This is a remake of Here Comes Mr. Jordan. HCW is my favorite romantic comedy, I really like the montage with no dialogue, just music, at the party in the garden. If you haven't seen HCW you're in for a treat, it's one of the most thoughtful and romantic movies ever made.
25: Joe becomes another man to help a beautiful woman he just met named Betty Logan. Joe patiently listens to Betty as Mr. Jordan observes. Joe tries to tell Betty the truth but she thinks he's toying with her. Mrs. Farnsworth sees that her husband isn't dead and screams. Tony says she saw a mouse. Funny stuff. The birth of something new.
45: Sisk enters the closet and says that Betty Logan is downstairs and wants to talk to him. Joe leaves the two angels, telling them to do the best they can (Joe wants a new body so he can win the Super Bowl as a quarterback). Joe asks Betty out on a date and in the limo he tells her he can't stop staring at her. She feels the same way. Now they're both aware of how they feel about each other. Now that I'm aware.
-45: Max arrives and Joe eventually convinces him (the neck twist and not being able to play music) that outwardly he's got Farnsworth's body but inside he's still Joe Pendleton. Max agrees to help Joe train and improve so he can be the quarterback he once was and win the Super Bowl. So Max discovers that Joe really isn't dead. Discovery.
60: Joe trains with his old pal Max and they throw passes. Tony and Mrs. Farnsworth observe. Max isn't convinced as the training continues in a series of shots. Joe reads the playbook, jogs, as we hear music. Joe tells Max he made the ultimate commitment to winning: he bought the Los Angeles Rams. The Coach of the Rams informs the team, and they aren't happy. There's no going back now.
-25: Joe asks Betty to marry him. Joe sees The Escort angel and tells him he doesn't want to change bodies, but The Escort informs him it's too late. Intense turbulence as Joe goes back to Betty worried that he's going to forget her and she may not recognize him if he lives inside another body. He tells her that he's memorizing her face and asks her if she'll forget him. She says no. He tells her she may meet a quarterback and asks that she give him a chance. He whispers to her "It's alright, there's nothing to be afraid of." Eventually, at the end of the movie, Joe steps into another man's body and forgets he ever loved Betty. We think all is lost between them but when the lights go out he whispers "It's alright, there's nothing to be afraid of." She realizes that he's the quarterback and they walk together off the field. The final turning point.
Spellbound
Directed by Hitchcock and a fine example of him extending the boundary of images used to tell a story. I admired Salvador Dali's exhibit at the MoMA, which included the dream sequence in Spellbound.
25: Doors open as John and Constance kiss. The lines on her robe unnerve him. During surgery he pulls off his mask and collapses after talking gibberish. The birth of something new.
45: Constance questions John about his childhood. He has amnesia. She discovers he's a doctor. He reasons that he must have been a patient of a man he's accused of killing. He thinks he must know how he died because he came back with the dead man's identity. Now that I'm aware.
60: Dr. Brulov answers the policemen's questions as Constance and John observe. The police exit and Constance lies to her former colleague and tells him she married John. They ask to spend the night. There's no going back now.
-45: The lines on the bed frighten John. Same music indicates his trauma. Constance yells at John to discovery why the lines matter to him and to remember what happened. John tries but he collapses. Discovery.
-25: Salvador Dali's dream sequence just ended; John sees the snow tracks outside the window and he goes into a daze. Constance tells Dr. Brulov the importance of the lines and then Constance realizes the ski tracks in the snow caused John to go into a state of intense turbulence. Eventually, John is able to talk about what happened in his past and he recovers. Constance later discovers the identity of the real killer. The final turning point.
25: Doors open as John and Constance kiss. The lines on her robe unnerve him. During surgery he pulls off his mask and collapses after talking gibberish. The birth of something new.
45: Constance questions John about his childhood. He has amnesia. She discovers he's a doctor. He reasons that he must have been a patient of a man he's accused of killing. He thinks he must know how he died because he came back with the dead man's identity. Now that I'm aware.
60: Dr. Brulov answers the policemen's questions as Constance and John observe. The police exit and Constance lies to her former colleague and tells him she married John. They ask to spend the night. There's no going back now.
