Tag Archives: cinema

NFL17 Cherry Picks W8: An 18-Year Feast But Still No Bliss Point For Brady Fans

28 Oct

It may now be that time for Tom Brady, after eighteen seasons of uninterrupted stellar quarterback play, to get tagged with that special moniker, the one that naturally bestows upon a fabulous personality or field general: King.

It’s a funny thing, though, typically, the royal moniker will associate with a guy who you wouldn’t normally expect could carry off the titanesque title.

There was King Donovan, the spouse of Imogene Coca and a 1950s character actor best known for his supporting role to lead Kevin McCarthy in the great science fiction, anti-Communist thriller, Invasion of the Body Snatchers (56).

There was “King Football,” 1940s-50s Hollywood heart-throb, Victor Mature. It‘s the nickname Vic‘s character “Pete Wilson” was bestowed in the 1949 film Easy Living when he played star tailback (QB) for the fictional pro team “Chicago Chiefs” but is then afflicted with a heart ailment, threatening his career and marriage to gold-digger wife, the lovely & leggy, Lizabeth Scott.

There was the original sporting King (James) Brady, an Elmer, New Jersey native who pitched in brief stints with four MLB clubs in the early 20th century (3-2 / 3.08), a stretch that included one start with the Boston Red Sox in 1908, going the distance on an 8-hit shutout. That’s pretty spiffy stuff.

And there was, if not the most famous, surely the most curious of all monarchical entertainers, King (James) Corcoran, another Jerseyite and legendary signal-caller known as the “poor man’s Joe Namath.” Not too shabby.

A University of Maryland Terrapin, KC bounced around the semi-pro circuit for good part of a decade (Waterbury Orbits 1967 >), finishing his run in the short-lived NFL rival operation, the World Football League for the Philadelphia Bell (1974-75), leading the League in TDs (31) and in 1982 being inducted into the American Football Association Semi-Pro Football Hall of Fame.

So notorious was King Corcoran as a self-promoting ladies man that his character was the basis for an episode of The Rockford Files entitled, “The No-Cut Contract (76)” and portrayed as “Larry ‘King’ Sturtevant” by then All In The Family co-star, future director and son of classic comedian, Carl Reiner, his son, Rob. And the son pulled it off, with “caps.”

Like Rob, and Roy…Rogers, “King of the cowboys,” Tom could pull it off, too.

Brady’s personal and team achievements are too many to list without boring the bejeebers out of the reader. Suffice to say, leading his career-long team, the New England Patriots, to seven Lamar Hunt (AFCC) and five Vince Lombardi trophies (SB), including last season’s memorable come-from-behind win over the Atlanta Falcons, leads that long list of accomplishments.

But deserved as he is, I’m not so sure Tom’d want the royal tag.

Never self-promoting or boisterous, apart from those occasional on-field outbursts of team spirit, Tom is a leader by example who leaves the swagger to those so inclined, winners and losers. It’s a style in league with the League’s greatest, from Sammy Baugh to Bart Starr to Brett Favre.

This season, New England surprised by stumbling out of the starting blocks, losing at home in W1 to the Chiefs (27-42). They’ve righted the ship, going 5-1 since then and hope to bump it to six wins (v Bolts) before their bye in W9.

Tom himself has been, take a guess, ter-RI-fico (66.4 C%, 15t-2i, 8.4 yppa).

In the Pats two loses, their offense averaged 28.5 per contest. Not too shabby as shabby usually goes in this League, one whose Thursday nite event was dominated in media by a god damn cat running onto the field.

TNF, it’s gotta’ go already, geez, Louise.

Brady’s top five attributes: 1) Pocket presence (smarts & wherewithal to hang in the pocket and take the hits necessary to read D); 2) Judgment capability (low INTs); 3) Top talent (thread the needle); 4) Thick-skin (the tenacity to throw-off loss and rebound), and 5) What neurologists call a fluid intellect. Presented with a new circumstance, Tom can figure it out and quickly. Belichick helps.

NFL Cherry Picks Week 8

MIN @ CLE (L): 10.29 NFLN 9:30: Vikings
Atlanta @ NewYorkJets: Fox 1:00: Falcons
Carolina @ Buccaneers: Fox 1:00: TampaBay
Chicago @ NewOrleans: Fox 1:00: Saints
Oakland @ Buffalo Bills: CBS 1:00: Raiders
Indianapolis @ Cincinnati: CBS 1:00: Bengals
Houston @ Seahawks: CBS 4:05: Seattle
Cowboys @ DC Redskins: Fox 4:25: Dallas
Pittsburgh @ DetroitLions: NBC 8:30: Steelers

Record: 27 – 21

Steven Keys
NFL HunchLine
Photo Credit: NFL-symbol, wikiproject, 2011; TomBrady, wc.cca, 9.14.14, A.Campbell; T.Brady, wc.cca, KeithAllison, WashingtonDC, 8.28.09; BartStarr, wc.cca, 1967?; cherries-cloth, picdrome, wc.cca, 2011; JimMarshall, TCG, 1970
Posted: 10.27.17 @ 10:32pE, edit 10.28; Copyright © 2017

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MLB17 Chin-Music: Dodgers Drought Ends As Cubs Quench-Quest Begins Anew

24 Oct

The Los Angeles Dodgers and Chicago Cubs NLCS proved something beyond the fact the best National League ball-club in MLB17 calls Chavez Ravine their home. It also proved that the post-season is a whole ‘nother ball-game where ANYTHING can happen and often does.

— — —

The post-script on the defending champ Chicago Cubs 2017 has seen them take the first step in starting another Championship drought, one they surely hope won’t come close to their last (1908 – 2016) which spanned five wars, nineteen Presidents and fifteen Ken Burns PBS series. Monopoly’s definitely in vogue.

If you exclude the Bruins first six (6) MLB championships in the calculation (1876, 80-2, 85-6), termed ‘pennants’ by the sabrheaded scribbler set who are about as sporting as a DMV clerk late for lunch, and start figuring from the World Series opener in 1903, the Northsiders averaged about one fall classic every two years the first decade (1906-08, 10), every four (4) up to the end of WW2 (1918, 29, 32, 35, 38, 45).

It is post-War when the Cubs really began to thirst for a Series return, about seventy (70) years having elapsed before last season’s true pennant (When a team goes as far as it can go in the competition (1876 – 1902, pre-playoff League titles), THAT’S a championship!).

— — —

Ironic now in that NLCS opponents Chicago and Los Angeles played the series almost in complete opposite of their late season forms.

The Dodgers are playing like champions now, yet crawled to the regular season finish line, winning their West division by going 17-24 (1-16 from 8.16 – 9.11) down the stretch and bobbling a good opportunity post-Home Run Derby (87 – 34) to best the Bruins 1906 wins mark of 116 (104).

The Cubs meanwhile had been playing like anything but defending champs, standing under .500 on July 9th (43 – 45). But they found their rhythm and played with seriousness the rest of the way, finishing a respectable 92 – 70 to take the Central division flag and hold out good hope of winning the franchise their second set of back-to-back World Series championships (1907-08).

All of it pointing to the fact that once the playoffs begin, anything can happen and pre-playoff predictions are mostly filler for the 15,000 corporate junior journalist sport blogs that monopolize the intenet landscape.

The post-season is an Athletes in Wonderland where expections are like that grinning Cheshire cat, here one day, gone the next. The best clubs give kitty the boot to take charge and make destiny their own.

The Cubs future still looks to be a bright one, having most of the players, the manager and Cufflink crew to contend again. And even were the Dodgers to take this Series, there’s no National League club that looks all that imposing. Junior Circuit’s not exactly bursting at the seams with juggernauts, either.

Los Angeles ended their own World Series drought in making it back to the fall classic for the first time since 1988. And as so often happens, the topsy turvy nature of post-season play had Tommy Lasorda’s underdog team up-ending the muscle-bound Bash Brothers from Oakland, 4-1, emotionally spurred by legendary limping pinch-hitter Kirk Gibson who seemed to hold Roy Hobbs “Wonderboy” in his hands in homering late to win G1 and set the title tone.

— — —

The Dodgers ended their Pennant drought by easily dispatching with Chicago, 4-1, but can Los Angeles quench their thirst for another cup o’ championship bubbly (10), or will the spirited American League flag-wavers the Astros bring home their first World Series trophy that opens Tuesday nite in Houston “♫ where you better walk right (H.D. Stanton) ♫?”

Both clubs are spirited and driven by sense of community.

The Astros are “Houston Strong,” bearing a uniform patch in honor of the vicitms and devastation wrought by Hurricane Harvey, while the Dodgers have recently retired, long-time broadcaster Vin Scully, the above mentioned Kirk Gibson and the mission to reclaim the hearts of America’s largest metropolis (See; Angels, Rams & Chargers) as their mindful motivations.

Both managers in Dave Roberts (LAD) and A.J. Hinch (HOU) are fairly new at their respective helms, in their mid-40s and of like player pedigree. Hinch, however, has been indoctrinated into the sabrmetric school of thought (uniformed in Oakland for three seasons) while Roberts is more out of the baseball academy mold, i.e., enough with the numbers already, oy vey.

Both teams hit, field and pitch on most occasions, hence, the Pennants, but it is stalwart moundsmen in the Dodgers’ Clayton Kershaw and Astros wily veteran Verlander who will set the tone, be the bellwethers and ultimately decide the outcome, each likely to get two (2) starts if it goes seven.

Both Cy-clones have had their 2d season struggles and hope to etch better legacy onto all the hardware they’ve accumulated by-way of this October classic.

Verlander’s presently pitching in another stratosphere this post-season but in his two WS appearances, versus St.Louis (06) and then SF (12), he’s a combined 0-3 and an ERA (8.49) about as high as that aforementioned atmospheric layer.

Kershaw, though 2-0 this PS, still posts a 4.40 ERA on 17 game starts with a 6-7 W-L mark, both in opposite of stellar regular stats in .692 W%, 2.36 ERA and what managers-fans-&-mates always love, a spiffy 4-to-1 S/O-to-BB ratio.

Another player I plan to watch is Dodgers’ late-season pickup from the Metropolitans, veteran and former Verlander teammate in Detroit (WS 06), fleet of foot outfielder Curtis Granderson. Curtis has seen his best days as a Tiger and then Bronx Bomber but still plays strong, like a late-career Kenny Loften.

In his two World Series, the first with Justin versus the Cards in 2006, 2d with the Mets versus Kansas City, he, like Verlander, showed his youth in the earlier Classic (.095 / 1r) but had impact in the later, knocking in five (5) RBI, three (3) and six (6) runs (.250) in the losing effort against the champion Royals.

On that basis, and because I want to wrap this up, I’m tabbing LA in seven.

Steven Keys
Can of Corn
Photo credit: LA-Dodgers-logo, wc.cca; C.Kershaw, wc, ArturoPardavilaIII, 5.20.15; C.Bellinger, wc, 9.21.17, Peetlesnumber1; Cheshire-Cat, AliceInWonderland, JohnTenniel, 1889, wc; D.Roberts, wc, 12.7.15, A.PardavilaIII; Canned-corn
Posted: 10.24.17 @ 1:13aE, edit @ 4:15p; Copyright © 2017

Yore Movie Swells: Tasty Love Triangles and Bad Triangle Art In Celluloid Cinema

4 Jun

The Movie Love Triangle

The number three (3): It’s not just holy (Trinity), the tres is a basic element in life’s periodic table of circumstance. It’s found almost as often as carbon, chlorophyll and car chase scenes. Alot more fun than the number one but without all that pressure that can come with two.

What has three sides, fills with equal parts love, hate and confusion, shakes-out quicker than you can say Jack Robinson but takes an hour to drink in its full, rich flavor? A bad banana daiquiri? Take another swig. It’s the movie love triangle!

There’s something about having three of whatever it is that makes it a force to reckon with, the third adding balance when two gets a bit wobbly (The Quiet American (58 / 02)) or necessary tension to give the ride more spring (Kelly + Reynolds + O’Connor (Singin’ In the Rain (52)).

Some notable trios:

A good place to start is the nursery rhymes in the Three Little Pigs, Three Blind Mice and Goldie Locks and the Three Bears;

The bejeweled triple crowns in baseball and horse-racing;

Three strike (MLB – 1888) and three strike rules (crime convictions = life jail);

Early 20th century trio of bear Cubs in Joe Tinker (SS), Johnny Evers (2B) and Frank Chance (1B) (hot-corner Harry Steinfeldt forever in the shadow) who were the tar & nails that held their champion-ship together;

Memorable NHL scoring threesomes in the Punch (40s Habs Toe Blake, Elmer Lach and Maurice “Rocket” Richard), the Production (post-WW2 Red Wings in Gordie Howe, Frank Mahovlich and Alex Delvecchio) and Party lines (80s Blackhawks Al Secord, Dennis Savard and Steve Larmer);

Famous film trios The Three Musketeers (35), The Three Stooges (34), Paradise for Three (38) the Three Amigos (86 (ugh)), “Tuco” – “Blondie” & “Angel-eyes (The Good, the Bad and the Ugly (66))” and The French Line with gorgeous Jane Russell, handsome Gilbert Roland and dedicated Arthur Hunnicutt (1954).

The New England championship triumvirate in current quarterback Tom Brady, head coach Bill Belichick and owner Robert Kraft.

