"I think I dislike what I don't like more than I like what I like."
--- Gwendolen Harleth,
Daniel Deronda, George Eliot, 1876
Monday, April 4, 2016
Quote from a Fictional Character #86
Friday, April 1, 2016
Friday Flashback: Rec. #145: The Trouble with Harry
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Briefly, the trouble with Harry is that he's dead. Several people individually stumble across the body (a few of them literally), but no one alerts the authorities.
What: Briefly, the trouble with Harry is that he's dead. Several people individually stumble across the body (a few of them literally), but no one alerts the authorities.
For some of the stumblers, Harry's death is quite inconvenient. For others, it's almost too convenient. This mid-'50s Hitchcock film is notable for a couple of reasons: it's a rare comedy from the master of suspense, and it's also the film debut of Shirley MacLaine.
Comparable to: Although this is a comedy, it is not slapstick. Do not expect the physical humor of Family Plot. This movie is the deadest of deadpans.
Representative quote: "He looked exactly the same when he was alive, only he was vertical."
You might not like it if: You miss the suspense. And you get a little confused trying to keep track of all the times Harry is buried, then dug back up, then buried, then dug back up, etc.
How to get it: Between 1955 and 1984, you were sore out of luck. The Trouble with Harry was one of the five films Hitch bought back the rights to (along with Rope, Rear Window, The Man Who Knew Too Much, and Vertigo). But it's2011 2016, so you shouldn't have trouble getting it now.
Connections to previous Wreckage: Have yourself a Hitchcockian weekend with Rope (Rec. #5), Shadow of a Doubt (Rec. #78), and Family Plot (Rec. #120).
Comparable to: Although this is a comedy, it is not slapstick. Do not expect the physical humor of Family Plot. This movie is the deadest of deadpans.
Representative quote: "He looked exactly the same when he was alive, only he was vertical."
You might not like it if: You miss the suspense. And you get a little confused trying to keep track of all the times Harry is buried, then dug back up, then buried, then dug back up, etc.
How to get it: Between 1955 and 1984, you were sore out of luck. The Trouble with Harry was one of the five films Hitch bought back the rights to (along with Rope, Rear Window, The Man Who Knew Too Much, and Vertigo). But it's
Connections to previous Wreckage: Have yourself a Hitchcockian weekend with Rope (Rec. #5), Shadow of a Doubt (Rec. #78), and Family Plot (Rec. #120).
See also: List #6: A Few Seasonally Inappropriate Options for the Northern Hemisphere, List #12: Things That Are Good for Wallowing, and List #30: Nine Hitchcock Films Starring Non-Blondes
[Originally posted 6/16/11.]
Friday, March 25, 2016
Friday Flashback: Rec. #247 (abbrev.): The Witch of Exmoor
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Gothic soap opera/novel of ideas by Margaret Drabble, missing eccentric matriarch, rundown seaside retreat, three middle-aged children, an enviable estate, at work on memoirs, social justice, dinner-party game, political ideology, satire, privilege, thriller, high comedy, low tragedy
Opening lines: "Begin on a midsummer evening. Let them have everything that is pleasant."
Representative quote: "He bites his nails between grapes, and avoids eye contact. A mother --- but perhaps not his --- would note that he is too thin."
How to get it: Buyable, borrowable, Kindle-able
Connection to previous Wreckage: Part of Personal Wreck #4
What: Gothic soap opera/novel of ideas by Margaret Drabble, missing eccentric matriarch, rundown seaside retreat, three middle-aged children, an enviable estate, at work on memoirs, social justice, dinner-party game, political ideology, satire, privilege, thriller, high comedy, low tragedy
Opening lines: "Begin on a midsummer evening. Let them have everything that is pleasant."
Representative quote: "He bites his nails between grapes, and avoids eye contact. A mother --- but perhaps not his --- would note that he is too thin."
How to get it: Buyable, borrowable, Kindle-able
Connection to previous Wreckage: Part of Personal Wreck #4
[Originally posted 6/20/12]
Friday, March 18, 2016
Friday Flashback: Rec. #123: Reefer Madness - The Movie Musical
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: I had been expecting this musical satire of the cult classic 1936 propaganda film to be full of cheesy, campy goodness. What a nice surprise to find that it is also genuinely clever! The actors --- including Kristen Bell, Christian Campbell, Ana Gasteyer, Alan Cumming, and Steven Weber --- are clearly having fun. You probably will, too.