-45: The lines on the bed frighten John. Same music indicates his trauma. Constance yells at John to discovery why the lines matter to him and to remember what happened. John tries but he collapses. Discovery.
-25: Salvador Dali's dream sequence just ended; John sees the snow tracks outside the window and he goes into a daze. Constance tells Dr. Brulov the importance of the lines and then Constance realizes the ski tracks in the snow caused John to go into a state of intense turbulence. Eventually, John is able to talk about what happened in his past and he recovers. Constance later discovers the identity of the real killer. The final turning point.
Advise and Consent
25: At a party, Fred tells Bob that he wants to chair the committee and when he learns he probably won't chair it he tells Bob he'll campaign for Leffingwell. Fred is intense, he says the nomination is the difference between peace and war and he'll fight to get what he wants. Bob walks off and talks to the vice president and they talk about the President's health; it's not good. This is important info bkz at the end of the movie the President dies and the VP takes over. The birth of something new.
45: At the nomination hearing, Gelman (superbly played by Burgess Meredith) testifies against Leffingwell, calling him a communist during his time in college. We know that Leffingwell will not become Secretary of State unless he can counter the charge. Now that I'm aware.
60: Leffingwell (Henry Fonda) tells the President he wants to withdraw his nomination; he admits he lied at the hearing. He says he was a party member and dropped out. He gave Gelman a job to keep him quiet. But the President won't give up on Leffingwell and the fight goes on, led by Charles Laughton who plays the Senator from South Carolina. There's no going back now.
-45: Brigg, the chair of the nomination committee, pressures Leffingwell to withdraw his nomination but Leffingwell tells him it's up to the President. Intense turbulence bkz we know Brigg is being blackmailed. Brigg leaves Leffingwell's house and Leffingwell discovers that his son overheard. Given later revelations the conversation takes on new meaning: Father to son: "I don't know how to explain it to you. I could tell you the truth." At Brigg's home, his wife tells him she got another call from the blackmailer. She wants to know the truth and her husband isn't talking. She mentions that the caller said they had bought Ray. Brigg looks trapped. Discovery.
-25: Brigg's wife reads the damaging letter and looks at the photo of her husband with another man years ago. She realizes her husband had a relationship with him. The next scene her husband is found dead, a suicide. Later, at the end of the movie, the President dies and Leffingwell isn't nominated. The VP wants to choose his own man. The final turning point.
-25:
45: At the nomination hearing, Gelman (superbly played by Burgess Meredith) testifies against Leffingwell, calling him a communist during his time in college. We know that Leffingwell will not become Secretary of State unless he can counter the charge. Now that I'm aware.
60: Leffingwell (Henry Fonda) tells the President he wants to withdraw his nomination; he admits he lied at the hearing. He says he was a party member and dropped out. He gave Gelman a job to keep him quiet. But the President won't give up on Leffingwell and the fight goes on, led by Charles Laughton who plays the Senator from South Carolina. There's no going back now.
-45: Brigg, the chair of the nomination committee, pressures Leffingwell to withdraw his nomination but Leffingwell tells him it's up to the President. Intense turbulence bkz we know Brigg is being blackmailed. Brigg leaves Leffingwell's house and Leffingwell discovers that his son overheard. Given later revelations the conversation takes on new meaning: Father to son: "I don't know how to explain it to you. I could tell you the truth." At Brigg's home, his wife tells him she got another call from the blackmailer. She wants to know the truth and her husband isn't talking. She mentions that the caller said they had bought Ray. Brigg looks trapped. Discovery.
-25: Brigg's wife reads the damaging letter and looks at the photo of her husband with another man years ago. She realizes her husband had a relationship with him. The next scene her husband is found dead, a suicide. Later, at the end of the movie, the President dies and Leffingwell isn't nominated. The VP wants to choose his own man. The final turning point.
-25:
Felon
This movie doesn't follow a beaten trail, there's originality here. Good movie for realistic portrayals and situations.
25: Wade enters the Shoe, a small cell. He enters the Shoe yard where he'll fight in do or die situations. The birth of something new.
