Johnny Simmons

I sort of hate how slavish I am towards (the ghost of) Katharine Hepburn in that I tend to gravitate – at least momentarily – to things she likes. The thing is that her opinions are usually one point. Case in point: Spencer Tracy. I swear, I didn’t care two cents for Spencer Tracy until the memory of Kate invoked his ghost and now he’s one of my favourite screen couple. I immediately think of Tracy/Hepburn when I ruminate on iconic screen couples. It’s not just because of the prolific nature of their onscreen career, though and truthfully it doesn’t matter much that they actually had an enduring offscreen romance. In theory, they seem ill matched. Kate’s much too fantastical and brash and Spencer comes off as placid – almost stolid. But, they’re sort of magical together (proof, proof, proof.)

        

I can’t think of any cinematic couple to match their electricity except for Dick and Liz. True, they come off much more explosive than the general good-natured sanguine nature of Tracy/Hepburn, but it’s difficult to deny them their histrionics. They’re much more sensual, and it works even if it’s a bit disturbing if you consider what their actually “home” life might have been. The reason I bring this up is because I think of how contemporary Hollywood has eschewed all those great occurrences of real-life couples pairing up (successfully) on screen. I don’t care if I’m one of the few who had legitimate interest in Mr and Mrs Smith I like it for the chance of seeing a real couple on screen. As impersonal as everything is now, Hollywood has sort of lost that irreverence. Which is one of the reasons that I love Vicky Cristina Barcelona even more...

     

Don’t you wish more real life couples would do movies together? I want another Warren/Annette film. A Will Arnett and Amy Poehler comedy. More Megan Mullally and Nick Offerman. What about you?

Some weeks are lucky to have one legend born in them, but not just this week – this day – marks the birth of three Oscar winning legends of the cinema: Bette Davis, Gregory Peck and Spencer Tracy. Because I’m such a devout follower of Kate Hepburn, it’s difficult for me not to think of Tracy in conjunction with her. He, obviously, has worth outside of his tempestuous liaison with the First Lady of Cinema. Tracy was the first man to win consecutive Oscars. Davis, was the second woman to win two Best Actress statues and I’m sure if I looked hard enough I’d find some Oscar record that Gregory Peck was a part of.

Of the three, I know the least of Peck – he reminds me of James Cagney in the sense that he’s obviously revered as an archetype of his time, but his name doesn’t endure like Brando or even Gable. I know that Paolo is a unremitting fan of Davis, another actor I can’t help but thinking in conjunction with Kate. When Kate won her third Oscar for The Lion in Winter Bette famously quipped that she’d never accept “half” an Oscar, which I find hilarious. I also think of her in conjunction with Kate because she was 1/3 of a flawless Best Actress trio in 1940 (other two being Hepburn and Fontaine) – naturally, none of them won, but I digress.

            

I can’t confess unmitigated love for all three – but I won’t deny that they’re each irreplaceable as far as classic cinema goes. Which three films of theirs would you remember them most for? My three: All About Eve, Woman of the Year, To Kill A MockingbirdWhat Ever Happened to Baby Jane?, Inherit the Wind, To Kill A Mockingbird.

        

       

I saw The Last Station so long after the fact that it never managed to get a mention in my year end musings on 2009 – which were already late to begin with. I like the film, and its strongest moments came when the eldest thespians Mirren and Plummer were on screen together. Helen Mirren is, admittedly, a handful and Plummer is a perfect match for her. Though I do like Robbie Turner, I wish the film’s focus was more on the aging couple.

        

Speaking of which, I’d have preferred The Notebook if it focused more on Gena and James and less on Rachel and Ryan. It’s ironic, of the young lovers I’m least enchanted by McAdams’ performance but with the aging couples I’m absolutely smitten with Gena Rowlands (best in show for me). Any emotion that exudes from The Notebook is too often a result of emotional manipulation but the connection between Garner and Rowlands is too beautiful to ignore.

