{"id":782,"date":"2008-10-13T16:28:12","date_gmt":"2008-10-14T00:28:12","guid":{"rendered":"http:\/\/www.oeconomist.com\/blogs\/daniel\/?p=782"},"modified":"2009-09-25T21:59:43","modified_gmt":"2009-09-26T05:59:43","slug":"a-film-to-remember","status":"publish","type":"post","link":"https:\/\/www.oeconomist.com\/blogs\/daniel\/?p=782","title":{"rendered":"A film to remember"},"content":{"rendered":"<p>One of the things that I did yester-day was watch <a href=\"http:\/\/www.imdb.com\/title\/tt0050105\/\"><cite>An Affair to Remember<\/cite> (1957)<\/a>.<\/p> <p>It had been many years since I saw that film, but I'd taken note of one really powerful moment in it, when things click in Niccolo's mind.  The dialolgue and Grant's performance at that point are perfectly stated, and that moment makes the whole film <em>work<\/em>. (There are other moments that shouldn't even have been filmed, let alone made it past the editing process.)<\/p> <p>I'd mentioned that moment to <a href=\"http:\/\/mocketymock.com\/\">the Woman of Interest<\/a>, who was sufficiently intrigued to rent and watch the film for herself, and seems to have responded to it similarly.  Our conversation about it, and later about the unfortunate <a href=\"http:\/\/www.imdb.com\/title\/tt0051773\/\"><cite>Indiscreet<\/cite> (1958)<\/a> put me in mind to seek a copy of <a href=\"http:\/\/www.imdb.com\/title\/tt0050105\/\"><cite>Affair<\/cite><\/a> when I was in the video section of <a href=\"http:\/\/www.frys.com\/\">Fry's Electronics<\/a> on Saturday.<\/p> <p>Out of curiosity, I have ordered a copy of <a href=\"http:\/\/www.imdb.com\/title\/tt0031593\/\"><cite>Love Affair<\/cite> (1939)<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"One of the things that I did yester-day was watch An Affair to Remember (1957). It had been many years since I saw that film, but I'd taken note of one really powerful moment in it, when things click in Niccolo's mind. The dialolgue and Grant's performance at that point are perfectly stated, and that [&hellip;]","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[164,6,4],"tags":[170,54,56],"class_list":["post-782","post","type-post","status-publish","format-standard","hentry","category-art","category-commentary","category-public","tag-cinema","tag-film","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts\/782","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=782"}],"version-history":[{"count":0,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=\/wp\/v2\/posts\/782\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.oeconomist.com\/blogs\/daniel\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}