Top Ten By Year: 1949 #5 – Caught (US / Ophüls)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter
#10. The Queen of Spades (UK/Dickinson)
#9. Rendezvous in July (Becker)/Au royaume des cieux (Duvivier) (France)
#8. Too Late for Tears (US / Haskin)
#7. The Heiress (US / Wyler)
#6. The Set-Up (US / Wise)

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

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#5. Caught (US / Ophüls) (rewatch)

1949: the year Max Ophüls dissected American living. Between 1941 and 1950 he was living there in exile. In that time he made only four films (a healthy output by today’s standards, but on the low end for the time). Two of those, Caught and The Reckless Moment, were released in 1949, the only ones of his career to be set in America. Each perform a visual audit on different aspects of peddled American ideologies and societal divides, specifically as they manifest and are bred in post-war women. Even if 1949 were a cinematic dead zone (it’s not), it would still be notable on the strength of these two films alone.

Caught is thematically blunt. James Mason’s do-good doctor is a mouthpiece for deeper and more connected living. Every character talks about money; having it and not having it, wanting it and not wanting it. The key to the film comes from Laura Crossley’s writing on it; “it is in the gap between the narrative proper and its presentation where the film finds its subtle power”*. One would assume that visual reinforcement would just make the blunt more blunt, but it does the opposite. Ophüls lays out a parallel interrogation using bodies and space, elevating Caught into greatness because it takes that thematic bluntness and keenly translates it into an emotional realm. Through blocking we are given us access to Leonora’s struggle, something that the dialogue, often full of judgment towards her, threatens to erase. She is on the world’s loneliest abacus, sliding back and forth between two men with opposite lives, finances, ideologies, temperaments, and futures. Ophüls uses his trademark fluidity to embody Leonora’s (Barbara Bel Geddes) wavering. As her agency, doubts, circumstances, and subjugation alter and shift, the camera constantly recalibrates its characters and the space to reflect that. New angles are found in motion. The frame is never shared, but cordoned off. Actors are often dwarfed by one another. The screen is one of halves. Sometimes a third person or an object interrupts somewhere in the middle.

Smith’s (Robert Ryan) mansion becomes the a prison of open space, a permanent waiting game where sleep is for the free and the piano never stops. Later on (in a truly beautiful scene), the camera glides around the outside of a crowded dance floor in the East Side (the most trademark Ophüls shot in the film). Leonora and Quinada (Mason) attempt to dance in the center. There is little room to move. They don’t dance so much as shuffle. Toes are stepped on — whose? Who can tell. It’s all so silly that a moment of spontaneous laughter occurs between them. It is a moment of such naturalism, aided by the distance of camera-as-observer, that it’s as if we’ve witnessed something between two people, not two characters. It is the freest Leonora is in the entire film, packed in the crowd like a sardine, the opposite of Smith’s baroque suffocations. It is one of the many constant ways Caught’s visual schema tells Leonora’s story, a bumpy road that dismantles and rebuilds her values.

In writing about Too Late for Tears I talked about the commodification of specifically female riches as depicted by Lizabeth Scott’s Jane and Barbara Bel Geddes’s Leonora. Rounding out the Materialistic Trio is another character I’ll write more about later: Ann Todd’s Mary Justin from The Passionate Friends. Here is a woman (not American like the other two) that made the same choice Leonora does: to marry for security and comfort. But Claude Rains is no Robert Ryan, and Ann Todd is no Barbara Bel Geddes. Both marriages function as a business transaction. The difference is that Ann Todd and Claude Rains have an amicable relationship, with freedom in the bargain. And Mary isn’t the young tenderfoot Leonora is, even in flashbacks. She knowingly gave up love for autonomy, money, and comfort. She flirts with making another choice every so often, but knows herself too well to take the plunge. Mary’s trouble is the curse of knowing who you are, and knowing that the love you want isn’t the love for you.

Jane knows what she wants, and Mary knows who she is, but Leonora’s journey is one of hard-knocks self-discovery. As played by Barbara Bel Geddes (a favorite of mine, Midge 4ever), she’s imbued with uncommon down-to-earth texture. She’s not the Girl Next Door or the Glamour Girl or the Sexpot. She is easily persuadable but also her own person. She stands up for herself just as often as she does not. She is wishy-washy, making decisions and then doubling back on them, because false hope takes longer to shake then movies would have you believe. She convinces herself that she married Smith for love, because even though she wants that ever-present mink coat, she also believes love should come with money. Rich husband plus love equals success to Leonora, but her friend Maxine is shown as a comparative extreme (she doesn’t need the love). Maxine alternately encourages and chastises her to make the necessary sacrifices to afford Dorothy Dale’s Charm School, and to make the most of an invitation she receives for a yacht party (where she will meet Smith). Leonora can only begin to self-actualize when she can be honest with herself about why she married Smith, and to shed the values she’s been sold all her life. The price for that freedom is high (see also: The Set-Up which also exacts a physical price for freedom).

Leonora’s values are datedly confronted by the two men who reside on either end of that lonely abacus; Larry Quinada and Smith Ohlrig. Played by James Mason and Robert Ryan respectively, each role comes with its own challenge. For Mason, it’s that his character touts a lot of pushy altruism, seeing Leonora as a bit of a sheep with potential. Mason has to represent a lot and preach a lot, all while falling in love. He lends a wonderful sense of irritable apprehension to Quinada’s love that counterbalances his lectures. Meanwhile Robert Ryan plays a loosely fictionalized Howard Hughes, and his challenge is to impart a psychological weight to a man that also functions as representation. He is capitalism as sickness. Power as sickness. These things distort him physically and mentally. He is cursed, made inhuman by conducting all aspects of his life as business. He marries Leonora to prove a point, quickly hating himself for this rash move. He is incapable of believing that a woman would marry him for anything but his money, making her an employee and him resentful and sadistic. Smith Ohlrig is only ever surrounded by people who are paid to be there, while Larry Quinada is only ever surrounded by people he aims to help.

Caught’s Cinderella Gone Wrong story has a lot of overlap with the cycle of 40s Gothic films. It also awkwardly gets lumped in with a lot of noir. This is a romantic drama with a strange European sensibility. The Reckless Moment doesn’t share that sensibility, but both are about the uneasy contract made between women and society. You can either be spread thin with no sense of self or your struggles or become a product sold to the most affluent bidder. It’s easy to show women who are openly miserable, who know why they are miserable, or who’ve got patriarchy’s number. It’s more interesting, and more challenging, to show women who are trapped in ways they don’t understand. Joan Bennett’s Lucia (The Reckless Moment) never wavers from her position as the do-it-all Mom, even in the most trying and dangerous of times. She doesn’t see her life the way Donnelly (Mason again) does. Leonora puts herself through Charm School just so she can offer herself up as a product for purchase like the mink coat she models (“Forty-nine ninety five!”). Both women are led by preset paths, and both are willing participants. And I love that about these films. They aren’t about trailblazing women striking out against convention. They aren’t about the Katharine Hepburns of the world. These women act within conventions. They both conform and rebel, but their journeys are complex, fraught, and compromised, the way journeys, and life, always are.

(* “Indicting Americana: how Max Ophuls exposed the American Dream in Caught and The Reckless Moment” by Laura Crossley)

Top Ten By Year: 1949 #6 – The Set-Up (US / Wise)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter
#10. The Queen of Spades (UK/Dickinson)
#9. Rendezvous in July (Becker)/Au royaume des cieux (Duvivier) (France)
#8. Too Late for Tears (US / Haskin)
#7. The Heiress (US / Wyler)

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

set up#6. The Set-Up (Us / Wise) (rewatch)
“That’s the way it is. You’re a fighter. You’ve gotta fight.”

The formal functionality of both The Set-Up and David Lean’s The Passionate Friends (you’ll hear about that one later) is to live, breathe, and translate the emotional acuity of its characters. As discussed in David Bordwell’s essential Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling, the 1940s saw an overhaul of the 1930s mode of filmmaking, a mode dominated by being on the outside watching. There is no probing beyond dialogue or situation. We don’t watch characters think, we watch them do. We take cues as if watching a stage production. The 1940s rewrote the book that had just been rewritten; movies began looking in, not at. Narrative filmic storytelling as we know it today derives from the foundations and schemas experimented with, and in many cases normalized, in the 1940s (subjectivity, flashbacks, voiceover, advanced structures, dreams). The techniques of the late silent period were reintegrated after the 1930s perfected and glamorized the basics and logistics of sound cinema (all while harnessing the power of the studio system). The vividness with which The Set-Up and The Passionate Friends translate the purgatory of the mind is such that each comes across as more modern than their times. You don’t look at these films: you feel them. They are nowhere near the first films of the 40s to do this, but they do stand as the culmination of a decade’s work towards the telepathic.

The Set-Up was part of a post-Body and Soul cycle looking to capitalize on that film’s success. Prizefighting pictures provided a rich template for social and political commentary, what with men being chewed up and spit out by a rigged system. It is based on a 1928 narrative poem by Joseph Moncure March about an African-American fighter named Pansy, a fact unsurprisingly reworked by RKO. There is a black fighter in the film, magnetically portrayed by James Edwards and brought to life with the same care and consideration as the other locker room inhabitants. This equal regard among white men is its own small progress for the time (black characters simply did not appear like this in Hollywood film at this time, and in the exceedingly rare cases they did it was because the film was about race relations). While it hurts to think of what could have been in its own right as a faithful adaptation in subject, The Set-Up is loyal to its source material in its adherence to poetic contemplation.

Robert Wise spent a lot of time in rundown arenas exploring the ins and outs of various  venues and watching the fights. He uses these lived-in details to build a world where the  routines in the night of a fighter have an honest home. That home has a defined perimeter, a town that calls itself Paradise City. It is a den of big-band sin, a microcosm of the seedy and sloppy. There are more blinkering lights than people and the place is hopping. Shit goes down here, home to the ironically named Dreamland arcade and Cozy Hotel. Outside the boxing venue, as soon as the film starts, there is an uncut minute where we drift between, and establish, no less than six pairs of characters buying their tickets. We won’t necessarily get to know them, but they will be familiar to us soon enough, our sea of heathens.

The camera is a free agent in The Set-Up, switching its perspective allegiance at will. But when you’ve got its attention it is a conduit for empathy and its antithesis. The Set-Up takes place in real time. One minute equals one minute (again, not something you will find in films of this time. High Noon is a few years off, and On the Town‘s New York time stamps at its start were their own fun new flourish). We are not allowed to forget time, and thus its immutability. We begin and end with a clock in the town square, and in those seventy-three minutes everything for Stoker Thompson (Robert Ryan) will change. We quickly learn that his manager has not only arranged for the night’s match to be thrown, but he is so sure that Stoker will lose that he doesn’t even bother telling him about the dive. We haven’t met the boxer yet, but we already want him to win because everyone not only expects failure of him, but are planning to bank off of that failure.

The camera enters through the window of the Cozy Hotel, as if we’re about to visit Marion Crane and Sam Loomis. Instead, a melodrama plays out between Stoker and his wife. Audrey Totter’s Julie stays behind because she just can’t do it anymore. She spends her evening walking the streets having her own existential crisis, in a sustained character arc also unlike any of its contemporaries I can think of. The internal life of the wife whose support has run out is externalized and inferred by her surroundings and Wise’s direction. Inconsequential exchanges reflect the claustrophobia of her predicament. The invasive obscenities of the city center create a chasm of lacking. The habitual passing trams are her indecision. All of this adds to the inescapable tension of not seeing the fight. Not going is somehow even worse than going, but she’s done watching her husband…

Meanwhile, men in ratty robes and lapsed dreams wait in a locker room. Everybody has a story, and everybody has a delusion of choice, whether clinging to religion, the legendary losses of a champ, fate, or the promised road. It feels like they are waiting for their public execution. There is a beautiful sense of community and shared respect between these men, because they all cling to not just their own hope but each others to get by. They just need to get that one winning punch in.

Twenty minutes of The Set-Up’s concentrated seventy-three are the boxing match. To say it is cumulatively overwhelming is to undersell the experience of it. This is The Flesh Circus from AI but with human beings. Men pummel each other for a merciless crowd screaming to see them bleed. There is a total absence of humanity in this venue, save for Stoker’s redemptive stakes and the newspaper man who believes in him. There is no music. Just the shrieks and savagery of the crowd. Round in and round out the camera makes its own, visiting the familiar faces we can collectively call Gluttony with tighter and tighter editing patterns and closeness. It is a gradual build-up that eventually railroads my nerves.

At a certain point towards the end of the match I begin crying, because I need Stoker Thompson to win (Robert Ryan, doing all-timer work here in his own favorite role, lends a dog-eared ache to a man who perseveres despite seeming ready for the junkyard). I am rooting with everything I’ve got for the wash-up in the ring fighting for his goddamn soul. And that need is being completely drowned out by a neverending onslaught of hateful vile creatures. They scream for whoever is winning, unless they have money to lose. They are horrific, and Robert Wise creates a sustained tapestry of toxic claustrophobia more upsetting than most things you’ll see in the movies. The boxing ring, time, the increasingly tighter close-ups, all of it squashes us in until it’s too much. And then it’s over. Nobody cheers. The lights go up immediately; the announcer isn’t even done naming the winner and everybody is up out of their seats, filing out, bereft of any of the energy they just had. The sport has done its job; the citizens, drained of their hellfire, exit to find their next fix among the riff-raff. The men in the ring, and the stakes they fight for, couldn’t matter less. Stoker is alone now, surrounded by the ominous shadows that Robert Wise carried over from his Val Lewton’s days, left to face the consequences of his hard-earned redemption.

Top Ten By Year: 1949 #7 – The Heiress (US / Wyler)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter
#10. The Queen of Spades (UK/Dickinson)
#9. Rendezvous in July (Becker)/Au royaume des cieux (Duvivier) (France)
#8. Too Late for Tears (US / Haskin)

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

The Heiress

#7. The Heiress (US / Wyler) (rewatch)
“Why couldn’t you just have been a little more clever?”

This is the story of a young woman’s untimely conversion to her antonym self.

Dr. Austin Sloper (Ralph Richardson) suffers from Dead Wife Syndrome. The deceased isn’t an angelic cardboard apparition or a catalyst for male torment and vengeance inflicted on the audience. No, we are not the victim; but his daughter Catherine (Olivia De Havilland) is. Her mother died during childbirth, and as Dr. Sloper puts it, “only I know what I lost, and what I got in her place”. He uses the inherent chill of societal composure to mask his indifference towards Catherine, seeing her as “an entirely mediocre and defenseless creature with not a shred of poise”. The older women in his orbit defend her, not because they disagree entirely, but because they rightly feel it is unfair to hold Catherine to such high standards and finality. He’s never said any of this to his daughter, but it doesn’t take us long to learn it.

Catherine feels the pangs of her father’s remarks (“your mother was fair. She dominated the color”) but isn’t able to grasp that it goes deeper than a general disappointment in her awkward social conduct. Truth be told, Catherine is pretty hopeless at society life. In 1850s New York, custom is personality. In fact, it erases personality, ensuring that a lack of custom leaves a woman with nothing to offer. Her harsh plainness (that middle part with lightning bolt severity and the hopelessly matted slope of her hair seem to define her) is made more apparent by how she carries herself. Instead of composure there is deer-in-headlights panic and fluster (god, I relate to all of this so much). Anyone near her at a party is made uncomfortable by being involuntary witness to her struggle. How to participate in small talk? Where does she put her claret cup? Where did she put her claret cup? Who sits down first? She can’t even get hold of the dance card dangling off her wrist let alone get the dance steps right. For these unforgivable infractions she is seen as a pariah of pity to others. We see that Catherine is bright and generous (but naive when it comes to trusting and knowing people), but her particular brand of clumsy shyness has no place in these suffocating confines. Her surroundings, and the burden of being her father’s daughter, ensure that she is never given the chance to be a real person.

So maybe that’s why, in a weird way, Morris Townsend’s (Montgomery Clift, enchantingly inscrutable here) insincerity feels preferable than her father’s barely contained indifference; because it is sincere romantic love as experienced by Catherine. For all of Morris’s deceit, there is something woefully lost about them both. Morris is described by his sister as honest, and while Morris’s wooing of Catherine is wholly manipulative, it does feel like he projects a candid passion of self that could easily be deemed unfit. Catherine is homely, out of place, and tied to the house on Washington Square. Morris is beautiful, displaced, and yearning to belong to status and the house on Washington Square. If Morris’s feelings were true, they’d compliment each other perfectly. Morris’s deception is malicious in nature, but there seems to be no maliciousness in him. I like to think that Catherine would never have realized on her own that Morris didn’t love her. But I’m just like Catherine, falling for Montgomery Clift, not wanting to believe the worst even when all signs point in that direction.

In the midst of their courtship, Morris plays a song for Catherine that he learned while toiling away his money in France. She asks to know what it means. He plays it again, translating the words for her with a slow recitation that sounds like Clift Goes Cohen. “The joys of love last but a short time / the pains of love last all your life”. The words are a pall-in-motion, cast upon the film as they are spoken and immediately regurgitated by Aaron Copeland’s score as their romantic theme. Soon after, Catherine finally finds her nerve by immediately accepting Morris’s proposal. She says “I love you” as if she is just learning the words. After some skepticism and hesitation she now trusts him completely, determined to be him with or without her father’s blessing. She is helped by her Aunt Lavinia (Miriam Hopkins), the kind of busybody whose one-and-only mode is breathless melodrama. She genuinely wants happiness for her niece but can only see everything through the narrow lens of her time and place. This character type is the natural destination for Miriam Hopkins’s energies. She makes Lavinia endearing despite herself, and is the closest thing to an ally Catherine has.

The tragedy of The Heiress is not of a woman conned into love. It’s that her father’s read on the courtship doesn’t arise from the (plenty of) red flags and observations that Morris elicits. It is because outright, at face value, he cannot believe that that a man would want his daughter for the simple fact that he is her daughter. Clift’s arrival simply brings out these cruel truths.

The greatness of Olivia de Havilland is made even clearer when Catherine is hurt so badly that it causes her to fissure. Her voice has deepened and lost all its buoyancy. She speaks in craggy deliberate daggers. Her demeanor matches the harshness of visage; that kind-hearted openness that used to shine out of it is gone. Her needlepoint is now the only thing she can rely on. She used to be the embroidery but now she is the needle. It actually hurts to feel the irreversible difference in her. She used to assume sincerity — now she assumes insincerity. When the maid compliments Catherine, she is reprimanded for using flattery for gains. But she was clearly being true.

You might notice that I’ve written about the characters and emotions of The Heiress almost exclusively, and it’s because I can’t tear myself away from them. William Wyler uses objects (the gloves, the embroidery, the stairs, the sliding doors) and interiors to tell a story of stifling environments and emotional arcs. He adapts the play beautifully, by understanding everyone in relation to each other and to the spaces they inhabit. It all builds to the fact that Catherine becomes that austere building of protection and isolation on Washington Square. Her final act is both cauterization and revenge, a ritualistic binding to the house as she closes herself off, literally, from any potential of future love. She announces that this will be her last embroidery, a final shedding of the vibrant Catherine we once knew. Like Sleeping Beauty in her trance, with the now flat and monotonous precision of her voice, Catherine closes up the house and makes her way up the staircase. It is both triumphant (because really, go to hell Morris) and tragic (her disappearing act is so much bigger than him), rightly considered one of the great movie endings.

