She had something extra, besides sex appeal. She was likable. That doesn't usually go hand in hand with being a goddess.
It is time to celebrate this director.
Am I alone in finding Barbara Nichols a touching, as well as comic, presence? The fact that her best filmed performance, as Sidney Falco's much abused tart in "Sweet Smell Of Success," is not included in the listing of her films says much. I know people found her urban honk grating but I thought it was plaintive. She didn't try to hide her brassiness. They dubbed her voice in "The Loved One" and that was a violation. She was talented and sweet and memorable...and unique.
I love Ingrid Bergman in this film. She is so captivating here, and funny. "Saratoga Trunk" displays her warmth and humor and, I think, her lovely singing voice. It sounds like her. I also love her bantering with the great Florence Bates who is at her most splendid.
With such a cast and credits, how is this film still unavailable? The clips on YouTube are tantalizing.
One of the most beautiful and fascinating actresses in film history. By the way, where is "The Chapman Report"? One of her greatest performances, directed by George Cukor.
Her film career started very auspiciously with dazzling performances in "The Member of the Wedding" and "East of Eden." Unfortunately she didn't fit the current mold. She wasn't particularly carnal or ditzy or chic. She thought thoughts and felt aches and had poetic yearnings. She reflected the real audience, not the one that Hollywood had imagined for itself. They should have treated her better. Infrequently, they did. "The Haunting," for example.
Jean Arthur was never as musky and womanly as in this film. Charles Boyer (or Frank Borzage) brought something even more sexual out of her than Joel McCrea did in "The More The Merrier." And that film had some pretty sexy scenes.
On the evidence of "Beat The Devil" and "Cluny Brown," Jennifer Jones should have done more comedies. She had real flair. I enjoyed her in some of her more emotional roles like "Portrait of Jennie" and "Gone To Earth" and "Madame Bovary," but there she didn't have the individuality and sharpness of her comic performances.
Deliriously perfect. Cannot be improved upon.
Elizabeth Taylor. What would this film be without her. This great beauty. The spell she casts. Nothing else matters.
A great actor.
Smart, tough, beautiful. What more do you want?
Exquisite, underrated. She should have been a star.
Why is Mezzogiorno not more widely known? This performance is a wonder. She was also miraculous in "The Last Kiss."
One of the great films about childhood. Alongside DeSica, Truffaut, Carol Reed and Satyajit Ray, Clarence Brown was one of the most sensitive directors of children.
One of the greatest. A handful measure up to him.
I love this film. It never fails to move me. Not especially original but very well done.
Exquisite diction, low-key wit and tremendous warmth. She could show passion when required whether she was cast as mother, maid or matron. I love her especially in "Cluny Brown," How Green Was My Valley," "Kitty" and "Storm In A Teacup."
One of the greatest cinematographers in film history.
He is possibly the most underrated male actor of thirties and forties films. As sexy and laconic as Gary Cooper, he has a warmer, wryer presence on screen. Often cast in Cooper's cast-offs ("Foreign Correspondent" is one), he is so good that you cannot imagine anyone else playing the parts.
They seek him here. They seek him there. Those Frenchies seek him everywhere. Is he in Heaven? Is he in Hell? That damned elusive Pimpernel.
Sinatra singing "All My Tomorrows" in the opening credits with the camera sailing over Miami is the high point of the film.
A thick Russian accent and an exuberantly, gruffly animated physical presence did not limit what was a subtle and expressive acting talent. He could play generals, sidekicks, policemen and peasants with brilliant comic slyness or dramatic intensity, whatever was required. His deep, raspy voice was a wonderful tool. He worked such witty and sometimes sinister changes on it. I thought he was one of the greatest character actors in film history.
In the early thirties, she was a wonderful (and sexy) comedienne and a fine dramatic actress. She was also, off-screen and off-stage, what they used to call a hellion. I don't know if this had any effect on her as actress but I do know that her style became coarser and more cartoonish, at least on film. On stage she still had her triumphs. I remember reading somewhere a review of the stage version of "Look Homeward Angel." She had replaced a well-received Jo Van Fleet. The reviewer wrote that Hopkins had somehow gotten deeper into the role than Van Fleet. Maybe her style was more suited to the stage after all. However, when she was directed by Lubitsch, she was as delicious a temptress as Joan Greenwood.
Nobody moved like Rita Hayworth. If you watch her dance with Sinatra in "Pal Joey" to "The Lady Is A Tramp," focus on her back. It loosens and tenses along with the music in the most sexual way possible. Even though her performance in that film is not one of her best, she makes the most of that moment, and Sinatra knows it.
Judy Holliday was very fortunate in her leading men: Jack Lemmon, Aldo Ray, Dean Martin, even Richard Conte. All of them obviously appreciated her and wanted her to look good. She was not really made for the camera but the love that surrounded her was palpable. Her duet with Lemmon on "Let's Fall In Love" is one of the sweetest and most intimately happy moments on film.
Fun film, replete with broadly entertaining broads. Stanwyck, as usual, is the anchor. Iris Adrian is also a joy.
If anyone ever had a doubt that Deborah Kerr was a great actress, they should watch this film. With a few exceptions, Hollywood wasted her.
I love the way he grew into a great actor in his late career: "The Leopard," "Atlantic City," "Local Hero," "Cattle Annie and Little Britches," "1900." He was wonderful early on in "The Killers," "Sweet Smell of Success," "Trapeze," "From Here to Eternity" and "The Crimson Pirate." However, something happened later on to his image of himself that allowed him to be exposed, open, expressive, magnificently human.