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I am inspired to see if it's been released in dvd. Thanks, dirac, for mentioning it!
45 episodes of Sports Night on six disks, currently available on amazon.com for ~$48 new.

(That little search box on the toolbar is going to make a pauper out of me :))

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I tend to tire of Aaron Sorkin’s rat-at-tat style more quickly than not, but Sports Night was a good show. It's too bad.

The Lady Eve is my second favorite Preston Sturges film, next to Unfaithfully Yours. Stanwyck is funny, smart, and sexy, and Henry Fonda was never so appealing before or after. It's delish.

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I have been glued to this monitor for several minutes now... laughing, reminiscing, agreeing, disagreeing, taking notes and adding to the ever-growing 'oh I have to see that' list... as the worlds most hopeless romantic, however... I can't leave without adding my favs too - a good deal of which were already mentioned.

...in no particular order

It happened one night


Bringing up baby



Bed of Roses

Meet Joe Black (a double romance, two different guys same body)

The Notebook

The King and I (Kerr/Brenner, just kills me every single time)

Anna and the King (Foster and CYF)

A walk in the clouds (one of the top favs without question)



Pretty Woman

Sleepless in Seattle

Breakfast at Tiffany's

Roman Holiday

Funny Face (notice the trend...)


An American in Paris (another trend)

The Mirror has two faces

French Kiss


Sabrina (both versions)

Much ado about nothing

Shakespeare in Love

Phantom of the opera

Midsummer nights dream

Madame Butterfly

Farewell my concubine

Dr. Zhivago

The Thornbirds (this one gets me SO frustrated; I yelled at the tv last time. huh.. :) )

The Far Pavilions...

I better stop here, but I could go on, I think indefinitely.

Thanks for the topic, and all the input, I have thoroughly enjoyed reading everyone's notes.


Golden Gate

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Romance/Romantic Films:

The Scent of Green Papaya (French-Vietnamese)

Last Year at Marienbad

Brokeback Mountain

A Summer Place (Sandra Dee)

My Forbidden Past (Mitchum, Gardner)


The Apartment

The Kiss (Garbo silent)

Legend of the Happy Valley (Gish, Bobby Harron--Griffith)

A Tale of Winter (Rohmer)

Blonde Venus

South Pacific

Two for the Road

Born Yesterday (Judy Holliday version only)

I'm No Angel

Days of Wine and Roses

Gone With the Wind


Les Enfants du Paradis


Monster's Ball


Pas Sur la Bouche

Midnight Cowboy



Farewell, My Lovely (Mitchum, Rampling, 70's)

Welcome to L.A.

Imitation of Life (1958, Sirk/Turner version)


Out of the Past

Against all Odds

Fanny (Leslie Caron)

The Broadway Melody of 1929

The Sleeping Beauty (1964, USSR)

A Streetcar Named Desire (Ann-Margret)

Night of the Iguana

Lady Chatterley's Lover (Darrieux)

Ken Russell's 'The Rainbow'

Stolen Kisses (Truffaut)

Return of the Soldier

Saturday Night and Sunday Morning


From Here to Eternity

Cinema Paradiso

Some Like it Hot

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I've always enjoyed the love story in The Quiet Man. John Wayne and Maureen O'Hara play two strong minded people from different cultures who find a way to live with each other with mutual respect for those differences. (At first Wayne can't understand the big deal about the dowry; he sees it as just money, not realizing that to her it's not money either, but a symbol of her worth and what she brings to the marriage.) Also worth the price of admission is Barry Fitzgerald viewing the wreck of the marital bed and muttering "Impetuous! Homeric!"

A very intriguing list, papeetepatrick -- a few titles there I'd not have expected to see on a list of romantic films, although I agree with most of them. I really, really like A Summer Place, although I'm not sure I can defend it, and Stolen Kisses is the picture I most prefer from Truffaut's Doinel cycle (next to 400 Blows) -- not a group of movies I admire as a whole.

