Trying to get someone else to chime in. Caddy shack 1980. It is the clubhouse for what is called the Brushwood Country Club in the movie. Actually according to wikipedia Golf scenes were filmed at the Rolling Hills Golf Club (now the Grande Oaks Golf Club) in Davie, Florida.
Correct Jay-138 is the country club from Caddyshack! Great 80s comedy!
Lawrence, this was likely one of the toughest items I've posted yet! And yes, it is Geiger's house from the 1946 movie The Big Sleep! I think it's one of Bogart's best-I mean Chandler, Hawks, Bogart, Becall, Cook jr, John Ridgley, Martha Vickers, etc! How could a cast like that not create a masterpiece!
Bogie always found trouble when he went into the house...and the line he gives to the woman in the bookstore that he's a, "private dick on a case"...
and don't get me started on the paper...i think Chris has an awesome AU one sheet!
I had thought all along from memory the image looked like it was from The Big Sleep, so I initially guessed that it was. After I posted this I decided to check and try to confirm that this was correct. I couldn't find the exact image but I did find the image above. Note the fence and the shrubs behind the fence look the same in both images, so I had confirmation my original thought was correct, which thenput my mind to rest.
143-The Notebook-never seen the movie all the way from beginning to end, wife watches it and cries every time she watches it. It seems to be very good.
146-Mildred Pierce-one of Curtiz's best! First film noir I ever saw.
I thought this one was a bit of a cheat since the building only appears during the opening credits and isn't really significant to the plot.
Damn! I got caught cheating! Actually, I had read previously about how the opening title sequence was groundbreaking-Saul Bass helped in its creation. And while I couldn't use an image of the credits-using Roger Thornhills office bldg would be fun. From the following article taken from Artofthetitle.com its actually the C.I.T Building.
From artofthetitle.com >Perhaps the best way to frame Hitchcock’s 1959 thriller North by Northwest is to examine the least conspicuous word in its title: by. In the context of the film, ‘by’ represents a crossroads — a point of intersection between two paths that would otherwise never meet.
Consider protagonist Roger Thornhill, played by Cary Grant — a playboy ad executive who lands himself in trouble when he is mistaken for a spy and kidnapped, throwing his life into chaos as he plays an increasingly dangerous game of cat and mouse with his abductors and the authorities. And it’s only because of this game that he meets Eve Kendall, played by Eva Marie Saint, a love interest who twice helps him evade capture.
Intersections are further explored in the transient locations Hitchcock chose to shoot: downtown cross streets, trains, airports — even the infamous crop-dusting scene, which takes place quite literally at a crossroads.
It is appropriate, then, that Saul Bass establishes this theme in both the tone and design of the main title sequence — his second Hitchcock outing, following Vertigo the previous year. Almost immediately, the open canvas of forest green is jailed by a series of intersecting lines, setting the ground rules for the sequence by corralling the sans serif title blocks into vertical columns, rising and falling as though tethered to one another.
The sequence is split into three distinct tiers — the first being entirely graphic, with the titles superimposed over the gridded background. In the second, the graphics dissolve into the reflective façade of the C.I.T. Building in Manhattan — the location of Thornhill’s agency — perfectly mimicking its orthographic window framework. The third tier brings us down to ground level, observing the anonymous masses navigating the Big Apple.
This progression from cold abstraction to perceived reality — symbolically reflected in the building’s façade — to up-close and personal parallels Thornhill’s journey through the film, mirroring both his plight and his changing identity over its course. It also draws the audience into human-scale conflict, where commuters do their best to ignore each other unless compelled otherwise, resulting in hostility. Bernard Hermann’s big, climactic score gives the sequence a sense of increasing urgency, turning up the volume in concert with the march of the crowd.
Bass had experimented with graphic animation techniques as far back as The Seven Year Itch in 1955, but the title cards themselves had always remained static. North by Northwest is often credited as being the first sequence to use kinetic type — or simply, type in motion. It is also one of the first examples of situational type in film, where the text is integrated into the environment by matching its perspective, a technique famously revisited by Picture Mill for David Fincher’s Panic Room in 2002.
Although Bass was already an established designer by 1959, North by Northwest is likely his first truly modernist title sequence, adopting a clean, minimal style and a veneer of graphic sophistication previously unseen in his title work or elsewhere in mainstream film. It’s a style that he carried into his next two projects, Psycho and Ocean’s Eleven, and would revisit almost 30 years later for Goodfellas in 1990.<
I had guessed the movie based on Ed Gein, the Wisconsin serial killer. I see where you got the idea for the image, but this was never used in that film and the website only references that film as the fantasy home. Actual home is in South dakota and the picture was taken in the 1970s.
It's a farm house in South Dakota. Did you get the right picture? North by Northwest was shot there but I can't find a still with this abandoned farm house in it...
