What Was The Last Movie You Watched?

[Fading Fast]

The Hatchet Man from 1932 with Edward G. Robinson and Loretta Young

White actors playing Chinese characters are not acceptable to modern audiences, but they were to 1930s' audiences (and to '40s' and '50s' and '60s' and '70s' audiences - it was in the '80s into the '90s that it was discover by the majority who decide these things that it was wrong).

I don't care what ethnicity plays what ethnicity as long as it is convincing and it's not convincing here, but as always, Robinson delivers such a strong, thoughtful and nuanced performance that his awful Chinese makeup and butchered attempt at English with a Chinese accent makes you forget all those flaws and just enjoy his effort.

And that goes for the rest of the movie, you either accept that there were prejudices and ways of looking at these things in the '30s that don't align to modern views or this is not the movie for you. To be sure, this is far from an all-insulting movie to Chinese Americans; in reality, at times, it's quite the opposite. Parts of Chinese culture and values are shown in a better light than - superior to - traditional America culture and values.

That and the, overall, strong story are what I enjoyed. The story is straightforward, Robinson plays a Tong "Hatchet Man," sort of a senior person in the Tong who has the responsibility and skill to carry out sanctioned-by-the-Tong murders of opponents. As the movie opens, we are told it is fifteen years earlier when San Francisco experienced Tong wars and Robinson is sent to kill his best friend.

We don't have all the background, but his best friend understands that Robinson has to do his duty and the friend leaves his property and the care of bringing up his young daughter to Robinson - that's some serious belief in the integrity of the Tong system. Then, we fast forward to present day San Francisco, 1932, when, in theory, Tong wars are over.

Robinson's best friend's daughter is now a young woman (Young) whom Robinson has raised with kindness and decency as he has become a successful businessman who now dresses, mostly, in Western business suits. With no pressure at all - almost scripted out of a 2020 college-dating handbook - Robinson asks her to marry him and she agrees seemingly happy to marry this generous and decent, if much older, man.

Then all hell breaks loose. A Tong war flares up, Robinson travels to an out-of-town "peace" conference where he learns it is a white businessman who is stirring up all the trouble (a whose-culture-is-superior challenge 1930s' style). Meanwhile, while Robinson is away, a young, handsome local Chinese drug dealer (yup, it's pre-code) moves in on Robinson's wife.

While Robinson solves the Tong war, he is disowned by the local Chinese community because he will not kill the man who dishonored him by stealing his wife. We'll give that round to Western values. As a result, Robinson loses his business and becomes a farm worker. Then, later, he learns his that wife is in terrible straights in China as her boyfriend has become a drug addict. Off to China Robinson goes to save his wife.

Mind you, this all happens in a seventy-four minute movie and Robinson still has to sort things out in China. They knew how to pack a lot of story into short movies back then. To avoid spoiler alerts, we'll leave the final China scene out, but it, like the rest of the movie, is basically a commentary of traditional Chinese values of honor and integrity held up favorably against both 1930s American values and the Chinese who game the honor system for selfish reasons.

By today's standards, much of what is shown here is unacceptable, but by 1930s' standards, this is pretty progressive stuff as the message - not even that subtle - is that traditional Chinese cultural values of honor and integrity are superior to America's individual-striver (and often corrupt) system. While I'd argue it's a phony dichotomy - individuals can compete aggressively while also treating each other with respect and integrity - as a message movie in the '30s, it's pretty darn complimentary to Chinese culture.

 

[belfastboy]

Watched Francis Ford Coppola's first real feature "The Rain People" last night. A bit uneven but was worth the watch. James Caan was very good in a role that asked not much but at least he didn't overplay the character. The female character was not well drawn and neither myself or my wife 'got' the character at all and worse were not able to sympathize with her plight. Not sure how much is the material and how much was the limited ability of Shirley Knight as an actress.

 

[Edward]

A.L.I.E.N.S

DVD Extended Cut, on my brilliant CRT TV.

The best Vietnam-movie on Sci-Fi.

Still breathtaking optics.

Never reallty thought of it as a 'Nam picture, but that does make a lot of sense.

