Doris Day Forum Banners 2015

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Re: Doris Day Forum Banners 2015

Unread post by webmaster »

Rushing through them a bit:

Image

A smile at last. :)
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Re: Doris Day Forum Banners 2015

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This is a really interesting banner because of the expressions on Doris' and James Stewart faces. I can't tell if Doris is upset or smiling. The look on James Stewart's face is serious.

I am trying to determine the moment in The Man Who Knew Too Much.

The Man Who Knew Too Much is definitely is great Hitchcock picture. There is a feeling of dread throughout most of the film. It is wonderful suspense. Like many films that are not appreciated fully when they first open, the films increase in value and appreciation over time with new perspectives.

Doris Day and James Stewart are perfect together in this film.
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Re: Doris Day Forum Banners 2015

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Doris is smiling there, Johnny, this is the frame set:

http://the.hitchcock.zone/wiki/1000_Fra ... _frame_545

It looks like one of the scenes in their London apartment when some friends come around - if you remember, that's how the film ends when they return with their boy.
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Re: Doris Day Forum Banners 2015

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TMWKTM circa 1955 is a remake and although I prefer it over the original, some may deduct a few points simply because it's a remake. I think Hitch was smart to place an "average" American family in the crosshairs of an international assassination plot. Who better than stalwart James Stewart to play the Everyman hero the audience will readily identify with, and who better than Doris Day to play the high-strung, suspicious wife who regrets forfeiting her stage career for married life in the Midwest? Hitch was very wise to tap into the dark side of America's sunny girl next door, and Doris delivered the finest dramatic performance of her entire career. This film is a marvel of director technique and character development, and I find new things to admire with each repeat viewing.

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Ania
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Re: Doris Day Forum Banners 2015

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As always wonderful banner Bryan


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Re: Doris Day Forum Banners 2015

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Hi there,

This film... years back... introduced me to Doris. Great film, good acting through the picture but the big part for me is in the bedroom scene where Dr. Mekenna put's his wife to sleep...

Enjoyed this film alot,

P

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Re: Doris Day Forum Banners 2015

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Image

Thanks, all. I haven't seen the original black and white version yet - must do that - but below is an old article I came across from the BFI (British Film Institute) which is somewhat critical of the 1956 version. Fans won't enjoy reading the final paragraph's comment on Doris' singing at the end! but I remember, when I saw it in a London cinema after it was re-released in the 1980s and the loud singing of Que Sera, Sera really jarred! It doesn't have quite the same impact on TV, but it sure did in a modern cinema.

It's certainly a very good film and I'm very happy that Doris starred in a Hitchcock film, but I'm still curious as to why isn't it one of Hitchcock's acknowledged greats in the way that Rear Window or North By Northwest are? The only thing I can think of is that it is very plot-centered - that is, it's a story about something that is not uncommon - a child is kidnapped and the parents, driven to distraction, spend the whole film looking for him and eventually find him. End of story. Compare that to some of his acknowledged masterpieces, where often the story is less important than the mood or style.

There's also the element of Doris Day's part being tailored to exploit her real self, playing a retired singing star who still sings. Hitchcock commissioned a song for her, knowing it would promote the film - it won an Oscar. The title, Whatever Will Be, Will Be, seems a perverse choice for a woman in her situation! She herself asked what it had to do with the film. But I wonder if the blending of reality and fiction helped the film?


BFI Review: The Man Who Knew Too Much

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For many years The Man Who Knew Too Much has been at the centre of a sterile debate about the relative merits of Hitchcock's British and American films. Truffaut and his followers maintained that the 1956 remake was superior in every way. Doughty patriots like Leslie Halliwell found the original far less bloated and pleased with itself. Meanwhile Hitch himself stood cannily in the middle, striking a magisterial balance as he told the adoring Truffaut's tape-recorder that, "The first version is the work of a talented amateur and the second was made by a professional."

Most punters, however, were unable to take sides because the two films never seemed to be available at the same time. The American version was one of the five 'lost' Hitchcocks that went out of circulation until the early 80s, and since then the British version has all but disappeared, with none of the regular television outings that have kept The Lady Vanishes and The 39 Steps in the public consciousness. Its rerelease is a fascinating contribution to the Hitchcock centenary and reveals a film so different to the remake in pace, atmosphere and emotional texture that comparisons become pointless. The broad outlines of the story may be similar, but otherwise we seem to be dealing with two entirely unrelated works.

In a manner not untypical of mid-to late-period Hitchcock, the 1956 film offered a queasy blend of ultra-realism and flagrant absurdity, whipped together without much regard for the consequences. As the anxious paterfamilias whose child gets kidnapped while travelling abroad (this time in Morocco), James Stewart is honestly affecting as always: grey-haired, beetle-browed and still saddle-sore from all those Anthony Mann Westerns. He brought to this role the same haggard intensity that characterised all his great post-war performances. But this authenticity is wildly at odds with such misjudged moments of comedy as a punch-up in a Camden taxidermist's, while the last few scenes - in which Doris Day covertly attracts the attention of her offspring by belting out 'Que Sera Sera' at the piano - provided a silly coda to the main action.

The original version feels much more of a piece because it is quirky and surreal almost from the start. After a perfunctory prologue in Switzerland, in which the protagonists' plummy-voiced banter feels like dialogue not just from another age but another planet, we are plunged into a deliriously quickfire sequence of events, each one more dreamlike than the last. Compared to the sunbaked Bayswater and Camden Town of the later version, the eerie, nocturnal Wapping evoked by Hitchcock, Curt Courant and Alfred Junge is an extraordinary creation, like something Iain Sinclair might conjure up after a bad trip.