Top Ten By Year: 1949 #8 – Too Late for Tears (US / Haskin)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter
#10. The Queen of Spades (UK/Dickinson)
#9. Rendezvous in July (Becker)/Au royaume des cieux (Duvivier) (France)

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

#8. Too Late for Tears (US / Haskin) (First-time watch)

Unsurprisingly, I watched and rewatched a lot of noirs for 1949. A few of them (Follow Me Quietly, Tension, and Too Late for Tears) are grubby little things; Bs streaked with nasty. I am fond of all three, but Too Late for Tears is in a league of its own. The film bombed and bankrupted Hunt Stromberg Productions. It received mixed reviews from critics. Its star Lizabeth Scott named it as her least favorite of the films she appeared in (why?!?!). The writer, Roy Huggins (adapting his own work), also hated it. They were all so wrong. All this time it was only available in a barely legible public domain copy, until 2016 when UCLA and the Film Noir Foundation performed their incredible restoration on it. Too Late for Tears is not the only film in this top ten that gets labeled as noir, but it’s the only true knock-down drag-out one of the bunch. It scratches that particular itch for duplicitous dames and charismatic lowlifes.

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A Love Letter to Jane Palmer,

So many femme fatales play what’s-her-angle with the audience. Not Jane Palmer. She’s got a money complex, which she blames on coming from “the kind of people who can’t quite keep up with the Joneses and die a little every day because they can’t”. The apartment she has with her husband (Arthur Kennedy) is nice and quite spacious, but bare and not a house (or a penthouse); old Hollywood code for Humble Living. But all that could change, because as soon as Too Late for Tears starts, a suitcase of money is tossed into their car. From there it’s up to us to keep up with Jane and up to others to catch her. Her husband certainly can’t do either. From the start it is clear she is on her side, and the side of crisp green paper. In the early going she tries to make her side their side. But that quickly falls through and all bets are off.

Both Too Late for Tears and Caught (which I’ll be talking about later) center around materialism; specifically, the notion of female materialism. In Caught, Leonora buys into the idea of money-as-endgame; she is the average result of the new postwar consumerism. This is all challenged; first by her reality, then more explicitly by another man, and finally, herself. On this point Jane never falters. The gleam in her eye is permanent, one that only the diamond necklace she eventually adorns can hope to match. Her itch for the green propels not just her but the entire film. The suitcase doesn’t initiate a transformation — it provides the welcome mat, an invitation to step into herself. In a telling speech to her husband she claims “I haven’t changed. It’s just the way I am”. What was telegraphed in the first scene (she doesn’t want to see Alan’s “condescending” rich friends) was just the tip of the disillusioned iceberg. She hates it all and she wants out. That suitcase is the starting pistol — anddddd she’s off!

Lizabeth Scott is all high cheekbone and pout, her face framed by the light bouncing off the waves of her hair. Her voice is hoarse with husk and her words possess a slightly mealy texture. Age isn’t readable on her. Angles and lines foreshadow the Lauren Bacall of the 50s, yet there’s also an odd (very vague) Maria Bamford-ness there. In the same year she also plays Liza in Easy Living, another greedy and heartless gal. There, she is afforded no perspective, and the film ends with a shocking act that seems intended to be taken as what she deserved (although I favor a much bleaker, more complex reading). In Too Late for Tears she is seen almost anthropologically, as if the suitcase was part of some sadistic psychological experiment: let’s see what Jane does! This is supported by Scott’s incredible performance, which is full of emotional transparency. Everything shows on her face. Unlike most femme fatales, she is not an enigma. We always see the cogs moving and the fire burning. We understand her all too well, perhaps more than we are comfortable with.

Jane dares to be a woman that goes the criminal distance for greed, not love. Doesn’t she know only men can do that? Jane’s perceived perversity takes on a “what are you?” quality, represented by the great Dan Duryea, resident Roger Rabbit weasel. Danny Fuller (Duryea) realizes he’s in over his head with his dame. His downward spiral, which Duryea milks so much empathy and pathos out of, is triggered by the fact that Jane Palmer is just too evil, even for him.

In the opening getaway chase we already glimpse her barely suppressed smile in the midst of legitimate danger. Later on, Danny slaps and threatens his way through the apartment, demanding his money back. Everything is at risk and she doesn’t have a course of action yet. But we dissolve into the next scene, which takes place that same afternoon, and you’d think she doesn’t have a care in the world! Why? Because she’s too enamored with her new mink coat (also note: mink plays a huge symbolic role in Caught) to let the threat of Duryea get her down. She looks down at her new possession lovingly and packs it away. Any danger she is in cannot eclipse the ecstasy of money.

But she feels the danger — all of it. And at one point her conscience even wavers. It is a critical slingshot moment for her; she is momentarily pulled back and then catapulted forward by her actions. She is hell-bent but not unfeeling. Late in the film she commits a murder. While she doesn’t waver (or regret it) she looks horrified when it happens, as if she didn’t just poison a man!

From the start she’s cracked, slightly deranged even. She’s got an unnerving and unblinking smile when she calls bluffs (and remember that permanent gleam)? Danny knows she’s cracked, Kathy (Kristine Miller) knows she is duplicitous, and Blake (Don DeFore) knows she’s a parasite. She is flying by the seat of her pants. She’s not a criminal, and she’s never had to outsmart people like this before. But she will. Too Late for Tears sustains tension by pitting Jane’s multi-faceted transparency and her inexperienced ruthlessness against the constant precipice of exposure (reappearing guns, missing claims tickets, and a man with an agenda abound) and the fact that every character knows she’s not on the level. You can’t miss her desperation: Jane is on warp speed. Because this is the chance of a lifetime, and you’ll have to pry that money from her cold dead hands.

Top Ten By Year: 1949 #9 – Rendezvous in July (Becker) & Au royaume des cieux (Duvivier) (France)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter
#10. The Queen of Spades (UK/Dickinson)

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

 

#9. Rendezvous in July (Becker) & Au royaume des cieux (Duvivier) (France) (first time watches)

Diametrically opposed visions of postwar French youth: the dreamers and the delinquents. Two unknown films by two well-known directors (Jacques Becker and Julien Duvivier). I couldn’t choose between the two; they belong together.
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Rendezvous in July (Becker) is about twenty-year old kids who can see the Eiffel Tower from their windows. It is a light spring breeze that is on-the-move, because there are places to be and dreams to achieve. We’re first introduced to a family we’ll never see again. This is a pattern that continues through the first fifteen minutes. Our main characters are all introduced alongside their parents, illustrating how markedly different these proto teeny-boppers are from their elders. Collectively, these adults cover all the bases of your standard generational gap; they have practical jobs and adhere to custom, and they mostly disapprove of the instability of artistic endeavor. But these kids are idealistic, and pretty, and talented. They are aspiring actors, playwrights, cinematographers, documentarians, and musicians. They are riding the high of the postwar Americanization boom; they wear pants, love jazz, and smoke American cigarettes (a character offers one to his dad who disdainfully replies with “Keep em”).

What makes Rendezvous in July special is its intense possession of the perky energy we’d soon associate with the phenomenon of 50s teeny-bopperdom. I can’t think of an earlier film that depicts youth with the kind of modern immediacy that would become commonplace in the upcoming decades. It must have felt so new watching these characters congregate and flit from place to place, cavorting as a group entity with all the, as the Grinch would say, noise, noise, noise, noise! These kids dance fast to fast music, but Becker speeds up the frame rate all the same.

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The centerpiece of the group’s carefree whimsy is the Boat-Car Shark, (because a river can’t stop these kids from getting where they need to). It is one of your rubber bath toys made life-size and fully operational, with Keith Haring-esque hieroglyphs (eyes and octopi that recur on other costumes and decor) and headlights for eyes. It floats across the Seine while passersby look on, noting that “they sure have it easy”. They drive up and out onto the cobblestone, dropping everyone off at their various classes and odd-jobs, a communal vehicle that can provide them with the shortcuts needed to keep up with their pace.

They are at an age where anything and everything is possible as long as you’ve got talent and idealism. For all the bounce in this film’s step, there is just enough space made for us to observe that the bubble is burstable. There is no place in the film for people potentially going nowhere, and no tolerance for any irreparable steps taken towards the workaday life.

Lucien (Daniel Gélin) finally gets the funding he needs for an anthropological study. He excitedly tells his film crew they are due to leave within two weeks. But the crew can no long go; they made various job commitments in order to earn steady wages. It is a deep betrayal; he becomes petulant and has what can only be described as a tantrum. He calls them, among many other things, pathetic slobs. Lucien’s disparaging plea that his friends don’t sell out so young is sympathetic — to a point. That choice is so often the point of no return, where you cross over and become just like everybody else. But the more you get to know Lucien, the more incapable he seems of registering anybody else’s feelings. I can’t tell if Becker intends (or even sees) for the character, or if it’s just apparent to me. However, Lucien’s speech to his friends goes on long enough that it settles into something purposefully ugly. But while Lucien and others take steps towards success and opportunity, a girl named Christine suffers a series of humiliations.

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As much as I love Rendezvous in July, it probably wouldn’t be here without Christine. Jacques Becker sees her but her peers do not. He and Nicole Courcel (her debut film) let us see. This is a clique where identity and emotion are defined by your talent and passion. The plight of realizing you don’t have talent, and its unfortunate companion deep insecurity, is an unforgiving thing, especially with friends that don’t recognize or relate to said plight. She is seen by the group as a bit of a vindictive femme. To a degree she is, but it all stems from the fact that she sees beauty as her one sure thing.

At first we see her as her friends do:

In an early scene, she calls Therese (Brigitte Auber, also her debut) to tell her she has a part in Rousseau’s (Henri Belly) new play (her brother is the playwright, getting her in the door). Therese is disappointed about this, and it’s the exact reaction Christine was hoping for.  A smirk spreads across her face when she hangs up.

When the time comes, Christine is too nervous to audition for Rousseau; she puts his hand to her chest so he can feel her heartbeat. Sexuality is the only hand she feels she’s got to play in that moment.

She is bad in the play and she knows it. She didn’t need further proof, but during the curtain call the audience gives it to her anyways; a limp round of applause meets her when she steps forward, the opposite of Therese’s lively reception. Audience members share an exchange: “She’s pretty, eh? “Pretty, but very bad”. In the dressing room, she is chastised by Rousseau (who she lost her virginity too) for being sad: “Your dress is great. You look lovely. What more do you want?”.

Every single scene shows how thoroughly unseen this girl is. She is viewed as inferior to Lucien (her romantic interest), told she has no heart; she is even slapped. The list goes on. Some of the men also make selfish decisions (out of pure selfishness as opposed to coming from a place of pain like Christine), and then blame her for their choices. Rousseau chose to cast a girl who doesn’t cut it, only to scream at her for — guess what — not cutting it. Lucien is impulsive and proposes to Christine after making her feel like scum. When Christine is led astray after feeling worthless, just like before, it is she that receives all the disgust.

That this girl feels everything is never considered. Indeed, nobody ever shows actual concern for her, or sees her very apparent sadness. A girl who acts out because she feels less than is constantly misunderstood as dumb, not worthy of Lucien, a bad actress, and heartless. Nicole Courcel pours a deep melancholy and ache into this girl looking to be valued, using the only tool she thinks she’s got (the how and who of that be damned). She is the only one with nothing at the end. I think about Christine all the time. Everybody else, with their bubbly spirits and camaraderie, will be fine by virtue of the fact that they are in this film. Except Christine. Christine has more in common with the girls of Au Royaume des Cieux.

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The girls of Au Royaume des Cieux don’t have the luxury of dreams, or even hope. They are just trying to survive in the Haute-Mère reformatory. They are in a far-off and desolate landscape, a place that can only produce rain and mud (another French film from 1949, Such a Pretty Little Beach, uses a very similar landscape as its existential center). There are so many girls — all of them abused, thrown away and/or forgotten. They often huddle together and jam up the frames; it is a crowded and imprisoning space. Most have dabbled in sex work and some have murdered (viewed by society under the same criminal category). They are a rowdy bunch full of pent up lust and the nerve to still act rambunctious despite being beaten down by life.

They have rare allies in a couple of the authority figures, but that is threatened right at the start. A sudden death puts Mademoiselle Chamblas (Suzy Prim) in charge as director, a position she has craved for 20 years. She is the repressed headmistress archetype think Lili Palmer in The House that Screamed (1969)), misogynistic in nature and conception. This is a film full of transgressive streaks of eroticism; talk of same-sex exploits is a near-constant. While the lesbianism and sadism are not conflated, they are linked to establish a place that makes taboo happenings and histories part of the everyday. These girls have no hope that they can or will exist in the outside world, but at least the reformatory is a safer space than they’ve known. With Chamblas as director, all of that disappears and they are thrust into yet more worthless cruelty. But as Chamblas ascends, a girl named Maria (Suzanne Cloutier) enters. It is her purity and goodness that will gradually mobilize everyone into a revolution.

Maria hasn’t been convicted of any crimes, but pervasively unsafe living arrangements have kept her running away from various homes. Like the other girls, she is seen by society and its systems as the problem, punished for daring to endure, retaliate, or do what is needed to get by. Along the way Maria did find love. Real love. And he is coming for her. At first it seems like Au royaume des cieux is going to be about Maria and Pierre (Serge Reggiani) making their escape. Thankfully, it’s about a lot more than that (love and respect to Maria and Pierre who are sweet, but also too sweet). The couple, with their optimism, devotion, and will, come to represent hope for the girls. At first there is much animosity and infighting, but they eventually unite for a bigger cause — themselves. With their secret ingredient (resident anarchist Camille) acting as final inspiration, they riot and take control of Haute-Mère.

Duvivier’s camera singles out the girls as individuals during key moments. We get a brief reckoning glimpse of each; they get the frame to themselves, as if the camera is taking their photograph. It happens when Maria tells them about Pierre. The more she talks about him, the less it seems like a poor girl’s naivete. Some believe she’s either delusional or foolish. But most become convinced. You can see the hope breaking through on their faces. Love is possible. It’s not all manipulation and lies and violence. It happens again when the girls go on a hunger strike in retaliation of Chamblas’s new policies. Days into their starvation, the school director rolls a gigantic steaming pot of soup to the middle of the room where they all sleep, taunting them with the smell to give up their protests. The camera whip-pans back and forth, soup-to-girl, girl-to-soup, through each and every one of them. We feel the whirlwind of individual temptation and suffering, allowed to register that power lies in numbers, but that those numbers are made up of human beings pushing themselves to the brink for the rights they deserve.
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Diametrically opposed visions of postwar French youth: the dreamers and the delinquents. Two unknown films by two well-known directors (Jacques Becker and Julien Duvivier). I couldn’t choose between the two; they belong together.

Top Ten By Year: 1949 #10 – The Queen of Spades (UK/Dickinson)


Previous Top Ten By Year lists:
1935, 1983, 1965, 1943, 1992, 1978, 1925, 1969
1930

Previous Top Ten By Year: 1949 Posts:
Top Ten By Year: 1949 – Poll Results
100 Images from the Films of 1949
What I’ll Remember About the Films of 1949: A Love Letter

For those unaware of my Top Ten By Year project:
The majority of my viewing habits have been dictated by this project since September of 2013. Jumping to a different decade each time, I choose comparatively weaker years for me re: quantity of films seen/quantity of films loved. I use list-making as a way to see more films and revisit others in a structured and project-drive way. I was sick of spending too much time trying to decide what to watch, or watching films just to cross them off another dumb canon list. I wanted to engage. I wanted films to be enhanced by others, by looking at a specific moment in time. I wanted something that led me to seeing or revisiting things I might not have gotten to otherwise. Lastly, my lists are based on personal favorites, not any weird notion of an objective best.

This is the first year I’ll be doing separate posts for each film. #9 will go up Monday. After that, one will go up each day until the end. Then I’ll post them all together so they are gathered in one place. There are a lot of films I loved that did not make the cut. In particular, Flamingo Road, Such a Pretty Little Beach, On the Town, Inspirace, The Reckless Moment, Reign of Terror, The Rocking Horse Winner, and Samson and Delilah are all films I thought at one point would be on here. Of all of these, Flamingo Road was a sure thing until it wasn’t at the very last minute. Please go watch it.

Queen of Spades 18

#10. The Queen of Spades (UK/Dickinson) (Rewatch)

We open on a close-up of a queen of spades. A Russian officer is heard, warning “for heaven’s sake, don’t play the queen of spades. It’s unlucky!”. This kind of schoolyard superstition is the atmosphere off which The Queen of Spades thrives. Everything is an omen of fate, or of doom. Spot the skulls that adorn the decor in places both obvious and hidden! A mysterious book of lore falls at Suvorin’s (Anton Walbrook) feet, as if meant for him. The malevolent Count of St. Germain is seen molding wax figures representing his intended victims. Flat shadows plaster every wall like silhouette portraits, and mirrors force characters to face themselves. The unabated extra presence of the self is foreboding. Archways, corridors, and doorways bore down on the characters, as if these spaces lay in wait for some unknown signal. And we haven’t even talked about the ghost.

The film was received with middling enthusiasm at Cannes, and didn’t fare much better upon general release. That its main claim to fame is Martin Scorsese’s love for it shows how overdue its proper appraisal is. It is defiantly out-of-step with the European cinema of the late 1940s, a spiritual holdover from the escapist Gainsborough melodramas that were en vogue during WWII. Audiences were craving more realism, on-location shooting, and Ealing comedies; wry, stately, or innovative fare. You’d never mistake this for any of that; it isn’t even a British story!

Based on a Pushkin short story, this Faustian ghost fable set in early 19th century St. Petersburg is the stuff of High Romanticism. Its style resides at the opposite end of realism, taking a page (just one page; enough to remind you, not call back to) out of German Expressionism for its Gothic-infused grandiosity and knowing artificiality. This approach suits the circumstances of the production, one beset by challenges such as director Thorold Dickinson signing on after the original dropped out over disputes (he had less than a week until shooting started, and was doing daily script rewrites during production). Cinematographer Otto Heller and production designer William Kellner, limited by a pair of tiny studios (with poor soundproofing and right next to a train station no less), create snow-strewn city streets and a lurid web of intricate shadows. But the real conductor of the film’s very un-British flamboyance is its Austrian star: Anton Walbrook.

His Purovkin seethes at everyone around him. He resents the rich for being rich and the poor for being poor. But one day he’ll show them all, or so he thinks. When I think of Anton Walbrook, God of all Gods, in The Life and Death of Colonel Blimp and The Red Shoes (playing characters in opposition to each other), I think about performances of great deliberation and an intensity concentrated in stillness. There’s some of that here too. But what sticks with you is his mannered mania; he is a stranded madman from the silent era. He speaks as if he has hypnotized himself, until that gives way to absolute frenzy. His voice is velvet doom, its own sorcery. There are times where he, and the film, feel like Young Frankenstein played straight. Indeed, Gene Wilder and Walbrook possess similar energies, especially when they shift into shriek-speak mode, complete with eyes of wildfire. The performance was considered too theatrical and over-the-top at the time, but what better home for that than a film made of ersatz embellishment? You can’t watch him with anything but total eyes-locked glee.

