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End Credits #74: Cinema's 2017 Lost Treasures Danielle Darrieux


Danielle Darrieux (May 1, 1917 - October 17, 2017) the talented French actress has died at age 100. 

Guest contributor Bob DiMucci has provided this tribute to many of her motion picture accomplishments:


The Films of Danielle Darrieux











Danielle Darrieux had leading a role in the ensemble cast of 1950's LA RONDE, which included Anton Wallbrook and Simone Signoret. Max Ophuls directed this romance, which consisted of a number of vignettes revolving around a circle of interconnected love. In the film, Darrieux plays a cheating wife who entertains the notion of having an affair with a rich boy (Daniel Gelin). Oscar Straus scored the film.


In the 1951 MGM musical RICH, YOUNG AND PRETTY, Darrieux co-starred with Jane Powell and Wendell Corey. In the film, when wealthy Texas rancher and statesman "Jim Stauton Rogers" (Corey) is called to Paris on a United Nations matter, he reluctantly takes his grown daughter "Elizabeth" (Powell) with him, fearful that she will encounter his long-estranged wife, singer "Marie Devarone" (Darrieux). The film was Darrieux's first Hollywood feature since the 1938 Universal picture THE RAGE OF PARIS.

Norman Taurog directed the film, which marked a number of motion picture debuts. It was the American motion picture debut of Argentine actor and singer Fernando Lamas, as well as the motion picture debuts of popular singer Vic Damone and the singing group "The Four Freshmen." It was also an early film for the recently passed Richard Anderson. Composer Nicholas Brodszky and lyricist Sammy Cahn created seven songs for the film. Darrieux sang two of them on the MGM soundtrack LP, along with a third, "There's Danger in Your Eyes, Cherie," that had music and lyrics by Pete Wendling, Harry Richman, and Jack Meskill.


Darrieux was directed by Max Ophuls for the second time in 1952's LE PLAISIR. The film was comprised of three stories about pleasure. In the second story, "La Maison Tellier," the diplomatic madam Tellier (Madeleine Renaud) temporarily closes her popular establishment so that she and her courtesans can attend the communion of her niece, "Constance" (Jocelyne Jany), who lives in a small village in the countryside with her brother "Joseph" (Jean Gabin), a naughty carpenter who loves to drink. Before they leave, Joseph warms up to "Rosa" (Danielle Darrieux), the most beautiful courtesan.

Maurice Yvain was originally engaged to compose an original score, but he was replaced by Joe Hajos, who based most of his music on popular music of the late 19th century.


5 FINGERS was a World War II espionage thriller set in 1944 Turkey, a neutral country during the war, which became a hotbed of espionage for Allied and Axis diplomats. The film opens at a reception in Ankara, where German ambassador "Franz von Papen" (John Wengraf) and English ambassador "Sir Frederic" (Walter Hampden) both converse with "Countess Anna Staviska" (Danielle Darrieux), the French widow of a pro-German Polish count. Micheline Prelle was originally signed for the role of "Anna" (which was fictional, unlike the majority of the other characters in the film), but had to withdraw from the cast due to pregnancy.

Joseph L. Mankiewicz directed the film, which was loosely based on the life of Elyeza Bazna (1905--1971), the valet to the English ambassador to Turkey during World War II, Sir Hughe Knatchbull-Hugessen. Bernard Herrmann's score was released by Kritzerland in 2015.


Danielle Darrieux's third and final film for director Max Ophuls was 1953's THE EARRINGS OF MADAME DE... The film revolved around the diamond earrings of a French aristocrat (Darrieux), a wedding gift from her husband (Charles Boyer), which cause a series of conflicts as they change hands repeatedly. Ophüls would only direct the film if Darrieux agreed to star. The role was written with her specifically in mind.