          

This was another couple struck with Alzheimer’s. For obvious reasons they needed to be apart just as much as they were together, and of course Julie Christie being her luminous self always managed to garner the majority of our attention. For all it’s plot though, Away From Her was at its best in those finite moments where the two would just take up the screen doing the most mundane of tasks. Perhaps it wasn’t life changing cinema – but it was beautiful to watch.

         

The drive to the ice-cream parlour will always remain as my favourite scene in a long list of favourite scenes in this one. Do they have an unfair advantage? Probably. Still, all real life couples don’t exist so beautifully on screen and they’re just so nice together it’s beyond words. I’ll ignore the annoying precociousness of Katharine Houghton (Really, that’s what Kate and Spence’s daughter would be like?) and just enjoy the moments where Christina is willing to bend to her husband’s whim…not because she must, but just because she likes humouring him.

Incidentally, this couple waited decades before they ever met each other. Yes, they’re two of their generation’s greatest so we shouldn’t shirk at how good they are at pretending to love each other for years, but it still amazes me. On Golden Pond’s cast is all around greatness but no one can match the sincerity (fake or not) in the relationship between the leads. Who knew that talking to birds in a lake could be romantic? Who knew that people over seventy could be romantic?

Wilder and Lemmon had their thing, Kazan had Brando, Cukor had Kate, Scorsese had DeNiro and then DiCaprio and Stanley Kramer had Spencer Tracy. Being the benevolent man I’ve heard, Spencer Tracy probably thanked heavens for Stanley Kramer. An excellent actor when given the chance, no other director has consistently pulled greatness out of Spencer. From Guess Who’s Coming Dinner, to Inherit the Wind and this magnum opus Judgment At Nuremberg. Although Inherit the Wind is my favourite stand alone Tracy performance, I always return to Judgment at Nuremberg when I think of the good work the two have done together. Sure it got steamrolled by West Side Story, and all (undeservedly in a few categories) but I still remember Judgment at Nuremberg, fondly (well as fond as you can think of a film so harrowing). It should be ranked atop the list of great films with all those other classics of the era.

                   

The thing is though, I can wax on for pages about Spencer’s excellence – I’m an ardent admirer; but as brilliant as he is here it’s Maximilian Schell that deserves effusive praise. This would probably rank high on a list of Oscar shockers. I’m not sure who was the buzzed winner, but Max’s win (his nomination even) is not indicative of what we usually associate with the Oscars. In fact, the same year the Supporting Actor performance went to the George Chakiris’s obnoxiously loud Bernardo (a variation of Shakespeare’s Tybalt). I don’t think subtlety really begins to describe Max here. Yet, it’s not an understated performance in any way. In fact, it’s probably more strong supporting than actually leading – but that’s just opinion. Max’s performance ranks as one of my favourite decisions from Oscar and he and Tracy are both memorable here.

            

I wouldn’t say I’m smitten with Judy Garland – the actress, but few of her performances touch me as much as her turn here. It’s not wholly loved, but I don’t care. It’s a bizarre performance from her, when we think of the screen characters we associate her with. Irene Hoffman is a woman who has gone through a number of trials, in a way it’s a perfect fit for Judy who was at her lowest (it was only a few years before her suicide). She was never the greatest technical actress, but what she was able to do was connect with the sensitivity in her character. She does this here, excellently. Montgomery Clift, with just a few minutes of screen time gives another great performance and Marlene Dietrich is brilliant, as always.

Judgment at Nuremberg is a brilliant piece of cinema. It’s based on true events, and unlike so many stories of the war it deals with the aftermath – something we rarely see. The entire film permeates with a tension that’s almost overwhelming and the black and white only adds to the apprehension. Kramer did his best work here, and even though he’s rarely remembered today when we think of the greats – his brilliance is assured. Judgment at Nuremberg probably isn’t that cheerful, but it’s still an excellent piece worthy of your time. It’s #46 on my list of favourites.

