DougieB

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Everything posted by DougieB

  1. DougieB

    The Owl and the Pussycat

    I saw the movie in its initial release and it was definitely in there. Part of the humor was the congenial way she said it to the loudmouth guys harassing them, partly to demonstrate to Segal her command of language, a running theme throughout the movie. It wasn't editing; it was censorship. And you're right; the soundtrack album has lots of dialogue and the F word is there in its proper context.
  2. DougieB

    Those Innocent, Bygone Days!

    TCM doesn't seem to have shown interest in Tab Hunter Confidential , which even features comments by their own Robert Osborne. (Does anyone know whether Robert was part of the Scotty doc? He contributed a blurb to the book.) And the Hunter doc was pretty tame compared to what Scotty was up to. I'm willing to bet TCM would never touch it because of all the anticipated backlash from fans of the stars mentioned as benefitting from Scotty's "full service". So, probably Netflix or HBO.
  3. DougieB

    The Owl and the Pussycat

    It was based on a play and the movie is also a lot of talk without much real action, but I'm a fan of the Buck Henry screenplay. I thought he did a good job with the old trope of two characters who drive each other nuts until all of a sudden they don't. I wonder if the disappearance of the F bomb is something Columbia engineered or if Streisand "put my hand in here" a-la Dolly Levi. TCM obviously would have been on board, because the broadcast of A Star is Born was littered with naughty words, the F word among them, some of them out of Streisand's own mouth. It seems as though the deletion in the case of The Owl and the Pussycat happened early on, before cable, when movies were shown on local stations still and Columbia may have felt it would have limited rentals to broadcasters to have the problematic word in there. It seems like a chicken**** move, because a simple bleep could have solved the problem, without actually removing those few seconds of footage. As db already mentioned, the overreaction of the guys in the car doesn't make sense without the full context.
  4. DougieB

    Those Innocent, Bygone Days!

    Hilarious. I wonder whose living room it was filmed in, and did it get raided after? The guy fingering the material at the bottom of a model's shirt (which puts his hand in the general vicinity of the crotch) is priceless. Obviously a man of distinction.
  5. DougieB

    MAURICE (1987)

    Very good article. I love the parallels drawn to God's Own Country.
  6. DougieB

    If They Had Lived...

    Beautiful. She has a very "modern" look to her, which is really to say timeless.
  7. DougieB

    If They Had Lived...

    I immediately thought of Judy Tyler, best known for starring opposite Elvis in Jailhouse Rock (1957). Unfortunately, after filming she and her husband were killed in an automobile accident on their way back to the East Coast. For Boomers like myself she has immortality for her role as Princess Summerfall Winterspring on the old Howdy Doody TV show. She later had a prominent role on Broadway in Rogers and Hammerstein's Pipe Dream, based on Steinbeck stories, and her song from that show, Everybody's Got a Home But Me, has become a minor standard. In Hollywood, she made the forgettable but unforgettably titled Bop Girl Goes Calypso, then moved on to Jailhouse Rock, which by all rights should have launched a major movie career for her. Next time you watch it, pay special attention to her and I know you'll see what I mean.
  8. DougieB

    Fluff Flicks

    In keeping with the Gidget and beach films mentioned earlier, TCM has started to put one of my faves into a kind of rotation (every two or three years, it seems). The Cool Ones (1967?) is one dumb*** musical youth movie and I love it. It was Warner Brothers' attempt to crack the youth market, like they had done before with Palm Springs Weekend. Gene Nelson (the Gene Nelson of Warner musical fame) directed and Debbie Watson stars as a dancer on the TV show WHIZ-BAM, who wants to be a singer but can't get a break. Out of frustration she crashes the musical number of a guest (Glenn Campbell) and grabs the mike, only to be tackled by security. (The boss, Phil Harris, later asks her: "How dare you flip your wig on my program?") The audience takes all her flailing as an act and the dance craze "The Tantrum" is born. That catches the eye of Phil Spector-ish record producer Roddy McDowell, who wants to pair her with a male singer whose record has just bombed to mold them into a Sonny and Cher-type duo. There are quite a few lame musical and dance numbers, the highlight being the appearance of 15-minutes-of-fame candidate Mrs. Miller, a grandmotherly type with an appalling voice and supreme self-confidence who actually had a real (brief) career as a novelty singer. It's all very perky and stupid and mindlessly entertaining, to the point that I can't wait to see it every time it's shown. For 1960's fluff sex comedies, I love For Love or Money (1963), with Kirk Douglas as a lawyer who gets roped into husband-hunting for the three daughters of wealthy San Francisco socialite Thelma Ritter, the husband candidates all having been hand-picked by Thelma. The daughters are...get this.. Mitzi Gaynor, Leslie Parrish (Daisy Mae in Li'l Abner) and Julie Newmar, one of the most underutilized screen bombshells ever. Mitzi's the brainy one who works in motivational research, Leslie is a bohemian kook, and Julie is a health nut with a patented workout routine. Kirk runs his *** off trying to keep it all afloat, but it's a hard sell in all three cases. Thelma's trusted right-hand guy is William Bendix, a legendary character actor, and when the two old pros are together it's comedy heaven. Kirk falls for Mitzi, so it gets complicated, but let's just say it all works out the way Thelma really wanted it to. It's Universal so it's not a shoo-in for TCM, but it was shown a couple of years ago and I dearly hope for its return.
  9. DougieB

