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Which Director had the best run in the 40s?
Best run in terms of anything William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt. Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys. John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light. Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire. Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case. Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty. George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me. John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive. Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express. Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses. Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross. Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine. Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing,The Small Back Room, and An Airman's Letter to His Mother. Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor. John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll. Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair. Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door. Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement. Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe. Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends. Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming. Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway. Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon. Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine. Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation. King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest. Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul. Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses. Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico. Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth. Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer. Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France. Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama. Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman. Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James. Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night. Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night. Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson. Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo. Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question. Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall. Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat. Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night. Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne. Luis Buñuel: Gran Casino and The Great Madcap. Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard. Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi. Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French. René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga. Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax. Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night. Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island. William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters. Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again. Luchino Visconti: Ossessione and La Terra Trema. Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young. Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies. Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day. John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song. Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce. Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men. Dorothy Arzner: Dance, Girl, Dance and First Comes Courage. George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube. Howard Hawks, John Ford, and Orson Welles are my Top Three.
Best run in terms of anything William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt. Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys. John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light. Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire. Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case. Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty. George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me. John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive. Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express. Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses. Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross. Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine. Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing, The Small Back Room,and An Airman's Letter to His Mother. Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor. John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll. Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair. Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door. Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement. Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe. Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends. Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming. Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway. Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon. Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine. Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation. King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest. Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul. Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses. Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico. Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth. Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer. Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France. Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama. Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman. Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James. Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night. Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night. Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson. Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo. Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question. Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall. Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat. Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night. Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne. Luis Buñuel: Gran Casino and The Great Madcap. Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard. Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi. Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French. René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga. Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax. Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night. Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island. William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters. Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again. Luchino Visconti: Ossessione and La Terra Trema. Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young. Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies. Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day. John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song. Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce. Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men. Dorothy Arzner: Dance, Girl, Dance and First Comes Courage. George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.
Best run in terms of anything William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt. Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys. John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light. Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire. Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case. Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty. George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me. John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, We Sail at Midnight, Sex Hygiene, 3 Godfathers, My Darling Clementine, Torpedo Squadron,December 7th: The Movie,They Were Expendable, Fort Apache, The Battle of Midway, She Wore a Yellow Ribbon, and The Fugitive. Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express. Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses. Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross. Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine. Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing,The Small Back Room,and An Airman's Letter to His Mother. Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor. John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll. Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair. Nicholas Ray: They Live by Night, A Woman's Secret, and Knock on Any Door. Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement. Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe. Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends. Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming. Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway. Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon. Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine. Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation. King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest. Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul. Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses. Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico. Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth. Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer. Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France. Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama. Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman. Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James. Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night. Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night. Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson. Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo. Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question. Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall. Maya Daren: At Land, Meshes of the Afternoon, A Study for Choreography for Camera, Ritual in Transfigured Time, and Meditation on Violence. Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat. Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night. Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne. Luis Buñuel: Gran Casino and The Great Madcap. Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard. Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi. Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French. René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga. Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax. Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night. Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island. William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters. Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again. Luchino Visconti: Ossessione and La Terra Trema. Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young. Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies. Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day. John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song. Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce. Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men. Dorothy Arzner: Dance, Girl, Dance and First Comes Courage. George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.
Best run in terms of anything William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt. Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear,The Stranger, Black Magic, and Follow the Boys. John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light. Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire. Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case. Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty. George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me. John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive. Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express. Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses. Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross. Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine. Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing, The Small Back Room, and An Airman's Letter to His Mother. Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor. John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll. Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair. Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door. Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement. Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe. Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends. Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming. Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway. Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon. Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine. Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation. King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest. Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul. Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses. Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico. Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth. Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer. Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France. Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama. Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman. Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James. Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night. Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night. Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson. Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo. Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question. Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall. Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat. Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night. Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne. Luis Buñuel: Gran Casino and The Great Madcap. Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard. Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi. Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French. René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga. Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax. Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night. Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island. William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters. Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again. Luchino Visconti: Ossessione and La Terra Trema. Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young. Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies. Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day. John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song. Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce. Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men. Dorothy Arzner: Dance, Girl, Dance and First Comes Courage. George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.
Peter Cushing is the Star of the Month for October, 2020 on TCM (U.S.)
Every Monday from 8:00 p.m. till just after the sun comes up. Thursday, October 01, 2020 (12:00 AM) (drama) Up The Down Staircase (1967/124 m/Robert Mulligan) (2:15 AM) (comedy) Our Miss Brooks (1956/85 m/Al Lewis) (4:00 AM) (drama)The Corn Is Green (1945/114 m/Irving Rapper) (6:00 AM) (comedy) Girl He Left Behind (1956/103 m/David Butler) (8:00 AM) (war) Lafayette Escadrille (1958/93 m/William A. Wellman) (9:45 AM) (comedy) Dondi (1961/100 m/Albert Zugsmith) (11:30 AM) (epic) The Shoes of the Fisherman (1968/162 m/Michael Anderson) (2:15 PM) (crime) Ring of Fire (1961/91 m/Andrew L. Stone) (4:00 PM) (suspense) Twenty Plus Two (1961/103 m/Joseph M. Newman) (5:45 PM) (horror) Marooned (1969/129 m/John Sturges) (8:00 PM) (drama) La Strada (1954/108 m/Federico Fellini) (10:00 PM) (romance) Two for the Road (1967/111 m/Stanley Donen) Friday, October 02, 2020 (12:00 AM) (romance) Dodsworth (1936/101 m/William Wyler) (2:00 AM) (documentary) The Memphis Belle: A Story of a Flying Fortress (1944/40 m/Lt. Col. William Wyler) (3:00 AM) (drama) Black Girl (1966/60 m/Ousmane Sembene) (4:15 AM) (drama) The Music Room (1958/99 m/Satyajit Ray) (6:00 AM) (comedy) Go West (1940/80 m/Edward Buzzell) (7:45 AM) (comedy) The Big Store (1941/83 m/Charles Riesner) (9:30 AM) (comedy) Double Dynamite (1951/81 m/Irving Cummings) (11:00 AM) (comedy) Girl In Every Port (1952/86 m/Chester Erskine) (12:30 PM) (comedy) A Day at the Races (1937/109 m/Sam Wood) (2:30 PM) (comedy) At the Circus (1939/87 m/Edward Buzzell) (4:15 PM) (comedy) A Night at the Opera (1935/91 m/Sam Wood) (6:00 PM) (epic) The Story of Mankind (1957/100 m/Irwin Allen) (8:00 PM) (horror) Dracula (1931/74m/Tod Browning) (9:30 PM) (suspense) Cat People (1942/73 m/Jacques Tourneur) (11:00 PM) (horror) House on Haunted Hill (1958/75 m/William Castle) Saturday, October 03, 2020 (12:30 AM) (horror) The Haunting (1963/112 m/Robert Wise) (3:45 AM) (premiere) Wigstock: The Movie (1995/85 m/Barry Shils) (5:15 AM) (short) The Relaxed Wife (1957/13 m/?) (5:15 AM) (short) Time Out for Trouble (1961/19m/David S. Glidden) (6:00 AM) (comedy) Million Dollar Baby (1941/101 m/Curtis Bernhardt) (8:00 AM) (premiere) MGM CARTOONS: The Peachy Cobbler (1950/7 m/Fred (Tex) Avery) (8:08 AM) (short) Phonies Beware! (1956/8 m/Larry O'Reilly) (8:17 AM) (short) Night Life in Chicago (1948/9 m/?) (8:27 AM) (premiere) Arctic Fury (1949/61 m/Norman Dawn) (9:30 AM) (premiere) THE WILD WEST DAYS: Redskins’ Revenge (1937/?