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About Feego

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    Advanced Member
  • Birthday 04/18/1984

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    You might not believe this, but I'm interested in classic films.

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  1. Actually, the play that inspired Here Comes Mr. Jordan was titled Heaven Can Wait, so in 1978 they just went back to the original title. To confuse you a little more, Mr. Jordan was followed by a 1947 sequel called Down to Earth. In 2001, Chris Rock starred in yet another Mr. Jordan remake called ... Down to Earth.
  2. Feego

    The Man-Child Persona in Movies

    Radner also portrayed the child character Judy Miller on SNL.
  3. Feego

    The Man-Child Persona in Movies

    Elisha Cook Jr. is another interesting man-child type, who excelled at playing the wimpy or nervous "kid" type in films throughout the late 30s and early 40s, most notably in The Maltese Falcon. The thing is he was actually in his mid to late 30s at the time. He in fact was six months older than Peter Lorre, but that didn't stop everyone from bossing him around like a child in Maltese.
  4. Feego

    The Man-Child Persona in Movies

    Sissy Spacek is perhaps a less obvious example, but it's interesting that she spent the early part of her career playing characters much younger (or at least younger-seeming) than herself. She was in her twenties when she played a 15-year-old in Badlands, a 17-year-old in Carrie, and 13-year-old Loretta Lynn in the early part of Coal Miner's Daughter. Then there was her strange character in 3 Women, whose age is not revealed but who definitely seems very immature. I wouldn't say that Spacek necessarily looked young for her age, but she was incredibly adept at capturing the mannerisms and insecurities of teenagers in a believable way.
  5. Feego

    The Man-Child Persona in Movies

    Leslie Caron would probably be one of the shining examples of someone who earned her initial fame as a woman-child. Her roles in An American in Paris, Lili, The Glass Slipper, and Gigi are all very childlike, made even more glaringly so by the fact that she's cast in all four movies with actors who were 10 to 15 years her senior. Another great example is Carroll Baker in Baby Doll. As for man-children, this certainly applies to many a comedian. From Lou Costello and Jerry Lewis to Adam Sandler, many male comedians have built their comic personas on being oversized children.
  6. Feego

    Do You Watch TCM Underground Often?

    I guess somebody made a boo boo. That rat fink.
  7. Feego

    Do You Watch TCM Underground Often?

    Yes he was. Sagebrush posted a video of one of his intros a few posts up.
  8. Feego

    Do You Watch TCM Underground Often?

    Burton is still pretty busy these days. I think someone along the lines of Joe Dante would be good, as he is both a director of several cult films and generally knowledgeable about some of the older ones. In fact, his Trailers from Hell series, with contributions from various filmmakers and writers (including TCM favorite Illeana Douglas) is already a step in the right direction.
  9. Feego

    Do You Watch TCM Underground Often?

    I too have long thought it would be nice to have someone introduce the TCM Underground features, even if it's just Ben (or Alicia or Dave). Some of these movies could use a little context, so any bits of info would be appreciated. But I would absolutely love if they chose someone who "fits" the theme, like a cult filmmaker or critic (a la Eddie Muller on Noir Alley). I have fond memories of Joe Bob Briggs hosting Monster Vision on TNT in the 90s, though I fear his brand of humor would be too politically incorrect today (hell, it was incorrect back then!) and a bit blue for TCM. Elvira's still around! That was a great show!
  10. And now that I think about it, that's another movie that fits into this thread, as Tarantino took (and deliberately misspelled) the title of the 1978 movie The Inglorious Bastards, starring Bo Svenson and Fred Williamson.
  11. Feego

    Do You Watch TCM Underground Often?

    Count me in as another fan of TCM Underground. I always check to see what's on, as I enjoy movies that are more out there, shall we say? I've made some great discoveries over the years, such as The Sadist, Faster, Pussycat! Kill! Kill!, and The Baby. It seems like it's been forever since they aired those first two (as double bills with Wild Guitar and Mudhoney, respectively). I've also enjoyed goodies like It's Alive! and God Told Me To. Of the upcoming movies LawrenceA posted, I'd love to watch Alone in the Dark, Funeral Parade of Roses, and Portrait of Jason. I've already seen (and love) Sisters. I'm not as interested to the slew of 80s cheesiness that's been the focus recently, though I will admit to getting a kick out of the bits I saw of Breakin' and Breakin' 2: Electric Boogaloo just last week!
  12. Feego

    Do You Watch TCM Underground Often?