Hauntings in the 40s (Scarlet Street, Dead of Night, Flesh and Fantasy, etc) are akin to madness in the 20s (hell, madness in the 40s are akin to madness in the 20s; my write-up on The Set-Up will briefly touch on why this is). The frame is filled with tampered images. Whether superimposed or made kaleidoscopic, it’s the inescapability of the dead that claims emphasis. There is unnerving vigilance in the Countess’s cow-like eye, in death her knowing glower locks onto Anton Walbrook for life. The Countess’s unchanged decadence, frozen and isolated by her night with the Count, made her a kind of ghost in life.

But the ghost and film wield sound as their weapon of choice. The sound mixing on The Queen of Spades took as much time as anything else. We never actually see a ghost; it’s all what we hear through the power of suggestion. Instead of being able to point at her, she’s just everywhere. In the bitter whistle of the wind, the metronome-like plunk of her cane and heavy shuffle of her crinoline as it inches across the floor. These sounds are established while she is alive, and become her calling card in death. The Captain’s terror over this soon turns to ecstasy as The Countess releases her secret to him. He is too blinded by greed to process that a ghost passing off its fiercely guarded secret is a giant red flag of doom in a film filled with red flags of doom. He hasn’t been paying attention. But we have, and we know what lies ahead.

What I’ll Remember About the Films of 1949: A Love Letter


Previous What I’ll Remember posts:
1925, 1930, 1943, 1958, 1965, 1969, 1978, 1982, 1992, 2012, 2013, 2014

It’s that time again! The What I’ll Remember posts are a Top Ten By Year trademark; a fun, engaging, and personalized way of collecting movie memories that represent my time with the years chosen for this project. It’s something I work on gradually while making my way through the watchlist, whether it’s writing down observations, grabbing screencaps, or making notes of what to include. When I look back on these long afterwards, I find countless things I would have otherwise forgotten (despite the name of this feature!) and am always so grateful for having made them. What we take from movies should be more than the, understandably, ‘big picture’ way we tend to evaluate, enjoy, or talk about them. Hopefully this does a little to parse out all the different ways that film, whether taken individually or as a group, can be memorable!

I started 1949 one year ago. The Top Ten By Year: 1949 Poll Results went up in October (almost 300 people voted for ove 250 films!). You can also enjoy 100 (or so) Images from the Films of 1949 which went up last week. The Top Ten By Year: 1949 write-up should go up within a month’s time. And then after that: 1990!

(Note: I am posting this without having actually seen Le Silence de la Mer. It is the last one on my watchlist and I will update this post with anything I need to afterwards)

Raoul Walsh saying everything he needs to say with masterful shot compositions & blocking in Colorado Territory

Max Ophüls saying everything he needs to say with his masterful shot compositions & blocking, his fluid camera constantly recalibrating the characters & their relations to each other, in Caught & The Reckless Moment

UK murders done drolly
(The Hidden Room, Kind Hearts and Coronets)

The sandy desolation of Une si jolie petite plage (Such a Pretty Little Beach)

The peppy and shamelessly horny women of On the Town

Julien Duvivier’s Au royaume des cieux (The Sinners), so unseen & unavailable (only 39 votes on imdb & 13 views on letterboxd!), & so completely essential. The lost girls reformatory film of your dreams

The thrilling ball sequence in Madame Bovary, a 360 degree manifestation of delirium in which Emma’s inner ecstasy and social fantasy are externalized by a sudden & urgent call to “Smash the windows!”

Begone Dull Care” is really cool. Somewhat less cool: its flickers and sputters almost triggered a panic attack

Harry Lime’s self-satisfied entrance in The Third Man, even better when you realize he never meant to be seen and had seamlessly pivoted into it for the theatrics

Celeste Holm as the all-seeing yet unseen homewrecker Addie Ross in A Letter to Three Wives, an arsenal of sumptous half-whispered poison. The filmis good and all, but give me The Addie Ross story over drunk Jeanne Crain stressing about entering society life any day

Needing Gene Kelly to calm the fuck down in Take Me Out to the Ball Game. Level of Ham: Dick Van Dyke in Mary Poppins

In recent years, Joan Crawford has gone from someone I’ve always casually enjoyed to a pivotal personal icon. The very underrated Flamingo Road, part of her Mildred Pierce stretch of playing tenacious & sexually mature women, illustrates why. Through these roles, her gorgeously soft-lit turmoil & determination are a constant through the barrage of bad luck or bad choices her characters battle

The Fantasia-esque visuals of “Inspirace”, where droplets and the like morph into a transluscent fairy-tale

Post-WWII Americanization abroad (Late Spring, Bitter Rice, Rendezvous in July)

Joan Greenwood’s voice is like some majestic creature that is going to lull you into an eternal sleep. She is a kind of infuriating opiate in Kind Hearts and Coronets

The Secret Garden 1949 00009The Wizard of Oz-esque use of Technicolor for the garden sequences of The Secret Garden

Brunhilde Esterhazy: best character name or best character name? (and best character!) (On the Town)

The amusingly superficial posters on the walls of Dorothy Dale’s Charm School, such as the Personality Recipe (the components are appearance based), and the Which Shape Is Your Face? chart, filled with geometrics such as the very not face-shaped triangle (Caught)

Turns out that French films from 1949 with less than 300 views on letterboxd are my jam (Une si jolie petite plage, Rendezvous in July, Au royaume des cieux)

Four characters locked in by glares & jewels & power plays (oh my!) in Bitter Rice

madame fashion

tumblr_p52tb9wg1E1r7h84eo1_500Two show-stopping costumes presented as spectacles in their own right: Madame Bovary’s whimsical ballgown confection & Delilah’s opulent peacock ensemble (surely a greatest of all-time contender) (Madame Bovary, Samson & Delilah)

The sing-off turned brawl (recalling 1956’s “Lucy’s Italian Movie” which would use this film as inspiration) in Bitter Rice

The outré existence of Jose Ferrer’s astrologer/hypnotist character in Whirlpool. He casually outs a party guest as having recently tried to commit suicide (to the amusement of everyone including the man!), hypnotizes himself into post-surgery painlessness, warns his enemy of the alignment of Mars, and says things like “I bow to your abysmal scruples”

That huge plate of spaghetti in House of Strangers

The harrowing post-rape sequence in Bitter Rice. Rain, rice fields, and pain externalize the just-past

That all-too-brief moment when we’re treated to Jean Hagen & Judy Holliday looking really hot in drag in Adam’s Rib

A Letter to Three Wives basically invented auto-tune! (“Why th-hh-hh-ee bl–uuu–eeee ssuuuu-itttt?”) (Courtesy of Sonovox!)

The whip-pans of Au royaume des cieux

Coming around to Richard Conte in a big way with rewatches of Whirlpool and Thieves Highway, and a first-time viewing of House of Strangers

“Setting the Scene” opening narrations
(Beyond the Forest, Border Incident, Flamingo Road, A Letter to Three Wives, Abandoned, The Reckless Moment)

Title cards! Some favorites!

The ache of seeing Gene Tierney try to keep her projected congeniality together for her husband in the face of a murder charge & a muggy mind. She has never been more  available to us onscreen (Whirlpool)

The metaphoric horror show of Blood of the Beasts, catapulting me into a meltdown that can only be described as unhealthily distressing

Max Ophüls making 2 (TWO!) films that interrogate what it means to be an American woman. While Leonora has to face the worth of her ideals head-on, Lucia faces the challenge of remaining Steadfast Mother Hen in the midst of violent crisis
(Caught and The Reckless Moment)

The shot of the dam breaking in Au royaume des cieux

tumblr_p6g19lM7141vnek3io1_540The borderline surreal climactic heist-in-the-smoke of Criss Cross

The way James Cagney plays the I-talk-to-my-dead-mother confession to Edmund O’Brien. So intimate and watchful; a critical test that, if he passes, promises the rareness of trust (White Heat)

Semi-documentary trends popping up in films one wouldn’t entirely categorize as such (1949 is in the midst of the semi-documentary procedural craze yet there aren’t many any from this particular year)
(Border Incident, Follow Me Quietly, Abandoned)

The Third Man, a sweet spot masterpiece. How corny but true to say but every time you watch it it’s like “wow, people made this & now we have it & it’s a thing that exists, how beautiful is that?”

The terrible grotesquerie of Beyond the Forest which I can honestly say is one of the worst films I’ve seen (worth watching for how weirdly bad it is, I’ve never seen anything quite like it)

All those two shots with Francesca and Silvana in Bitter Rice

The famous sewer chase in The Third Man, even better than you remember, even greater than you know it to be. Cinema’s apex? Food for thought….

The central boxing match in The Set-Up. An absence of humanity, just hungry faces barking for blood, and one man’s committment to redemption

The canted & cluttered off-kilter world of post-war Vienna in The Third Man

The bold 1st act of Pinky which, Jeanne Crain casting aside, depicts remarkably honest dilemmas and scenarios about race that are actively confrontational towards white audiences, especially for its time. And then…it ends up being about the film’s one uninteresting story thread!

Seeing Setsuko Hara’s fortress beam of a smile disintegrate as Late Spring unfolds

The dead vigilant eye of Dame Edith Evans, in death her knowing glower locks onto Anton Walbrook for life in The Queen of Spades

I remember being a teenager when I saw White Heat for the first time, and being shocked by the emotion on display when Cody finds out his mother is dead (“She’s dead.” “She’s dead.” “She’s dead.” etc). It still shocks. A totally unrestrained feral piece of acting by James Cagney

The “ok byeeee” nature of Harry Lime’s exit (“So long Holly!”) immediately following the cuckoo clock speech in The Third Man. Also, Orson’s delivery of this speech and all of the rest of it. Nobody else would say Harry’s lines in his perfectly natural offhand way, with a rhythm that is its own kind of music. It makes you love the character. There is an urge to shout “No, wait, don’t go, you just got here!”

Geraldine Brooks in The Reckless Moment making me wish it didn’t take until the 50s for us to see teens with modern gumption onscreen

Elizabeth Taylor playing her first adult part (Conspirator), while still shaking off now-awkward kiddie roles like Amy in Little Women

The first halves of Tension and I Was a Male War Bride. Before the detective enters the scene, Tension is the best kind of lurid noir. And then there’s the sexy outdoors slapstick of I Was a Male War Bride, before it gives way to pleasant but ho-hum bureaucracy humor

Money destroys
(The Rocking Horse Winner, Too Late for Tears, Caught, Thieves Highway)

Anna’s forthright walk through the autumnal street; past Holly, past us. Through two funerals, she shuns the living through her loyalty to the dead
(The Third Man)

The height of the social problem film trend of the late 1940s, which would emerge as a mainstream trend in the 1950s
(Pinky, Intruder in the Dust, Home of the Brave, Lost Boundaries, The Lady Gambles, Never Fear, Not Wanted, Knock on Any Door)

The surrealist wall paintings in Audrey Totter’s apartment in Alias Nick Beal

Time, As a Factor
(On the Town, The Set-Up, D.O.A.)

Silvana Magnano’s face and body in Bitter Rice. Just go see for yourself.

Samson & Delilah: DeMille still kinking it up with incredible costumes, scope, & Technicolor. I loved it.

Flashback Fever:
(The Fan, The Accused, Beyond the Forest, Champion, Criss Cross, Knock on Any Door, Twelve O’ Clock High, Edward, My Son, A Woman’s Secret, Black Magic, House of Strangers, Not Wanted, Kind Hearts and Coronets. A Letter to Three Wives, The Passionate Friends). These last two feature particularly intricate flashback structures, which confused some audiences at the time

i shotThe beautiful and sensual closing scene of I Shot Jesse James. They are outside but you’d never know it. They are faces emerged from blackness, a woman soothing her man in his final moments

Francesca’s character arc in Bitter Rice, from tossed aside moll to solidarity among hard-working women

The dance-hall scene in Caught; freedom in a crowd. Ophüls’ roving camera canvasses the outskirts. Two characters connect with their guards down, making room for candid and infectious laughter

Claude Rains unmatched ability to humanize characters who might otherwise not have been (The Passionate Friends)

We don’t meet the son in Edward, My Son!? We don’t learn why the confession happened in A Woman’s Secret?! These might work if the films were any good but they aren’t so it’s just nonsensical and very frustrating

easy livingThis shot from Easy Living (1949, Tourneur), so full of longing. The film is barely regarded, even by Tourneur enthusiasts, in part because it was one a “one for them” of his.  But it’s got a Daisy Kenyon vibe in that it’s a refreshing drama from the late 40s about complicated adults with complicated adult problems

A hill of tumbling apples & a fiery truck. A man burns for capitalism, but capitalism doesn’t burn for him (Thieves Highway)

Women in conflict with their desire for the finer things in life and for true love. Two different choices are made in The Passionate Friends and Caught

Kirk Douglas’ final scene in Champion; some of the most nakedly raw pre-Brando acting out there. Between him & James Cagney’s similarly animalistic outbursts in White Heat, 1949 features really powerful moments showcasing the vulnerability of male monsters

The Tale of the Countess Ranevskaya in The Queen of Spades

tumblr_nlxgovRqnt1szayaxo6_540
This particularly hot Burt Lancaster look in Criss Cross

The way The Passionate Friends illuminates interior lives & times past

One of life’s great joys: watching Anton Walbrook become untethered onscreen (The Queen of Spades)

The German Professor Bhaer in Little Women being very obviously Italian (played by Rossano Brazzi). Actually, most Professor Bhaer’s aren’t German now that I think about it!

The end of Easy Living; a shocking, nakedly misogynistic action, and a truly bold storytelling choice. I’ve rarely felt this kind of disappointment in a character

Di1YuVxU0AA0GycFeeling immediate worship and loyalty for Audrey Totter based on this early moment from Tension (delivered like “Drrriiiffffffttttt”)

The remnants of an apple peel and their heartbreaking significance in Late Spring

Apartment life at the end of the Chinese Civil War in Crows and Sparrows, only released at the end of the Chinese Civil War because it dared to be in opposition of Chiang Kai-shek’s corrupt government

A special shout-out to Lt. Kitty Lawrence, a bit character in I Was a Male War Bride whose short time onscreen is used for explicit kink-wishing. (“He could leave marks on me anytime. I’d bring the stick!”)

Flights of Fantasy (films that break with reality in different ways)
On the Town, My Dream is Yours, The Passionate Friends, Alice in Wonderland

20190111_132013Rendezvous amphibian20190111_140233The funky car-boat in Rendezvous in July, whimsically floating down the Seine, and featuring eye illustrations that reappear on costumes & decor throughout the film

The stale taste left in my mouth as I watched scenes from The Shop Around the Corner (presumably from its source material) lifelessly recreated word-for-word by the cast of In the Good Old Summertime

Dan Duryea’s nickname for Lizabeth Scott in Too Late for Tears (“Don’t ever change, Tiger. I don’t think I’d like you with a heart”)

Adaptations using badly dated, and entirely invented, framing devices with the authors as characters (Black Magic, Madame Bovary, Alice in Wonderland)

Toshiro Mifune finally allowing himself to release all of his pent-up emotions in The Quiet Duel

tumblr_papn29Fchm1tqsk9wo3_540The faceless mannequin in Follow Me Quietly, and that chilling time we are fooled by it

With Jour de Fête as my 4th Tati, it might be time for me to admit he’s just not for me

Lizabeth Scott completely and unapologetically owning her roles as the most materialistic of women in both Too Late for Tears and Easy Living

Deborah Kerr’s bitter drunken hag performance in the last act of Edward, My Son. Is it good? Is it bad? Hell if I know, but it’s something

Hoping that one day Lou Bunin’s Alice in Wonderland can be seen in better condition. It’s not good, but the stop-motion animation & sets are quite imaginative. Fuck Disney for going out of its way to successfully squash this (they are even responsible for the subpar color film stock they ended up using)

Whirlpool & The Reckless Moment: two very different 1949 women’s noirs exploring the masks projected by married women at the sacrifice of themselves. In the former the turmoil is internal, about the psychology and relationship. In the latter, things spiral externally; noir and family are inextricable as Joan Bennett puts a brave face forward in juggling it all alone (the husband is away). They each even write letters to their respective spouses that are either thrown away or not completed

The # of films across genres from western to sports drama to fantasy to noir that are just about nuanced humans with palpable lived histories & relationships. These films transcend their genres & feel primarily identifiable and connceted by this instead
(Colorado Territory, Rope of Sand, Easy Living, The Set-Up, Alias Nick Beal, Caught)

Audrey Totter and the boxing ticket. To tear or not to tear? (The Set-Up)

Traces of gay!
(“Christmas USA”, “Puce Moment”, Such a Pretty Little Beach, Au Royaume des Cieux)

The evocative autumn backgrounds in the otherwise pretty dreadful The Adventures of Ichabod and Mr. Toad

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David Brian aka: The Pits. As if Hollywood thrust a crusty newscaster into leading roles (romantic opposites with Joan & Bette, the nerve! Bette is cheating on Joseph Cotten with this bag of sand in Beyond the Forest) showing a total disregard for audiences everywhere
(Intruder in the Dust, Beyond the Forest, Flamingo Road)

The age of Pseudo Psychoanalytic films winds down with Whirlpool. Preminger’s characteristically sober touch makes an unconventional approach for this kind of story

The Set-Up as a collective conduit for all the souls who inhabit the film. Such vivid empathy and consideration for the various crushing predicaments and hopes of these characters

The unlikely focuses of Thieves Highway. A roadside breakdown patiently unfolds as a life is saved and a bond is formed. You expect it to have bearing on the plot. It doesn’t. But it has plenty on the story

Confirmation upon rewatch that I still don’t care for Adam’s Rib

Screenshot_20190320-130256_Message+“Puce Moment” becoming a literal aesthetic board when I got prints made of screenshots and now have them taped to my sides of my vanity

Montgomery Clift’s inherent tenderness complicating his performance & putting him intriguingly at-odds with his character in The Heiress

Van Helfin’s suppressed & then unstable guilt in Act of Violence, initiating the film’s left-turn segue into the underworld

Father and daughter on opposite sides of the road in Late Spring; change is already here

The deep affection I developed for Christine in Rendezvous in July. She is maligned by her friends for her mean streak & envy, but her actions, driven by insecurity & mediocrity, are easy to understand. The more unforgiving the film & its occupants are toward her, the more I came to empathize and love her

crissFacing imminent death straight-to-camera in the final moments of Criss Cross

Orson goes to Europe
(The Third Man, Black Magic)

The brutal historical noir of Reign of Terror, courtesy of Anthony Mann. Invasive close-ups, tight spaces, paranoia, double agents, and plenty of beheadings

The hypnotizing hypnotizing sequences of Black Magic!