Pop music loved the tres: The Three Degrees, Three Dog Night, songs “Knock Three Times“ and “♫ once, twice…three times a lady ♫.”

The big three Allied powers in WW2: Soviets, British and Yanks;

Our constitution-based government works its check and balance through the three branches of judiciary, legislative and executive powers.

There were the three bucks (4-6 pointers?) that showed-up in our backyard last summer just for a brief look-see.

And the tastiest lunchtime triad ever served up in the hot dog (uncured), bean soup & potato chips (mustard & pickle preferred, paper napkin a must).

The pointed passion circle is not as certain as death and taxes in life’s journey but it’s definitely in the top five, “definitely!”

A cinema staple since before the Swingline® started holding it all together, the love triangle fastens fans to their seats as sure as drama and mad-cap adventure, its popularity from the fact that the tricky triad holds a chapter in most biographies, whether you knew it or not (gulp).

But it’s on the silver screen where the crowded state of affairs takes on a curious, usually pretty interesting aura of angst.

The Hollywood pros in front and behind the camera can make almost anything look glamorous, from bad deeds (Bonnie and Clyde (67)) to something as simple as turning down bed sheets in prelude to a lustful encounter (This Sporting Life (63)). So why wouldn’t the love triangle translate too?

They began in the silents and ran strong well into the 1960s providing plots and pushing viewers to pick a side. By the polyester period (70s) the triangle had, for the most part, been shelved with the occasional re-appearance (Working Girl (88) / Titanic (97) / Amores Perros (00)), for old times sake (?).

The listing herein is not exhaustive of movie love triangles by any means, but examples of some of the worst, the best and how in spite of a terrible triangle a good time can still be had by viewers.

Three points to keep in mind: 1) There are good and there are bad L/Ts. Geometric juxtaposition is no guarantee for a good watch, unless Seiko’s keeping time; 2) The bad are not necessarily bad movies, in fact, some are good enough to keep you glued, with the tacky triad usually stemming from non-believability and a normally strong male lead (Lancaster, Mitchum, Garfield, etc.) written as a sap, and 3) Not all three sides need be of the human species, for included here is a big ape, Alien pods and even something as intangible as duty, the tangible kind found in the “Bushwood Country Club” pool (Caddyshack (80)).

The Bad Triangle

Baby Doll (56): Either kiss her (“Doll”) or cut her free, “Archie,“ but why you never gave “Silva” a swift kick in the pants I never understood.

Casablanca (42): Neck n’ neck with Citizen Kane to take vintage cinema’s Over-rated Cup (contemporary field is crowded) which explains why two of its three (+Bogart) leads in Paul Henreid and Ingrid Bergman never bought the hype. That she’d end up at his café to cheat on her Nazi-pursued husband is about as believable as Rita Hayworth a blonde (The Lady From Shanghai (47)).

Champion (49): Real-to-life in its portrayal of how brash boys (Douglas) always get the girl over the nice guys (Kennedy), buy a really, really bad boxing and babes movie. Was first big hit for film giants Stanley Kramer and Kirk while Ruth looks splendid in her white, one-piece swimsuit. And any pre-development shots of the California Pacific coast are always way, way cool.

Cleopatra (34 / 63): Don’t trust me, go ahead and watch. Pack a lunch (4h+).

Criss Cross (49): Only the marvelous mood-setting L.A. locales (Bunker Hill district, downtown, etc.) were believable.

East of Eden (55): All’s hunky-dory between “Abra (Harris)” and “Aron (Davalos)” who props his odd-ball brother “Caleb (Dean),” the later who turns their world upside down with wartime profiteering, stealing the girl’s heart, driving the jilted into the War to cause their father’s stroke. One bad triangle.

Gilda (46): Top tune (“Put the Blame On Mame”), copper Calleia at his best, Ford (fists) and Macready (cane) impress in the clutch but like Casablanca (42), former flames reuniting where they do is complete balderdash, this time down Argentina way, then add in Hayworth’s kooky choice in Nazi-sympathizer spouse (“Mundson”), all make this L/T…T/L (totally limp).

Holiday Affair (49): Cute film with judge Harry Morgan snapping off wisecracks like fireworks. A good Ajax scrub for bad-boy toker Bob Mitchum. But single-Mom Leigh dumping oxymoronic likable lawyer and long-time suitor Wendell Corey (“Carl”) for fly-by-seat-of-his-hobo-pants “Steve?” C’mon, “Connie!”

Humoresque (47): After she (Crawford) finally wins his heart and he (Garfield) finally makes up his mind, she takes the long walk into the sea of love.

It Came From Beneath the Sea (55): Shameless display of flirt and emasculation. Only wish the NMO (normal man out) Curtis (“John”) had taken the short, chain-smoking smart-ass Tobey character (“Pete”) and Howard Hughes’ girlfriend (?) Faith Domergue (“Les”) and clunked their heads together at close. So awkward even Ray Harryhausen’s typical top-tier SMA couldn’t save this bad boy…girl.

Out of the Past (47): This one is a love rectangle (square) where Jane Greer (“Moffat”) had allure in spades but like Burt Lancaster in The Killers (46) when the love-sick “Swede” practically commits suicide in letting tough guys Charles McGraw and William Conrad (“bright boy”) blow uncontested into his room to empty their revolvers, Robert Mitchum (“Bailey”) too plays the super sap.

Pal Joey (57): Even Sinatra’s voice can’t fuel this clunker.

Red Dust (32) (Mogambo (53)): Gable never runs out but adulteresses in both (Astor – Kelly) are so poorly scripted you wonder why they bothered.

Sabrina: (54) Paramount tabbed “terrific triangle” but usually sharp-as-a-tack Holden is scripted an idiot and Bogart’s bored until final smackdown.

Sleepless in Seattle (93): After respective hits When Sally Met Harry (89) and Big (88), Hanks and Ryan’s likeability ratings were higher than the Empire State Building, even as this triangulated affair (+ Bill Pullman) is too cute, too much kid (Malinger) and constitutes two too many remakes of a grand original, Love Affair (39) (See also; An Affair to Remember (57)).

Song of India (49): Triangle makes some sense (Sabu > Gail < Bey) but its resolution and laughter in final scene is preposterous…and cold.

Sunset Boulevard (50): Triangle again is believable enough (Swanson > Holden < Olson) but Bill’s bail on “Norma,” she not just a pretty face, is bogus.

The Cat People (42): French beauty Simone Simon can get catty but new hubbie Kent Smith (“Oliver Reed”) turns wolf with ‘friend’ “Alice (Randolph)” before honeymoon ends, leading this viewer hoping the feline feasts.

The Graduate (69): Mommie Dearest and vampish motives aside, “Benjamin (Hoffman)” was in clover with the “Mrs. (Bancroft)” but then got greedy to graze in posted pasture (Ross) to turn pathetic post-grad.

The Las Vegas Story: A marriage on the brink (Price + Russell) pushed over by an ex-lover (Mature) who investigates the husband. Guess who wins?

The Pace that Thrills (52): Vintage, daring motorcycle footage in neato-keeno but once again the bad boy (Williams) gets the gal (Carla Balenda).

The Painted Veil (34): Nice ending but Brent’s advances on Garbo feel forced. A build up to the love from happenstance would‘ve worked fine.

The Philadelphia Story (40): Kate’s not that likeable, harebrained haughty we loved so in Bringing Up Baby (38). She’s the other kind.

The Postman Always Rings Twice (46): Garfield plays out of his typical, strong, savvy persona into another unbelievable L/T super sucker for a fairly typical, scheming blonde (Turner). The ‘Crime Never Pay’s’ road-sign is posted early and makes for a long, painful drive (113m) on Sleeper Highway.

Two Guys From Milwaukee (46): Fun movie turns uncomfortable when once likable “Prince Henry (Dennis Morgan)” turns hound-dog (cad), made worse when the lady on point, Joan Leslie (“Connie”), proves full o’ fickle.

Vanessa, Her Love Story (35): Early talkie where the odd man out (Krueger) goes insane, then dies. That’s one sure way to break a triangle (ugh).

The Good Triangle

Amores Perros (00 / Mexican): Octavio y Susana y Ramiro.

An American Tragedy (31) (A Place In the Sun (52)): Triangulations are quite effective. In #1, Sydney’s smile, and other assets, captures your heart like the dark-haired radiance, among other assets, of rich girl Liz who “wow(s)” in #2 version. But on the whole, both drag out and sink themselves with identically absurd (prejudicial) courtroom boat re-enactments.

Black Narcissus (47): Nepalian nun noir.

Born Yesterday (50)

Butch Cassidy and the Sundance Kid (69)

Creature From the Black Lagoon (54): Another monster angle but this time a square that includes gill-man (x2). Though friendship replaced love, triangle took shape when Peter Benchley and Steve Spielberg turned Creature into Jaws (75).

Dirty Rotten Scoundrels (88): Love (Caine) > con (Headly) < lust (Martin)

Doctor Zhivago (65): Ubiquitous “Yuri” is everywhere. Never know whose wife he’ll turn up in. First you admire, then hate him, cry and finally smile.

Fallen Angel (45)

Flowing Gold (40)

Gaslight (44)

Gone With the Wind (39): First you think of the greatest love triangle in cinema history (“Rhett > “Scarlett“ < “Ashley”), and you’d be right, then you remember big-eyed, big-hearted Melanie and the love rectangle (square) takes shape.

Great Day In the Morning (56): Love rectangle

Homecoming (48): Gutsy Gable, Turner and Baxter but Hodiak steals the show.

I Can Get It For You Wholesale (51)

I Know Where I’m Going! (45)

Invasion of the Body Snatchers (56): Most Pro-McCarthy (anti-Red) films were awkward & obvious (Dan diss on “faith”) but IOTBS is a masterpiece of metaphor & emotion with an ending all can embrace: Kevin > Dana < Pods.

It Happened One Night (34)

King Kong (33): Cabot > Wray < Kong

Knife in the Water (62 / Polish): Triangle like only Polanski could forge.

Love Affair (39)

Miller’s Crossing (90)

Mr. & Mrs. Smith (41)

Mr. Blandings Builds His Dream House (48): Husband, wife and lawyer.

Norma Rae (79)

Rain Man (88): “Charlie” > “Raymond” < “Dr. Bruner”

Raw Deal (48): Marsha Hunt, Claire Trevor and Dennis O’Keefe star.

Roman Holiday (53): Anglo-Roman fairytale (D.Trumbo) of checked and triangular love: Anne, Joe and Duty

Scarlet Street (45): “Lazy Legs” messed with the wrong bank clerk who had heart of an artist (Ed) but still had a Little Caesar (31) inside (Ouch!).

Song of Love (47)

Spartacus (60): “Spartacus” and “Varinia” and “Crassus”

Sudden Fear (52): Joan still rode crest of the wave churned up by Mildred Pierce (45), proving equal to the challenge anted-up by slinky Gloria.

The Best Years of Our Lives (46): Nobody ever scored on the rebound (“Marie” > “Fred” > “Peg”) like “Captain Fred.” And I don’t care that it’s just a movie, that closing scene with Dana and Teresa pulled together like magnets is pure love.

The Big Country (58): “Jim” and “Julie” didn’t know it, but they were squaring-off with “Pat” and “Steve” just after they did the “deed”…for “Old Muddy.”

The Big Sky (52)

The Blot (21 / silent)

The Earrings of Madame de… (53): Surname excluded to protect the innocent.

The Kid from Texas (39)

The Macomber Affair (47): Tale of a troubled twosome on African hunt with a guide in the middle. Self-discovery comes at the highest price while question of intent remains as open with Hemingway as it did with Theo Dreiser.

The Man Who Shot Liberty Valance (62)

The Man With the Golden Arm (55): Sinatra’s best as under-rated Eleanor bravely plays the part that no dishy dame wanted.

The Night of the Iguana (64): Maybe the most psychologically instructive and then ultimately heartfelt love triangle in cinema history.

The Pope of Greenwich Village: “Paulie” > “Charlie” < “Diane”

The Red Shoes (48): One a troubled triangle of personal love (“Boris” > “Vicky” < “Julian”), inter-locking with a 2nd that, for a time, formed a perfect triad of artistic expression in dance, composition and production. TRS is in that larger-than-admitted group of movies (100 +/-) in consideration for greatest all-time.

The Seventh Veil (45): Not surprising that the sensuous, soft Ann Todd (“Francesca”) could command a pentagon of love.

The Sheepman (58)

The Spy In Black (39)

The Third Man (49): “Holly” > “Anna” < “Harry”

Trader Horn (31)

Witness (85)

Working Girl (88): Two triangles for Melanie Griffith and Harrison Ford, one each for Sigourney Weaver and Alec Baldwin, I think. At this point I’m getting a little geometrically opposed, if you know what I mean.

