Classic actors' last lines on film (part one?)

The screenwriter didn't know that he or she was redacting what would end being the last lines spoken by a Classic Star in a motion picture. That's a powerful thought.

I collected some of my favorite actors' last moments, in which I consider to be the first of a series of posts (fingers crossed). I included only their last proper films, because some of them did unfindable TV series or TV movies at the end of their careers. 

Carole Lombard: To be or not to be (1942)
I like the fact that her last scene and line is playful and cheerful. She's a festive bully.

REPORTER: And you, Mr. Tura. You played the real hero in this amazing play.
JOSEF: I did my best and I was very ably assisted by my colleagues. Thank you, my friends, for everything you did. As little as it may have been.
REPORTER: I am sure England will want to show its gratitude. What do you desire most, Mr. Tura?
JOSEF: Well, l--
MARIA: He wants to play Hamlet.
JOSEF: After all, we are in the country of William Shakespeare--
MARIA: He wants to play Hamlet.

Clark Gable & Marilyn Monroe: The misfits (1961)
I like the fact Marilyn last completed film is intense and well-acted. She deserved it I guess. I like their lines, they're trascendental and powerful. 

GAY: Well, I'm finished with it. It's... It's like ropin' a dream now. Just gotta find another way to be alive, that's all. If there is one any more. Perce, cut that mare loose for me, will you?
PERCE: Sure.
GAY (to Roslyn): Drive you back, if you want.
PERCE: Um, I'm pleased to have met you, Roslyn.
ROSLYN: Don't get hurt any more, will you, Perce?
GAY: See you around, Guido.
GUIDO: Where'll you be? Polishin' windshields? Makin' change in a supermarket? Try the Laundromat! They need a fella there to load the machines! Gay!
ROSLYN: I'll leave tomorrow. OK?
GAY: I bless you, girl.
ROSLYN: Gay, if there could be one person in the world...a child who could be brave from the beginning...I was scared to when you asked me. But I'm not so much now. Are you?
GAY: No.
ROSLYN: How do you find your way back in the dark?
GAY: Just head for that big star straight on. The highway's under it. It'll take us right home.

THE NEXT DIALOG = SPOILER (you've been warned )

Gary Cooper: The Naked Edge (1961)
This movie is very good and little known! I wrote about it in case you're interested. And I think that it's great that Gary's last film is a thriller, because it expanded his range of genres and allows you to see him in a very suffocating atmosphere, alongside Miss Kerr.

GEORGE: I was so sure it was Heath. I've condemned the wrong man.
MARTHA: So did I.

Vivien Leigh: Ship of fools (1965)
Ah, Vivien, intense and dramatic till the end.

MARY (to herself): Baby, you just haven't managed to grow up. Mrs. Treadwell of Murray Hill, Virginia. Now! You can paint your toenails green.You know how it ends, don't you? Alone. Sitting in a cafe with a paid escort.
(She cries. Tenny enters the room and kisses her)
MARY: Let me go. Let me go.
TENNY: Mrs. Treadwell. Excuse me. That greaser told me Cabin 14. Excuse me. Excuse me.
MARY: Get out! Get out! Get out!
TENNY: You know l'm sorry, l truly am sorry. l didn't know it l was just..
MARY: Pig!
(Mary starts hitting Tenny)
TENNY: Hey, what the hell?
MARY: Go on. Get out. Get out. Get out! Get out! Beast. Beast. Get out. Get out. No! No!

Bette Davis: Wicked stepmother (1989)
Uhm, I had never heard of this movie before. It seems that it's awful, but I like the novel line, very Bette-ish :) Seems that her voice can be heard after this scene, but it's her actual last physical appearance.

MIRANDA: I was reading a sexy novel.
JENNY: Hey Miranda, don't try any tricks. You can't hide it now. Inspection! I saw it. I saw it in here!
MIRANDA: You saw what?
JENNY: I looked at the window. Got you there!
MIRANDA: Jenny needs help. Boy, it's a terrible affliction.
JENNY: There was a cat in here, I can tell it: my upper lip it's still itching. I now what you did with it! You threw it out the window! Here kitty, kitty, kitty. Meow. I'm going to search every inch of this room.
(Door bell rings)
MIRANDA: Who do you suppose that is?
MAN: You woke up one of the neighbors.
MIRANDA: Priscilla.
MAN: Priscilla who?
MIRANDA: My daughter, Priscilla. She has come to visit.
JENNY: No.
MIRANDA: I wrote to her and asked her to come. You are going to love her.
(Magically disappears).

