handed out on March 2nd.