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Showing content with the highest reputation since 11/18/2018 in Posts

  1. 15 points
    Well, I'm also a black person. And if we remove all the names of people who appeared in racist films or sang racist songs, we may as well just take all names off of all buildings. Because no one is perfect. You could make the argument that the majority of films made, now or them, are racist, sexist, or some other -ist. I think its very simplistic to consider Birth of a Nation (1915) "just a racist film". This film was revolutionary in the technical aspect of filmmaking, of box office, and of turning the film industry into a major business. And I say now because just a few years ago a newer film called "Birth of a Nation (2016)" and it was also quite racist. People can name buildings after anyone they wish. And remove them if they wish. But, all you're going to end up with is a very bland, boring culture.
  2. 12 points
    Just realized I'd hit 25,000 posts recently. Champagne for all!
  3. 12 points
    I can't really explain it, as I don't share that sentiment, but I can try. The industry is in a sad state at the moment, and it may never recover to anything like what it once was even 15-20 years ago, let alone whichever older film era one prefers. The nature of entertainment may move further away from film as technology progresses and how people spend their leisure time continues to change, with the current trends of SFX overload, family-film pablum, and micro-niche-appeal indies/SVOD growing even more inescapable. My personal favorite decades for films are, in order, the 70's, 80's, 60's, and 90's. Anyone familiar with my posts knows that I also enjoy films from the decades before and after those, but not as much. Of the hundreds of DVDs and Blu-rays on my shelves 3/5th's are from after 1970, so the majority are not from the "classic" era. All that being said, I still find movies from each year that I like, some a great deal, and in a variety of genres. I understand some people are put off or offended by sex/nudity, dirty words, and violence, both minor and graphic. And all of these things are more prevalent in modern films, although not as ubiquitous as some naysayers profess. You'll find much more graphic material on a regular basis in movies from the 70's and 80's than you will now. However, if people wish to avoid things of that nature, classic films are more reliably absent of those aspects. And some people prefer the social structures on display in older films, a mythologized view of when things "were right in the world." Modern films reassert where we are, while older films take you away to the way you wish they were. The uglier aspects of life were usually hidden away due to the Production Code. And many viewers prefer things the way they were when they themselves were a child, as the world seemed to make more sense then, not realizing that the reason was because they were a child and were unaware of those more-unsavory aspects for the most part. So, many viewers like visiting those older times via classic films, and it serves as a sort of fantasy/wish-fulfillment/escapism from the worries and uncertainties of the modern life. These viewers would naturally be less open to watching or enjoying modern films. These people often (but not always) seem to fall into conservative political viewpoints, and they see their preferred worldview in classic films more than modern. And then there are those who just aesthetically like the older film style, the B&W cinematography, or the candy-colored Technicolor, the stage-trained diction, and everyone wearing a suit or a dress, with simple stories told simply and straightforwardly, with plots (and editing) easily followed from point A to point B to point C. Older films adhere much more closely to a stage approach to drama, while later films, inspired by the previous generations of movies as well as arthouse innovation, became more visually oriented and looked to explore the boundaries of visual storytelling. Of course that can be taken to extremes, with a bunch of visual "noise" on screen holding little to no emotional weight, just as the earliest films were often visually dull, stage-y bores with no visual verve at all, until Griffith came along and kicked 'em in the pants. In the end, many viewers like the pacing, editing, scoring and the look of classic films over many of the stylistic trends prevalent now. So I can understand where people are coming from with their dislike of either new films or old films. But I ain't one of 'em, as I find stuff to like (and dislike) in them all.
  4. 11 points
    Even Gene Tierney who was often cast in roles because of her beauty, had an overbite. There are actresses who are not conventionally attractive, like Bette Davis, or Barbara Stanwyck that I think are very pretty. I've even thought Agnes Moorehead was pretty on occasion. Part of what makes them attractive to me is the personality they bring to the screen. Just like now, so many of the blonde starlets are so interchangeable. They don't bring anything to the screen except being pretty.