/?) (10:00 AM) (premiere) POPEYE: Baby Wants a Bottleship (1942/7 m/Dave Fleischer) (10:08 AM) (adventure) Safari Drums (1953/71 m/Ford Beebe) (11:30 AM) (documentary) Alaska Lifeboat (1956/21 m/Herbert Morgan) (12:00 PM) (drama) The Prince and the Pauper (1937/118 m/William Keighley) (2:15 PM) (crime) Key Largo (1948/100 m/John Huston) (4:15 PM) (drama) The Defiant Ones (1958/96 m/Stanley Kramer) (6:00 PM) (romance) The Thomas Crown Affair (1968/102 m/Norman Jewison) (8:00 PM) (epic) Lawrence of Arabia (1962/227 m/David Lean) Sunday, October 04, 2020 (12:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger) (2:00 AM) (western) Across the Wide Missouri (1951/78 m/William Wellman) (3:30 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe) (5:30 AM) (short) Inflation (1942/17 m/Cy Endfield) (6:00 AM) (romance) The Last of Mrs. Cheyney (1937/98 m/Richard Boleslawski) (7:45 AM) (romance) Humoresque (1946/124 m/Jean Negulesco) (10:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger) (12:00 PM) (comedy) Mr. Belvedere Goes to College (1949/83 m/Elliott Nugent) (1:30 PM) (comedy) The Women (1939/133 m/George Cukor) (4:00 PM) (musical) Bye Bye Birdie (1963/112 m/George Sidney) (6:00 PM) (documentary) The Great Buster: A Celebration (2018/101 m/Peter Bogdanovich) (8:00 PM) (silent) Sherlock Jr. (1924/46 m/Buster Keaton) (9:00 PM) (silent) The General (1927/79 m/Buster Keaton) (10:30 PM) (silent) Steamboat Bill Jr. (1928/71 m/Charles F. Reisner) Monday, October 05, 2020 (12:00 AM) (silent) Seven Chances (1925/57 m/Buster Keaton) (2:00 AM) (drama) Viridiana (1961/91 m/Luis Buñuel) (3:45 AM) (drama) The Exterminating Angel (1962/92 m/Luis Buñuel) (5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?) (6:00 AM) (musical) Roberta (1935/106 m/William A. Seiter) (8:00 AM) (musical) Fashions of 1934 (1934/78 m/William Dieterle) (9:30 AM) (drama) Stolen Holiday (1937/80 m/Michael Curtiz) (11:00 AM) (comedy) Designing Woman (1957/118 m/Vincente Minnelli) (1:00 PM) (comedy) Made in Paris (1966/103 m/Boris Sagal) (2:45 PM) (romance) A Place for Lovers (1969/88 m/Vittorio De Sica) (4:30 PM) (horror) Blood and Black Lace (1964/88 m/Mario Bava) (6:00 PM) (suspense) Lured (1947/103 m/Douglas Sirk) (8:00 PM) (crime) Cash on Demand (1961/80 min/Quentin Lawrence) (9:30 PM) (romance) The End of the Affair (1955/106 m/Edward Dmytryk) (11:30 PM) (crime) Time Without Pity (1957/85 m/Joseph Losey) Tuesday, October 06, 2020 (1:15 AM) (adventure) John Paul Jones (1959/126 m/John Farrow) (3:30 AM) (drama) Hamlet (1948/154 m/Laurence Olivier) (6:15 AM) (comedy) A Chump at Oxford (1940/63 m/Alfred Goulding) (7:30 AM) (drama) Vigil in the Night (1940/102 m/George Stevens) (9:15 AM) (comedy) The Gay Bride (1934/80 m/Jack Conway) (10:45 AM) (musical) Swing High, Swing Low (1937/83 m/Mitchell Leisen) (12:15 PM) (comedy) Love Before Breakfast (1936/70 m/Walter Lang) (1:30 PM) (comedy) Nothing Sacred (1937/74 m/William A. Wellman) (3:00 PM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock) (4:45 PM) (comedy) To Be or Not to Be (1942/99 m/Ernst Lubitsch) (6:30 PM) (documentary) The Golden Age of Comedy (1957/79 m/various) (9:15 PM) (drama) The Ascent (1977/109 m/Larisa Sheptiko) Wednesday, October 07, 2020 (12:30 AM) Meek's Cutoff (2010/104 m/Kelly Reichardt) (2:30 AM) (short) Meshes of the Afternoon (1944/14 m/Maya Deren) (4:30 AM) (comedy) Daisies (1966/76 m/Vera Chytilová (6:00 AM) (premiere) Cameraperson (2016/102 m/Kirsten Johnson) (9:15 AM) (drama) The Journey (1959/126 m/Anatole Litvak) (11:30 AM) (drama) The Squall (1929/102 mAlexander Korda) (1:30 PM) (short) Beautiful Budapest (1938/9 m/?) (1:45 PM) (short) Rural Hungary (1939/9 m/James A. FitzPatrick) (2:00 PM) (drama) Fight For Your Lady (1938/66 m/Ben Stoloff) (3:15 PM) (drama) Storm at Daybreak (1933/79 m/Richard Boleslavsky) (4:45 PM) (romance) The Shop Around the Corner (1940/99 m/Ernst Lubitsch) (6:30 PM) (musical) One Heavenly Night (1930/80 m/Geo. Fitzmaurice) (8:00 PM) (comedy) No Time For Sergeants (1958/119 m/Mervyn LeRoy) (10:15 PM) (drama) A Face in the Crowd (1957/126 m/Elia Kazan) Thursday, October 08, 2020 (12:30 AM) (western) Hearts of the West (1975/102 m/Howard Zieff) (2:30 AM) (comedy) Onionhead (1958/110 m/Norman Taurog) (4:30 AM) (comedy) Thunder Afloat (1939/95 m/George B. Seitz) (6:15 AM) (crime) The Public Enemy (1931/84 m/William A. Wellman) (8:15 AM) (romance) Red-Headed Woman (1932/79 m/Jack Conway) (9:45 AM) (comedy) Dinner at Eight (1933/111 m/George Cukor) (11:45 AM) (comedy) Saratoga (1937/92 m/Jack Conway) (1:30 PM) (romance) Hold Your Man (1933/87 m/Sam Wood) (3:15 PM) (romance) Red Dust (1932/83 m/Victor Fleming) (4:45 PM) (comedy) Personal Property (1937/84 m/W. S. Van Dyke II) (6:15 PM) (comedy) Bombshell (1933/96 m/Victor Fleming) (8:00 PM) (comedy) The Front Page (1931/101 m/Lewis Milestone) (10:00 PM) (suspense) Detour (1945/68 m/Edgar G. Ulmer) (11:30 PM) (drama) The Man with the Golden Arm (1956/119m/Otto Preminger) Friday, October 09, 2020 (1:45 AM) (romance) Love Affair (1939/88 m/Leo McCarey) (3:30 AM) (crime) A Brighter Summer Day (1991/237 m/Edward Yang) (7:00 AM) (short) Alice in Movieland (1940/22 m/Jean Negulesco) (7:45 AM) (drama) Nora Prentiss (1947/111 m/Vincent Sherman) (9:45 AM) (crime) Born to Kill (1947/92 m/Robert Wise) (11:30 AM) (drama) Dark Passage (1947/106 m/Delmer Daves) (1:30 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur) (3:15 PM) (crime) Race Street (1948/79 m/Edwin L. Marin) (4:45 PM) (suspense) Impact (1949/111 m/Arthur Lubin) (6:45 PM) (suspense) The Woman On Pier 13 (1950/73 m/Robert Stevenson) (8:00 PM) (horror) The Ghoul (1933/81 m/T. Hayes Hunter) (9:30 PM) (horror) The Black Sleep (1956/82 m/Reginald LeBorg) (11:00 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning) Saturday, October 10, 2020 (12:15 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero) (2:00 AM) (adventure) White Lightning (1973/101 m/Joseph Sargent) (3:45 AM) (drama) Gator (1976/116 m/Burt Reynolds) (5:45 AM) (short) The Corvair in Action! (1960/6 m/?) (6:00 AM) (musical) The Opposite Sex (1956/116 m/David Miller) (8:00 AM) (premiere) MGM Cartoons: Red Hot Riding Hood (1943/7 m/Fred (Tex) Avery) (8:09 AM) (short) Fortune Seekers (1956/8 m/Larry O'Reilly) (8:18 AM) (documentary) Historic Maryland (1941/8 m/?) (8:27 AM) (drama) Men of the North (1930/61 m/Hal Roach) (9:30 AM) (premiere) THE WILD WEST DAYS: Brink of Doom (1937/?/?) (10:00 AM) (premiere) POPEYE: Alona the Sarong Seas (1942/7 m/Dave Fleischer) (10:08 AM) (premiere) The Golden Idol (1954/71 m/Ford Beebe) (11:30 AM) (comedy) King Of The Islands (1935/17 m/Ralph Staub) . (12:00 PM) (adventure) Tarzan The Ape Man (1932/100 m/W. S. Van Dyke II) (2:00 PM) (musical) Lili (1953/81 m/Charles Walters) (3:30 PM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.) (6:00 PM) (musical) Top Hat (1935/100 m/Mark Sandrich) (8:00 PM) (adventure) Gunga Din (1939/117 m/George Stevens) (10:15 PM) (adventure) The Three Musketeers (1948/126 m/George Sidney) Sunday, October 11, 2020 (12:30 AM) (crime) The Racket (1951/89 m/John Cromwell) (2:30 AM) (comedy) Bananas (1971/82 m/Woody Allen) (4:00 AM) (comedy) Hannah and Her Sisters (1986/107 m/Woody Allen) (6:00 AM) (comedy) A Midsummer Night's Dream (1935/143 m/Max Reinhardt) (8:30 AM) (drama) Journey For Margaret (1942/81 m/Major W. S. Van Dyke II) (10:00 AM) (crime) The Racket (1951/89 m/John Cromwell) (12:00 PM) (drama) Sounder (1972/105 m/Martin Ritt) (2:00 PM) (drama) The Secret Garden (1949/92 m/Fred M. Wilcox) (3:45 PM) (drama) The Catered Affair (1956/94 m/Richard Brooks) (5:30 PM) (musical) Flower Drum Song (1961/131 m/Henry Koster) (8:00 PM) (comedy) The Front Page (1974/105 m/Billy Wilder) (10:00 PM) (comedy) The Fortune Cookie (1966/126 m/Billy Wilder) Monday, October 12, 2020 (12:15 AM) (comedy) Sidewalk Stories (1989/99 m/Charles Lane) (2:15 AM) (comedy) The Firemen's Ball (1967/73 m/Milos Forman) (3:45 AM) (premiere) All My Good Countrymen (1968/126 m/Vojtěch Jasný) (6:00 AM) (horror) The Reptile (1966/90 m/John Gilling) (7:45 AM) (horror) The Killer Shrews (1959/68 m/Ray Kellogg) (9:00 AM) (horror) King Kong (1933/104 m/Merian C. Cooper) (11:00 AM) (horror) The Beast From 20,000 Fathoms (1953/80 m/Eugene Lourié) (12:30 PM) (horror) Gojira (1954/96 m/Ishiro Honda) (2:00 PM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold) (3:30 PM) (horror) Creature from the Haunted Sea (1961/59 m/Roger Corman) (4:45 PM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku) (6:30 PM) (horror) Night of the Lepus (1972/88 m/William F. Claxton) (8:00 PM) (adventure) Sword of Sherwood Forest (1960/80 m/Terence Fisher) (11:00 PM) (horror) Daleks - Invasion Earth 2150 A.D. (1966/81 m/Gordon Flemyng) Tuesday, October 13, 2020 (12:30 AM) (adventure) She (1965/106 m/Robert Day) (2:30 AM) (crime) Violent Playground (1958/106 m/Basil Dearden) (4:30 AM) (premiere) In Saigon: Some May Live (1967/89 m/Vernon Sewell) (6:00 AM) (drama) Devotion (1931/81 m/Robert Milton) (7:30 AM) (comedy) The Runaway Bus (1954/74 m/Val Guest) (9:00 AM) (crime) The Solitaire Man (1933/67 m/Jack Conway) (10:30 AM) (suspense) Blind Adventure (1933/63 m/Ernest B. Schoedsack) (11:45 AM) (musical) Double Trouble (1967/92 m/Norman Taurog) (1:30 PM) (romance) A Warm December (1972/101 m/Sidney Poitier) (3:30 PM) (drama) The V.I.P.S (1963/119 m/Anthony Asquith) (5:45 PM) (comedy) The Prince and the Showgirl (1957/117 m/Laurence Olivier) Wednesday, October 14, 2020 (2:00 AM) (documentary) The House Is Black (1963/22 m/?) (2:30 AM) (romance) First Love (1977/91 m/Joan Darling) (4:15 AM) (drama) The Night Porter (1974/118 m/Liliana Cavani) (6:30 AM) (drama) Le Bonheur (1965/80 m/Agnes Varda) (10:15 AM) (silent) The Unholy Three (1925/86 m/Tod Browning) (12:00 PM) (silent) The Unknown (1927/49 m/Tod Browning) (1:00 PM) (silent) The Blackbird (1926/86 m/Tod Browning) (2:30 PM) (horror) The Thirteenth Chair (1929/73 m/Tod Browning) (4:00 PM) (horror) Freaks (1932/62 m/Tod Browning) (5:15 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning) (6:30 PM) (horror) The Devil-Doll (1936/78 m/Tod Browning) (8:00 PM) (drama) Abe Lincoln in Illinois (1940/110 m/John Cromwell) (10:00 PM) (drama) Sunrise at Campobello (1960/144 m/Vincent J. Donehue) Thursday, October 15, 2020 (12:45 AM) (drama) Wilson (1944/154 m/Henry King) (3:30 AM) (war) PT 109 (1963/140 m/Leslie H. Martinson) . (6:00 AM) (comedy) Three Men on a Horse (1936/86 m/Mervyn LeRoy) (7:30 AM) (crime) Unholy Partners (1941/94 m/Mervyn LeRoy) (9:15 AM) (musical) Sweet Adeline (1935/88 m/Mervyn Le Roy) (11:00 AM) (comedy) Happiness Ahead (1934/86 m/Mervyn Le Roy) (12:30 PM) (drama) Big City Blues (1932/63 m/Mervyn LeRoy) (1:45 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy) (4:00 PM) (drama) They Won't Forget (1937/95 m/Mervyn LeRoy) (5:45 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy) (8:00 PM) (war) Tunes of Glory (1960/107 m/Ronald Neame) (10:00 PM) (war) The Life and Death of Colonel Blimp (1943/164 m/Michael Powell) Friday, October 16, 2020 (1:00 AM) (war) The Seventh Cross (1944/112 m/Fred Zinnemann) (3:00 AM) (drama) The Diary of Anne Frank (1959/180 m/George Stevens) (6:15 AM) (documentary) Trances (1981/89 m/Ahmed El Maanouni) (8:00 AM) (comedy) Little Shop of Horrors (1960/72 m/Roger Corman) (9:15 AM) (horror) Village of the Damned (1960/77 m/Wolf Rilla) (10:45 AM) (horror) The Brain That Wouldn't Die (1962/82 m/Joseph Green) (12:15 PM) (horror) Carnival of Souls (1962/78 m/Herk Harvey) (1:45 PM) (horror) Dementia 13 (1963/75 m/Francis Ford Coppola) (3:15 PM) (horror) The Raven (1963/86 m/Roger Corman) (4:45 PM) (horror) Spider Baby (1964/84 m/Jack Hill) (6:15 PM) (horror) The Nanny (1965/93 m/Seth Holt) (8:00 PM) (horror) Dead of Night (1945/103 m/Alberto Cavalcanti, Basil Dearden, Robert Hamer, Charles Crichton) (10:00 PM) (horror) Twice-Told Tales (1963/120 m/Sidney Salkow) Saturday, October 17, 2020 (12:15 AM) (horror) Black Sabbath (1963/96 m/Mario Bava) (2:00 AM) (premiere) Enter the Ninja (1981/99 m/Menahem Golan) (3:45 AM) (premiere) Revenge of the Ninja (1983/?