You're the second person (who's opinions I value and TRUST) to tell me essentially the same thing. I saw the 60's version of this story with Chuck Heston in "Sensurround" and that was hardly a "masterpiece" so I wondered why they felt the need to tackle it again. Normally I'm a sucker for almost any battle movie from WWII but I'd heard it was all bad CGI and no heart. I'm not gonna waste 2 of the hours I have left on that. I NEVER forgave myself for watching "Pearl Harbor" so I wasn't about to repeat the experience.
Thanks.

Worf

If you haven't already made the mistake, I'd suggest avoiding Dunkirk by the same token. No real narrative, no sense of story, cardboard characters, and an end season even cheesier than having a Churchill impersonator delivering his speech - a feat I had thought impossible previously.

The finest "rear guard" action ever put to screen. A desperate run for it against an overwhelming enemy! On the edge of my seat every time. As different from the first as night and day but it's sooooo good!

Worf

Aliens is very much the Temple of Doom of the franchise for me - I always think of it as the lesser of the series, but when I rewatch it enjoy it far more that I recalled. It doesrepalce too much of its predecessor's unbearable suspense with action sequences for my tastes, though it is notably the biggewst success of the franchise. I enjoy it, but I still prefer the brooding, gothic menace of Alien 3. Not a popular opinion, I know.

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On The Waterfront from 1954 with Marlon Brando, Eva Marie Saint, Karl Maulden, Lee J. Cobb and Rob Steiger

Despite having a bit too neatly and nicely tied-up ending, this one's a classic for a good reason: it tells a story of deep, ruthless and cynical union, mob and political corruption - payoffs, kickbacks, muscle, favoritism - crushing the union men and local businesses (via "protection" money) who provide the funds for it all.

While you get the big picture - the union bosses, literally, counting the ill-gotten money and paying it out to the favored (who enforce the entire racket) - the story is poignantly personalized by the plight of slow-but-not-stupid Terry Malloy (Brando) who was all but born into the corrupt system and only starts to see its evil when he unintentionally fingers his good friend to be rubbed out.

And even then, it takes his friend's seraphic sister - the insanely clean and blonde Eva Marie Saint, the only thing in the entire movie that doesn't look soiled by the waterfront (literally and figuratively) - furiously pushing Brando's conscience to help her find the killers, to help him see that he wants to find the killers, to help him see the rot of the system he's part of.

She does get some help from a roll-up-your-sleeves-and-throw-a-punch Catholic priest (Mauldin) learning the difference between preaching from the pulpit and getting out amongst his flock and doing what is, effectively, waterfront missionary work. It's a very pro-religion movie, but this is no from-a-distance spiritualistic religion. Maudlin stands with the men quoting the bible to criticize their passivity to corruption and he denounces the union bosses right to their faces with more bible quotes when they steal and bully. And, as noted, when necessary, priest Mauldin will land a right to someone's jaw - think Jesus turning over the money-changers' tables.

And it all comes down to this for every single man on the waterfront: play along with the corruption and get what you can from the system (work that day, a better or easier job, more pay, some skim of the take, a not smashed-in head, etc.) or fight it and risk your life and limb, literally.

Terry, whose brother (Steiger) is a bigwig in the union, plays along as that's what he knows until the afore-noted death of his friend and the ensuing badgering from Saint. We also learn that Terry was a boxer with a future until he was told to take a dive in his big match because the union bosses bet on his opponent (the source of the famous "I coulda been a contender" line). And this past grievance resurfaces in Terry's mind while he's digesting his part in his friend's death - all the while with angelic and persistent Saint nipping at his heals and libido - leading Terry to slowly, but with growing anger, see he's part of an evil system.

While Terry is a strong physical man - a former boxer and stevedore - he's really a gentle giant who, as a hobby, raises homing pigeons with care and compassion. As the union/mob sees Terry slipping way - and afraid he'll testify against them at upcoming hearings - they send him a message by killing all his pigeons, completing the symbolism of the average union worker being nothing more than a pigeon to the bosses.

From here, there's another breakpoint for Terry (too much of a spoiler to tell) until he goes full force against the union by testifying at the very 1950's-era televised trial of mob and union corruption. Then it's the climatic waterfront confrontation - Terry versus the big mob boss (Cobb) / good versus evil - and a pleasing and just-a-bit-too simplistic ending.