  5. 10 points
    Hi, I'm new here. But I've got an old story. Hope this is the right place to share. I was lucky enough to grow up in the heart of screen land, which is how Culver City identifies itself - the original MGM Studios. I have autographs from Gene Kelly, Fred Astaire, acquired on the set of That's Entertainment, where I spent 15 minutes talking to Gene Kelly... the nicest guy you ever want to meet. This early exposure helped me format a career in the film industry that I just retired from. Now that I'm retired, my plan is to chronicle and share my stories from this magical time. I'd love it if others would share their similar stories, as well! Here is an example of one of my stories: --- I have done it. I have successfully navigated all the Culver City Backlots: MGM, Lots 2, 3, 4, and 5. Now, Desilu is an everyday option. Perfect for a Tom Sawyer hookie day. Lot 3, at MGM, is a 67 acre wonderland with exterior sets ranging from multiple western streets; a huge lake and jungle; New Orleans, and France. There are winding roads that appear to go on forever. Cobblestone has that unique sound when wheels or horse hoofs go over it. It's different in here. One side of the fence is magical. The other side is reality and is far too serious. But you must dare yourself to visit the magic. It is forbidden. Trespassing is what the studio calls it. Well, what fun is life without risk? I was born ready! Holes in the fence happen... naturally and artificially. Climbing is easy when you're a kid, so getting in can happen. The rush begins immediately. Generally, you hide... every chance you can. Slow and steady. No clocks here. These lots have movie production prepping or shooting, all the time. Night and day. Weekends are generally just a guard and a big empty lot. MGM does not use dogs. Desilu was the last backlot to conquer for us because of K-9 patrols. Lot 3 should be patrolled by dogs. It is almost twice the size of all the other backlots. But, thankfully they are not. They leave it up to old men who take turns driving a jeep that carries a salt rock gun. Yes, they shoot you here. First, they have to find you in this labyrinth; that's why we pick and choose the paths off the beaten trail. There are false fronts, or sets all over. Hiding behind the sets... and in many cases, in the sets, is the key to successfully avoiding unwanted breeches in security. The less security knows, the better. It sounds intimidating and it is. Most people shy away from danger and never see how cool this club is. That puts security on auto-pilot. We have seen them nap, even. I told you they should patrol with dogs! I recognize equipment that was on Lot 2. It's now at Lot 3. The backlot world is interchangeable with many moving parts, literally. The Rat Patrol moves their squad back and forth down overland — the public street that connects these Lots, depending on what village or train station they are attacking. Combat did the same, as did Garrison's Gorillas, starring Ron Harper. Combat was canceled in 1967, but the crew jumped on to Garrison's Gorillas. More quality war TV. The Rat Patrol, starring Christopher George, followed that ill-fated but really cool TV show and had a bit more success. J.D. Flowers does special effects for these shows... constantly blowing things up. Safely! I met him when my career started and we talked about MGM days. A toast to Mr. Flowers! I had a Combat board game, and a Rat Patrol lunch box. I live for this stuff. I even ate a peanut butter and jelly sandwich out of my Rat Patrol lunch box... inside the German half-track from the Rat Patrol series. And I drank my Kool-aid out of my Rat Patrol thermos. I live my lunch pails. How many kids do that? I have yet to be chased here, at Lot 3, and don't want to. I have run into trespassers who warned us this happens here... getting shot at, that is. It hurts badly, I am told. Try to avoid that. Your choices are: keep a lot of distance, cut and run like a jack rabbit, or criss cross... so they can't aim strait. Doorways are your friends, but don't get in a building where you're trapped. Words to live by. Jimmy, my best pal, and I, are like Lewis and Clark. Same harsh but rustic surroundings. They dealt with Indians. We deal with guards. Both will scalp ya. But like them, we successfully map this wild frontier. In fact, this is where you would film Lewis and Clark. Anything you can imagine can happen here. It's where the right side of your brain can enjoy itself. Creative time and space for your mind. Not the dribble you get brainwashed with at school. There is a Lot across from Lot 3. It is Lot 5. A simple rusted chain link fence tries to contain what is plainly within sight and within reach. It is a field with planes from WW2. Bombers, and fighters planes... some German ones sit rusting, waiting for their next Hollywood battle. Real planes and real stories... now retired to be MGM props. What kid would not dig this? Planes that once glorified the sky are now littered around the backlots. 12 O'clock High was a Fox TV show; it had its tags on a fuselage, indicating that it was a rental for that production. This is a plane museum. Across the street on Lot 3 is a train museum. A real steam engine pulls passengers half way around the Lot. The Harvey Girls, starring Judy Garland, capture this in the song "Aitchison-Topeka." This defining number, sang by Judy, herself, captured for eternity what backlots are about. History goes backwards here, but it's captured on film for us to enjoy today. I still get goosebumps when I see scenes and productions that used my old sets. "Willoughby, next stop is Willoughby," shouts the conductor. That is a Twilight Zone episode, starring James Daly. In this episode, shot at our little train station at Lot 3, James succumbs to the corporate grind and dreams of of this backlot town, called Willoughby. He wants only to live the simple life that exists inside these fences. This train stops at Willoughby. That episode describes how wonderful my life is becoming. I live in Willoughby! Inside these studio fences is an unmistakable sense of history. You feel it, see it, it exists. Magic! I am catching on, that inside these fences is a time machine of history — created where I am standing. One side of the fence is the harsh reality of school, responsibility, and expectations to succeed. But inside these fences, time merges... not a care in the world. Time you learn to appreciate stuff not taught in school; a special time that you hope never disappears. So, Put on your tennis shoes and grab your fishing pole... we got a huge lake inside... Are you coming?