/Sam Firstenberg) (5:30 AM) (short) Shake Hands With Danger (1970/23 m/?) (6:00 AM) (war) The Password Is Courage (1962/115 m/Andrew L. Stone) (8:00 AM) MGM CARTOONS: Sheep Wrecked (1958/6 m/Michael Lah) (8:08 AM) (documentary) Cave Explorers (1957/8 m/Heinz Scheiderbauer) (8:17 AM) (short) The Capital City Washington, D.C. (1940/9 m/?) (8:27 AM) (drama) She Loved A Fireman (1937/58 m/John Farrow) (9:30 AM) (premiere) The WILD WEST DAYS: Indians Are Coming (1937/?/?) (10:00 AM) (premiere) POPEYE: A Hull of a Mess (1942/6 m/Dave Fleischer) (10:08 AM) (adventure) Lord of the Jungle (1955/69 m/Ford Beebe) (11:30 AM) (short) Kissing Time (1933/22 m/Roy Mack) (12:00 PM) (western) Angel And The Badman (1947/100 m/James Edward Grant) (1:45 PM) (adventure) Captain Horatio Hornblower (1951/117 m/Raoul Walsh) (4:00 PM) (comedy) Support Your Local Sheriff! (1969/93 m/Burt Kennedy) (5:45 PM) (horror) Rollerball (1975/125 m/Norman Jewison) (8:00 PM) (musical) Singin' in the Rain (1952/103 m/Gene Kelly) (10:00 PM) (musical) Summer Stock (1950/109 m/Charles Walters) Sunday, October 18, 2020 (12:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn) (1:45 AM) (comedy) The Fearless Vampire Killers or Pardon Me, But Your Teeth Are in My Neck (1966/107 m/Roman Polanski) (3:45 AM) (horror) House of Dark Shadows (1970/97 m/Dan Curtis) (5:30 AM) (short) Return to Glennascaul (1953/24 m/Hilton Edwards) (6:00 AM) (drama) The Life of Emile Zola (1937/116 m/William Dieterle) (8:15 AM) (comedy) His Girl Friday (1940/92 m/Howard Hawks) (10:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn) (11:45 AM) (epic) The Good Earth (1937/138 m/Sidney Franklin) (2:15 PM) (drama) Written on the Wind (1957/99 m/Douglas Sirk) (4:00 PM) (romance) Dear Heart (1964/114 m/Delbert Mann) (6:00 PM) (comedy) Peggy Sue Got Married (1986/105 m/Francis Ford Coppola) (10:00 PM) (comedy) Losing Ground (1982/86 m/Kathleen Collins) Monday, October 19, 2020 (12:00 AM) (silent) Exit Smiling (1926/77 m/Sam Taylor) (2:00 AM) (premiere) I Am Waiting (1957/91 m/Koreyoshi Kurahara) (3:45 AM) (premiere) A Colt Is My Passport (1967/84 m/Takashi Nomura) . (5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?) (6:00 AM) (comedy) I Married a Witch (1942/77 m/René Clair) (7:30 AM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock) (9:15 AM) (crime) Touch of Evil (1958/111 m/Orson Welles) (11:30 AM) (adventure) Mogambo (1953/116 m/John Ford) (1:45 PM) (suspense) North by Northwest (1959/136 m/Alfred Hitchcock) (4:15 PM) (drama) In A Lonely Place (1950/93 m/Nicholas Ray) (6:00 PM) (war) Any Number Can Play (1949/103 m/Mervyn LeRoy) (8:00 PM) (suspense) The Hound of the Baskervilles (1959/87 m/Terence Fisher) (9:30 PM) (horror) Horror of Dracula (1958/81 m/Terence Fisher) (11:15 PM) (horror) The Mummy (1959/88 m/Terence Fisher) (1:00 AM) (horror) The Curse of Frankenstein (1957/83 min/Terence Fisher) (2:45 AM) (horror) Frankenstein Created Woman (1967/92 min/Terence Fisher) (4:30 AM) (horror) Frankenstein Must Be Destroyed! (1970/101 m/Terence Fisher) Tuesday, October 20, 2020 (6:15 AM) (comedy) Front Page Woman (1935/82 m/Michael Curtiz) (7:45 AM) (romance) Wife Vs. Secretary (1936/88 m/Clarence Brown) (9:30 AM) (suspense) Mr. And Mrs. North (1941/67 m/Robert B. Sinclair) (10:45 AM) (comedy) Theodora Goes Wild (1936/94 m/Richard Boleslawski) (12:30 PM) (comedy) Breakfast for Two (1937/68 m/Alfred Santell) (1:45 PM) (comedy) Four's A Crowd (1938/92 m/Michael Curtiz) (3:30 PM) (comedy) It's A Wonderful World (1939/86 m/W. S. Van Dyke II) (5:00 PM) (comedy) Fools For Scandal (1938/80 m/Mervyn Le Roy) (6:30 PM) (romance) Love on the Run (1936/80 m/W. S. Van Dyke) (8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema #8 (2018/?/Mark Cousins) (9:15 PM) TBA (10:45 PM) (documentary)) Women Make Film: A New Road Movie Through Cinema #8 (2018/?/Mark Cousins) __ Wednesday, October 21, 2020 (2:00 AM) (premiere) The Third Miracle (1999/119 m/Agnieszka Holland) (7:45 AM) (short) The Birth, the Life and the Death of Christ (1906/34 m/Alice Guy-Blache) (8:30 AM) (documentary) Araya (1959/83 m/Margot Benacerraf) (10:00 AM) (drama) Children of a Lesser God (1986/119 m/Randa Haines) (12:15 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet) (1:45 PM) (drama) Calling Dr. Kildare (1939/86 m/Harold S. Bucquet) (3:30 PM) (drama) The Secret of Dr. Kildare (1939/84 m/Harold S. Bucquet) (5:00 PM) (drama) Dr. Kildare Goes Home (1940/79 m/Harold S. Bucquet) (6:30 PM) (drama) Dr. Kildare's Crisis (1940/75 m/Harold S. Bucquet) (8:00 PM) (comedy) Hard To Handle (1933/78 m/Mervyn LeRoy) (9:30 PM) (crime) The Beast Of The City (1932/86 m/Charles Brabin) (11:15 PM) (drama) One Way Passage (1942/67 m/Tay Garnett) Thursday, October 22, 2020 (12:45 AM) (crime) They Live By Night (1948/95 m/Nicholas Ray) (2:30 AM) (adventure) The Prisoner of Zenda (1952/100 m/Richard Thorpe) (4:15 AM) (adventure) Green Fire (1955/100 m/Andrew Marton) (6:00 AM) (adventure) Three Faces East (1930/71 m/Roy Del Ruth) (7:30 AM) (drama) Born to Love (1932/81 m/Paul L. Stein) (9:00 AM) (drama) The Common Law (1932/74 m/Paul L. Stein) (10:30 AM) (drama) Rockabye (1932/68 m/George Cukor) (11:45 AM) (drama) Bed of Roses (1933/ 67 /Gregory LaCava) (1:00 PM) (drama) Our Betters (1933/83 m/George Cukor) (2:30 PM) (comedy) Topper (1937/97 m/Norman Z. McLeod) (4:15 PM) (comedy) Topper Takes a Trip (1939/80 m/Norman Z. McLeod) (5:45 PM) (comedy) Merrily We Live (1938/95 m/Norman Z. McLeod) (7:30 PM) (documentary) MGM Parade Show #5 (1955/26 m/?) (8:00 PM) (crime) The Killers (1964/93 m/Donald Siegel) (9:45 PM) (drama) The Breaking Point (1950/97 m/Michael Curtiz) (11:30 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz) Friday, October 23, 2020 (1:00 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero) (3:00 AM) (premiere) A River Called Titas (1973/158 m/Ritwik Ghatak) (6:00 AM) (drama) Inside Straight (1951/87 m/Gerald Mayer) (7:30 AM) (crime) Absolute Quiet (1936/70 m/George B. Seitz) (8:45 AM) (drama) Chain Lightning (1950/95 m/Stuart Heisler) (10:30 AM) (adventure) Tycoon (1947/129 m/Richard Wallace) (12:45 PM) (drama) No Marriage Ties (1933/72 m/J. Walter Ruben) (2:00 PM) (drama) Death of a Scoundrel (1956/120 m/Charles Martin) (4:15 PM) (crime) Assignment To Kill (1968/99 m/Sheldon Reynolds) (6:00 PM) (suspense) The Drowning Pool (1975/108 m/Stuart Rosenberg) (8:00 PM) (horror) Pit and the Pendulum (1961/80 m/Roger Corman) (9:45 PM) (horror) Spirits of the Dead (1968/121 m/Federico Fellini, Louis Malle, Roger Vadim) Saturday, October 24, 2020 (12:00 AM) (horror) Murders In The Rue Morgue (1971/98 m/Gordon Hessler) (2:00 AM) (premiere) Ninja III: The Domination (1984/95 m/Sam Firstenberg) (3:45 AM) (drama) Heavenly Bodies (1985/89 m/Lawrence Dane) (5:30 AM) (short) Keep Off The Grass (1969/21 m/?) (6:00 AM) (comedy) Please Don't Eat the Daisies (1960/111 m/Charles Walters) (8:00 AM) (premiere) MGM CARTOONS: One Cab's Family (1938/8 m/Fred (Tex) Avery) (8:09 AM) (documentary) Black Cats and Broomsticks (1955/8 m/Larry O'Reilly) (8:18 AM) (short) Wandering Here and There (1944/9 m/James A. FitzPatrick) (8:28 AM) (romance) King Of The Lumberjacks (1940/59 m/William Clemens) (9:30 AM) (premiere) THE WILD WEST DAYS: Leap For Life (1937/?