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Everything posted by Brrrcold

  1. Brrrcold

    Ann Sheridan / Sheridan Whiteside

    I missed Woolley's SUTS day last August. That might have induced me to watch it.
  2. Brrrcold

    Ann Sheridan / Sheridan Whiteside

    This will seem a bit obvious, but Monty Woolley plays a character named 'Monty Woolley' in NIGHT AND DAY, the Cole Porter biopic starring Cary Grant. In that role, he has a short scene commenting how he's off to Hollywood to play in something called THE MAN WHO CAME TO DINNER. (As the role originated on stage, it's one more fabulist detail in that film biography.)
  3. So, he had earned some goodwill from his peers, notwithstanding the legends of his objectionable qualities. I would add here, anecdotally, that he is one of the true life cameos in 'Sunset Blvd.', and in that portrayal he seems professional, admirable, and humane.
  4. In addition to my earlier hypothesis (vote splitting), I think there's something to this. Recall that in 1952/53 the more recent Best Picture Award winners had been Gentlemen's Agreement (pointed social commentary) Hamlet (imported, artsy) All the King's Men (edgy, independent) All About Eve (neurotic, elitist) An American in Paris (bohemian, high brow) I'm not critical of any of these movies, nor their selections as Best Picture. I'm just giving a thumbnail of the impression these movies made (sometimes with help of publicists), and how that may have shaped voters approach to THE GREATEST SHOW ON EARTH.
  5. Brrrcold

    February 2019 schedule is up

    Or Linda Darnell as SOTM. Or an Otto Preminger Spotlight. I'd be glad for all of these.
  6. Brrrcold

    February 2019 schedule is up

    I acknowledge I have only a tenuous grasp of how movies are acquired/leased/etc for showing on TCM, but I doubt they would enter into such an arrangement on a big well-known title like FOREVER AMBER and then bury their premier on a Thursday after midnight ET. I'm going to pin this to a possible future announcement of George Sanders as Star of the Month.
  7. Brrrcold

    Ann Sheridan / Sheridan Whiteside

    Byron Barr has one line in TMWCTD, uncredited, asking Bette Davis, "How's the ice?". Later he was cast in THE GAY SISTERS as a character named Gig Young. He adopted that as his professional name, used in dozens of feature film and television roles, and won the Academy Award as Best Supporting Actor in 1969 for THE SHOOT HORSES DON'T THEY.
  8. Interesting, and possible. But it's an analysis that fits our political stereotypes. I think it's more likely a case of vote splitting. Friends of DeMille and admirers of TGSOE consolidated their votes; friends of Mankiewicz, Ford, Kramer, and Huston and admirers of their various films split their votes. It happens all the time.
  9. I agree that it's shabby to phrase the evening's theme as an assertion that 'The Greatest Show On Earth' was undeserving of the award. The Academy chose the nominees, the members voted ... that's it. But I also think the disagreements over award contests make for interesting discussions. They might have done the same thing for 'Shakespeare in Love' vs. 'Saving Private Ryan', 'Forrest Gump' vs. 'Pulp Fiction', 'Cavalcade' vs 'I Am a Fugitive'/'42nd Street'/'Little Women', and others. The awards for directors and performers offer many similar opportunities for comparison. When I proposed this last month I was just riffing ...but if introduced without snark or glibness, it would be an interesting way to organize the whole month - better than what now looks like a scrapbook approach to programming.
  10. You may blame me. This seems like the idea I proposed last month.
  11. Brrrcold

    2019 TCM Big Screen Classics

    I'm baffled by the effort to pretend HELLO DOLLY is a movie worth seeing again.
  12. Brrrcold


    I don't dispute any of that. My more general point is that although we may assume Kane was Hearst, there is not much of Marion Davies in 'Susan Alexander', and we should not footnote her in that way. Davies was a talented actress and comedian, and apparently maintained many close friendships that had nothing to do with her proximity to Hearst.
  13. Brrrcold