Steven Keys
Photo credit: JamesCVanTrees, 1922, Mitchell-camera, wc.cca; pizza-triangles, 4.5.15, sunny-mama, wc; three-deer-illuminated, Haifa, German-colony, wc, Yuval-Y, 12.18.10, CC-GFDL; Cleopatra, 1963, 20CF, wc, R.Harrison-E.Taylor; Sabrina, 1954, Paramount, W.Holden-A.Hepburn, wc; DoctorZhivago, 1965, O.Shariff-J.Christie, wc, F.Young, MGM; ScarletStreet, cop-E.Robinson-J.Bennett, wc, UP, 1945; TheRedShoes, Ballerinailina, 1948, wc.cca, TheArchers, ADA; popcorn, T.Bresson, wc.cca, 6.15.16
Posted: 5.25.17, re-post 6.4 @ 6:36pm (photo) EST; Copyright © 2017

Bonnie and Clyde Ambushed Again, No Badges or Bullets But Bad Manners at Academy Gala

17 Mar

If you think the 89th Academy Awards snafu, Warren Beatty and Faye Dunaway being handed Best Actress envelope by staffers to announce and present the Best Picture award at the recent gala, was an accident as purported, I’m gonna’ guess there’s a good chance you’re comfortable too with the following conjectures:

1) Lee Harvey Oswald, double-agent with “Maggies drawers” and friend of clandestines Clay Shaw, David Ferrie, bag-man Jack Ruby and the FBI, fired off five shots in 3.5 seconds with one of the worst bolt-action rifles in history, ordered in the mail, aimed through a live oak in November from the Texas School Book Depository to assassinate President Kennedy;

2) A man named Shakspeare (no ‘e’ after ‘k’ spelled 3 ways), son of a Stratford-on-Avon glove-maker, with no public library or apparent capers to fortify his inspiration with the relevant nomenclature (“slang”) filling the voluminous literary product, wrote what most consider to be the greatest compilation of works in this planet’s history and yet by will devised a mere bowl and a sword but made no mention of the manuscripts likely most dear to its author’s heart;

3) Scientists, farmers, fire-fighters, polar ice-cap watchers, coastal residents and other folks in weather-affected livelihoods from around the world are blowing smoke when they red-flag a global-warming they’ve seen first-hand for years;

So how’d you do? Still a believer?

Innocent mishaps do happen but not in the Academy presentation they don’t, not with the Big presentation. In Jackson Pollock speak, “I deny the accident.” Why Mr. Beatty, who later expressed an awareness upon opening the envelope that he’d been handed the wrong card but proceeded to hand it to Dunaway without whisper of explanation is a curious bumble on his part. Age (b. 3.30.37 (79))?

Recently deceased movie expert and much beloved Robert Osborne (TCM) could attest to the fact that there have been errors committed in the AA’s long history, as when Sammy Davis Jr. was handed a wrong card on a music awarding in 1964. But none so serious in this most climactic of moments when the Best Picture Oscar® is announced and the statuette handed to the winner. It’s the high-point of the celebration and the biggest trophy in the bunch.

It’s a well vetted process that for near ninety years going back to the silents has prided itself on a meticulous production to avoid just that dreaded appearance of ineptitude, confusion and takesie backsies we saw in February, not to mention a loss of trust. I will not believe that that standard is not, for most, still in place.

But what’s the motive for one or more, and it’d likely be more (Where’s the fun doing it alone (ugh)?), to recklessly or intentionally throw a monkey-wrench into the works? Jealousy, childish, simple-minded jealousy may‘ve been the culprit.

And what does one do with cold envy? If you’re a snake, you don’t bury it, you find expression for it in skullduggery (See; Hamlet) by making two titans of the industry in Faye and Warren look bad. That they’re old, comparatively speaking, would make the theoretical dirty deed all that more satisfying to the doer(s) who, post-play, would smirk like the Grinch after his Whoville haul-away. Tee-hee.

Today, resentment for anything that is well established, be it a person’s advanced age and concomitant accomplishments, or time-tested traditions, even those that work, especially those that work, is at its apex.

It’s an arrogant mindset that has corporate backing: Out with the old, in with the new, change, change, change, unless of course it’s a helpful myth (See; Above). Don’t eat your young, heavens no, eat your Grandparents, instead. And that, even as everyone’s parade is headed to seniorhood, whether they get there or not.

‘How could they have done it, set them up, it’s so cold, so…dishonest?’ Yup.

I’d imagine it could’ve been accomplished quite easily by any number of people in the Academy or PricewaterhouseCoopers (PwC) chain-of-custody, made easier by the fact that organizers, while always guarding against flaws in the production through miscommunication and lethargy, were oblivious to even the possibility of one or more of their people intentionally gumming up the works.

Organizers wouldn’t have seen it coming this time but they’ll be on alert now with stepped-up monitoring in preparation and handling of announcement-cards.

Dishonesty and devious minds, they’re as old as Neanderthal short-changing Cro-Magnon in the first trade, ‘club for clams (‘Don’t give him all those, look at his forehead for crying out loud!’).’ But when too many of our leaders and celebrities seem to care not in the least what example they set, corruption grows rampant.

It’s not hard to find a story on corruption or greed today, they’re everywhere: Politics (S.Korea), schools (cheating), business (Volkswagen), media (fake news), the Marines (nude photos).

Sport is my usual theme and there the bad news is almost a daily line:

Olympian Ryan Lochte fabricates a false robbery report to Brazilian police and receives less than a year (10m) suspension from competitive swimming;

Ongoing PED use spans across the sport spectacle. It’s buoyed by enablers and apologists like HOF-voters who, where former baseball star Iván Rodríguez is concerned, enshrined the 13-time gold glove winning catcher in 2017, his first year of eligibility, even as the Puerto Rico native was named in former Texas Rangers’ teammate Jose Canseco’s watershed book, Juiced (05), as a user of performance enhancers with Jose claiming to’ve personally injected Iván (See also PED debate; Olympic swimmers Milorad Cavic v. Michael Phelps);

Michael Sam using an announcement on his sexual orientation as a means to draw attention and maybe preference for the approaching NFL draft;

Notre Dame Heisman hopeful, LB Manti Te’o concocts a story of a non-existent girlfriend who is, of all things, dying from cancer and today rosters in the NFL;

Maybe not NBA players so much as the draft-dingy junior media who encourage the prospect of tanking, and receive monetary compensation to write as much;

— — —

We had streakers in my youth (♫ The Streak (‘74) ♫). Call is spontaneous, kooky, a bit shocking but all in good fun. Today, those nudists have grandkids who take part in flash mobs to try to intimidate and frighten.

Don’t expect more shenanigans at the Academy Awards in the near future. Nobody wants pandemonium. Strike that, MOST don’t want pandemonium.

But if I’m over fifty-five and work in the movies, I wouldn’t plan on ever attending the big ceremony ever again, not until someone come’s clean or gets called on that red carpet. And then I’m not forgetting how Maureen O’Hara was treated.

And dilly-dally on that issue shouldn’t forestall the decision to find another new host for the 2018 AA and let Jimmy Kimmel focus on his talk show, or better yet, get back to what he’s best at, Crank Yank(ing). At least “Special Ed,” “Birchum” and “Gladys” were all real, god love ‘em.

Steven Keys
Photo credit: Oscar® statuette, wc.cca, 1951, Kon-Tiki, V.Atanassova; W.Beatty, wc, A.Light, 3.26.90; Oscars®, I.Hayes, Enterprise, Shaft, 4.22.72, wc; Oscars®, Bjork-Swan, 2001, Marjan-Pejoski, C.D.Riccio, wc; Oscars®, T.Hanks, 1989, wc, Light; Oscars®, wc, Hopper-Bigelow, 2.28.11, AA83, C.Lazo, Army; D.Taylor, wc, 1967, Bonnie&Clyde, WB-7A
Posted: 3.17.17 @ 1:10pm, edit 11:17; Copyright © 2017

Yore Movie Swells: ‘We..Rob..Banks’ and the Bonniest Lines In Classic Film Dialogue

16 Feb

Even omitting the TCM index and Shakespeare (Ed de Vere) flicks, there are more indelible lines in the remaining 100+ years of movie dialogue than there are lights to carpet a starry night sky. That includes the silent era, their captions and speaking parts in most every language under the Sun.

One clever quip certainly won’t carry a film but where there’s one golden nugget there’s sure to be more. With a top script, a director can make what would normally constitute just so many sharp looking wait-staff and personal trainers (actors) sound like gosh-darn poets.

Great dialogue can be as lengthy as Orson Welles “cuckoo clock” pitch (The Third Man) or as brief as Elizabeth Taylor’s modish “wow” as she peeked in on lonely billiard boy Montgomery Clift (A Place in the Sun).

It can be sung (The Umbrellas of Cherbourg), whistled (“Steve” in To Have and Have Not), set to motion (Davis’ coat drape on Ratloff in All About Eve), read in the wink of an eye (Poitier to cell-mate Wilson In the Heat of the Night), a raise of the eye-brows (Shearer on Lermontov news in The Red Shoes), a nod of the head (Moore’s closing answer to Huston in Out of the Past (47)), a hand gesture (Ferrer’s puppets in Lili) and even delivered in rodent-speak (Perri). Meaning that nearly every action in a film, a good one that is, makes a statement.

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Some of the quotes listed herein are célébrité (“We’re gonna need a bigger boat (Jaws)”), by itself no warrant for inclusion, others as obscure as this writer’s product. Some are funny, some sentimental, others pointed, viciously vague, suggestive in how far we’ve come or instructive in how far we have to go.

While most movie lines are best appreciated in their context, not subtext (oy vey), like “Tibbs” expert answer In the Heat of the Night (“I believe old Harv is a southpaw, now ain’t he, Shagbag (trooper)? What if he is, what’s that make him (Shagbag)? Innocent (Tibbs)”), most listed herein can stand on their own merit.

With a few exceptions, nearly all of these quotes are in English. That, even as its greatest proponent in the Bard (Shake-a-Spear) is rarely referenced, for if he (or Annie Hall) were, there‘d be no end to this write. What this list is is a smattering of the myriad of verbal gems that’ve been glittering on the silver screen for over a century and harvested in the heart by those viewers who mine for rarity.

This is a listing of memorable movie lines, a smorgasbord of flavorful offerings to sample for the film connoisseur and casual customer alike, not a ranking of the believed greatest dialogue ever delivered.

Selecting your favorites is fine and one can easily separate toppers from routine deliveries. But to claim an ability, a means to rank one line (or title (Citizen Kane (AFI #1 (ugh))) above others because you’ve consulted a cabal of credentialed critics is the highest order of arrogance and a clear sign of a film-lover fake.

So if you like classic flicks (< 2000), glory days for dialogue, and you prefer story over computerized imagery or the contemporary cocktail of gratuitous violence + sex, drink in some of these great lines, all natural flavors, gluten-free, no sugar-added and maybe one of ’em will “make (your) day.” Lights, camera, action!

— — —

-We…rob…banks: Bonnie Parker (Faye Dunaway), Bonnie and Clyde (1967)

-Oh, I don’t know…everybody makes book on something: “Stoker Thompson (Robert Ryan),” The Set-Up (1949)

-Like Steve says, winning isn’t everything, it’s the only thing: “Carol Williams (Sherry Jackson),” Trouble Along the Way (1953)

-Sun only shines half the day, Tom (Wayne), the other half is night: “Fen (Coleen Gray),” Red River (1948)

-There are two things better than a good gun, a Swiss watch and a woman from anywhere: “Cherry (John Ireland),” Red River (1948)

-Almost anything coming out of the mouth of Edna May Oliver (1883-1942)

-How would you define ballet, Lady Neston? Well, one might call it the poetry of motion perhaps, or…(Browne). One might, but for me it is a great deal more. For me it is a religion: “Boris Lermontov (Anton Walbrook),” The Red Shoes (1948)

-Why do you want to dance (“Lermontov“)? Why do you want to live?: “Victoria Page (Moira Shearer),” The Red Shoes

-Because dear miss…what was your name (Walbrook)? Victoria Page (Shearer). Yes, Miss Page, because when I come to a party I don’t expect to sit for an audition (Anton). Yes, you are quite right: “Vicky (Shearer),” The Red Shoes

-You cannot alter human nature (Massine). No? I think you can do even better, you can ignore it!: “Lermontov (Walbrook),” The Red Shoes

-You cannot have it both ways (to “Ljubov” & “Page”). A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never!: “Boris Lermontov (Walbrook),” The Red Shoes

-I want you to dance tonite with the same ecstasy I’ve seen in you only once before. At the Mercury Theatre (Vicky). Yes, in the Mercury Theater in London, on a wet, Saturday afternoon: “Lermontov (Walbrook) (Boris now in love)”

-What the devil have you (Craster) got to be worried about? It’s a fine score, a magnificent score! I only wish I had…go on! Former lead composer and conductor “Livingston ‘Livy’ Montague (Esmond Knight),” The Red Shoes

-Vicky, Vicky, dance to whatever tempo you like. I’ll follow you! New composer and conductor “Julian Craster (Marius Goring),” The Red Shoes

-Would he (“Craster”) give it up if you asked him (Walbrook)? I don’t know (Shearer). You do know! I wouldn’t ask him. Then why is he asking you?! Does he KNOW what he’s asking?: “Lermontov (Walbrook),” The Red Shoes (the crux)

-Nobody else has ever danced the Red Shoes since you left. Nobody else ever shall. Put on the red shoes, Vicky (now entranced), and dance for us again!: “Lermontov (Walbrook),” The Red Shoes

-If I could be anyone, a child who could be brave from the beginning: “Roslyn (Marilyn Monroe),” The Misfits (1961)

-It all blows-up in your face sometimes, doesn’t it?: “Joyce Harwood (Veronica Lake);” The Blue Dahlia (1946)

-I got a new suit (Brian Donlevy). It looks like the suit got you: “The Boss (Akim Tamiroff),” The Great McGinty (1940 (loud suit))

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-You know this fish, he don’t go to school, he don’t know French but he pretty smart, too: “Manuel (Spencer Tracy),” Captains Courageous (1937)

-You (Freddie Bartholomew) show is a tonic to yoself: “Doc” the cook (Sam McDaniel),” Captains Courageous

-He (Douglas) will hug you to pieces then take those pieces home with him: “Manuel (Tracy),” Captains Courageous

-Fiddle dee-dee. War, war, war, this war talk’s spoiling the fun at every party this spring! “Scarlett O’Hara (Vivian Leigh),” Gone With the Wind (1939)

-Whistle (Gable). Gasp (Leigh). Has the war started?: “Rhett Butler (Clark Gable) (meets “Scarlett” for the first time),” Gone With the Wind

-All we’ve got is cotton, slaves and…arrogance: “Butler,” Gone With the Wind

-Frankly my dear, I don’t give a damn: “Butler (Gable) (says goodbye to his “Scarlett“),” Gone With the Wind

-But tomorrow…is another day!: “Scarlett (Leigh),” Gone With the Wind

-A tribe’s greatness is figured by how mighty its enemies be: “Del Gue (Stefan Gierasch),” Jeremiah Johnson (1972)

-Is it possible that something is holy to the celebrated agnostic (March)? Yes, the individual human mind in a child’s power to master a multiplication table, there is more sanctity than in all your shouted ‘amens,’ ‘holy holies’ and ‘hosannas!’ An idea is a greater monument than a cathedral and the advance of knowledge is a greater miracle than all the sticks turned to snakes or the parting of the waters: “Col. Henry Drummond (Spencer Tracy),” Inherit the Wind (1960).

