my gifs: favourite films

10

Hobbit/LotR Ask Meme: Elizabethswnn, Jezunya and Anonymous asked 11. Where would you live in Middle-earth? 

The Shire was divided into four quarters, the Farthings already referred to. North, South, East, and West; and these again each into a number of folklands, which still bore the names of some of the old leading families, although by the time of this history these names were no longer found only in their proper folklands. Nearly all Tooks still lived in the Tookland, but that was not true of many other families, such as the Bagginses or the Boffins. Outside the Farthings were the East and West Marches: the Buckland and the Westmarch added to the Shire in S.R. 1462.“ 

"The Shire at this time had hardly any ‘government’. Families for the most part managed their own affairs. Growing food and eating it occupied most of their time. In other matters they were, as a rule, generous and not greedy, but contented and moderate, so that estates, farms, workshops, and small trades tended to remain unchanged for generations.”

4

Cairo’s homosexuality posed one of the biggest obstacles to securing overall approval of the picture. Hammett didn’t mince words in the novel. “This guy is queer,” says Sam Spade’s secretary as she hands him an engraved card bearing his name - Mr Joel Cairo. He speaks in a “high-pitched thin voice,” carries “gaily colored silk handkerchiefs fragrant of chypre,” and walks in “mincing, bobbing steps.” … Hal Wallis realised that American audiences - not to mention the Hays Office - were not ready for a candid look at homosexuality, which traditionally drew laughs and jeers out front. 

After seeing Lorre’s first day’s work, Wallis dashed off a memo to Huston: “Don’t try and get a nancy quality into him, because if you do we will have trouble with the picture.” Huston bent to Breen’s will. In the scene, Effie presents Cairo’s calling card to a bemused Spade, who holds it to his nose.

“Gardenia,” says Effie.

“Quick, darling, in with him,” replies Spade.

The rest Huston left to Lorre’s subtlety and the viewer’s imagination.

The svelte 137-pound Lorre who stepped before the camera seemed younger, fitter, swifter. More was asked of him and he asked more of himself. The role was the best of its kind to come his way in years and Lorre knew it.

“I’d often shoot a scene with Peter and find it quite satisfactory, nothing more,” recalled Huston - 

But then I would see it on the screen in rushes and discover it to be far better than what I had perceived on the set. Some subtlety of expression was seen by the camera and recorded by the microphone that the naked eye and ear did not get. He’d be doing little things that the camera close on him would pick up that standing a few feet away you wouldn’t see. It was underplaying; it was a play that you would see if you were close to him, as a close-up, as a camera is close. Things would flicker there and burn up slightly, like a lamp, and then dim down, and come on again. You’re watching something as if it were in motion.

from The Lost One: A Life of Peter Lorre -Stephen D Youngkin

2

“Michael Mann’s Heat. And the reason I say that is because… I probably watch it once or twice a year and everytime I watch it I find something new in it. It’s the most precise thriller really of our modern era.”