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Subscribe to the Laughing Squid email list and receive a daily email with all of the blog posts published each day. Here is an amazing collection of rare photos that shows the life in Jamaica from between 1860s to 1890s. Here is a collection of attractive posters advertising the circus and magic performances in Victorian era. Alice Lee Roosevelt Longworth (1884 – 1980) was an American writer and prominent socialite. If you love style in the movies and live in Los Angeles, you are invited to a special evening to learn all about it.
The venue is perfect for the presentation since this is the former beachfront estate of William Randolph Hearst and actress Marion Davies, who was at the social center of Old Hollywood from its very inception. This series is very popular--the last two events have sold out--so be sure to sign up soon. Kimberly - Your class should be a great introduction to the style essentials of this time period as reflected and influenced by film, as you appropriately entitle it. Hitch had just finished the hugely entertaining and successful North by Northwest, a glittering, all-star production.
We identify with Marion Crane (Janet Leigh) as she flees Phoenix with $40,000 in stolen cash. From the very first shot, as Hitchcock’s elegantly restless camera pans the Phoenix skyline, and then, peeping-tom fashion, slides into a shabby hotel room where Marion Crane (Janet Leigh) and Sam Loomis (John Gavin) meet for an afternoon tryst, Hitchcock makes us voyeurs—a constant theme in Hitchcock films—to a sad and desperate love affair shamefully hidden from the blinding Arizona sun. A major theme Hitchcock developed again and again during his long career was the plight of the innocent man accused of a terrible crime. Hitchcock deepens audience identification with Marion Crane still further when he immerses us in her consciousness during a long and almost dialogue-free sequences as she drives from Phoenix to Sam’s hometown of Fairvale, California.
This was the most audacious and ground-breaking narrative experiment Hitchcock ever attempted.
We identify with Norman not because Marion deserved to be murdered, but because Norman is a loyal son who loves his mother. I saw Psycho on a a bright Sunday afternoon, when I was 10 years old, at the Kingsway Theatre—Kings Highway and Coney Island Avenue—in Brooklyn, with my best friends Mitchell Siegel and David Pollock. This entry was posted in Alfred Hitchcock, Great Movies, Greatest Movies of the 1960s, Hollywood, Movies, Twenty Greatest Movies of the 1960s and tagged Anthony Perkins, Bernard Herrmann, Janet Leigh, John Gavin, Marion Crane, Norman Bates, Sam Loomis. Seraphic Secret is private property, that's right, it's an extension of our home, and as such, Karen and I have instituted two Seraphic Rules and we ask commentors to act respectfully. The only comparable movie for mixing suspense and fear was Jaws, which was released when I was 11.
Another great and shocking scene in Psycho was Martin Balsam going up the stairs in the Bates mansion and suddenly being attacked. All of these films celebrate life and no matter the filmmakers have an American sensibility. It Happened One Night (1934) — Made a justifiable clean sweep of the Academy Awards and Clark munching carrots inspired the creation of Bugs Bunny. Man In The Iron Mask (1939) Directed by James Whale with what is certainly the weirdest and most compelling dual performance yet by Louis Hayward.
Test Pilot (1938) Gable and Tracy, directed by Victor Fleming with Myrna Loy for good measure.
How Green Was My Valley (1941) A John Ford – Philip Dunne masterpiece and the justifiable winner for Best Picture AA. Suspicion (1941) and Notorious (1946) Hitchcock and Cary Grant in which the director allows the star to reveal his bitter, dark side.