-Progress has never been a bargain, you have to pay for it. Sometimes I think there’s a man who sits behind a counter and says, ‘all right, you can have a telephone but you lose privacy and the charm of distance. Madam, you may vote, but at a price. You lose the right to retreat behind the powder puff or your petticoat. Mister, you may conquer the air but the birds will lose their wonder and the clouds will smell of gasoline’: “Col. Henry Drummond (Tracy)

-All you have to do is knock on any door and say, ‘If you let me in I’ll live the way you want me to live and I’ll think the way you want me to think and all the blinds will go up and all the doors will open and you’ll never be lonely ever again. If that‘s the case I‘ll change the plea, this is if you know the law‘s right and you’re wrong: “Col Drummond (Tracy),” Inherit the Wind

-Mr. Brady, why do you deny the one faculty of man that raises him above the other creatures of the earth, the power of his brain to reason? What other merit have we? The elephant is larger, the horse swifter and stronger, the butterfly is far more beautiful, the mosquito is more prolific, even the simple sponge is more durable: “Col. Henry Drummond (Tracy),” Inherit the Wind

-The bible is a book. It’s a good book but it is not the only book: “Col. Henry Drummond (Tracy),” Inherit the Wind

-Youth can be so pure, what do you know of good or evil? What do you know of the sum of a man’s life? He betrayed me (Anderson)! You betrayed yourself! You see my husband as a saint, and so he must be right in everything he says and does, and then you see him as a devil and everything he does must be wrong. Well, my husband’s neither a saint nor a devil, he’s just a human being and he makes mistakes. How can you defend him? it’s not he I’m defending but the 40 years I’ve lived with this man and watched him carry the burdens of people like you. If he’s been wrong at least he stood for something. What do you stand for? Do you believe in Bertram Cates (York)? I believe in my husband. What do you believe in?: “Mrs. Sara Brady (Florence Eldridge),” Inherit the Wind

-What touches you (Kelly), what warms you? Every man has a dream. What do you dream about? What, what do you need? You don’t need anything, do you, people, love, an idea just to cling to? You poor slob. You’re all alone. When you go to your grave, there won’t be anybody to pull the grass up over your head, nobody to mourn you, nobody to give a damn. You’re all alone (Tracy). You’re wrong, Henry. You’ll be there. You’re the type. Who else would defend my right to be lonely?: “E.K. Hornbeck (Gene Kelly),” Inherit the Wind

-Nobody lives forever: “Nick (John Garfield),” Nobody Live Forever (1946)

-Spill it punk or I’ll splash your brains out!: “Mickey,” 99 River Street (1953)

-Who are you (Wood (POY)))? I’m next: “Tyrone ‘Mr. Clean’ Miller (Laurence Fishburne),” Apocalypse Now (1979)

-You can lick me if you want and I’ll still love you: “Betsy Bartlett McMasters (Claudette Colbert),” Boom Town (1940) (context)

-You know what the fellow said – in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace and what did that produce, the cuckoo clock: “Harry Lime (Orson Welles),” The Third Man (1949)

-Course, a situation like that (black market) does tend to amateurs but…but, well, they (floaters) can’t stay the course: Carol Reed (narrator), The Third Man

-Be sensible, Martins (Howard). I don’t have a sensible name, Calloway: “Holly Martins (Joseph Cotton), The Third Man

-Dancing means everything to me!: “Judy (O’Hara),” Dance, Girl, Dance (1940)

-Pardon, how do I wire congratulations to the Pacific Ocean?: “Matt Libby (Lionel Stander),” A Star is Born (1937) (context)

-In Italian there is a no word for this ‘crooner (“de Vinci (Adolphe Menjou)“). That’s okay, Professor, there’s no word in English for spaghetti: “Dick Purcell (Dick Powell),” Broadway Gondolier (1935)

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-I was married twice before – once at 16, once at 21. One was a crybaby and the other was a caveman. Between the two of them I said goodbye to girlhood: “Helen Wright (Joan Crawford),” Humoresque (1946)

-Here’s to love: “Helen Wright (Joan Crawford),” Humoresque

-The earth is my body, my head is in the stars!: “Maude Chardin (Ruth Gordon),” Harold and Maude (1971)

-Oh, I don’t drink (“Harold (Bud Cort)”). It’s okay, it’s organic: “Maude (Gordon),” Harold and Maude

-It’s best not to be too moral, you cheat yourself out of too much life: “Maude (Gordon),” Harold and Maude

-I made you breakfast…scrambie eggs: “Chip (Jim Carrey),” The Cable Guy

-You mean Heather is a prostitute (“Steve”)? Of course she is, you think a girl like that’d hang out with us if she wasn’t? “Chip (Carrey),” The Cable Guy (1996)

-I always had a hard time realizing how important we are: “George Hasting (Russell Hicks),“ The Big Store (1941)

-Course, I’ll have to notify the police (Gerstle). This is a case for homicide. Homicide (O‘Brien)!? “I don’t think you fully understand, Bigelow, you’ve been murdered: “Dr. MacDonald (Frank Gerstle),” D.O.A (1950)

-I knew there was something wrong with that guy. Never met a gin-drinker yet that you could trust: “Parnell (Arthur O’Connell),” Anatomy of a Murder (1959)

-It’s up to you: Jim Garrison (Kevin Costner)), JFK (1991) (context)

-It was a violation of the most basic protection codes and the best indication of a massive plot (to kill JFK) in Dallas: “Mister X (Donald Sutherland),” JFK (1990)

-I’ll show you how a Prussian officer can fight (Schell). And I’ll show you how the Iron Crosses grow: “Sgt. Rolf Steiner (James Coburn),” Cross of Iron (1977)

-Why don’t you buzz off on your broomstick!: “Maxine (Ava Gardner),” The Night of the Iguana (1964)

-Her eyes said ‘NO’ in big, blue capital letters: “Miss Hannah Jelkes (Deborah Kerr),” The Night of the Iguana

-All women, whether they want to face it or not, want to see a man in a tied-up situation. They spend their entire lives trying to get a man in a tied-up situation. Their lives are fulfilled when they an get a man or as many men as they can into a tied-up situation!: “Shannon (Richard Burton), The Night of the Iguana

-I respect anyone who’s had to fight and howl for their decency (Kerr). What do you respect in me, Miss Thin, Standing-Up, female Buddha (Burton)!? Far more than I respect those ones who had theirs handed out to them at birth and never afterwards snatched away from them by unbearable torments: “Jelkes (Deborah Kerr), The Night of the Iguana

-And what is my problem, Miss Jeltz (Burton)? The oldest one in the world, the need to believe in someone or something, almost anyone or anything: “Jelkes (Kerr),” The Night of the Iguana

-I don’t regard a home as a place, a building, bricks, wood, stone. I think of a home a something two people have between them in which each can nest, rest, live in, emotionally speaking: “Jelkes (Kerr),” The Night of the Iguana

-I’m not a bird, Mr. Shannon. I’m a human being and when one of that unique species builds a nest in the heart of another, the questions of permanence or propagation are not the first or even the last things to be considered: “Jelkes (Kerr),” The Night of the Iguana

-There are worse things that chastity, Mr. Shannon (Kerr). Yes, lunacy and death: “Shannon (Burton),” The Night of the Iguana

-Nothing human disgusts me, Mr. Shannon, unless it is unkind or violent: “Jelkes (Kerr),” The Night of the Iguana

-How did you, how did you beat this blue devil of yours (Burton)? I showed him I could endure him and make him respect my endurance: Endurance is something spooks and blue devils respect. And they respect all the tricks panicky people use to outsmart and outlast the panic (Kerr). Like taking deep breaths (Burton)? Or rum cocoas: “Miss Jelkes (Kerr),” The Night of the Iguana

-Why don’t we go down to the beach (Gardner)? I can a…I can get down hill, Maxine, but I’m not too sure about getting back up (Burton). I’ll get you back up, Baby. I’ll always get you back up: “Maxine (Gardner),” The Night of the Iguana

-He wishes: “Charlotte Vale (Bette Davis”), Now, Voyager (1942)

-If we both try hard to protect that little strip of territory that is ours: “Charlotte (Bette Davis),” Now, Voyager

-Oh Jerry, don’t let’s ask for the moon. We have the stars: “Charlotte (Bette Davis),” Now, Voyager (context)

-(On plane, “Jack” shows his altered FBI badge now with his picture to 9 (?) boy seated aside): It looks fine…to me: Scott McAfee, Midnight Run (1987)

-You two are dumbest bounty hunters in history…you couldn’t deliver a bottle of milk!: “Jon Mardukas (Charles Grodin),” Midnight Run

-Did you ever have sex with an animal, Jack? Remember those chickens around the Indian Reservation, there were some good-looking chickens around there, Jack, you know, between us (Grodin). Yeah, there were a couple there I mighta’ taken a shot at (laughter): “Jack Walsh (Robert De Niro),” Midnight Run

-I don’t think she’s coming back (Grodin). Yeah, I don’t either, I don’t either (De Niro). Sometimes you just have to let go, just get yourself a new watch: “Jon (Grodin),” Midnight Run (context)

-What do you think you are, for Christ-sake, crazy or something? We’ll you’re not, no crazier than the average asshole out walking the street: R.P. McMurphy (Jack Nicholson),” One Flew Over the Cuckoo’s Nest (1975)

-Koufax’ curveball is snapping off like a fucking fire-cracker: “McMurphy (Jack Nicholson),” One Flew Over the Cuckoo’s Nest

-Somebody give me a wiener before I die!: “Randall P. McMurphy (Jack Nicholson),” One Flew Over the Cuckoo’s Nest

-Mr. Scanlon (Fletcher)? I want to know why the dorm is locked in the daytime and the weekends: “Scanlon (Delos Smith),” One Flew Over the Cuckoo’s Nest

-A man like him (“Jim McKay“)…is very rare: “Ramon (Alfonso Bedoya),” The Big Country (1958) (context)

-All I can say McKay is you take a hell of a long time to say goodbye: “Steve Leach (Charlton Heston),” The Big Country (moonlight fistfight)

-Greenhorns have to get knocked around a little: “Jim McKay (Gregory Peck),” The Big Country (1958)

-Obviously Mr. McKay is man who is afraid of only one thing, that people may suspect him of showing off: “Julie Maragon (Jean Simmons),” The Big Country

-You want me, Pop (Connors)? Before you was born, I did: “Rufus Hannassey (Burl Ives),” The Big Country

-I’m not responsible for what people think, only for what I am: “Jim McKay (Gregory Peck),” The Big Country

-How do you like Blanco Canyon, huh (Ramón)? It’s a hell of place for sailor: “Jim McKay (Gregory Peck),” The Big Country

-Some people you can’t insult at all, others get upset over the littlest thing: “Pat Terrell (Carroll Baker),” The Big Country

-An amazingly good actor met an amazingly receptive audience: Napoleon Bonaparte (Claude Rains), Hearts Divided (1936)

-Almost anything that came out of the mouth of Ned Sparks (1883-1957)

-And how is your cousin, Edmond de Boeldieu, who was Military Attaché in Berlin (von Stronheim)? He is well and happy. He lost an arm and married a very rich wife (Fresnay). A fine career: “Captain von Rauffenstein (Erich von Stronheim),” The Grand Illusion (1937)

-I ain’t spittin’ on my whole life: “Monte (Lee Marvin),” Monte Walsh (1970 (turning down job as a Western dude))

-I want to make love to you until you scream (Morris). Can’t scream!: “Jerry Martin (Norma Shearer),” The Divorcee (1930)

-She’s a grifter, just like her brother. Probably had grifter parents and grifter grandparents and someday they’re each gonna’ spawn little grifter kids: “Tom (Gabriel Byrne),” Miller’s Crossing (1990)