Kate and Spence; sure I’m as biased as they come – but is there any screen couple more iconic. I suppose Richard and Liz would give them a run for their money but Kate and Spence trump them in age, celebrity, and longevity and aren’t we all suckers for happy endings? I’ll be honest, my interest in Spencer was only incidental since he seemed to be a single entity with Kate, who was my first love. The couple made a host of films together – some good, some fair, and some excellent. This probably falls into the last category. I always wonder why the film wasn’t more successful and why it isn’t more celebrated today. Unless I’m mistaken, no other Kate/Spencer films captures the brilliance of lovers on screen more than this self aware comedy Adam’s Rib.

Speaking of people I’m fond of, George Cukor probably ranks up there with the greats when it comes to directors I admire. The man has a talent for brilliance, regardless of genre, though he’s most remembered for his comedies. I always credit George for two of Kate’s other excellent pieces (Little Women, and The Philadelphia Story) and with Adam’s Rib he repeated the excellence of these two pieces, which altogether probably represent stages of the woman. Kate’s Jo March was the now developing girl, her Tracy Lords was the woman caught on a precipice and in Adam’s Rib her Amanda Bonner. We can’t really ignore the subtle gender politics of the film (remember the middle section of The Philadelphia Story) but it’s not exactly a crutch for the film. And who cannot forget Judy Holliday (Oscar winner to be) in her first screen appearance. It’s now legend that Kate and company lobbied for Judy to star in Adam’s Rib to convince producers that she could hold her own (as in Born Yesterday). It’s a gamble on a newcomer that works, because even if Judy is not the greatest actress she’s completely aware of the scope (and limits) of her talent. She turns her significant defendant into a wonder.

           

Why is it that I come back to Adam’s Rib so often? It’s not as ridiculously funny as Desk Set, or as light on its feet as Pat & Mike, it doesn’t get be teary eyed like Guess Who’s Coming to Dinner but it’s just an all-round delight. It’s not just two lovers acting as lovers on screen. It’s as if with Adam’s Rib we get a rare (and almost voyeuristic) look in on the private life of that revered couple, and it does it while all the while being an excellent film. It’s #40 on my list of favourites.

So seeing that the list of my Favourite Best Actress nods was somewhat well received I’m done a companion piece...for the Best Actor race. If you’re lucky, I’ll continue the trend for the supporting categories. So here’s the list of my  favourite Leading Nominees – Actors...beginning with the thirteen runners up. [Click on the films for more information]

     

28 – James Dean in Giant 
27 – Robert DeNiro in Taxi Driver

26 – Al Pacino in Dog Day Afternoon

25 – Robin Williams in The Fisher King

24 – Montgomery Clift in A Place in the Sun

23 – Tom Hulce in Amadeus

22 – Jack Lemmon in Days of Wine & Roses

21 – Paul Newman in The Hustler

20 – Javier Bardem in Before Night Falls

19 – Peter O’Toole in Lawrence of Arabia

18 – Leonardo DiCaprio in The Aviator

17 – Spencer Tracy in Judgement at Nuremberg

16 – Paul Newman in Cat On A Hot Tin Roof

                         

Yeah, I spoke about his awesomeness in my review of the film and he cracks the top 15. I haven’t seen him in that much but what I’ve seen him in he’s good. And then there’s the fact that French people are just great. But yeah, his Gregory is a despicable man, but he’s still incredibly charming. He would be a good friend to have a sticky situation – unless he turns on you, of course. I haven’t seen Going My Way but I really don’t think that Bing Crosby could have topped this. It's not the stock villainous role, he really is good in this. And he thoroughly deserved his Oscar nomination.

                                               

Along with The Ten Commandments they show this film every Easter here. This one is better, even though it’s a bit schmaltzy, it is a nice movie. And Burton is good [as usual]. I suppose he can be accused of being over the top. But Marcellus was going crazy, so it’s an occupational hazard. And this was the first Richard Burton performance that I saw, so it’s that much more special too. And Jean Simmons doesn’t hurt either. I'll admit it, those scenes when he goes crazy are my favourite. Yeah, they're total Oscar bait. But I can't help it. It's really good in a scary kind of way.