Comparable to: Kind of Little Shop of Horrors-ish. Except with marijuana instead of carnivorous plants.
Representative quote: "There's blood on my hands, and mud on my name. My id threw a party and everyone came. My innocence ravished, my virtue devoured, I can't count the strangers with whom I have showered!"
Bonus representative quote: [in church] "The wafers now don’t taste so great. They won’t transubstantiate."
You might not like it if: You're afraid that this is a gateway musical and that after you try it you'll soon be hitting harder stuff, like Kander and Ebb. Maybe even a spot of Sondheim.
How to get it: Rent it or buy it. Singing along is encouraged.
What: I had been expecting this musical satire of the cult classic 1936 propaganda film to be full of cheesy, campy goodness. What a nice surprise to find that it is also genuinely clever! The actors --- including Kristen Bell, Christian Campbell, Ana Gasteyer, Alan Cumming, and Steven Weber --- are clearly having fun. You probably will, too.
Comparable to: Kind of Little Shop of Horrors-ish. Except with marijuana instead of carnivorous plants.
Representative quote: "There's blood on my hands, and mud on my name. My id threw a party and everyone came. My innocence ravished, my virtue devoured, I can't count the strangers with whom I have showered!"
Bonus representative quote: [in church] "The wafers now don’t taste so great. They won’t transubstantiate."
You might not like it if: You're afraid that this is a gateway musical and that after you try it you'll soon be hitting harder stuff, like Kander and Ebb. Maybe even a spot of Sondheim.
How to get it: Rent it or buy it. Singing along is encouraged.
[Originally posted 5/10/11.]
Wednesday, March 16, 2016
Streaming Suggestion of the Week #24: The Lady Vanishes
Stream what: In this early Hitchcock film, there's a lady, and then she vanishes. A lot of it takes place on a train.
Stream why: It's classic suspenseful, witty early Hitchcock. Also, star Margaret Lockwood is a dead ringer for a brunette Kristen Bell, which is enjoyable.
Stream where: Hulu
Read more: Rec. #225, List #30
Friday, March 11, 2016
Friday Flashback: Rec. #89: Sontag & Kael --- Opposites Attract Me
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: In Sontag & Kael, Craig Seligman, who is himself a successful critic, examines the lives and work of two (in)famous critics, Susan Sontag and Pauline Kael.
What: In Sontag & Kael, Craig Seligman, who is himself a successful critic, examines the lives and work of two (in)famous critics, Susan Sontag and Pauline Kael.
The dichotomy of their critical approaches (Sontag is intellectually rigorous and austere; Kael is passionate and argumentative) effectively serves to highlight why both women were pioneers in modern criticism. In different ways, they each changed the way we think --- and talk --- about the world.
Comparable to: Read some Pauline Kael. Read some Susan Sontag. Mash them together and tie it up with a third articulate, perceptive voice. That's basically this book.
Representative quote: "Ours is indeed an age of extremity. For we live under threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror." [Susan Sontag, post-9/11]
You might not like it if: You're just looking for some movie recommendations.
How to get it: It's in print, but not (yet) Kindle-able. A very good, short book for commuting via public transit! You will be able to sit and nod sagely on the train.
Comparable to: Read some Pauline Kael. Read some Susan Sontag. Mash them together and tie it up with a third articulate, perceptive voice. That's basically this book.
Representative quote: "Ours is indeed an age of extremity. For we live under threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror." [Susan Sontag, post-9/11]
You might not like it if: You're just looking for some movie recommendations.
How to get it: It's in print, but not (yet) Kindle-able. A very good, short book for commuting via public transit! You will be able to sit and nod sagely on the train.
[Originally posted 3/29/11.]
Wednesday, March 9, 2016
Rec. #396: Travel Man
What: In the docu series Travel Man, British actor/director Richard Ayoade travels with other vaguely recognizable semi-celebrities to Barcelona, Istanbul, Iceland, Marrakech, Vienna, Paris, Copenhagen, and Moscow.