-Nobody knows anybody, not that well: “Tom (Byrne),” Miller’s Crossing

-Old man’s still an artist with the Thompson: “Terry (L.Flaherty),” Miller’s

-If you can’t trust a fix, what can you trust?: “Caspar (J.Polito),” Miller’s

-You used to be big (Holden). I am big, it’s the pictures that got small: “Norma Desmond (Gloria Swanson),” Sunset Boulevard (1950)

-There were children in those days (Revolution) who lived off human flesh: “Lt. Gen. Yevgraf Andreyevich Zhivago (Alec Guinness),” Doctor Zhivago (1965)

-Don’t you want to believe it (Guinness)? Not if it isn’t true!: “Tonya Komarova (Rita Tushingham),” Doctor Zhivago

-A nameless number (Christie) on a list that was later mislaid: Lt. Gen. Yevgraf Andreyevich Zhivago (Alec Guinness),” Doctor Zhivago

-You only had one glass (Cowan)? But you kept filling it up: “Jeffrey Baird (Edward Everett Horton),” Shall We Dance (1937)

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-I want to change their minds, not kill them for having the same weaknesses we all possess: Mohandas Gandhi (Ben Kingsley), Gandhi (1982)

-It’s the story of my life, I always get the fuzzy end of the lollipop: “Sugar (Marilyn Monroe), Some Like It Hot (1959)

-You don’t’ understand Osgood, I’m a man (Lemmon)! We’ll, nobody’s perfect: “Osgood Fielding III (Joe E. Brown),” Some Like It Hot

-I’m getting a cramp in the most peculiar place: “Francesca Cunningham (Ann Todd),” The Seventh Veil (1945)

-Life is short, art long, decision difficult and experiment perilous: “Bederaux (Paul Lukas),” Experiment Perilous (1944)

-So help me, he (Jordan Benedict IV) looks like a little wet-back: “Bick Benedict (Rock Hudson),” Giant (1956)

-Never trust a nigger (Hackman). He could’ve been white (Scheider). Never trust anyone!: “Popeye Doyle (Gene Hackman),” The French Connection (1971)

-Take your last look at free-side, kid: Inmate (Gail Bonney?), Caged (1950)

-For that forty bucks I heisted, I certainly got myself an education: “Marie Allen (Eleanor Parker),” Caged (1950)

-Can’t beat aces: “Nick (Humphrey Bogart),” The Wagons Roll at Night (1941)

-La-dee-da, la-dee-da: “Annie Hall (Diane Keaton),” Annie Hall (1977)

-The only word for this is transplendent: “Pam (Shelley Duvall),” Annie Hall

-You know how to whistle, don’t you Steve? You just put your lips together and, blow: “Slim (Lauren Bacall),” To Have and Have Not (1944)

-He didn’t invent it (Bogart). Invent what (Moran)? Being afraid: “Harry ‘Steve’ Morgan (Humphrey Bogart),” To Have and Have Not

-What manner of man is it I’ve married (O‘Hara)!? A better one than I think you know, Mary Kate: “Hugh Forbes (Charles Fitzsimmons),“ The Quiet Man (1952)

-There’ll be no bolts or locks between us Mary Kate, except those in your little mercenary heart: “Sean Thornton (John Wayne),” The Quiet Man

-As only an American would think of emerald green! “Elizabeth Playfair (Eileen Crowe),” The Quiet Man (Sean’s new cottage)

-By the way, don’t underestimate Danaher, he’s got a tremendous right and jaw of granite: “Rev. Cyril Playfair (Arthur Shields),” The Quiet Man (persuading)

-Will you join me in a glass of…no…you’ll be in training now, of course: “Playfair (Shields),” The Quiet Man (converted)

-No, no, you just said you loved her. There’s some difference between lovin’ and likin.’ When I married Jennie’s mother, I-I didn’t love her, I liked her, I liked her alot. I liked Martha for at least three years after we were married and then one day it just dawned on me I loved her. I still do…still do. You see, Sam, when you love a woman without likin’ her, the night can be long and cold, and contempt comes up with the sun: “Charlie Anderson (Jim Stewart),” Shenandoah (1965)

-(Test bout) I won’t hurt you…I don’t think I’ll even hit you: “Harry Watson (Rhys Williams),” Gentleman Jim (1942 (test)

-Being a good loser is hard but being a good winner is even harder: John L. Sullivan (Ward Bond, handing first belt dated 7.4.1887 to new champion, James J. Corbett), Gentleman Jim (1942)

-Right or wrong, the brand sticks: “Shane (Alan Ladd),” Shane (1953)

-Shane, there’s too many!: “Joey (Brandon deWilde),” Shane (1953)

-♫ Some enchanted evening, you will see a strangeeeeeer ♫: “Nobody Falfa (Harrison Ford),” American Graffiti (1973)

-Rome wudn’t burnt in a day: “Joe (Bo Hopkins),” American Graffiti (1973)

-Why don’t you kiss my sister’s black cat’s ass: “Clarence ‘Crazy’ Lee (Bo Hopkins),” The Wild Bunch (1968)

-Wunden mein herz mit einer monotonen mattigkeit (Wounds my heart with a monotonous languor): German officer, The Longest Day (1962)

-You see, Mr. Gittes (Jack Nicholson), most people never have to face the fact that at the right time and the right place they’re capable of anything: “Noah Cross (John Huston),” Chinatown (1974).

-Course I’m respectable. I’m old. Politicians, ugly buildings and whores all get respectable if they last long enough: “Noah Cross (Huston), Chinatown (1974)

-I hope you don’t mind. I believe they should be served with the head (“Cross (John Huston)”). Fine, just as long as you don’t serve chicken that way: “Jake Gittes (Jack Nicholson),” Chinatown

-Almost anything that came out of the mouth of Thelma Ritter (1902-69)

-That must be your friend over there. They didn’t leave much of him (Evans). Must have taken out his heart, eh?: “Bubba (Geoff Parry),” Mad Max (1979)

-When it’s time to shoot, shoot, don’t talk: “Tuco (Eli Wallach),” The Good, the Bad and the Ugly (1966)

-There are two kinds of people in this world, Tuco, those with loaded guns and those who dig. You dig: “Blondie (Eastwood),” The Good, the Bad & the Ugly

-You’re (Eastwood) the son of a 1000 fathers, all of them bastards, too!: “Tuco (Wallach),” The Good, the Bad and the Ugly

-How’s that calf ever gonna’ dry off if she keeps licking her?: “Arnold (Butch Jenkins),” Our Vines Have Tender Grapes (1945)

-I’m five (Jenkins). Oh!: “Viola Johnson (Frances Gifford),” Our Vines Have Tender Grapes (1945, most adorable ‘Oh’ in movie history)

-You’re capable of such beautiful dreams and horrible nightmares: Vegan as dad of “Ellie Arroway (David Morse),” Contact (1997)

-In the few hours we had together we loved a lifetime’s worth: “Sarah Connor (Linda Hamilton),” The Terminator (1984)

-I’ll be back: “T-800 Model 101 cybernetic android (Arnold Schwarzenegger),” Terminator 2: Judgment Day (1991 (in friendship v, 1984 bad guy))

-There is no fate but what we make: the younger “John Connor (Ed Furlong),” Terminator 2: Judgment Day

-Phoebe, I call myself Phoebe (Bates)! And so you should: “Addison DeWitt (George Sanders),” All About Eve (1950) (sarcasm)

-It’s time the piano learned it didn’t write the concerto!: “Lloyd Richards (Hugh Marlowe),” All About Eve

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-Fasten your seatbelts, it’s going to be a bumpy nite!: “Margo Channing (Bette Davis),” All About Eve

-Some folks say things never die, they just go on livin’ in a different way: “Will (Dan) (George Montgomery),” Gun Duel In Durango (1957)

-♫ Farewell and adieu to you fair Spanish ladies, farewell and adieu to you ladies of Spain ♫: “Quint (Robert Shaw), Jaws (1975)

-Here lies the body of Mary Lee, died at the age of a hundred and three, for 15 yrs she kept her virginity, not a bad record in this vicinity: “Quint (Shaw), Jaws

-Know the thing about a shark he’s got…lifeless eyes, black eyes like a doll’s eyes. When he comes at ya,‘ doesn’t seem to be livin,’ until he bites ya,’ and those black eyes roll over white and then…aw then you hear that terrible high pitched screamin,’ the ocean turns red in spite of all the poundin’ and hollerin’ and they all come in and they…rip ya’ to pieces: “Quint (Shaw), Jaws

-I used to be afraid of the water (“Brody”). I can’t imagine why: “Hooper,” Jaws

-Do you think this was all the work of little Don Segretti? “Deep Throat (Hal Holbrook),” All The President’s Men (1976)

-I screwed up (revealing LBJ plan to replace FBI’s J. Edgar Hoover), but I wasn’t wrong: Bradlee (Jason Robards), All the President’s Men

-I have a wife, family, dog and a cat!: Clawson voice, All The President’s Men

-You know the results of the latest Gallup Poll? Half the country never even heard of the word Watergate. Nobody gives a shit. You guys are probably pretty tired, right? Well, you should be. Go on home, get a nice hot bath, rest up, 15 minutes. Then get your asses back in gear. We’re under a lot of pressure, you know, and you put us there. Nothing’s riding on this except the, uh, first amendment to the Constitution, freedom of the press, and maybe the future of the country. Not that any of that matters, but if you guys fuck up again, I’m going to get mad: Ben Bradlee (Jason Robards), All the President’s Men

-Death ends a life, but it doesn’t end the relationship which struggles on in the survivors mind towards some resolution which it may never find: “Gene Garrison (Gene Hackman),” I Never Sang to My Father (1970)

-For over a thousand years Roman conquerors returning from the wars enjoyed the honor of a tumultuous parade. In the procession came trumpeters, musicians and strange animals from conquered territories, together with carts laden with treasure and captured armaments. The conquerors rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children robed in white stood with him in the chariot or rode the trace horses. A slave stood behind the conqueror holding a golden crown and whispering a warning that all glory is fleeting: General George S. Patton (George C. Scott), Patton (1970)

-I have alot of faults, Brad, but ingratitude isn’t one of ‘em. I owe you alot. Hell, I know I’m a prima donna. I admit it. What I can’t stand about Monty is, he won’t admit it: General Patton (Scott), Patton

-Who said anything about Palermo (Gen.Patton)? I can read a map! General Omar Bradley (Karl Malden), Patton

-What son of bitch (Bradley) is in charge of this operation (G.I.)!? I don’t know but they aughta’ hang him: Omar Bradley (Malden), Patton

-Gen. Alexander says you are not to take Palermo (staffer). Ask him if he wants me to give it back: George Patton (Scott), Patton

-You’re right, Dick, the world grew up. Hell of a shame…god how I hate the 20th century: George Patton (Scott), Patton

-You (Guinness)? Youuuuuuu: “Commander Shears (William Holden),” The Bridge On the River Kwai (1957)

-Go Bears!: Hooker #2 (Melissa Peterman), Fargo (1996) (context)

-Thanks a bunch!: “Chief Marge Gunderson (Frances McDormand),” Fargo

-Being crazy about a woman (Burnstyn) like her was always the right thing to do: “Sam the Lion (Ben Johnson),” The Last Picture Show (1971)

-Her and her husband was…young and miserable with one another like so many young married folks are: “Sam (Johnson),” The Last Picture Show

-Sonny, your food’s gettin’ cold: “Sam (Ben),” The Last Picture Show (mercy)

-We play the game, fate controls the cards: “Grandpere (A.Hale),” Algiers (38)

-Who ever heard of starting a war in December!: “Violet Price (Spring Byington),” The Enchanted Cottage (1945)

-Get up, Spartacus, you Thracian dog! Roman legion (?), Spartacus (1960)

-You might even be intelligent..dangerous for a slave: “Marcellus,” Spartacus

-Most Romans love her (the City) as their mother but Crassus (Olivier) dreams of marrying the old girl: “Gracchus (Charles Laughton),” Spartacus

-It would take a great woman to get Crassus to fall out of love with himself: “Gracchus (Laughton), Spartacus

-When a free man dies he loses the pleasure of life. A slave loses his pain. Death is the only freedom a slave knows. That’s why he’s not afraid of it: Spartacus (Kirk Douglas),” Spartacus

-You’ve already been made a fool (Dall), let’s not add the trappings of a clown: Crassus (Laurence Olivier), Spartacus

-I am Spartacus!: “Antoninus et al (Tony Curtis et al),” Spartacus

-Let us drink to a new world of gods and monsters!: “Dr. Pretorius (Ernest Thesiger),” Bride of Frankenstein (1935)

-Almost anything that came out of the mouth of Hattie McDaniel (1895-52)

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-It was a glorious time. The wise guys were all over the place. It was before Appalachia: “Henry Hill (Ray Liotta), Good Fellas

-Now go home and get your fuckin’ shine-box (to “Tommy”)!: “Billy Batts (Frank Vincent),” Good Fellas (1990)

-I’m funny how, I mean funny like I’m a clown, I amuse you, I make you laugh, I’m here to fuckin’ amuse you? What do you mean funny, funny how, how am I funny?: “Tommy (Joe Pesci),” Good Fellas

-If there is any doubt, there is no doubt: “Sam (Robert De Niro),” Ronin (1998)