Two more pluses, the movie excels at connecting small dots - if Terry fingers the mob, his brother's life is at risk / if Saint pushes for an investigation, her aging father won't be chosen for work anymore. It's well done story telling that shows how it all works - the rubber hits the road in this one very clearly. And, lastly, the acting is insane - Brando, Saint, Cobb, Steiger, Maulden and others - all deliver intense and passionate performances as did the cinematographer whose work in black-and-white made the grime and depredation of the waterfront another character.

Yes, the wrap-up is too easy, but for a 1954 picture, you can't ask for much more reality than this. Director Elia Kazan more than deserved his Oscar as did the recipients of the seven other Oscars awarded to On The Waterfront.

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I've long heard Waterfront described as an anti-union picture, though I always can't help but entertain the notion that it was a very subtly pitched dig at McCarthyism.

The end of "The Great Escape."

It's a testament to the strength of Macqueen's performance that Captain Virgil Hilts has long been the most famous of all escapees from Stalag Luft III, despite being entirely fictional.

We believe that one big reason is that two hours isn’t long enough to do a good story the right way. Also, too many movies seem slapped together by lesser talent than what we are seeing in series.

I don't think it's that - a true story teller can tell a big story in a short time. Look at M*A*S*H; okay, not every episode is total gold, but they hit it right way maore often than not, and most episodes are a masterclass in telling a whole story arc in twenty minutes. Yes, they had a long tiem to establish character depth, but evne you pick out a single episode and imagine you'd never seen it before, it's all there and holds up.

For me, the problem with Hollywood these days is that it always chases the lowest common denomenator (where the money is); to paraphrase Henry Ford, they don't make movies, they make money. That and too many people want whizz bang with more of the same, not story, not charaxcter, nothing innovative. Even down to the fact that for so, so long, if something is good andsuccessful, then a sequel is demanded, whether justifiable by story or no. Look at The Matrix where money demanded two sequels which, however profitable, were so execrable they ruined the original. An era where it all had to be a trilogy - no more, no less - irrespective of whether there was too little (or too much) material for one. Then Harry Potter showed us what Douglas Adams had known for years: that a trilogy could have as many parts as you want, and suddenly everything that would have been three movies was at least four...

There's a lot to be said for taking a story that needs ten hours of screentime and giving it that, going Netflix rather than cinema, but all too often the problem with Hollywood isn't lack of tim,e it's simply low quality on any level, and reliance on name draws and effects to sell. Course, if the market will settle for that so readily, why would they do anything else?

FWIW, though, I'm not convinced Hollywood is worse now than twenty, forty, seventy, ninety years ago... just at this distance, the second rate stuff that didn't hold up at box office in the days befoe home video has long disappeared from the collective consciousness.

Made on a modest budget so it doesn't have the grandeur of its more famous cousin but I enjoyed it all the same.

Worf

Few months ago I saw a 60s, colour remake of All Quiet.... Surprisingly good.

 

[Fading Fast]

Das Boot - uncut TV series 282 min., english synchro.

All actors dubbed themselves, except Martin Semmelrogge.

You've been making a study of this movie (and a good one to do that with): are you writing a paper or something on it?

 

[Trenchfriend]

are you writing a paper or something on it?

Nope.

They're four sound tracks on this old 2004 DVD release of the uncut TV series. All tested on my 20 year old CRT-TV's excellent speakers.

-German Dolby 5.1 (crap)
-German 2.0 Stereo (very good)
-English Dolby 5.1 (outstanding!)
-English 2.0 Stereo (very good)

The English Dolby 5.1 is just brilliant!
Like some guys said on the net, you can even hear the Boot's main clock ticking in some silent scenes!

 

[Bushman]

"Gabriel Over the White House" In the midst of the great depression, newly elected President Hammond (Walter Huston) is sent into a coma after a car crash, only to be awakened to do the bidding of the Archangel Gabriel. He cuts through the Washington red tape to bring about economic stimulus, and prevents impending war by encouraging the nations to sign a peace treaty.

Aliens is very much the Temple of Doom of the franchise for me - I always think of it as the lesser of the series, but when I rewatch it enjoy it far more that I recalled. It doesrepalce too much of its predecessor's unbearable suspense with action sequences for my tastes, though it is notably the biggewst success of the franchise. I enjoy it, but I still prefer the brooding, gothic menace of Alien 3. Not a popular opinion, I know.