    I agree that TCM is by and large a "polite" channel that certainly doesn't cater much to hardcore gorehounds. However, they have occasionally shown some relatively explicit fare on TCM Underground. As was pointed out earlier, they've shown Blood and Black Lace, and it was definitely the restored, uncut version that was recently released on Blu-ray by Arrow Video. They've also shown Dario Argento's The Cat o' Nine Tails and I believe Lucio Fulci's The Beyond. Not to mention occasional airings of A Clockwork Orange in prime time. Granted, that's not a particularly bloody film, but it's certainly still a disturbing and controversial work.
  13. 2009 saw the releases of both Nine and 9, plus District 9 just to complicate things. No wonder one of the most frequently played clips from Inglourious Basterds, released that same year, featured Hitler yelling, "Nein, nein, nein, nein!"
  14. Feego

    The Bad Seed (2018)

    Yep, I found myself thinking throughout that McKenna Grace's performance was better than this movie deserved. I've not seen her in anything else (she apparently played young Tonya Harding in the Oscar-nominated I, Tonya -- typecasting much?!), but I hope she gets to work with some good directors in the future on better projects.
  15. Feego

    The Bad Seed (2018)

    So, I actually thought this remake was ... pretty good? It's a Lifetime movie, so expectations should be low to begin with. This marks Rob Lowe's feature-length directorial debut, but it's made purely in the Lifetime TV movie aesthetic. Switching the main character from a mother to a widowed father immediately marks a significant change as this is no longer about a woman who carried this monster inside of her. As such, there's a wider disconnect here between parent and child than there was in the original film. Lowe's character seems more oblivious throughout, his occasional suspicions fairly easily assuaged. It's only in the last 20 minutes or so that he starts losing it. This is not necessarily a criticism, just a noticeable difference. This version dispenses completely with the notion that the child, here named Emma, has inherited her evil streak through her blood. While some may see this as dropping a vital aspect of William March's novel, I think this is probably a smart move for a 21st-century adaptation. Instead, Emma is just a born psychopath, an outlier rather than a product of lethal genetics. An intriguing change is that the Leroy character is now a barely-legal female nanny who has the hots for Lowe. She's like a character from another Lifetime movie, one in which a disturbed young woman preys on her older employer, only this time she has a little psychopath on her trail. Her antagonistic relationship with Emma makes for some delicious moments, and perhaps because she's so clearly into the dad and there's no danger of her being a child predator (as was strongly implied in the novel and to a degree in the original film), she actually gets to be much nastier in their conversations, going so far as to tell the child that her father is a D.I.L.F. For the record, Lowe is 54, but could easily pass for a tired 45-year-old. The nanny's scenes are the cheesiest and most Lifetime-y in the film, but they're fun. The mother of the drowned boy is not a lush this time and is basically a minor character. There is no real Monica Breedlove character, unless you count Emma's loving aunt, but she's hardly in the movie at all. I was kind of hoping Patty McCormack's role as the psychiatrist would take the place of Monica, which would have been a grand twist to have the grown-up bad seed doting on the new one. But alas, it's just a glorified cameo that serves little function in the movie other than to have McCormack make the winking comment that Emma reminds her of herself when she was young. All of this, while not terrible, is basically ho-hum. What really makes the movie for me is the performance of the child actress McKenna Grace. Her portrayal is much closer to the depiction of Rhoda in March's novel than McCormack's. As I mentioned in an earlier post, the Rhoda of the novel is not the tantrum-throwing brat of the original film but a cold and more calculating creature. She rarely shows emotion, not even anger, and her public manner is a sterile imitation of normal children's behavior. A couple of scenes in this version make this aspect explicitly clear. Early on, after going through the "basket of hugs/basket of kisses" game, Emma turns to her mirror and repeats the line "basket of kisses" over and over, perfecting her response and smile (this scene is featured in the trailer in the first post). Later, at the service for the drowned boy, Emma watches blankly as the other children cry. Minutes later, she goes through the motions of crying as well, doing what is expected of her but with no feeling behind it. As much as I love McCormack's performance in the original, she's a different beast altogether. She plays a spoiled brat who affects an idealized charade of 1950s girlhood, a perfect child that doesn't exist in any real world. McKenna Grace plays a being without human feelings who tries to affect real emotions, but there's something off kilter about her impersonation. McCormack plays a self-aware actress, which leans toward camp. Grace plays an uncanny avatar, which is more horrific. As for the ending, this movie basically goes back to the ending of the novel and play. As hamradio mentioned above, the child does smirk at the camera in the closing shot, which I could have done without. It's out of character for her and is more McCormack's shtick. It is funny that people are always taking the original movie to task for killing Rhoda, while folks here are criticizing this one for letting her live. I think both movies feature the ending that is right for them. The original is so hysterical and over-the-top, that it simply begs for an explosive ending, and it gets one (literally). Because this remake takes a more icy approach to Emma, I think it pulls off the dark twist. With all that said, nothing will ever take the place of the original in my mind, which remains an unabashed favorite. This Lifetime movie makes for an interesting contrast and I found it enjoyable in its own right. At the end of the day, though, it's just a Lifetime movie.

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