Having watched The Manchurian Candidate, I'm mesmerised by Denzel Washington. Is it unfair that I think he rolls over from movie to movie, bringing his rep to each character? I swear, I knew that his character was a stalwart and true man, and it made the moments where he lost his composure feel even worse.

Not that he didn't do a good job -- I think he played all that. It's just that history added to my conviction.

Also, does everyone know where Wells got the word "rosebud" from?

I just learned this tonight! If my source can be trusted, it was the name that Hearst gave to his lover's clitoris.

Saw The Bourne Supremacy today and really enjoyed it. I'd gone and spoiled myself for Marie's death already, but I thought it would happen later, so I was still surprised when it came so early. I had a couple of questions: Who was Marton Csokas? I noticed his name in the credits and couldn't place him in the movie. Was he the one who Bourne killed in the fight with the rolled-up newspaper? Also, why did he use his Bourne passport in Naples? Surely he has different names on his various passports--why use that one, and make it that much easier for them to track him down? Finally, why has Gabriel Mann not called me yet?

One thing that I like a lot about both Bourne movies is how well they use the various locations. There's a real sense of place in each one, without a lot of time necessarily taken to establish it. And I like the ease with which Bourne moves from place to place. Not just knowing the languages and having the papers, but simply having the confidence and the skills (and the resources--where does he get his money from?) to land on his feet no matter where he finds himself. Maybe that's a trope of the spy genre, but it's new enough to me to still be pretty cool. Plus, I'm enough of a travel junkie that every change of scenery gives me a little thrill.

Anyway, I was very pleased with it, though I still like the first one more.

I would suggest forgetting The Ninth Gate, and reading The Dumas Club for itself. Arturo Perez Reverte makes me wish I could read spanish, just to read his books.

Depp owns the character of Corso, but the movie falls apart around him. Curiously enough, right around the time the film begins to condense the A plot. The B plot is mostly gone, and the two intertwine enough in the novel that the movie dissolves into Polanski at his worst.

I watched The Philidelphia Story tonight. I love that movie even more. The whole cast is wonderful and I'll have to look up and see who plays Liz because I can't remember.

Katharine Hepburn and Jimmy Stewart have such wonderful chemistry, this low hum that's always between them. And then Cary Grant enters and he and Hepburn just crackle with energy.

Plus, I'd never noticed it before so I'm not sure if it's something I just picked up because of all the slash I've read and subtext I've looked for buy Cary Grant and Jimmy Stewart have this zing between them.

Kate, he draws them out in Naples because that's how he finds out precisely who is after him, gets the phone to clone, and basically enables him for the rest of the movie.

I just learned this tonight! If my source can be trusted

Kate, that's what I've heard too....

Plus, I'd never noticed it before so I'm not sure if it's something I just picked up because of all the slash I've read and subtext I've looked for buy Cary Grant and Jimmy Stewart have this zing between them.

The scene between Grant and Stewart where Jimmy's character is drunk? Improv.

So was the blonde chick satan? What the fuck? I'm angry at this movie. This movie ruined my peachy keen mood.

ita, re: your whitefont, you are so very correct, and I don't know why I didn't suss that out myself. I guess I'd never make a good spy!

The scene between Grant and Stewart where Jimmy's character is drunk? Improv.

Really? I was wondering at certain times (when Tracy is drunk as well) if there was any improv.

That scene was when I really felt it, but there was a little bit earlier.