The film was based on a scant novel (62 pages) by Louise de Vilmorin, who chose to keep her characters nameless in order to match the style of Belle Époque authors, who employed the technique in order to make it seem as if their characters were based on real people. Max Ophüls decided to keep the characters' surnames a secret in the film adaptation, because he felt that it created the suggestion that his characters could represent anybody from the story's milieu. Seven minutes of Georges van Parys' score appeared on a 2006 composer compilation CD from Universal France.


In the 1955 French epic NAPOLEON, Darrieux played Eléonore Denuelle, a mistress of Emperor Napoleon I of France (Raymond Pellegrin) and the mother of his son Charles, Count Léon. The three-hour film was written and directed by Sacha Guitry. Jean Françaix's score was released on an Odeon 45rpm EP, but has never been reissued on CD.


In ALEXANDER THE GREAT, King Philip of Macedonia (Fredric March) embarks on relentless brutal military campaigns to conquer all of Greece. While he is away at war, his wife Olympias (Danielle Darrieux) gives birth to their first son, Alexander, and sends word that the baby is a god.

Although Richard Burton was only 29 at the time of filming, many critics felt he already looked too old to play Alexander. He was supposed to be a teenager in the first hour. Danielle Darrieux played Burton's mother in the film, despite only being eight years older than him.

Director Robert Rossen shot the film, his first in CinemaScope, to run three hours plus an intermission, and was very disappointed when the distributor cut it to 141 minutes. Mario Nascimbene's score was released on a Mercury LP. Shortened versions later appeared on CDs from Legend (1989) and DRG (1996). The complete score is provided as an isolated score track on the 2016 Twilight Time Blu-ray of the film.


LOSS OF INNOCENCE (aka THE GREENGAGE SUMMER) told the story of a British girl's (Susannah York) awakening from childhood into life and love while on vacation in France with her sisters and brother. Danielle Darrieux played "Madame Zizi," the proprietor of the château-hotel on the River Marne where the children stay. Lewis Gilbert directed this 1961 drama. Richard Adinsell's score was released on a Colpix LP, but has not had a CD re-issue.


In Jacques Demy's buoyant musical THE YOUNGS GIRLS OF ROCHEFORT, boat salesmen "Etienne" (George Chakiris) and "Bill" (Grover Dale) arrive in Rochefort-sur-Mer with a dance troupe and attempt to establish an open-air fair. When their girl friends leave the company, the salesmen scour the city for replacements. In so doing, they encounter twin sisters, "Delphine" (Catherine Deneuve) and "Solange Garnier" (Françoise Dorléac), music teachers and dancers. The twins' mother, "Yvonne" (Danielle Darrieux), owns a café and dreams of her old lover, "Monsieur Dame" (Michel Piccoli), proprietor of a nearby music shop.

Michel Legrand provided the score for this 1967 film, which was released on a Philips LP. Later CD releases have come from Philips and DRG. Danielle Darrieux is the only actor who actually sings for herself on the soundtrack.


BIRDS IN PERU was the very first film to receive an "X" rating from the MPAA when the U.S. film rating system was established in November 1968. Its story involves a frigid beauty (Jean Seberg) who arrives in Peru in the midst of a round-the-world trip in search of fulfillment. She is accompanied by her husband (Pierre Brasseur) and his chauffeur (Jean-Pierre Kalfon), who complete a masochistic menage a trois. The morning after a carnival, she leaves the lovers who tried and failed the night before and arrives at a bordello on the seashore run by madam Danielle Darrieux.

Romain Gary wrote and directed this film based upon his own 1962 short story. Kenton Coe provided the unreleased score.


Darrieux worked with director Jacques Demy a second time in the film UNE CHAMBRE EN VILLE (A Room in Town). Set in 1955, this sung-through musical stars Richard Berry as "Francois," a metalworker on strike with his union brothers. The film opens with a clash between the workers and the police, switching from a black-and-white newsreel style to color as the first blows are thrown. Francois escapes unharmed, but his life is put in jeopardy regardless. With no money to pay the rent, he risks eviction from “the baroness,” "Margot" (Danielle Darrieux), who lets him a room in her apartment.

