Promoted to national fame as a folksy TV idol by radio producer Patricia Neal, Griffith's Larry "Lonesome" Rhodes turns out to be a megalomaniacal rat bastard. Glenn Ford, at his slow-to-rile best, plays Richard Dadier, an incoming English teacher at North Manual High School. Why, they even slide our paychecks under the door so they can pretend we're not here. Faces in the Crowd Quotes A horror-thriller centered on a woman living with "face-blindness" after surviving a serial killer's attack. I Am a Fugitive from a Chain Gang (1932) is one of the toughest and most uncompromising movies to ever come out of Hollywood. With The Americanization of Emily (1964), screenwriter Paddy Chayefsky (Marty) sinks his satirical fangs into a story of an American naval officer (James Garner) selected to be the first victim at the invasion of Normandy. They're mine! Cynical in tone, the story becomes an interesting collision of manipulative interests and renewed life, the same formula that worked so well in Chayefsky's scripts for Network and Hospital. Quotes from the Movie A Face in the Crowd. You're not givin' me anything. Seeking a hotel room and the whereabouts of an ethnic Japanese farmer named Komoko, MacReedy runs smack into a wall of hostility that escalates into serious threats. Givin' me? Otto Preminger expanded his vision in the 1960s with a whole series of ambitious, expansive dramas with huge casts and big themes. Advise and Consent (1962), an examination of deal making, party politics, and congressional diplomacy in Washington's legislative halls (based on the novel by Allen Drury), is one of his best. Only they're even more stupid than I am, so I gotta think for 'em. Casting is the film's principal strength, however: Tracy, the indispensable icon of integrity, and Ryan, the indispensable noir image of spiritual blight, are as creatively unlikely a pairing as Sturges's shotgun marriage of Yul Brynner and Steve McQueen in The Magnificent Seven. Muni's weird acting style (he was recently off Scarface) somehow fits the film's furious tone, and director Mervyn LeRoy--as in his earlier Little Caesar--was dexterous enough to build the action to an unforgettable ending. Even a successful escape can't shake the spectre of the chains, nor the amazingly fatalistic twists the screenplay has in store. Back in Riddle they was pretty strict. Preminger broke the blacklist with his previous film, Exodus, and it rings through in this drama about a controversial nominee for secretary of state (a confident, stately Henry Fonda) accused of being a Communist. More timely now, perhaps, than when it was first released in 1957, Elia Kazan's overheated political melodrama Face in the Crowd explores the dangerous manipulative power of pop culture. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic. Men without faces. Lonesome Rhodes . It's a film that filters the American Dream through Depression realities and noirish pessimism (with a streak of pre-Code sexual frankness--note the one-night "friend" Muni makes the night of his escape). I'm an influence, a wielder of opinion, a force... a force!Not always. Why, they even slide our paychecks under the door so they can pretend we're not here. This picture could only have been made at Warner Bros., where social-justice movies flourished in the 1930s and criticism of judicial systems and prisons was sanctioned. Why, they even slide our paychecks under the door so they can pretend we're not here. An extraordinary supporting cast (led by Walter Matthau and Lee Remick) helps keep the energy level high, even when the satire turns shrill and unpersuasive in the final reel. I toss them a dead fish and they'll flap their flippers.Listen, I'm not through yet. I'm not just an entertainer. The whole idea of Lonesome Rhodes belongs to me. You know what's gonna to happen to me?Betty Lou is your public, all wrapped up with yellow ribbons into one cute little package. Tracy's hero is forced to fight his way past Smith's goons (among them Ernest Borgnine and Lee Marvin) and sundry allies (Anne Francis) to keep alive, setting the stage for memorable suspense crisply orchestrated by Sturges. A Face in the Crowd was my idea. I'm gonna get somethin' I deserve....AND I WANT IT ON PAPER! The film was nominated for four Oscars. It exposes the underside of Capra-corn populism, as exemplified in the optimistic fable of grassroots punditry Meet John Doe. As she lives with her condition, one in which facial features change each time she loses sight of them, the killer closes in. Didn't allow us to touch hard liquor till we was 10 or 11.Well, tell you the flat truth, it's just a sort of a whatchacallit, a...Rednecks, crackers, hillbillies, hausfraus, shut-ins, pea-pickers - everybody that's got to jump when somebody else blows the whistle. The film turns apocalyptic as Rhodes exploits his power to sway the masses, helping to elect a reactionary presidential candidate. Paul Muni stars as a regular Joe, just back from World War I, who is unjustly convicted of a crime and sentenced to 10 years of bruisingly unfair treatment on a chain gang. Didn't allow us to touch hard liquor till we was 10 or 11. Well, now I'm gonna be an equal partner. She's the logical culmination of the great 20th-centure love affair between Lonesome Rhodes and his mass audience.They love his voice, they love his guitar, they love his ideas... they should know some of his ideas.You put your whole self into that laugh, don't you?Here you see the lepers of the great television industry. The parodies of television commercials and opinion polling were cutting edge in their day (Face in the Crowd was the Network of the Eisenhower era), and there are some startling, near-documentary sequences shot on location in Arkansas. Lonesome Rhodes . Sure, I got 'em like this... You know what the public's like? Director-screenwriter Richard Brooks's 1955 adaptation of Blackboard Jungle still packs a tremendous wallop (even if it was shot mostly on the back lot). I'm an influence, a wielder of opinion, a force... a force! In time it becomes apparent that Komoko has been murdered by a local, racist chieftain, Reno Smith (Robert Ryan), who also plans on dispensing with MacReedy.

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