For a while the visuals are so compelling, and the story makes so little sense, we might almost believe that Hitchcock had resolved to follow Dali and Buñuel's dictum on Un chien andalou (1928) and not include any images which admitted of a rational explanation. This is particularly true of a lengthy scene where the distraught father (played with disarming blandness by Leslie Banks) and his sidekick Clive infiltrate a sinister 'mass' being held at a run-down chapel called The Tabernacle of the Sun. Clive is called to the altar and hypnotised by the priestess, for no apparent reason, plotwise. But originally, it seems, this scene was meant to involve Bob's wife Jill. The villains' fiendish plot was to capitalise on her brilliant marksmanship by getting her to fire the assassin's bullet while hypnotised. So Hitchcock retained a version of the scene, but junked the explanation, for the delicious reason that he didn't think audiences would believe in it. Such a hostage to plausibility!

Aside from its East End setting, the earlier version scores two great points over its remake. One, of course, is Peter Lorre's brilliant, wheedling turn as the oleaginous Mr Abbott. The other is its climax, recreating the Sidney Street siege of 1911 in a terse and well-orchestrated shoot-out which is vastly preferable to Ms Day and her interminable crooning. The moment when Edna Best snatches a rifle from the dithering policeman and calmly sends Frank Vosper tumbling to his doom will still provoke a frisson in modern audiences: a startling eruption of Girl Power, 1934-style, which is quite without precedent in the Hitchcock canon.

http://old.bfi.org.uk/sightandsound/review/195
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ray
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Re: Doris Day Forum Banners 2015

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Amazing banner!

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Re: Doris Day Forum Banners 2015

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I can't understand why TMWKTM is not considered one of Hitch's best. I think that scene with Doris at the concert hall is one of the most suspenseful in film history ... with nary a word spoken! I never tire of the film.
Like Irene Dunne done.

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Re: Doris Day Forum Banners 2015

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Image

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Re: Doris Day Forum Banners 2015

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THANK YOU SOOO VERY MUCH///

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Re: Doris Day Forum Banners 2015

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Love the current banner, this one is projected like it is almost in 3D. 8)

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Re: Doris Day Forum Banners 2015

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Bryan,
Thank you so much for the banners recognizing TMWKTM. I love this movie. Doris was awesome in this suspense role. I think Hitchcock was very smart to cast Doris as Jo Mckenna. What an amazing oppotunity for Doris Day and Jimmy Stewart to be able to play opposite each other in this wonderful suspense film. Thank you for featuring this great movie.

Tybear

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Re: Doris Day Forum Banners 2015

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Bryan great banner, just fantastic!


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Re: Doris Day Forum Banners 2015

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Amazing banner Bryan, love the photos !! And did you know that Hitchcock, after saw her in " Storm
Warning" , hè wanted her in one of his movies, they met at a party in 1953.

Daytona Beach Morning Star, reports:
On that party, hè went up to Doris, like any fan, and confessed that she was a favorite star of his. Then added: " I' d love to make a thrillers and you only make musicals."
Doris said: " why don't you make a musical thriller?" The man how knew too much, is just that.
Hitchcock never forgot Doris' quip, but hè gives other reasons why hè chosen Doris for one of the top dramatic roles of that year.
"I knew this girl was a great and sensitive dramatic actress even when she was emoting in fluffy musicals. " Love me of Leave me" confirmd my belief" ( Hitch) ....

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Re: Doris Day Forum Banners 2015

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Thanks you Bryan for The Man Who Knew Too Much Frame set. It was really illuminating and interesting.

This Man Who Knew Too Much banner is perfect. I love to see pictures of the Directors and Hitchcock was among the very best.

I think the high-strung emotional tone of the mother is close to Doris' real personality. She once described herself as often "wound-up" and said Judy Garland was the only other actress she thought was more wound up than herself. She said she was extremely fond of Judy and that they had many similarities in their careers, both having started at a young age.
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Re: Doris Day Forum Banners 2015

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Thank you all - staying with this film a bit longer - good to hear people's views.
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Re: Doris Day Forum Banners 2015

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This one is my favorite so far from TMWKTM series. You've made her look so lifelike in this pic and the lighting on her face is wonderful. Bravo!

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Re: Doris Day Forum Banners 2015

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Amazing banner, agree with tmichael, the lighting on her face, it give a special effect, it gives a Wow feeeling.
Thank you. A marvelous creation.

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Re: Doris Day Forum Banners 2015

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Thanks, Michael & Puck. Appreciate that.

This is the original:

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Re: Doris Day Forum Banners 2015

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Fabulous!
Like Irene Dunne done.

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Re: Doris Day Forum Banners 2015

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Wow - what a difference and the lighting effect you added looks completely natural.

Michael
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Re: Doris Day Forum Banners 2015

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Hi there,

Wonderfull banner, love the colors... mentioned this scene before. Think it's one of the best I've ever seen. It's been done again by Doris on The Doris Day Show (1970's) where Toby's is been lost. She there changed jobs...[Doris, Leaves Today's World].

Thank you all for making this place so special,

p

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Re: Doris Day Forum Banners 2015

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Powerful and thoughtful banner Bryan. The light on Doris' face illuminates the silent anguish in her soul.
The shades of blue surrounding Doris create a feeling of haunting and sadness.
Unforgettable.
Johnny

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Re: Doris Day Forum Banners 2015

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Yes, powerful and beautiful banner .

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