The sympathetic eye that Ida Lupino lends Sally Forrest in her social issue melodrama Not Wanted. Nobody is an archetype, there is no “don’t do this & you’ll be fine” angle. It’s all refreshingly light on didactics

Amy - 5Adult Amy’s outfit entrance. Autumn-as-dress; magnificent (Little Women)

Favorite Performances of 1949:
Silvana Mangano in Bitter Rice, Doris Dowling in Bitter Rice, Joan Crawford in Flamingo Road, Gene Tierney in Whirlpool, Judy Holliday in Adam’s Rib, Claude Rains in The Passionate Friends, Audrey Totter in Tension, Virginia Mayo in Colorado Territory, Celeste Holm in A Letter to Three Wives, Juano Hernandez in Intruder in the Dust, John Ireland in I Shot Jesse James, Lucille Ball in Easy Living, Gerard Philipe in Such a Pretty Little Beach, Dan Duryea in Too Late for Tears, Orson Welles in The Third Man, Barbara Bel Geddes in Caught, Olivia de Havilland in The Heiress, Toshiro Mifune in The Quiet Duel, Setsuko Hara in Late Spring, Chishû Ryû in Late Spring, Richard Basehart in Reign of Terror, Anton Walbrook in The Queen of Spades, Doris Day in My Dream is Yours, Mary Astor in Act of Violence, Lee J. Cobb in Thieves Highway

Favorite Characters of 1949:
Lane Bellamy (Joan Crawford/Flamingo Road), Christine (Nicole Courcel/Rendezvous in July), Claire Huddesen (Ann Miller/On the Town), Brunhilde “Hildy” Esterhazy (Betty Garrett/On the Town), Francesca (Doris Dowling/Bitter Rice), Silvana (Silvana Mangano/Bitter Rice), Claire Quimby (Audrey Totter/Tension), Sadie Dugan (Thelma Ritter/A Letter to Three Wives), Jane Palmer (Lizabeth Scott/Too Late for Tears), Vivian Martin (Eve Arden/My Dream is Yours), Anne (Lucille Ball/Easy Living), 1st Lieu. Catherine Gates (Ann Sheridan/I Was a Male War Bride), Harry Lime (Orson Welles/The Third Man), Sgt. Paine (Bernard Lee/The Third Man), Connie (Arthur Kennedy/Champion), Addie Ross (Celeste Holm/A Letter to Three Wives), Martha Gibson (Doris Day/My Dream is Yours), Lt. Kitty Lawrence (Marion Marshal/I Was a Male War Bride), all the girls in Au Royaume des cieux, Rui Minegishi (Noriko Sengoku/The Quiet Duel), Beatrice ‘Bea’ Harper (Geraldine Brooks/The Reckless Moment), Fouché (Arnold Moss/Reign of Terror), Joe Parkson (Robert Ryan/Act of Violence), Ed Kinney (Millard Mitchell, Thieves Highway)

Least Favorite Characters of 1949:
Kip Lurie (David Wayne, Adam’s Rib), John Gavin Stevens (David Brian, Intruder in the Dust), Titus Semple (Sydney Greenstreet, Flamingo Road), Midge (Kirk Douglas, Champion), Walter (Vittorio Gassman, Bitter Rice), Eddie O’Brien (Gene Kelly, Take Me Out to the Ball Game), Hester Grahame (Valerie Hobson, The Rocking Horse Winner), Sibella (Joan Greenwood, Kind Hearts and Coronets), Andrew Delby Larkin (Van Johnson, In the Good Old Summertime), all the kids in The Secret Garden, Hon. Charles Adare (Michael Wilding, Under Capricorn), Lizaveta Ivanova (Yvonne Mitchell, The Queen of Spades), Mr. & Mrs. Manleigh (Florence Bates & Hobart Cavanaugh, A Letter to Three Wives) everyone watching the boxing match in The Set-Up, Arnold ‘Red’ Kluger (Charles McGraw, The Threat), Mademoiselle Chamblas (Suzy Prim, Au royaume des cieux), David Harper (David Bair, The Reckless Moment), Masa Taguchi (Haruko Sugimura, Late Spring), Robespierre (Richard Baseheart, Reign of Terror)

Actors I saw the Most in 1949:
Robert Ryan, Jeanne Crain, Janet Leigh, Richard Conte, Robert Mitchum, Van Johnson, James Mason, Audrey Totter, Joseph Cotten, Lizabeth Scott, Robert Mitchum, Burt Lancaster, Arthur Kennedy, James Mason, Victor Mature, Kirk Douglas, Margaret O’Brien, Claude Rains, Gene Kelly, Orson Welles, Virginia Mayo, David Brian, Sally Forrest, Barbara Lawrence, Van Helfin, Sydney Greenstreet, George Sanders, Dan Duryea, Doris Day, Jack Carson, Trevor Howard

The consistently gorgeous dissolves & compositions of Døden er et kjærtegn (Death Is a Caress)

The last major year of Margaret O’Brien’s career, capping at age 12 with lead roles in two major adaptations of beloved classics (Mary in The Secret Garden, Amy in Little Women). She’d appear in other films & TV, but there was no place made for her as an adolescent

Bette Davis saying “I’m Rosi Moline” over and over again in Beyond the Forest, while I just kept hearing Nomi Malone

Of Mankiewicz’s two films from 1949: House of Strangers > A Letter to Three Wives

Betty Garrett openly lusting after an atypically girl-shy Frank Sinatra in both Take Me Out to the Ball Game and On the Town

mother is a freshman 4mother is a freshman 5Mother is a Freshman 1mother is a freshman 3

Loretta Young’s wardrobe in the hyper-slight but genuinely pleasant Lloyd Bacon Technicolor comedy Mother is a Freshman, in which everybody wants…..Van Johnson…

The Miss Turnstiles Ballet sequence, the perfect example of my (and Kelly/Donen too!) penchant for abstract monochromatic sets from studio-era Hollywood. Vera Ellen gets to show off her talents and be the perfect hyper-faceted non-existent fantasy woman, all in just a few minutes.
The “Cool Girl” equivalent of its era.
(On the Town)

Dear Everyone,
How did it take me this long to love Doris Day?
Sincerely, A Former Fool
(My Dream is Yours & It’s a Great Feeling)

On the Town, the first musical shot (very much in-part) on-location, the bulk of which is the film’s opening number. It’s a thrill seeing these actors buoyantly hit every major tourist spot in the fantastical time-compress only the movies can provide

Finally having context for that oft-used all-timer Judy Garland gif
(In the Good Old Summertime)

🎶🎶”The Bronx is up and the Battery’s down”🎶🎶
(On the Town)

The bonkers part-animation dream sequence that comes out of nowhere in My Dream is Yours. Ever wanted to see Jack Carson hop around in a bunny costume? Well, here’s your chance

Loving three-strip Technicolor as much as Two-strip Technicolor!
(It’s a Great Feeling, In the Good Old Summertime, Little Women, Mother is a Freshman, My Dream is Yours, On the Town, Samson and Delilah, The Secret Garden, Take Me Out to the Ball Game, Under Capricorn)

The screaming match between Mary (Margaret O’Brien) and Colin (baby Dean Stockwell) in The Secret Garden, two of the most abrasive minutes in cinema!

tumblr_nlpd3sZc901qz8c8to1_500Joseph Cotten’s in-the-moment choice not to give Ingrid Bergman the rubies in Under Capricorn. Such a sympathetic moment as he awkwardly hides them behind his back

The stone-cold hardening of Catherine’s (Olivia de Havilland) soul through heartbreak in The Heiress

Seeing one of the glass figurines that Karel Zeman used in his stop-motion short “Inspirace” at the Karel Zeman Museum, and finally getting around to watching it!

Joan Crawford giving Sydney Greenstreet what for in Flamingo Road with a couple of swift and much-deserved slaps…….an action she lampoons in It’s a Great Feeling, one of cinema’s best cameos!
(Jack Carson: [after being slapped]: What was that for?
Joan Crawford: Oh, I do that in all my pictures.)

S.Z. Sakall’s delivery of “and anyways she-she’s a dog” in My Dream is Yours

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 *** QUOTES ***
(littered, of course, with The Third Man)

“Don’t be so gloomy. After all it’s not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love – they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long Holly!”
(The Third Man)

Aunt Penniman: Can you be so cruel?
Catherine Sloper: Yes, I can be very cruel. I have been taught by masters.
(The Heiress)

“Hell is other people…”
(The Reckless Moment)

“I don’t want people to like me. Nothing pleases me more than when they don’t like me. It means I don’t belong.”
(Beyond the Forest)

Claire: How’d you feel if someone broke your dinosaur?
Ozzie: Never had one. We were too poor.
(On the Town)

“Men are no good. They’re devious. Before marriage they only show their good side, but once they have you, everything awful comes out. Even if you marry for love, you never know what you’re getting”
(Late Spring)

“Death’s at the bottom of everything Martins. Leave death to the professionals”
(The Third Man)

“I bow to your abysmal scruples”
(Whirlpool)

“Smash the windows!”
(Madame Bovary)

“Mariah: bolt the door”
(The Heiress)

“No part of marriage is the exclusive province of any one sex.”
(Adam’s Rib)

Louis: [after murdering his cousin along with his cousin’s mistress] I was sorry about the girl, but found some relief in the reflection that she had presumably during the weekend already undergone a fate worse than death.
(Kind Hearts and Coronets)

Amanda Bonner: And after you shot your husband… how did you feel?
Doris Attinger: Hungry!
(Adam’s Rib)

“A person doesn’t change just because you find out more”
(The Third Man)

“This is it. I’ve been waiting for it, dreaming of it all my life – even when I was a kid. And it wasn’t because we were poor, not hungry poor at least. I suppose, in a way, it was far worse. We were white collar poor, middle-class poor. The kind of people who can’t quite keep up with the Joneses and die a little every day because they can’t.”
(Too Late for Tears)

“The most dangerous thing about completely immoral women is their tremendous unused and unpredictable reserve of honest feeling.”
(Rope of Sand)

“Do you think women live in vaccum-sealed containers like tennis balls?”
(House of Strangers)

“I’m being constantly disillusioned. Has money completely lost its power? Is everyone motivated now by love?”
(Rope of Sand)

Lucia: You don’t know how a family can surround you at times.
Martin: Do you never get away from your family?
Lucia: No.
(The Reckless Moment)

Martins: I was going to stay with him, but he died Thursday
Crabbin: Goodness, that’s awkward.
Martins: Is that what you say to people after death? “Goodness, that’s awkward”?
(The Third Man)

“If you ever tried to get away from me, I’d follow you ’til I wore the earth smooth.”
(Rope of Sand)

Alan Palmer: This money’s like poison, it’s changing you, it’s changing me.
Jane Palmer: I wish it were that easy, I’ve always been this way.
(Too Late for Tears)

Capt. Henri Rochard: My name is Rochard. You’ll think I’m a bride but actually I’m a husband. There’ll be a moment or two of confusion but, if we all keep our heads, everything will be fine.
(I Was a Male War Bride)

“You’ve rejected your place in the world and I hate untidiness”
(The Spider and the Fly)

Nobody thinks in terms of human beings. Governments don’t. Why should we? They talk about the people and the proletariat, I talk about the suckers and the mugs – it’s the same thing. They have their five-year plans, so have I.”
(The Third Man)

“I’ve been rich. And I couldn’t get a breath of fresh air or feel the ground under my feet” (Colorado Territory)

Deborah: Why is it that sooner or later no matter what we talk about… we wind up talking about Addie Ross?
Addie Ross: [voiceover] Maybe it’s because if you girls didn’t talk about me you wouldn’t talk at all.
(A Letter to Three Wives)

“Always looking for a new way to get hurt from a new man. Get smart, there hasn’t been a new man since Adam”
(House of Strangers)

 

“Even getting hit by Reno was all velvet”
(Colorado Territory)

“You were born to be murdered”
(The Third Man)

“You going legitimate is like a vulture going vegetarian”
(Abandoned)

Sheriff Titus Semple: Now me, I never forget anything.
Lane Bellamy: You know sheriff; we had an elephant in our carnival with a memory like that. He went after a keeper that he’d held a grudge against for almost 15 years. Had to be shot. You just wouldn’t believe how much trouble it is to dispose of a dead elephant.
(Flamingo Road)

“Right from the beginning you might say she had a–well, she just had a voice with hormones”
(A Woman’s Secret)

 

100 (or so) Images from the Films of 1949


Hi everyone! Lots happening lately in the Top Ten By Year Project:

  • The 2 zines I made, for 1943 and 1969, are in permanent stock over at my etsy site Femina Ridens. Please go check it out and pick one (or both!) of them up.
  • I’m pretty much done with the 1949 watchlist so you can look forward to 2 other posts besides this one going up in the next month. They are What I’ll Remember About the Films of 1949: A Love Letter & the Top Ten By Year: 1949 write-up.
  • Next, I’ll be taking on 1990. My watchlist is the biggest one to date. I doubt I’ll end up watching everything, but I’m excited to post it next month so keep a look out for that too!
  • I’ll also be starting on a new zine, this one on 1978 (which was done several years ago for this project; I’ll be revisiting, revising, and reinterpreting everything I did for that year into a new booklet)

For my What I’ll Remember posts, I always include some favorite shots & images from the films of whatever year I’m doing. However, I’ve only ever done one of these 100 Images posts before (for 1930). It felt time to make this an official part of the Top Ten By Year project.

Many of these screengrabs are mine, some are not. This isn’t comprehensive. Some films aren’t represented here at all, and it’s not because there was nothing standout in them. But from what I was able to capture on my own, as well as what was available on various websites, this is a pretty decent overview of my favorite images. And there are a lot of great images I saved but chose not to use here. Many of these mean more with context, some are purely for aesthetics, most are a combination of both. For the most part, there is some rhyme or reason for the order in which they are presented.

(I have a few more films to watch so I may or may not be adding a few to this post over the next week)

So go check out the previous one of these (1930 is not the static wasteland you’ve been led to believe, not by a longshot), and please enjoy this one!

puce (1)PUCE MOMENT (director: Kenneth Anger / cinematography: Curtis Harrington)

quiet duel.jpg
THE QUIET DUEL (director: Akira Kurosawa / cinematographer: Sôichi Aisaka)

passionate 2THE PASSIONATE FRIENDS (Director: David Lean / Cinematographer: Guy Green)

Queen of Spades 8THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

third manTHE THIRD MAN (director: Carol Reed / cinematographer: Robert Krasker)

Border IncidentBORDER INCIDENT (director: Anthony Mann / cinematographer: John Alton)

tumblr_pertvhjilR1rpy49jo2_540INTRUDER IN THE DUST (director: Clarence Brown / cinematographer: Robert Surtees)

tihrd 6THE THIRD MAN (director: Carol Reed / cinematographer: Robert Krasker)

such a prettyUNE SI JOLIE PETITE PLAGE (Such a Pretty Little Beach) (director: Yves Allégret / cinematography: Henri Alekan)

les sangLE SANG DES BÊTES (Blood of the Beasts) (director: Georges Franju / cinematography: Marcel Fradetal)

set up 2THE SET-UP (director: Robert Wise / cinematography: Milton R. Krasner)

tumblr_pdvutbxvar1txwnz8o8_540WHIRLPOOL (director: Otto Preminger / cinematography: Arthur C. Miller)

reign 3REIGN OF TERROR (director: Anthony Mann / cinematography: John Alton)

Follow Me QuietlyFOLLOW ME QUIETLY (director: Richard Fleischer / cinematography: Robert De Grasse)

Flamingo RoadFLAMINGO ROAD (director: Michael Curtiz / cinematography: Ted D. McCord)

Act 2ACT OF VIOLENCE (director: Fred Zinneman / cinematography: Robert Surtees)

Black MagicBLACK MAGIC (director: Gregory Ratoff (& Welles uncredited) / cinematography: Ubaldo Arata & Anchise Brizzi)

FollwFOLLOW ME QUIETLY (director: Richard Fleischer / cinematography: Robert De Grasse)

Death 4DEATH IS A CARESS (Døden er et kjærtegn) (Director: Edith Carlmar / Cinematographer: Kåre Bergstrøm)

under 3UNDER CAPRICORN (Director: Alfred Hitchcock / Cinematographer: Jack Cardiff)

reckless momentTHE RECKLESS MOMENT (Director: Max Ophüls / cinematography: Burnett Guffey)

Passion ateTHE PASSIONATE FRIENDS (Director: David Lean / Cinematographer: Guy Green)

tumblr_osohl6W20Z1v5e4kpo3_540CAUGHT (director: Max Ophüls / cinematography: Lee Garmes)

third amnTHE THIRD MAN (director: Carol Reed / cinematographer: Robert Krasker)

under 5UNDER CAPRICORN (Director: Alfred Hitchcock / Cinematographer: Jack Cardiff)

crissCRISS CROSS (director: Robert Siodmak / cinematography: Franz Planer)

tumblr_ogh7ljrCU21todh85o9_540CAUGHT (director: Max Ophüls / cinematography: Lee Garmes)

bitter 1BITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

ChampionCHAMPION (director: Mark Robson / cinematographer: Franz Planer)

reignREIGN OF TERROR (director: Anthony Mann / cinematography: John Alton)

Border Incident 2BORDER INCIDENT (director: Anthony Mann / cinematographer: John Alton)

tumblr_nmqca1iWaX1txum4do4_1280WHITE HEAT (director: Raoul Walsh / cinematographer: Sidney Hickox)

Queen of Spades 18THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

DzFPsnDWsAk9uFyAu royaume des cieux (The Sinners) (director: Julien Duvivier / cinematography: Victor Arménise

third man 2THE THIRD MAN (director: Carol Reed / cinematographer: Robert Krasker)

les sang 4LE SANG DES BÊTES (Blood of the Beasts) (director: Georges Franju / cinematography: Marcel Fradetal)

rocking (2)THE ROCKING HORSE WINNER (director: Anthony Pellisier / cinematography: Desmond Dickinson)

InspiraceINSPIRACE (Inspiration) (director: Karel Zeman / cinematography: Antonin Horàk)

puce  (3).jpgPUCE MOMENT (director: Kenneth Anger / cinematography: Curtis Harrington)

InspiaceINSPIRACE (Inspiration) (director: Karel Zeman / cinematography: Antonin Horàk)

underUNDER CAPRICORN (Director: Alfred Hitchcock / Cinematographer: Jack Cardiff)

Late Spring (2)LATE SPRING (director: Yasujiro Ozu / cinematography: Yûharu Atsuta)

thieves 2THIEVES HIGHWAY (director: Jules Dassin / cinematography: Norbert Brodine)

Queen of Spades 7THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

recklessTHE RECKLESS MOMENT (Director: Max Ophüls / cinematography: Burnett Guffey)

DfSreeLX4AE5ThR“BAD LUCK BLACKIE” (director: Tex Avery)

images-w1400WHIRLPOOL (director: Otto Preminger / cinematography: Arthur C. Miller)

tensionTENSION (director: John Berry / cinematography: Harry Stradling Sr.)