Casablanca (1942) The film , along with The Big Sleep and To Have And Have Not, that best exemplifies the Bogart persona everyone loves.
Singin’ In The Rain (1952) Without the considerable charm of the music this is probably the defining take by Hollywood on the silent era. To Catch A Thief (1955) and North By Northwest (1959) Hitchcock presents Grant again but this time as the debonair rake we all identify with. The Tall Men (1955) An ordinary western unless you see at as Raoul Walsh’s deification of Clark Gable, at which point it goes right to the gut.
The Searchers (1956) Often referred to as racist when in fact it is libertarian and not at all bigoted. Hitch was a master at letting the audience’s imagination fill in so many of his scenes. That could be an interesting list: movies produced with great production value promise but poor execution. As for cheap mimickry, keep in mind that some people think that anything done between 10 and 30 years ago is considered ancient or unknown by the execs. On my honeymoon we visited Universal Studios in Orlando and saw a presentation about how they filmed the infamous shower scene.
Enter your email address to subscribe to this blog and receive notifications of new posts by email. It’s the film whose impact has been felt in almost every subsequent mainstream Hollywood movie.
And when she steals a thick brick of cash from a sleazy real estate tycoon who flirts with her and waves his money around like a phallus, the audience identifies with Marion’s crime, her desperate bid to buy a respectable life with her lover. We hear Marion imagining the conversations of other characters as her shocking theft is discovered.
We completely identify with Marion when she pulls into the Bates Motel, takes another shabby room, and has a long conversation with Norman Bates, the lonely boy devoted to his domineering mother. But of course, we the audience unknowingly slide into identifying with Norman, the good son who cleans up his mother’s crime. Re your thoughts concerning my thrities, forties and fifties lfilm list —  I have been unable to cut-and-paste our email dialogue. Kern and Hammerstein music and best of all, the stunning performance and beauty of Irene Dunne.
Irene Dunne already the foremost interpreter of Kern’s work back in the lead but this time with Fred and Ginger bringing life and beauty.
Dan Dailey plays, with considerable skill and charm, a somewhat successful band leader derailed by the 1929 economic collapse.
A comedy that touches on mostly serious stuff including but not limited to the IRA, Catholic, Protestant relations and the heat generated by Maureen O’Hara and John Wayne.
Grant plays essentially the same part on both pictures — a man sought by the police for something in which he has no involvement.
I had a couple of girls with me and I think all three of us were screaming in that final terrifying scene.
I'm also an observant Jew, a religious Zionist, a conservative Republican, and a member of the NRA. These pictures have been collected from different public sources including different websites, considering to be in public domain.If any one has any objection of displaying any picture here, just send us an email and we will remove it immediately, after verification of the claim. But you'll be sharing some highlights on your blog, yes?If I lived in the LA area, I would attend these ALL the time!
He filmed in black and white, and the $800,000, budget was low even by the standards of 1960.

Even the ad campaign—“Do not give away the ending”—feels like something cooked up by William Castle or some other schlockmeister. But from the first moment we see Marion in a white bra, we sympathize with her situation when we learn—the screenplay is superb, as is each and every performance—that she cannot marry Sam because he’s buried in alimony payments. We feel her growing regret for the theft, and experience her essential humanity and kindness towards Norman, trapped in a dead-end life, in a dead-end motel. We secretly root for and admire the efficient manner in which he mops up Marion’s blood.
And after the movie was over we assured each other, with nervous laughter, that we weren’t that scared. I’ve no particular problem retyping my entries but in doing so will lose your response(s). With Chester Morris and Wendy Barrie in the leads, (She actually could have had a great career but for some errors in her private life) and coming in at 72 minutes. My personal favorites are The Magnificent Ambersons and The Lady From Shanghai but I could not work them in.
Joss Whedon took a major production foul-up and turned it into a great series that still produces well in comics.) It might work well in this repetition of the frequent times movie makers clone each other rather than create. Each wall could be removed in the set so the camera could shoot from different angles and a extra large shower head was made for the one angle. And we become as startled and frightened as Marion when the highway patrolman (Mort Mills) stares at us through disorienting, mirrored sunglasses. We identify with Marion, who identifies with Norman, who identifies with the dead birds mounted on the walls of his office, birds that seem poised to swoop down on Marion Crane—as they will, with stunning ferocity, three years later, on the unfortunate Tippi Hedrin, in Hitchcock’s The Birds. We almost sigh with relief when he delicately wraps Marion’s naked body in the crinkly shower curtain and places her in the trunk of her car. Chocolate syrup for blood and Hitchcock reportedly said he filmed in B & W because he thought the shower scene would be too graphic in color.
But the focus of my life is my family: my radiant wife, Karen—with whom I have been in love with since I was nine years-old—and my two daughters, who, thankfully, look like Karen. And oh, how we cringe when he unknowingly dumps the stolen money—hidden in a carefully folded newspaper—with Marion’s body. Seraphic Secret is one of the few places in the world that will not tolerate this form of anti-Semitism. This is Wayne’s greatest performance and the one he should have received his Academy Award for.
Underlining the light presentation is a set of core beliefs encompassing, hope, hard work, and good old American know how. And that night, when I took my shower before going to bed, I firmly locked the bathroom door, and took the fastest shower of my life.
With gritted teeth, we watch as Norman steers the car into a swamp, and in breathless anticipation, stare as the car (the coffin she purchased with stolen money) sinks—and hesitates for a terrible, breathless moment—into the primordial ooze.
A little black-and-white movie had forever altered my consciousness about the power of stories—and the dark corners of human nature.

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