I'm afraid I took an active dislike to "Morgan!" for reasons available upon request. Vanessa Redgrave is ravishing, however.

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Gilda is indeed a romance of a noirish kind, although I thought the interestingly kinky relationship between Ford and George Macready was rather more intriguing than the Ford –Hayworth affair. I've said this elsewhere and so apologize for repeating myself, but I tend to dislike the masochistic elements in the latter. It’s upsetting to see Hayworth kicked around, with the strong implication that she deserves all this punishment for being a Bad Woman.

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Film noir is a pretty sexist genre. I agree that what makes Gilda great is the love triangle that goes in all directions. Ford and MacReady's relationship is really creepy, especially the "kept man" nature of Ford's "occupation." And the constant cane, with the refrain, "It'll just be the three of us." But Gilda is a compelling romance because it takes the usual idea in noir (that females are dangerous fatales who will ruin Everyman's life by way of their sexuality) and adds on a twist, because the Ford character is even sleazier than Hayworth's character.

Film noir is a contrast to that other very popular 30s/40s genre, which was the female weepie romance. In those cases, female sexuality is sublimated into saintliness and martyrdom. A great example of this would be Now, Voyager. When I first saw it I laughed. Yeah, so Jerry will "visit" Charlotte and Tina from time to time. But once I got over that initial hokiness, I thought Now, Voyager was among the best of the female weepie romance.

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I’m not sure that sexuality is really sublimated in “Now, Voyager” – isn’t the story really about Davis reasserting the sexuality that her mother stomped on (remember the early scene on the boat that Davis recalls for Claude Rains)? True, Henreid and she don’t wind up together technically, but although the censor wouldn’t allow it to be presented openly I do get the impression that they manage to make great music.

I love NV too. Within the woman’s picture context, it has genuine power, mainly due to Davis of course. I think my favorite scene isn’t the famous “we have the stars” one but an earlier bit where Bette gives her Boston Brahmin fiancee the brushoff: (“Let’s not linger over it, Elliott.”)

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dirac, I think that the audience was meant to assume that Jerry's "visits" to Charlotte and Tina would be purely platonic. That was the only way they could get it through the code. But of course the ultra-romantic ending suggests that the "stars" will include some romance, and soon Jerry's wife will pass on and Jerry and Charlotte will then have the moon too.

It's the strength of Davis's performance makes NV transcend its weepie genre. Also, although I find Henreid stiff elsewhere, he does have great chemistry with Davis. The role of Charlotte also came easy for Davis, whose accent was 3/4 New England and 1/4 Hollywood. I can totally believe her as the Boston spinster as well as the glamour girl. Davis is one of the few actresses who can turn a rather hackneyed script into something greater by her mere presence.

When young, Montgomery Clift was remarkable for playing the young romantic. I know the story is very dark, but Clift is heartbreaking in Place in the Sun, and he brought out the very best in Elizabeth Taylor.

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When young, Montgomery Clift was remarkable for playing the young romantic. I know the story is very dark, but Clift is heartbreaking in Place in the Sun, and he brought out the very best in Elizabeth Taylor.

He coached her intensively, I understand – literally acted out entire scenes playing Angela for her, so she would get the idea. I’m not too crazy for the movie, however, as I don’t think An American Tragedy is really suitable material for a swoony romance. The director, George Stevens, seemed to have gotten carried away with closeups of his two gorgeous stars. Understandable, but it threw the whole story out of kilter.

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In the romance department, I think Lady Vanishes might be Hitchcock's most delightful romance. Although the movie in itself is not a romance, Iris and Gilbert have wonderful chemistry, and it's one of the few Hitchcock "romances" where there's no dark side.

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The romantic elements in Hitchcock’s early pictures are handled much better than the later ones – less heaviness, more wit. The 39 Steps has charming interaction between Robert Donat and Madeleine Carroll, and a more serious relationship shown with John Laurie and Peggy Ashcroft as the unhappily married couple.

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