NinadeL

A pure genre film in which everything runs like clockwork. It takes place virtually in real time between two key events in the life of Sheriff Kane (a great, mature Cooper). While he is getting married (to porcelain doll Grace Kelly) shortly before noon and putting away his tin star, his arch-nemesis is due to arrive by train at noon and challenge him to a duel. The whole town refuses to take the risk, and Kane faces his arch-enemy at high noon... It is based on the 1947 magazine short story "The Tin Star."

Noël Coward's modern play was transferred from Broadway to film the year after it opened. Although the subject was attractive and interesting then and now, I don't think it is necessary to bow down in any way to this particular Lubitsch routine. The film transcription is clumsy, just as the transcription of plays is today. The sweet and spicy theme is the only thing that could raise the corners of your mouth to smile. But that's all. March and Coop act as if they themselves were on stage, but the film needs no such simulations. They were both much more mature actors by then. And what about Miriam Hopkins? She gets great dialogue, but she recites it like a naive fifth-former. I understand that she's great as a porcelain model who looks good in fancy costumes, but there was nothing here resembling an acting orgy. So who should I recommend it to? Perhaps only those who are not familiar with the films of the 1930s and will enjoy this. The pre-code era offers far greater treats. "It's true we have our gentleman's agreement. But I unfortunately am no gentleman."

Another beautiful combination of Forster's novel, Ivory's direction, and Helena Bonham Carter's talent. If you give the novel "Howards End" a chance and complement this film with the recent series, you may be rewarded with a truly relaxing experience resulting from the lyrical description of the surroundings of the most banal scandal. It is tender and the psychology of the main characters must be understood in order to know the foundations on which our society stands.

This film is truly a mistake. This isn't a silly cute romantic comedy for undemanding female viewers - this is a pathologically harmful attack on the already low level of intellect of all the people involved in the creation of such crap and those who, under the impression of harmless entertainment, decide to face this bullshit of unbelievable proportions. The patterns in which these characters move are as horrific as the stereotypes they are portrayed with. I prefer porn, which is cleaner in terms of genre, more acceptable in its acting, and not harmful to society in the broadest context. Also, no one is forced to look at Tatiana Dyková's face. As the saying goes: some people read so they don't have to think...

This year's Season 5 was cut short by Covid. We'll see if the effects are the same as during the writers' strike in the 2007/2008 season. Because that's when heads were rolling. Slowly but surely, the entire Supergirl series can be renamed Lex Luthor, but thankfully the show is out of the worst parts of last season. The main theme was the struggle with virtual reality addiction, the style of some of the characters changed, and a number of new costumes appeared. Some have changed beyond recognition since the first episode. Kara is suddenly more mature, and she has a new hairstyle and more mature fashion. Dreamer takes over the girl's role, but the main female conflict is between Lena and Andrea. Jimmy was replaced by his sister Kelly. However, there's not enough chemistry between Kelly and Alex, and I've been waiting for the return of proper L drama since Season 2 :D One episode was inspired by Tomb Raider, and we got to know more of Brainy's personality, but the best thing of all is watching the best actors from the new series Dallas - Brenda Strong, Julie Gonzalo, Mitch Pileggi - make their way into Supergirl. A quality soap opera, whatever the genre happens to be, needs proper emotions.

The film to which the Feud: Bette and Joan (2017) series made a monument. The meeting of the two former stars is interesting, and the shift into a different genre, which was unusual before the war, is also interesting. The masks are excellent, and so is the retrospective reception of classic films shown on television after thirty years. But that's about it. The post-war discourse about us doing it better and them doing it naively or stupidly or uninterestingly before is literally comical. It's hard to measure a quality melodrama with hysterical horror about lost illusions.

Surprisingly, we do not learn much about the filmography of Lída Baarová from the vast library of titles devoted to her (and nowadays also from various final qualifying works at schools). Only very rarely does anyone notice the fact that Baarová was also a stage actress. Virtually no one has shown even the slightest interest (let alone competence) in pursuing Baarová as a European actress. In an age that favors the massive opening of archives and subsequent digitization, it is humiliating (for both writers and readers) to repeat over and over again widespread untruths published (hopefully) in good faith in order to say something. From Baarová's brief recollections I, like many others, remembered Barcarolle and La fornarina as imaginary highlights. Unfortunately, during her lifetime there was no one who could have worked more effectively with her on the memories of such fantastically varied work in European studios. In this film, the Italian make-up artists took a completely different approach to her photogenicity, emphasizing her assets in 16th century costumes (at least ten of them are seen throughout the film). Unlike her years in the Third Reich, Baarová put on some weight and is very attractive. Thirty-year-old Baarová became quite naturally part of another national cinema, and we can only envy the Italians that she continued with them after the war.

This is beautiful work. Thanks to platforms like Netflix, it's now possible to make someone's wet dreams come true. In this case, it’s Ryan Murphy's wet dreams of how Hollywood turned into a real Dreamland after the war. That alone makes it worth a look. If you're the kind of viewer who will be familiar with references to real post-war Hollywood at first glance, you've won. It's a fresh, bold series that respects minorities while loving glamour and stars.

A wonderful experience. Of the many Hemingway adaptations, this first adaptation is one of the best. It’s a film that seemed timeless when it premiered and remains so today. Everything is as it should be. Everyone is in their place (the great Cooper and Menjou, the wonderful Hayes). Everything is authentic, nothing is missing, and nothing is excessive. I recommend adding Love and War to the biography. And, of course, reading the book.

Who doesn't love Garp? While the 90s had Forrest Gump, a decade earlier it was Garp. It’s a film where it's hard to identify its age at first glance, which is an absolutely wonderful asset. On top of that, it has the wonderful character of Roberta the tranny, who broke my heart.