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  1. 9 points
    That is sad. I remember him on the old tv series "Riverboat". I think he did some of his best work in "Deliverance" and even better in "Boogie Nights". Two of the few times he wasn't playing a caricature of himself. I think due to capitalizing on his Playgirl magazine popularity both by him and his pr & agents he wasn't given opportunities to be taken seriously and break out of that wise-cracking, too-cool-for-the-room mode. It obviously paid off financially, because he was successful in a string of hardly-serious roles & films. But artistically, I can't help but feel he was disappointed, and that's sad, too.
  2. 8 points
    Meanwhile, it is All Quiet on the Hot Spell Front.
  3. 7 points
    Rachel Maddow just said that it's like a horror movie, when they realize the call is coming from inside the house.
  4. 7 points
    Per: http://www.tmz.com/2018/08/26/neil-simon-dead-dies/ Sources confirm that Neil Simon died early this morning, Sunday, August 26, 2018. He was 91, and had reportedly been suffering from Alzheimer's disease for several years. After getting his start writing for Sid Caesar's TV show in 1950s, Simon's first Broadway hit was COME BLOW YOUR HORN, followed by a remarkable string of stage hits, which were also adapted to film. Among them: BAREFOOT IN THE PARK, THE ODD COUPLE, THE SUNSHINE BOYS, BILOXI BLUES and LOST IN YONKERS.
  5. 7 points
  6. 6 points
    My book will now be available in the gift shop at Hearst Castle in San Simeon, CA. How fitting! capture
  7. 6 points
    The simple explanation for Fellini's "8 1/2" is that it is a film about film, but it is so much more. The original planned title was to be "The Beautiful Confusion" and one can see in its components, Fellini's love of magic, memories and the circus all infused by characters moving in and out of the center ring spotlight with Fellini as the master of ceremonies. As the Academy Award winner for Best Foreign Language Film of 1963, it has achieved possibly a much higher status as the years pass by. To begin or not begin, that is the question Federico was faced with after finishing work on "La Dolce Vita". Though he already had a studio, sets, a contract and producer yet Fellini had no real concept for the film. Believing that talking about any upcoming project often crystallizes it, Fellini refused to discuss his non-existent film idea mostly, all the while resigned to possibly quitting the project altogether. Attending a party by the crew, Fellini was toasted about his upcoming "masterpiece" which catapulted him into a sense of devotion towards their faith in him, and a desire to share the story of his directorial confusion and blockage, by making the film ostensibly reflect this as it occurs. It was first to be about a writer, but Fellini changed this to a director, with G-u-i-d-o played by Marcello Mastroianni, with Fellini himself as the protagonist. This is the basic origin of this brilliant film with the new title of "8 1/2" demonstrating the film's connection to his real career even though this is actually inaccurate. Knowing the background is one thing, seeing it is another. "8 1/2" is so much more than its parts, and its parts consist of shimmering dreamlike images as the viewer is allowed to enter Fellini's mind in a fuguelike state, to contemplate his past and current relationships, memories of childhood, the ins and outs of making a movie, accidental serendipitous situations all amounting to an insightful and constantly entertaining melange. Along the way we meet the many various types of people who exist in the world, each revealing their own special viewpoint and place in society. We see the director's relationships with wife, Luisa and his paramour, his Dreamgirl, Claudia, along with characters signifying perennial types like The Actress, The Producer, The Model, The Doctor, The Journalist, The Agent, The Producer's Girlfriend, The Cardinal, and so on. Iconic scenes set in the opening sequence devoid of sound where Marcello is in the traffic jam, the farmhouse with so many women, faux bullfights and religious rituals remain indelibly imprinted on one's brain. Knowing the storyline well, I decided to watch last night without reading any subtitles, just to be able to watch the incredible cinematography by Gianni di Venanzo under the Maestro's guidance. Close-ups like those centering on folks like the iconic horror queen, Barbara Steele, thrill the eye and characters glide across the screen in alternately comic, ironic, grotesque and fantasy laden sequences with dazzling changes of scene and tone. By the way, the clothes, architectural scenery and modernism are also fantastically realized in "8 1/2". This movie is a mirror and self-referential about recriminations and postponement but at base about fear. The fear of not being able to fill the void, to avoid repeating oneself and not being creative. We learn the void is unavoidable, but it is the journey not the destination, which Fellini shows us makes life worthwhile, magical and inspirational. The fear of repeating his successes with no maturation of talent, is fully manifested in this classic film, which says everything that needs to be said about the creative process. The storyline in essence doesn't need to be told by me, since this is a movie which needs to be seen and can't be relayed alone by a synopsis. Paradoxically it is Fellini's block which helps him to realize his masterpiece. So...SEE IT! And if you missed last night's presentation put it high on your list of films to see, since it is a foundation stone of world cinema, deserving all the acclaim and accolades it has received since its initial release. It presents many questions, but only some answers yet still is profound and compelling. But feel free to disagree or voice your dislike of the film if you want as all voices are welcome. Asa Nisi Maso!