/?) (10:00 AM) (premiere) POPEYE: Cartoons Ain’t Human (1943/7 m/Dave Fleischer) (10:09 AM) (adventure) Tarzan And The Amazons (1945/76 m/Kurt Neumann) (11:30 AM) (short) The Flame Song (1934/22 m/Joseph Henabery) (12:00 PM) (suspense) Harper (1966/121 m/Jack Smight) (2:15 PM) (horror) Brainstorm (1983/106 m/Douglas Trumbull) (4:15 PM) (war) Men Of The Fighting Lady (1954/80 m/Andrew Marton) (5:45 PM) (drama) Citizen Kane (1941/119 m/Orson Welles) (8:00 PM) (drama) Ace in the Hole (1951/111m/Billy Wilder) (10:15 PM) (premiere) Flesh and Fury (1952/83 m/Joseph Pevney) Sunday, October 25, 2020 (12:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg) (1:45 AM) (horror) The Werewolf (1956/80 m/Fred F. Sears) (3:15 AM) (premiere) The Howling (1981/91 m/Joe Dante) (5:00 AM) (horror) The Mummy (1932/73 m/Karl Freund) (6:15 AM) (suspense) Murder on the Blackboard (1934/72 m/George Archainbaud) (7:30 AM) (romance) All This, and Heaven Too (1940/143 m/Anatole Litvak) (10:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg) (12:00 PM) (romance) The White Cliffs Of Dover (1944/126 m/Clarence Brown) (2:15 PM) (epic) Around the World in 80 Days (1956/182 m/Michael Anderson) (5:30 PM) (horror) What Ever Happened to Baby Jane? (1962/134 m/Robert Aldrich) (8:00 PM) (western) 3:10 to Yuma (1957/92 m/Delmer Daves) (10:00 PM) (western) Gunman's Walk (1958/95 m/Phil Karlson) Monday, October 26, 2020 (12:00 AM) (silent) Haxan: Witchcraft Through the Ages (1922/107 m/Benjamin Christensen) (2:00 AM) (suspense) Diabolique (1955/117 m/Henri-Georges Clouzot) (4:15 AM) (horror) Eyes Without a Face (1959/90 m/Georges Franju) (6:00 AM) (suspense) The Beast with Five Fingers (1946/88 m/Robert Florey) (7:45 AM) (adventure) Mara Maru (1952/98 m/Gordon Douglas) (9:30 AM) (drama) They Won't Believe Me (1947/80 m/Irving Pichel) (11:15 AM) (suspense) Where Danger Lives (1950/80 m/John Farrow) (1:00 PM) (suspense) Fingers at the Window (1942/81 m/Charles Lederer) (2:30 PM) (suspense) Footsteps in the Dark (1941/96 m/Lloyd Bacon) (4:15 PM) (suspense) Kill or Cure (1962/88 m/George Pollock) (6:00 PM) (comedy) The Gazebo (1960/102m/George Marshall) (8:00 PM) (horror) Nothing But the Night (1972/91 m/Peter Sasdy) (9:45 PM) (horror) Madhouse (1974/91 m/James Clark) (11:30 PM) (horror) From Beyond the Grave (1973/98 m/Kevin Connor) Tuesday, October 27, 2020 (1:30 AM) (horror) Scream and Scream Again (1970/95 m/Gordon Hessler) (3:15 AM) (premiere) The Satanic Rites of Dracula (1973/88 m/Alan Gibson) (4:45 AM) (horror) Dracula A.D. 1972 (1972/96 m/Alan Gibson) (6:30 AM) (western) Somewhere In Sonora (1933/58 m/Mack V. Wright) (7:45 AM) (western) Along the Rio Grande (1941/64 m/Edward Killy) (9:00 AM) (western) Valley of the Sun (1942/78 m/George Marshall) (10:30 AM) (western) Sagebrush Trail (1933/53 m/Armand Schaefer) (11:30 AM) (western) Devil's Canyon (1953/92 m/Alfred Werker) (1:15 PM) (western) The Hired Gun (1957/64 m/Ray Nazarro) (2:30 PM) (premiere) Black Patch (1957/82 m/Allen H. Miner) (4:00 PM) (western) Virginia City (1940/121 m/Michael Curtiz) (6:15 PM) (western) Escape From Fort Bravo (1953/98 m/John Sturges) Wednesday, October 28, 2020 (12:15 AM) (comedy) Girlfriends (1978/88 m/Claudia Weill) (2:00 AM) (drama) The Connection (1962/103 m/Shirley Clarke) (4:00 AM) (comedy) Lost In Yonkers (1993/114 m/Martha Coolidge) (10:00 AM) (drama) Winter Meeting (1948/104 m/Bretaigne Windust) (12:00 PM) (romance) I Know Where I'm Going (1945/92 m/Michael Powell) (1:45 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell) (3:30 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy) (6:00 PM) (romance) Desire Me (1947/91 m/George Cukor) (8:00 PM) (drama) The Best Man (1964/102 m/Franklin J. Schaffner) (10:00 PM) (drama) State of the Union (1948/123 m/Frank Capra) Thursday, October 29, 2020 (12:15 AM) (comedy) The Great McGinty (1940/82 m/Preston Sturges) (2:00 AM) (drama) The Candidate (1972/110 m/Michael Ritchie) (4:00 AM) (drama) All the King's Men (1949/110 m/Robert Rossen) (6:00 AM) (western) Haunted Gold (1932/58 m/Mack V. Wright) (7:00 AM) (horror) The Devil-Doll (1936/78 m/Tod Browning) (8:30 AM) (suspense) Before Dawn (1933/61 m/Irving Pichel) (9:45 AM) (comedy) Man Alive (1946/70 m/Ray Enright) (11:00 AM) (horror) Tormented (1960/75 m/Bert I. Gordon) (12:30 PM) (adventure) Angel on My Shoulder (1946/101 m/Archie Mayo) (2:15 PM) (horror) Night Of Dark Shadows (1971/94 m/Dan Curtis) (4:00 PM) (horror) Indestructible Man (1956/71 m/Jack Pollexfen) (5:15 PM) (horror) From Hell It Came (1957/71 m/Johnny Greenwald) (6:30 PM) (horror) Death Curse of Tartu (1966/88 m/William Grefé) (8:00 PM) (western) Winchester '73 (1950/92 m/Anthony Mann) (10:00 PM) (western) She Wore a Yellow Ribbon (1949/104 m/John Ford) Friday, October 30, 2020 (12:00 AM) (documentary) Primary (1960/53 m/Robert Drew) (1:15 AM) (documentary) Crisis (1963/53 m/Robert Drew) (2:15 AM) (premiere) Dos Monjes (1934//Juan Bustillo Oro) (4:00 AM) (drama) Of Mice and Men (1939/107m/Lewis Milestone) (6:00 AM) (documentary) MGM Parade Show #5 (1955/26 m/?) (6:30 AM) (horror) Doctor X (1932/76 m/Michael Curtiz) (8:00 AM) (horror) The Mask Of Fu Manchu (1932/68 m/Charles Brabin) (9:30 AM) (horror) The Most Dangerous Game (1932/63 m/Ernest B. Schoedsack) (10:45 AM) (horror) Island of Lost Souls (1932/70 m/Erle C. Kenton) (12:00 PM) (horror) White Zombie (1932/67 m/Victor Halperin) (1:30 PM) (horror) The Vampire Bat (1933/63 m/Frank Strayer) (2:45 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz) (4:15 PM) (horror) Mad Love (1935/68 m/Karl Freund) (5:30 PM) (horror) The Walking Dead (1936/65 m/Michael Curtiz) (6:45 PM) (horror) The Return of Doctor X (1939/62 m/Vincent Sherman) (8:00 PM) (horror) Burn, Witch, Burn! (1962/89 m/Sidney Hayers) (9:45 PM) (horror) The Four Skulls of Jonathan Drake (1959/70 m/Edward L. Cahn) (11:00 PM) (horror) The Devil's Bride (1968/96 m/Terence Fisher) Saturday, October 31, 2020 (12:45 AM) (horror) The Conqueror Worm (1968/87 m/Michael Reeves) (5:15 AM) (short) The Distant Drummer: Flowers of Darkness (1972/22 m/William Templeton) (5:15 AM) (short) Movie Trailer (1950/16 m/?) (6:00 AM) (horror) Freaks (1932/62 m/Tod Browning) (7:15 AM) (horror) Dr. Jekyll and Mr. Hyde (1932/96 m/Rouben Mamoulian) (9:00 AM) (horror) House of Wax (1953/88 m/Andre deToth) (10:45 AM) (horror) Children of the Damned (1964/90 m/Anton M. Leader) (12:30 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy) (2:45 PM) (drama) The Picture of Dorian Gray (1945/110 m/Albert Lewin) (4:45 PM) (horror) The Wolf Man (1941/70 m/George Waggner) (6:00 PM) (horror) The Haunting (1963/112 m/Robert Wise) (8:00 PM) (comedy) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964/95 m/Stanley Kubrick) . (10:00 PM) (horror) Them! (1954/92 m/Gordon Douglas) (12:00 AM) (horror) The Seventh Victim (1943/71 m/Mark Robson) (1:30 AM) (horror) I Walked With A Zombie (1943/69 m/Jacques Tourneur) (3:00 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise) (4:30 AM) (suspense) The Leopard Man (1943/66 m/Jacques Tourneur)
JoJo's Bizarre Adventure OC Tournament #5: Round 1 Match 12 Alexis and Cybil Vs Admiral Pineapples and Rudolph
“届けて, 切なさには名前をつけようか ‘Snow halation!’” The harpoon lodged itself into the Ocean Soul’s chest following a powerful toss from Pork Soda, the beast desperately trying to hit the tether to destroy it and release the harpoon, to no avail. The Ocean Soul had underestimated its opponents, who were currently singing some sort of song, perhaps a sort of war cry, meant to display their superior strength. “想いが重なるまで待てずに, 悔しいけど好きって純情” It had to do something! It released the Calamus Root in store within its mouth, ready to spit it out, before Sayonara Kodoku picked the Ocean Soul up, shut its mouth tight, and tossed it over to Pork Soda. With a thrust of its fingers, the porcine stand pierced the Ocean Soul’s eyes, blinding it. Then, the two stands rushed at it, sending forwards a barrage of blows, breaking bones, claws, and disorientating it, before getting ready for a finisher. Pork Soda picked the Ocean Soul up by its tail and began spinning around, the rapid movement disorientating the fish and sending it closer and closer to its doom. No, no! It couldn’t let this be! The Ocean Soul was a hunter, and even if its prey had gotten a leg up on it this time, it wasn’t going to give up! It could barely remain conscious under the pressure as the porcine stand spun it around, its already severe wounds getting exacerbated, but it had to do something! Just one shot! Just one precise shot and it could use the opportunity to escape, to recover! The porcine stand was spinning it around by its tail, so the Ocean Soul could calculate the stand’s position! It just needed to regain its bearings, focus on getting a shot aimed, and it could use its spit to- SLAM! With a brutal impact, the Ocean Soul was slammed into a nearby rock. It felt itself sinking in the water as the two stands approached it, its imminent doom coming closer and closer with every movement they made. It needed to escape, but it couldn’t bring itself to move. The two stands made their way towards it, floating above the ground as they loomed over the barely conscious beast. Was this going to be it for the Ocean Soul? “微熱の中 ためらってもダメだね, 飛び込む勇気に賛成 まもなく start!” Like hell it was. Gathering the little remaining energy it had, the Ocean Soul spat out the Calamus Root stored within its mouth, mixed with its saliva. Hitting the ground underneath the two stands, two long spikes quickly sprouted out of it and towards their bodies. Though Sayonara Kodoku’s tough skin didn’t get pierced, the force of the growing spike sent it flying into the air, incapacitating it, if only for a moment. Meanwhile, Pork Soda wasn’t as lucky as it, the spike piercing through the left side of its body, tearing through its left leg and shoulder. The Ocean Soul couldn’t hear anything from underwater, but it was sure that its user was reeling in pain right about now. Using the remainder of its energy, the Ocean Soul bolted away, desperately trying to remain conscious as it swam away from what it once considered its prey. It didn’t even look backwards, fearing that doing so would give its opponents the time they needed to finish it off for good. It didn’t even keep track of how far it swam, or for how long its opponents had chased it, or if they had done so at all. Its body was searing in pain, broken bones and wounds all over it. Eventually, it couldn’t bring itself to swim any further, losing consciousness and sinking down into the ocean, not even the searing pain keeping it awake as it began to rest. The Ocean Soul had lost, but this wasn’t the end of the beast. Though barely, it had managed to escape this encounter with its life. The results are in for Match 10. The winner is… ‘Agnes’ Bayley and Prince Cosmo, with a score of 80 to the Ocean Soul’s 60!
Category
Winner
Point Totals
Comments
Popularity
Players
25-5
The word of the voterbase was clear: the vast majority felt that the Ocean Soul was handily defeated by the players.