The 1982 film was scored by Michel Colombier. The original 2-LP set was released on the Trema label and had its first CD appearance on a 2007 Kritzerland release. It was subsequently released by Universal France in 2013. Danielle Darrieux sings on 8 of the album's tracks. The film did not get a U.S. theatrical release.


Gathering together a plethora of French actresses, 2002's 8 WOMEN has been described as an Agatha Christie musical -- a murder mystery with six song and dance numbers. Eight women have gathered at a cozy cottage to celebrate Christmas with "Marcel" (Dominique Lamure), who is the husband of "Gaby" (Catherine Deneuve), the son-in-law of "Mamy" (Danielle Darrieux), the brother-in-law of "Aunt Augustine" (Isabelle Huppert), the father of "Catherine" (Ludivine Sagnier) and "Suzon" (Virginie Ledoyen), the employer of the domestic servants "Madame Chanel" (Firmine Richard) and "Louise" (Emmanuelle Beart), and the brother of the late-arriving "Pierrette" (Fanny Ardant). And that's the entire cast in this film, which was based on a play by Robert Thomas.

This was the third filming of the play. It had previously been done as a 1957 French film and a 1965 Belgian television movie. This time, François Ozon adapted the play for the screen and directed. Krishna Levy's score was released by Rhino Records.

This was the third film in which Danielle Darrieux played Catherine Deneuve's mother, following THE YOUNG GIRLS OF ROCHEFORT (1967) and LE LIEU DU CRIME (1986). For the latter film, Darrieux had received a César nomination for Best Supporting Actress. And again for 8 WOMEN, Darrieux received a nomination for the same award. Virginie Ledoyen, who played the pregnant character Suzon, actually was pregnant during filming, prompting Darrieux to joke that "Actually it was 'neuf femmes' and not huit".


PERSEPOLIS tells the true story of Marjane Satrapi, who grew up in a liberal, Shah-hating household in Iran.
When she was a child in the late 1970s, her family greeted the fall of the shah as the beginning of freedom for their country. Whatever came, "it can't be worse than the shah," they said. And then it got worse. And then it got horrible. The 2007 animated film was based on the graphic novel of the same name by Satrapi. She also co-directed the film with screenwriter Vincent Paronnaud. Olivier Bernet's score was released by EMI France.

Chiara Mastroianni is the voice of Marjane, and Mastroianni's real-life mother, Catherine Deneuve, is the voice of Marjane's mother. But Danielle Darrieux has the plum part of Marjane's grandmother, a woman who is irreverent and shrewd but who insists on holding her granddaughter to a strict code of integrity - one that serves her in later life.


During an acting career which spanned an astounding 80 years, Danielle Darrieux received three nominations for César awards as Best Supporting Actress. Although she did not win a competitive award, in 1987 she was awarded an Honorary César for her contributions to French film. Much of Danielle Darrieux's film work has not been made available to an English-speaking audience. But we can be grateful for the number of fine performances that we have been privileged to see. Farewell Danielle.




Capturing a Golden Moment #19: The Drowning Pool


The Drowning Pool (1975)


Director: Stuart Rosenberg


Scene: "The Drowning Pool"


This is an investigative sequel, of sorts, to 1966's Harper, with Paul Newman reprising his role as Lew Harper, private detective. The original is the one to see, with its more intriguing premise, creatively delivered storyline, and colourful characters to hold our attention. The Drowning Pool does, however, have the title scene's showstopper: Distinctive, suspenseful and wonderfully created by everyone involved behind and in front of the camera. If only the rest of the film delivered half the inspiration found here. *Warning: Some may find its brutal, intense nature disturbing. 




The Drowning Pool is available on this DVD-R here:

Drowning Pool, The
Starring Paul Newman, Joanne Woodward, Tony Franciosa, Murray Hamilton, Gail Strickland


It is also available for U.S. download here:

The Drowning Pool
Starring Paul Newman, Joanne Woodward, Tony Franciosa, Murray Hamilton, Gail Strickland


And in this box set of 7 Paul Newman films here:



"Now Listen to Me..."


