Favorite Black and White Movies
- Thread starter Tonichelle
- Start date
- Joined
- Jul 26, 2003
It's not a favorite movie since I've never actually watched all the way through.....but I believe the original b&W Psycho was much better then the color re-make from a couple of years ago. There's just something so much more 'atmospheric' about B&W that can enhance a movie. Same goes for the original Cape Fear (with James Mitchum) vs the recent color version.
I've never seen the Psycho remake, but from what I've read, the original is better. I have seen both Cape Fears and prefer the earlier one. That's usually the case with me. Like heyang said, there's just something about the atmosphere in those old black and white films.
Another good one for "atmosphere" is The Spiral Staircase with Dorothy McGuire and Ethel Barrymore. It has everything--big old house, stormy nights, mad killer lurking about...
Another good one for "atmosphere" is The Spiral Staircase with Dorothy McGuire and Ethel Barrymore. It has everything--big old house, stormy nights, mad killer lurking about...
Shows
Cary Grant, Jimmy Stewart and Dean Jones.
How cool that we are still watching and talking about when shows are actually funny and silly without including sex, swearing and violence. Do you ever notice their flow of speech was different back then. They were not in such a hurry to get done with their lines or were they rushed to get a show done. I can watch them without rewinding because their words were clear
and not to fast
Cary Grant, Jimmy Stewart and Dean Jones.
How cool that we are still watching and talking about when shows are actually funny and silly without including sex, swearing and violence. Do you ever notice their flow of speech was different back then. They were not in such a hurry to get done with their lines or were they rushed to get a show done. I can watch them without rewinding because their words were clear
and not to fast
Joe,
Here's my interpretation of the ending of Truffaut's "Jules et Jim." First some general background for those who don't know the film. Jules and Jim come to be friends through their work (they translate each other's writing -- one is Austrian, the other French). At the opening of the film the time is the belle epoch of pre-WWI Paris. Into their friendship comes the beguiling and fetching Catherine. (The film is worth renting, imo, if nothing else than to see the performance of the inimitable Jeanne Moreau at the height of her cinematic powers.) Catherine becomes lovers first with one man, then the other, and eventually the arrangement becomes a menage a trois. (I'm not giving anything away; it's not a "surprise" kind of movie.)
As for Catherine's final act, let me say a few things about what I think of her character. For one thing, I think the title in and of itself is revealing of Catherine's nature as in, she isn't there -- in the title, that is. Even though Catherine is the key character in the film, she's not even mentioned in the title. My opinion is that without Jules and Jim, Catherine has no character. Like many women, she loses herself in the men she loves, but Catherine does so to an iconic extreme. Throughout the film, Catherine takes on many different personas: tender, intellectual, harpy, even masculine, as if she were playing roles of herself to see how much she can get away with. Ultimately I think the reason the film is not entitled "Catherine" is because her personality is empty. Catherine really puts Jules and Jim through the ringer, yet she (and we, the audience) knows they will stay with her. The only person who is not there for Catherine is Catherine herself. Also, I think one of the existential questions Truffaut deals with is the ultimate dissatisfaction with romance. One lover is never enough; two lovers is too many.
As for the ending, note that the atmosphere of gathering gloom with which the film ends matches the storm clouds gathering over Europe for WWII. "They left nothing behind them," is the commentary's epitaph after the death of Catherine. The chaos of life continues, but not the world made up of these three friends and lovers.
I think of Catherine as an embodiment of the spirit of her time, sinking into fascism, or perhaps of the existentialist philosophy that grew out of a despair caused by too many wars. Notice that just prior to her last desperate act, which strikes me like an artist slashing her own canvas, she was seen a book burning in a newsreel. To paraphrase Kurt Vonnegut, "If they start burning books, you can bet that soon they will be burning people." I think Catherine has never faced the true reality and true cruelty of war until that moment. Also, she is older. The spirit and idealism of her youth has been burned out by war. There were several occasions for the youthful feeling of "This is the war to end all wars" and yet here comes another one. Without a strong internal self to shore her up, the realization of a bigger, deadlier, longer war cranking up is more than Catherine can bear. She is used to living through her lovers, but what are they in the face of war? Catherine takes herself away before war can take her.