                                          

And here we have it, the greatest thing that Sean Penn has ever done – and probably ever will do. And he did it under the hand of Tim Robbins. I still cringe when I think he lost to Cage, not because Leaving Las Vegas was unworthy but because Cage is just despicable; but I digress. Matthew Poncelet truly is one of those incredibly complex characters and your reaction to him is completely subjective. Sean's work here is incredibly layered and it was so early in his career too. It's a truly incredible performance...not to be ignored.

                               

Are you fed up seeing him? Can't help it. I can't believe that he only has four nominations, he seems so ubiquitous. He has not starred in that many films either, but when he does he's outstanding. And Gerard is outstanding. I am a bit prejudiced against Scottish accents in film, they just make me want to implode. But Daniel made me make an exception. It's a sympathetic character, but he doesn't beat it over our head. He plays Gerard as just an ordinary guy - the good, the bad and the ugly. And that's what makes me like the performance. Gerard is not the stock hero. He is instead a real person.

                                                 

Tracy had all the charisma to play this role and he did it just right. Sure, I don’t know why Gene Kelly or Frederic March were not nominated too, but it’s all good. You can’t have everything, I suppose. Henry Drumond is a great character in print, and Spencer brings it effectively to life. Whatever your opinion on evolution [and if you’re smart you’ll realise the film is about more than that] it would do you good to at least experience this film and performance at least once. Stanley Kramer allowed Spencer to give three outstanding performances and this is probably the greatest of them all.

                                            

It’s my favourite performance from Sir Hopkins. The man is a legend and he’s done wonderful work for decades but I’ll always think of James Stevens when I hear his name. It’s a difficult character, we never see the man breakdown and he’s never spontaneous. That closing shot and the expression on his and Emma’s face is truly poignant. In a year of Liam Neeson and Daniel Day Lewis and Anthony I am slightly miffed that Hanks won, though his performance was fine but oh well. That's life. 

                                         

This is another one of those introverted roles, though Almasy does have some showier moments. It’s a real pity that this guy doesn’t have an Oscar. Of course losing to Geoffrey Rush is much more noble than losing to Tommy Lee Jones, it still is losing whichever way you put it. There’s a scene at the beginning where denounces the use of adjectives. Fast car, slow car, chuaffer driver car.... Someone asks, Broken car? He winces almost imperceptibly, still a car. It’s mot a particular groundbreaking part of the film, but it’s in moments as small as this that we see some truly good acting from Fiennes. And yes when he gets drunk at the dance he's just as good playing loud and angry.

                        

Do people really hate this guy? And if yes, ummm why? This is another guy that needs to do more movies...he's not getting any younger. What's so good about him in this role is that there are scenes where he's not the centre but his facial reactions are thoroughly convincing. Warren is somewhat underrated as an actor but he's really good in this. And for that matter, so is the movie.

                          

Did you do a double take? Sorry, don’t rub your eyes. You’re seeing correct. I won’t go into people’s hatred of this film... I like it, and well yeah, that’s about it. W. P. Inman. Jude's accent is so freakish in this movie [in a good way] and yeah though I kind of watched hoping to see more of him and Nicole it was all good. His part of the film is less interesting, and it depends purely on his talent [and Philip Seymour Hoffman a little] to make it work. It could have gone horribly wrong, and I know for some they feel it did, but for me Jude made it work. Kudos to him.

                                                   

It’s the best thing that he’s done; that I’ve seen at least. Yeah, I would have given him the Oscar. I mean if they weren’t going to give it to the oldie, why not give the fresh young’un? Don’t ask me. Benjamin Braddock is just hilarious. He carries the entire film on his shoulders and all the other cast members are just supporting to him. His movement and antics alone are enough to convince you of his feelings in those montages. And the line readings aren't half bad either, Mrs. Robinson, are you trying to seduce me? You think?