“AAAAGH! GODDAMIT, STUPID FUCKING FISH!!” Agnes screamed in pain while clutching his leg, body strewn onto the nearest island, carried by Sayonara Kodoku. “IT STABBED THROUGH MY GODDAMN LEG!! FROM THE FOOT, TO MY WAIST, TO MY FUCKING SHOULDER! AAARGH, DAMMIT, WHERE’S JENNY WHEN YOU NEED HER!!” “You should be happy we got away with our lives. The Ocean Soul isn’t going to come finish us off any time soon after what we did to it.” “OH, REAL RICH COMING FROM THE ONE WHO DIDN’T GET STABBED IN THE FUCKING LEG BY THAT MONSTER. DO YOU WANT ME TO STAB YOU AS WELL SO YOU CAN SEE HOW IT FEELS?!” Agnes started rummaging around his surroundings with his right hand, searching for a sharp object to use for his “demonstration”. “Frankly, you deserve it. Don’t forget that you are the cause for this all. Were it not for your foolishness, Webb would still be alive, and this would not have happened to you.” Cosmo chided. “PFFF- WHATEVER!” In between his heavy breathing and pained cries, Agnes let out an audible sigh. “Fffffuck this, I’m gonna check my phone to see if there’s any connection here so that we can get the hell out of this place ASAP!” Agnes picked up his phone and pulled it up, taking a look at it. “That will not be necessary. There is no connection here anyways, and I am certain that a helicopter has been sent out to retrieve us, or at the very least ascertain what might have happened to-” “Shut up, I’m getting a message from Cairo. ‘Don’t worry, Agnes, we have sent your location over to Vitus, and help should arrive in about fifteen minutes.’” Agnes looked at his phone in confusion. “Vitus? Who’s that asshole?” “Vitus is the man who sent the helicopters out. The one which you indirectly crashed. Nonetheless, let me see that - I have a hard time believing that your phone is capable of picking up a signal when we’re so far away from any cellular towers.” “And why should I care about what you believe, huh? Here, take a look for yourself!” Agnes shoved the phone in front of Cosmo's face, the dog looking intently at it and seeing… nothing beyond a simple homescreen. “What is this supposed to be. This is your phone’s home screen, and though that horrendous chimera at its center is an affront to anything and everything I believe in, there is no notification here. Could it be that you are perhaps hallucinating from the pain?” “Wh- you can’t see it?! Don’t fuck with me!” Looking at the dog’s deadpan expression, Agnes could tell that that wasn’t the case. He looked over at the phone, spotting it right there, as clear as day - a notification for an sms from Cairo themselves, containing what he read out loud! “Fuck you, I’m not hallucinating! If anything, you are!” Cosmo was about to retort, when he spotted something over the distance - a sailboat. It was old and decrepit, seemingly having gone through significant damage and yet still remaining intact, somehow. It clearly didn’t belong to Vitus, and likely wasn’t Cairo’s either. On the boat, he saw a silhouette of a haggard man, but the distance meant that he couldn’t exactly tell exactly what he looked like. “Someone is coming.” It wouldn’t be much longer before Agnes and Cosmo were able to get back onland, learn what terrible things they’d missed, even if they still had a wait and a talk ahead of them. Left to nurse grievous wounds, this seaborne menace has seen this chapter of aggression momentarily closed, but further inland, the waters of a laundromat are being braved by a time traveler and a woman in chains. Scenario: Sound’s Garden Eastern Strip - A Golden Limousine The evening was beginning to set in, the lights of the islands of the area beginning to flash on and dot the sky as two women rode through the city, looking out through the windows as they relaxed in luxury. Cybil Antoine was one to travel in style, and now, with a companion in tow, was no exception. “A strip that absolutely comes alive at night… Makes me feel almost nostalgic for Vegas,” her redheaded travel companion mused as she looked out, “speakin’ of which… you ever play anything like that, Cyby? Cards, slots, so on. We could try Heartache Casino, maybe, if we have time sometime… I bet you’d just have to throw your name around to get up on its higher floors.” “It’s Cybil,” the wealthy woman emphasized, with an exhaustion begotten by this having been far from the first time, “or Miss Antoine… Either way, I am not a ‘Cyby.’ Get it right next time, alright?” “Right, yeah, I know you’ve told me… I’m just a nicknamer by heart. Cross my heart, though! It won’t happen again!” Alexis Williams seemed… As serious as she could get about something like that, as curiously carefree, even devil-may-care, as the performer could get. “Commit it to memory, then. Despite how much a fool you can act, I’m sure you know how much I had to pull to get you onto this stage.” “Believe me, I do appreciate it!” Alexis answered, focus now turned away from the topic of gambling and onto that. “Putting on a show at one of the biggest stages in Los Fortuna, bigger than anything I’ve done before… I know our group has had some bad luck lately, with Bucket causing that trouble down at the fish market, and how down on herself Leo has been since that dumb show she said she got roped into, but we’re still the freakin’ Judecca Highrollers, right? I want to show the world that, and from their box, I want to show the rest of our team that we’ve got no better option than to face it all with a grin.” “How very like you,” Cybil answered, neutral in her tone, careful not to betray the affection in such a statement as she pondered their current status, where they would be playing. Alexis wouldn’t be headlining, unfortunately, though admittedly, her act wasn’t the sort of thing that did that anyway. Rather, a certain piece of immensely beloved local talent, a rocking performer who went by TD/MD, would be having her play immediately before her at the Alexander Dickinson Amphitheater, just a drive over a rapidly approaching bridge away. Cybil had been a little annoyed that one of her statues had been overshadowed by a plane crashing near it, not to mention had a desire to spread further the local influence of their team, and so she had arranged with the heads of the entertainment industry of Los Fortuna to see to it that her personal favorite performer among the allies and associates she’d made was onstage at the best possible place for a person wanting to be noticed. She curled her lips at a cell phone which found its way to its hand, then, narrowing her eyes at its screen. “No word back from your backing band… Where are they? How inconsiderate not to send word on this, especially at how that Mr. Sins recommended them so glowingly.” “I’m sure they’ll show,” Alexis answered, “and if not… We can make do, can’t we?” “Of course,” Cybil answered, only to have her eye finally drawn back out the window by the sight of a vehicle which had pulled into the lane directly next to theirs as their limousine crossed the bridge. Another golden limousine was directly next to them now, this one almost pointedly bigger, longer, more decked out in jewelry, and it seemed to be headed exactly the same way. Cybil, rather than confused or alarmed at the coincidence, simply thought aloud, “that would probably be Mr. Sins… Speak of the devil.” “Amazing how quickly his casino recovered from nearly burning down…” Alexis mused aloud. “I heard that one of the people who trashed it sent him to the hospital, too.” “An overreaction I’m certain, from what I know about the man. Absolutely terrified of a little pain, a little elbow grease… I’m not one to gossip, but I can’t help but wonder how a man like him even managed to become so prominent, so consistently successful.” “Right,” Alexis answered, smirking and putting her finger up to her lips, “I won’t spread that around, then. I know how to schmooze with that type if the need arises.” Los Fortuna Canals - The SS Sledge Sister Admiral Pineapples was more comfortable on his own boat, but as far as the fleet of the Masters of Funky Action went, there was no real reason to send out more than one boat for this right now. “Man, I can’t believe nobody else is ridin’ with me,” his companion, Rudolf Pavlova, said after downing an entire bottle of water in a single gulp, on the tail end of an hourlong keytar solo. “The rest of the Masters better at least make it to the Alexander! It’d really bum me out harder than when Wrenn shot me down if none a’them made it!” Sorry, but I’m really more the headlining type! Playing second-fiddle to a man in a speedo opening for some local star sounds fun and all, but, I’d totally just overshadow them, I bet! So I should really probably stay out of it! That sentence, clear in its passive-aggressive scathingness, had put Wrenn Aflight’s declining of this gig pretty succinctly. As the man more or less everybody on the team could tolerate, listen to, and generally have a good time with, Admiral had been tasked with asking the other star performer of the team to join Rudolf on the gig he’d accepted opening up for locally beloved rock star and all-around idol TD/MD. Not wanting to break Rudolf’s heart, he more or less told him the short version, ‘he couldn’t make it,’ and then volunteered his own services for the younger man. “You won’t be out there with none of your allies, though, Nureyev! For I, Admiral Pineapples, will aid you in coordinating every moment of your work! This will be one of the worthiest usages of my tactical mind in a long time, I’m sure!” “I hope you’ve gotten those hour-long solos out of your system now, Nureyev,” Pineapples warned with an amused, lax tone, “you’re only going to have thirty minutes onstage before the headliner has to get ready, and there’ll be trouble if you bleed into that.” “I know, I know,” Rudolf answered, casually, as he slipped into an open-chested bathrobe mainly meant to function as the legal requirement of public decency until it was time to perform, “I’m not one to step on anyone’s toes, let alone the star of the show. Live and let live, yeah?” “I’m curious, though, and you never told me…” The Admiral asked, cracking open a beverage of his own and taking a sip, “how did you manage to get such a part as this in the first place?” “Oh, that’s simple!” Rudolf said, the thought to answer having simply not occurred to him. A few weeks ago - A beach in the Waterfront District. “Alright! Thank you, Los Fortuna! I’m here all day, and all night, and all tomorrow too, baby! Party never stops!” Rudolf had just finished the latest of his performances to a small crowd of beachgoers, shredding through the end of his one-man keytar rendition of 2112 and transitioning into a truly epic medley of the extended Family Guy, American Dad, and Cleveland Show OPs. As the crowd dispersed, a corporate suit-looking type of guy, bronze-skinned with neatly-groomed hair, remained, eyeing his keytar curiously and smiling artificially. “That was an excellent show, Mr… Pavlova, I think it was? You have such an undeniable energy about you that I can see when I lay eyes upon you… You’ve star material.” “Am I being poached?” Rudolf asked, tilting his head, “‘cuz I assure you, I am a free agent! Not about to be scooped up by some label and forced to chill out the party churnin’ out music I don’t feel in my soul.” “Nothing so abrupt, no… I’m a Manager, representing TD/MD. You can call me Thutmose. Anyway, she has a concert approaching rapidly, and we’re struggling and scrambling to find local, new talent and performers to open for her. We’ve managed to secure a lot of artists already, but the most