Catherine is a mystery to be sure and these are just my musings on your question. Certainly there are other far more insightful evaluations. But "Jules et Jim" is a great film to be sure and considered by many to be the apex of the French New Wave Cinema movement. Even if you don't like subtitles, the movie is visually stunning as well, imo.
A rental double feature suggestion from RgirlMovies is "Jules et Jim" and Fellini's picaresque "Nights of Cabiria." The musical "Sweet Charity" was based on "Cabiria," it stars Fellini's wife, the glorious and charming Guilietta Masina as Cabiria. Where "Jules et Jim" is about a woman who ultimately cannot deal with the vicissitudes of life, "Nights of Cabiria" is about a woman for whom vicissitudes are just another day at the office. Although both women are dependent on men, Cabiria's indomitable spirit is the polar opposite of Catherine's. I don't mean to paint "Jules et Jim" as gloomy; most of the movie is full of idyllic and delightful scenes, unforgettable ones, too. It's just that "Nights of Cabiria" is downright funny, even in the face of a tragic life for the title character. And with faces like those of Jeanne Moreau and Guiletta Masina, who cares about subtitles? Finally, one is a classic of the French New Wave, the other is a classic of Italian Neorealism. Get some pizza (I know, it's not really Italian) and a good bordeaux and enjoy!
I hope I addressed your question, Joe.
Rgirl
PS to Heyang: Picky note re the original "Cape Fear": It's Robert Mitchum, not James (I do the same thing all the time with actors' names; I drive myself nuts).
Here's my interpretation of the ending of Truffaut's "Jules et Jim." First some general background for those who don't know the film. Jules and Jim come to be friends through their work (they translate each other's writing -- one is Austrian, the other French). At the opening of the film the time is the belle epoch of pre-WWI Paris. Into their friendship comes the beguiling and fetching Catherine. (The film is worth renting, imo, if nothing else than to see the performance of the inimitable Jeanne Moreau at the height of her cinematic powers.) Catherine becomes lovers first with one man, then the other, and eventually the arrangement becomes a menage a trois. (I'm not giving anything away; it's not a "surprise" kind of movie.)
As for Catherine's final act, let me say a few things about what I think of her character. For one thing, I think the title in and of itself is revealing of Catherine's nature as in, she isn't there -- in the title, that is. Even though Catherine is the key character in the film, she's not even mentioned in the title. My opinion is that without Jules and Jim, Catherine has no character. Like many women, she loses herself in the men she loves, but Catherine does so to an iconic extreme. Throughout the film, Catherine takes on many different personas: tender, intellectual, harpy, even masculine, as if she were playing roles of herself to see how much she can get away with. Ultimately I think the reason the film is not entitled "Catherine" is because her personality is empty. Catherine really puts Jules and Jim through the ringer, yet she (and we, the audience) knows they will stay with her. The only person who is not there for Catherine is Catherine herself. Also, I think one of the existential questions Truffaut deals with is the ultimate dissatisfaction with romance. One lover is never enough; two lovers is too many.
As for the ending, note that the atmosphere of gathering gloom with which the film ends matches the storm clouds gathering over Europe for WWII. "They left nothing behind them," is the commentary's epitaph after the death of Catherine. The chaos of life continues, but not the world made up of these three friends and lovers.