                                     

There’s a moment in the movie where Bud is sifting the channels. He tries to watch Grand Hotel, but the ad breaks keep annoying him. It’s not a big acting moment, but Lemmon’s facial expressions always sell me. People always say Some Like It Hot or Missing was where he was best, but The Apartment has always been it for me. Bud is just a great character and all of that [well most if it] rests on Jack. Sure the screenplay is good, but this is one of those roles that would have been empty if done right. And luckily, Jack does it right.

        

I sure wish that he would have won the Oscar, though I have nothing against William Hoden. Clift may not be the best actor in the world, but he doesn't deserve to be written off as only a looker. I thought he was really good in this and deserves praise. It's the tortured character that is his specialty, but he plays it just right. A heartbreaking performance that is even sadder when you think of how his life [and career] ended.
                                       

                                       
3 – Richard Burton in Who’s Afraid of Virginia Woolf?

I am not drowning. Even though George won’t admit it, he is slowly, but surely a drowning man. The middle of the film where he rips into Nick during the macabre Get the Guests is one of the best parts of this already great film. He outdoes the entire cast [all of whom give career best performances] and he absolutely takes control of his role. Everyone marvels at Liz's age transformation, but Richard ages too. Just look at The Taming of the Shrew [shot after this to see how young he was]. It's a great performance from any angle.

                                         

What the hell is about this guy? But yeah, here’s to Stanley Kowalski. Tennesse Williams is a genius for writing this, and Brando is a genius for interpreting as well as he did. It’s one of the greatest male performances, and yeah Stanley is despicable but [be honest] don’t you wish you were him? And you can’t not remember that famous calling of Stella. Lolita was right that perhaps people love him just a little too much. He doesn't always ace it, but boy-oh-boy. When he does, it's just marvellous and he deserves all the recognition here.

                                                                  

I feel a bit generic to put this as the best, because so many people say that it’s the best...but maybe it really is the best. The fact that he’s about thirty years too young for the role always boggles my mind. What exactly prompted them to give him the role? And the fact that he’s just as good as Katharine Hepburn boggles my mind too. This is just an outstanding performance. I’ve never seen Charly and I never want to see it because I know that I will scream in anger when I see whatever crap it was ROBBED Peter O’Toole of his Oscar. Wrong, wrong, wrong!
                            
And know that somewhere someone's going to be ticked off by at least one of these choices. So have it. I'm ready, I'm ready, I'm ready...

And finally I come to the final acting category. Best Actor in a Leading Role. Here are the ten Outstanding men and four runners up. There are some omissions. It's not that I don't think Gregory Peck, Robert DeNiro, Jack Nicholson have all given great performances. But they ain't my favourites. I'll begin with the four great runners up...

14.Anthony Hopkins in The Silence of the Lambs

13. Laurence Olivier in Hamlet

12. F. Murray Abraham in Amadeus

11. Philip Seymour Hoffman in Capote

Why couldn’t he have won for Inherit the Wind...or Guess Who’s Coming to Dinner  or The Old Man & the Sea? I’m not sure how I feel about Captains Courageous but Boys Town is a treat. It’s a bit tame…maybe even lightweight but it was from the thirties, so no pressure. And he is playing a priest after all, so it's all very much like Going My Way. But Spencer Tracy is great. I don't think that's really moot [is it?]. This may not be his best performances...but it's a great one nevertheless. And it's a favourite of mine.

                                       

I heard a rumour that it was only a few weeks before shooting that he took the role. He was actually eyeing the supporting role. Who knows if its true…but it’s still great. He was on a role in the eighties, this being the first of what should have been four consecutive Oscar nominations [ending with The Accidental Tourist]. I’m torn as to if this was his best [I’m gunning for Children of a Lesser God…but I can’t short Newman], but it was exceptional any way you look at it. This movie is underseen, but it's a treat.