  6. 10 points
    I would dedicate the film To Each His Own to my Canadian birth mother, who passed away this past Christmas Eve. I made contact with "Ma", as I would come to call her, about 11 years ago, and a few years after first my Mother and then my Father would pass away in the early-2000s. As I'm sure most of you know, To Each His Own (1946) stars Olivia de Havilland as an unwed mother, who through an unfortunate turn of events, loses the opportunity to raise her son, and then years later a reunion between them comes about. (...knowing I was adopted since I was very young, I remember how much this tearjerker would make an impression upon me after I first happened to catch this film in my teenage years on a local Los Angeles television station in the late-'60s, and in some way I suppose associating the plight of de Havilland's character with that of "Ma's")
  7. 10 points
    Actress Julie Adams has died. She achieved film immortality with her co-starring role in Creature from the Black Lagoon in 1954. Starting out with the screen name of Betty Adams, she entered films in 1950, continuing to work in both film and television for the next 60 years.
  8. 10 points
    The actress Carol Channing, Broadway's original Lorelei Lee and musical version of Dolly Levi. has died, a little more than two weeks shy of her 98th birthday. Her publicist, B. Harlan Boll, confirmed that Channing died of natural causes at her home in Rancho Mirage, California after suffering two strokes last year. She was the recipient of five Tony Awards -- competitive and special. Her Broadway debut was in the 1949 musical "Gentlemen Prefer Blondes," based on the 1925 novel by Anita Loos. Channing's performance as Lorelei Lee earned her the cover of Time magazine for January 9, 1950. Marilyn Monroe played Lorelei in the 1953 screen version. Cover Credit: BORIS CHALIAPIN She made her screen debut in the 1956 Western comedy "The First Traveling Saleslady" with Ginger Rogers, James Arness and Clint Eastwood. Her first screen kiss was provided by Eastwood, but it wound up on the cutting room floor. Channing again captivated Broadway audiences in "Hello, Dolly!" Jerry Herman's 1964 musical version of Thornton Wilder's play "The Matchmaker." The role of Dolly Gallagher Levi had been intended for Ethel Merman, who declined it at the time. The production was a smashing success and won 10 Tony Awards, including Best Musical and Best Actress in a Musical (Channing). One of Channing's competitors in the category was Barbra Streisand, who would play Dolly in a 1969 film version. The 1967 movie musical "Thoroughly Modern Millie" featured Channing as the eccentric Muzzy Van Hossmere. She received an Academy Award nomination for Best Supporting Actress and won a Golden Globe Award in the same category. Channing co-starred with Jackie Gleason in Otto Preminger's 1968 counterculture comedy "Skidoo." She played the wife of an ex-mobster under pressure to break into Alcatraz prison and whack an old friend. The movie also starred Frankie Avalon, Mickey Rooney, Michael Constantine, Frank Gorshin, John Phillip Law, Peter Lawford, Burgess Meredith, George Raft, Cesar Romero and Slim Pickens. The film marked the final screen appearances of Groucho Marx and Fred Clark -- and the first for actress Alexandra Hay. On January 11, 1970, Channing became the first celebrity to provide halftime entertainment at a Super Bowl. She performed at Super Bowl IV at Tulane Stadium in New Orleans, where the Kansas City Chiefs of the American Football League upset the Minnesota Vikings of the National Football League 23-7. It was the last championship game before the merger of the AFL and the NFL later that year. Two years later, Channing performed at Super Bowl VI, also held in New Orleans. On a memorable 1979 edition of NBC's "Today," Channing cracked up Gene Shalit with her tale about a London dinner party she attended at the estate of the American-born Lady Astor. Shalit went into hysterics as Channing recounted her inability to understand the Mayfair accent of a dinner guest, Sir Benjamin Harrison. Former "Today" host Tom Brokaw called Channing's story "the single funniest moment" he had ever experienced during his years on television. Channing played The White Queen in a 1985 CBS miniseries that featured Lewis Carroll's "Alice in Wonderland" and "Through the Looking Glass" on back-to-back nights. Alice was played by child actress Natalie Gregory. In her candid 2002 memoir "Just Lucky I Guess," Channing revealed that she was informed at the age of 16 that her father was part-African American. She later told CBS News correspondent Cynthia Bowers that she took "great pride" in the news, but eventually regretted mentioning it in the book. "Now I am sorry that I wrote it because there are too many people not ready for that," Channing said. "I didn't realize that. There are too many people who just feel there's a difference. There is no difference in people. None." Through the years, Channing headlined more than 5,000 performances of "Hello, Dolly!" -- and only missed one performance because of food poisoning. The role of Dolly Levi also had been performed by many other stars, including Merman, Pearl Bailey (who won a special Tony Award), Mary Martin and Betty Grable. In 2016, it was Bette Midler's turn. She starred as Dolly in a Broadway revival that won her the Tony for Best Actress in a Musical. Al Hirschfeld‏ @AlHirschfeld She takes her final bow. We are deeply saddened to hear of the loss of Carol Channing http://goo.gl/uPwDti Mike Barnes‏ @MikeBarnes4 #RIP Carol Channing."Perhaps once in a decade a nova explodes above the Great White Way with