Just some thoughts on current happenings: 


There are 21 recommended films to watch on Turner Classic Movies in the U.S. this month:


Few actresses were as capable of conveying their character's inner emotional turbulence as Joan Crawford and in 1947's Possessed, the consummate performer delivers the hurricane Katrina of almighty tempestuous thunderstorms.

Joan Crawford

Joan Crawford

When we first see Crawford's severely distressed Louise Howell, she's wandering the streets of Los Angeles, practically catatonic except for her delusional cries of "David" when approaching some male strangers. After being taken by ambulance to a hospital, medicated and placed under psychiatric evaluation (ah, the good old days), Louise is able to approximate a story of past circumstances, including an obsessional dependency on another, that contributed to her present mentally disturbed state.

Van Heflin, Joan Crawford

Van Heflin, Joan Crawford

Being a film noir we will, naturally, see these events in flashback form. Watching Louise becoming increasingly consumed and tormented by her amorous feelings toward an unresponsive David Sutton (a typical soul-searching performance by Van Heflin), makes for a deeply captivating experience. This is due to the subtle complexities of character and situation seamlessly interspersed throughout the narrative by writers Silvia Richards and Ranald MacDougall, from a story by Rita Weiman. There's also the film's clever integration of noir elements as Crawford's Louise strongly considers murdering David as a means of relieving her unrequited love's psychological suffering while simultaneously keeping him from being with anyone else, the latter which will become a very real threat. Additionally enhancing this noir recipe are Franz Waxman's melodramatic infused score and Joseph A. Valentine's moody cinematography. Marshalling this incredible array of talent is director Curtis Bernhartd, no stranger to exceptional film noir or even his main characters' obsessional desires as he showed in Conflict (1945), and would demonstrate again in High Wall (1947) amongst others.  

Horror fans will, of course, recognise the pronounced subject matter of fixated longing for someone else (one who cannot reciprocate those feelings), sensationalised in films such as Daddy's Gone A-Hunting (1969), Play Misty for Me (1971), and Fatal Attraction (1987). The results in films of this type may be more physically confrontational, immediate and therefore suspenseful, but are less engaging and thought provoking than the far earlier produced Possessed. Even at her most schizophrenic heights, our heroine's sympathetic qualities shine through, enhanced by the film's underlying sense of invested compassion. The intricately developed and considered responses by Louise's surrounding characters increase the authenticity of Possessed without sacrificing the film's devotion to noir's exhilarating trademark of fatalism. Attentive viewers will be possessed Sunday, October 1 at 7am PST. As an added bonus it will be introduced by the "Czar of Noir" Eddie Muller as part of his ongoing series 'Noir Alley'. For more information on 'Noir Alley' click here






No less enveloping and released the same year as Possessed, is 1947's The Unsuspected, last month's TCM recommendation here, and will unexpectedly air again Monday, October 2 at 1pm PST. 






Concluding TCM's 1947 film noir triumvirate this week is perhaps the classification's finest, Out of the Past, previously praised here and arriving again on Thursday, October 5 at 3pm PST.






In the mid-60s, independent filmmaker Monte Hellman directed a couple of extremely low-budget but highly distinctive westerns made back to back, The Shooting and my next TCM recommendation Ride in the Whirlwind.

