sakana1

Brian Donlevy stan account.
πŸ³οΈβ€πŸŒˆπŸ³οΈβ€πŸŒˆπŸ³οΈβ€πŸŒˆ

Fourth favorite is a recent watch that I particularly dug.

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  • Cat People

    Cat People

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    Spoilers ahead.

    Cat People is a quietly devastating look at one woman's life, and the impact social pressures and expectations have on her ability to live freely, told through the vehicle of horror. Irena Dubrovna (Simone Simon) is deeply alone, telling Oliver Reed (Kent Smith) on the very day they meet that he's her "first real friend." (Her word choice is terribly touching, suggesting a hopeful optimism that "only friend" would not have conveyed.) It's hard to tell if Irena…

  • Kiss Me Deadly

    Kiss Me Deadly

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    [spoilers ahead]

    Everything mainstream American culture feared and denied in the 1950s thrived in the noir films of the era. And so, in noir, women had power, corruption was rampant, survival was always in question, and the United States was an urban nation, populated by immigrants and Black and brown people. In many ways, the most powerful, ferocious rejection of the story America told itself in this era -- of the world of Leave it to Beaver and Father Knows…

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  • The Curse of the Cat People

    The Curse of the Cat People

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    What's perhaps most remarkable about Curse of the Cat People is the seriousness with which it treats the ideas and feelings of a child. We share Amy's (the extraordinary Ann Carter) pain at being rejected by her peers, her elation at finding a friend, and her confusion at being told by her truth-demanding father (Oliver, played by Kent Smith), to lie about Irena (Simone Simon). In addition to sharing her emotions, we also share Amy's physical POV, not only of…

  • Main Street After Dark

    Main Street After Dark

    β˜…Β½

    The mere presence of Dan Duryea can cure a lot of ills, but even he can’t make these 57 minutes of clumsy copaganda remotely interesting.

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  • What Ever Happened to Baby Jane?

    What Ever Happened to Baby Jane?

    Intellectually, I recognize that this is an impressive technical achievement for everyone involved, including but not limited to Robert Aldrich and Oscar-winning costume designer Norma, and I appreciate the criticism of stardom and Hollywood in general that is part of the film's story. But, ultimately, it’s a big 'not for me' β€” there no pleasure to be found in just watching suffering, and since finding the movie funny means just laughing at the people who are suffering, that doesn't feel…

  • Farewell, My Lovely

    Farewell, My Lovely

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    i.

    I've always felt a deep, emotional connection to Philip Marlowe (an entirely unoriginal fixation, I realize). His ferocious, irrational hopefulness is so moving, as is the commitment he's made to himself and to the world to keep going, even when the only possible result is doom and darkness. It's always been touching but, as I get older, it gets more and more melancholy, and his awareness of his own folly all the more intense.

    ii.

    "Down these mean streets…