Audrey Hepburn: Always (1989)
Audrey played God in her last film. There is nothing else to add.

PETE: What do you want from me, Hap? If I'm really dead, how come I hurt so bad? What kind of deal is this? You said I was going back to be an inspiration. You never said I would feel what I'm feeling. You didn't tell me that I would...see Dorinda. What do you really want from me?
HAP: We gave you a chance to say: "I'm glad I lived. I'm glad I was alive. Now it's my turn to give you a hand. Let me give you what I had." But I also sent you back to settle with the one you love. I sent you back to say goodbye. Until you do that, she won't be free. And neither will you.
PETE: I'm not ready to say goodbye.
HAP: You're such a good man, Pete. We don't send back the other kind. But you still have to learn that to gain your freedom, you have to give it. So go find out.

Katharine Hepburn: Love affair (1994)
The grandma (Janou/Ginny) scene in these films is always soooo emotive. I like the fact that Katharine was the last granny and that it's a goodbye scene. 

GINNY: Five o'clock. You must go?
TERRY: Yes. May I?
GINNY: Thank you. Thank you. I wore this when I was married.
TERRY: Beautiful.
GINNY: Well, off you go. These petals are supposedly the hands of a Polynesian princess. It's been hanging around for 62 years and it's still holding together. I wish I could say the same for myself.
MIKE: We'll see you soon.

What was your favorite moment? 

The 10 SADDEST old movies (I've watched)

NOTE: This entry was reposted over MovieFanFare, becoming one of their most popular articles with nearly 1,000 comments :)

Well, you know them. You're watching them and you're thinking:

"Mother of god, life can be awful. Why people have to suffer so much! I'm not gonna cry, I'm not gonna cry. Think of something positive. Or something that makes you angry. Oh no, a tear is coming. I'm gonna cough to try to pass this heavy lump in my throat. Oh, what did she or he have to say that line? That's the saddest thing..."

Credits

Anyway, I sacrificed myself for you, and re-watched some of these films. I included movies in which the predominant feeling is sadness or those whose endings are very dramatic.

So, grab your tissues, here we go (warning: spoilers ahead):


10.- Les parapluies de Cherbourg (1964)
Plot: A girl and a boy fall in love and have a child but can't be together (review).
You can't hold your tears when...they say goodbye at the train station (watch).

Credits

9.- Waterloo Bridge (1940)
Plot: Vivien Leigh thinks her boyfriend Robert Taylor is dead so she finds a socially rejected way to survive (mentioned in 5 movies in which tragedy was caused by chance).
You can't hold your tears when...the camera focus a little special object after some tragic event and then Robert remembers Vivien in the bridge (watch the ending).

8.- The Wedding Night (1935)
Plot: A writer (Gary Cooper) falls in love with a girl (Anna Stern) from a strict Pole family of farmers (review).
You can't hold your tears when...at the end, Gary looks out the window and "sees" the love of his life disappearing (watch a clip from the movie).

Credits

7.- This Land Is Mine (1943)
Plot: Awesome Charles Laughton and Maureen O'Hara respectively play a coward teacher and his love interest in this World War II film (review).
You can't hold your tears when...Charles sees how a teacher he admired and respected is killed. But the worst part is the ending, one of the best fictional uses of the Declaration of Human Rights (watch).

6.- Camille (1936)
Plot: An impossible love between a courtesan (Greta Garbo) and Robert Taylor (listed in Favorite Movies).
You can't hold your tears when...Camille faces Lionel Barrymore and when Robert visits a "very weak" Camille in the last scene (watch the trailer).

5.- A star is born (1937)
Plot: After two actors marry, the success of their careers enter in a inversely proportional relationship (review and haiku).
You can't hold your tears when...the granny takes her granddaughter to the station. And when Fredric March embraces Janet Gaynor knowing it would be the last time and then he says "do you mind if I take just one more look?" (watch the second moment).

4.- Make Way for Tomorrow (1937)
Plot: An old couple (Victor Moore and Beulah Bondi) realize they have the worst children in the history of cinema (mention).
You can't hold your tears when...these people are humiliated and separated, which is practically the whole film (watch an example).