enough brilliance to re-illumine the whole gaudy legend of show business,” Time magazine wrote in 1950 when she was starring in 'Gentlemen Prefer Blondes.' Bette Midler‏Verified account@BetteMidler The great, the legendary #CarolChanning has died at age 97. She was a complete original, and there will never be another. Blonde, 6 ft tall and utterly hilarious, she was a legend. My condolences to the world; to those who knew her or saw her and those who never got the chance. John Fugelsang‏Verified account@JohnFugelsang Carol Channing did the Broadway revival of Hello Dolly in 1996 and her playbill bio inspired me forever; it listed all her awards, adding “...and an appearance on Nixon’s ‘hate list,’ which she numbers among her highest honors.” Mitzi Gaynor‏Verified account @TheMitziGaynor Carol Channing brought more magic into this world than just about anyone. She’s completely irreplaceable. How fortunate are we that her artistry will continue to entertain us for generations to come. Carol, thank you for being so uniquely & gorgeously, You. #CarolChanning
  9. 10 points
  10. 10 points
    While on one of my little part-time job shuttle runs yesterday, I picked up an elderly gentleman of 96 years named Wayne Daniels at Phoenix's Sky Harbor Airport and dropped him at his home in Cornville AZ. Here's a local newspaper article which was dated back in 2007 I found on the net about him: https://www.cvbugle.com/news/2007/nov/10/wwii-the-b-17-pilot/ Mr. Daniels was still as sharp as the proverbial tack, and when the discussion inside the minivan--and which also included a couple of very pleasant older ladies that I also picked up at PHX--got to the subject of classic movies(gee, I wonder how that happened ) I asked him if he thought the films Twelve O'Clock High and Command Decision might have depicted his own experiences the best of any films he had ever seen. Without a moment's hesitation he replied in the affirmative, and then went on to regale the rest of us with some of his war stories. If you have clicked onto that link I supplied above, then you'll know that he was shot down over Germany in late-1944 and became a POW for about 6 months and until the Russians liberated his stalag. I'm tellin' you, the gentleman was absolutely amazing with how well at his age he could recite these experiences to us. At one point he also told of meeting a fellow USAAF pilot of his, one Capt. James Stewart, and who he even did a pretty good impression of. And when I later brought up my favorite movie of all time, The Best Years of Our Lives, this grand old man started talking about some of the most memorable scenes in that film, too! (...it's times like this which make this little retirement gig of mine a true pleasure)
  11. 9 points
    Did anyone catch during the Golden Globe Awards the first teaser for the upcoming Fosse/Verdon short-run series scheduled to debut on FX in April 2019? The eight episode series, based on the book Fosse by Sam Wasson, features Sam Rockwell as Bob Fosse and Michelle Williams as Gwen Verdon and tells the story of their romantic and creative relationship. As a fan of Bob Fosse, I will definitely check out this one. Other characters in the series include Paddy Chayefsky, Neil Simon, Joan McCracken, Ann Reinking, Hal Prince, Chita Rivera, Liza Minnelli, Joel Grey, Cy Feuer, George Abbott and Shirley MacLaine.
  12. 9 points
    Bob Dorian, the amiable TV host who introduced cable viewers to movies of yesteryear back when AMC was known as American Movie Classics, died June 15 in Florida, his family announced. He was 85. Dorian started out as an actor and a magician (the Amazing Dorian), and his voice was heard on a tape recorder that resurrects a demon in Sam Raimi's The Evil Dead (1981). He also had a recurring role on one of AMC's first original series, Remember WENN, which premiered in 1996 and was set at a fictional Pittsburgh radio station in the late 1930s, and appeared in the Woody Allen films The Curse of the Jade Scorpion (2001) and Hollywood Ending (2002). Ten years before Turner Classic Movies, American Movie Classics launched in October 1984 as a premium cable channel that licensed and aired old films uncut and without commercials 24 hours a day. Execs were looking for announcers to introduce the features, and a producer recommended Dorian, he recalled in a 2009 interview. "Among the people they were looking at at the time were two Broadway actors, a well-known TV film critic and a few others who were more involved in writing as a profession," he said. "After call backs, I heard the powers that be had been thinking of pairing the TV critic and me as a sort of Siskel & Ebert duo. Interestingly, one of the AMC execs said, 'Wait a minute. The critic might not be too crazy about some of the films we've brought in. This guy Dorian likes everything!' That was it." Dorian served as AMC's primetime host, and Nick Clooney (George's father, singer Rosemary's brother) and Gene Klavan introduced pictures during the daytime. In 1998, AMC began inserting commercials into the films and then broadened its focus beyond features, eventually leading to original series like Mad Men and Breaking Bad. Dorian left the network in 2001. Born Robert Vierengel in Brooklyn on April 19, 1934, he said he always loved the movies. "As soon as I could go by myself, I would imitate the people. I thought I was Cary Grant, I thought I was Jack Benny or whoever it was," he told the Baltimore Sun in 1995. "When I was 9, I went for my first suit. I wanted a black suit, and my father said, 'Why do you want a black suit?' I said: "It looks like a tuxedo. I'll look like Fred Astaire.' " The Hollywood Reporter
