If Sirius Black in fact was a friend of the Potters and did NOT betray them to Voldemort, why did he want to kill Harry? The scene where they all meet in the Shrieking Shack is so confusing: First we see Sirius about to kill Harry, but as soon as he and Lupin explain that Pettigrew is the real culprit, Sirius doesn't want to kill Harry anymore. Did anyone else have a problem with this? The same question must be asked about the book. It would have made sense if everyone THOUGHT Sirius had betrayed the Potters, which they did, but then when we meet Sirius, he explains that it was Pettigrew who was to blame and that he never wanted to kill Harry, that it just a rumor. All this said, I loved the film and all the others, too!
Reviews
8 Reviews
Who were they pandering to by making him a Catholic?
13 July 2010
Warning: Spoilers
I was looking forward to David Suchet's latest Poirot as much as if Agatha Christie had written another mystery or Hitchcock made another movie. Unfortunately, this version of Murder on the Orient Express was not one that I would watch even one more time... and I watch and re-watch Poirot ALL the time. The worst part was turning him into a Catholic, and I see several other reviewers agree with me. Obviously the producers were frightened of letting Poirot allow 12 killers to go free, so they have him walking away at the end fingering his rosary and crying. Who were they pandering to? What's really bad about it is that IF Poirot were a strict Catholic, he would have had the integrity to follow that moral code and turn in his fellow passengers for murder. By having him lie to the police and then regret it, Agatha Christie's intention of creating a Poirot who is INTEGRITY ITSELF has been completely perverted. How pathetic. Not to mention if you are presenting the Orient Express, I expect to see more than a few inlaid doors. ... A meager, disappointing addition to the up-til-now fabulous Poirot series.
Possessed
(1931)
Great Except for Ending!
22 March 2007
I love this film and watch it a lot. The ending is a bit sappy, and generally I turn it off after Joan tells Clark that she's not really in love with him. It's funny how many writers say they like it because of the "feminist" issues. Isn't it enough that the acting is good, the comedy is sophisticated and Joan sings a wonderful song in German, French and English? (The writer who said Bing Crosby did it better is just silly; how can one compare the two singers?) Are movies more valuable because they're about "important" themes? Is all the literature we've treasured over the centuries great because of anything other than it reflects the realities of love and life and death?
I Live My Life
(1935)
what fun!
22 March 2007
The worst thing about this film is the title! I often feel the title can make or break a film, and if this was named something a little less clunky and serious, it probably would get more respect and be a classic comedy. This is not a "great" movie, but that doesn't lessen the entertainment factor, which is, often enough, the reason we watch a film more than once. I have no problem with either Joan Crawford or Brian Aherne in the leads. They are both charming and lend the perfect role of sarcastic flirtatiousness called for. If one needs a serious theme to enjoy a film, there is a peripheral theme of class-consciousness. One of the film's highlights is the chemistry between Crawford and Frank Morgan, who plays her father; that's precious stuff. It's easy to praise Arthur Treacher, Jessie Ralph and Eric Blore. But how about Sterling Holloway in a small but memorable role as Aherne's assistant at the archaeological dig? Aline MacMahon, Frank Conroy, all these character actors insure the acting level is high throughout. My only regret is that Granville Bates, the yacht captain, didn't have a more substantial role. From what I've seen of him in My Favorite Wife, I'd say he was brilliant, too. I love these glossy black-and-white early '30s MGM films.
Match Point
(2005)
brilliant!
13 December 2006
When the credits appeared, I was stunned. Usually I see the ending coming. You can always tell... by the music, by what's said, something gives it away.
This ending was a total, perfect surprise, exquisitely timed. I wished immediately that I could be in touch with Woody Allen and congratulate and thank him for Match Point.
I loved Scoop, and they're not comparable as far as comedies and dramas have different intentions, but Match Point holds together a lot better in the details.
Powerful moments in Match Point: When Nola confronts Chris as he leaves the office; Chris in the next-door neighbor's apartment.
I also loved Matthew Goode as the brother-in-law, for his relaxed, good-natured humor.
Wonderfully cast and acted.... There was a moment when I thought there was just a shade too much opera when Chris was alone on-screen, but that's minor.