Alien 3 is definitely an underrated masterpiece of the three movies. I'm particularly fond of the assembly cut. Had the director been allowed to execute his vision, instead of the producers tugging him every which way, I think the final cut would have been much more liked. However, I also feel like, in some ways, the world simply wasn't ready for it. After the bombastic success of Aliens, Alien 3 returning to the gothic horror roots of the original was not what audiences were expecting. I think only in retrospect has Alien 3 found its rightful place as the tragic yet triumphant ending to the tragic story of Lt. Ellen Ripley.

At least we can all agree it's better than Alien: Resurrection.

 

[Edward]

"Gabriel Over the White House" In the midst of the great depression, newly elected President Hammond (Walter Huston) is sent into a coma after a car crash, only to be awakened to do the bidding of the Archangel Gabriel. He cuts through the Washington red tape to bring about economic stimulus, and prevents impending war by encouraging the nations to sign a peace treaty.


Alien 3 is definitely an underrated masterpiece of the three movies. I'm particularly fond of the assembly cut. Had the director been allowed to execute his vision, instead of the producers tugging him every which way, I think the final cut would have been much more liked. However, I also feel like, in some ways, the world simply wasn't ready for it. After the bombastic success of Aliens, Alien 3 returning to the gothic horror roots of the original was not what audiences were expecting. I think only in retrospect has Alien 3 found its rightful place as the tragic yet triumphant ending to the tragic story of Lt. Ellen Ripley.

At least we can all agree it's better than Alien: Resurrection.

Alien REs I think suffered a bit from them trying to recreate the magic formula of 'S', but it's definitely, alongside II, second-tier on my list with the original and 3 at the top.

 

[Trenchfriend]

Alien 3?

Would have been def. good to me, IF they wouldn't have make it in this typical 90s style. To me, this movie is even kind of prototypical 90s style! You know, what I mean? This look!

 

[Feraud]

^ Was Alien 3 typical of the 90s style of sci-fi or did the movie invent the style? I tend to lean to assuming the former.

 

[1967Cougar390]

Last night I watched Hot Cars from 1956. Hot Cars stars John Bromfield as an honest used car salesman who loses his job and gets roped into selling Hot Cars (stolen cars) in order to raise enough money for his infant son's medical operation. When a police officer (Dabbs Greer) who is investigating a multi-state hot car operation is murdered, Bromfield is framed for the crime by his boss (Ralph Clanton). The movie also features Joi Lansing as a sexy blonde who finds honest suckers to work for Clanton's crooked dealership.

The vintage cars in this movie are great to look at, and the film gives the viewer plenty of makes and models to enjoy.

Steven

 

[AmateisGal]

Without Reservations starring John Wayne and Claudette Colbert. I enjoyed it immensely. Those two had great screen chemistry and Don DeFore's supporting character was hilarious as always!

 

[belfastboy]

Rewatched after many years..."The Last Picture Show". Really enjoyed it, much more than I thought it deserved as I remembered it from so many years ago. It is a very well constructed movie. The screenplay is stellar, the dialogue authentic and the performances generally outstanding. Cybil Shepard was the weak link but then she was do damn gorgeous I cut her some slack. Everyone else was a treat to watch.

 

[MisterCairo]

This is really out there: Airheads, with Brendan Fraser, back when he was a thing, an almost unrecognizable Steve Buscemi, Adam Sandler looking twenty, Michael Mckean and others in a throw away metal band heist thing that was funny as all hell.

I need to own it just for Buscemi with metal hair.

 

[Haversack]

Yesterday was the second day of a small heat wave in Northern California. Over 100 in Sacramento and 80 in San Francisco. (where no one has air conditioning). My wife wanted to watch a movie that evoked COLD. I initially thought Battleground would serve but instead fell back on Where Eagles Dare. (Can't beat ice-covered Alps seen from a Ju-52 nor blankets being handed to you by Ingrid Pitt after you dropped from a cable car into a near-freezing canal). Today was cold and foggy with temperatures in the 50s so we watched To Have and Have Not

 

[Fading Fast]

Criss Cross from 1949 with Burt Lancaster, Yvonne De Carlo and Dan Duryea

Burt Lancaster might get top billing and the most screen time, but the heart and soul (or really, the heartlessness and soullessness) of this movie is femme fatal par excellence Yvonne De Carlo (the future Lillian Monster not Batgirl; Batgirl was Yvonne Craig - I always confuse those names).