Comments
Golf scenes were filmed at the Rolling Hills Golf Club (now the Grande Oaks Golf Club) in Davie, Florida.
I have changed my thinking from perhaps it is The Big Sleep to it is definitely The Big Sleep.
Lawrence, this was likely one of the toughest items I've posted yet! And yes, it is Geiger's house from the 1946 movie The Big Sleep! I think it's one of Bogart's best-I mean Chandler, Hawks, Bogart, Becall, Cook jr, John Ridgley, Martha Vickers, etc! How could a cast like that not create a masterpiece!
Bogie always found trouble when he went into the house...and the line he gives to the woman in the bookstore that he's a, "private dick on a case"...
and don't get me started on the paper...i think Chris has an awesome AU one sheet!
I think that's Carmen Sternwood in her nice convertible, Bogart had a simple coupe. Great scene in the rain as Bogie stakes out the house.
[spoiler]
143-
144-
145-
146-
147-not a house, but a very large building...of course that might be quite obvious...
# 143 is The Notebook ( 2004 ).
# 146 is Mildred Pierce ( 1945 ).
Other three no idea.
Two more bulls-eyes, Lawrence!
143-The Notebook-never seen the movie all the way from beginning to end, wife watches it and cries every time she watches it. It seems to be very good.
146-Mildred Pierce-one of Curtiz's best! First film noir I ever saw.
144-Meet the Parents-very clever comedy.
147-North by Northwest-fantastic Grant and Hitchcock!
Actually, I had read previously about how the opening title sequence was groundbreaking-Saul Bass helped in its creation. And while I couldn't use an image of the credits-using Roger Thornhills office bldg would be fun. From the following article taken from Artofthetitle.com its actually the C.I.T Building.
From artofthetitle.com
>Perhaps the best way to frame Hitchcock’s 1959 thriller North by Northwest is to examine the least conspicuous word in its title: by. In the context of the film, ‘by’ represents a crossroads — a point of intersection between two paths that would otherwise never meet.
Consider protagonist Roger Thornhill, played by Cary Grant — a playboy ad executive who lands himself in trouble when he is mistaken for a spy and kidnapped, throwing his life into chaos as he plays an increasingly dangerous game of cat and mouse with his abductors and the authorities. And it’s only because of this game that he meets Eve Kendall, played by Eva Marie Saint, a love interest who twice helps him evade capture.
Intersections are further explored in the transient locations Hitchcock chose to shoot: downtown cross streets, trains, airports — even the infamous crop-dusting scene, which takes place quite literally at a crossroads.
It is appropriate, then, that Saul Bass establishes this theme in both the tone and design of the main title sequence — his second Hitchcock outing, following Vertigo the previous year. Almost immediately, the open canvas of forest green is jailed by a series of intersecting lines, setting the ground rules for the sequence by corralling the sans serif title blocks into vertical columns, rising and falling as though tethered to one another.
The sequence is split into three distinct tiers — the first being entirely graphic, with the titles superimposed over the gridded background. In the second, the graphics dissolve into the reflective façade of the C.I.T. Building in Manhattan — the location of Thornhill’s agency — perfectly mimicking its orthographic window framework. The third tier brings us down to ground level, observing the anonymous masses navigating the Big Apple.
This progression from cold abstraction to perceived reality — symbolically reflected in the building’s façade — to up-close and personal parallels Thornhill’s journey through the film, mirroring both his plight and his changing identity over its course. It also draws the audience into human-scale conflict, where commuters do their best to ignore each other unless compelled otherwise, resulting in hostility. Bernard Hermann’s big, climactic score gives the sequence a sense of increasing urgency, turning up the volume in concert with the march of the crowd.
Bass had experimented with graphic animation techniques as far back as The Seven Year Itch in 1955, but the title cards themselves had always remained static. North by Northwest is often credited as being the first sequence to use kinetic type — or simply, type in motion. It is also one of the first examples of situational type in film, where the text is integrated into the environment by matching its perspective, a technique famously revisited by Picture Mill for David Fincher’s Panic Room in 2002.
Although Bass was already an established designer by 1959, North by Northwest is likely his first truly modernist title sequence, adopting a clean, minimal style and a veneer of graphic sophistication previously unseen in his title work or elsewhere in mainstream film. It’s a style that he carried into his next two projects, Psycho and Ocean’s Eleven, and would revisit almost 30 years later for Goodfellas in 1990.<
Where are all the film noir fans?
I had guessed the movie based on Ed Gein, the Wisconsin serial killer. I see where you got the idea for the image, but this was never used in that film and the website only references that film as the fantasy home. Actual home is in South dakota and the picture was taken in the 1970s.
Are you thinking a film from 1947?