    No Words

    I still haven't caught up with this one. It was referenced in the Cooper doc they just showed on his SUTS day, but without much info. I trust my guys (jaragon and rayban) to have the dirt.
  10. DougieB

    Movie Muscle

    I love that Maciste's sandals have a stacked heel. Oh, honey, you wrangled those horses in heels!
  11. It premiered on HBO last night. I agree with some that David Suchet is the standard, but I was intrigued by how Branagh played the character, a more imposing presence than we're used to with Poirot. He definitely wasn't the fussy little man whom most people wouldn't credit with a brilliant mind always at work, analyzing everything at a discreet distance. Branagh's front and center, more proactive than reactive. His Poirot is a real take-charge kind of guy. But at one point, as someone mentioned, it veers into Indiana Jones territory with the chase/fight on the trestle, so overall he's maybe too imposing. It wasn't nearly as bad as the two films not too long ago which made action heroes out of Holmes and Watson, but I think that scene was a dumb choice. Maybe they figured they had the services of CGI artists, so they may as well go for it with the rough and tumble, but I wish they'd just stuck to the gorgeous CGI landscape shots, such as the aerial view of the train pulling out of Istanbul. Something I liked was that Branagh seemed to recast Poirot's mania for order as something beyond simple (I know it's not simple.) OCD. When his shoe stepped into horse ****, after a moment of thought he stuck the other shoe into it, explaining that it was about balance. The same with the two breakfast eggs. When the second batch still didn't quite match in height, Poirot was able to smilingly tell the boy who had fetched them that it was close enough, demonstrating that he could live with a slight imbalance without being a jerk about it. The idea that it was all about balance for a man dealing with the scales of justice made good sense out of that particular quirk of Poirot's. It also helped to make sense of Poirot's ultimate choice at the end of the movie when he had to balance these people's guilt against the enormity of the crime against them. One thing I questioned was the final scene where the police guy at the station tells Poirot that they need him in Egypt, because there's just been a murder on the Nile. OK, so they're maybe setting up a sequel, but that murder doesn't happen until after Poirot's arrival, so it struck me as a sloppy way to do it.
  12. DougieB

    "Woodstock" (1970)

    Taking Woodstock isn't a documentary but it covers some of the events and people who made the festival happen, through the story of a young man who moves home to help his parents keep their seedy motel afloat. He's been issued a permit for a small musical event on his parents' property to generate interest in the business, which he offers to the producers of the "Woodstock" concert after they've been kicked out of their original location and weren't having any luck finding an alternative. He enlists the help of his neighbor Max Yasgur and the rest is history. Most of the focus is on the small town end of things, though he does spend some time in the outskirts of the festival itself. There aren't any musical performances, but there's a nice moment when he's standing by a pond full of people bathing and the sound of Richie Havens singing "Handsome Johnny" comes quietly wafting across on the breeze. Though the term makes me uncomfortable, I guess you could say that for a brief moment of time the Woodstock concert was an "ethnically tribal area", in the sense that people were motivated to gather with other like-minded people. That "boomer" generation (of which I'm a part) had a lot of cross currents within it, so it's not surprising that the idea of "hippie" didn't really take. Some stayed true to the back-to-the-land aspect and helped pioneer the "green" movement, some became more politically motivated, some never got beyond the drugs, and some dove right into careers which led straight to "yuppie". But even though it's romanticized, the movie and recordings of the Woodstock concert are still a powerful evocation of what togetherness can mean.
  13. DougieB

    Young Actors - Out and Proud!

    I miss The Real O'Neals so much. Those fantasy segments were always a highlight, with some of the best gay icons.
  14. DougieB

    "Woodstock" (1970)

    The beginning of the end actually happened two years earlier. In 1967 after the (by many accounts disastrous) Summer of Love when San Francisco was inundated by scene-makers, some locals held a "Death of Hippie" funeral, complete with a mock coffin, in Golden Gate Park. Many of them moved north and left the city to the newbies and the hard-core druggies. I lived there for a while in 1969, the year Woodstock happened on the East Coast, and the city was its beautiful self, but the "scene" was already a mere shadow of its reputed former glory. I highly recommend Ang Lee's Taking Woodstock (2009), a beautifully done film about the creation of the festival from the perspective of the small town where it happened. A terrific movie from a masterful director. Some iconic images from the original film, such as the nun flashing the peace sign, are referenced.
  15. DougieB