DzFO3KvX4AAFQeNAu royaume des cieux (The Sinners) (director: Julien Duvivier / cinematography: Victor Arménise)

BitterBITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

bitter 2BITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

puce (2)PUCE MOMENT (director: Kenneth Anger / cinematography: Curtis Harrington)

my dream is yours58MY DREAM IS YOURS (director: Michael Curtiz / cinematographer: Wilfrid M. Cline & Ernest Haller)

samsonSAMSON AND DELILAH (director: Cecil B. DeMille / cinematographer: George Barnes)

bitter 3BITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

under7UNDER CAPRICORN (Director: Alfred Hitchcock / Cinematographer: Jack Cardiff)

queen of spades 2THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

les sangLE SANG DES BÊTES (Blood of the Beasts) (director: Georges Franju / cinematography: Marcel Fradetal)

Queen of Spades 1THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

such a pretty 2UNE SI JOLIE PETITE PLAGE (Such a Pretty Little Beach) (director: Yves Allégret / cinematography: Henri Alekan)

Late SpringLATE SPRING (director: Yasujiro Ozu / cinematography: Yûharu Atsuta)

tension 2TENSION (director: John Berry / cinematography: Harry Stradling Sr.)

tension 3TENSION (director: John Berry / cinematography: Harry Stradling Sr.)

tehieves highwTHIEVES HIGHWAY (director: Jules Dassin / cinematography: Norbert Brodine)

FLamingo Road 2FLAMINGO ROAD (director: Michael Curtiz / cinematography: Ted D. McCord)

my dream 2MY DREAM IS YOURS (director: Michael Curtiz / cinematographer: Wilfrid M. Cline & Ernest Haller)

deth77DEATH IS A CARESS (Døden er et kjærtegn) (Director: Edith Carlmar / Cinematographer: Kåre Bergstrøm)

rocking 2THE ROCKING HORSE WINNER (director: Anthony Pellisier / cinematography: Desmond Dickinson)

I Shot JesseI SHOT JESSE JAMES (director: Samuel Fuller / cinematography: Ernest Miller)

Black Magic 2BLACK MAGIC (director: Gregory Ratoff (& Welles uncredited) / cinematography: Ubaldo Arata & Anchise Brizzi)

Death 2DEATH IS A CARESS (Døden er et kjærtegn) (Director: Edith Carlmar / Cinematographer: Kåre Bergstrøm)

I Shot Jesse (2)I SHOT JESSE JAMES (director: Samuel Fuller / cinematography: Ernest Miller)

easy livingEASY LIVING (director: Jacques Tourneur / cinematography: Harry J. Wild)

Christmas USA“CHRISTMAS U.S.A” (director: Gregory J. Markopoulos)

set upTHE SET-UP (director: Robert Wise / cinematography: Milton R. Krasner)

Death 3DEATH IS A CARESS (Døden er et kjærtegn) (Director: Edith Carlmar / Cinematographer: Kåre Bergstrøm)

Bitter 0BITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

DeathDEATH IS A CARESS (Døden er et kjærtegn) (Director: Edith Carlmar / Cinematographer: Kåre Bergstrøm)

Act 1ACT OF VIOLENCE (director: Fred Zinneman / cinematography: Robert Surtees)

tumblr_pi3q66Ltxm1qmemvwo1_540WHIRLPOOL (director: Otto Preminger / cinematography: Arthur C. Miller)

Quiet DuelTHE QUIET DUEL (director: Akira Kurosawa / cinematographer: Sôichi Aisaka)

passionate 5THE PASSIONATE FRIENDS (Director: David Lean / Cinematographer: Guy Green)

Late Spring 3LATE SPRING (director: Yasujiro Ozu / cinematography: Yûharu Atsuta)

Colorado TerritoryCOLORADO TERRITORY (director: Raoul Walsh / cinematographer: Sidney Hickox)

tumblr_pi3rr9s1sX1qmemvwo1_540WHIRLPOOL (director: Otto Preminger / cinematography: Arthur C. Miller)

tumblr_ozist7OTZK1s39hlao5_540THE RECKLESS MOMENT (Director: Max Ophüls / cinematography: Burnett Guffey)

tumblr_ogh7ljrCU21todh85o7_400CAUGHT (director: Max Ophüls / cinematography: Lee Garmes)

tumblr_oxbw62mMhb1rws4l6o1_540THE HEIRESS (director: William Wyler / cinematographer: Leo Tover)

Flamion 3FLAMINGO ROAD (director: Michael Curtiz / cinematography: Ted D. McCord)

rockingTHE ROCKING HORSE WINNER (director: Anthony Pellisier / cinematography: Desmond Dickinson)

third man 4THE THIRD MAN (director: Carol Reed / cinematographer: Robert Krasker)

salonSALON MEXICO (director, Emilio Fernández / cinematographer: Gabriel Figueroa)

Follow 2FOLLOW ME QUIETLY (director: Richard Fleischer / cinematography: Robert De Grasse)

les sang (2)LE SANG DES BÊTES (Blood of the Beasts) (director: Georges Franju / cinematography: Marcel Fradetal)

Slightly FrenchSLIGHTLY FRENCH (director: Douglas Sirk / cinematographer: Charles Lawton Jr.)

bitter 5BITTER RICE (director: Giuseppe De Santis / cinematography: Otello Martelli)

AdventuresTHE ADVENTURES OF ICHABOD & MR. TOAD (directors: James Algar, Clyde Geronimi, Jack Kinney)

Adventures 2THE ADVENTURES OF ICHABOD & MR. TOAD (directors: James Algar, Clyde Geronimi, Jack Kinney)

les sang (2)LE SANG DES BÊTES (Blood of the Beasts) (director: Georges Franju / cinematography: Marcel Fradetal)

on the town 3ON THE TOWN (directors: Stanley Donen & Gene Kelly / cinematographer: Harold Rosson

Kind HeartsKIND HEARTS AND CORONETS (director: Robert Hamer / cinematographer: Douglas Slocombe)

Criss 3CRISS CROSS (director: Robert Siodmak / cinematography: Franz Planer)

MadamMADAME BOVARY (director: Vincente Minnelli / cinematographer: Robert H. Planck)

take me outTAKE ME OUT TO THE BALL GAME (director: Busby Berkeley / cinematographer: George J. Folsey)

pucePUCE MOMENT (director: Kenneth Anger / cinematography: Curtis Harrington)

under capricornUNDER CAPRICORN (Director: Alfred Hitchcock / Cinematographer: Jack Cardiff)

Queen of Spades 9THE QUEEN OF SPADES (director: Thorold Dickinson / cinematographer: Otto Heller)

Criss 2CRISS CROSS (director: Robert Siodmak / cinematography: Franz Planer)

ontown08ON THE TOWN (directors: Stanley Donen & Gene Kelly / cinematographer: Harold Rosson

Adam RibADAM’S RIB (director: George Cukor / cinematographer: George J. Folsey)

 

 

 

Now Available: Top Ten By Year: 1943 Zine


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For years I have been using my Top Ten By Year Project as a fun and comprehensive way to dive deep into specific years in film. Last year I made a more in-depth zine covering 1969. I wanted to scale it back for time, and money, and create another one, more DIY and purposely scrappy this time, for a year that I covered on my blog five years ago: 1943.

Each page contains illustration/collage elements and a write-up of one film. The write-ups from the original blog post have been heavily revised and rewritten (& I think much improved!) for this booklet. I also have a page for Honorable Mentions & a sampling of things I’ll remember from the films of 1943. You can look at the item page & buy it here. It is only $4.99.

1949 update: I only have 15 more films to watch or rewatch and then I’m set to do my What I’ll Remember post, 100 Images from the Films of 1949, and my Top Ten By Year: 1949!

Top Ten By Year: 1949 – Poll Results


Previous Top Ten By Year Polls: 1925, 1958, 19691978199219301982

Poll Rule Reminders: Participants could vote for up to 10 films; no more, but certainly less. Order was not required since it had no bearing on the results.

Note: All votes for They Live by Night, Bicycle Thieves, Gun Crazy, The Fallen Idol, “Fireworks”, Stromboli, Les Enfants Terribles did not count towards the final tally. However, they remain included in the individual ballot listings.

First off, thank you so much to everyone who voted! 1949 had more participants than any other poll! 289 people voted for 257 different films!

Halfway through my 1949 watchlist, and I’m consistently thrilled by the world of noir, melodrama, musicals, and beyond, from one of my favorite decades in film. I’ve seen a few new-to-me favorites, discovered films by turns beguiling, mature, miscalculated, and inventive, and revisited some I loved or liked, but had forgotten, that have revealed themselves to be vital. I’ve been reading Reinventing Hollywood by David Bordwell, his new book on 40s Hollywood’s storytelling mechanics, or schemas as he calls them, and the many ways that fundamentally accepted narrative devices of cinema were actually shaped during this period (itself greatly influenced by literature, theater, etc). I also read Dennis Broe’s Film Noir, American Workers, and Postwear Hollywood (highly recommended even if I already lost all the information I learned from it because my brain is bad at retaining stuff).

I’m taking a much more casual approach to 1949. 1969 was very ambitious for me, so I wanted to take a step back. This means going at a more relaxed pace, not putting pressure on myself, making more room for other non-1949 viewings and non-film related interests, and not taking on intense projects related to Top Ten By Year. I’m keeping it simple this time. In fact, I happen to be moving at the same pace viewing-wise, but by erasing the sense of urgency I tend to impart on this project, it feels different this time.

The Third Man was always going to be #1, and who can argue with that? I’m admittedly bummed that none of the amazing triple-header lying just outside the Top Ten (The Reckless Moment, A Letter to Three Wives, and Caught), came so close to making it, but could not overcome the lively but mediocre Adam’s Rib. Nevertheless, I’m so thrilled that those three films received as many votes as they did. They are all remarkable. I’m also really happy that quite a few people have seen and love Alias Nick Beal and Too Late for Tears, especially since the former is not readily available on any streaming or physical media, and the latter was only restored three years ago.

Some housekeeping: 
I decided to list the production companies for most of these films.  The forties were a time when most films can be attributed to one studio, making it a straightforward task. It is also particularly important to note when it comes to crediting works from Hollywood’s early decades. The other main reason I list them is because the forties were a formative time for the beginning of independent film. In 1941, the Society of Independent Motion Picture Producers was founded, with efforts to maintain the rights of independent producers and to end monopolistic practices by the major studios. They succeeded in 1948, with the game-changing Hollywood Antitrust Case, which decreed that movie studios sell their theater chains, end blind-buying, and drastically reduce block-booking, thereby eliminating several major monopolistic practices. The full impact of this would obviously take much longer than a year to occur, but there were enough independently financed films by 1949 (largely distributed by major studios) to justify taking the time to list all the studios and companies.

Several people listed “The Legend of Sleepy Hollow” short, and I decided early on to mainline these votes and count them as The Adventures of Ichabod and Mr. Toad. As I tallied everything I began to regret this a lot but had already committed to it, and it would have been just one more thing to account for in this post (which is already arduous enough to put together!) So I apologize, and just know that some of those votes were just for “The Legend of Sleepy Hollow” short.

And last but not least: it’s October. Many people have spooky names on their twitter right now. I usually put your name next to the handle if it is readily available, but it was impossible this time. So I only put names next to people who I knew, and who write for sites or publications readily available on their twitter bio. I know I missed a lot of people, so please don’t take offense if your credits aren’t listed. I didn’t have time to hunt all the information down, so I went mostly off of who and what I knew offhand.

Taking into account the Internet oversaturation of lists/listicles, I hope it’s clear that this project is anything but tossed off. The Top Ten By Year Project is an effort to reclaim what I love about lists in the first place. Seeing what makes the collective top ten is a lot of fun, but may I direct your attention to the full breakdown of votes and the individual ballots? My hope with these polls is that, in addition to planting seeds of anticipation for the related posts to come (What I’ll Remember About the Films of 1949: A Love Letter, A Selection of Favorite Shots, and the Top Ten), they mainly serve as a resource for anyone looking for new films to watch whether it’s from seeing:

a. what ‘Film Twitter’ collectively loves
b. more importantly, the films towards the bottom of the list, the ones you’ve never heard of that are begging for (re)discovery.
c. the individual ballots from people whose taste and knowledge you value

Surprises? Disappointments? General thoughts? Tweet @ me your thoughts and comments!

film+noir+third+man

POLL RESULTS: TOP TEN BY YEAR: 1949
1. The Third Man (UK / Reed) – 201 votes
2. White Heat (US / Warner Bros. / Walsh) – 122 votes
3. Late Spring (Japan / Ozu) – 103 votes
4. Kind Hearts and Coronets (UK / Hamer / Ealing Studios) – 101 votes
5. Stray Dog (Japan / Kurosawa) – 92 votes
6. She Wore a Yellow Ribbon (US / RKO / Ford) – 86 votes
7. On the Town (US / Donen / Kelly) – 77 votes
8. The Set-Up (US / RKO / Wise) – 70 votes
9. The Heiress (US / Paramount / Wyler) – 67 votes
10. Adam’s Rib (US / Cukor) – 58 votes

51 votes: The Reckless Moment (US/ Walter Wanger Productions /Ophüls)
48 votes: A Letter to Three Wives (US/ 20th Century Fox /Mankiewicz)
41 votes: Caught (US/ Enterprise Productions /Ophüls)
38 votes: The Small Back Room (UK/ The Archers / Powell/Pressburger)
37 votes: Criss Cross (US/ Universal /Siodmak)
36 votes:  Jour de fête (France / Tati)
35 votes: I Was a Male War Bride (US/ 20th Century Fox /Hawks)
33 votes: Thieves Highway (US/ 20th Century Fox /Dassin)
31 votes: Le silence de la mer (France / Melville)
28 votes: Whiskey Galore! (UK/ Ealing Studios /Mackendrick)
27 votes: Act of Violence (US/ MGM /Zinneman)
26 votes: Too Late for Tears (US/ United Artists /Haskin)
24 votes: All the King’s Men (US/ Columbia /Rossen)
23 votes: D.O.A. (US/ Harry Popkin Productions /Mate), Under Capricorn (US/ Transatlantic Pictures /Hitchcock)
22 votes: Whirlpool (US/ 20th Century Fox /Preminger)
21 votes: Bitter Rice (Italy/ Lux Film /De Santis)
20 votes: The Passionate Friends (UK/ Cineguild /Lean), Reign of Terror (US/ Walter Wanger Productions /Mann)
18 votes: I Shot Jesse James (US/ Lippert Pictures /Fuller), Battleground (US/ MGM /Wellman)
17 votes: “Puce Moment” (US / Anger), Border Incident (US/ MGM /Mann)
16 votes: The Adventures of Ichabod and Mr. Toad (US/ Walt Disney Productions /Kinney/Geronimi/Algar), Passport to Pimlico (UK/ Ealing Studios /Cornelius)
13 votes: The Fountainhead (US/ WB /Vidor)
12 votes: “Begone Dull Care” (Canada/ National Film Board of Canada /Lambert/McLaren)
11 votes: The Queen of Spades (UK/ DeGrunwald Productions /Dickinson), Alias Nick Beal (US/ Paramount /Farrow), Little Women (US/ MGM /LeRoy), Holiday Affair (US/ RKO /Hartman), The Window (US/ RKO /Tetzlaff), Twelve O’Clock High (US/ 20th Century Fox /King), Mighty Joe Young (US/ RKO /Schoedsack)
10 votes: Champion (US/ Stanley Kramer Productions /Robson), Sands of Iwo Jima (US/ Republic Pictures /Dwan)

9 votes: “Blood of the Beasts” (Le Sang des bêtes) (France / Franju), Not Wanted (US/ Universal International Pictures /Lupino), Beyond the Forest (US/ WB /Vidor), Flamingo Road (US/ WB /Curtiz), Colorado Territory (US/ WB /Walsh), “Long-Haired Hare” (US/ WB Cartoons /Jones)

8 votes: Flame of My Love (Waga Koi wa Moenu) (Japan/ Shochiku /Mizoguchi), Intruder in the Dust (US/ MGM /Brown), “Fast and Furry-ous” (US/ WB Cartoons /Jones), The Barkleys of Broadway (US/ MGM /Walters)

7 votes: In the Good Old Summertime (US/ MGM /Leonard), The Inspector General (US/ WB /Koster)

6 votes: Thirst (Sweden/ Svensk Filmindustri /Bergman), Madame Bovary (US/ MGM /Minnelli), Abbott and Costello Meet the Killer, Boris Karloff (US/ Universal /Barton), Rendezvous in July (France / Becker), The Rocking-Horse Winner (UK/ Two Cities Films /Pelissier), A Connecticut Yankee in King Arthur’s Court (US/ Paramount /Garnett), Samson and Delilah (US / Paramount / DeMille)

5 votes: The Bribe (US/ MGM /Leonard), House of Strangers (US/ 20th Century Fox /Mankiewicz), Mahal (India/ Bombay Talkies /Amrohi), Prince of Foxes (US/ 20th Century Fox /King), Pinky (US/ 20th Century Fox /Kazan), We Were Strangers (US/ Columbia /Huston), Tension (US/ MGM /Berry), The Secret Garden (US/ MGM /Wilcox), “Rabbit Hood”

4 votes: “Christmas U.S.A.” (US / Markopoulos), Shockproof (US/ Columbia /Sirk), Knock On Any Door (US/ Columbia /Ray), The Spider and the Fly (UK/ Mayflower Productions /Hamer), The Emperor’s Nightingale (Czechoslovakia / Trnka), The Big Steal (US/ RKO /Siegel)

3 votes: Easy Living (US /RKO /Tourneur), My Dream is Yours (US/ WB /Curtiz), Come to the Stable (US/ 20th Century Fox /Koster), Such a Pretty Little Beach (Une si jolie petite plage) (France / Allégret), “Meditation on Violence” (US / Deren), Chains (Catene) (Italy / Matarazzo), Barsaat (India / Kapoor), “Bad Luck Blackie” (US / MGM /Avery), Death is a Caress (Døden er et kjærtegn) (Norway/Carlmar), The Accused (US/ Paramount /Dieterle), Andaz (India / Mehoob Productions /Khan), It Happens Every Spring (US/ 20th Century Fox /Bacon), Prison (Sweden/ Terrafilm /Bergman), My Foolish Heart (US/ RKO /Robson), The Great Madcap (El Gran Calavera) (Mexico / Ultramar Films /Buñuel), “High Diving Hare” (US/ WB Cartoons /Freleng)

2 votes: Gigi (France/ Codo Cinema /Audry), The Stratton Story (US/ MGM /Wood), It’s a Great Feeling (US/ WB /Butler), Never Fear (US/ The Filmakers /Lupino), “Little Rural Riding Hood” (US/ MGM /Avery), The Red Pony (US/ Lewis Milestone Productions /Milestone), Black Magic (US/Italy/ Edward Small Productions /Ratoff/Welles), “Heavenly Puss” (US / Hanna/Barbera), Hometown in My Heart (Maeumui gohyang) (South Korea / Yoon), Give Us This Day (Christ in Concrete) (UK/ Plantagenet /Dmytryk), East Side, West Side (US/ MGM /LeRoy), Africa Screams (US/Nassour Studios Inc. /Barton), Obsession (The Hidden Room) (UK/ Independent Sovereign Films /Dmytryk), The Quiet Duel (Japan/ Daiei /Kurosawa), “The Lead Shoes” (US / Peterson)

1 vote: The Gal Who Took the West (US/ Universal /Cordova), The Walls of Malapaga (France/Italy / Francinex/Italia Produzione /Clement), Pueblerina (Mexico / Fernández), Crows and Sparrows (China/ Kunlun Film Company / Zheng), Follow Me Quietly (US/ RKO /Fleischer), The Threat (US/ RKO /Feist), Only a Mother (Sweden/ Svensk Filmindustri /Sjöberg), In the Name of the Law (In nome della legge) (Italy / Lux Film /Germi), Yotsuya Kaidan Pt 1 & 2 (Japan / Keisuke), The Great Sinner (US / MGM /Siodmak), Bride of Vengeance (US/ Paramount /Leisen), Always Leave Them Laughing (US/ WB /Del Ruth), The Hasty Heart (US/UK/ WB /Sherman), Scene of the Crime (US/ MGM /Rowland), Una Familia de Tantas (A Family Like Many Others) (Mexico / Galindo), The Tale of the Three Hairs (San Mao liu lang ji) (China /Yang/Zhao), Light of Ten Thousand Homes (China / Shen), Impact (US/ Harry Popkin Productions /Lubin) The Undercover Man (US / Columbia /Lewis), La Malquerida (The Unloved Woman) (Mexico / Fernández), Take Me Out to the Ball Game (US/ MGM /Berkeley), The Beautiful Blonde from Bashful Bend (US/ 20th Century Fox /Sturges), Red Light (US/ United Artists /Del Ruth), Down to the Sea in Ships (US/20th Century Fox/Hathaway), The Big Cat (US / Karlson), Ojosan Kanpai (Here’s to the Girls) (Japan / Kinoshita), Lost Boundaries (US / Werker), Die Brücke (Germany/Pohl), The Fighting O’Flynn (US/ Universal /Pierson), Ma and Pa Kettle (US/ Universal /Lamont), Edward, My Son (US/ MGM-British /Cukor), “Batman and Robin” (US/Bennett) (serial), Slattery’s Hurricane (US/ 20th Century Fox /DeToth), That Forsyte Woman (US / Bennett), Mr. Soft Touch (US/ Douglas/Levin), Tulsa (US/ Walter Wanger Productions /Heisler), Manhandled (US/ Pine-Thomas Productions /Foster), The Story of Molly X (US/ Universal /Wilbur), Vida en sombras (Life in Shadows) (Spain / Gracia), Pattes blanches (France / Grémillon), Broken Drum (Japan / Kinoshita), Miss Grant Takes Richmond (US / Bacon), The Forbidden Street (US/ 20th Century Fox /Negluesco), Sorrowful Jones (US/Paramount/Lanfield), So Dear to my Heart (US/ RKO /Schuster/Luske), “On the Edge” (US /  Harrington), “Number 5: Circular Tensions: Homage to Oskar Fischinger” (US / Smith), “Song of the Prairie” (Czechoslovakia / Trnka), “Toy Tinkers” (US / Hannah)

INDIVIDUAL BALLOTS:

@redroomrantings (Justine Smith, Freelance Film Writer. Bylines at Ebert, Little White Lies, National Post)
1. The Passionate Friends 2. A Letter to Three Wives 3. The Third Man 4. The Small Back Room 5. The Reckless Moment 6. Easy Living 7. “Begone Dull Care” 8. The Set-Up 9. The Heiress 10. “Le sang des betes” (Blood of the Beasts)

@shentenza
The Third Man, D.O.A.