  13. 9 points
    Jumping in here (very) late to the party. I'm Brandon, one of the brothers featured in this promo. I was recently trying to sort out when we worked on this promo, and stumbled across this thread. Thought I could clear up a couple of the questions posed her, if by chance anyone is still interested... Yes the original promo, I believe titled Master of Titles, or at least that is what we called it, aired back in 2014 when we did the work. The making of promo, aka promo of a promo, still airs. Why? Beats me. Perhaps because it was shot so beautifully by the creative team at Crawford Communications, now doing amazing work as Chorus Films in Atlanta. Or maybe it’s just the right length as suggested above to fill the ad-free gaps TCM has between programming. I believe the original promo spot is still included at the end of the segment as it is in this version on TCMs YouTube page. https://www.youtube.com/watch?v=ZUCqfp20nMo But here is the crazy thing. I’ve been very fortunate to live a creative and professional life that has put me in odd corners of pop media consumed by the masses. I make my living bobbing around behind famous types on big stages, live TV appearance, and chart topping songs. And I don’t mean that to sound boastful. These opportunities are almost always a part of a job I’ve been hired to do and are in no way dependent on or a result of any fame on my part. When the band you play for gets booked to play Oprah, you appear on Oprah. And thus occasionally people I meet will give me a funny look as they are trying to connect where they have seen me before. Sometimes it’s immediate, other times it takes a little guess work, but almost always the result is, I’m that guy who composed music in that TCM promo. It has been a backstage security guard, a Publix deli employe, an art fair vendor who chased me down the street, and most recently the estranged relative of a dear friend. It happens monthly if not more since the promo started airing in 2014. And it has reaffirmed what I’m sure many of you here on these forums already know. The TCM community is widespread, diverse and passionate. Everyone who makes the connection is quick to share how much they love the channel and all it represents, which makes me proud to have the association we have through this promo. And for that reason, I hope it never goes away. And as Overeasy above suggests, that we are in fact “old men” and it is still running. -Brandon
  14. 9 points
    pictured below, a gathering of DORIS DAY FLORIBUNDA ROSES. (has there ever been a plant to more resemble its namesake?)
  15. 9 points
    I might be missing some steps here or there, but so far this is the impression I get: (click image to enlarge)
  16. 9 points
    i'm so grateful to LawrenceA to devoting his time to watching mostly 60s crap so I don't have to watch it!
  17. 9 points
    In the first full year after the merger, 20th Century Fox was working at an astounding rate. With 59 films released, they were going at a rate slightly faster than 1 a week. They also found the time (and money) to dip their toes into three-strip Technicolor for the first time, something that would hint of the company's trailblazing use of color in the future. and a movie that premiered in November (although released nationwide in January 1937) would seal their destiny as an important studio. The year began early, on Janurary 3, with Warner Baxter and Alice Faye starring in the musical King of Burlesque. On January 10, the newest Charlie Chan mystery, Charlie Chan's Secret, was released. January 17 brought Paddy O'Day, another musical vehicle for child star Jane Withers co-starring a pre-stardom Rita Hayworth (still working under her real last name Cansino at this point in time) January 24's Professional Soldier was an adventure film based on a Damon Runyon story. It starred Victor McLaughlin (destined to win an Oscar for The Informer a few months later) and MGM's child star Freddie Bartholomew. The month of January was capped off by the dramatic B-film My Marriage with Claire Trevor. February 7's release started a brand new B movie series. The film was named Every Saturday Night, and it concerned a family named Evers (later changed to Jones in the series' run.) 17 films would be made in the series including 2 more before the year was out. February 14's drama, It had to Happen brought together George Raft and Rosalind Russell (bizarrely this lobby card is stamped by company 7 arts, which was not even existent when this film was released) February 21 was marked by Here Comes Trouble, a short heist comedy. February was closed out on its final day by a John Ford classic, The Prisoner of Shark Island, starring Warner Baxter and Gloria Stuart March 6 brought onto the screen the famous Dionne Quintuplets for their first film, The Country Doctor. Being less than 2 years old at the time, it can be assumed that titular character Jean Hersholt did much of the acting. March 13's Song and Dance Man was misleadingly named. It starred Claire Trevor. March 20's Everybody's Old Man showcased writer Irvin S. Cobb in a dramatic acting role. Charlie Chan could find a mystery anywhere. On March 27, he found one At the Circus. That same day, George O'Brien became a Canadian mountie in the western O'Malley of the Mounted. April began with Jane Withers playing Booth Tarkington's Gentle Julia. The following week brought major stars Wallace Beery and Barbara Stanwyck in the war film A Message to Garcia. April 17 arrived bringing the latest with Shirley Temple, Captain January, with her blend of charm and cheer. April 24 closed the month on a quieter note with The Country