    I'm late to this, and I have nothing to take away from the argument for Marion Davies as SOTM. I just want to add that the plot points and characterizations in CITIZEN KANE include various points of innuendo and urban legends that are not originally associated with Hearst or MD. For example, Susan Alexander as an opera diva is attributable to Samuel Insull and somewhat younger wife, Gladys Wallis. Hearst's outrage about CK and attempts to submarine the film rebounded against him and his reputation, and it may be assumed, against MD's, too.
  14. Brrrcold

    The Romance of Trains

    Strangers on a... (1951)?
  15. Brrrcold

    The Man Who Came To Dinner

    Or Orson Welles? Or Brando? ... we should start a new thread.
  16. Brrrcold

    The Man Who Came To Dinner

    Wooley's character was surely obnoxious but not exactly 'rotund', certainly not by comparison to Sidney Greenstreet playing another version of the same real-life personality, Alexander Woollcott, in 'Christmas in Connecticut'. Greenstreet is the rotundest man in movies.
  17. Brrrcold


    Here is the January 2019 schedule:
  18. Brrrcold

    The Prince And The Showgirl

    Hitchcock's rear projection in 'North by Northwest' (specifically, the airport tarmac conversation) is a 'good' example of bad color rear projection. Surprisingly bad, in fact. But there is bad B&W rear projection in good films too, e.g., the New Haven sidewalk conversation in 'All About Eve'. So bad it distracts from the scene's importance.
  19. I like 'The Night of the Hunter' and I think you're right that it's difficult to define. It's not noir, I don't think, because the the story ultimately resolves with an affirmation of human nature - even though the presence of evil is nearly constant. It's the only example I believe of American Expressionism - similar to German Expressionism in its use of light and shadow, in its use of set pieces, and its narrative structure. The difference is that all the symbols it uses are drawn from the American folk and cultural experience, not the German/Central European experience. John Ford's 'The Informer' makes a similar stretch, but of course the cultural frame there is no American (even though Ford and his colleagues on that film were mostly American.)
  20. E.g., the 'never been born' sequence "It's a Wonderful Life."
  21. Brrrcold

    31 Days of Oscar 2019

    Agree. Maybe I'm just being contrary because I truly do not like the subjectivity that goes with a lot of the 'criticism' and revisionism I referred to earlier. But, if this idea were taken seriously, two or three other nominated films could be determined very easily for most years from 192? forward. For the 'should have been' nominated the programmers could poll their own critical reference sources, NY and LA critics' lists from the relevant years, Cannes Film Fest nominees/winners, etc.
  22. Brrrcold

    31 Days of Oscar 2019

    Speaking only for myself, of course, I could do without the 31 days of Oscar. But my suggestion is to program the whole month with 'what should have been nominated/what should have won instead of...' in the major categories. The whole iconoclastic tone of our times seems to rest on pointing out the deficiencies and excesses of the past, while claiming a discovery or rediscovery for one's self. There is a huge market for critics and historians, and fans, to criticize and moan about bad Oscar selections or overlooked work that was not nominated. Programming on the basis of its Oscar status seems counter to that: the Oscar losers would draw in the perpetually dissatisfied.
  23. Brrrcold

    Detective Story

    Last showing of 'Detective Story' on TCM was in July 2014 - Eleanor Parker's turn as Star of the Month, I think. It's been shown nine times in total.
  24. Brrrcold

    Overrated directors / Underrated directors

    Probably this categorization depends upon the experience of the one rating the directors. Is he/she evaluating the technical proficiency of a director's work? Orson Welles would rate highly then. Or, is it the skill he/she had with performers? Give it to Cukor then. I'd make my choices based on the totality of the director's work and the lasting effect of their films over time. So, I'd be more generous with Capra, and I'd give high marks to Wyler and Curtiz. And though I like several of his films, I'd be less indulgent of Preminger. He does not seem to me to have had a consistent directorial vision. Directors just on the edge of 'greatness' (Robert Wise) may move in or out of favor, but the work has to remain relevant. This is a great discussion point and I'm not challenging any selections. I simply think that, absent any qualitative standard, we have to rely on something like 'endurance' to make such determinations.

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