Update 11 August 2017: This was published by mistake before it was done but I figure i am just going to leave it as a work in progress. I just completed TCM Presents The Master of Suspense: 50 Years of Hitchcock online course. I’m just throwing out an idea out here and that’s Girls Who Wear Glasses (GWWG) as a motif. Considering that one of them is Hitchcock’s own daughter Patricia, and it appears about as often as paintings, it’s significant, but it doesn’t really get talked about…not that I saw anyway.
As #TCMParty people and/or readers of this blog may or may not know, I’m obsessed with the 1947 mystery-drama Lured. Sure, the presence of one of my favorite velvet-voiced British thespians, George Sanders, has a lot to do with it. But its major charm is Lucille Ball’s fine performance in the lead role, which, while allowing flickers of her comedic genius to show through, always makes me wish she’d done more dramatic roles.
In our classic movie corner of the world, the eleventh month of the year is not dedicated to family gatherings or special sales. Here we celebrate crime-laden streets, shadowy figures, and suspicious cops. This is Noirvember.
@TCMParty host Trevor has chosen three noirs:
Thursday, November 21 @ 8 p.m. – Jack Bernhard’s DECOY (1946) starring Jean Gillie, Edward Norris and Robert Armstrong.
Sunday, November 24 @ noon – Richard Fleischer’s ARMORED CAR ROBBERY (1950) starring Charles McGraw, Adele Jergens and William Talman.
Thursday, November 28 @ 8 p.m. – Edward Dmytryk’s CORNERED (1945) starring Dick Powell, Walter Slezak and Micheline Cheirel.
We hope everyone will want to participate, as it’s sure to be a fun, informative time. If you already subscribe to Warner Archive Instant, you’re all set. If you don’t, you can sign up for a free two-week trial here.
Either way, you need only be on Twitter at the scheduled time, use the correct hashtags, and wait for the host to signal, “START THE MOVIE,” to enjoy online Noirvember.
We’re thrilled to be presenting these Warner Bros. film noirs as part of the excitement of #TCMparty, and hope this is the first of many collaborations between our enthusiastic film-loving community and the studio with deep dark noir roots.
Note that these Noirvember tweet-a-longs are in addition to the regular #TCMparty events, which follow along to scheduled programming on TCM (dates listed below). Please visit the TCM Party tumblr for more info.
Wednesday, November 6 @ 8 p.m. THE KILLERS (1946)
Wednesday, November 13 @ 8 p.m. GUNFIGHT AT THE O.K. CORRAL (1957)
Tuesday, November 19 @ 8 p.m. THE MALTESE FALCON (1941)
Wednesday, November 27 @ 8 p.m. FIELD OF DREAMS (1989)
In honor of Barbara Stanwyck‘s 106th birthday on July 16, I asked TCM Party people their favorite Stanwyck movie. I personally feel that she was good to excellent in every movie she did, but everyone has one that stands out more than others. Actually not one. Usually many. As I quickly realized, it’s a tough choice to make. I also realized afterwards I had enough votes on my hands for a totally unscientific poll. Since I didn’t really specify a number of films, I counted each mention via Twitter and Facebook of a movie’s title as a vote for that movie. Yeah, yeah, I know…it’s completely unscientific!
And now…to the results…
5th place — Sorry, Wrong Number (1948)
Stanwyck plays a bedridden invalid whose shady husband (Burt Lancaster) may or may not be trying to kill her. Plenty of flashbacks and suspense galore.
I’m not gonna summarize these…if you haven’t seen them, go watch them now.
3rd place – The Lady Eve (1941)
Stanwyck, playing a con woman, sets her sights on “Hopsy” (Henry Fonda), the beer heir who can’t stand beer. Hopsy falls in love with her right away, but complications ensue when she realizes she loves him back.
2nd place – Christmas in Connecticut (1945)
I was surprised how highly this placed, but I really shouldn’t be. Stanwyck plays a homemaking columnist who lives in an apartment, can’t cook, isn’t married, and doesn’t have any kids. Her friend, chef Felix (S.Z. “Cuddles” Sakall), provides all the recipes and she fakes the rest. The arrangement hits some hilarious snags when her editor (Sydney Greenstreet) wants a war hero (Dennis Morgan) to stay at her non-existent farm (she totally made it up) for the holidays.
1st place – Double Indemnity (1944)
No surprise here. Fine direction from Billy Wilder, stunning cinematography by John F. Seitz, and excellent performances from a perfect cast add up to possibly the best film noir — and one of the best films — ever made.
I know, I missed your favorite…mine didn’t get even one vote! (Hint: check out the feature image for this post.) So give me a piece of your mind in the comments. PS: if you like classic movies, and you watch them on Turner Classic Movies, you might want to join us for one of our live #TCMParty tweetalongs. For deets, follow @TCM_Party or get more info here.
The thing about Argo is that we already know how it ends. In 1980, CIA operative Tony Mendez (played by Ben Affleck) managed to “ex-filtrate” the six Americans who escaped to the Canadian ambassador’s house when Iranian revolutionaries took over the US embassy in Tehran. But I forgot all about that, and judging from the reactions of others in the audience, so did everyone else. This film immerses you in suspense.
As I noted in one of my past posts, I liked the trailer for Argo, maybe because it reminded a bit of The Town, one of my favorite heist pictures ever, also directed by Affleck. The director doesn’t disappoint, ratcheting the tension up exponentially. It could have been a bit too tense, but Affleck and screenwriter Chris Terrio break the mood with some very funny moments at Hollywood’s expense. The lighter, satirical scenes with John Goodman and Alan Arkin in the movie capital do more than just relieve almost unbearable stress. These scenes – actually the whole movie – are a meditation on the nature of espionage, movies, and storytelling. It begins with a brief history of Iran and the causes of the 1980 revolution. Instead of the usual text on a blank background, or a newsreel-style montage, Argo‘s introduction is a series of animated story boards. Then, of course, there are the fake identities and backstories the diplomats take on to pull off their own rescue. If they can act convincingly enough, they’ll live. At the risk of saying too much, this film shows that the key to being a good spy and the key to making a good movie are one and the same — having the ability to tell to a good story.
PS: I highly recommend reading this excellent Entertainment Weekly interview with Affleck and Mendez if you haven’t already. Among other things, I found out that the Argo story is just one chapter in the CIA agent’s fascinating life. Hoping Hollywood will call on him again.