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mr6666

TCM Premieres

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late Fri., early Sat for Friday Night Spotlight: 100th Anniversary of WWI

 

 

4:45 am ET
C- 96 min
war

This film focuses on the story of Manfred von Richtofen, a German air ace during World War I.

DirRoger Corman CastJohn Phillip Law , Don Stroud , Barry Primus .

 

Article: http://www.tcm.com/tcmdb/title/94914/Von-Richthofen-and-Brown/articles.html

 

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late Sun., 7-6 on TCM Imports

 

2:00 am ET
111 min
crime

Drama ensues when a married music teacher hires a young maid to take care of the house.

DirKim Ki-Young CastLee Eun-Sim , Kim Jin-Kyu , Ju Jeung-Ryu .

"...this film jolted audiences with its harrowing, incredibly lurid depiction of a household torn apart when a couple (a music teacher and seamstress) bring in a new housemaid whose pathology has deadly, permanent consequences"

 

Article: http://www.tcm.com/tcmdb/title/780004/Housemaid-The/articles.html

 

The_Housemaid_%28film_1960%29.jpg

 
 

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Speaking of premieres, both the Now Playing guide and the TCM Imports Schedule page for July shows Love and the Frenchwoman as the second Import movie of the month, and Now Playing lists it as a premiere that's to be shown overnight on the 13th.

 

And yet on the online daily schedule page for next Sunday, it shows Throne of Blood in the 2:00 AM Import slot.  Throne of Blood is a terrific Kurosawa adaptation of MacBeth, but it's one that's been shown several times before. 

 

Does anyone have any idea what's going on with this?  I'm assuming it's just a schedule change, but Love and the Frenchwoman is still listed on the online Imports schedule.

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no expert, but I'd have to assume the online schedule to be the most updated and accurate (at least of this date) so I'm assuming it'll be "Throne of Blood"

Too bad, was looking forward to ".....Frenchwoman", as I've never seen it before

:(

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Tues., 7-8 for SOTM Maureen O'Hara:

 

11:15 pm ET
C- 91 min
musical

A dean of a music school undergoes a transformation after she meets a swing bandleader.

DirGregory Ratoff CastMaureen O'Hara , Dick Haymes , Harry James .

 LEONARD MALTIN REVIEW:

D: Gregory Ratoff. Maureen O'Hara, Dick Haymes, Harry James, Reginald Gardiner, Alma Kruger. Lightweight musical of band-singer Haymes romancing college dean O'Hara.

 

airing Wed., 7-9 for "At Your Service":

 

9:45 pm ET
69 min
comedy

A British butler goes to America duped by mobsters into believing he is the heir to a fortune.

DirEugene Forde CastArthur Treacher , Patricia Ellis , Robert Kent .

LEONARD MALTIN REVIEW:

D: Eugene Forde. Arthur Treacher, Patricia Ellis, Robert Kent, Alan Dinehart, George Givot, Franklin Pangborn. "Treacher is in top form as P. G. Wodehouse's droll English valet, who comes to America and gets mixed up with gangsters when two con men convince him he's Sir Francis Drake's missing heir. Amusing, if over-plotted, follow-up to THANK YOU, JEEVES!, though not based on any Wodehouse story."

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airing Thurs., 7-10 under CLASSIC DOCUMENTARIES

 

9:45 pm ET
C- 88 min
documentary

This documentary focuses on the successful career and assassination of San Francisco's first elected gay councilor.

DirRobert Epstein CastHarvey Milk , Anne Kronenberg , Tory Hartmann .

 

ARTICLE: http://www.tcm.com/tcmdb/title/444071/Times-of-Harvey-Milk-The/articles.html

 

http://www.youtube.com/watch?v=oZgCDsgbwjo

 

 

5:30 am ET
C- 20 min
short

This short documentary looks at the 1967 Los Angeles Easter Sunday Love-In.