  8. 6 points
    Without intending to, I re-watched The Locket last night, and liked it as much as ever, maybe even more. The interlocking flashbacks are a delight, and John Brahm is a good director for this material. Laraine Day never judges the character she plays, which makes it easy to understand why people (men especially) keep assuming that Nancy is the charming girl she appears to be. As in Mr. Lucky, Laraine Day seems like an leading lady who should have had a much bigger career. Brian Aherne as the psychiatrist can be overconfident, even fatuous, but sympathetic at other times, tormented in other scenes. Robert Mitchum may not be the top choice to play a modern painter, but he is always interesting onscreen, and the dynamics of his relationship with Day ring true. Katherine Emery also shines as the rich woman who doesn't want her daughter playing with the housekeeper's child. The scene where she questions the child about the missing locket is quite well-written; what could easily have been a crude stereotype of an overbearing woman instead becomes a careful examination of how a woman of her class uses her power.
  9. 6 points
    He is his own weasel. While he did respect and admire McCain and agreed with him in many areas, they come from different areas of the country and different types of Republicans. Graham is facing re-election in 2020 and is in beginnings of his perennial shift from right of center moderate to extreme right wing. McCain was third generation career Navy, Vietnam Veteran, POW, etc. Graham joined the Air Force so he could have medical care for his siblings that he adopted when his parents died. He then transferred to the Air National Guard and Air Force Reserve and was a JAG officer. Bottom line for Graham is that he knows his constituents and being re-elected is most important, not character or conscience or what is best for America. I think he really does not like Trump and believes what he said before Trump was nominated, but the S. C. Republican Party is overwhelmingly supportive of Trump.
  10. 6 points
    Will the real Lindsey Graham please stand up and decide if he's truly John McCain's best friend or just another trump weasel blowing in the wind?
  11. 6 points
    Fixed that for you. You're welcome.
  12. 6 points
    No, you're not alone. I'm very "old school", and vastly prefer reading printed hard-copy text of any kind to on-line reading. I never read "Ebooks" - old-fashioned,turn-the-page, bound books for me ! Same thing with "Now Playing". I really liked getting it in the mail, and enjoyed just holding it in my hands and being able to browse through it. I find everything I look up on-line less enjoyable in terms of finding the information I want. Plus I dislike scrolling, it's harder on my eyes, - - I could go on, but I realize I sound like a cranky old thing. "Gol darn it, I just can't keep up with this dad-blasted digital nonsense. Where's a nice tangible magazine or book when you need it?" (I'm making fun of myself, not anyone else who prefers hard copy to digital....) Yes, it's too bad TCM eliminated their hard copy Now Playing monthly magazine. I suppose it saves costs, and there are probably a lot of people who are just as happy to read it that way. Guess you and I are not among them, though.
  13. 6 points
    The film originally featured Zasu Pitts as Paul's mother. Here is a trailer I restored some years ago (it was a silent print and I reconstructed the soundtrack). Since Zasu appears in the trailer and she is not in the feature, I had to insert her dialogue from a 1938 radio broadcast where she recreated the bedroom scene from ALL QUIET.