This ending was a total, perfect surprise, exquisitely timed. I wished immediately that I could be in touch with Woody Allen and congratulate and thank him for Match Point.
I loved Scoop, and they're not comparable as far as comedies and dramas have different intentions, but Match Point holds together a lot better in the details.
Powerful moments in Match Point: When Nola confronts Chris as he leaves the office; Chris in the next-door neighbor's apartment.
I also loved Matthew Goode as the brother-in-law, for his relaxed, good-natured humor.
Wonderfully cast and acted.... There was a moment when I thought there was just a shade too much opera when Chris was alone on-screen, but that's minor.
Way Down East
(1920)
Griffith knew his stuff
4 December 2006
I just finished watching Way Down East. It was extremely powerful and moving. Gish is at her best, and while she may take getting used to if you've never seen her before, because she is a bit twittery, she is also a unique beauty with enormously expressive eyes and nervous mannerisms that make her perfect in this role as the poor innocent done wrong by the sophisticated older man. Like they say, the story's as old as the hills, and I was surprised but pleased at the happy ending, considering she had a baby out of wedlock--usually women were punished in the old films, even if it wasn't their fault. Little things like Richard Barthelmess petting a pigeon on the head, blossoms bouncing gently in the breeze, the play of light at sunset through Gish's hair as she stands by the river.... There's an appreciation of the beauty of nature and the gentle aspects of the human soul that's not much seen anymore. Just watching the men haying in the fields, the old barn dance, a horse and sled heading down a long avenue of tall trees is a pleasure, a record of days gone by that we don't get much chance to see anywhere else. Of course Gish floating down the river on the ice in the denouement is a classic. I highly recommend this film to any sensitive movie-lover.
That Hamilton Woman
(1941)
One Guess
22 June 2006
Laurence Olivier and Vivien Leigh when they were both young and desperately beautiful are a joy to watch in this film. He plays the great English naval hero, Nelson, and she, Lady Hamilton, the wife of the English ambassador. Another favorite movie moment of mine is after the opera given in his honor when they are in a bar, before they have actually declared their love for one another. They're talking about what they're not missing by having left the ball after the opera. She says, "This is where the real and exclusive party is." Then she tells him about himself: "Nelson in a good mood," and she makes a bored face. "Nelson in a bad mood," and makes the same face. "Nelson in an exuberant mood," with the same face a third time. He says, "Am I really such a dull fellow?" Her reply: "Only when you ask questions like that." His response is the beautiful part. He says something to the effect of, "Now I'll give my performance. What mood is this? One guess." And he leans his chin on his hand and gazes into her eyes. She guesses something like, "Nelson allowing himself to be just a little bit happy?" He shakes his head slowly and says, "Nelson in love." She leans forward and her chin touches his hand, and just then a group of soldiers, including his son, enter the bar. The moment is all the better because you're left wanting more!
Platinum Blonde
(1931)
The Most Beautiful Ending
22 June 2006
I burst into tears every time I watch the end of this film. It's just so, so beautiful the way Loretta Young and Robert Williams finally get together. Young is light and lovely at this early stage of her career. As for Williams, no one's ever heard of him because he died so young of alcoholism. Young, called Gallagher in the film, is his pal, "one of the boys," on the newspaper where they work. She's also been in love with him all this time. He marries society siren Jean Harlow after meeting her on assignment, and they do have one adorable scene where they sing about his wearing--or not wearing--garters to hold up his socks. There's also a terrific scene where Williams and the butler yell to hear their voices echo through the empty mansion Williams lives in with Harlow (and her family). Of course the society marriage doesn't work out, since Williams can't stand being "a bird in a gilded cage." At the end, Williams is writing a play with Gallagher's help. He says to her, "the way it's got to end is he realizes he was wrong about the other gal, that's it's the little O'Brien gal he's been in love with all along, and they embrace, and then he kisses her...". And they do kiss, so tenderly, then she bursts into tears and dashes into his arms with a hug. His response at that moment is so perfect, the emotion so right, it's one of the most beautiful moments I've ever seen in a love story. It ends with him stroking her hair and saying, "Whatsa matter, Gallagher, whatsa matter...".
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