I think of Catherine as an embodiment of the spirit of her time, sinking into fascism, or perhaps of the existentialist philosophy that grew out of a despair caused by too many wars. Notice that just prior to her last desperate act, which strikes me like an artist slashing her own canvas, she was seen a book burning in a newsreel. To paraphrase Kurt Vonnegut, "If they start burning books, you can bet that soon they will be burning people." I think Catherine has never faced the true reality and true cruelty of war until that moment. Also, she is older. The spirit and idealism of her youth has been burned out by war. There were several occasions for the youthful feeling of "This is the war to end all wars" and yet here comes another one. Without a strong internal self to shore her up, the realization of a bigger, deadlier, longer war cranking up is more than Catherine can bear. She is used to living through her lovers, but what are they in the face of war? Catherine takes herself away before war can take her.
Catherine is a mystery to be sure and these are just my musings on your question. Certainly there are other far more insightful evaluations. But "Jules et Jim" is a great film to be sure and considered by many to be the apex of the French New Wave Cinema movement. Even if you don't like subtitles, the movie is visually stunning as well, imo.
A rental double feature suggestion from RgirlMovies
is "Jules et Jim" and Fellini's picaresque "Nights of Cabiria." The musical "Sweet Charity" was based on "Cabiria," it stars Fellini's wife, the glorious and charming Guilietta Masina as Cabiria. Where "Jules et Jim" is about a woman who ultimately cannot deal with the vicissitudes of life, "Nights of Cabiria" is about a woman for whom vicissitudes are just another day at the office. Although both women are dependent on men, Cabiria's indomitable spirit is the polar opposite of Catherine's. I don't mean to paint "Jules et Jim" as gloomy; most of the movie is full of idyllic and delightful scenes, unforgettable ones, too. It's just that "Nights of Cabiria" is downright funny, even in the face of a tragic life for the title character. And with faces like those of Jeanne Moreau and Guiletta Masina, who cares about subtitles? Finally, one is a classic of the French New Wave, the other is a classic of Italian Neorealism. Get some pizza (I know, it's not really Italian) and a good bordeaux and enjoy!I hope I addressed your question, Joe.
Rgirl
PS to Heyang: Picky note re the original "Cape Fear": It's Robert Mitchum, not James (I do the same thing all the time with actors' names; I drive myself nuts).
- Joined
- Jul 11, 2003
rGirl - After reading your piece on Jules et Jim, I would insist that you get it published. It is brilliant. You're up there with Pauline Kael and Citizen Kane.
I am now going to rent it and have a new look at Jules et Jim. sub-titles don't really bother me if the movie is good. And those 'foreign films' of the fifties were special. Nights of Cabiria was another great one. I could go on.
Joe
I am now going to rent it and have a new look at Jules et Jim. sub-titles don't really bother me if the movie is good. And those 'foreign films' of the fifties were special. Nights of Cabiria was another great one. I could go on.
Joe
- Joined
- Aug 8, 2003
I have quite a collection of classic movie videos. My favorites are:
1. Philadelphia Story
2. The Best Years of our Lives
3. Laura and another Gene Tierney movie, Leave Her to Heaven
4. Mr. Smith Goes to Washington
5. Harvey
6. To Kill a Mockingbird (which also happens to be one of my favorite books of all time)
7. Gone With the Wind
8. Casablanca
9. Mr. and Mrs. Smith (which is one of the few comedies that Alfred Hitchcock made--it has Carole Lombard in it)
10. The Maltese Falcon
11. My Man Godfrey
A good place to order videos and DVD's of classic movies is Critic's Choice. They have a lot available and the prices are not bad. I also have many of the old musicals, which I love too.
1. Philadelphia Story
2. The Best Years of our Lives
3. Laura and another Gene Tierney movie, Leave Her to Heaven
4. Mr. Smith Goes to Washington
5. Harvey
6. To Kill a Mockingbird (which also happens to be one of my favorite books of all time)
7. Gone With the Wind
8. Casablanca
9. Mr. and Mrs. Smith (which is one of the few comedies that Alfred Hitchcock made--it has Carole Lombard in it)
10. The Maltese Falcon
11. My Man Godfrey
A good place to order videos and DVD's of classic movies is Critic's Choice. They have a lot available and the prices are not bad. I also have many of the old musicals, which I love too.