DirLes Blank

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airs Thurs., 7-17 under Crime Remakes:

following Scarface ('32) w/Paul Muni

 

2:00 am ET
C- 170 min
war
Scarface (1983)

A determined Cuban immigrant takes over a drug cartel while succumbing to greed in this adaptation of "Scarface" (1932).

DirBrian De Palma CastAl Pacino , Steven Bauer , Michelle Pfeiffer .

 

ARTICLE: http://www.tcm.com/tcmdb/title/414137/Scarface/articles.html

 

 

scarface-movie-poster-1983-1020197973.jp

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mr6666

Posted Today, 07:32 PM

airs Thurs., 7-17 under Crime Remakes:

following Scarface ('32) w/Paul Muni

 

2:00 am ET
C- 170 min
war
Scarface (1983)

A determined Cuban immigrant takes over a drug cartel while succumbing to greed in this adaptation of "Scarface" (1932).

DirBrian De Palma CastAl Pacino , Steven Bauer , Michelle Pfeiffer .

 

ARTICLE: http://www.tcm.com/t...e/articles.html

 

I am SO glad that we're finally getting this.  I rented it from Netflix a few months ago after having seen the Muni original 4 or 5 times.  IMO the Pacino version is easily the better of the two, though the Muni's pretty d a m n good in its own right, as one of the Big Three groundbreaking gangster flicks of the early sound era.

 

Too bad it's showing in the middle of the night, but if they tried it in prime time we'd probably have half the people around here dying of apoplexy and threatening legal action.  B)  It's not exactly Family Fare.

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Thanks for this thread 666. Glad you include a short synopsis of whatever you're recommending to help me decide whether to give it a try or not. I even prefer personal opinions to Maltin's, thanks to all who comment in this thread.

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Finally, something NEW for 'Underground' !!

 

airing late Sat. 7-19

 

2:00 AM
C- 109 min
horror
Visitor, The (1979) PREMIERE as per NPG

A young girl with telekinetic powers becomes the center of a battle between good and evil.

DirMichael J Paradise CastMel Ferrer , Glenn Ford , Lance Henriksen .

"The film has been called a rip-off of Close Encounters of the Third Kind, and Damien: Omen II, because the film revolves around a dispute between extraterrestrials from heaven and demonic forces."

 

3:45 AM
C- 102 min
horror
Tentacles (1977)

A giant octopus attacks a seaside resort.

DirOvidio G Assonitis CastShelley Winters , Henry Fonda , Bo Hopkins , John Huston

"there are some quality actors involved--Huston, Fonda, Hopkins, and Shelley Winters have all done fantastic work in other films, and two, there are a couple moments where the incompetence achieves a level of sublime ridiculousness so that Tentacles becomes "so bad it's good"

 

 

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Tentacles (1977)

 

A giant octopus attacks a seaside resort.

 

Dir: Ovidio G Assonitis Cast:  Shelley Winters , Henry Fonda , Bo Hopkins , John Huston

"there are some quality actors involved--Huston, Fonda, Hopkins, and Shelley Winters have all done fantastic work in other films, and two, there are a couple moments where the incompetence achieves a level of sublime ridiculousness so that Tentacles becomes "so bad it's good"

I've seen this movie and the only thing going through my head was 'did all of these great actors need a paycheck this badly?!' Sad to see... Absolutely HORRIBLE special effects... Ed Wood league...

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airs Sun., 7-20 for TCM Imports

 

2:00 am ET
 
C- 213 min
horror

A cybernetics engineer uncovers a conspiracy in a corporation specializing in virtual reality.

DirRainer Werner Fassbinder CastKlaus Lowitsch , Mascha Rabben , Karl-Heinz Vosgerau

"...depict a sparkling, corporation-controlled world in which protagonist , an employee of a cybernetics conglomerate, begins to suspect that existence itself is a computer-run virtual reality and everyone believing themselves human beings no more than "thought units."