important spot… Playing right before her… That, still, we have a particular need for, and I think you would serve it perfectly.” “So I accepted!” In the present day, Rudolf finished, “why not, yeah? I can spread the party to tens of thousands at one of the biggest venues in town!” “Scouted on the street, hm… That’s awfully lucky.” Something about this struck Admiral as odd, but he supposed it was all the more reason it was good he was backing his friend and ally up. He had a strong hunch there was more to it than appeared. Rudolf’s party yacht would disembark soon, ported on the central-most island of the places which made up Sound’s Garden, and the party would make their way forward from there. Sound’s Garden West Side - Outside the Alexander Dickinson Amphitheater At the same time, a self-important first step was taken out of a pair of golden limousines, one a heel clacking first out of it and a short, stocky woman in pinstripe emerging, the other dress shoes leading up to a tall, lean man in a gold and yellow tux, grinning and running a hand through his slicked-back hair. Cybil Antoine hadn’t had the “pleasure” of a personal conversation with Tigran Sins before, but had happened to overhear some of him during her meeting with that Thutmose man, and then and there, she had known everything about him, and knew that she had already had the displeasure of knowing dozens of men like him. Still, though, one needed to be cordial in times like this, so as Alexis came out behind her, and a very strongly built-looking, mean-looking man with brown hair and a nice vest, attached to the lapel of which was a Heartache Casino brooch (a bouncer? A bodyguard?) stood by Tigran waiting to see what he wanted or what he did, she approached the man who dared to try and be more golden than her Stand. “Mr. Sins, I believe… I believe we’ve crossed paths, briefly, but we didn’t really have a chance to speak.” The man tensed a bit, only to relax slightly again when he saw that Cybil intended only to speak. “Cybil Antoine, right? I’ve heard you’ve been making a hell of a lot of waves around town lately, so I must say I’m excited to meet you too.” He looked back past her, towards Alexis standing and stretching outside of her team’s limo. “Would that be your star you’ve got going on? Certainly she’s got charm.” “Hi, right in front of you,” Alexis answered, teasingly passive-aggressively waving, “yeah, I’m going up before TD/MD.” “She’s a very important star around here, you know… So you’d better put on a show that leaves them wanting for more of the best.” Tigran’s attendant spoke, then, sounding dead serious as he looked them over. “A lot of people have come here just for this, just for her sake… It is completely imperative you keep that in mind.” Tigran simply nodded, concurring, “couldn’t have said it better myself, Fox.” Shortly after that, the pairs went their separate ways, shifting through VIP areas of the area of the main structure of the amphitheater, series of comfortably shielded stadium halls that it was. “Still no sign of the band… Still no word from them either. I’m cross now.” Alexis, then, stopped in her trail, looking at a schedule which had been printed out and emblazoned upon a green room wall. “Uh, Cybil, you’re gonna wanna take a look at this.” “Hm?” Cybil raised an eyebrow, turning to face what her partner was pointing at, and then glared again. “Who the hell is Nureyev, and why are they listed at the same time as you?” “There’s gotta be some kinda mixup or somethin’, man… I know about this ‘Alexis Williams’ it talks about, and hear she’s a Vegas Performer, damn fine one at that who can really strut her stuff. But we ain’t in Vegas at all, so what gives?” Rudolf himself was gesturing at a printout version of much the same piece of programming, he and Admiral Pineapples having wandered much the same series of halls. “Hrm…” Admiral, now, took a look at the sheet himself, combing over the names before Rudolf on the list and speaking names aloud. “‘Arancini,’ ‘Tenacious-er E,’ ‘Guy and the Fieris’ Heavy Metal Barbershop Quarter,’ all as scheduled… What the hell? Yeah. We’re the only acts double-booked like this, and you say you don’t know this woman personally?” “Not in the slightest,” Rudolf said, “never laid personal eyes upon her! So maybe there’s a typo, yeah… I know! We could track down Thutmose! But, uh… Where the hell’s Thutmose right now?” A distorted voice shout-whispered, “I heard that he was visiting TD/MD’s green room.” “Huh? Oh, thanks!” Rudolf accepted that advice uncritically, beginning to make his way, but Pineapples looked, at least, in the direction it came from, seeing then flashes of a short-looking person in a maroon turban, face bandaged but mouth section bulging with something hidden underneath, and a pair of aviator goggles, as well as a tunic, trousers, and many bulky scarves adorned in the forms of climbing stick figures. Looking at the man, Pineapples couldn’t help but feel suspicious, but hell, there was a lot shady going on here. “Yes, thank you, Mister… Who am I thanking?” “No,” the figure answered dismissively, “think little of it… I’m just another interested party watching the show. If there’s confusion, then, I want to see it resolved fast! If you’ll excuse me, though, I need to make my way to my box…” “Strange man…” Pineapples shook his head, not wanting to leave Rudolf alone to deal with this strange situation. He knew from hearsay and rumor that there were some truly dangerous things lurking in the bowels of Sound’s Garden, and Rudolf, more heart than head, was bound to be barreling into it. Sound’s Garden - The largest and nicest green room in the halls of the Alexander Dickinson Amphitheater. Metra Doria sat before a makeup chair as assistants fussed and fussed with her hair, her face, her clothes, occasionally being met with polite thanks, compliments, or idle chit-chat, representing a sort of familiarity the team had had with the pale, short-dark-haired girl with a single blue streak through her front left locks. She stared at her own dressed-up eyes in the mirror, one silver, one blue and at once black-striped through the iris. As she sat here, initially clad pretty casually and low-key, she was Metra, but as the outfit she had selected was put together, she would become TD/MD. She was being cordial before now, but all of the small talk had ended as soon as her manager came into the scene, knocking, being invited to come in, and then doing so. “How’s the show going, Thutmose? I wish I could see Guy and the Fieris do their thing, but… Makeup, I swear.” “There’s… People insisting upon speaking, Metra. They’re performers, the ones before you, and they seem annoyed. I tried to shoo them away and tell them to work it out, but that only incensed the old-timers with them, and now they want to speak to you. I tried telling them it was a waste of your time, but-” “This close to going on?” Metra narrowed her eyes at the reflected form of her manager. Always, it was one thing after another with this guy. Though most of the time, one might assume there was something not worth it going on here, she knew Thutmose well enough to know there might be problems. She sighed, shutting her eyes now. “It had better be important… Let ‘em in.” And like that, a quartet of two twenty-somethings, a middle-aged woman, and an old man barreled in through the door at once, all talking over one another and expressing confusion with the other’s very existence and presence. It was making the half-prepared girl more uncomfortable than sitting in a chair for awhile just to get ready for a show often did, so she raised her voice, calmly but authoritatively, literally seeming to drown out their babbling in the process. “Quiet down, alright?! One at a time.” There was a little more whispering among the four, then, and it was the pinstripe-suited woman who stepped forward among them to speak the crowd’s mind. “TD/MD, I presume… This ‘Thutmose’ man, he has made a grave mistake in the scheduling. My associate Alexis here, and this half-nude man carrying a keytar around, they have not met before today, and they certainly did not intend to collaborate before you. Your manager has refused to listen to reason about this, so we are taking the matter straight past him to you… Resolve it at once, and we can be on our way.” “What?” Metra, facing them all, blinked, shaking her head and glaring at Thutmose. “Again? How does this keep happening? You overbook acts right before me, and it’s such a disaster I’ve started to need to allot extra time to cleanup guys after those sets… It was bad enough before, but it’s seriously getting out of hand, man. I can’t keep dealing with you if you treat everyone else you deal with like this. You’re done working with me. We’re through.” “B-but… But Metra..!” Thutmose was flabbergasted, looking almost terrified at the prospect. “Please, be reasonable..! I need this job, understand? I’ve got gambling debts, and-” “Whoa whoa whoa,” the keytarist (Rudolf, or Nureyev, according to the program) interjected then, “let’s not ruin a man’s life over me and Lexy here, yeah? I looked into the history of this place, the Alexander Dickinson… Named after a big dead deal Philanthropist, so basically a dude from the 90's who gave his all to culture in this city, funded all kinds’a stuff! Would a man like that want a man to be fired in his own memorial stadium?” The logic seemed to confuse nearly everyone there, not least of all Metra, whose response, after a moment, was, “Huh? You… Are you saying it doesn’t bother you?” “He’s saying that!” Thutmose pleaded. “I am certain he’s saying that!” “I don’t mind, either…” The redheaded Alexis said next, nodding and looking around at nothing in particular. “Yeah, I think we can work with that… The band he set us up with bailed on us anyway, right? So… Music might help, and it’s not like the things we do step on each other’s toes, yeah? So whatever, I’m sure we’ll still leave a bigger impression.” Cybil, then, pursed her lips. “If it doesn’t make a difference to you, then, and we’re all on the same page… But still, this is so very inconvenient.” “Agreed…” Pineapples looked to Thutmose. “Be more responsible in the future, aye? I think even if you keep your job right now, you’re gonna be on thin ice for now. And give up on gambling, if it’s sunken you this far.” Metra nodded. “Agreed. I can’t guarantee I won’t start looking for a new manager, but… You’ve been good to me, at least. Clean up your act.” Then, she looked over the quartet. “I’m seriously sorry about this… You say you had backup, but they’re not showing up now? I, uh… I don’t know what happened to whoever those were, or why they fell through, but I have something I can do to help both of your shows exist at once: six of the best stagehands I've got.” At that, the star snapped her fingers, and from the shadowy corners of the room emerged two trios, three men in a pose one well-versed on incidents in the early 20th century Roman Colosseum might compare to Awakening One’s Masters appearing before the Masters of Funky Action, three women in turn also sliding in before the Judecca Highrollers in perfect sync, stepping in with the coordination one might associate with, as a weird example, teenage mobsters jazzed about a dude being sent to the ninth circle of hell. All six were muscular, clad in black sleeveless shirts, leather gloves, pants, boots, and bandannas over their heads, and all around, they gave off auras of immense reliability. “Harry, Mark, and John, and Thorn, Dusk, and Luna… I kid you not, these guys