Like other dry Brits before him, Ayoade is reluctant to enjoy most things, which makes this whole series absolutely delightful.
Tag line: "We're here, but should we have come?"
Representative quote bonanza:
"Mini-breaks are a swelling nebula of nonsense."
"I feel pretty good about this, actually. I feel less bad than I normally do, which for me is a ringing endorsement." [on riding a camel]
"To ensure solitude for our final foray, I have of course chartered a battery-powered self-driven island."
"As ever, day two starts with staring at cakes through glass."
How to get it: Pay attention here. If you're in the U.S., some kindly soul has uploaded high-quality video of all eight episodes here. Hurry now, before they get taken down.
Monday, March 7, 2016
Quote from a Fictional Character #85
"The Guide says there is an art to flying, or rather a knack. The knack lies in learning how to throw yourself at the ground and miss."
--- Ford Prefect,
Life, the Universe and Everything, Douglas Adams, 1982
Friday, March 4, 2016
Friday Flashback: Rec. #265: Dead Again
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Goodness gracious, there is an awful lot going on in this early-'90s wannabe-neo-noir flick. Amnesia! Hypnosis! Flashbacks! Reincarnation! Double dual roles! Accents! Fakeouts! Hitchcock nods! Twists! Brief appearance by Robin Williams!
A Los Angeles private detective stumbles across a mysterious mute amnesiac who keeps having nightmares about a murder that took place in the 1940s. Kenneth Branagh and Emma Thompson each play two roles: We get the modern-day story in color and the flashbacks to the doomed '40s couple in black and white.
Representative quote: "This is fate we're talking about, and if fate works at all, it works because people think that THIS TIME, it isn't going to happen!"
You might not like it if: You can't get over how Kenneth Branagh can't get over himself. (Who gives themselves two starring roles for their sophomore directing effort?) But you can have a good giggle at the various accents he tries out.
Connections to previous Wreckage: Emma Thompson is excellent, as always, even in the unlikely dual roles of "mute amnesiac" and "soon-to-be-murdered pianist." Also see her in Wit (Rec. #132).
What: Goodness gracious, there is an awful lot going on in this early-'90s wannabe-neo-noir flick. Amnesia! Hypnosis! Flashbacks! Reincarnation! Double dual roles! Accents! Fakeouts! Hitchcock nods! Twists! Brief appearance by Robin Williams!
A Los Angeles private detective stumbles across a mysterious mute amnesiac who keeps having nightmares about a murder that took place in the 1940s. Kenneth Branagh and Emma Thompson each play two roles: We get the modern-day story in color and the flashbacks to the doomed '40s couple in black and white.
Representative quote: "This is fate we're talking about, and if fate works at all, it works because people think that THIS TIME, it isn't going to happen!"
You might not like it if: You can't get over how Kenneth Branagh can't get over himself. (Who gives themselves two starring roles for their sophomore directing effort?) But you can have a good giggle at the various accents he tries out.
Connections to previous Wreckage: Emma Thompson is excellent, as always, even in the unlikely dual roles of "mute amnesiac" and "soon-to-be-murdered pianist." Also see her in Wit (Rec. #132).
[Originally posted 10/4/12.]
Wednesday, March 2, 2016
Rec. #395: Beauty
What: Oh, you know, just another time travel, fairy tale revisionist, eco-morality, sci-fi dystopian saga.
If there was any justice in this world, Beauty would be a recognized sci-fi classic.
Representative quote: "It is easy to get on a board of directors. All one has to do is give money. Of course, getting the money out of a warrant over six hundred years old is another matter."
You might not like it if: Fair warning that while the novel certainly has its light moments, it also gets grimmer than Grimm.
How to get it: In-print and Kindle-able
Connection previous Wreckage: This novel was part of List #51: Great Books, Terrible Titles.
Friday, February 26, 2016
Friday Flashback: Rec. #121: The Woman in White
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Wilkie Collins wrote The Woman in White in 1859. The nice thing about early mystery novels like this is that the authors aren't so self-conscious about trying to give readers some new twist on suspense.