Beyond with Rochelle Hudson. The May quartet started on the 1st with Under Two Flags, a romantic adventure epic with Ronald Colman, Claudette Colbert, Victor MacLachlan, and Rosalind Russell. Paul Cavanaugh played the gambler Champagne Charlie on May 8. The First Baby, the next May release, looks like a lost film. It only has this one cropped photo to show for it. May 22 brought Frances Dee in the comedy Half Angel opposite Brian Donlevy. June 5's Private Number was a remake in disguise. The earlier film, Secret Interlude, was much more risque allegedly. This one starred Robert Taylor, Loretta Young, Patsy Kelly, and Basil Rathbone. Despite the comic chops of Kelly, this film was a drama. On June 12, Jane Withers thought she was Little Miss Nobody (inferiority complex?) The drama also featured Jane Darwell, Ralph Morgan, Sara Haden, and Harry Carey Sr.. Human Cargo was an action-suspense film about illegal trafficking and people out to stop it. Claire Trevor, Brian Donlevy, Ralph Morgan, and Rita Hayworth appeared. Sins of Men was a drama with that somber title. Jean Hersholt was the star, but Don Ameche played a double role. On June 26, The Crime of Doctor Forbers (as played by Robert Kent) was revealed. Gloria Stuart was by his side. Jack London's classic adventure White Fang came to the screen in July with Michael Whalen and Jean Muir. Then George O'Brien hit the oater trail again with The Border Patrolman. And the newly-renamed Jones family returned for their second homey outing in Educating Father. High Tension mixed comedy and drama, and Glenda Farrell and Brian Donlevy. And Shirley Temple had one of her best regarded hours with Poor Little Rich Girl, with Jack Haley, Alice Faye, and Gloria Stuart. 36 Hours to Kill rounded off July. the thriller starred Brian Donlevy and Gloria Stuart, who seemingly had boundless reserves of energy given how often they appeared over the course of a month. To begin August, Myrna Loy came from MGM to Fox and Warner Baxter for To Mary with Love. and Charlie Chan, now finished with the circus, hit the Race track instead in Charlie Chan at the Race Track. Simone Simon came to America for the romantic Girls' Dormitory alongside Herbert Marshall and Ruth Chatterton. tyrone Power had a smaller part (though he would not have to settle for those much longer) Sing Baby Sing came with an Oscar nominated song and with Alice Faye, the Fox musical queen of the era, and Adolphe Menjou. August ended with Claire Trevor in a generation swap version of Lady for a Day known as Star for a Night. Jane Darwell played her mother. The cool breeze of September brought Howard Haws directing the war saga The Road for Glory with Fredric March, Warner Baxter, and Lionel Barrymore. And Jane Withers now felt better enough to have a name this time around: Pepper. Maybe the comedy lifted her spirits. The mounties returned, this time with Robert Kent, in King of the Royal Mounted. Continuing the air of deja vu, the Jones family returned in Back to Nature. September ended with the milestone of Fox's first 3-Strip Technicolor film. Ramona, based on a well regarded novel, was a Western Adventure Romance with Loretta Young and Don Ameche. October started with the PG Wodehouse comedy Thank You, Jeeves! with Arthur Treacher and David Niven. The Ladies in love in Ladies in Love were Janet Gaynor, Constance Bennett, Simone Simon, and Loretta Young. Don Ameche, Paul Lukas, Alan Mowbray, and Tyrone Power were the men who were the objects of their affection. No need to guess who the star of the musical Dimples was. it was Shirley Temple. Frank Morgan played her grandfather. Pigskin Parade, another musical, was the first Fox film since the merger to receive a nomination at the Oscars for acting for Stuart Erwin. Patsy Kelly, Jack Haley, Judy Garland, Betty Grable, and Tony Martin were also involved. October closed with the thriller 15 Maiden Lane. Claire Trevor and Caesar Romero were the ones exploring it. November started the American directing career of Otto Preminger with a musical comedy (!), Under Your Spell with Lawrence Tibbitt and Wendy Barrie. Wild Brian Kent sent Ralph Bellamy and Mae Clarke (no grapefruits here) to the Wild Wild West. Can This be Dixie? asked Jane Withers and Slim Summerville in this musical comedy. the answer was yes. Deep south all the way. reunion was indeed a Reunion. It was a sequel to the year's earlier film The Country Doctor, and again had the same leads. Warner Baxter went on safari in the adventure White Hunter. And then came the gamechanger..... Lloyd's of London was the one TCF had been waiting for. A smash hit, a big film, a new major star in Tyrone Power, and plenty of prestige. This was the film that really cemented the newly reformed company as a major studio. it also starred Madeline Carroll, Freddie Bartholomew, Guy Standing, and C. Aubrey Smith in this sweeping epic. As such, December was a little anticlimatic but still supple. Barbara Stanwyck and Joel McCrea inagurated the holiday season with the musical Banjo on My Knee. Buddy Ebsen and Walter Brennan were also present. Who was Laughing at Trouble? Jane Darwell, Allan Lane, Sara Haden, Margaret Hamilton, and John Carradine, that's who! The Career Woman was Claire Trevor. Given the number of films she was in in this year, that comes as no surprise! The Christmas Shirley temple film was Stowaway, a delightful and charming musical that paired her with Robert Young and Alice Faye. She even spoke a little Mandarin Chinese in this one. The final release of the year was One in a Million, which premied on New Year's Eve. It was Sonia Henie's debut to films after winning so many skating prizes.