can basically do anything and everything you ask of them. If they didn’t much prefer supporting other people to being in the limelight themselves, they would be as big as I am. Treat them well, they’ll learn fast, and they’ll be invaluable to making your bits work. But, uh… I’d hurry it up. Guy and the Fieris probably only have a couple more encores in them, and then you’ll have fifteen to set up. I wish you all luck..!” Metra Doria had been a bit of a miracle for the grateful performers and put-off older supporters, who had in turn both begun to explain their intended strategies and how those might change to their crew members, who understood alarmingly fast. “Man…” Rudolf whistled in relief, chuckling. “What a scare that was… But you, Lexy? You’re alright, actually.” “Thanks,” Alexis answered in turn, still trying to figure this guy out, “you don’t seem bad yourself… I almost kinda feel bad that we’re gonna totally eclipse you out there.” “Y’think so, huh?” Rudolf answered with a grin, pointing forward with a friendly competitiveness. “Well, the party don’t get drowned out by a damn thing! I’m gonna get all these good people pumped as hell, and they’ll be cheerin’ for me even when that Metra chick goes on!” “Ooh, I’m starting to feel a bit competitive…” Alexis answered, good-naturedly chuckling and folding her arms. “Wanna see who gets the crowd more pumped? Loser, uh… Buys the winner overpriced concert t-shirts. These things need stakes, right? Heh…” At the somewhat tongue-in-cheek suggestion, Rudolf nodded. “Sure, yeah! That, and the pride of bein’ one of the best in the city! May the best team win!” OPEN THE GAME! Location:The Alexander Dickinson Amphitheater, one of the biggest outdoor venues in the entirety of the Metropolitan area, in the buildup to TD/MD’s headlining act, wherein both of your teams have had a performer set to open for her. The place is packed at a capacity of tens of thousands of people. The stage is a competently designed semicircle which is roughly 30 meters across for length and maximum width, with plenty of room all over and the various necessary fixtures upheld off the ground. It is raised up about 2 meters off the ground. Its back half is partially covered by the overhanging roof of the backstage area a dozen meters above. The backstage area spreads out about 10 meters from both sides and the back of the stage, being somewhat indoorsy and absolutely full of things one could expect an excellent stage production to have, including, of course, sturdy rafters which lead up to the ceiling area overtop the stage. Both sides have had time to arrange for some extra things to be brought in. Goal: With a leadup of fifteen minutes before acts, and a half an hour where both of your performers are onstage at once, you have a show to put on, and that is not getting ruined by this overbooking. So, with Rudolf and Alexis up on stage, and Pineapples and Cybil each operating their abilities and managing a three-person stage crew, outperform your opponents! Given the vastly different skill-sets of the competitors, the goal is to execute on your vision better than your opponent executes on theirs. You will be judged and voted on the following criteria, in decreasing priority:
Feasibility - Whether your performance is actually within the bounds of what your Stand and Stats would imply.
Skill Use - A close second in relevance; how well you integrate your User Skills and Stats into your performance. While your Skills will help in completing this objective, they do not provide an automatic advantage by merely existing and must be woven into your strats, as per usual. Even the best of artists can have abysmal live performances.
Stand Use - Similar to the above, and similarly important. How cool, creative, and well-integrated is your Stand use. Put another way, wow the judges, voters, and viewers at home! This is more or less just the same as before.
Environment Use - How well you use and integrate the auditorium - its features, its backstage, its stage, and the hearts and passions of its occupants - into your performance.
Efficiency - How much quality footage you obtain and how well you use your time. This does not mean that setup for more complex performances is automatically penalized, but do try to minimize ‘deadtime’ and maximize the amount you perform.
Additional Information: There is a huge simp for TD/MD in the audience of the match, and he is connected enough that he will have both of you successfully and canonically killed if you ruin the show before the headliner can go on; therefore, murdering your opponents or audience members (“the ol’ Abraham Lincoln Tech” as they say in the biz) on an audience member is a loss condition. Not at all a moral thing for the record. Stage Crew members for the respective teams (Harry, Mark, and John on the MFAs, Thorn, Dusk, and Luna on the Highrollers, if you care about their names) have 4s in strength, agility, endurance, Stagehand, and Backup; pretty much, anything their associated team asks them to do, they’ll be able to do, at minimum, competently. Though they won’t, like, murder for you. Generally you can use them for moving props on/off stage, extra bodies or on-stage back up performers, speaker and soundboard control, and/or on-stage camera crew as well as managing any other stage controls. Pretty much everything save for pyronetics and lighting is in their purview. There are also dedicated lighting guys, totally neutral in your squabbles, who are going to do an entirely too good job adjusting their focus and making things work exactly as is needed so attention is on the stars of the show. They will also be coordinated with a third party camera crew that will be streaming the live feed onto screens for the audience. These feeds can be replaced or split screened with your own crew’s footage, but otherwise they will generally be in control of what is shown on-screen. Players can be assumed to already have well-rehearsed their plans of action, the in-universe basis for the modified plans of the match, and have knowledge about every aspect of the stage, even if parts of their initial plan obviously need to be modified to account for new challengers also occupying stage space. If something performance related isn’t insanely, “years of training to do competently required” level hard, but would still require some practice ahead of time, they have had it to, at absolute max, somewhere between a 2 and a 3. Players, don’t overly-game this, though; the ‘stars’ of your performances should be the sheeted unique abilities of you, your skills, and your Stands. All stands can be seen on camera and on the live feed for the audience's viewing pleasure.
“This one is for the guy who keeps yelling from the Balcony, and it’s called ‘We Hate You, Please Die.’” Gymnastics is a sport of rhythm and pace, this performance should be no different for keeping your momentum. Make as seamless transitions as you can between the acts of your performance!
“Prepare to have your minds obliterated by… The boys! And Crash!” You have a whole crew of people working for you here, no need to do any heavy lifting by yourself. This is their job after all, better put them to work since that’s what they are here for. Make the most use out of your stage hands in your performance!
“What is with this band? They’ve… changed. Have you noticed they don’t have instruments? Where’s all this amazing noise coming from?” Keeping the audience’s attention for a full 30 minutes should be a piece of cake for the world’s greatest dancer, you can keep the party rocking even between your different acts. Make as seamless transitions as you can between the acts of your performance!
“You and your fireballs and your demon hipster chicks / you’re talking the talk and it’s pretty slick / You think you’re so great, but you’re missing the point / You gotta have friendship and courage and whatever!” You’re all in this show together, you and your crew of stage hand. Everybody should be contributing here, no man left behind. Make the most use out of your stage hands in your performance!
Link to the Official Player Spreadsheet Link to Match Schedule As always, if you would like to interact with the tournament community and be among the first to get updates for the tournament, please feel free to PM a member of our Judge staff for an invite to our Official Discord Server!
Red v. Blue: Color Symbolism & Americana in Twin Peaks
Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me. One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera Invitation to Love, allowing the show to reference its own stylized dramaturgy. Jade & Emerald... Jade give two rides, hm? Very specifically, I find the series loves to riddle blue and red, like one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel. Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo. The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma". I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks. The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie. The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel. You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out. Ben and Jerry, at various times, switch between the two to complement each other much like the Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth. Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being. Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a Goethe color theory mindset, we can admit "Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks). BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show. Given the only color left to throw in is white (HMM,, White Lodge? Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's favorite country (we'll forget the agonizing French hookup leaving scene from The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie). Great shot from Tim Hunter here. Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor. While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe? Much like D.B. Cooper, Coop took a historic leap. I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in The Return). Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice. Why Lincoln? I refer to it as The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in The Return -"There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern. Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza. The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary. Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good. And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect. Blue Rose. Laura's cold lips in the Pilot. Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in Lost Highway. Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free. Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna. Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three. Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" - "Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?). Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg. Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past? By the time of The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that The Return made extensive use of black & white footage. Eraserhead and The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor. This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge. The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision. These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return. There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!
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