                   

This is the voice of doom calling. How can you not love Macaulay? We know Tracy does. And although he’s no C. K. Dexter Haven, he’s not bad. The win has become somewhat underrated claiming that it was a makeup win for Mr. Smith Goes to Washington. But that doesn’t make it bad. Shirley MacLaine and Judi Dench both won makeup Oscars giving good if not great performances. Those drunken moments by the pool and that terrible morning after are great stuff. He’s just as good as Cary and Kate and at the end of the day…that’s better than many of his peers could say.

            

A second of Kate's leading men. This film has become somewhat maligned and accused of sentimentality. But is it any less acting because there are no big moments? He’s playing an old man…how much acting can he do? His chemistry with Hepburn is wonderful and although some moments with Jane do seem strained it’s still a wonderful performance. Even in his old age you have to admit that this man has charisma and I don't mind the win at all.

                 

 I don't really have much to say. Sure I wish he would have won for Gangs of New York. Sure I'm not really fond of the film. Of course I would have liked to see James McAvoy or Brad Pitt nominated and perhaps even winning. But that doesn't negate the pure awesomeness of this performance. It's not really a question of whether or not someone could have done it better. We don't really care. He's that good, we think of nothing but when we watch him in action. Genius.

                    

This is an underrated gem of a film. Featuring career best from Montgomery Clift [in under fifteen minutes] and Judy Garland, with a tour-de-force performance from Spencer Tracy and Maximilian’s Oscar winning performance. Stanley Kramer directed his best film here. Perhaps the potency of the theme don’t resonate as much in this new century but the film is still especially profound and Maximilian deserved his Oscar.

                   

It’s not his best performance, but it’s still a great one. This is a flawless performance and although it was down to him and Jude Law I don’t have any problem with his winning. A terribly great performance, a terribly great man. And can I just say that along with Marcia and Tim [and Laura, Kevin and Laurence] Clint Eastwood has the most talented cast ever to pass through his hands. Kudos to him for recognising this and capitalising on their prowess.

              

I don’t think anyone else could have handled this performance as well. This is almost an impossible character to portray but DDL does it wonderfully. A well deserved Oscar, and more surprising considering that he was not the favoured to win against Cruise and Freeman. And yeah, in my book he should have four Oscars. But half ain’t a bad number and he really is some kind of wonderful in this. The level of difficulty only makes this that much more impressive.

                    

For some reason, recently, this movie has suffered some extreme backlash. I can’t tell the reason. It’s still as good as it was ten years ago. Kevin Spacey’s Lester is somewhat of a despicable human…as are all the characters, but he’s able to find the goodness inside the character. And we do root for him, despite everything. It’s the performance that in a way defined his career and of course it could only be downhill from there. But the beauty of this performance will last forever. If I have to pick a favourite scene it’s the one where he finds Carolyn having her affair. The look on his face sells me every time.

                        

And this is not just because of the ‘I coulda been a contender’ speech. This is the quintessential Marlon Brando performance and it is done wonderfully. This is easily my favourite performance in this category. Brando is just great as Terry. He truly is the lead of his film and commands every second he’s on screen. And to think that he was so young only makes it more outstanding. Anyway you look at it, this was a most outstanding performance…and though he should have won for A Streetcar Named Desire it’s all good any way you look at it.

             

So there you have it. The Leading Men. I've covered all the acting categories. I'll post a semi review tomorrow. What say you. Which leading men will you make a case for?

DO THIS NOW!!!!! I saw this over at Lolita's and I'm continuing...It's actually Amanda's...

Although I'm not a big Gable fan it's easily It Happened One Night. Funny, classic, and though it's not as perfect as I'd like to think, it's still pretty damn good.

                 

I'm not really a fan of hers. She's all right, I guess I prefer her in drama cause Mildred Pierce keeps coming to mind.

                      

No, the dramatic roles post Astaire were growth for her...even though I was no fan of Kitty Foyle. It's good she avoided being typecasted.

Yes. Here's the proof. She's not always great, but she has a certain presence that stars today don't seem to.