  14. 6 points
    This is sad news, his films are among my favorites, and with the exception of 2 made for tv films, London Suite and Laughter on the 23rd Floor, I've watched them all too many times to count..they are my go-to watches for times I need 'familiar/funny'. I've often thought of the talent pool he started with while writing for Sid Caesar in the 50's--Neil and Danny Simon, Mel Brooks, Carl Reiner, Mel Tolkin, and later Woody Allen and Larry Gelbart --what are the odds of finding so much comedic talent in one place?
  15. 6 points
    A disrespectful, incorrect post, does not belong in a thread to remember Neil Simon. Shame on you, you could have just mentioned how much you like the Prisoner of Second Avenue and The Out- Of- Towners without insulting in an ugly way The Odd Couple and The Goodbye Girl
  16. 6 points
  17. 6 points
    Tom D'Andrea He had a character actor everyman face, his peak years in the movies when he was under contract at Warner Brothers during the '40s, appearing in, among other films, Pride of the Marines, Humoresque (as Garfield's brother) and Silver River. Later he would do some television work, including The Life of Riley. D'Andrea had a laconic, laid back dialogue delivery style which did him well if he was given a good scene. He could play comedy, as well as drama. For my money the highlight of his career at Warners was when he played the talkative cab driver who takes Bogart to a plastic surgeon in Dark Passage. He was so good in this part that I have to wonder why the studio didn't do more with him afterward. His anecdote to Bogart of the man who got into his cab with two gold fish in a bowl, and their "slippity slop" ride up and down the hills of Frisco remains a marvelously amusing demonstration of the actor's adroit conversational style. It's a shame he couldn't have had other scenes given to him with writing as good as this.
  18. 5 points
    A major attraction of TCM for me, naturally, is its liberal bias. Love those up the people flicks! But here it is, another Labor Day weekend, and no worker movie marathon--to say nothing about May Day. You know, looking at things on the whole, a gnawing fear that the lefty lean of the channel is just a pose is beginning to grip me. On two holiday weekends, Memorial and Veterans Days, we get three days of war movies. And you can toss in 4 July, too. In December, we get a whole month drowning in Christmasy schmaltz and sugar coating, and not one movie involving Kwanza, or Chanukah. I--I don't know. . .I-- (sigh) Agonizing reappraisals.
  19. 5 points
    The Goddess (1958) - Scathing character study from Columbia Pictures, writer Paddy Chayefsky, and director John Cromwell. The story follows the life of Emily Ann Faulkner (Kim Stanley), a small-town girl with a troubled childhood who moves out to Hollywood and eventually becomes a huge movie star. However, she's incapable of maintaining any viable relationships, either with friends or lovers, leading to misery and heartache. Also featuring Lloyd Bridges, Steven Hill, Betty Lou Holland, Bert Freed, Joyce Van Patten, Joanne Linville, Joan Copeland, Elizabeth Wilson, Louise Beavers, and Patty Duke. This was obviously based on the life of Marilyn Monroe, although there are reportedly elements of Ava Gardner, Joan Crawford and Judy Garland blended into the mix. Anyone who knows anything about Monroe's sad life off the screen won't find a lot of surprises here. That being said, it's worth seeing for Stanley's terrific performance, as well good supporting turns from Elizabeth Wilson and Lloyd Bridges. Steven Hill, the legendary theater "might-have-been", has one of his few major film roles, and while he delivers his lines well, he's also more than a bit wooden. The screenplay earned an Oscar nomination. (7/10) Source: TCM
  20. 5 points
    You wrote "up the people" - did you mean "up with people"? Either way, I think I like the "up the people" better because I can imagine "up the people's what?"
  21. 5 points
    Remember, Trump is only a costume away from a perfect score on Bill Maher's dictator's checklist from March 2017: 1. You're a narcissist who likes putting your name or face on buildings. 2. You appoint your family members to positions of power. 3. Rallies. 4. You hate the press and you use your own propaganda outlet instead. 5. You want to hold missile parades. 6. You use your office for your own personal financial gain. 7. You like other dictators and strongmen. 8. You claim minorities are the cause of the problems of the country. 9. You lie so freely that people don't know what the truth is anymore. 10. Dressing in a military costume.