What: Wilkie Collins wrote The Woman in White in 1859. The nice thing about early mystery novels like this is that the authors aren't so self-conscious about trying to give readers some new twist on suspense.
Collins was able to be one of the first to mix fresh elements --- an amateur detective, multiple narrative voices --- with the sinister counts, insane asylums, and secret societies of Gothic fiction.
Comparable to: A bit like someone smooshed a Dickens novel with Northanger Abbey, and then put Oliver Rathbone (a barrister from Anne Perry's William Monk series) in charge of getting to the bottom of things.
Representative quote: "Our words are giants when they do us an injury, and dwarfs when they do us a service."
You might not like it if: Sinister counts, insane asylums, and secret societies are too lurid for your tastes.
How to get it: It's borrowable, Kindle-able, and buy-able. There's also a 1998 BBC adaptation starring Justine Waddell, Andrew Lincoln, and Tara Fitzgerald.
Comparable to: A bit like someone smooshed a Dickens novel with Northanger Abbey, and then put Oliver Rathbone (a barrister from Anne Perry's William Monk series) in charge of getting to the bottom of things.
Representative quote: "Our words are giants when they do us an injury, and dwarfs when they do us a service."
You might not like it if: Sinister counts, insane asylums, and secret societies are too lurid for your tastes.
How to get it: It's borrowable, Kindle-able, and buy-able. There's also a 1998 BBC adaptation starring Justine Waddell, Andrew Lincoln, and Tara Fitzgerald.
[Originally posted 5/8/11.]
Wednesday, February 24, 2016
Rec. #394: Twinsters
What: In this wonderful documentary with a terrible title, a young woman living in France and one living in California stumble across each other thanks to social media. They begin to suspect that they are actually twins who were separated at birth.
What starts out like a particularly twist-filled episode of a genealogical detection series like Who Do You Think You Are shifts somewhere along the way into an incisive look at what it means to belong to a family and a country and a person. Fascinating and lovely.
Representative quote: "Our names are Samantha Futerman and Anais Bordier. We grew up our entire lives without knowing about each other. We believe that you are our mother."
Similar to: Twinsters would make a smashing double feature with Sarah Polley's doc Stories We Tell (Rec. #343).
How to get it: Streaming on Netflix
Friday, February 19, 2016
Friday Flashback: Rec. #15: Saturday Night
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: It's a testament to Susan Orlean's skill that her first major book, Saturday Night, holds up so well twenty-five years later. Each essay is devoted to one way that people around the U.S. spend the traditional weekly night out.
What: It's a testament to Susan Orlean's skill that her first major book, Saturday Night, holds up so well twenty-five years later. Each essay is devoted to one way that people around the U.S. spend the traditional weekly night out.
Through the book, we get to spend Saturday nights with people who are attending a quinceanera, babysitting, polka dancing, hosting a Park Avenue dinner party, and keeping watch in a missile silo, among other things.
Comparable to: Orlean's style has remained pretty consistent, so if you've read any of her later essays or books, such as The Bullfighter Checks Her Makeup or the The Orchid Thief (inspiration for the movie Adaptation), you'll know what to expect.
Representative quote: "A short guy in a duffel coat, who looked as if he were trying to intersect with a blind date, stood a few feet away, smoothing his hair every few moments and breaking into a weak smile each time a girl veered in his direction, then, as she veered away, smoothing his hair again and frowning." (on a Saturday night in Harvard Square)
You might not like it if: The only Saturday nights you want to hear about are your own.
Comparable to: Orlean's style has remained pretty consistent, so if you've read any of her later essays or books, such as The Bullfighter Checks Her Makeup or the The Orchid Thief (inspiration for the movie Adaptation), you'll know what to expect.
Representative quote: "A short guy in a duffel coat, who looked as if he were trying to intersect with a blind date, stood a few feet away, smoothing his hair every few moments and breaking into a weak smile each time a girl veered in his direction, then, as she veered away, smoothing his hair again and frowning." (on a Saturday night in Harvard Square)
You might not like it if: The only Saturday nights you want to hear about are your own.
Connections to other Wreckage: The Bullfighter Checks Her Makeup is Rec. #126.
[Originally posted 1/14/11.]