 

ARTICLE: http://www.tcm.com/t...e/articles.html

 

header.jpg

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airing Fri., 7-25 for World War I anniversary:

 

12:15 am ET
C- 144 min
war

This film offers a series of vignettes based on British involvement in World War I, as seen through the eyes of a working-class family.

DirRichard Attenborough CastRalph Richardson , Meriel Forbes , Wensley Pithey .

 

ARTICLE: http://www.tcm.com/tcmdb/title/85440/Oh-What-A-Lovely-War/articles.html

 

oh-what-a-lovely-war-movie-poster-1969-1

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airs late Sun., 7-27 on TCM Imports

 

2:45 am ET
98 min
drama
La Haine (1995)

After a youth is tortured by the police, a riot explodes on the streets of Paris in this examination of racial tensions in France.

DirMathieu Kassovitz CastVincent Cassel , Hubert Kounde , Said Taghaoui
widescreen
 
 
 
 
 
 

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airs late Sun., 7-27 on TCM Imports

 

2:45 am ET
98 min
drama
La Haine (1995)

After a youth is tortured by the police, a riot explodes on the streets of Paris in this examination of racial tensions in France.

DirMathieu Kassovitz CastVincent Cassel , Hubert Kounde , Said Taghaoui
widescreen
 
 
 

 

just a bump for tonight's viewing

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LA HAINE features this creative mirror scene.

There was actually no mirror.

The person we see from behind, looking into the "mirror," is a double.

Vincent Cassel is on the reflection side of the "mirror."

 

 

 

 

Yes, his character is imitating Robert DeNiro from TAXI DRIVER.

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I guess it's appropriate that a film set in a ghetto would be shown in the "ghetto" hours of the night, but if there's ever been a movie worth setting your recorder timer for, this is it.   It's a variant of movies like Pixote and The Kid With a Bike, though not with the "happy" ending of the latter.  If you're like me and you don't shy away from films that depict life with brutal honesty, you'll be watching La Haine again and again.  It's easily the TCM highlight for July, and it's one of the many reasons that TCM maintains its reputation as one of the world's great cultural resources.

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Right before La Haine tonight, there's also another universally acclaimed film directed by G. W. Pabst that's one of the signature works of the Weimar film industry.  It's not a TCM premiere, but it shows up only about once every two years and  shouldn't be missed:

 

12:15 AM
134 min
silent

A young innocent's sexuality destroys all who come near her.

DirG. W. Pabst CastLouise Brooks , Fritz Kortner , Daisy D'Ora .

 

LEONARD MALTIN REVIEW:

D: G. W. Pabst. Louise Brooks, Fritz Kortner, Franz (Francis) Lederer, Carl Goetz. Hypnotic silent film stars legendary Brooks as flower girl who becomes protegee--then wife--of editor, with bizarre and unexpected consequences. Striking sexuality and drama, with Brooks an unforgettable Lulu. Scripters Pabst and Laszlo Wajda adapted two plays by Franz Wedekind. 4 stars out of 4

 

From the TCM website:

 

Pandora's Box (1929)

Like Dorothy in The Wizard of Oz (1939), Louise Brooks came from Kansas. Dorothy rode a tornado. Brooks was one. Intelligent, temperamental, quick on the trigger, at the forefront of liberated behavior for women between the wars, she made 24 films between 1925 and 1928, all but three made in Hollywood. But it was in Germany that she starred in the film that transported her to immortality, Pandora's Box (1929), for Georg Wilhelm Pabst. After combing through scores of candidates in search of the quintessential femme fatale - Lulu -- Pabst's instincts told him he had what he was looking for when Brooks caught his eye in Howard Hawks's A Girl in Every Port (1928). Negotiations dragged on, then happened fast. When Brooks quarreled with Paramount studio head B.P. Schulberg and quit, Pabst got a cablegram informing him of Brooks's availability while Marlene Dietrich was sitting in Pabst's office waiting to sign a contract. Scarcely did he meet Brooks at the Berlin railroad station with an armful of roses and begin rehearsing that he realized how right his instinct was. Brooks was, and remains, a lulu of a Lulu.