- Joined
- Jul 27, 2003
After a weekend of watching TV and rearranging my video collection, I have four more favorite B&W films to add to my list(s).
The Mortal Storm – 1940 – Margaret Sullavan, James Stewart
Keeper of the Flame – 1942 – Katharine Hepburn, Spencer Tracy
Experiment in Terror – 1962 – Glenn Ford, Lee Remick, Stefanie Powers, Ross Martin
On The Beach – 1959 – Gregory Peck, Ava Gardner, Fred Astaire (If anyone lived in the Chicago area in 1959 and saw this film, they would understand why Da Mayor's stunt of setting off the air-raid sirens when the Sox won the pennant brought a whole new meaning to 'duck and cover'.)
And again: those who have cable or satellite, TCM and AMC does show B&W and yes, silent films too, you just have to watch for them. PBS is another source although not as much selection today as 20 years ago, course that maybe due to the local PSB channel. If I remember correctly, and that could be debatable, WTTW is more innovative and progressive than KERA.
4dk
The Mortal Storm – 1940 – Margaret Sullavan, James Stewart
Keeper of the Flame – 1942 – Katharine Hepburn, Spencer Tracy
Experiment in Terror – 1962 – Glenn Ford, Lee Remick, Stefanie Powers, Ross Martin
On The Beach – 1959 – Gregory Peck, Ava Gardner, Fred Astaire (If anyone lived in the Chicago area in 1959 and saw this film, they would understand why Da Mayor's stunt of setting off the air-raid sirens when the Sox won the pennant brought a whole new meaning to 'duck and cover'.)
And again: those who have cable or satellite, TCM and AMC does show B&W and yes, silent films too, you just have to watch for them. PBS is another source although not as much selection today as 20 years ago, course that maybe due to the local PSB channel. If I remember correctly, and that could be debatable, WTTW is more innovative and progressive than KERA.
4dk
- Joined
- Jun 27, 2003
Re: Shows
ITA!!!! I love that they enunciate and take their jobs seriously... they didn't get paid for just that movie... they got paid by the film company for being an actor... and so they didn't just blow a scene...
serenity said:Cary Grant, Jimmy Stewart and Dean Jones.
How cool that we are still watching and talking about when shows are actually funny and silly without including sex, swearing and violence. Do you ever notice their flow of speech was different back then. They were not in such a hurry to get done with their lines or were they rushed to get a show done. I can watch them without rewinding because their words were clear
and not to fast
ITA!!!! I love that they enunciate and take their jobs seriously... they didn't get paid for just that movie... they got paid by the film company for being an actor... and so they didn't just blow a scene...
Two more I thought of that aren't well known but are wonderful movies:
"Dark at the Top of the Stairs" -- sounds like a thriller but is a wonderful story about a family and a teenager growing through that awkward stage.
"The World of Henry Orient"-- One of Peter Sellers best performances, IMO. Two adolescent girls have a "crush" on concert pianist Henry Orient (Sellers) and go through great adventure to try to get him to sign their albums. But the depth of the film is in the family lives of these girls. Angela Lansbury plays the cold but beautiful mother of one and when the "denoument" occurs, it's quite heartbreaking and though a surprise, makes complete sense.
Rgirl
"Dark at the Top of the Stairs" -- sounds like a thriller but is a wonderful story about a family and a teenager growing through that awkward stage.
"The World of Henry Orient"-- One of Peter Sellers best performances, IMO. Two adolescent girls have a "crush" on concert pianist Henry Orient (Sellers) and go through great adventure to try to get him to sign their albums. But the depth of the film is in the family lives of these girls. Angela Lansbury plays the cold but beautiful mother of one and when the "denoument" occurs, it's quite heartbreaking and though a surprise, makes complete sense.
Rgirl