@nathanielr (Nathaniel Rogers of The Film Experience)
All the King’s Men, Bicycle Thieves (does not count), The Heiress, In the Good Old Summertime, On the Town, The Inspector General

@JasonGraff1
Stray Dog, The Third Man, I Was a Male War Bride, White Heat, Champion

@ambauer
The Fountainhead, The Third Man, The Heiress, Thirst, I Shot Jesse James, The Gal Who Took the West, My Dream is Yours, The Bribe

@McQueenTim
1. I Was a Male War Bride 2. The Reckless Moment 3. She Wore a Yellow Ribbon 4. Late Spring 5. Not Wanted 6. Whirlpool 7. Adam’s Rib 8. On the Town 9. White Heat 10. Jour de Fête

@armenioja
Under Capricorn, Late Spring, The Third Man, Stray Dog, Act of Violence, Jour de fete, The Heiress, Kind Hearts and Coronets, She Wore a Yellow Ribbon, Caught

@rachel_is_here (Rachel West of ET Canada)
Kind Hearts and Coronets, Madame Bovary, The Reckless Moment, D.O.A., The Third Man, Adam’s Rib, Thieves’ Highway, Late Spring

@cass_milne
Late Spring, The Third Man, They Live by Night (does not count), White Heat

@YassMac
Whirlpool, The Small Back Room, The Heiress, She Wore a Yellow Ribbon

@BigTallDrew
Battleground, The Bicycle Thief (does not count), Adam’s Rib, She Wore a Yellow Ribbon, The Fallen Idol (does not count)

@AwardsConnect
A Letter to Three Wives, On the Town, Adam’s Rib, The Heiress, The Quiet One (does not count), Abbott and Costello Meet the Killer Boris Karloff, Under Capricorn, Come to the Stable, I Was a Male War Bride, Holiday Affair

@marshlands (Eric Marsh, filmmaker)
Caught, Thieves’ Highway, She Wore a Yellow Ribbon, Act of Violence, They Live by Night (does not count), Stray Dog, Battleground, D.O.A., Le Silence de la Mer, Jour de Fête

@jacobwbooth
La Silence de la Mer, House of Strangers, Criss Cross

@JuliRunes
1. Such a Pretty Little Beach 2. Late Spring 3. Alias Nick Beal 4. Thieves’ Highway 5. She Wore a Yellow Ribbon 6. Caught 7. Intruder in the Dust 8. Stray Dog 9. Reign of Terror 10. White Heat

@gumbylievable
Bitter Rice, Border Incident, Criss Cross, Late Spring, The Set-Up, Stray Dog, Thieves’ Highway, The Third Man, White Heat

@mindomelet
White Heat, The Third Man, Late Spring, Under Capricorn

@cadenmgardner (Caden Mark Gardner, of “Body Talk” series, co-author of upcoming book Corpses, Fools, & Monsters: An Examination of Transgender Cinema)
1 Caught 2 She Wore A Yellow Ribbon 3 On The Town  4 The Third Man 5 A Letter To Three Wives 6 Battleground  7 The Reckless Moment 8 White Heat  9 Le Silence de la mer 10 Puce Moment

@Mick196622
1. Stray Dog 2. Late Spring 3. The Passionate friends 4. The Small Back Room 5. The Reckless Moment 6. Le silence de la mer 7. Beyond the forest 8. I shot Jesse James 9. The Heiress 10. Flamingo Road

@parietines
“Puce Moment” (short), Caught, A Letter To Three Wives, The Reckless Moment, Whirlpool, Mahal, “Meditation on Violence” (short), Chains

@WhitlockandPope
1. The Third Man 2. Stray Dog 3. Adam’s Rib 4. The Adventures of Ichabod and Mr. Toad 5. Kind Hearts and Coronets

@geminicollision
The Reckless Moment, Late Spring, D.O.A., The Small Back Room, White Heat, The Set-Up, Thieves’ Highway, Battleground, Too Late for Tears, Stray Dog

@Cocophone
D.O.A, The Set-up, On The Town

@LoganKenny1
Late Spring, The Third Man

@doctor_morbius
The Set-Up, Stray Dog, Late Spring, Whiskey Galore, Alias Nick Beal, The Queen of Spades, Criss Cross, Act of Violence, D.O.A., Prince of Foxes

@ateliertovar
caught, late spring, “puce moment” (short), the reckless moment, flame of my love, gigi (audry), barsaat, “le sang des bêtes” (blood of the beasts), the third man

@StrangeTramp
Late Spring, The Third Man, Kind Hearts and Coronets, Stray Dog, The Set-Up, A Letter to Three Wives, The Small Back Room, On the Town, The Walls of Malapaga, Thieves Highway

@dsl89
A Letter to Three Wives, The Heiress, She Wore A Yellow Ribbon, Battleground, The Set-Up, I Was A Male War Bride, White Heat

@Hoppalicious
Late Spring, The Third Man, Kind Hearts and Coronets, Stray Dog, Little Women, White Heat

@faithx5
1. The Third Man 2. On the Town 3. She Wore a Yellow Ribbon 4. Stray Dog 5. White Heat 6. Adam’s Rib 7. Kind Hearts and Coronets 8. The Stratton Story 9. The Window 10. Criss Cross

@inessentials
The Third Man, On the Town, Stray Dog, “Begone Dull Care” (short), It’s a Great Feeling

@jslaterwilliams (Josh Slater-Williams of BFI, Sight & Sound, Little White Lies, etc
1. Late Spring 2. On the Town 3. Whisky Galore! 4. The Third Man 5. Kind Hearts and Coronets

@JoelMayward
Jour de Fête

@TMROJ
1. The Third Man 2. White Heat 3. The Heiress 4. On the Town 5. Intruder in the Dust

@railoftomorrow (Scott Nye of Criterion Cast)
Late Spring, On the Town, The Third Man, She Wore a Yellow Ribbon, The Set-Up, Reign of Terror, Thirst, Bitter Rice, Never Fear, All the King’s Men (ordered)

@PropherKotto (producer/editor of Driftwood)
Thieves Highway, The Third Man, Stray Dog, The Set-Up, Whirlpool, Criss Cross

@selfstyledsiren (Farran Nehme, the Self Styled Siren, author of Missing Reels and several Criterion essays)
The Third Man, The Reckless Moment, Intruder in the Dust, Alias Nick Beal, She Wore a Yellow Ribbon, Colorado Territory, White Heat, On the Town, The Inspector General, The Queen of Spades

@Cinedaze
1. Late Spring 2. The Reckless Moment 3. Caught 4. Queen of Spades 5. The Third Man 6. “Little Rural Riding Hood” (short) 7. “Bad Luck Blackie” 8. Colorado Territory 9. White Heat 10. Criss Cross

@TheEndofCinema (Sean Gilman of Seattle Screen Scene, The Chinese Cinema, The End of Cinema. Podcasts: The George Sanders Show/The Frances Farmer Show and They Shot Pictures)
1. Late Spring 2. The Third Man 3. Under Capricorn 4. She Wore a Yellow Ribbon 5. Reign of Terror 6. The Set-Up 7. Jour de fête 8. Thieves’ Highway 9. On the Town 10. Stray Dog

@grahamlcarter
1. Rendezvous in July 2. Late Spring 3. She Wore a Yellow Ribbon 4. Pueblerina 5. I Shot Jesse James 6. The Reckless Moment 7. Caught 8. Jour de fete 9. The Red Pony 10. Whirlpool

@matt_lagalante
The Third Man, The Heiress, Criss Cross, The Window, Too Late for Tears, The Rocking Horse Winner, I Shot Jesse James, Act of Violence, Black Magic, Pinky

@DancerOnFilm
Caught, Death is a Caress, The Heiress, Kind Hearts and Coronets, Late Spring, A Letter to Three Wives, On the Town, Le Silence de la Mer, Stray Dog, The Third Man

@Paddy849
Stray Dog, D.O.A., Le Silence de la Mer, Whisky Galore!

@erikgregersen
The Third Man, Stray Dog, The Small Back Room, The Fountainhead, Flame of My Love, The Set-Up, “Puce Moment”, Barsaat, Late Spring, Prince of Foxes

@DarrellBratz
White Heat, The Rocking Horse Winner, Too Late For Tears, Le Silence de la Mer, She Wore a Yellow Ribbon, Reign of Terror, The Third Man, On The Town, The Set-Up, Late Spring

@babatjienomore
The Heiress, Bitter Rice, They Live By Night (does not count), Le Silence de la Mer, All the King’s Men, The Third Man, Late Spring, A Letter to Three Wives, The Rocking Horse Winner

@rgodfrey
The Third Man, Kind Hearts and Coronets, White Heat, Late Spring, Sands of Iwo Jima, Adam’s Rib, All the King’s Men, Too Late for Tears

@r_emmet (R. Emmet Sweeney, DVD/Blu-ray producer for Kino Lorber, writer for StreamLine)
Colorado Territory, Jour de fête, The Small Back Room, Reign of Terror, White Heat, Sands of Iwo Jima, She Wore a Yellow Ribbon, The Set-Up, Caught, Act of Violence

@brendanowicz
She Wore a Yellow Ribbon, The Bribe, The Third Man, Little Women, Caught, Act of Violence, White Heat, Intruder in the Dust, On the Town, Kind Hearts and Coronets

@cvalladares0896 (Carlos Valladares, San Francisco Chronicle, Film Comment)
The Heiress, Jour de Fête, Kind Hearts and Coronets, “Fast and Furry-Ous”, “Begone Dull Care”

@EdwinJDavies
1. The Third Man 2. Late Spring 3. Kind Hearts and Coronets 4. Stray Dog 5. She Wore A Yellow Ribbon 6. I Was A Male War Bride 7. The Set-Up 8. White Heat 9. All The King’s Men 10. Too Late For Tears

@sly_wit
1. The Third Man 1. The Heiress 3. Jour de fete 4. She Wore a Yellow Ribbon 5. Adam’s Rib 6. White Heat 7. A Letter to Three Wives 8. The Set-Up 9. The Accused 10. Whiskey Galore!

@lllgranero
1. Late Spring 2. She Wore a Yellow Ribbon 3. The Fountainhead 4. Caught 5. White Heat 6. Under Capricorn 7. “Begone Dull Care” 8. “Meditation on Violence” 9. “Puce Moment” 10. “Christmas USA”

@Tativille_MJA
1. Late Spring 2. Kind Hearts and Coronets 3. Crows and Sparrows (Zheng Junli) 4. I Was a Male War Bride 5. White Heat 6. Rendezvous in July 7. The Reckless Moment 8. Mahal 9. The Third Man 10. Andaz

@moasifm
The Set-Up, The Small Back Room, We Were Strangers, The Third Man, Caught, Stray Dog, The Reckless Moment, Act of Violence, She Wore a Yellow Ribbon, Bitter Rice

@johnbennett812
1. The Third Man 2. Kind Hearts & Coronets 3. The Small Back Room 4. Bitter Rice 5. Jour de fête 6. On the Town 7. Flamingo Road 8. Adam’s Rib 9. Border Incident 10. Whiskey Galore!

@Lala11_7
All the King’s Men, The Heiress, A Letter to Three Wives

@nshoch518
A Letter to Three Wives, I Was a Male War Bride, It Happens Every Spring

@dustin44444
D.O.A., Reign of Terror, The Third Man, Adam’s Rib, The Set-Up, The Reckless Moment, Act of Violence, The Passionate Friends, Stray Dog, Prison

@CollinBrinkmann
1. I Shot Jesse James 2. Under Capricorn 3. Holiday Affair 4. Shockproof

@FeinDream
The Passionate Friends

@willow_catelyn (Willow Maclay of Village Voice, Ebert Voices, Cleo, The Film Stage etc etc. and co-author of upcoming book Corpses, Fools & Monsters: An Examination of Transgender Cinema)
1. Caught 2. The Third Man 3. Late Spring 4. “Fast and Furry-Ous” 5. Not Wanted 6. “Heavenly Puss” 7. Jour de Fete 8. I Was a Male War Bride 9. Stray Dog 10. She Wore a Yellow Ribbon

@sheilakathleen (Sheila O’Malley of Ebert Voices, NY Times, Criterion, Film Comment)
The Third Man, The Heiress, White Heat, She Wore a Yellow Ribbon, Late Spring, We Were Strangers, The Set-Up, Letter to Three Wives, On the Town, Whirlpool

@claudioalvesDC
1. Late Spring 2. The Third Man 3. Kind Hearts and Coronets 4. She Wore a Yellow Ribbon 5. Stray Dog 6. Adam’s Rib 7. The Reckless Moment 8. The Passionate Friends 9. White Heat 10. The Heiress

@OnlytheBest4HM
The Reckless Moment, The Third Man, Kind Hearts and Coronets, The Heiress, “Puce Moment”

@ledzeppjack
Late Spring, The Third Man, The Heiress, Stray Dog, A Letter to Three Wives, Kind Hearts and Coronets, White Heat, Criss Cross, Adam’s Rib, On the Town

@meh_etc
The Third Man, Act of Violence, The Passionate Friends, The Reckless Moment, Reign of Terror, The Small Back Room

@SchmanthonyP
1. The Third Man 2. Kind Hearts and Coronets 3. Late Spring 4. Stray Dog 5. White Heat 6. D.O.A. 7. All the King’s Men 8. The Heiress 9. She Wore a Yellow Ribbon 10. Andaz

@Grargarg
The Third Man, Sands of Iwo Jima

@Kathy_Gee
Act of Violence, The Heiress, Late Spring, A Letter to Three Wives, Flame of My Love, Passport to Pimlico, The Reckless Moment, The Set-Up, Stray Dog, The Third Man

@actofseeing
1. Late Spring 2. The Heiress 3. Under Capricorn 4. The Set-Up 5. Intruder in the Dust 6. Flamingo Road 7. The Small Back Room 8. Criss Cross 9. Madame Bovary 10. She Wore a Yellow Ribbon

@Alimah199
Late Spring, The Third Man

@craiglumley
The Heiress, Tension, On the Town

@Mal3Gordon
Kind Hearts and Coronets, Passport to Pimlico, The Third Man, Whisky Galore!, Adam’s Rib, A Connecticut Yankee in King Arthur’s Court, I Was a Male War Bride, On the Town

@realarsenalism
White Heat, Kind Hearts and Coronets, The Set-Up, The Third Man

@skyfullofbacon
The Third Man, Twelve O’Clock High, White Heat, Thieves Highway, Kind Hearts and Coronets, Criss Cross, Follow Me Quietly, The Threat, Late Spring, The Small Back Room

@Sage_Simone
Pinky, A Letter to Three Wives, In The Good Old Summertime

@MichaelKPrice
The Reckless Moment, The Third Man, Caught, Shockproof, Whirlpool, Thieves Highway, Kind Hearts and Coronets, The Fountainhead, She Wore a Yellow Ribbon, Colorado Territory

@paolocase
Late Spring, The Third Man, The Heiress, The Set-Up, Too Late For Tears, The Secret Garden, White Heat, Kind Hearts and Coronets, Bitter Rice, On The Town

@jhpcine
The Third Man, A Letter to Three Wives, Jour de fete, My Foolish Heart, Little Women

@kloodnood
Pinky

@alexxkittle (Alex Kittle of Strictly Brohibited)
On the Town, The Inspector General, The Third Man, Too Late for Tears, Adam’s Rib, The Barkleys of Broadway

@ginordlund
The Heiress; White Heat; On the Town; Mighty Joe Young; Thieves’ Highway; She Wore a Yellow Ribbon; Flamingo Road; The Fountainhead; The Small Back Room

@KinetoscopeFilm
The Fountainhead, Late Spring, The Set-Up, The Small Back Room, The Third Man, White Heat

@moviegq
The Third Man, The Adventures of Ichabod & Mr. Toad, The Inspector General, Adam’s Rib, A Letter To Three Wives, On The Town, D.O.A., White Heat, In The Good Old Summertime, Mighty Joe Young

@MarkGiselson
All the King’s Men, Twelve O’Clock High, Kind Hearts and Coronets, Mighty Joe Young, Knock on Any Door, The Inspector General, Prince of Foxes, A Connecticut Yankee in King Arthur’s Court, On the Town, She Wore a Yellow Ribbon

@hughp1970
Passport To Pimlico, Kind Hearts & Coronets, Whisky Galore!, On The Town. A Connecticut Yankee In King Arthur’s Court, I Was A Male War Bride, Adam’s Rib, Sands of Iwo Jima, She Wore A Yellow Ribbon

@Media_Professor
1. Late Spring 2. Little Women 3. Hometown in my Heart 4. She Wore a Yellow Ribbon 5. Stray Dog 6. The Reckless Moment 7. Jour de fete 8. The Third Man 9. On the Town 10. Bitter Rice

@twitersean
Les Enfants Terrible (does not count), Kind Hearts and Coronets, Late Spring, Samson and Delilah, Stray Dog, Stromboli (does not count), Thieves’ Highway, The Third Man, Too Late for Tears, White Heat