Credits

3.- Three Comrades (1938)
Plot: After World War I, three German friends (Robert Taylor, Franchot Tone, Robert Young)  meet Margaret Sullavan and their lives change forever. Adapted by F. Scott Fitzgerald.
You can't hold your tears when...you watch the final scenes. Really. (here are some of them edited).

2.- The small one (1978)
Plot: A poor family have to get rid of their old donkey, a task that is entrusted to the kid (mention).
You can't hold your tears when...the last time I saw this one I cried my eyes out like the whole film, especially when the kid tries to cheer up his little animal and the ending (watch the whole film).

1.- Ever in my heart (1933)
Plot: Barbara Stanwyck marries a German before World War I (review).
You can't hold your tears when...the family faces tragic situations (I mean TRAGIC) and the ending (trailer).

Honorable mentions: Letter from an Unknown Woman (mini review), I Remember Mama (mention), Penny Serenade and Doctor Zhivago.

What do you think?

Darling Deborah Blogathon: The Naked Edge (1961)

OK, I confess it: I had no faith in this film. I didn't even know it existed, and that's saying a lot when Gary Cooper AND Deborah Kerr play the main parts.

Anyway, I did it for Sophie and her Darling Deborah Blogathon: I wanted to check a new movie from Miss Kerr.

First main idea: this movie is like Hitchcock's Suspicion and Shadow of a Doubt. You know, it follows a certain female character and how she starts suspecting that someone very dear is a criminal (her husband in this case). There are many things she starts to see that would confirm this suspicion, and we, like her, start feeling puzzled and scared.

The script was written by Joseph Stefano, you know, the same guy who adapted a novel for Psycho.

Someone killed Gary Cooper's boss and stole a lot of money. In the trial he accuses some colleague: he's sure because he chased him after he heard his boss screaming. This colleague goes to prison but the money never appeared. A year later Gary creates a super expensive company, with money, he says, he won gambling. Another year later, Deborah Kerr, her wife, opens a delayed letter. In it, someone is blackmailing Gary, saying that he wants money or he'll tell Gary committed the crime. [Deborah's suspicious mode: on]

The way the story is presented is very suffocating: the shots are close; the lighting is always dark, the music tense. Most of the scenes occur in closed rooms: offices, bedrooms, a crowded restaurant, a bookshop crammed full of books. The few secondary characters are vicious, gossipy people.There's no comic relief like in Hitchcok's movies.

And Deborah starts investigating. For example, she visits the prisoner's wife in the slums of London (yes, the movie takes place in that capital). And you have never seen London so poor and crowded like in that visit. The contrast with Deborah's expensive clothes and refined pose is shocking, powerful. The woman says her husband was innocent and that Gary was the real murderer. Deborah is impressed to hear her suspicions being shared for other person.

Director Michael Anderson used that effect in a very intelligent way. Now Deborah feels lost, in despair, scared. In a state of mind like that you start seeing everything distorted (like when Snow White escapes through the woods). Check that scene:

Other scene that caught my attention is when Gary and Deborah are discussing their situation. Well, they discuss their situation several times, but in this particular moment she says for the first time she has thought about killing herself. And when those particular words come out Deborah's mouth, the emotion surfaces and her voice trembles. That detail was so real and human that it impressed me:

As you can see in the clip, just like in Hitchcok's movies, the main actor had to play his part leaving place for doubts. Gary never gives a proper, solid answer. He just talks about receipts that are lost. And maybe that's the weaker point in Suspicion and in this one, the doubts rely in the ambiguity of information. Another weak parts are when Deborah and Gary discuss his guilt in a car, while the chauffeur listens to the conversation or in his office, without closing the door!

But I have to say the movie poster doesn't lie: the ending was thrilling and frightening. I think that's the main reason why I really liked this film. I think that the way directors wrap up their movies has a main importance in the way I remember them.

On a side note, it was funny hearing classic actors saying things like:

Gary: Could a woman live with a man sleep with him and not know he's a murderer?
Deborah: Do murderer's make love differently?

Gary: You can't be a littlle suspicious. It's like virginity, you either are, or aren't.

So, yes, I recommend this movie. It was very well filmed, has great performances and an exciting-very-Hitchockish-plot.
--------------------------

Click here to check the rest of the Darling Deborah Blogathon entries :)

5 Mini Reviews including 'My Reputation' & 'This above all'

Hi guys, here are my brief commentaries of the movies I've seen lately but haven't reviewed:

1. The three lives of Thomasina (1964; Don Chaffey)
I really liked this Disney movie. It's about a widower (a vet) his daughter, and her cat, Thomasina living in a small village. After his wife died, the vet became kind of detached: if an animal is dying, he doesn't care about the feelings of the owner. When Thomasina, the cat, is seriously injured, he doesn't try to help her and is let to die.