    Gay Theme Biofilms

    You could very well be right, but I hope not. Those icons are beloved (or, in some cases not) by us TCM fans, but I wouldn't be surprised if their memory has faded, or begun to fade, with the general public. Someone mentioned on a thread not too long ago that young people of her acquaintance had never heard of Elvis Presley, who was the premier youth icon of his day. Not that people that young would be the target audience for this film, but maybe times have changed enough for people to look more closely at an era when studios routinely whitewashed their stars' lives for public consumption. In a way, it's possible it could even make these stars more relatable to a modern audience if they were more fully humanized. I guess we'll just have to wait and see. I'm sure the filmmakers will hesitate to disappoint readers of the book, but who knows? I haven't seen the documentary. Does anyone know how the "names" were handled?
  16. DougieB

    Gay Theme Biofilms

    It'll be interesting to see how a feature film will deal with the "marquee names". Hope they don't chicken out and use composite or fictionalized characters, or go the middle ground and just never name them and leave the audience to figure it out. It's a unique story about a specific person's experiences, so I hope they just tell it like it was told in the book, using all the disclaimers they want as long as the tale isn't diluted or censored. That doesn't mean I don't think the filmmakers should have their own point of view either. After all, Scotty was married while this was going on, so I'm sure the dynamics of that relationship would have to come into it. Hopefully, Scotty will be available as an advisor.
  17. These are both great examples of what used to be such a regular feature of TCM programming. I hadn't realized how long it had been since I'd seen them until I realized that neither was in the 16:9 HD format. That's probably partly why they've disappeared, though you do occasionally see the old Word of Mouth featurettes in the old format. The big point you're making, and I agree, is that nothing equivalent seems to be taking their place. I remember hearing a few years back that the TCM production budget had been cut, pretty severely I think I recall. So now, if it doesn't help push the blankets, it doesn't get produced.
  18. Now there's a "dispute" over On the Town? Congratulations, miki, you've done a great job of turning a quiet little forum about musicals on its head. The dog fight analogy really helps me to understand where you're coming from. "West Side Story is the only movie-musical or movie...period, that I really love." That's a very revealing comment to make on a site which caters to movie lovers with a broad range of tastes. What you've been demonstrating is your basic disinterest in film generally.
  19. Sickening? Fine; that's an opinion and you're entitled to it. But the fact that you feel entitled to speak for the principals and confidently characterize their intentions undermines your argument. I don't have a good idea of what this film will look like and neither do you.
  20. Thanks, but I doubt miki's going to budge. The defense of this film seems to have gotten mixed up with a whole lot of uneasiness about the state of things in general, which seems to me to be an unfair burden for one poor movie to have to carry.
  21. Thanks, but you're rubbing me the wrong way. You're obviously speaking as a critic of "the younger generation(s)", but they're not making this film. A mature, seasoned filmmaker will be making it, someone who is steeped in the traditions of classic film techniques and who makes it a point to work with top professionals. That is what makes me think your worries about "bluer", "harsher", "bloodier" and "more militant" are unfounded, or at least way overly exaggerated. For you to suggest that these people would feel compelled to tailor the movie to the standards of, say, Fast and Furious is ridiculous. I'll even agree with you that not all Spielberg films are great, but Spielberg and Kushner are both aspirational storytellers, not crass industry types, and, as convinced as you are that they're doomed to failure, I'm equally convinced that they're capable of reimagining your beloved West Side Story.
  22. DougieB

    LONG, HOT SUMMER (1958) - the "sexless" man

    I think the argument here is about appearance. Yes, the character appears to be sexless in that he doesn't give off any sexual vibe with the woman in whom he's supposedly "interested". But I think you're right, james, that the real story often lies beneath the appearance. He's going through the motions, but listlessly, without any real commitment. You're right to speculate that his interest may be somewhere else. I can see that I'm going to have to watch this again. Does he have any scenes with either of the men, Paul Newman or Anthony Franciosa? That might reveal something, though any markers the filmmakers would have put in would have been intentionally vague. Anyway, you're right that humans aren't sexless, no matter what kind of personal accomodations they make to their sexual nature.
  23. You've used the scarily evocative phrase "ghettoed-up" in three consecutive posts. It's up to you whether or not you'd like to elaborate, but I recommend more than your usual amount of thoughtfulness if you do.
  24. DougieB

    Disabilities on Film

    Dustin Hoffman in Midnight Cowboy. I don't recall that the actual affliction was mentioned, but his dragging gait significantly limits his movement and gives his defiant assertion that "I'm walking here!" a real resonance. I'm sure it was a big factor in the character's marginalization and seedy lifestyle; doors tend to close in the face of someone like Ratso.
  25. DougieB

    LONG, HOT SUMMER (1958) - the "sexless" man

    Richard Anderson's character is sort of like the character of Norman in Peyton Place. There's also a scene of the mother hovering in the background while Norman tries to speak with Allison. But in that case the moviemakers went out of their way to show that he's escaped his mother's grip by the end. Also maybe a little like Mitch in Streetcar, who's eerily deferential to his mother. He's captivated when it's all stars and poetry with Blanche, but he rejects her once Stanley fills her in on the fact that she has a sexual history. Angela Lansbury is also really good in The Long Hot Summer. She does a great balancing act between being ridiculous and sympathetic. I also love the title song by Jimmie Rogers, who had one of my favorite voices of all-time.

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