@irontap
Thirst, “Puce Moment”, Criss Cross

@leggoet
Kind Hearts & Coronets, Whisky Galore!, Passport To Pimlico, The Third Man, Late Spring, The Set-Up, On The Town, Le Silence De La Mer, A Letter To Three Wives, Bitter Rice

@lchadbou
A Letter To Three Wives, Jour De Fete, Kind Hearts and Coronets, White Heat, Flame of My Love, The Reckless Moment, Gun Crazy (does not count), She Wore A Yellow Ribbon, Only A Mother, In The Name Of The Law

@dmbjunky4
Under Capricorn

@filmizon
Abbott and Costello Meet the Killer, Boris Karloff, The Set-Up, Le Silence de la Mer, D.O.A., The Adventures of Ichabod and Mr. Toad, The Third Man, White Heat, A Letter to Three Wives, Bitter Rice

@Simply_Rain_S
The Third Man, She Wore a Yellow Ribbon, On the Town, All the Kings Men, The Heiress, White Heat

@steveishness
Stray Dog, The Fountainhead, Criss Cross, The Third Man, They Live By Night (does not count), Jour de fête, Border Incident, Thieves Highway, Late Spring

@Synth_Cinema
Kind Hearts and Coronets, The Third Man, Stray Dog

@thepwrofluv
1. The Third Man 2. Late Spring 3. The Set-Up 4. White Heat 5. The Heiress 6. Act Of Violence 7. La Silence de la Mer 8. Under Capricorn 9. Caught 10. Reign Of Terror

@TheGorilla1972
Caught, Border Incident, I Was a Male War Bride, Kind Hearts and Coronets, On the Town, Late Spring, The Set-Up, Under Capricorn, White Heat, The Third Man

@brandonekaufman
“Puce Moment”, Third Man, White Heat, Caught, The Passionate Friends, She Wore A Yellow Ribbon, Late Spring, Kind Hearts and Coronets, Prison, Criss Cross

@HTD_Classics
The Heiress, Holiday Affair, Little Women, My Dream is Yours, On the Town

@Simon_Cushing
Jour de fete, Kind Hearts and Coronets, Stray Dog, Third Man, I Was a Male War Bride, Mighty Joe Young

@tobiasxminenez
1. Beyond the Forest 2. White Heat 3. Thieves Highway 4. Late Spring 5. Knock on Any Door 6. The Small Back Room 7. Kind Hearts and Coronets 8. The Adventures of Ichabod and Mr. Toad 9. Champion 10. A Hometown in my Heart

@astoehr
“Blood of the Beasts”, Death is a Caress, Jour de fête, On the Town, The Queen of Spades, The Reckless Moment, Reign of Terror, The Spider and the Fly, The Third Man, Under Capricorn

@c0mmunicants
Jour de fete, caught, the third man, late spring, the passionate friends, le silence de la mer, kind hearts and coronets, prison

@NoonienSpock
The Heiress, Adam’s Rib

@AheadByEcho
Christ In Concrete (Give Us This Day), Gun Crazy (does not count), Late Spring, The Small Back Room, The Third Man, On The Town, Le Silence De La Mer, White Heat, The Window, Yotsuya Kaidan Pt 1 & 2

@PhillipNugent
The Third Man, Kind Hearts and Coronets, The Heiress, Stray Dog, Criss Cross, Letter to Three Wives, Jour de Fete, Caught, Intruder in the Dust, Passport to Pimlico

@carbsandmonet
The Third Man, The Heiress, On the Town, Adam’s Rib

@opalfilms
1. The Third Man 2. Late Spring 3. The Set-Up 4. They Live By Night (does not count) 5. Kind Hearts and Coronets 6. Stray Dog 7. “Begone Dull Care” 8. “Puce Moment” 9. On the Town 10. White Heat, “Blood of the Beasts”

@ChrisLejazar
The Heiress, The Third Man, White Heat, On the Town, Adam’s Rib, Holiday Affair, Twelve o’clock High, She Wore a Yellow Ribbon

@SeanDuschane
The Third Man, Little Women, D.O.A., The Great Sinner, The Spider and The Fly, Bride of Vengeance, Always Leave Them Laughing

@jsoatl
The Heiress

@Matt_TheCoolCat
Act of Violence, I Shot Jesse James, Kind Hearts and Coronets, Late Spring, The Secret Garden, The Set-Up, Le Silence De La Mer, The Small Back Room, Stray Dog, The Third Man

@Hawksian
Kind Hearts and Coronets, Gun Crazy (does not count), The Fountainhead, Criss Cross, Late Spring, I Was a Male War Bride, The Third Man, The Reckless Moment, White Heat, She Wore a Yellow Ribbon

@katherinekarlin
A Letter to Three Wives, White Heat, The Heiress, The Third Man

@selmerguy
The Secret Garden, Kind Hearts & Coronets, Jour de Fete, The Third Man, The Hasty Heart, The Rocking Horse Winner, Stray Dog, On The Town, She Wore a Yellow Ribbon, Bitter Rice

@ACMillerAuthor
1. The Heiress 2. Tension 3. The Set-Up 4. Act of Violence 5. White Heat 6. A Letter to Three Wives 7. On the Town 8. Scene of the Crime 9. The Window 10. Too Late for Tears

@GoresEatsFilm
1. The Third Man 2. Late Spring 3. Kind Hearts and Coronets 4. The Set-Up 5. White Heat 6. She Wore a Yellow Ribbon 7. The Small Back Room 8. Stray Dog 9. Champion 10. Border Incident

@ocdviewer
Late Spring, Stray Dog, A Letter to Three Wives, The Third Man, The Window, The Set-Up, White Heat, Adam’s Rib, On the Town, Whisky Galore!

@Harlegator68
1. The Third Man 2. The Set-Up 3. Champion 4. Adam’s Rib 5. Battleground 6. Kind Hearts and Coronets 7. White Heat 8. Give Us This Day 9. The Small Back Room 10. Stray Dog

@crankfapra
Kind Hearts and Coronets, Stray Dog, The Third Man, Late Spring, Jour de Fete, Whirlpool, The Small Back Room, The Heiress, The Set-Up, Cross Cross

@tyburr (Ty Burr of The Boston Globe)
Late Spring, They Live By Night (does not count), White Heat, Caught, Act of Violence, The Third Man, Stray Dog, “Begone Dull Care” (short), The Small Back Room, My Foolish Heart

@TommyHajj
1. The Third Man 2. Stray Dog 3. White Heat

@labuzamovies (Peter Labuza of The Cinephiliacs and historian of Entertainment Law)
Una Familia De Tantas, D.O.A., The Tale of Three Hairs, Light of Ten Thousand Homes, Whirlpool, The Heiress, Too Late for Tears, Not Wanted, The Undercover Man, Caught

@Garrison66
The Third Man, Late Spring, The Small Back Room, The Reckless Moment, Whisky Galore!, Stray Dog, They Live By Night (does not count)

@ChrisBeaubien
The Third Man, Kind Hearts and Coronets, The Heiress, Theives’ Highway, Bitter Rice, Le Silence de la Mer, The Reckless Moment, Thirst, A Letter to Three Wives, The Queen of Spades

@Fulmer
The Third Man, Battleground, The Set-Up, The Inspector General, She Wore a Yellow Ribbon, The Bribe

@LazlosGhost
The Third Man, Criss Cross, White Heat, Kind Hearts And Coronets, Adam’s Rib, The Set-Up, Late Spring, The Adventures Of Ichabod And Mr. Toad, Caught, Samson And Delilah

@lamb83
1. In The Good Old Summertime 2. The Heiress 3. Not Wanted 4. Easy Living 5. Adam’s Rib 6. A Letter To Three Wives 7. I Was A Male War Bride 8. It’s A Great Feeling 9. Act of Violence 10. My Dream Is Yours

@bybowes (Danny Bowes, critic and writer)
The Third Man, On the Town, White Heat, Criss Cross, Madame Bovary, The Set-Up, Kind Hearts and Coronets, La Malquerida (The Unloved Woman), Mighty Joe Young, The Heiress

@chris_labarthe
On the Town, Take Me Out to the Ballgame, Thieves’ Highway, White Heat, Too Late for Tears, Criss Cross

@MovieGazetteO
The Fountainhead, Adam’s Rib, Champion, A Letter to Three Wives, On the Town, The Third Man, Under Capricorn, White Heat

@christa_klages
Whirlpool, Caught, A Letter to Three Wives, Flamingo Road, Beyond the Forest, Not Wanted, The Passionate Friends, The Heiress, Flame of My Love

@EdirinOputu
Kind Hearts and Coronets, On the Town, Alias Nick Beal, White Heat, The Small Back Room, The Third Man, Stray Dog, Battleground, The Reckless Moment, The Heiress

@flobu09
White Heat, A Letter to Three Wives, The Heiress, She Wore a Yellow Ribbon, Kind Hearts and Coronets, The Third Man

@Monibdil
The Heiress, Pinky, Kind Hearts and Coronets

@FionaUnderhill
1. Kind Hearts & Coronets 2. On the Town 3. The Third Man 4. Whiskey Galore! 5. Passport to Pimlico

@ViolasMoustache
1. Late Spring 2. The Third Man 3. She Wore a Yellow Ribbon 4. The Small Back Room 5. The Heiress 6. The Passionate Friends 7. Holiday Affair 8. Madame Bovary 9. The Beautiful Blonde from Bashful Bend 10. The Reckless Moment

@JFrankensteiner
1. The Set-Up 2. The Third Man 3. Late Spring 4. Stray Dog 5. Thieves Highway 6. They Live By Night (does not count) 7. Act of Violence 8. The Small Back Room 9. D.O.A. 10. White Heat

@ReggieLampert
Adam’s Rib, The Red Pony, She Wore a Yellow Ribbon, White Heat, Mighty Joe Young, Samson and Delilah, Too Late For Tears

@TimothyCahill2
White Heat, On the Town, The Third Man, “Long-Haired Hare”, “Rabbit Hood”, “Fast and Furry-ous” (shorts)

@JimLNeibaur
Bicycle Thieves (does not count), Champion, Criss Cross, Red Light, Sands of Iwo Jima, She Wore a Yellow Ribbon, Stray Dog, Thieves Highway, Third Man, White Heat

@Jordan_Gerner
Colorado Territory, The Set-Up, The Third Man, White Heat, Stray Dog, Border Incident, Reign of Terror, They Live By Night (does not count)

@jwdmeow
Kind Hearts and Coronets, The Third Man, Criss Cross, The Adventures of Ichabod and Mr. Toad

@MsMeganTweets
Stray Dog, Adams Rib, Whiskey Galore!, Letter to Three Wives, the Third Man, Pinky, All the King’s Men, Bicycle Thieves (does not count)

@glitterninja
The Third Man, Stray Dog, The Bribe, White Heat, Champion, Late Spring, Beyond the Forest, Alias Nick Beal

@colonelstewart
The Third Man, Whisky Galore, Twelve O’Clock High, Kind Hearts and Coronets, White Heat, She Wore a Yellow Ribbon, On the Town, All the King’s Men

@dirtylaundri
She Wore a Yellow Ribbon, The Barkleys of Broadway, Down to the Sea in Ships, Late Spring, The Big Cat, Here’s to the Girls (Ojôsan kanpai), Thieves’ Highway, The Small Back Room, Chains (Catene), The Set-up

@pompeyrod
Third Man, White Heat, Kind Hearts & Coronets, Whisky Galore, On The Town, The Small Back Room, Adam’s Rib, I Was A Male War Bride, All The King’s Men & Under Capricorn

@owene73
Late Spring, Passport to Pimlico, Kind Hearts and Coronets, Caught, The Third Man, Act of Violence, Border Incident, The Small Back Room. The Reckless Moment, On the town

@joancrawfag
Adam’s Rib & Bitter Rice

@awolverton77
The Third Man, A Letter to Three Wives, Thieves’ Highway, The Small Back Room, The Set-Up, Criss Cross, The Reckless Moment, D.O.A., White Heat, The Passionate Friends

@shoopdancer2504
On the Town, Kind Hearts and Coronets, The Third Man, A Letter to Three Wives, Holiday Affair, The Heiress, The Stratton Story

@admitonefilmadd
Late Spring, Stray Dog

@EvieSpachis
Kind Hearts and Coronets, Late Spring, Passport to Pimlico, Whiskey Galore, The Third Man

@chaddwithtwoDs
The Third Man, She Wore a Yellow Ribbon, “Puce Moment” (short), White Heat, Late Spring, Jour de Fete, I Shot Jesse James, Adam’s Rib

@ChrisNashawaty (Chris Nashawaty of Entertainment Weekly)
The Third Man, Kind Hearts and Coronets, They Live by Night (does not count), On the Town, Criss Cross, Adams Rib, A Letter to Three Wives, Stray Dog, She Wore A Yellow Ribbon, White Heat

@ljsandahl
Battleground, A Letter to Three Wives, I Was A Male War Bride, Little Women, On the Town, Passport to Pimlico, Kind Hearts and Coronets, Whisky Galore, Stray Dog

@140CFilmReview
The Third Man, On the Town, The Window

@cat_crochet
Caught, Letter to Three Wives, The Reckless Moment

@drnorth
Passport to Pimlico, Whiskey Galore!, Kind Hearts & Coronets, The Third Man, Late Spring, The Reckless Moment, “Begone Dull Care” (short)

@blankemon
She Wore a Yellow Ribbon, White Heat, Battleground, On the Town, Border Incident, Whirlpool, Stray Dog, The Third Man, The Small Back Room, Thieves Highway

@pmbryant
The Barkleys of Broadway, Not Wanted, Never Fear, In The Good Old Summertime

@danielihumphrey
Bitter Rice, “Blood of the Beasts”, “Fireworks” (does not count)“Long-Haired Hare” (short), Lost Boundaries, On the Town, Stray Dog, Third Man, Thirst, Whisky Galore!

@mjhousiaux12
D.O.A., Flamingo Road, The Third Man, Border Incident, Le Silence de la Mer, Caught, Late Spring, Thieves’ Highway, She Wore a Yellow Ribbon, Adam’s Rib

@magadizer
She Wore a Yellow Ribbon, Stray Dog, The Third Man, Kind Hearts and Coronets, Late Spring, Border Incident, White Heat, “High Diving Hare”, “Fast and Furry-ous”, “Rabbit Hood”

@tomsakic
Colorado Territory, Criss Cross, She Wore a Yellow Ribbon, Third Man, White Heat, Bitter Rice, Die Brücke

@sarahnwondrland
White Heat, I Was a Male War Bride<

@Honors_Zombie (Scout Tafoya, video essayist, and film critic of RogerEbert.com)
The Small Back Room, The Third Man, We Were Strangers, Caught, The Reckless Moment, Stray Dog, Thieves highway, Criss Cross, She Wore a Yellow Ribbon, The Passionate Friends

@DeusExCinema (David Neary of Cineaste)
The Third Man, Late Spring, Adam’s Rib, White Heat, Whisky Galore, Jour de Fête, All the King’s Men, Kind Hearts and Coronets, Le Silence de la Mer, Passport to Pimlico

@rickburin
Little Women, The Third Man, She Wore a Yellow Ribbon, The Set-Up, A Letter to Three Wives, They Live by Night (does not count), The Window, Kind Hearts and Coronets, The Queen of Spades, Stray Dog

@chuckwockawocka
1. The Reckless Moment 2. The Third Man 3. Reign of Terror 4. White Heat 5. Late Spring 6. Stray Dog 7. I Was a Male War Bride 8. Bitter Rice 9. Adam’s Rib 10. “Puce Moment” (short)

@oohhangon
1. The Third Man 2. Act of Violence 3. Kind Hearts and Coronets 4. Twelve o’clock High 5. Thieves’ Highway 6. House of Strangers 7. The Set-Up 8. Passport to Pimlico 9. Adam’s Rib 10. White Heat

@Louise_Penn_72
White Heat, The Third Man, All The Kings Men, Little Women, Battleground, Kind Hearts and Coronets, Adam’s Rib, The Reckless Moment, Under Capricorn, The Rocking Horse Winner

@ManfredArcane
She Wore a Yellow Ribbon, The Third Man, The Fighting O’Flynn, Prince of Foxes, Border Incident, We were Strangers, Sands of Iwo Jima, White Heat

@ChicagoBernie
The Adventures of Ichabod and Mr. Toad, Alias Nick Beal, The Barkleys of Broadway, A Connecticut Yankee in King Arthur’s Court, Criss Cross, East Side, West Side, The Heiress, It Happens Every Spring, A Letter to Three Wives, Twelve O’Clock High

@wshoes
Twelve O’Clock High

@AlanAchenbach
White Heat, The Adventures of Ichabod and Mr. Toad, She Wore a Yellow Ribbon, Adam’s Rib, Ma and Pa Kettle, I Was a Male War Bride, The Barkleys of Broadway, Sands of Iwo Jima, Kind Hearts and Coronets, Abbott and Costello Meet the Killer, Boris Karloff

@JakedLunch
The Third Man

@zsazsaZavia
Edward, My Son

@nwkitchens
Kind Hearts and Coronets, Bicycle Thieves, The Third Man, “Batman and Robin” (serial), All the King’s Men, Adam’s Rib, Samson and Delilah, The Fountainhead, Abbott and Costello Meet the Killer Boris Karloff

@angler477
She Wore a Yellow Ribbon

@muffkin7
The Third Man, She Wore A Yellow Ribbon, On The Town

@AmbroseCoghill
1. Late Spring 2. The Third Man 3. Kind Hearts and Coronets 4. All the King’s Men 5. Le Silence de la Mer 6. Jour de Fete 7. Stray Dog 8. The Reckless Moment 9. Passport to Pimlico 10. Knock on Any Door

@gennyradosti
The Third Man, On the Town, The Heiress, In the Good Old Summertime

@mildperil
Kind Hearts and Coronets, Adam’s Rib, The Small Back Room, D.O.A., The Third Man, The Passionate Friends

@Ceillimiss
Adam’s Rib, A Connecticut Yankee in King Arthur’s Court, The Secret Garden

@TroyMP94
1. The Third Man 2. The Adventures of Ichabod and Mr. Toad 3. On the Town 4. White Heat 5. The Barkleys of Broadway 6. Kind Hearts and Coronets 7. The Prince of Foxes 8. Act of Violence 9. Black Magic 10. Reign of Terror

@FerdyOnFilms (Marilyn Ferdinand of Ferdy on Films)
The Heiress, The Third Man, Criss Cross, The Emperor’s Nightingale, Jour de Fete, Kind Hearts and Coronets, Slattery’s Hurricane, Too Late for Tears, Le silence de la mer, Gigi (Audry)

@lukaburt
Twelve O’Clock High, Abbott and Costello Meet Frankenstein (does not count) Adam’s Rib, The Barkleys of Broadway, Beyond the Forest, Dr. Ehrlich’s Magic Bullet (does not count) Holiday Affair, Samson and Delilah, The Third Man, White Heat

@conor_holt
The Third Man, Kind Hearts & Coronets, The Adventures of Ichabod & Mr. Toad

