^he looks kinda tough on the cover but only kinda, and perhaps you can see the fear in his eyes, as Key Largo has the most terrified Bogart of all. the dude gets stepped on. so i like that movie, for its representation of both Key Largo and Bogart as a person. it's a different perspective from the days of gangsters and detectives. there'd be so much averted crying at the table if he and the Bogart from In a Lonely Place ever met and shared their stories.
recently i was browsing around on amazon, wanting to buy a pre-code movie. my favorite movies are short, melodramatic and cinematic, so i'm a sucker for pre-code movies every time. i ended up buying this:
it was cheaper alone than in its set:
this is Merrily We Go To Hell's synopsis:
A drunken newspaperman is rescued from his alcoholic haze by an heiress whose love sobers him up and encourages him to write a play, but he lapses back into dipsomania.
i think finding the dream is a kid reality, and living with or without the dream is an adult reality. what i'd need to discover is a reason not to want to see this, and such a quest would be absolutely impossible. on top of the already mentioned, the director Dorothy Arzner was "the only woman director during the 'Golden Age' of Hollywood's studio system." for me this triggers emotions brought by confirmation bias.
a picture like this in our times is treated like a goddamn revelation. if you don't already know it, you're just blowing it, regarding the capabilities of humanity being both boundless and shared by everyone, that's what i think, and what cinema and other art from the early 20th century constantly demonstrates to me. that's a social topic, what i like to know is the topic of the movie. Merrily We Go To Hell is on order.