-What we have here is…a failure…to communicate: “Captain (Strother Martin),” Cool Hand Luke (1967)

-Stay down, your beat!: “Dragline (G.Kennedy),” Cool Hand Luke (empathy)

-There’s gonna’ be a whole lotta’ world shaking going on, Luke. We’ll send ya’ a postcard: “Dragline (Kennedy),” Cool Hand Luke

-Sometimes nothin’ can be a real cool hand: “Luke (Newman),” Cool Hand Luke

-What, are you calling me a liar (Dragline)? No, just that you have a common & likable tendency towards exaggeration: “Society (J. Cannon),” Cool Hand Luke

-Nobody can eat 50 eggs: “Society (J.D. Cannon),” Cool Hand Luke (stubborn)

-♫ As he started to go I started to know how it feels when the universe reels ♫: “Esther Smith (Judy Garland),” Meet Me In St. Louis (1944)

-♫ Soooo, have yourself a merry little Christ..mas…nooooooooooooooow ♫: “Esther (Garland),” Meet Me in St. Louis

-You shouldn’t kiss a girl when you’re wearing that gun, leaves a bruise: “Helen (Velma) (Claire Trevor),” Murder My Sweet (1944)

-Hey, you done good, buddy boy (Smith). Thanks, Daddy-Oh!: “Anybody’s (Susan Oakes),“ West Side Story (1961)

-Huh?: ”Del Griffith (John Candy),” Planes, Trains & Automobiles (1987) (his surprise after plowing into a bad motel and just before burn-rubber getaway)

-We have about as good a chance of playing pick-up-sticks with our butt-cracks as we do getting a flight out of here tonite: “Del Griffith (John Candy),” Planes, Trains and Automobiles (1987)

-Love is not a big enough word (for my wife): “Del Griffith (John Candy),” Planes, Trains and Automobiles

-Daddy! “Marti Page (O. Burnette),” Planes, Trains and Automobiles (home)

-Those aren’t pillows! “Neal (Steve Martin),” Planes, Trains and Automobiles

-You don’t need to be crazy to do this but it doesn’t hurt: “Buck Kennedy (Buck Jones) (roping routine),“ Hollywood Round-Up (1935 (context))

-So shines a good deed in a weary world (de Vere): “Willy Wonka (Gene Wilder),” Willy Wonka & the Chocolate Factory (1971)

-I aughta’ take this pencil and draw a circle around you: “Billie (Judy Holliday),” Born Yesterday (1950)

-I’ve never been insured in my life. I don’t believe in it. There’s no risk: “Lewis Medlock (Burt Reynolds).” Deliverance (1972)

-Sometimes you have to lose yourself before you can find anything: “Lewis Medlock (Burt Reynolds),” Deliverance

-This corn is special, isn’t it?: “Bobby Trippe (Ned Beatty),” Deliverance (to break the mood (“Ed”) at the dinner table)

-Why do you wanta’ go messin’ with that river (Seamon Glass)? Because it’s there!: “Lewis (Reynolds),“ Deliverance

-Almost anything that came out of the mouth of Frank Morgan (1890-49)

-Well, we’re back (gasp) in the car again (Mazzello). Well, at least you’re out of the tree: “Dr. Alan Grant (Sam Neill),” Jurassic Park (1993)

-They remember: “Robert Muldoon (Bob Peck),” Jurassic Park

-What are you rebelling against, Johnny ((Maley)? What do ya’ got?: “Johnny (Marlon Brando),” The Wild One (1953)

-I’m gonna’ go down there (pier) and get my rights: “Terry Malloy (Marlon Brando),” On the Waterfront (1956)

-I coulda’ been contender. I coulda’ been somebody, instead of a bum, which is what I am: “Terry (Brando),” On the Waterfront

-Then shut your mouth…before your guts run out: “Crunch (Frank Mazzola),“ Rebel Without a Cause (1955)

-And what about you (Wood)? Are you always at ringside?: “Jim ‘Jamie’ Stark (James Dean),” Rebel Without a Cause

-Welcome to the wonderful world of pussy, Meadows: “Signalman 1st Class ‘Badass’ Budusky (Jack Nicholson),“ The Last Detail (1973)

-Madam, please!: “Andrew Larkin (Van Johnson),” In the Good Old Summertime (1949, to repel anymore wind-aided brush-ups from “Veronica”)

-What am I, a criminal, a murder (Granger)? You might be if you keep driving through town at 85 miles per hour: “Cindy (Jane Powell), Small Town Girl (53)

-You want a player who won’t fight back? I want a ball-player who’s got the guts to not fight back: Rickey (Minor Watson), The Jackie Robinson Story (1950)

-30,000 (“Baptista (Kaszner)” offer to marry his daughter)! Fatheeeeeer!: “Petruchio (Howard Keel),” Kiss Me Kate (53) (deal struck)

-Well!? I wont to be alone: “Grusinskaya (Greta Garbo),” Grand Hotel (1932)

-Grand Hotel, always the same, people come, people go, nothing ever happens: “Dr. Otternschlag (Lewis Stone), Grand Hotel

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-Dyin,’ that’s easy, choosin’ a way to live, that’s the hard part: “Ben Vandergroat (Robert Ryan),” The Naked Spur (1953)

-How perfectly delightful it is to be sure.” Robert Crumb, Crumb (1994)

-Oh no, it wasn’t the airplanes. It was beauty killed the beast: “Carl Denham (Robert Armstrong),” King Kong (1933)

-Fortune’s ally to the brave: “Zeus (Laurence Olivier),” Clash of the Titans (81)

-What was his business (cop)? He used to be a big-shot: “Panama Smith (Gladys George),” The Roaring Twenties (1939)

-They aughta’ put you in mass production: “Fred (Dana Andrews),” The Best Years of Our Lives (1946) (to Theresa Wright)

-It’s funny, the things we love best are either illegal, immoral or make us fat: “Terry McKay (Irene Dunne),” Love Affair (1939)

-Who’s this (#2 on phone)? It’s me..it’s you..it’s us (#1)! Hold on a second (#2). Great, now I can’t even talk to myself: “’Steve (Keaton),’” Multiplicity (96)

-Sad state of affairs when a man has to indulge his vices by proxy: “General Sternwood (C. Waldron),” The Big Sleep

-You’re the only one I’ve met who didn’t claim to know everything in the whole world: “Collister (Beeson Carroll),” Bound for Glory (1976)

-He’s (workin’ folk) afraid to smile ‘cause somebody’s gonna’ swipe his teeth out of his mouth: Woodrow Wilson Guthrie (David Carradine), Bound for Glory

-She knows! Anne Sullivan (Anne Bancroft), The Miracle Worker (1962 (With Anne’s help, blind – deaf girl Helen Keller has an epiphany)

-I’m not gonna’ live by their rules, anymore!: “Phil Connor (Bill Murray),” Groundhog Day (1993 (driving car on train-tracks))

-Sextus, you once said ‘how’ to fight an idea…with another idea: “Messala (Stephen Boyd),” Ben Hur (1959)

-Bravely stated: “Sheik Ilderim (Hugh Griffith),” Ben-Hur (1959 (sarcasm)

-The cheaper the crook (Cook) the gaudier the patter: “Sam Spade (Humphrey Bogart),” The Maltese Falcon

-Why shouldn’t you (guess) if you’ve nothing to conceal (D.A. (J.Hamilton))? Everybody has something to conceal: “Spade (Bogart),” The Maltese Falcon

-You have always, I must say, a smooth explanation ready (Lorre). What do you want me to do, learn to stutter?: “Sam (Bogart),” The Maltese Falcon

-You are a liar (Bogart). I am. I’ve always been a liar (Astor). Well don’t, don’t brag about it. Was there any truth at all in that yarn? Some. Not very much: “Brigid O’Shaughnessy (Mary Astor),” The Maltese Falcon

-Suppose I wouldn’t tell you anything at all. What would you do, something wild and unpredictable (Astor)? Maybe: “Sam (Bogart),” The Maltese Falcon

-What is it (Ward Bond)? The a…stuff that dreams are made of: “Sam Spade (Bogart),” The Maltese Falcon

-I know where all the nukes are and I know the codes. You would be amazed, alot of shopping malls…DON’T repeat that!: “Megan (McCarthy),” Bridesmaids (’11)

-Temptation resisted is the truest measure of character: “Louis Dega (Dustin Hoffman),” Papillion (1973)

-I know, I know, feed ‘em, fly ‘em, then forget ‘em: “Ace Boreman (William Gargan),” Women in the Wind (1939)

-Is there a Northwest passage (Hussey)? Who knows. It’s always a man’s dream to find a short route to his heart’s desire: “Langdon Towne (Robert Young),” Northwest Passage (1940)

-Do you wanta’ play with us? Okay. Say ‘ello to my l’il friend!: “Tony Montana (Al Pacino),” Scarface (1983) (then, rat-a-tat-tat)

-I’m gonna’ make him (John Marley (“Director Jack Woltz”)) an offer he can’t refuse: “Vito Corleone (Marlon Brando),” The Godfather (1972)

–Ohhhh! It damn hurts (Fowler snuffing a match)! Certainly it hurts (O‘Toole). Well what’s the trick then? The trick, William Potter is not minding that it hurts: T.E. Lawrence (Peter O‘Toole), Lawrence of Arabia (1962)

-Aqaba! T.E. Lawrence (O’Toole), Lawrence of Arabia (it begins)

-Nothing is written: T.E. Lawrence (O‘Toole), Lawrence of Arabia

-He (Lawrence) was a scholar, a poet and a mighty warrior. He was also the most shameless exhibitionist since Barnum & Bailey: “Jackson Bentley (Arthur Kennedy),” Lawrence of Arabia

-But the Krell forgot one thing: Monsters, John (Neilson), monsters from the Id: “Lt. “Doc” Ostrow (Warren Stevens),” Forbidden Planet (1956)

-It is through error that man tries and rises. It is through tragedy he learns. All the roads of learning begin in darkness and go out into the light…Hippocrates of Cos: The Body Snatcher (epilogue) (1945)

-J’adore le passé. C’est beaucoup plus pacifique que le présent (I adore the past. It’s so much more peaceful than the present): “Meneur de Jeu (“Game Master”) (Anton Walbrook),” La Ronde (1950)

-♫ Gone again, skip to my Lou, gone again, skip to my Lou, gone again, skip to my Lou, skip to my Lou my Darling ♫: “Charlie (K. Curtis),” The Searchers (56)

-I too believe that everyone should have a chance at a breath-taking piece of folly, once in his life: “Mrs. Brown (Ann Revere),” National Velvet (1945)

-What’s the meaning of goodness if there isn’t a little badness to overcome?: “Mrs. Brown (Ann Revere), National Velvet

-So many currents in such a little puddle: “Mr. Brown (Crisp),” National Velvet

-That’ll be a dispute to the end of time, Mr. Brown, whether it’s better to do the right thing for the wrong reason or the wrong thing for the right reason: “Mrs. Brown (Ann Revere),” National Velvet

-Who’s been in my box (Velvet)? Me (Donald). ‘I (Edwina correcting).’ You, too? “Donald Brown (Jackie Jenkins), National Velvet

-I’ll have a dubonnet with a twist (in the old Russian Tea Room (NYC)): “Michael Dorsey / Dorothy Michaels (Dustin Hoffman),” Tootsie (1982)

-I need a $1000 (Hoffman). For what (Pollock)!? For what! For what!: “Michael (Dorothy) (Hoffman),” Tootsie

-Time for courage: “Sydney Carton (Ronald Colman),” A Tale of Two Cities (1935) (pre-guillotine, comforts young “seamstress (Isabel Jewells)”)

-Makes the crown jewels in the Tower of London look like costume jewelry: “Peachy Carnehan (Peter O’Toole),” The Man Who Would Be King (1975)

-There hasn’t been a kiss like that since the beginning of time: “Peter Standish (Leslie Howard),“ Berkeley Square (1933)

-Oh, only which three books would you (Lloyd) have taken?: “David Filby (Alan Young),” The Time Machine (1960, at close)

-Max, how do you feel about getting old? I always feel like I’m starting over: “Jackie Brown (Pam Greer),” Jackie Brown (1997)

-Oh, how I love you, love you, love you, love you (to Garner)!: “Karen Wright (Audrey Hepburn),” The Children’s Hour (1961)

-Move your bloomin’ ass!: “Eliza (Audrey Hepburn),“ My Fair Lady (1964)

-Why don’t you sing a song (Rooney)? How do you know I can sing (Garland)? You sing when you walk, when you talk. Why your eyes, why they’re singing right now: “Tommy Williams (Mickey Rooney),” Babes on Broadway (1941)

-I’m watching you! “Jack Byrnes (Robert Di Nero (father) with two-fingered gesture to Ben Stiller),” Meet the Parents (2000)

-Nothing so revolting to the young as the sight of their elders at play: “Rupert Venneker (Peter Ustinov),” The Sundowners (1960)

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-If it ain’t Wham, it ain’t ham!: “Gussie (Louise Beavers),” Mr. Blandings Builds His Dream House (1948)

-Mrs. Blandings little flower sink!: “Jim Blandings (Cary Grant),” Mr. Blandings Builds His Dream House (thoroughly frustrated)

-I do not care that you are not Chapel. I am with you! “Mr. Jones (Rhys Williams),” The Corn is Green (1945)