Some femme fatals take pleasure in their evilness; some would almost choose being evil over getting whatever they want - money, power or some man - because their raison d’être is evil. But De Carlo is all business in this one; being evil is just a means to an end. She's indifferent to it, which is almost more frightening than the sociopath who enjoys being evil. With the sociopath, you know she's broken; with De Carlo, you almost think she's not.

We come into this story as De Carlo's former husband, Lancaster, returns from a few years of traveling the country hopping from job to job to, as we'll learn, get over his divorce from De Carlo (fat chance). Once back in town, he goes looking for her in their old haunt despite everyone in town sensing the pending doom of these two reuniting.

While Lancaster was away licking his wounds, De Carlo, clad in tight dresses, jangling jewelry and bad-girl sunglasses, moved on to local gangster Duryea, equally dressed for his part in gangster noir-cliched dark shirts and suits with light ties and suspenders. De Carlo, a bit bored (one senses she's always a bit bored), starts sniffing around Lancaster while Duryea immediately senses the threat from her ex-husband.

De Carlo, the lynchpin of it all, who clearly has a physical attraction to Lancaster, plays her boy toys against each other. But Lancaster is an honest guy with a regular job as an armored-car driver who can't give her the things a prosperous gangster can (gun-hung-wall).

So, after much angst, sex we know is happening but the movie code palliates and Lancaster and Duryea at each others' throats a few times, seemingly out of nowhere, Lancaster offers up the idea of leading an inside job to rob the armored-car company. This solves two problems for Lancaster as it would stop Duryea from killing him (Lancaster's the irreplaceable inside guy after all) and would produce the funds for him to run away with De Carlo afterwards (the plan those two have).

Okay, with that horrible plan in place, the rest of the movie is a pretty good heist story from planning to, as always, bungled execution and, then, the denouement. Leaving out the spoilers, the thing to look for is De Carlo, the catalyst for almost every single bad thing that has happened to everyone in this story, explaining her philosophy on life, which boils down to I want expensive things and an easy life and don't really care who provides that or how, but that's what I want.

Heck, had she met a rich, honest guy, she'd have probably led a rich, honest life. Her game isn't evil; her game is me-first with no rules - a frightening amorality scarier than most off-the-shelf femme fatales. She lifts Criss Cross several notches above your average-good film noir.


This is a femme fatale par excellence ⇩


N.B. The location shots of late '40s Los Angeles are time-travel and noir perfect.

 

[Julian Shellhammer]

The Bride Came C.O.D. (1941) with James Cagney and Bette Davis. A romantic comedy, with screen play by Julius and Philip Epstein, who also contributed to Casablanca and Arsenic and Old Lace.
Davis plays a 23-year old oil heiress, Jack Carson her self-obsessed fiancé and Cagney owner-operator of a charter air service. Watch it when you wish to pass the evening lightheartedly.

 

[Fading Fast]

Picture Snatcher from 1933 with James Cagney, Ralph Bellamy and Patricia Ellis

• In the '30s, Warner Brothers knew how to bang out short (77 minute) movies with a lot of story, romance and action

• Cagney is an ex-con trying to go straight as a newspaper photographer despite his old mob trying to pull him back and the other newspaper guys not taking him seriously

• Throw into the mix that he's hired onto a rag - a National Enquirer of its day - by an old friend (Bellamy) who, later, owing to a misunderstanding, thinks Cagney's slept with his girl; meanwhile, Cagney really wants to be with a police captain's daughter (Ellis), but in order to get an important photograph, Cagney ends up getting the captain demoted

• There's also a trip to a death-row electrocution (the pic Cagney pinched that cost the captain his stripes) and a lone-shooter that Cagney has to calm in order to get another picture - he gets the pic, but no calm as the police let rip with a torrent of bullets that would do Tarantino proud

• Basically, a lot's going on and it's all propelled forward by Cagney on speed (wouldn't be shocked if true) - talking a mile a minute, laughing, fighting, drinking, feeling self pity and then bucking up and, of course, chasing the pretty girl - he's both a talented actor and a star (the camera loves him)

• It's no classic, but a fun, quick diversion punching above its weight owing to Cagney

All Through the Night from 1942 with Humphrey Bogart, Conrad Veidt, Frank McHugh, Peter Lorre and William Demarest

• More propaganda than serious movie, it still works in a fun way on a very real subject