45: He fights in the Shoe yard. A prisoner runs at him and starts to hit him and Wade has to fight back. Now that I'm aware.
-45 (139 - 45 = 54): We think Wade is going to be attacked by Samson but instead tells Snowman he saw him pass the shank off to Wade on the bus. Snowman is brutally scarred for life. Discovery.
60: Wade tells John (Val Kilmer) he can't get the burglar's face out of his mind. John tells him to "protect your family, it's the only thing that matters." Wade asks John why he killed the other guys. John talks about how your life changes when your life is defined by a single action. John talks about the feeling of seeing his wife and kid and we see them in a flashback on a swing and John describes how they were brutally killed. There's no going back now.
-25: John talks with Gordon (Sam Shepard) over the phone. Gordon worries about his friend. John wants Gordon to "Enjoy life, stop wasting it here." Lt. Jackson discovers that his son was severely injured in a DUI car accident. Lt. Jackson tells the DUI driver that his life will be a living hell when he goes to prison. Eventually, John will be killed after killing Lt. Jackson to protect Wade. The truth about Wade is discovered and he's set free. The final turning point.
25: Wade enters the Shoe, a small cell. He enters the Shoe yard where he'll fight in do or die situations. The birth of something new.
45: He fights in the Shoe yard. A prisoner runs at him and starts to hit him and Wade has to fight back. Now that I'm aware.
-45 (139 - 45 = 54): We think Wade is going to be attacked by Samson but instead tells Snowman he saw him pass the shank off to Wade on the bus. Snowman is brutally scarred for life. Discovery.
60: Wade tells John (Val Kilmer) he can't get the burglar's face out of his mind. John tells him to "protect your family, it's the only thing that matters." Wade asks John why he killed the other guys. John talks about how your life changes when your life is defined by a single action. John talks about the feeling of seeing his wife and kid and we see them in a flashback on a swing and John describes how they were brutally killed. There's no going back now.
-25: John talks with Gordon (Sam Shepard) over the phone. Gordon worries about his friend. John wants Gordon to "Enjoy life, stop wasting it here." Lt. Jackson discovers that his son was severely injured in a DUI car accident. Lt. Jackson tells the DUI driver that his life will be a living hell when he goes to prison. Eventually, John will be killed after killing Lt. Jackson to protect Wade. The truth about Wade is discovered and he's set free. The final turning point.
The Happening
25: Elliot observes a video of a man eaten by lions in a zoo. In a small town restaurant they learn from the TV that they're not sure it's terrorists. The scope of the event is defined; northeast and they are located "dead center" of the event. The power goes out. Someone says "If we stay here we are going to die here." The goal is to get 90 miles away. Cars drive off, Elliot tries to get a car and eventually gets a ride. Julian decides to separate to get to his wife, Jess, his little girl will stay with Elliot and Alma. The birth of something new.
-45 (125 - 45 = 40): Elliot is at the crossroads with a group of people focused on a cellular call from Princeton, NJ. They discover that Princeton is infected and the girl dies. Jess walks to Elliot sitting at the side of the road. She whispers in his ear and he nods. They cry, so we understand that they know her parents are dead. Jess sleeps. Alma learns from their ally that Elliot is resilient and that "plants have the ability to target specific threats...they evolve rapidly...plants communicate with each other." Discovery.
45: Wind blows the tall grass as the lead group becomes infected and gun shots indicate people are dying. Elliot thinks and increases his awareness about the nature of the problem; he decides that plants are reacting to humans and their best bet is to stay away from large groups and keep ahead of the wind. They run away from the wind. Now that I'm aware.
60 and -25: Elliot's group try to enter a home and they're warned to go away. One of the teens kicks the door and demands them to open the door. The two teens are shot and killed. Jess runs and cries. Old women watch TV wearing gas masks and various shots of Florida and elsewhere indicate scope. Eventually, Elliot, Alma, and Jess survive but in Paris the movie ends with an indication of the problem's scope. There's no going back now.