Pabst, who soon afterward filmed Brooks in the barely less potent Diary of a Lost Girl (1929), later wrote that Dietrich would have been all wrong for Lulu, that Dietrich's seductiveness was stamped with too knowing a look, that her performance would have seemed a burlesque (not that Dietrich stayed down - she went on to make The Blue Angel [1930] and never looked back). Dietrich seemed a type. Brooks was extraordinary and unique. The sexual power she projected seemed utterly unselfconscious. She could stretch out on a settee, languid as a cat, with the best of them. But Brooks came to film from dance -- not just Broadway hoofing, but the expressive modern dance of Ruth St. Denis and Ted Shawn. She moved with quickness and spontaneity, bringing a feline immediacy to Lulu's hedonism. Brooks, later to become a witty, insightful memoirist, wrote that she felt sorry for trained actresses who froze in front of the camera. Pabst, something of a choreographer as a director, was delighted to discover Brooks's aptitude for dance. He attuned himself to her way of working, made sure Lulu expressed a lot of what she was in movement, made sure to keep Brooks on target by never giving her more than one emotion to play per scene, infusing it with movement and sometimes vertiginous editing. Brooks's Lulu seems elemental, never calculated, a force of nature (except in one funny scene of backstage opening night tumult -- never bettered! -- in which Brooks's showgirl stages a tantrum to get her way with a wealthy newspaper publisher and divert him from marriage to a respectable bourgeois fiance to marrying her instead).

With her black lacquered bobbed hair, ending in sword's-point spit curls beneath her prominent cheekbones, Brooks's Lulu seemed a sexual warrior, an Amazon, sending women by the thousands to their hairdressers for a Lulu makeover. Her shiny hair seems a helmet, dominating each frame in which she appears. Pabst often crops her close-ups, making her embodiment of modernity seem even more spontaneous. Pandora's Box, based on a pair of plays by Frank Wedekind, also the source of Alban Berg's Expressionistic opera, Lulu, must have hit Germany -- rigidly paternalistic on the outside, shaky on the inside after losing World War I and sensing the crumbling of the old order -- like a depth bomb, with its eruption of female sexuality coming on the heels of a nationwide male identity crisis, as Germany dissolved from the bourgeois rigidities and repressions of Bismarck and the Kaiser that made Wedekind so notorious to the anything-goes sexuality of Weimar Berlin. With her wide face and huge eyes, Brooks's direct gaze into the camera cements her authority. More than Clara Bow, or any of the iconic sex kitten flappers of the 1920s, Brooks is the quintessential embodiment of the liberated libido, routing any lingering notion of Germany as Fatherland.

Moving with darting quickness, she destroys most of the men who come near her, starting with the publisher (Fritz Kortner) who caves in and plummets downhill. "You're next," he prophetically tells his sensitive but weak son (Franz Lederer). A mannishly-costumed designer who also happens to be an influential countess (Alice Roberts) has no better luck, despite film's first lesbian dance scene. Brooks's forward-tilting head, with its cropped hair emphasizing her powerful neck and predatory body language, consumes the men in her life in a way that seems to come naturally, unthinkingly. She's an amoral killer because her actions are guided from an unerringly efficient subterranean level. She's quite passive, despite her high spirits. She hasn't a particle of the coyness or premeditation of the usual sex goddess. She's as terrifying as she is because she's as innocent as she is. Pleasure-oriented and living for the moment, she doesn't have passions, she has impulses, and ultimately they destroy her.

After Lulu reduces a string of men to rubble, Pabst, the social critic who also filmed the Brecht-Weill version of their play The Threepenny Opera (1931), closes the film with mordant irony. It could not have been accidental that the film's only tenderness and real eroticism come in the last scene with Jack the Ripper (Gustav Diessl) in a fogbound London garret after Lulu flees a floating gambling den and prostitution parlor where she is sold by one pimp to another, who promptly resells her, as the publisher's son loses their money at the gambling tables. When on Christmas Eve the now-impoverished and hungry Lulu propositions Jack, and he says he has no money, she throws greed and self-preservation to the winds and says, "Come just the same - I like you." Jack, fighting his impulses, throws his knife away. But when he sees a sharp bread knife on Lulu's table, he reverts to form.