  18. 9 points
  19. 9 points
    One of my greatest gripes in this world is just how LITTLE there is out there about Universal Studios founder, Carl Laemmle. Not only did he start one of the biggest movie studios in the world, but he won a Supreme Court case against Thomas Edison, and saved hundreds of Jewish families from Europe during WWII by signing affidavits for them, and setting them up with homes and jobs in the United States. Still - outside of this forum, of course - so few people have ever heard of him! Last year I got the opportunity to be a part of Carl Laemmle, a documentary feature about his life, and it's FINALLY OUT! It's honestly really well done, and I promise I'm not just saying that because I'm in it It's playing at festivals around the country (and a few international screenings as well,) with more dates to be added. Below I talk a bit more about the movie and show the film's trailer. Hope you all find a city near you to watch it, and would love to know what you think!
  20. 9 points
    I like the SUTS month because it's not just the bigger known films we get to see. Also, we get some days of character actors which usually don't get a SOTM nod.
  21. 9 points
    This may be of some interest to some around here: FX has set the main cast for the eight-episode limited series “Fosse/Verdon,” Variety has learned. The series is based on the biography “Fosse” written by Sam Wasson and tells the story of the romantic and creative partnership between Bob Fosse(Sam Rockwell) and Gwen Verdon (Michelle Williams). Norbert Leo Butz has been cast in the series regular role of Paddy Chayefsky, while Margaret Qually will appear in the series regular role of Ann Reinking. In addition, the following people have been cast in recurring roles: Aya Cash as Joan Simon, Nate Corddry as Neil Simon, Susan Misner as Joan McCracken, Bianca Marroquin as Chita Rivera, Kelli Barrett as Liza Minnelli, Evan Handler as Hal Prince, Rick Holmes as Fred Weaver, Paul Reiser as Cy Feuer, Ethan Slater as Joel Grey, Byron Jennings as George Abbott, and Laura Osnes as Shirley MacLaine. See full article at Variety »
  22. 8 points
    Getting back to your original question which by the way was one of your more thoughtful premises, I’d like to take a few minutes to try and explain what I think may be happening. First of all I do think most people especially on this message board “bash” newer films. Not all, but a quite a few. Second of all I also think most people I run into through my daily travels “bash” older films. In fact I think the second group of people bashing older films is an area that is more relevant for today than your original statement. But lets go back to your original statement. Skimpole’s first response was a very good thought. JamesJazzGuitar’s response was also very good: LawrenceA also had a very good response: If I were to add anything to the above three responses I would tend to agree with all three. To some degree. I think that basically many of the members of this message board have shown over a period of time their dislike for newer films. And based on what the three replies from above have stated I think this proves that point to some degree. But I also think that many people who post here do like newer films if those films somehow represent some sort of connection to the past. Like good storytelling; good production values; good photography; good music scoring; good acting, and so on. Since we all know to some extent some members of the message board feel about newer films, I think a more relevant conversation could be about those people who “bash” older films. This is not to say that people who write on the message boards do not appreciate newer films and or their production values, rather I think they may object to the harshness of these films. The way they represent speech, nudity and violence. Older films did not have this and I agree wholeheartedly with Lawrence on this. The members who post here on the message boards I think are real cinephiles. They have invested a great deal of time not only watching films but have also invested a huge amount of time digging into certain films, actors, production people, and production facts about movies that does not exist anywhere else. In many respects the average filmgoer of today is NOT a cinephile like the rest of us are on these message boards. Due to my not having a regular full-time job at an office like I have had for the past 30 plus years, I have been driving for Uber since November. Since most of my drives (over 1,600 now) have been less than a mile or so, I rarely get a chance to discuss films with my riders. But there have been several instances where I have had very interesting and thoughtful conversations with riders about films. Some of my riders have either been going to a movie theater or were ones I was picking up from a movie theater and taking them home or another location. In those rides I usually start off the conversation by asking them what movie they are going to be going to see or what movie they just saw. Almost all of the people I have picked up have seen the latest release. I do not recall one rider telling me that they just went to see an older film at a theater that shows those films. For example I just last week picked up a mother and a daughter who had just seen the latest remake of Dumbo. They loved it. But when I asked the mother if she had ever seen the original Disney film from 1941, her reply was about what I had expected. She had never known of the older version. This type of reply is a reaction I get most of the time when I tell people of older films. When I told