Sterling Silver Dialogue #16

Sterling Silver Dialogue From The Movies:  

Do you know where they're from?

"You've got a nasty reputation Mr. Gitts. I like that."

Jake Gittes: “How much are you worth?”
Noah Cross: “I have no idea. How much do you want?”
Jake Gittes: “I just wanna know what you’re worth. More than 10 million?”
Noah Cross: “Oh my, yes!”
Jake Gittes: “Why are you doing it?” How much better can you eat? What could you buy that you can’t already afford?”
Noah Cross: “The future, Mr. Gitts! The future!” 

"My purpose is madness....the only way you know what really happens in war. By lying you can open the door a little crack on the truth."

"Sure I know I've got lots of faults, but being in love with you isn't one of them, is it?"

"I am not putting the knock on dolls. It's just that they are something to have around only when they come in handy... like cough drops."

"You like money. You got a great big dollar sign there where most women have a heart."

"You have my sympathies, then. You have not yet learned that in this life you have to be like everyone else - the perfect mediocrity; no better, no worse. Individuality's a monster and it must be strangled in its cradle to make our friends feel confident. You know, I've often thought that the gangster and the artist are the same in the eyes of the masses. They are admired and hero-worshiped, but there is always present underlying wish to see them destroyed at the peak of their glory."

Fisher: "Sounds pretty mysterious. What's it all about?"

(response) "There are some things, my dear Fisher, which bear not much looking into. You have undoubtedly heard of the Siberian goat herder who tried to discover the true nature of the sun; he stared up at the heavenly body until it made him blind. There are many things of this sort, including love, and death, and... maybe we'll discuss this later today. Please remember to make that call if I'm not back at 6:30."

(as she’s dying) "It isn't fair. I never had anybody but you. Not a real husband. Not even a man. Just a bad joke without a punch line."

"What she meant we'll never know. It's what she said that counts."

"The fact is, Morgan is an uncivilized brute. Sometimes he drinks heavily. A night like this will set him going. Once he's drunk he's rather dangerous."

(recurring line) “Have a potato.”

"They were all godless here. They used to bring their women here - brazen, lolling creatures in silks and satins. They filled the house with laughter and sin, laughter and sin. And if I ever went down among them, my own father and brothers - they would tell me to go away and pray. They wouldn't tell Rachael to go away and pray. (she laughs) And I prayed - and left them with their lustful red and white women."

(feels the fabric of a guest’s low-cut gown) "That's fine stuff, but it'll rot."
(touches her skin above the neckline) "That's finer stuff still, but it'll rot too... in time!"

(recurring line) “No beds!”

"What in heaven's name brought you to Casablanca?"
(reply) "My health. I came to Casablanca for the waters."
(response) "The waters? What waters? We're in the desert."
(reply) "I was misinformed."

"Louie, I think this is the beginning of a beautiful friendship."

"You know, I have the strangest feeling this is the beginning of a beautiful hatred."

Answers to Sterling Silver Dialogue #16 are here.

Hidden Gems #7

Hidden Gem #70: Invasion of the Body Snatchers - The Director's Cut (1956, U.S.A.)

Director: Don Siegel

This very special cut of the film is without its "safety net," namely the studio imposed prologue and epilogue, and useless, irritatingly intrusive narration, so the previously recollected events are now much more immediately suspenseful and horrifying especially in the profound way they affect the characters psychologically and emotionally in the present, elevating this film to masterpiece status.

Hidden Gem #69: The Invitation a.k.a. L'invitation (1973, Switzerland/France)

Director: Claude Goretta

An insurance company man inherits a small fortune and throws a big party at his new lavish home in the country for his work colleagues, revealing insights into their true morals and vulnerabilities, as the liberally dispensed alcohol goes to work on inhibitions in this brilliant homage to the other masterful observers of human foibles and frailties - directors Bergman (Smiles of a Summer Night) and Renoir (The Rules of the Game). 

Hidden Gem #68: Split Image (1982, Canada/U.S.A.)

Director: Ted Kotcheff

The sensational subject of a cult group's mind control of a young man is explored with precision by director Kotcheff who elicits strong performances from his ideal cast including James Woods as a confidently aggressive de-programmer, Brian Dennehy as the emotionally distraught father and a chillingly subdued Peter Fonda as the cult's leader. 

Hidden Gem #67: The Big Risk a.k.a. Classe Tous Risques (1960, France)

Director: Claude Sautet

One of the two gangsters on the run (Lino Ventura) has his family in tow but that doesn't stop him or anyone else from committing ruthless, violent acts in this ultra-realistic underworld expose' of loyalty, sacrifice and betrayal; its gritty and explosive narrative twists and turns are courtesy of ex-con Jose Giovanni's sourced novel and co-adaptation of the script. 

Hidden Gem #66: Monkey on My Back (1957, U.S.A.)

