/r/classicfilms
A community for classic cinema enthusiasts who engage in discussions, share insights, and celebrate films from the early 20th century to the mid-1960s. Members appreciate the rich history, themes, techniques, and cultural significance of classic movies.
For the purposes of this sub, we define classic film as the era ending in the early to mid 1960s, when the studio system collapsed.
So please keep this in mind when posting and try to remain on topic.
UPDATE: Due to an influx of reports, posts linking to streaming movies need to be in the public domain and/or are clearly licensed to be streamed at the site.**
++ Please do not post spoilers when posting synopsis :) ++
CLASSIC FILMS is a subreddit founded by Stroud and monoglot for discussing and recommending films in the Golden Age of Cinema, Film Noir, Black & White (Classic) films. It is moderated by them with the help of Jaxspider for CSS development.
Secondarily, some classic genres like for example, the noir genre, has several permutations and may be added to the subreddit.
Lastly, Period-era Films should be submitted to: Period-Era Films
Reddit Pre-1990 Films Top 250
Subreddits of Interest:
Others:
External Links:
/r/classicfilms
These were some of the Ocars:
Category | Winner | Nominees |
---|---|---|
Outstanding Production | Mrs. Miniver | 49 Parallel • Kings Row • The Magnificent Ambersons • The Pied Piper • The Pride of the Yankees • Random Harvest • The Talk of the Town • Wake Island • Yankee Doodle Dandy |
Best Director | William Wyler for Mrs. Miniver | Michael Curtiz for Yankee Doodle Dandy • John Farrow for Wake Island • Mervyn LeRoy for Random Harvest • Sam Wood for Kings Row |
Best Actor | James Cagney for Yankee Doodle Dandy | Ronald Colman for Random Harvest • Gary Cooper for The Pride of the Yankees • Walter Pidgeon for Mrs. Miniver • Monty Woolley for The Pied Piper |
Best Actress | Greer Garson for Mrs. Miniver | Bette Davis for Now, Voyager • Katharine Hepburn for Woman of the Year • Rosalind Russell for My Sister Eileen • Teresa Wright for The Pride of the Yankees |
Best Supporting Actor | Van Heflin for Johnny Eager | William Bendix for Wake Island • Walter Huston for Yankee Doodle Dandy • Frank Morgan for Tortilla Flat • Henry Travers for Mrs. Miniver |
Best Supporting Actress | Teresa Wright for Mrs. Miniver | Gladys Cooper for Now, Voyager • Agnes Moorehead for The Magnificent Ambersons • Susan Peters for Random Harvest • May Whitty for Mrs. Miniver |
Best Original Screenplay | Ring Lardner Jr. and Michael Kanin for Woman of the Year | Michael Powell and Emeric Pressburger for One of Our Aircraft Is Missing • Frank Butler and Don Hartman for Road to Morocco • W. R. Burnett and Frank Butler for Wake Island George Oppenheimer for • The War Against Mrs. Hadley |
Best Original Motion Picture Story | Emeric Pressburger for 49 Parallel | Irving Berlin for Holiday Inn • Paul Gallico for The Pride of the Yankees • Sidney Harmon for The Talk of the Town • Robert Buckner for Yankee Doodle Dandy |
Best Screenplay | Arthur Wimperis, George Froeschel, James Hilton, and Claudine West for Mrs. Miniver | Rodney Ackland and Emeric Pressburger for 49 Parallel • Sidney Buchman and Irwin Shaw for The Talk of the Town • Herman J. Mankiewicz and Jo Swerling for The Pride of the Yankees • George Froeschel, Claudine West, and Arthur Wimperis for Random Harvest |
From the ReelGood app — which I highly recommend, despite rare glitches like this.
I’m a big fan of Thomas Mitchell, based on his superlative performance in “Only Angels Have Wings.” I’m finishing “Stagecoach” now, and “The Hurricane” is next on my list.
When it comes to the best friends James Stewart and Henry Fonda, I have two questions:
Even though I have been a fan of Stewart for as long as I can remember and love most of his movies, I kept myself wondering if Fonda is in fact the better actor. I guess that Fonda’s work always strikes me as remarkable/great, while Stewart is my zone of comfort/boy next door actor.
What do you think?
Seems to be some debate about this, about who was best of the “Big Three” so I thought we’d settle it here.
In our weekly tradition, it's time to gather round and talk about classic film(s) you saw over the week and maybe recommend some.
Tell us about what you watched this week. Did you discover something new or rewatched a favourite one? What lead you to that film and what makes it a compelling watch? Ya'll can also help inspire fellow auteurs to embark on their own cinematic journeys through recommendations.
So, what did you watch this week?
As always: Kindly remember to be considerate of spoilers and provide a brief synopsis or context when discussing the films.
A couple days ago I watched the movie Wild Strawberries on TCM. I don't usually enjoy foreign films because I find reading the closed caption text distracting but I was absolutely entranced by this film. I wonder if any fans can give me the names of some other Bergman films to watch?
I watched the musical for the first time tonight and noticed what seemed to me to be references to prior films.
In the Broadway Melody number there is a guy wearing a light-up “Eat at Joe’s” shirt in the crowded city background. This is the same shirt worn by Spencer Tracy in a scene of “Man’s Castle.”
Later in the Broadway Melody, there is what seems like a very obvious reference to Scarface with the gangster character.
Less seemingly blatant, when Lina Lamont is in the studio executive’s office and reading her contract, she starts “the party of the first part…” I couldn’t help but think this is referencing the famous Night at the Opera scene with Groucho and Chico.
The first two seem too blatant to not be direct references. Are there any others I missed, and do we know if the Marx reference is intentional?
Wilder's directorial debut with Ginger Rogers certainly isn’t his greatest achievement, but it’s still fun to watch. Compared to his later works, The Major and the Minor (1942) is a lighter, more conventional romantic comedy. That said, it still packs a good dose of Wilder wit; with sharp dialogue and a satirical edge. The film plays with themes of deception and mistaken identity, ideas he would refine in Some Like It Hot (1959), but it lacks the complexity of his later films. Wilder would go on to create movies with darker humour and more biting critiques of power and deception, yet this first film remains a charming glimpse into his developing storytelling talent.
For anyone interested in film art visit r/ClassicFilmArt
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