-I have never talked to a man for more than five minutes without wanting to box his ears: “Miss Lilly Moffat (Bette Davis),” The Corn Is Green

-If you do I shall strike you (“Bessie”) so hard I shall probably kill you: “Miss Moffat (Bette Davis),” The Corn is Green (young tart plays risky game)

-What happened (Dunnock)? We’ve met the Squire (Bruce) and he is ours! In ten minutes I have given the Squire the impression that he spends his whole time posturing genius in the illiterates. How? By soft soap and courtesy: “Lily Moffat (Bette Davis),” The Corn Is Green

-One shot: “Michael Vronsky (Robert De Niro),” The Deer Hunter (1978)

-You know we’re always fascinated when we find leg-irons with no legs in ‘em: “Deputy U.S. Marshal Samuel Gerard (Tommy Lee Jones),” The Fugitive (1993)

-Newman (Gerard)? Yes (Wood)? What are you doing? Thinking. Well think me up a cup of coffee and a doughnut with some of those sprinkles on ’em! “Deputy Gerard (Tommy Lee Jones),” The Fugitive

-Can you hear me now? Yes (Wood). I don’t bargain: “Gerard,” The Fugitive

-They killed my wife (Ford). I know Richard, I know: “Gerard,” The Fugitive

-I thought you didn’t care (Harrison Ford)? I don’t. Don’t tell anybody: “Deputy Gerard (Tommy Lee Jones),” The Fugitive

-What I want from each and every one of you is a hard target search in every gas station, residence, warehouse, farmhouse, henhouse, outhouse and doghouse in that area. Checkpoints go up at fifteen miles. Your fugitive’s name is Dr. Richard Kimble. Go get him!: “Gerard (Jones),” The Fugitive

-Look at this, we’re eatin’ oranges & makin’ IDs: “Gerard (Jones),” The Fugitive

-If they can dye the river green today, why can’t they dye it blue the other 364 days of the year?: “U.S. Marshal Robert Biggs (Daniel Roebuck),” The Fugitive

-And not only did they all come from healthy livers, they all came from the same liver (Lynch). Kathy you beauty: “Dr. Kimble (Harrison Ford),” The Fugitive

-Don’t worry, we’ll find her (Mom) for you. What are you, a football player, baseball player? Football (Robinson). Hey Doctor, they sent this one from downstairs. Get this one into Room Four, stat (Bruce)! Bye-bye, Joel: “Dr. Richard Kimble (Ford),” The Fugitive

-Richard!: “Gerard (Jones),” The Fugitive (spots RK descending City stairway)

-Hi!: Registration-table greeter girl (?), The Fugitive (flashback)

-Officer, officer, there’s a man in a blue coat waving a gun and screaming…at a woman: “Dr. Kimble (Ford),” The Fugitive (throwing off the cops)

-Frederick Sykes, 45, ex-cop and quite the clothshorse: “U.S. Marshal Erin Poole (L. Scott Caldwell),” The Fugitive

-Almost anything that came out of the mouth of Agnes Moorehead (1900-74)

-Wait a minute. I played a dirty trick on you (Garland). You better know, then you won’t feel so bad. When I offered to give you that song…I really didn’t mean it. I was playing you for a sap. I wanted to fix it so you’d give me a chance to try out with you. And all that sob stuff about me being ashamed of myself, that was just a bid for sympathy. I wasn’t ashamed, I thought I was being pretty cute. I’m ashamed now though. And this time, when I say I’m a heel, well, I’m not kidding: “Harry Palmer (Gene Kelly),” For Me and My Gal (1942)

-Is that alright with you (McNally)? You bet it’s alright!: “Jo Hayden (Judy Garland),” For Me and My Gal

-Hello, America, hang on to your lights, they’re the only lights left in the world!: “Huntley Haverstock (Joel McCrea),” Foreign Correspondent (1940)

-It is a crush, isn’t it (shelter)?: “Myra (Vivien Leigh),” Waterloo Bridge (1940)

-Myra’s just a sweet child, you can see that, can’t you (Field)? I can see that: “Captain Roy Cronin (Robert Taylor),” Waterloo Bridge

-You’re rather matter-of-fact (“Roy (Robert Taylor)”). And you’re a romantic: “Myra (Vivian Leigh),” Waterloo Bridge

-Here, take this (Leigh). You’re lucky charm (Taylor)!?: “Roy (Taylor),” Waterloo Bridge (+ music = most sentimental)

-War is no excuse for indecorum: “Madame (Ouspenskaya),” Waterloo Bridge

-The worst ain’t so bad when it finally happens: “Bob Curtin (Tim Holt),” The Treasure of Sierra Madre (1948)

-That’s Africa for you, one man dead, two beasts killed and no one the better for it: “Trader Horn (Harry Carey),” Trader Horn (1931)

-The lions let the jackal join in the kill (because) the jackal helps lead the lions to water: “Horn (Carey),” Trader Horn

-I don’t know why they named it after Thompson (gazelle). I showed him his first. Thompson was one of those guys who liked to carve his name into trees: “Aloysius ‘Trader’ Horn (Harry Carey),” Trader Horn

-(Africa) Either you’re killing someone to eat ‘em or trying to keep someone from killing you: “Trader (Carey),” Trader Horn

-One-she (one more (Sioux)): “Wind In His Hair (Rodney Grant),” Dances With Wolves (1990, warrior urges “Lt. Dunbar” to sit for one more story)

-This one’s for your shirts (Frankenstein), this other’s just for socks and poo-poo undies: “Elizabeth (Madeline Kahn),” Young Frankenstein (1974)

steiger-tuw-wc-1957-33k

-Well, uh, this Delores, she, uh, she’s real proud of what nature done for her, you know? Anyway, she asks me, she says, uh, ‘Don’t you think I got classy build?’ And I say, ‘Sure.’ And so she starts to show me, but I didn’t do nothin’ wrong. I just didn’t stop her form tryin’ to prove her point: “Harvey (Scott Wilson), In the Heat of the Night (1967, speaking to “Tibbs” in jail cell)

-I’ve had it up to here (hand to throat) with your town (Poitier)! Boy, it would give me a world of satisfaction to horsewhip you, Virgil (Steiger)! My father used to say that (laughing), even did, once or twice (Poitier). Yeah, well, not enough to suit me!: “Chief Gillespie (Rod Steiger),” In the Heat of the Night (1967)

-I’m tellin’ you that you’re gonna’ stay. You’ll stay here if I have to have your chief remind you what he told you to do. But I don’t think I have to do that, you see? No. Because you’re so damned smart. You’re smarter than any white man. You’re just gonna’ stay here and show us all. You could never live with yourself unless you could put us all to shame. You wanta’ know something, Virgil? I don’t think that you could let an opportunity like that pass by: “Chief Gillespie (Rod Steiger),” In the Heat of the Night

-I can pull that fat-cat down. I can bring him right off this hill (Poitier)! Oh boy, man, you’re just like the rest of us? “Chief (Steiger),” In the Heat of the Night

-Thank you. Bye bye (Steiger). Bye (Poitier). Virgil? You take care now, ya’ hear (Steiger)? Yeah (Poitier (smile)): In the Heat of the Night (progress)

-With experience it seems possible to control the flow of the paint to a great extent. And I don’t use, I don’t use the accident because I deny the accident: Jackson Pollock (Ed Harris), Pollock (2000)

-Modern art, to me is nothing more than the expression of the contemporary aims of the age that we’re living in: Jackson Pollock (Ed Harris), Pollock

-There are no stars (in rugby). That’s soccer: “Frank Machin (Richard Harris),” This Sporting Life (1963)

-Well, don’t bother Sefton. I don’t like you. I never did and I never will (Graves)! Alot of people say that and the first thing you know, they get married: “Sgt. J.J.Sefton (William Holden),” Stalag 17 (1953)

-Ach soooo: “Sefton (Holden),” Stalag 17 (rat found)

-Welcome to Sherwood, me Lady! ”Sir Robin of Locksley (Errol Flynn),” The Adventures of Robin Hood (1938)

-The Internal Affairs people were here hours ago. Two college educated little pricks! Acted like they was born & breed in Ohio: “Mrs. Ritter (Geraldine Page),” The Pope of Greenwich Village (1984)

-Blood? we’re not fucking blood, we’re third cousins (Mickey Rourke). With Italians, it’s like twin brothers with the Irish: “Barney” the safe-cracker (Ken McMillan), The Pope of Greenwich Village

-You got a sense of honor, I can smell it in ya!’ “Barney” the safecracker (Ken McMillan),” The Pope of Greenwich Village

-I’m not just an entertainer, I’m an influence, wielder of opinion, a force: “Larry ‘Lonesome’ Rhodes (Andy Griffith),” A Face In the Crowd (1957)

-They’re trained-seals (audience). Throw ‘em a dead fish and watch ‘em flap their flippers: “Lonesome (Griffith),” A Face In the Crowd

-Wait’ll I get to California! Gonna’ reach up and pick me an orange whenever I want it, or grapes. That there’s somethin’ I ain’t never had enough of! Gonna’ get me a whole bunch a grapes off a bush and I’m gonna’ squash ’em all over my face and just let the juice drain down offa’ my chin (Grapewin). Pa-raise the Lord for victory (Tilbury)! Maybe I get me a whole washtub fulla’ them grapes and just sit in ’em and scrooge around till they was gone!: “Grampa Joad (Charlie Grapewin),” The Grapes of Wrath (1940)

-Well, maybe it’s like Casy says, a fella’ ain’t got a soul of his own, but only a piece of a big soul, the one big soul that belongs to everybody, and then…Then what, Tom (Darwell)? Then it don’t matter. Then I’ll be all around in the dark. I’ll be everywhere, wherever you look. Wherever there’s a fight so hungry people can eat, I’ll be there. Wherever there’s a cop beatin’ up a guy, I’ll be there. I’ll be in the way guys yell when they’re mad and I’ll be in the way kids laugh when they’re hungry and they know supper’s ready. And when our people eat the stuff they raise and live in the houses they build, why, I’ll be there too: “Tom Joad (Henry Fonda),” The Grapes of Wrath

-A woman can change better than a man can. A man lives in jerks. A baby’s born or then somebody dies, that’s a jerk. He gets a farm or loses one, and that’s a jerk. With a woman it’s all in one flow, like a stream, like little eddies, little waterfalls, but the river, it goes right on. Woman looks at it like that: “Ma Joad (Jane Darwell),” The Grapes of Wrath

-Maybe, but we’ve sure takin’ a beatin (Simpson). I know. Maybe that makes us tough. Rich fellas come up and they die, and their kids ain’t no good, and they die out. But we keep a-comin’. We’re the people that live. Can’t nobody wipe us out. Can’t nobody lick us. We’ll go on forever, Pa. We’re the people: “Ma Joad (Darwell),” The Grapes of Wrath

-Where to now (Faye)? Home: “Eric Stanton (Dana Andrews),” Fallen Angel (1945) (closing line – love realized)

-You (Fonda) look like the last grave over near the willow: “Jean Harrington (Barbara Stanwyck),” The Lady Eve (1941)

-Plastics (to “Ben”): “Mr. McGuire (Walter Brooke),” The Graduate (1969)

-Can I have it (Curtis)? Nooooo, an officer’d take from you at Ft Benson. This gun’s too good for an officer: “Sgt. Wilkes (Jay Flippen),” Winchester ‘73 (1950)

-Oklahoma, Oklahoma, Oklahoma, Oklahoma (banging pot)! “Rubrick (Steve Martin),” Dirty Rotten Scoundrels (1988)

-Tranella speaks two languages, Italian and Brooklyn: Narrator on “Private Tranella (Richard Benedict),” A Walk In the Sun (1945)

-Don’t be a jerk all your life, take a day off: “Vic Dakin (Burton),” Villain (1971)

-Ahh, youth is wasted on the wrong people!: T-shirted man on porch (‘Why don’t you kiss her?!’) (Dick Elliott), It’s a Wonderful Life (1946)

-Smack (on Geoffrey Lewis’ face)! Don’t ever point a gun at me! Understand?! Not even a twig (Eastwood)! Got it! You come from the hitters: “Goody (Geoffrey Lewis),” Thunderbolt and Lightfoot (1974)

-Why’d they move it (Bridges (old school house with the hidden loot)? History, history, damn it: “Thunderbolt (Clint Eastwood),” Thunderbolt and Lightfoot

-I don’t think of us as criminals, you know? I feel we accomplished something. A good job. I feel proud of myself, man. I feel like a hero: “Lightfoot (Jeff Bridges),” Thunderbolt and Lightfoot

popcorn-9m-wc-t-bresson-6-15-16

Steven Keys
Photo credit: Bonnie&Clyde, wc.cca, A.Koehne; M.Shearer, wc, 10.11.54, M.Feinstein; S.Tracy-E.Bartholomew, CC, 1937, MGM; J.Crawford, MGM, TLMC, 1937; M.Gandhi, wc, pre-1942; B.Davis, AllAboutEve, 1950; H.McDaniel, wc, 1939; R.Ryan-J.Leigh, MGM, wc, 1953; C.Grant-M.Loy, RKO, 3.28.45, wc; R.Steiger, wc, TUW, 1957; popcorn, wc, T.Bresson, 6.15.16
Posted: 2.16.17 @ 2:06pm EST; update 6.13; Copyright © 2017

NFL17: Playoff Bound? Reliable Run-Game’s a Must, Keen Clipboarder a Plus

25 Dec

A savvy signal-caller and a defense that makes an impression: Two team traits well-known amongst keen footballers as essentials for a playoff contender.