  22. 5 points
    The Psychology Behind Donald Trump's Unwavering Support Studies have shown that people who lack expertise in some area of knowledge often have a cognitive bias that prevents them from realizing that they lack expertise. As psychologist David Dunning puts it in an op-ed for Politico, “The knowledge and intelligence that are required to be good at a task are often the same qualities needed to recognize that one is not good at that task — and if one lacks such knowledge and intelligence, one remains ignorant that one is not good at the task. This includes political judgment.” Essentially, they’re not smart enough to realize they’re dumb. https://www.psychologytoday.com/us/blog/mind-in-the-machine/201609/the-psychology-behind-donald-trumps-unwavering-support
  23. 5 points
    Steven Beschloss‏ @StevenBeschloss First Trump says if he's impeached everyone will be poor. Now he says if the Democrats win, there will be violence. This is how desperate demagogues use threats and fear to try and get what they want. The Republicans should lose the mid-terms. Trump should be impeached.
  24. 5 points
    I hadn't seen Billy Wilder's courtroom thriller for a few years and I remembered it pretty well. Still, I thought last evening was time for a re-view and, once again, I was completely captured by this clever, witty adaption of Agatha Christie's stage play. The ensemble cast is quite marvelous, with Charles Laughton a brilliant standout in one of his showiest roles. The actor received his last Oscar nomination for his portrayal of Sir Wilfred (losing out to Alec Guinness in Bridge on the River Kwai). If Laughton had won instead it would not have been an inappropriate victory, in my opinion. But Elsa Lanchester is a marvel as his nattering nurse, as is Una O'Connor as the cantankerous maid of the murder victim (Una, by the way, was the only member of the original Broadway production cast in this film). Both Marlene Dietrich and Tyrone Power, in addition to the star power they bring this film, give fine accounts of themselves, Dietrich getting to do some unexpected character work in the process. It's a shame that this was Power's last completed film, not only because he was tragically young (44) but as his career was clearly on an upswing when this film was released. The film's recreation of Old Bailey, the star of the film in so many ways, seethes with authenticity, and the changes brought to Christie's play, include the twist and double twist at the end (which shocked and double shocked me when I first saw the film) still work extraordinarily well, even when you know they're coming. I've read that some movie fans mistakenly gave Hitchcock credit for this film. To be sure, it doesn't exactly seem like typical Billy Wilder material, does it. But this high powered courtroom drama is the Wilder triumph that Hitchcock had wanted for his Paradise Case but didn't get (all that interference from producer David O. Selznick probably didn't help too much there). Laughton was in that film, as well. The last time I saw Witness was about five or six years ago with a friend. She had never seen the film before and kept guessing out loud what the ending would be. She was so sure of herself, too. But when the revelations finally came all I heard was a "WHAAAAT!?!" from her direction of the room and saw a mouth hanging open in surprise. Got ya! Witness for the Prosecution remains my favourite movie courtroom thriller. If it sadly turned out to be Power's last completed film, at least he went out with a classic. To the best of my knowledge, Ruta Lee, who has a small role in the film, is the sole surviving cast member (not only that, according to IMBd, the lady is still active). Any other fans of this film, and are there any other courtroom dramas you think compete with this one in quality?
  25. 5 points
    1. The Gospel According to Saint Matthew Pier Paolo Pasolini, Italy 2. Charulata Satyajit Ray, India 3. Gertrud Carl Theodor Dreyer, Denmark 4. Band of Outsiders Jean-Luc Godard, France 5. Shadows of Our Forgotten Ancestors Sergei Parajanov, Soviet Union 6. I am Cuba Mikhali Kalatazov, Soviet Union 7. The Umbrellas of Cherbourg Jacques Demy, France 8. Kwaidan Masaki Kobayashi, Japan 9. Black God, White Devil Glauber Rocha, Brazil 10. Hamlet Grigori Kozintsev, Soviet Union 11. Onibaba Kaneto Shindo, Japan

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