The daughter doesn't forgive her dad for this; everyone believe the cat died. Only she didn't and a nice "witch" is taking care of her. It was fun, kept you intrigued and the kids from Mary Poppins (Karen Dotrice & Mathew Garber) play the main characters here too.

2. I wake up screaming (1941; H. Bruce Humberstone)

DorianTb recommended me this movie and I loved it! Told in flashbacks from different points of views, the movie tells the story of a woman (Carole Landis) that was murdered. The police is trying to find the killer and her manager (Victor Mature) is the main suspect. The victim's sister (Betty Grable) doesn't agree. Directed by H. Bruce Humberstone, the film makes you wonder, makes you change your opinion with every flashback and then root for the innocents. It was great to see Laird Cregar, the Devil from Heaven can wait (review), playing a mysterious Police Inspector.

3. My reputation (1946; Curtis Bernhardt)

Loved this "drama", although I didn't like the ending very much. Basically, a widow (Barbara Stanwyck) is condemned by the society and her family because she's in love with George Brent and they hang out WITHOUT BEING MARRIED. Obviously, you have to see this movie in perspective to get the drama in that. My favorite things from this movie are Eve Arden's awesomely well delivered jokes (made me want to watch more from her movies as you'll see in the next post of mini reviews) and Barbara Stanwyck's usual terrific acting skills. Please, check this scene:

Why I didn't like the ending? Because they decided to end everything according to the social rules (and the Hays Code I guess). I enjoyed watching it anyway.

4. The wedding night (1935; King Vidor)

I actually re-watched this film. Gary Cooper is a writer (inspired in Francis Scott Fitzgerald) that likes to drink and party with his wife. At some point he decides to start writing a new book in the country, alone. There he meets a Pole family of farmers with strict rules and falls in love with the simplicity and sweetness of the daughter, Anna Sten (although in real life the actors hated each other and he called her Anna "Stench").

I love this movie (even when it seems that the portrayal of the Poles was far too barbaric) and it always makes me cry. Anna has to marry a primitive-looking Ralph Bellamy (he does a great job, makes you forget his elegant roles) because her dad needs lands or money or whatever.

There are some scenes beautifully played, that makes you really empathize with the characters. The protagonists need each other and you can see they would be happy together and help each other...but, well, see the movie to check what happens. I like how they developed the ending.

5. This above all (1942; Anatole Litvak)

This is a movie that was made to give strengths to the people during World War II. You know them: they always end with a speech delivered by someone looking to the horizon. But I enjoyed the ride: Tyrone Power and Joan Fontaine are great together.
Set in England, their chracters have different social backgrounds: he comes from the working class while her family is rich and powerful. She decided to become a volunteer and while she is on that, she meets Ty, a guy that has issues with having to defend his country. I liked it because they enjoy their love and give a leap of faith, facing social prejudice (like taking ONE room at a hotel for a weekend) and their own fears.

Well, that's all for now, folks! I wrote 5 mini-reviews more, I'll publish them in a few days (so don't believe is the same post).


PS: Remember that if you're replying as a guest you can leave the link to you site. Just click the option "Link to your website" under "Your name".

The 20 coolest on-screen couples from classic movies

'Cool' definition from Wordreference: fashionably attractive or impressive.

Here's my list of 20 couples that looked terrific together on screen, that complemented each other and had fun together all the movie (or until the script spoiled it all for them) or overcame difficult situations to be together and hopefully lived happily ever after.

In no particular order: 

Harry Morgan & 'Slim' Browning from To have and have not

Gilbert & Iris Henderson from The lady vanishes

Paul & Corie Bratter from Barefoot in the Park

Nicky Ferrante & Terry McKay from An Affair to Remember

Nick & Nora Charles from The Thin Man

Robin & Marian from The Adventures of Robin Hood

Sean Thorton & Mary Kate Danaher from The Quiet Man

Ben Quick & Clara Varner from The Long, Hot Summer

Capt. Daniel Craig & Lucy Muir from The Ghost and Mrs. Muir

Juan Herrera & Vance Jeffords from The Furies

C.C. Baxter & Fran Kubelik from The apartment

Joe Bradley & Princess Ann from Roman Holiday

Noah Praetorious and Deborah Higgins from People Will Talk

Leon and Ninotchka from Ninotchka

Longfellow Deeds & Babe Bennett from Mr. Deeds Goes to Town

Jane & Tarzan from the Tarzan movies with Johnny & Maureen.