(From left) Cameron Mitchell, Tom Filer, Jack Nicholson

(From left) Cameron Mitchell, Tom Filer, Jack Nicholson

The latter is best described as an existential, almost anti-western. The setting is non-traditionally stark but familiar. The events, however, are portrayed with little concern for rhyme or reason in a brutal and despairing manner. Although Ride in the Whirlwind has a more discernible plot and is not as abstract in nature compared to The Shooting, there is no "law and order” coming to the rescue here, nor, for that matter does any representation of moral righteousness or justice exist. The "why" of things are made insignificant by way of the film's central three characters, cowhands who find themselves mistaken by a posse of death-dealing vigilantes for belonging to a greater gang of outlaws. There’s no time or place for heroic thoughts or deeds in these desperate circumstances, only how to best survive them. Virtue is only peripherally discussed amongst our trio of cowboys, and not as a means in itself of achieving a more rewarding life. Their moral choices seem guided only by what's suited to each individual's personality when they first unwittingly meet up with the stage robbing bandits. The three then decide to go on their way, ironic when they are misidentified as belonging to the gang anyway and doggedly pursued throughout the rest of the story. Later, when two of our three cattlemen hide out at a family’s homestead, their values become further challenged due to the harm they will inflict on others. Still, they are decisions which are accepted as "out of their hands" just as the unforeseen and dire circumstances they have found themselves in. One thing all of the characters have in common: No matter what happens, and even more so, what decisions they make, the results will be bleak, punishing and hard. Life itself is the “whirlwind" one must ride out all the way to the end. It’s a gale force that metaphorically clears out all of the western genre’s remnants of romance and glory as it endlessly carries its survivors to their untenable destinies. 

Jack Nicholson

Jack Nicholson

(In foreground) Harry Dean Stanton

(In foreground) Harry Dean Stanton

In keeping with the modest budget and theme, dramatic contrivances are boldly absent in the brilliant original screenplay penned by the film’s star Jack Nicholson. This is a strikingly intelligent economical work, one that communicates a deep emotional empathy without condescending to its audience. Performances as secured by Hellman’s directorial prowess remain authentic throughout their characters’ trials and tribulations. Adding to the film's integrity is the recently departed actor Harry Dean Stanton, making a most welcome appearance. The overall exposition is made further harmonious by Robert Drasnin’s foreboding score and Gregory Sandor’s unobtrusive cinematography. Viewers will have that rare opportunity to ride this unusual and haunting western’s whirlwind Saturday, October 7 at 12:45pm PST. 






Returning to films noir and specifically 1947 (the same year of release for the three previous noirs recommended above) we have Hidden Gem #10, They Won't Believe Me, with its fascinating, twisty plot and antithetically noir central character. This was my very first entry, (linked here), for the Cinema Cafe Site with some kind words from the "Czar of Noir" himself, Eddie Muller, in the comments section below the review. If you're a TCM noir fan and haven't seen this unusual motion picture, please believe me, you don't want to miss this golden opportunity. The next film to emerge from the shadows in Eddie's Noir Alley can be seen Sunday, October 8 at 7am PST and will repeat Saturday, October 30 (late evening), at 1:45am PST. 

Jane Greer, Robert Young

Jane Greer, Robert Young






MGM's 1952 musical Singin' in the Rain was not adapted from a stage production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation, and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here, and will joyously dance its way onto TCM Monday, October 9 at 9:15 pm PST.

Cyd Charisse, Gene Kelly

Cyd Charisse, Gene Kelly






Rarely does an atmosphere of such overpowering dread subsume a cinematic story so completely as it does in 1943's The Seventh Victim

Jean Brooks

Jean Brooks

A young woman (portrayed as a fetching innocent by Kim Hunter) goes searching for her missing sister (enigmatically played by Jean Brooks) in New York City's Greenwich Village and stumbles upon a satanic cult of devil worshipers putting both of their lives at risk. Mark Robson, who directed a number of these Val Lewton produced gems is himself at the peak of his considerable creative powers. This devilishly striking combination of horror and film noir was a previous TCM recommendation and reviewed here. The fate of both sisters will be determined Tuesday, October 10 at 11pm PST. 


Here's a short clip: Eerily foreshadowing the shower scene from Hitchcock's Psycho






Several months after a black-out, where all of a village's inhabitants simultaneously lay unconscious for several hours, those women capable of bearing children all become pregnant. Five months later, they give birth to ten-pound babies with blond hair, abnormally large heads, glowing eyes, and extreme intelligence. There is no definitive answer as to exactly how these peculiar children in this English town of Midwich are born, either in John Wyndham's 1957 novel The Midwich Cuckoos, or the hair-raising film it is based on, 1960's Village of the Damned.

