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judy holliday propagandist has written 101 reviews for films rated ★★★★½ .

  • High Noon

    High Noon


    I personally love any film that enrages John Wayne and gets his public disapproval, but the context of High Noon’s reputation as a hotbed for HUAC attention and blacklist inquiries does not precede its actual content on screen, which is ripe with allegory about anti-McCarthyism and an outlier in most of the Western genre up to that point. Carl Foreman, screenwriter and eventual blacklistee, wrote most of this film before his subpoena by the committee, but his mark on the…

  • Cat on a Hot Tin Roof

    Cat on a Hot Tin Roof


    "Clicks. Whiskey. What else you need? Skipper? He was a crutch for you, too, wasn't he?" "Yes, sir. He was someone for me to lean on, in school and out of it."

    Hays Code: 🛑NO homosexuality 🛑✋

    This Film: fine we’ll make the gay repression even stronger 😩😭

  • PlayTime



    Jacques Tati is the only type of “we live in a society”-esque filmmaker I trust. Every single frame of this film belongs in the MoMA.

  • Cluny Brown

    Cluny Brown


    I think the reason why I love this film so much is that it’s so unapologetic in the way it rejects any hint of cynicism. Cluny, so uncertain and so unguarded, is allowed to be herself the whole way through, and the story doesn’t try to change her in order to make her desirable to men. It doesn’t disparage her interests and hobbies, it doesn’t present her as an object to be mocked or ridiculed. The characters in the story either accept her, or they don’t, but she doesn’t change in service of a cheap punchline. She is, simply, herself.

  • The Beaches of Agnès

    The Beaches of Agnès


    "As a filmmaker, my only option was to film him in extreme close-up: his skin, his eye, his hair like a landscape, his hands, his spots. I needed to do this, take these images of him, of his very matter. Jacques dying, but Jacques still alive."


  • Tokyo Story

    Tokyo Story


    "What are you going to be when you grow up?.... I wonder if I'll still be here." ❤️

  • Detour



    I don’t frequently rewatch many films—and it’s even odder for me to rewatch a film I only viewed for the first time five days ago— but I felt an itch to experience Detour again. Its short runtime and its impending expiration on the Criterion Channel helped move my spur-of-the-moment decision along tonight, and I’m glad of it. In my first watch, I was mainly taken aback by the brevity of the film, thinking that it was the sole component hindering…

  • Summertime



    “That’s a wonderful feeling, the feeling of Venice.”

    Rewatched this on a cold winter evening, and now I feel warm, and comforted, and happy.

  • Singin' in the Rain

    Singin' in the Rain


    I know I’m not alone in revisiting Stanley Donen’s films today. In the wake of his death, I desperately felt in need of some happiness, of just experiencing and remembering his unique cinematic touch. His passing is something that stung too deeply for me, not only because he is one of my favorite directors of all time, but it feels like the era of the Hollywood Golden Age doesn’t quite exist in our periphery any longer. This thought depresses me…

  • Casablanca



    "Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that."

  • Late Spring

    Late Spring


    "I want us to stay as we are. I don't want to go anywhere. Being with you is enough for me. I'm happy just as I am."

    I don’t think I can write about Late Spring without getting uncomfortably personal, so I just want to use this diary entry as a remembrance of a particular moment in my life, to look back on this day and relive all the specific emotions only this film could accurately capture.


  • Cluny Brown

    Cluny Brown


    Do you ever just feel so thoroughly comforted by a movie? I just want to watch and rewatch Cluny Brown endlessly. Like, Charles Boyer has a monologue in this film about plumbing, and it’s one of the most romantic lines of dialogue I’ve ever heard. Seriously.