Tuesday, February 16, 2016
Streaming Suggestion of the Week #23: Please Like Me
Stream what: Australian television show about Josh. He's about to turn 21, his girlfriend has broken up with him, he's realizing he's probably gay, and his mum is quite ill.
It's a comedy. Mostly. Sort of.
Stream why: Please Like Me is abso-freakin-lutely brilliant. Flush with muted humor when it should be, bleak when called for, and clever throughout.
Stream where: Hulu
Read more: Rec. #307, Quote from a Fictional Character #54
Friday, February 12, 2016
Friday Flashback: Rec. #243: Innocence
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Innocence is a Florentine comedy of errors, as told by the impressive Penelope Fitzgerald, who manages to fit a villa, postwar malaise, a farm, a neurologist, English friends, an aging count, the Italian Communist party, and the aptly named Aunt Mad into just over 200 pages.
Comparable to: In her ability to deftly bind up a lot of story into a slim volume, Fitzgerald's closest match is Jeanette Winterson.
Opening lines: "Anyone can tell when they are passing the Ridolfi villa, the Ricordanza, because of the stone statues of what are known as 'the Dwarfs' on the highest part of the surrounding walls ... Strictly speaking they are not dwarfs, but midgets, that's to say they represent adults of less than 1.3 metres, pathologically small, but quite in proportion."
Representative quote:"Incidentally, it's struck me recently that in a non-medical sense you understand almost nothing about women."
"I understood enough to marry and produce four children, and I can't remember noticing any particular difficulties."
"That's precisely what I mean."
You might not like it if: You've filled your quota for Florentine comedies of errors for the year, thanks.
Connections to previous Wreckage: Fitzgerald didn't write very many books, but what she did write was excellent. Such as: The Beginning of Spring (Rec. #342), The Blue Flower (Rec. #164)The Gate of Angels (Rec. #79).
What: Innocence is a Florentine comedy of errors, as told by the impressive Penelope Fitzgerald, who manages to fit a villa, postwar malaise, a farm, a neurologist, English friends, an aging count, the Italian Communist party, and the aptly named Aunt Mad into just over 200 pages.
Comparable to: In her ability to deftly bind up a lot of story into a slim volume, Fitzgerald's closest match is Jeanette Winterson.
Opening lines: "Anyone can tell when they are passing the Ridolfi villa, the Ricordanza, because of the stone statues of what are known as 'the Dwarfs' on the highest part of the surrounding walls ... Strictly speaking they are not dwarfs, but midgets, that's to say they represent adults of less than 1.3 metres, pathologically small, but quite in proportion."
Representative quote:"Incidentally, it's struck me recently that in a non-medical sense you understand almost nothing about women."
"I understood enough to marry and produce four children, and I can't remember noticing any particular difficulties."
"That's precisely what I mean."
You might not like it if: You've filled your quota for Florentine comedies of errors for the year, thanks.
Connections to previous Wreckage: Fitzgerald didn't write very many books, but what she did write was excellent. Such as: The Beginning of Spring (Rec. #342), The Blue Flower (Rec. #164)The Gate of Angels (Rec. #79).
[Originally posted 6/6/12.]
Tuesday, February 9, 2016
Rec. #393: I Love You Again
What: I Love You Again is a classic William Powell/Myrna Loy farce. There's amnesia! And a con man! Swindles! Exes falling back in love!
Representative quote: "Ever since you got off that boat you've been chasing me like an amorous goat. You've tried your darnedest to make me fall in love with you and now you have. So from now on I'm going to do the chasing, and believe me, brother, you're going to know you've been chased."
Connections to previous Wreckage: See more of the immortal pairing Powell and Loy in Libeled Lady (Rec. #229) and The Thin Man (Rec. #319).
Monday, February 8, 2016
Quote from a Fictional Character #84
"Riding a hobbyhorse to death is flogging a dead metaphor."
--- Unnamed dinner party guest,
Pulse, Julian Barnes, 2011
Friday, February 5, 2016
Friday Flashback: Rec. #99: Company
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: The practically perfect Broadway revival of Stephen Sondheim's Company, starring the practically perfect Raúl Esparza. He makes me want to cry, he's so good.