There is a clue, however, in the title of science fiction writer Wyndham's book: Cuckoos typically place their eggs in other nests for the surrogate parents to raise. In addition, the cuckoo chicks will often kill their "brethren" to acquire more food and parental attention. This suggests that these soon to become dangerously destructive children are in fact alien beings from another planet, although as previously stated their exact origin, not to mention their exact purpose, is cleverly left open to our imagination. By adding these mystifying qualities, the filmmakers (director Wolf Rilla expertly directing from an adapted screenplay by Rilla, Stirling Silliphant, and George Barclay) deepen our thought processes regarding, for instance, their narrative's boldly insidious sexual implications. The horror is increased as well as we watch the children, emotionless and of a mind as one, develop, test and employ their other-worldly super-powers against their human hosts and contemplate just how far will they go. As the adults of the town become more and more desperate to curb their children's devastating behaviour, Village of the Damned proposes a microcosm whereby not only are the village's young ones condemned to hell, by responding so aggressively we are as well. This is a low-budget "B" production to be sure, with minimally used and rather unimpressive special effects. The only recognisable name actor in sight is George Sanders (albeit the best choice for conveying a sophisticated, reasoned intelligence to combat the mentally superior kids), but don't let any of that deter you from being chilled to the marrow by this totally captivating film watching experience. “The Midwich Cuckoos” will hatch most tellingly on Friday, the 13th of October at 6:30am PST and will be re-born again Saturday, October 28 at 10am PST. 






Later that same Friday morning is another cinematic tale of demonic possession, but is it really the children this time, or their consumed Governess who are haunted by evil spirits? In 1961's The Innocents, as in Friday's above selection, it is a question wisely left for the viewer to decide. This is a prior TCM recommendation here and will manifest Friday, October 13 at 10am PST and again on Tuesday, October 24 at 5pm PST. 






Director John Boorman has delivered with the precision of his film's title, Point Blank, a neo-noir masterpiece fortified with style and driven by purpose. 

Lee Marvin

Lee Marvin

Lee Marvin's 'cold as a frozen corpse' Walker, is a machine-like man on a mission, appearing unstoppable as he struts through LAX possessed with unbridled vengeance. It's also quite ironic that despite Walker's hardened resolve, the considerable threat he poses, generous amount of punishment he dishes out, and the high body count he seems responsible for, doesn't directly kill anyone in the entire picture. "Was it a dream?You be the judge when Point Blank (first acclaimed here) hits Saturday, October 14 at 9am PST.  






From the same year as Point Blank, comes another violent assault on its audience previously reviewed here and is the story of Bonnie and Clyde (1967), only re-imagined as the mythical romantic exploits of an impossibly gorgeous but infamous couple in crime. The Barrow Gang will strike on TCM Monday, October 16 at 7:15pm PST. 






An actor use to playing gangsters, James Cagney, takes over noir territory in the appropriately titled White Heat, lauded here. The screen will heat up Wednesday, October 18 at 6:45am PST. 






The next TCM recommendation has been reviewed in Opening Up a Treasure: The Night of the Hunter. This highly expressionistic Grimm-like fable appears as if conveyed from a child's point of view. The "hunter" will appear Thursday, October 19 at 9pm PST.






A true romance film of the highest artistic calibre has been reviewed in Opening Up a Treasure: Brief Encounter. Director David Lean's emotionally stirring "encounter" will begin on Saturday, October 21 at 5pm PST.

TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.   


(To be continued)    A.G.


21st Century Treasure Quest #15

Our contributor Renard N. Bansale has completed 10 more contemporary film reviews for your consideration. The rating system he'll use is devised primarily to give those who are trying to decide which films to see, a fun and easy way of (hopefully) choosing a more pleasurable movie-going experience. For a further introduction to this series please see 21st Century Treasure Quest #1. (A.G.)