-45 (125 - 45 = 40): Elliot is at the crossroads with a group of people focused on a cellular call from Princeton, NJ. They discover that Princeton is infected and the girl dies. Jess walks to Elliot sitting at the side of the road. She whispers in his ear and he nods. They cry, so we understand that they know her parents are dead. Jess sleeps. Alma learns from their ally that Elliot is resilient and that "plants have the ability to target specific threats...they evolve rapidly...plants communicate with each other." Discovery.
45: Wind blows the tall grass as the lead group becomes infected and gun shots indicate people are dying. Elliot thinks and increases his awareness about the nature of the problem; he decides that plants are reacting to humans and their best bet is to stay away from large groups and keep ahead of the wind. They run away from the wind. Now that I'm aware.
60 and -25: Elliot's group try to enter a home and they're warned to go away. One of the teens kicks the door and demands them to open the door. The two teens are shot and killed. Jess runs and cries. Old women watch TV wearing gas masks and various shots of Florida and elsewhere indicate scope. Eventually, Elliot, Alma, and Jess survive but in Paris the movie ends with an indication of the problem's scope. There's no going back now.
Gone With The Wind
25: Rhett Butler exits a room after warning his fellow southerners the North has several key advantages. Rhett is insulted but won't take advantage of a hot-headed young man. Ashley talks about Rhett being one of the best shots in the country. Scarlett hurries to Ashley and reveals her love for him. Ashley admits he cares about her but he will marry Melanie because "we understand each other." Scarlett calls Ashley a coward and accuses him of leading her on. She says she hates him and slaps him. Ashley exits, Scarlett throws an ornament and Rhett reveals he's been listening behind a sofa the whole time: "Has the war started?" The birth of something new.
45: Rhett tells Scarlett the battle of Gettysburg should decide the war. Words on the screen tell us about the battle. People wait to hear who is alive or dead. We focus on a list with the words "Killed in action." Cries are heard. Tears of a piper in a band seen. Scarlett and Melanie search for Ashley's name on the list of dead and don't find him. They are now aware that he isn't dead. Now that I'm aware.
60: Scarlett with wounded soldiers. A soldier pleads that they don't take off his leg. There's no morphine. Scarlett talks with Frank Kennedy, wounded in battle. Scarlett can't take the suffering and leaves the makeshift hospital. Outside Scarlett sees many people leaving the city. Explosions heard. She learns about Tara. Rhett arrives with a horse and buggy and asks her if she's had enough of death, lice and men cut up. He mentions Mexico, London, and Paris. He tells her "we belong together" and wants her to get Ashley out of her heart, especially since Melanie has a baby. Scarlett says "I hate and despise you till you die." Rhett replies that Scarlett won't feel that way for that long. He drives her to where she wants to go and he drives off. There's no going back now.
-45: Rhett and Scarlett argue about Ashley and how Scarlett feels about him. Rhett says he'll find comfort elsewhere and kicks open the door. He drinks and throws the glass at Scarlett's portrait. His friend Belle tells him to think of the child. He says good-bye after telling Belle "You've got a heart and you're honest." An omen as we see a plastic pony in front of Bonnie's baby carriage as Rhett and Scarlett walk. Discovery.
-25: In London, Rhett fires the babysitter after she advises Rhett let Bonnie scream if she's afraid of the dark. Bonnie asks where her mom is and wants to go home. They go home and Bonnie wants to see the pony. Scarlett says she's having another baby. Rhett says something about her having an accident, and Scarlett slips and falls down the stairs, killing the baby. The final turning point.
45: Rhett tells Scarlett the battle of Gettysburg should decide the war. Words on the screen tell us about the battle. People wait to hear who is alive or dead. We focus on a list with the words "Killed in action." Cries are heard. Tears of a piper in a band seen. Scarlett and Melanie search for Ashley's name on the list of dead and don't find him. They are now aware that he isn't dead. Now that I'm aware.