                            

This is tough. So I'll give you two Annette Bening and Warren Beatty for those alive. Two of my favourite stars and although the marriage and those kids have made Annette disappear I like when I see them out together. Kate and Spence for the departed...though they weren't married. And though it didn't last I liked Vivienne and Laurence together.

Not sure I understand...feeling slow...but This is not definitive...but right now I'm thinking Ralph Fiennes and Kristin Scott Thomas in The English Patient. Just sizzling chemistry. I cry every time I see this scene [I  feel like such a girl]. It's a spoiler. Classically though Cary and Kate in anything...except Sylvia Scarlett.




7. Favorite Jean Arthur movie?

Mr. Smith Goes to Washington. But was that her movie?

It was probably Roman Holiday...but I was way young and didn't really look at it, it was just on. So the first real movie of his I saw was To Kill A Mockingbird.

Well I don't love Hitchcock. I'm sorry. But the closest I came to loving him was with Rebecca. A treasure for years to come.

                           

God...that's hard. I'll give you three. Atonement, The English Patient and Howards End...but none of those are classics...so The Philadelphia Story. Different from the play but still perfect in every way.

As a child. I feel like a paedophile.

No idea. Thelma Ritter...?

 Sorry Wrong Number. Yeah she's old for the role...but your point?

              

Katharine Hepburn today, tomorrow and yesterday. 

                 

Can I say neither? No...well obviously Bette. Bette I don't care for her, Joan Crawford's personality annoys me.

                  

Russ Tamblyn is severely underrated. I always feel bad that no one knows him...and while we're on West Side Story. I really think Richard Beymer had potential. I thought he was the best male in the movie...but his career never really took off.

                         

 I think I'd say Bette. I like her...but I really don't think that she's all that. I'd say Meryl Streep...because I rarely feel she's being honest...but I'd be stoned to death and she's not a classic actress. Oh wait, I just said it...

                     

I watch anything...that doesn't look like crap.

                

Katharine H. Obviously. I saw The Philadelphia Story and that was it. There was no looking back.

Astaire. I cannot forgive Kelly for the atrocity that was An American In Paris.

                   

Stage Door...but for all the wrong reasons.

          

God this is hard. I'm putting zero thought into this right now so ummm here goes. Joe Wright directs it or Cukor. British Period piece starring Kristin Scott Thomas, Keira Knightley, Joaquin Pheonix [or Olivier from Wuthering Heights period], Olivia DeHavilland from her Gone With the Wind Period or Juliette Binoche.

        

KST is Keira's mom. It's 1920s England...after WWI, she's a self centred actress, Pheonix plays the son of one of her former lovers who comes back to reveal some secret of hers [don't ask me what]. He falls in love with Keira, while being seduced by Kristin. Olivia/Juliette plays her best friend, wise cracking but a little dumb. It ends with a death? Okay...just off the top of my head.

                      

Okay, seriously? Have you not read through this post...lol. It's Kate.

                 

Spencer, Jude and Richard right now.

         

This is so pre-empting my top 100...but here goes

Drama: The Lion in Winter

Romance: The English Patient

Musical: Cabaret

Comedy: The Philadelphia Story

Western: Tough...don't like them...at the moment The Assassination of Jesse James

Hitchcock: Rebecca

Damn that was HARD. I'd tell you all to do it...but I don't know how many of you are classic films buffs. Do it if you can and post  a comment over at Amanda's lovely site...and Alex if you're reading you have to do it...if you want to... 

First Group
Spencer Tracy
Peter O'Toole
Warren Beatty
Richard Burton
Jude Law
Leonardo DiCaprio
Ralph Fiennes

Second Group
Cary Grant
Christopher Walken
Daniel Day Lewis
Marlon Brando
James Dean
Brad Pitt
Jon Voight
Ed Harris

Group Three
Montgomery Clift
Johnny Depp
Anthony Hopkins
Sean Penn
Russ Tamblyn
Albert Finney
Jack Lemmon
William Hurt
Dustin Hoffman
Philip Seymour Hoffman