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"Now Listen to Me..."

Just some thoughts on current happenings: 

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End Credits #72: Cinema's 2017 Lost Treasures Tobe Hooper

Along with Wes Craven (August 2, 1939 - August 30, 2015), who died just two years ago, and the most recent loss of George Romero (February 4, 1940 - July 16, 2017), horror fans now mourn the loss of yet another master filmmaker who excelled in the genre: Writer, director, producer and actor Tobe Hooper (January 25, 1943 - August 26, 2017), who has died at age 74.


Guest contributor Bob DiMucci has provided this tribute to his filmmaking career:


The Films of Tobe Hooper



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Sterling Silver Dialogue #22


Sterling Silver Dialogue From The Movies: 

Do you know where they're from? Answers coming soon.


Special Film Noir Edition










"I can be framed easier than 'Whistler's Mother'.



"Those gates only open three times: When you come in, when you've served your time, or when you're dead."



"Is he dead?"

(response) "He's been dead for a long time... He just didn't know it."



"Wanna drink?"

(response) "I never drink."

(reply) "You're very nervous."

(response) "That's because I've never been killed before."



"Do you fall in love with all of your clients?"

(response) "Only the ones in skirts."



"Mr Campbell, as long as we're on this little jaunt together, you and I are going to stick so close together, we could wear the same pair of suspenders." 



"I saw the two of you, the way you were looking at each other tonight, like a couple of wild animals. Almost scared me."



"Charles, at times your charm wears dangerously thin. Right now it's so thin I can see through it."



"You know a dame with a rod is like a guy with a knitting needle."


"Besides, Joe couldn't find a prayer in the Bible."


"You're no good and neither am I. That's why we deserve each other." 



"It's a dirty job but I pay clean money for it."



"Experience has taught me never to trust a policeman. Just when you think one's all right, he turns legit."



"A policeman's job is only easy in a police state."


"Come on, read my future for me."

(response) "You haven't got any."

(reply) "Hmm... What do you mean?"

(response) "Your future's all used up."



"Why should the Falls drag me down here at 5 o'clock in the morning? To show me how big they are and how small I am? To remind me they can get along without any help? All right, so they've proved it. But why not? They've had ten thousand years to get independent. What's so wonderful about that? I suppose I could too, only it might take a little more time."


"Now Listen to Me..."

Just some thoughts on current happenings: 

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21st Century Treasure Quest #14

Normally, our contemporary film contributor Renard N. Bansale reviews recent releases and he may, in fact, critique the following motion picture at some point. Occasionally, I am able to overcome a reluctance to venture out and attend a locally screened film, especially when it's the "talk of the town" or "talk of the internet" to be more precise. I've been bombarded with so much buzz about Dunkirk, I felt like a chainsaw, and therefore it became that rare film I was compelled to see and share my thoughts on. Please feel free to leave your thoughts about the film and/or my review here in the comments section. (A.G.)

A Single Review Special Edition

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21st Century Treasure Quest #13

Our contributor Renard N. Bansale has completed 10 more contemporary film reviews for your consideration. The rating system he'll use is devised primarily to give those who are trying to decide which films to see, a fun and easy way of (hopefully) choosing a more pleasurable movie-going experience. For a further introduction to this series please see 21st Century Treasure Quest #1. (A.G.)

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Top Ten Fool's Gold: The Overrated Part 5 Doctor Zhivago

In this series I would like to provide my readers with a more critical perspective to consider, one that hopefully will not detract from a person's appreciation for the films under review. At the same time, I'd question whether these motion pictures really deserve the high accolades bestowed upon them by the critical community in general. Perhaps it's like this: Instead of "The emperor has no clothes," I'm saying "He's just not that well dressed." (For a further introduction on this subject please see: Top Ten Fool's Gold: The Overrated Part 1.)

These notices are meant for viewers familiar with the following motion pictures.

(They will be addressed in alphabetical order.)

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