But in this era of downfield divas and near 100-point results (NO 48 @ AZ 41 (W15)), it’s easy for even the most studious student of the game to overlook the Super necessity of a complementary run-game. Not a dominant ground attack, but integral, responding when called to balance the attack and spare the QB.

The days when power-backs like Earl Campbell and John Riggins, thoroughbreds like Walter Payton and Eric Dickerson could carry their clubs through much of the playoffs, seem as long gone as the gloveless receiver. While their exploits are greatly missed by those of us who remember watching them run, today’s top team doesn’t necessarily need the gargantuan ground-gainer.

blount-wc-j-beall-1-19-14*In fact, the most successful coach won’t ask his running game to carry the team and will rarely have a backfield guy contending for MVP.

Take Adrian Peterson for example.

In his seven full seasons, All-Day has led the League in rushing 3x and won one MVP (12). But only once, in 2009-10, have the Vikes been top contenders in that span, owing much of it to the arrival of 3-time Valuable man, Brett Favre who had his best statistical showing that season in leading Purple to the NFCC (v NO).

Then look at the NFL standard for most of the 2000s, the Patriots.

Since Bill Belichick took the reins in Foxborough he’s had five 1000-yd rushers, with Corey Dillon topping at 1600+ in ’04 but most (Antowain Smith, Ben Green-Ellis, Stevan Ridley & LeGarrette Blount) coming in around the 1100 mark. A strong number but not in category with Peterson or prime Emmitt Smith.

No running-back MVPs, no League leaders in year-end rushing totals. And yet, Belichick teams have made it to six Supers and how many playoff spots.

Check the box scores: Quantity in rush, say, 90-100+, is not so important, not a weekly total, as much as quality. That when Belichick, Brady, New England’s OC, want a good ground gain, it’s likely to happen and give the D more to think about.

In Jim Brown’s day (64), the big, bruising back could carry a club all the way but it’s a rare occurrence in the day of play-action pass. Yet, without a strong, reliable run game (900 – 1200), one man or tandem, your team’s Super Bowl aspirations will most likely remain just that, a pipe-dream.

brownj-wc-tsna-m-emmons-315kReliability + timeliness are the watchwords for today’s Supernicitious run-game.

In the present, Mr. Blount has been Mr. Reliable for the Pats these past two seasons, averaging a modest 50-60 per (900 yr.) and fashioning one of the most inspirational football career stories in recent history.

Getting all blame (& susp‘n) in the Byron Haut punching incident, sophomore Blount and his Oregon Ducks opened their 2009 season against Boise State in loss, crushing team national title and Heisman hopes. The Madison, Florida native was then drafted by Tampa Bay, met the 1000 benchmark, was shipped to the juggernautious Patriots in 2013, started 2014 in Pittsburgh only to be returned to the Patriots to finish that season and then contributing (3td) to New England’s PS run that culminated in besting defending champ Seattle in SB49.

In 2016, Blount is the go-to guy in Patriots’ run-game, topping the 1000 mark in W15 and at this posting, leading the NFL in rushing TDs (15). Quite…a…story.

NFC Run-Lite

Detroit Lions

Run totals of Theo Riddick (357 / 3.9), Dwayne Washington (243 / 2.9) & Zach Zenner (198 / 3.5) just puts more pressure on Stafford to work his arm.

New York Giants

When the Coughlin Giants won Super #1 (09), Brandon Jacobs was top grounder, posting 1009 (5.0). Returning to the Big Game in 2011 to top the Patriots, again (SB46), to spoil NE’s perfect run, their fine backfield tandem in Jacobs (571) and Ahmad Bradshaw (659) proved effective. In 2016, no top GG and a tandem that hardly impresses: Rashad Jennings, 541 (3.3) & Paul Perkins, 354 (3.9).

Seattle Seahawks

Having not found Lynch’s replacement, no easy task, Pete Carroll & Darrell Bevell have relied on the Christine Michaels (469) / Thomas Rawls (327 (3.5)) duo. And if you figure in your QB tally (Wilson / 219), you’re asking for trouble.

Green Bay Packers

With Lacy out (IR) and Starks fizzling (2.3), new starter Montgomery (4g) was a godsend to tear up the turf (6.5). But in facing a rated Minnesota Vikings defense, Ty Anthony stumbled on Christmas Eve (23 – 2.6). If the Packers braintrust think they can ride the Rodgers – Nelson hook-up to Houston (2/5), there are gonna’ be alot of cheeseheads crying in their beer n’ curds come January.

Tampa Bay Buccaneers

Injuries have taken their toll on former great Doug Martin (2.9) who’d passed the 1400 mark twice in his relatively young career. Jacquizz Rodgers (4.4) and rook Peyton Barber (4.1) average well but not many carries. Upside, fresh legs for PS.

Wanted: Clipboard Saviors

It’s not often a playoff team loses their starting QB, but it does happen. Lucky for those teams who plan ahead in the off-season and pay the piper for a capable clipboard-holder to fill the void when needed.

l-olivier-pp-wc-1940What did “Zeus (Olivier)” say in Clash of the Titans (81)?: “Fortune is ally to the brave.” Wise god was (is) the Zeuster.

Bravery must be at a premium in the Oakland front office these days. With the lose of their inspiration & MVP-caliber QB in Derek Carr, going down with a broken fibula in W16 action, the Raiders’ prospects took a major hit. Not just in Carr’s exit but in the caliber of clipboard stepping into the breach. But then, an unknown like McGloin or Cook may only need an opportunity to show the world just how capable a marticulator they are. Maybe

The Tennessee Titans, losing their starter as well when Marcus Mariota was lost for the remainder on a leg fracture, are in a slightly less precarious position in that they signed veteran Matt Cassel last off-season. The career won-loss is uninspiring but the Pro Bowler did quarterback two teams (Chiefs / Patriots) to two double-digit win seasons, respectively. So there’s that.

Here then are the playoff contenders and their back-up state.

New England: Jim Garoppolo (2-0)
Miami: T.J. Yates (4-3)
Pittsburgh: Landry Jones (1-2)
Baltimore: Ryan Mallett (3-5)
Tennessee: Matt Cassel (33-44)
Houston: Brock Osweiler (13-8)
Oakland: Matt McGloin (1-5) & Connor Cook (0-0)
Kansas City: Nick Foles (20-16)
Denver: Paxton Lynch (1-1)
Dallas: Tony Romo (78-49)
New York Giants: Ryan Nassib (0-0 / 9-10 (C90%)) & Josh Johnson (0-5)
Washington: Colt McCoy (7-18) & Nate Sudfeld (0-0)
Detroit: Dan Orlovsky (2-10) & Jake Ruddock (0-0)
Green Bay: Brett Hundley (0-0)
Atlanta: Matt Schaub (47-45)
Tampa Bay: Mike Glennon (5-13)
Seattle: Trevone Boykin (0-0)

The list of names doesn’t inspire much confidence. Makes you wonder what these coaches and GMs are thinking in the off-season. Football’s a very physical game and quarterback is usually at the epicenter of the earthquake. But then nobody but Ron Wolf apparently thought very much of Brett Favre either when the HOF’er GM snatched him away from Atlanta in 1992. FFT

cherries-wc-cca-b-kua-6-1-08-3-3mSteven Keys
NFL HunchLine
Photo credit: NFL wikiproject; Peterson, wc, Arvee5.0, 1.28.12; Blount, wc, J.Beall, 1.19.14; Brown, wc, TSN, Emmons; Olivier, wc, P&P, 1940; cherries, wc, Kua, 6.1.8
Posted: 12.25.16 @ 2:50pm, edit 11:27 EST; Copyright © 2016

NCAAF16: Bad Karma Behind the Brian Kelly – Notre Dame Blues?

22 Nov

Karmic Backlash

It’s become standard operating procedure today for many in the mainstream and social media, that when a public figure makes a misstep or puts them self too far ahead of interested others, that judgment is passed quickly and with teeth.

So when current Notre Dame football coach Brian Kelly bid his then employer the University of Cincinnati an unexpected sayonara in December of 2009 before conclusion of their football campaign (Sugar Bowl), one would’ve expected his dubious departure to’ve received the same testy treatment.

kelly-wc-j-meier-7-25-12-356kInstead, sport observers turned a collective blind eye to the move: No big deal.

Why the kid gloves then for Kelly and his new employer, the University of Notre Dame? South Bend clout? Chicago clout? Boston clout? Catholic clout? The Pope’s a powerful pontiff. No lo sé.

When Kelly, who, on taking the job in northwest Indiana, was in his 3rd season with the Bearcats (‘06 (1) – 09), a tenure that began when he left C. Michigan to take the reins from Mark Dantonio (MSU) to coach UC in the International Bowl and compiled a 33-6 mark, undertook in-season negotiations with ND to fill the void created by Charlie Weis’ firing and left Cincinnati (#3) before their Sugar Bowl (UF), this observer expected negative reverberations for the opportunistic act. But outside of maybe southwest Ohio, nary a peep was heard from sporting types on what could be termed, at best, exploitive, at worst, unethical behavior on Brian’s part who apparently lets nothing so trifling as loyalty and spirit-of-contract stand in the way of what looks to be the perfect job (cha-ching!).

In fairness to the Everett, Massachusetts native (10.25.61), the slightly seamy game of coaching musical chairs has become as standard of a practice in college football as has that rush to judgment in the world of scribblers & gossips.

Nevertheless, Brian Kelly and his Notre Dame cohorts might now be getting their comeuppance for their crass contract play some seven years back. Maybe Mark Dantonio and his Michigan State handlers, too (MSU 3 -8 (2016)).

notredame-logo-wc-nduBut not from mainstreamers and social gadflies. Uh uh. The media are as captured and compliant as an FDA new drug approval committee. Eek.

Rather, Kelly might be getting his just deserts from the Sporting Gods, those spirited entities in charge of that immeasurable force called karma. In his case, bad karma. Specifically, the karmic backlash.

As of last Saturday’s contest, a 34-31 loss to Virginia Tech, his record with the Fighting Irish stands at a modest 59-30 (.662), 3-3 in bowl action. Brian did as early as his third season get the green & gold to a BCS title game (12-1), then got steam-rolled by the Crimson Tide, 42-14. Since then it’s been fair-to-middling.

“Was you ever bit by a dead bee?”

Last January Notre Dame and Brian Kelly inked a 6-year extension. While other terms such as salary were not made available, the coach’s haul is estimated to be $4 million a year (coacheshotseat.com).

AD Jack Swarbrick (2008), Trustee Chair John Brennan and Board members chose to re-invest in Kelly in a signing just weeks after the team took another PS shellacking, this time in the BattleFrog Fiesta Bowl from the team coached by the other half of the two-coach dominated FBS system, the Ohio State Buckeyes and Urban Meyer, 44-28 (See Also: Saban (CBK: Krzyzewski & Calipari)).

Their basis: Swarbrick cited the word “foundation” and it having been laid with knowing care by Brian Kelly in key facets of a strong college football enterprise.

Also factoring into their decision may’ve been the fact that his coach’s win-% (.705 (55-23 thru 2015)) ranks better than Weis, Willingham, Davies and Faust, all four who came in just above or below the .550 mark. Terrific.

notredamestadium-wc-1930-bpl-tichnor-3mBut “foundation” and ‘better than Charlie, Ty, Bob & Gerry’ ain’t gonna’ cut it when it’s Notre Dame football, where Rockne, Layden, Leahy, Parseghian, Devine & Holtz forged a standard that became bigger than life, a regal reputation admired by sport fans from coast to coast.

Like Dallas (1996) in the NFL, the Fighting Irish are still top dog nationally. When they do well, the world seems right with money-makers and fans alike. But with Nick and Urban building legendary programs in their respective schools, that top spot gets more tenuous with every season sans national title #16, the last coming as far back as 1988 (Holtz), the longest drought since Knute arrived (1918).

With the Irish falling at home to Virginia Tech their 2016 record sinks to 4-7.

The Irish had five players go pro after post-2015, but all the top factories lose most of their rated workforce to the NFL draft come declaration day. Michigan, Ohio State, Alabama, Washington, PSU, they all cope with the talent drain.

Brian Kelly represents that growing element in college sport where personal opportunity becomes the “foundation” of that individual’s coaching career, ergo the Cincinnati play. Coaching legend Larry Brown is their poster-boy. And it’s a mind-set that always has an eye open for NFL possibilities (BK- Eagles 2012).

Notre Dame Trustees would be wise to adopt a similar approach. Re-read its football coach and athletic director contracts, in good faith, but in a light most favorable to its University and in perpetuating its champions legacy. Then, when they find their new candidates, make them reasonably generous offers but only AFTER the college football season ends. Oy vey.

macroecono-lamcasinoroyal-2011-wcSteven Keys
MacroSport
Photo credit: B.Kelly, wc.cca, 9.171.2, Andyohsbass09; Kelly, wc, J.Meier, 7.25.12; ND-logo, wc, UND; ND-Stadium, wc, BPL, TichnorBros, 1930; macroecono, lamcasinoroyal, wc, 2011
Posted: 11.22.16 @ 3:17pm, edit @ 5:17 EST; Copyright © 2016