Peter Joshua (or whatever his name is) and Reggie Lampert from Charade

Brian Hawke & 'Spitfire' Stevens from Against All Flags

Armand Duvall & Marguerite Gautier from Camille

Johny Case & Linda Seton from Holiday

What do you think?

The Fountainhead (1949) in my own words: PART II

(I just realized that I completely altered the order of the events in the previous post...LOL!! I told you I'm like Dori from Finding Nemo).

Previously on The Fountainhead.... 

Coop wants to build his own designs...Patricia Neal doesn't want to feel attached to pretay things...Coop is broke and meets Patricia who doesn't know who he really is...Patricia is attracted to Coop, but whips him in the pretay face anyway... 

What will happen between these two? Find out next:

Coop is tired of Patricia's shenanigans, so he decides to visit her that night.

CENSORED by the Hays Code.

*Later that night*
Coop goes back to his little room and finds a little letter asking him to build a huge building. He leaves, without saying goodbye.

Patricia, following her daily schedule, rides her horse to stalk Coop...just to find out that he's gone. And she doesn't want to ask his name to the other workers, otherwise the movie would be 20 minutes shorter.

*Events that I told you last night but should go here*

Now Coop builds a super duper skyscraper. Now the newspaper starts a campaign against him. Now Patricia quits from the newspaper job. Now her boss says he loves her (and she delivers this great line: If I ever decide to punish myself for some terrible guilt...I'll marry you. LOL)

*Basically, yesterday's post should have been there*

Anyway, Patricia is at a very elegant party. There aren't prettay things to break (only her dress, but she doesn't want to go around naked).

Patricia is really bored.

But Coop, now without the hand drill but in a super elegant tuxedo, joins the party. A guy introduces him to Patricia.

She thinks: OH-MY-GOD. The sweaty worker = the terrific architect. I can't believe this!

 He says:  I read your column every day.

Then they get a room...to talk about their future. She explains her issue with pretay things and says that she's completely in love with him and begs him to quit architecture (otherwise bad guys will destroy him) so they can live together in the country.

Coop says he won't. But he loves her. And because he has a crystal ball he says that they won't be together like until the end of the movie.

*Later*
Patricia marries her ex boss.
Coop is broke because of the bad publicity.

*Even later*
The Dark-columnist-like-the-one-from-Ratatouille sees Coop on the streets and tells him that he's the one who convinced the newspaper owner to start a campaign against him. They have the next heated argument:

Dark Columnist: Wanna know why?
Coop: No.

*Later than even later*
Coop starts building small things in his modern way. Like a sand castle and a toy house. Just kidding. He builds a farm and prettay buildings like this one:

(......)

He works until he gets his reputation back. Now guess WHO WANTS TO HIRE HIM?

The Fountainhead (1949) in my own words: PART I

Last night I finally saw this famous movie starring Gary Cooper and Patricia Neal.

Sometimes I really enjoy the performances and the whole movie, but I just have to tell the story in my own way (like when I told you about The Naked Jungle). So click the links if you want serious info (and if you, like me, think that Wikipedia is a valid source) about the background of the novel or the  author.

The movie is about a young architect (played by a not so young Coop) that loves to design buildings his own modern way.

Like if you say, 'hey Coop, I'd like to put a prettay entrance to my new house, maybe a Greek column or something" he'd kill you and throw the drafts to the mud.

Coop had a master, like in Karate Kid, but in the architecture world. Well, they don't do exercises or kick the air in a boat... actually, this master dies at the beginning, being poor and nobody cares because he built like he wanted. But before he dies, he says to Coop: "don't live my way kid, give your customers what they want, etc etc". *Dies*

BUT Coop doesn't listen to him, because he wants to sell his own designs.

The thing is that he's brilliant. And some people notice. Like one a year. So after 4 years of work, he has  built only 4 buildings and has like 14 dollars on his pocket.

Then a rich guy decides to hire him. And Coop builds a super duper skyscraper for him.