Director: Andre De Toth

Compared to all of the films about famous boxers (Somebody Up There Likes Me, Raging Bull) or drug addiction (A Hatful of Rain, The Man with the Golden Arm) this true story of Barney Ross with its magnificent performance by Cameron Mitchell and underrated director at the helm is practically unheard of, but more engaging than most of the films in either category.

Hidden Gem #65: Scandal Sheet (1952, U.S.A.)

Director: Phil Karlson

Its plot is similar to The Big Clock and The Man Who Cheated Himself but this little potboiler has the added dynamite of Broderick Crawford in the lead, creatively trying to hide his murderous guilt from protege John Derek in this lean and mean noir adapted from a novel by director Samuel Fuller. 

Hidden Gem #64: Never Take Candy (a.k.a. Sweets) from a Stranger (1960, U.K.)

Director: Cyril Frankel

This courageous, insightful, intelligently forthright story, which concerns a couple of young girls who fall victim to a pedophile, and the community's subsequent attempts to cover for the accused (since he's the town's rich, elderly benefactor), was shunned upon its release and has been unjustly neglected since.

Hidden Gem #63: Blonde Crazy (1931, U.S.A.)

Director: Roy Del Ruth

This little pre-code gem might as well have been titled "Slap Crazy" the way Joan Blondell dishes them out to James Cagney: a couple of cons who, together, sizzle like shrimp on the barbie. (More here).

Hidden Gem #62: Samurai Rebellion a.k.a. Rebellion a.k.a. Jôi-uchi: Hairyô tsuma shimatsu (1967, Japan)

Director: Masaki Kobayashi

This incredibly moving story pitting deeply felt emotional reason against an unjust higher authority is better known than some of the director's earlier works, but should still be held in higher regard especially as it's written by one of the finest screenwriters of all time, Shinobu Hashimoto (i.e. Ikiru, The Seven Samurai, Harakiri, Samurai Assassin et al).

Hidden Gem #61: The Landlord (1970, U.S.A.)

Director: Hal Ashby

One wouldn't expect a director's debut film about such important issues as wealth, class and racial divides in New York City to be so charming, funny and endearing but it is that and much more because the storytellers never shy away from the serious relationship problems depicted; instead they cleverly infuse them into a learning curve for our naive but loveable central character.

A.G. 

Hidden Gems #8 is here.  

Time Out - SCTV Taxi Driver Spoof

Just a few of the other actors you probably didn’t know who also starred in their version of Taxi Driver from SCTV.

Sterling Silver Dialogue #15

Sterling Silver Dialogue From The Movies:  

Do you know where they're from?

"You wanna be worshiped? Go to India and moo."

"You can get further with a kind word and a gun than you can with just a kind word."

"Welcome to Chicago. This town stinks like a whorehouse at low tide."

"Ah Maggie, in the world of advertising, there's no such thing as a lie. There's only expedient exaggeration. You ought to know that."

(Referring to the drinks they've already had) "We've gotten a head start here, Mr. Thornhill."

Roger Thornhill: (just arriving) "That won't last long."

(singing) "I've grown accustomed to my bourbon."

(on the telephone) "No. No, Mother, I have not been drinking. No. No, these two men, they poured a whole bottle of bourbon into me... No, they didn't give me a chaser."

"We'll get 'em. We'll throw the book at 'em. Assault and kidnapping. Assault with a gun and a bourbon and a sports car. We'll get 'em."

"You're marking time is what you are. You're backing off. You're hiding out. You're waiting for a bus that you hope never comes because you don't wanna get on it anyway because you don't wanna go anywhere, all right?"

"Two people dead, just so we can live without working!"

"We go together, Annie. I don't know why. Maybe like guns and ammunition go together."

"I didn't want a house. I didn't want all those pots and pans. I didn't want anything but you. It's God's own blessing I didn't get you."

(reply) "Why?"

(response) "Cause I'm a loner clear down deep to my very guts. Know what a loner is? He's a born cripple. He's a cripple because the only person he can live with is himself. It's his life, the way he wants to live. It's all for him. A guy like that, he'd kill a woman like you. Because he couldn't love you, not the way you are loved."

"I've had hangovers before, but this time, even my hair hurts."

"If there's anything worse than a woman living alone, it's a woman saying she likes it."

"You're told that the girl you were with last night was found in Benedict Canyon, murdered. Dumped from a moving car. What's your reaction? Shock? Horror? Sympathy? No... just petulance at being questioned. A couple of feeble jokes. You puzzle me, Mr. Steele."

Dixon Steele: "Well, I grant you, the jokes could've been better, but I don't see why the rest should worry you... that is, unless you plan to arrest me for lack of emotion."

"You know, Miss Gray, you're one up on me - you can see into my apartment but I can't see into yours."

(reply) "I promise you, I won't take advantage of it."

(response) "I would, if it were the other way around."

"I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me."

Answers to Sterling Silver Dialogue #15 are here.