her of the original Disney animated film she seemed like that film could not even compare to the newer film. Of course the original film was only 64 minutes and was animated so that in and of itself could not even hold a candle to the newer film. She told me that was her reasoning. Other riders when asked about what they liked were usually similar. Newer high tech films with lots of CGI effects. The Marvel films and many of the outer space adventure films of today. I will often ask people what they think their favorite film from the past is or if they can come up with the title of a “so-called classic film” is. Often they answer with The Godfather, any of the Star Wars films (although many people claim they have never seen the original Star Wars trilogy), or any film that has a comedian in it (from the recent past). Some riders when I asked them to tell me their thoughts on older films turn it around on me and ask me to name my favorite film or a top five or ten list. When I say The Adventures of Robin Hood is my all-time favorite film, they often think I am talking about the Kevin Costner film from 1991. But when I tell them that what I mean is the 1938 version with Errol Flynn, they often reply that they had never heard of that film and do not know who Errol Flynn was. And this is the problem. I think on the whole, the average person of today is mostly ignorant about the films from yesteryear. They have no clue to the most part and are not willing to invest precious time or effort into watching an older film. As much as it was back in the thirties and forties for movie audiences to go to the theater to get away from the depression or world events like WWII, to get away and enjoy a few hours away from those events, much is the same today. Current audiences probably want as well to get away. But today’s audiences want everything now. Many now watch movies and tv shows on their mobile devices. And I think eventually movie theaters will go away and be replaced by mobile devices or tvs all together. But I digress. I just think there are many more people who “bash” older films than there are bashing newer films. Most people who go to the movies today are satisfied with what they see on the big screen. Irregardless of whether the film they are seeing has been reviewed positively or negatively. Many people I know could care less what a reviewer may write or say about a film. They want to go and see action, especially like the Marvel franchise for example. Again an escape from normal everyday humdrum lives they may be leading. This is my take on your original question. Any thoughts?
  23. 8 points
    I'd choose CROSSFIRE (1947) and dedicate it to the memory of Edward Dmytryk. Dmytryk was an esteemed film professor at the University of Southern California in the mid-1990s when I attended school there. He was the director of CROSSFIRE. I didn't have any classes taught by him but we all heard about him and knew him on sight. He was in his eighties, full of energy. He was a very impressive sort of guy. One day, as a favor to another professor (who taught one of my classes) Dmytryk showed up, and he did a lengthy Q & A with us. He and my professor gave us an overview of CROSSFIRE, then they screened the film. Then he took questions afterward. It was just a wonderful afternoon and it opened our neophyte eyes to what it was like for him in the postwar years being under contract to RKO, making film noir, and subsequently his being blacklisted. I remember details that he shared about becoming part of the Hollywood Ten, and details about his personal life. But I much more remember the little things he told us about this film. What went into making it. When a director does that, even the most basic scenes become a lot more meaningful. He was proud the film had been nominated for a Best Picture Oscar. The first and only time a "B" film in the studio era had been up for an Oscar. When you're proud of something you achieve in Hollywood, you want to share it with later generations. That was his idea of film preservation-- passing it down to us, but making sure we had full understanding of how it had been created. So it would inspire our work. I've always remembered that.
  24. 8 points
    Francis in the Haunted House (1956) - 4/10 Based on the epic novel by Victor Hugo, Mickey Rooney stars in this powerful examination of the resilience of the human spirit. Rooney meets a talking mule named Francis (voice of Paul Frees, doing his best Chill Wills), who warns Mickey that bad guys are murdering folks up at a transplanted Scottish castle manor said to be haunted. The mule is obviously an allegory for man's conscience, and the castle, with its attendant dangers and pitfalls, a microcosm of the world that man must exist in. Featuring stunning supporting performances from the great Mr. David Janssen as Lt. Hopkins, Virginia Welles, James Flavin, Paul Cavanagh, Mary Ellen Kay, Ralph Dumke, Richard Deacon, and Sir Timothy Carey as Hugo. A moving and evocative rumination on existentialist themes, this is one of the towering achievements in cinema history, a work of staggering genius the likes of which will never be seen again. 🤞
  25. 8 points
    No, but it's a really nice little "extra" thing TCM can do. The other "extras" like the vintage trailers, WORD OF MOUTH segments, or the interviews with classic stars all spark interest in the old movies the channel shows. To someone just discovering that old B&W movies are actually worthwhile, the "education" and fleshing out of the history is an added bonus. Sure beats commercials!

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