* Meanwhile in a popular newspaper* An architecture columnist thinks that Coop is brilliant (told ya) but he wants to destroy him. And when you say, but why are you so mean Mr. Dark-Columnist-Like-That-One from- Ratatouille?,  he rubs his hands and laughs in a very evil way.

 Just kidding. Kind of.

So he convinces his boss to start a campaign against Coop, that way they will increase their sales. Because, you know, people loves architecture gossip. So he writes something like "his buildings are ugly and I don't like them. He should have made a Greek column and a baroque balcony etc"

AND this newspaper is so popular that MAKES PEOPLE TALK ABOUT ARCHITECTURE! Like in the bus, some women say (something like):

Woman A: "hey did you hear about the new building?"

Woman B: "yeah, I know, I hate it. He should have made a Greek column and a baroque balcony!"

Woman A: "I think the same!"

Woman B: "Well, this is my stop. I'll call you later to discuss more about the building"

Woman A: "I'll be waiting for your call"

*Meanwhile in Patricia Neal's department*

Patricia (she was 22 when they filmed this movie) is voluntarily dropping a sculpture that looks prettay expensive from her window...why? Well, according to her, because it's too prettay, so she can't be attached to it (can you imagine what she's going to do when she meets Coop aka one of the most handsome men ever?).

The thing is that Patricia is also an architecture columnist for this popular newspaper (and the big boss is in love with her), so when she finds out about the campaign against the mysterious architect, she quits. But don't worry, she's the daughter of a millionaire, so she won't be starving.

*Later*

Coop is unemployed and working in a quarry. The poor kid. The owner of this thing is Patricia's father. Patricia is spending a little nice vacation there and goes riding...and sees a very prettay guy working with a very old hand drill under the sun, all sweaty...

She doesn't know who he is, but she's obsessed with him. She remembers his arm and the hand drill (I can say, because the arm and the hand drill are shown superposed to Patricia Neal sitting and thinking).

But because she has this weird issue with prettay things, she behaves...weirdly. Like she starts stalking the poor worker. If you could read her agenda, this is what you'd see:

8:00AM: Wake up.

8:20AM: Ride my prettay horse (mental note: gotta kill it) to the quarry.

8.25AM to 20PM: Stalk the worker with the arm and the hand drill.

Then in the next page you could read this plan:

How can I make this guy come to my prettay house (mental note: I have to make it explode)?? OHH, I'll break my marble chimney and make him fix it. I'm so clever.

Coop ain't no fool and knows what's happening in Patricia's mind. So he writes a mental note himself:

Go and check her problem the first time. She'll think he has me at her feet and that I'll be back to fix it. But I'll send an ugly guy instead. LOL.

But Patricia has no humor so she rides and rides and whips Coop. In the prettay face. Really.

AND THEN...

To be continued....


(PART II)

Haiku # 4: Morocco

As I promised this morning in the review of Marlene...

Morocco (1930)

"He: loved her, left her.
And she: loved him, followed him.
Footsteps in the sand. "

This is an entry for the Best For Film Hollywood Haikus blogging competition. Enter now.

The ten most handsome men from Classic Movies

...according to moi, of course. OK, here's the thing: some stars like Marlon Brando and James Dean are beautiful, obviously, but there's something about them that doesn't appeal to me. Maybe is the "rebel label", I don't know. To me, Robert Mitchum is more handsome because I feel that he attitude is more natural and real, not staged. I also tried to add some lesser known actors, just because they looked drop dead gorgeous in the one film I saw from them. Oh, I had to leave out people like Clark Gable and Laurence Olivier, sorry.

 Well, enjoy:

10. Robert Mitchum. He was just neat.

9. Gregory Peck.  A kind man.

8. John Justin. Looked gorgeous in The Thief of Bagdad. 

7. Burt Lancaster.  Great acting and physical skills.

6. William Holden. Beautiful man, great actor.

5. Jeffrey Hunter (The Searchers). Just saw him in 1 movie, never forgot him.

4. Cary Grant. A combination of looks and attitude.

3. Errol Flynn. The most beautiful rascal ever.

2. Paul Newman. For those who think he was mostly eyes.

1. Gary Cooper. Could he be more gorgeous?

What do you think? Oh, do you want more beautiful pics? Check Gary Cooper: Mercy or Good Genes.

 More lists :

Top 25 favorite classic actors
10 types of annoying people to watch a movie with
My Top 10 Billy Wilder movies
12 favorite things from It's a wonderful life including the board game