March 5, 2012

I like to feel his eyes on me when I look away.

(Source: freecocaine, via opera4breakfast)

February 18, 2012

(Source: lokiofmischief, via theodorafitzgerald)

February 4, 2012

(Source: 100newfears, via rmgilby)

January 11, 2012
Guys. GUYS. You need to see this film. Need to. It’s beautiful. It has everything. Go as soon as you can. Go now.

Guys. GUYS. You need to see this film. Need to. It’s beautiful. It has everything. Go as soon as you can. Go now.

December 22, 2011
THIN MAN SERIES ON TCM RIGHT NOW. BEST NIGHT TO HAVE NOTHING TO DO.

THIN MAN SERIES ON TCM RIGHT NOW. BEST NIGHT TO HAVE NOTHING TO DO.

October 9, 2011

Buster Keaton is TCM’s Star of the Month!

September 28, 2011

bridiequilty:

Carole Lombard directing Alfred Hitchcock’s cameo scene in Mr. and Mrs. Smith (1941)

You go, girl.

(via notreallythere)

September 7, 2011

I watched The Strange Love of Martha Ivers last night. Thanks, TCM! Not only did I get to see Stanwyck tearing it up as usual, but I got a young Kirk Douglas in the bargain. Not bad! 

September 6, 2011
That—THAT—is how I want to style my hair!

That—THAT—is how I want to style my hair!

(via notreallythere)

August 14, 2011
Day 19: Favorite Book Turned Into a Movie

There are only two instances where I think the movies made from a book were better than the books: A Little Princess and Big Fish. I only saw Big Fish once, so let me briefly explain my preference for the movie of A Little Princess: I like Cuarón’s decision to move the period to World War I and to move Sarah’s boarding school to America: it’s more of a shift for Sarah, raised as she was in an English colony in India. There are also higher stakes: her father is fighting in World War fucking I, when warfare got really modern and really terrifying really fast. Cuarón doesn’t shy away from the mustard gas scene either, which I think is a bold choice for a movie made from a book usually associated with childhood reading material. And the ending: the movie’s ending is such a relief, so dramatic. I DARE YOU NOT TO CRY. Sarah’s father’s voice when he remembers who she is, choked with emotion, is…it’s real. So the book’s ending sucks eggs in comparison since Sarah’s father (spoiler alert!) dies in Africa of some kind of fever. He’d gone in with some friend on diamond mines (‘cause that always works out) and lost everything. Oh, but it’s OK, Sarah will still enjoy the wealthy life because some rich neighbor guy adopts her. So, yeah, that’s a happy, Victorian-England ending. Movie=better. It also has a kick-ass soundtrack.

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