@zzahos
1. She Wore a Yellow Ribbon 2. Late Spring 3. The Small Back Room 4. “Begone Dull Care” (short) 5. Reign of Terror 6. “Christmas, U.S.A.” (short) 7. Rendezvous in July 8. White Heat 9. “Puce Moment” (short) 10. Under Capricorn

@PaulBoyne
1. The Third Man 2. White Heat 3. The Adventures of Ichabod and Mr. Toad 4. Stray Dog 5. On the Town 6. Caught 7. Reign of Terror

@quinn_tweets
The Third Man, The Heiress, Bitter Rice

@GurneySlade
The Third Man, Kind Hearts and Coronets, I Was a Male War Bride, Criss Cross, Late Spring, Jour de Fete, The Queen of Spades, The Set-Up, Stray Dog, White Heat

@lauraanne0608
Whirlpool, That Forsyte Woman

@filmbantha
1. The Queen of Spades 2. Such a Pretty Little Beach 3. The Set-up 4. Kind Hearts and Coronets 5. White Heat

@burlivespipe
Come to the Stable, Caught, “The Long-Haired Hare” (short), They Live by Night (does not count), It Happens Every Spring, The Third Man, In the Good Old Summertime, White Heat, Mr. Soft Touch

@danpullenbooks
Africa Screams, Tulsa, A Connecticut Yankee In King Arthur’s Court, Kind Hearts and Coronets, The Third Man, White Heat, The Adventures of Ichabod and Mr. Toad

@david_cornelius
All the King’s Men, Battleground, Bicycle Thieves (does not count), Holiday Affair, Mighty Joe Young, On the Town, Stray Dog, The Third Man, White Heat

@tangoldman
The Third Man, Stray Dog, Act of Violence, D.O.A., Le Silence de Mer, The Reckless Moment, “Blood of the beasts”/le sangs des bêtes, Kind Hearts + Coronets

@BigHeadTinyRoom
She Wore a Yellow Ribbon, Caught, White Heat, Gun Crazy (does not count), Adam’s Rib, They Live By Night (does not count), Under Capricorn, D.O.A., The Fallen Idol (does not count), Whirlpool

@purplemiller
The Set-Up, Criss Cross, They Live By Night (does not count), White Heat

@samloomis13
1. The Third Man 2. Adam’s Rib 3. The Set-Up 4. Kind Hearts and Coronets 5. Stray Dog 6. Obsession (The Hidden Room) 7. She Wore a Yellow Ribbon 8. Thieves Highway 9. Whirlpool 10. Under Capricorn

@leosadako
Criss Cross, Stray Dog, Little Women, The Third Man, White Heat, Beyond the Forest, Champion, The Set-Up, Madame Bovary, The Accused

@acr0320_MIA
1) Third Man 2) Late Spring 3) Adam’s Rib 4) The Reckless Moment 5) She Wore a Yellow Ribbon 6) Kind Hearts and Coronets 7) White Heat 8) On the Town 9) The Fountainhead 10) “Blood of the Beasts” (Le Sang des bêtes)

@Hooraydiation
On The Town, Thieves’ Highway, All The King’s Men, White Heat, Too Late For Tears

@tosacinephile
The Heiress, Late Spring, A Letter to Three Wives, The Third Man, Adam’s Rib

@dvanhouw
1. The Third Man 2. All the King’s Men 3. White Heat 4. Stray Dog 5. The Reckless Moment 6. House of Strangers 7. Late Spring 8. The Heiress 9. She Wore A Yellow Ribbon 10. Adam’s Rib

@EricNBarroso
The Reckless Moment, She Wore a Yellow Ribbon, Reign of Terror, White Heat, The Third Man

@daveypretension
The Third Man, Too Late for Tears, The Reckless Moment, Bitter Rice, Act of Violence, All the King’s Men, Sands of Iwo Jima, The Emperor’s Nightingale, Criss Cross

@pogform
Alias Nick Beal, Too Late for Tears, They Live By Night (does not count)

@historyfilm
The Third Man, Stray Dog, Caught, I Was a Male War Bride, Colorado Territory, They Live By Night (does not count), On the Town, She Wore a Yellow Ribbon, The Set-Up

@aliasMarlow
Late Spring, Caught, The Emperor’s Nightingale, The Great Madcap, Jour de fête, Stray Dog, Le Silence de la mer, They Live by Night (does not count), The Third Man, Whisky Galore!

@EloiseLoRoss (Eloise Ross, PhD in Sound & Classical Hollywood)
Not Wanted, Criss Cross, Death is a Caress, Late Spring, The Passionate Friends, The Reckless Moment, The Set-Up, Shockproof, They Live By Night (does not count),White Heat

@finocchio68
Stray Dog, The Third Man, D.O.A., Kind Hearts and Coronets, The Reckless Moment, Manhandled, The Small Back Room, White Heat

@MovieFreakSara
1. The Third Man 2. Late Spring 3. She Wore a Yellow Ribbon 4. Battleground 5. Kind Hearts and Coronets 6. Stray Dog 7. Jour de Fete 8. The Heiress 9. White Heat 10. D.O.A.

@ElivanEK
Third Man, White Heat, She Wore a Yellow Ribbon, On the Town

@Marshy00 (James Marsh of Screen Anarchy, etc)
Kind Hearts and Coronets, The Third Man, Whisky Galore!, Stray Dog

@krankor1
Caught, Kind Hearts and Coronets, A Letter to Three Wives

@harriscsmith
The Adventures of Ichabod and Mr. Toad, The Window, House of Strangers, Knock on Any Door, They Live by Night (does not count), The Set-Up, The Big Steal, Criss Cross

@VincentOBrien1
1. Kind Hearts and Coronets 2. The Third Man 3. White Heat

@notpynchon
The Quiet Duel, The Great Madcap, Not Wanted, Bitter Rice, Le Silence de la Mer, I Was a Male War Bride, Adam’s Rib, Kind Hearts and Coronets, Late Spring, Shockproof

@TheMadMissMovie
Africa Screams, All the King’s Men, The Barkleys of Broadway, I Shot Jesse James, Late Spring, The Set-Up, She Wore a Yellow Ribbon, Stray Dog, Too Late for Tears, White Heat

@NoiroftheWeek
Act of Violence, The Accused, Champion, Criss Cross, Impact, The Set-Up, Story of Molly X, Alias Nick Beal, White Heat, The Window

@ratskywatsky
Too Late for Tears

@LondonYLWL
The Reckless Moment, She Wore A Yellow Ribbon, The Small Back Room, They Live by Night (does not count), The Heiress, Rendezvous in July, Whisky Galore, White Heat, Whirlpool, I Was A Male War Bride

@JamesOMahony5
Late Spring, The Third Man, Whisky Galore!, Stray Dog, “Puce Moment”

@Nonsenseisland
Adam’s Rib, On the Town, White Heat “Bad Luck Blackie”, “Begone Dull Care”, “Fast and Furry-ous”, “High Diving Hare”, “Little Rural Riding Hood”, “Long-Haired Hare”, “Rabbit Hood”

@James71982
1. East Side, West Side 2. White Heat 3. Adam’s Rib 4. On the Town 5. The Rocking Horse Winner 6. The Bribe 7 . Madame Bovary 8. The Passionate Friends 9. Too Late for Tears 10. House of Strangers

@IAmNotTrevor
The Third Man, Late Spring, “Fast and Furry-Ous”, Jour de Fête, “Rabbit Hood”, “Heavenly Puss”, Under Capricorn, Caught , I Was A Male War Bride, “Long-Haired Hare”

@glazomaniac
late spring, vida en sombras (life in shadows), i shot jesse james, “meditation on violence”, stray dog, “christmas usa”, “begone dull care”, thieves highway

@DanSchnidel (Dan Schnidel, film critic)
D.O.A., Stray Dog, The Third Man, Too Late for Tears, Whirlpool

@j_christley (Jamie Christley of Village Voice (RIP), Little White Lies, Slant, etc)
1 Late Spring 2. The Spider and the Fly 3. They Live by Night 4. Reign of Terror 5. Border Incident 6. Le Silence de la Mer 7. I Was a Male War Bride 8. The Reckless Moment 9. The Third Man 10. Sands of Iwo Jima

@Th3NrY
She Wore a Yellow Ribbon

@KenFrankenstein
5. “Puce Moment” 4. Stray Dog 3. Mighty Joe Young 2. The Third Man 1. Kind Hearts and Coronets

@thedanheaton
The Third Man, White Heat, She Wore a Yellow Ribbon, They Live By Night (does not count)

@nrogershancock
“fireworks” (does not count), barsaat, andaz, mahal, she wore a yellow ribbon, easy living, colorado territory, pattes blanches, “puce moment”, “the lead shoes”

@Michael7E
They Live By Night (does not count), I Shot Jesse James, Late Spring, Caught, Reign of Terror, Stray Dog, The Third Man, Broken Drum

@matthew_lucas
Late Spring, I Shot Jesse James, Jour de Fête, Under Capricorn

@missannabiller (Anne Biller, director of The Love Witch, Viva, etc)
Bitter Rice, The Reckless Moment, Late Spring, Caught, The Hidden Room (Obsession), The Heiress, Too Late for Tears, Thieves’ Highway, Tension, Flamingo Road

@FCardamenis (Forrest Cardamenis of Videology (RIP), Little White Lies, Indiewire, etc)
“Blood of the Beasts”, Late Spring, She Wore A Yellow Ribbon, The Third Man

@tnyfrontrow (Richard Brody, film critic for The New Yorker)
A Letter to Three Wives, Under Capricorn, Flame of My Love, She Wore a Yellow Ribbon, Jour de Fête, I Was a Male War Bride, Not Wanted, They Live by Night (does not count), Rendezvous in July, Le Silence de la Mer

@FilmBart
“Puce Moment”, She Wore a Yellow Ribbon, The Set-Up, The Third Man, Sands of Iwo Jima, Under Capricorn, The Passionate Friends, White Heat, Flamingo Road

@cinebeats (Kimberly Lindbergs, Film Struck)
Stray Dog, The Third Man, Act of Violence, Beyond the Forest, White Heat, Mighty Joe Young, Abbott and Costello Meet the Killer, Boris Karloff, The Queen of Spades, Whirlpool, The Adventures of Ichabod and Mr. Toad

@DianaDDrumm (Diana Drumm, writer, and runner of @FemaleCritics)
The Heiress, Adam’s Rib, Holiday Affair, The Forbidden Street, Kind Hearts and Coronets, Miss Grant Takes Richmond, On the Town, Samson and Delilah, The Third Man, White Heat

@CinematicLife
The Heiress, The Third Man, Late Spring, The Set-Up, “Long-Haired Hare”

@tracyhepburnfan
Adam’s Rib, The Third Man, Little Women, The Heiress, The Secret Garden

@ELCinemonster
Kind Hearts and Coronets, The Third Man, All the King’s Men, Whiskey Galore!, White Heat, Bitter Rice, The Big Steal, Border Incident, The Set-Up, Such a Pretty Little Beach

@LeavingFilmStrk
The Third Man, The Heiress, The Window, Act of Violence, The Set-Up

@film_chevalier
Inspector General, On the Town, Sorrowful Jones

@007hertzrumble
1. Kind Hearts and Coronets 2. The Third Man 3. Thieves’ Highway 4. Whisky Galore 5. Too Late for Tears 6. Reign of Terror 7. The Set-Up

@JonathanLHoward
Kind Hearts and Coronets, Passport to Pimlico, The Third Man, Whiskey Galore!

@CUAH_Media
Late Spring, The Set-up, White Heat, The Third Man, Le Silence De La Mer, All the King’s Men

@RealToddHaynes
1. A Letter to Three Wives 2. On the Town 3. The Third Man 4. Come to the Stable 5. Adam’s Rib

@biscuitkitten (Jill Blake of FilmStruck, TCM, and The Retro Set)
Stray Dog, On the Town, White Heat, The Heiress, Adam’s Rib, Holiday Affair, They Live by Night (does not count), The Set-Up, The Third Man, The Passionate Friends

@AmateurCinefile
1. The Third Man 2. Le silence de la mer 3. I Shot Jesse James 4. I Was a Male War Bride 5. White Heat

@dandock
1. White Heat 2. Stray Dog 3. Mighty Joe Young 4. The Third Man 5. She Wore A Yellow Ribbon 6. We Were Strangers 7. All The King’s Men 8. They Live By Night (does not count) 9. I Shot Jesse James 10. On The Town

@danyomolloy
The Third Man, Late Spring, She Wore a Yellow Ribbon, Whirlpool, I Was a Male War Bride, The Set-Up, On the Town, I Shot Jesse James, Intruder in the Dust, A Letter to Three Wives

@RayLewis1997
1. The Third Man 2. Battleground 3. Adam’s Rib 4. A Letter to Three Wives 5. The Heiress 6. All the King’s Men

@craigary
The Third Man, Stray Dog, The Set-Up, The Bicycle Thief (does not count), Thieves Highway, Kind Hearts & Coronets, “Long-Haired Hare”, “Fast and Furry-ous”, “For Scent-imental Reasons”, “Rabbit Hood”

@HollywoodComet
1. Battleground 2. A Letter to Three Wives 3. The Third Man 4. The Set-Up 5. My Foolish Heart 6. She Wore a Yellow Ribbon 7. Too Late for Tears 8. So Dear to My Heart

@NitrateDiva (the great Nitrate Diva!)
The Third Man, Stray Dog, Reign of Terror, Kind Hearts and Coronets, Late Spring, Too Late for Tears, I Was a Male War Bride, Alias Nick Beal, The Passionate Friends, She Wore a Yellow Ribbon

@HellOnFriscoBay
“Begone Dull Care”, Border Incident, Caught, “High-Diving Hare”, Intruder in the Dust, Late Spring, “The Lead Shoes”, She Wore a Yellow Ribbon, Stray Dog, Thieves’ Highway

@henridecorinth
“Puce Moment”, “Blood of the Beasts” (Le sang des bêtes), “Christmas USA”, Jour de fête, “On the Edge”, “No. 5: Circular Tensions: Homage to Oskar Fischinger”, Criss Cross, The Big Steal, Rendezvous in July

@PhyllisNagy (screenwriter (Carol), director, playwright)
They Live by Night (does not count), Jour de fete, The Third Man, A Letter to Three Wives

@Glamorous_Matt
Late Spring, The Heiress, Flamingo Road, Whisky Galore, Kind Hearts & Coronets, Holiday Affair, Thieves’ Highway, La Silence de la Mer, The Passionate Friends, The Third Man

@Platticus_Finch
The Third Man, Jour de Fete, White Heat, Stray Dog, La Silence de la Mer, Late Spring, Kind Hearts and Coronets, I Was a Male War Bride

@kristina_ruhnke
1. The Third Man 2. Late Spring 3. Colorado Territory 4. They Live By Night 5. She Wore A Yellow Ribbon 6. The Heiress 7. I Was A Male War Bride

@Crabin
A Letter to Three Wives, White Heat, The Reckless Moment, Late Spring, The Third Man, The Fountainhead, Beyond the Forest, Stray Dog, She Wore a Yellow Ribbon, I Was a Male War Bride

@davidlsims (David Sims of The Atlantic, “Blank Check” podcast)
Late Spring, Twelve O’Clock High, The Third Man, White Heat, On the Town, Stray Dog, Kind Hearts and Coronets, Under Capricorn, Flame of My Love, Alias Nick Beal

@womensrites
The Third Man, “Song of the Prairie”, Le Silence de la Mer, Act of Violence, Too Late for Tears, D.O.A.

@filmslikedreamz
Kind Hearts and Coronets, I Was a Male War Bride, The Third Man, White Heat, “Fast and Furry-ous”, All the King’s Men, Adam’s Rib

@pacificallrisk
The Set-Up, Caught, The Big Steal, Stray Dog, The Third Man, Mahal, Beyond the Forest, She Wore a Yellow Ribbon

@adam_the_k
Late Spring, The Third Man, Jour de fete, Kind Hearts and Coronets, The Set-Up, The Great Madcap (El Gran Calavera), Border Incident, La Silence de la Mer, The Reckless Moment, She Wore a Yellow Ribbon

@Dercervelage
The Third Man, Kind Hearts and Coronets , Adam’s Rib, The Emperor’s Nightingale, I Shot Jesse James, She Wore a Yellow Ribbon, Stray Dog, Bitter Rice, The Heiress, Passport to Pimlico

@DocJohn90
Battleground, The Adventures of Ichabod and Mr. Toad

@ReignforestCafe
1. Flame of My Love 2. Caught 3. Mahal 4. The Passionate Friends 5. The Small Back Room 6. Alias Nick Beal 7. The Queen of Spades 8. I was a Male War Bride 9. White Heat 10. The Heiress

@CinefileBlog
The Third Man, White Heat, Twelve O’Clock High, She Wore a Yellow Ribbon, Adam’s Rib, Stray Dog, Battleground, The Set-Up, Criss Cross, Thieves Highway

@FilmFan1971 (Matthew Turner of the Fatal Attractions podcast)
1) Kind Hearts and Coronets 2) The Third Man 3) White Heat 4) I Shot Jesse James 5) The Fountainhead 6) Whirlpool 7) A Letter to Three Wives 8) Passport to Pimlico 9) The Reckless Moment 10) Champion

@greilsarriskirk
1. The Third Man 2. She Wore a Yellow Ribbon 3. On the Town 4. Late Spring 5. “Bad Luck Blackie” 6. The Small Back Room 7. Kind Hearts and Coronets 8. “Long-Haired Hare” 9. Twelve O’Clock High 10. The Adventures of Ichabod & Mr. Toad

@_Vinny____
Battleground, On The Town, Border Incident, Stray Dog, The Third Man, The Set-Up, The Quiet Duel, I Shot Jesse James, Act Of Violence, Kind Hearts And Coronets

@BryanKam
1. Kind Hearts and Coronets 2. Adam’s Rib 3. Stray Dog 4. The Set-Up 5. Thirst 6. Whisky Galore! 7. The Heiress 8. The Reckless Moment 9. White Heat 10. The Third Man

@bmrow
1. The Heiress 2. Late Spring 3. Border Incident 4. The Set-Up 5. Criss Cross 6. “Fireworks” (does not count) 7. The Spider and the Fly 8. Adam’s Rib 9. Whirlpool 10. Under Capricorn

@Kza
1. The Window 2. Caught 3. On the Town 4. The Third Man 5. The Small Back Room 6. Jour de Fete

@meganabbott (Megan Abbott, amazing author of Give Me Your Hand, You Will Know Me, Dare Me, etc):
Act of Violence, The Reckless Moment, White Heat, A Letter to Three Wives, Whirlpool

@criterionrefs (David Blakeslee of CriterionCast, Criterion Reflections)
The Third Man, “Begone Dull Care”, Kind Hearts and Coronets, Late Spring, On the Town, Le Silence de la mer, Stray Dog, Chains, I Shot Jesse James

@reelbrew (<3 Greg Mucci <3, Nightmarish Conjuring, Nightmare on Film Street)
The Set-Up, The Third Man, Too Late for Tears, Whirlpool, “Long-haired Hare”, “Toy Tinkers”, Stray Dog, Criss-Cross, Tension, Mighty Joe Young

@BilgeIbiri (the great Bilge Ibiri of The Village Voice (RIP))
Kind Hearts & Coronets, She Wore a Yellow Ribbon, The Queen of Spades, Reign of Terror, The Reckless Moment, I Was a Male War Bride