60: Scarlett with wounded soldiers. A soldier pleads that they don't take off his leg. There's no morphine. Scarlett talks with Frank Kennedy, wounded in battle. Scarlett can't take the suffering and leaves the makeshift hospital. Outside Scarlett sees many people leaving the city. Explosions heard. She learns about Tara. Rhett arrives with a horse and buggy and asks her if she's had enough of death, lice and men cut up. He mentions Mexico, London, and Paris. He tells her "we belong together" and wants her to get Ashley out of her heart, especially since Melanie has a baby. Scarlett says "I hate and despise you till you die." Rhett replies that Scarlett won't feel that way for that long. He drives her to where she wants to go and he drives off. There's no going back now.
-45: Rhett and Scarlett argue about Ashley and how Scarlett feels about him. Rhett says he'll find comfort elsewhere and kicks open the door. He drinks and throws the glass at Scarlett's portrait. His friend Belle tells him to think of the child. He says good-bye after telling Belle "You've got a heart and you're honest." An omen as we see a plastic pony in front of Bonnie's baby carriage as Rhett and Scarlett walk. Discovery.
-25: In London, Rhett fires the babysitter after she advises Rhett let Bonnie scream if she's afraid of the dark. Bonnie asks where her mom is and wants to go home. They go home and Bonnie wants to see the pony. Scarlett says she's having another baby. Rhett says something about her having an accident, and Scarlett slips and falls down the stairs, killing the baby. The final turning point.
Platoon
25: One of the soldiers in the platoon dies, Chris is unjustly blamed, they leave and get back to base camp where Chris and another soldier cleans the latrine. The birth of something new.
45: VO of Chris as they enter a village. Sgt. Barnes shoots a villager running away. Villagers are rounded up, they find holes where people, weapons, ammo, and supplies are found. Chris loses his self control as he questions a villager. Now that I'm aware.
60: Four soldiers talk about the war and how they feel about it. Sgt. Barnes worries about an investigation prompted by Sgt. Elias. Sgt. Elias is called a rat and that somebody should kill him. Sgt. Barnes considers what to do about Sgt. Elias. Chris and Sgt. Elias look at the stars: "There's no right or wrong with them, they're just there." Chris asks Elias if he believes in what he's doing, and he says in '65 he believed but not now. "We're going to lose." There's no going back now.
-45: King gets to go home as soldiers in the platoon fear for their lives. King tells Chris: "Don't think too much, no such thing as a coward." One of the soldiers tries to get a medical leave because of his foot, Sgt. Barnes won't allow it. Sgt. O'Neill asks Sgt. Barnes to let him leave and Barnes won't allow it. O'Neill has a bad feeling and doesn't think he'll make it. Discovery.
-25: The platoon is split up. Sgt. Barnes and his men are shelled by friendly fire and calls them to stop. Sgt. Elias organizes his men to fight and leaves to fight alone. Sgt. Barnes is asked about Elias and says, "I'll get him." We fear that Barnes will kill Elias and soon he does just that. The final turning point.
45: VO of Chris as they enter a village. Sgt. Barnes shoots a villager running away. Villagers are rounded up, they find holes where people, weapons, ammo, and supplies are found. Chris loses his self control as he questions a villager. Now that I'm aware.
60: Four soldiers talk about the war and how they feel about it. Sgt. Barnes worries about an investigation prompted by Sgt. Elias. Sgt. Elias is called a rat and that somebody should kill him. Sgt. Barnes considers what to do about Sgt. Elias. Chris and Sgt. Elias look at the stars: "There's no right or wrong with them, they're just there." Chris asks Elias if he believes in what he's doing, and he says in '65 he believed but not now. "We're going to lose." There's no going back now.
-45: King gets to go home as soldiers in the platoon fear for their lives. King tells Chris: "Don't think too much, no such thing as a coward." One of the soldiers tries to get a medical leave because of his foot, Sgt. Barnes won't allow it. Sgt. O'Neill asks Sgt. Barnes to let him leave and Barnes won't allow it. O'Neill has a bad feeling and doesn't think he'll make it. Discovery.
-25: The platoon is split up. Sgt. Barnes and his men are shelled by friendly fire and calls them to stop. Sgt. Elias organizes his men to fight and leaves to fight alone. Sgt. Barnes is asked about Elias and says, "I'll get him." We fear that Barnes will kill Elias and soon he does just that. The final turning point.
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