Comparable to: In 2005, John Doyle directed a revival of Sondheim's Sweeney Todd. He introduced the innovation of having the actors double as the orchestra. It was so remarkably effective that he did it again when he directed Company. Again, remarkably effective!
You might not like it if: You think all musicals = sweetness and light. This one has its darkness, but it's true, true, true.
How to get it: It was recorded live for PBS's Great Performances series and is available on DVD. (Not to be confused with the New York Philharmonic Neil Patrick Harris version, which, granted, is also pretty good.)
Connection to previous Wreckage: Bryan Fuller devotees might recognize Raúl Esparza from his role on Pushing Daisies (Rec. #233) as Alfredo Aldarisio, would-be suitor of Olive Snook. (One of the very terrible things about the cancellation of Pushing Daisies is that he and Kristin Chenoweth never got to do a duet.)
What: The practically perfect Broadway revival of Stephen Sondheim's Company, starring the practically perfect Raúl Esparza. He makes me want to cry, he's so good.
Comparable to: In 2005, John Doyle directed a revival of Sondheim's Sweeney Todd. He introduced the innovation of having the actors double as the orchestra. It was so remarkably effective that he did it again when he directed Company. Again, remarkably effective!
You might not like it if: You think all musicals = sweetness and light. This one has its darkness, but it's true, true, true.
How to get it: It was recorded live for PBS's Great Performances series and is available on DVD. (Not to be confused with the New York Philharmonic Neil Patrick Harris version, which, granted, is also pretty good.)
Connection to previous Wreckage: Bryan Fuller devotees might recognize Raúl Esparza from his role on Pushing Daisies (Rec. #233) as Alfredo Aldarisio, would-be suitor of Olive Snook. (One of the very terrible things about the cancellation of Pushing Daisies is that he and Kristin Chenoweth never got to do a duet.)
As a bona fide member of the Bryan Fuller Repertory Players, he also shows up in Hannibal (List #29).
[Originally posted 4/8/11.]
Monday, February 1, 2016
List #58: Happy Birthday, Muriel Spark
Who: Novelist, biographer, and critic with a dry, posh-Scottish voice and an eye for cruelty.
Memento Mori, 1959
The Girls of Slender Means, 1963
Loitering with Intent, 1981
(Rec. #13)
(QfFC #73)
(List #56)
A Far Cry from Kensington, 1988
Symposium, 1990
Open to the Public, 1997
(List #7)
Aiding and Abetting, 2000
Friday, January 29, 2016
Friday Flashback: Rec. #284: Angel Face
I decided to start doing Friday Flashbacks in case you missed some early posts the first time around. You're busy; I understand.
What: Angel Face is a 1952 noir classic from director Otto Preminger, starring Jean Simmons and Robert Mitchum. The femme fatale is Diane Tremayne. If she sounds posh and spoiled, it's because she is. Frank Jessup is not above some scheming himself, but he's no match for Diane.
Comparable to: It's tempting to draw comparisons to Preminger's Laura, the director's best-known noir, but Angel Face has more in common with a different Gene Tierney-starring film --- Leave Her to Heaven.
You might not like it if: You expect another Laura. This is less sharply biting and more coldly calculating.
How to get it: Buy it or borrow it.
Connection to previous Wreckage: Hear from Frank Jessup in Quote from a Fictional Character #52.
What: Angel Face is a 1952 noir classic from director Otto Preminger, starring Jean Simmons and Robert Mitchum. The femme fatale is Diane Tremayne. If she sounds posh and spoiled, it's because she is. Frank Jessup is not above some scheming himself, but he's no match for Diane.
Comparable to: It's tempting to draw comparisons to Preminger's Laura, the director's best-known noir, but Angel Face has more in common with a different Gene Tierney-starring film --- Leave Her to Heaven.
You might not like it if: You expect another Laura. This is less sharply biting and more coldly calculating.
How to get it: Buy it or borrow it.
Connection to previous Wreckage: Hear from Frank Jessup in Quote from a Fictional Character #52.
Although I think Angel Face is delicious, my favorite noir film is Laura (that dialogue!). It was Rec. #193.
[Originally posted 4/10/13.]
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