• Mobsters and non-violent gambler Bogie ("non-violent" eh? - they needed Bogie to be both a gambler and a good guy in this one) uncover a Nazi spy ring in New York City and put their mob biz aside to help the good old USA

• Bogie's so nice his day is constantly disrupted by his very typical mother, unaware of her son's real biz, asking for this or that small thing for which Bogie drops everything

• Juxtaposed with that humor is the very deadly German spy ring (led by Veidt, aided by Lorre), spoiler alert, plotting to blow up a battleship in NY harbor

• With that set up, it's a pretty good balance of humor (a mob underling, McHugh, can't "consummate" his marriage as Bogie keeps giving him things to do) and international intrigue (a large and well-organized underground network of Nazi spies is exposed)

• It is a bit muddled in parts as Bogie and team run all over NYC chasing Nazis - 30 minutes could easily have been edited out - but it has strong actors, some fun moments and it is another neat example of war-time propaganda

• And you don't want to miss a 26-year-old (but already fat) Jackie Gleason looking insanely young in one of his first roles (he's in Bogie's "mob").

In twenty-plus years, this guy will be coming to you "live from Miami Beach."

 

[Bushman]

"Shackleton's Captain" It's a docudrama about the failed Antarctic Shackleton expedition to Antarctica on Amazon Prime. Really fascinating stuff. I enjoyed it.

 

[Doctor Strange]

All Through The Night includes nearly my favorite Bogie line, when he's describing the Nazi threat to his underworld friends:

"These guys are strictly no good, from way down deep."

 

[belfastboy]

View attachment 238823
Picture Snatcher from 1933 with James Cagney, Ralph Bellamy and Patricia Ellis

• In the '30s, Warner Brothers knew how to bang out short (77 minute) movies with a lot of story, romance and action

• Cagney is an ex-con trying to go straight as a newspaper photographer despite his old mob trying to pull him back and the other newspaper guys not taking him seriously

• Throw into the mix that he's hired onto a rag - a National Enquirer of its day - by an old friend (Bellamy) who, later, owing to a misunderstanding, thinks Cagney's slept with his girl; meanwhile, Cagney really wants to be with a police captain's daughter (Ellis), but in order to get an important photograph, Cagney ends up getting the captain demoted

• There's also a trip to a death-row electrocution (the pic Cagney pinched that cost the captain his stripes) and a lone-shooter that Cagney has to calm in order to get another picture - he gets the pic, but no calm as the police let rip with a torrent of bullets that would do Tarantino proud

• Basically, a lot's going on and it's all propelled forward by Cagney on speed (wouldn't be shocked if true) - talking a mile a minute, laughing, fighting, drinking, feeling self pity and then bucking up and, of course, chasing the pretty girl - he's both a talented actor and a star (the camera loves him)

• It's no classic, but a fun, quick diversion punching above its weight owing to Cagney

View attachment 238825
All Through the Night from 1942 with Humphrey Bogart, Conrad Veidt, Frank McHugh, Peter Lorre and William Demarest

• More propaganda than serious movie, it still works in a fun way on a very real subject

• Mobsters and non-violent gambler Bogie ("non-violent" eh? - they needed Bogie to be both a gambler and a good guy in this one) uncover a Nazi spy ring in New York City and put their mob biz aside to help the good old USA

• Bogie's so nice his day is constantly disrupted by his very typical mother, unaware of her son's real biz, asking for this or that small thing for which Bogie drops everything

• Juxtaposed with that humor is the very deadly German spy ring (led by Veidt, aided by Lorre), spoiler alert, plotting to blow up a battleship in NY harbor

• With that set up, it's a pretty good balance of humor (a mob underling, McHugh, can't "consummate" his marriage as Bogie keeps giving him things to do) and international intrigue (a large and well-organized underground network of Nazi spies is exposed)

• It is a bit muddled in parts as Bogie and team run all over NYC chasing Nazis - 30 minutes could easily have been edited out - but it has strong actors, some fun moments and it is another neat example of war-time propaganda

• And you don't want to miss a 26-year-old (but already fat) Jackie Gleason looking insanely young in one of his first roles (he's in Bogie's "mob").

In twenty-plus years, this guy will be coming to you "live from Miami Beach."
View attachment 238827

OMG, I want Cagney's hat!!