The twin plot pillars on which the film rests are a pair of killings that follow an embrace. Today, it would be Lulu who'd kill Jack the Ripper. But in 1928, whenPandora's Box was filmed, the world was not ready to accept the atomic bomb of women's sexuality, and so Lulu is dispatched in the manner of a morality play, descending from the Bauhaus chic of the deluxe apartment where her rich lover has installed her, as she and her little entourage flee the consequences of the publisher handing Lulu a loaded gun and telling her to shoot herself to save his reputation - one of the great wrong moves in cinema history! In neither death scene, by the way, do we see the killing. In the first, shot over the publisher's shoulder, we see a puff of gun smoke seem to gently blow him and Lulu apart as he staggers backward and dies. The fatal embrace with Jack the Ripper is similarly filmed over his shoulder. We don't see the stabbing. We see Lulu's fingers, which had closed around his neck in embrace, slowly loosen and fall away as she expires. In between is a sort of Hogarthian descent, as she moves from a Paris-bound train to a starkly lit, claustrophobic pleasure boat, and finally to the Dickensian garret where she's snuffed out, paying the price for being a woman unapologetically sexually self-determining, one iconic archetype of destruction brought down by another.

About that entourage: one can only admire Pabst's diplomatic (and linguistic!) skills as he cajoled and instructed the skittish Belgian actress Roberts in lesbian demeanor, repeatedly defused Kortner, who openly disliked the free-spirited Brooks, and hired musicians to play tango music to keep Brooks in the mood between takes. The Czech actor playing the publisher's weak son, Lederer - born Frantisek, changed to Franz in Germany, and again to Francis in the U.S. -- went from embodying exhausted, bankrupt German manhood in Pandora's Box to enjoy a long, prosperous Hollywood career, which is more than Brooks did, leaving Hollywood in 1938 after a string of mostly mediocre films there. Pabst treated Brooks as an artist - which was more than Hollywood could bring itself to do. There is no record of what Pabst said, if anything, to Carl Goetz, who plays the debauched pimp, Schigolch, who introduced Brooks to love for sale and never let her stray far from it, invoking the borrowed authority of a father figure. Goetz plays Schigolch as an evil dwarf, tumescent with corruption. The only time Pandora's Box gets squirmy is when she jumps into his lap for a cuddle.

Although she went broke, at one time working as a salesgirl in a Manhattan department store, and never worked in film during the last 47 years of her life (1906-1985), Brooks had the last laugh twice over, wittily skewering Hollywood's ruling philistines in her autobiographical essay collection, Lulu in Hollywood, after having enjoyed belated worldwide acclaim, launched by the critic Lotte Eisner, Andre Langlois' Louise Brooks revival series at the Paris Cinematheque, and above all James Card's ongoing supportiveness at Eastman House in Rochester. There, Brooks, decades after making them, belatedly saw for the first time Pandora's Box and Diary of a Lost Girl in their entirety. Few are elevated to film's pantheon on the strength of a single film. But Brooks, in Pandora's Box, is one of them.

Producer: Heinz Landsmann; Seymour Nebenzal (uncredited)
Director: Georg Wilhelm Pabst
Screenplay: Joseph Fleisler (titles, uncredited); Ladislaus Vajda (scenario); Frank Wedekind (plays "Erdgeist" and "Die Bchse der Pandora"); Georg Wilhelm Pabst (uncredited)
Cinematography: Gnther Krampf
Art Direction: Andrejew, Hesch; Ern Metzner (uncredited)
Music: Stuart Oderman, William P. Perry (both uncredited)
Film Editing: Joseph Fleisler (uncredited)
Cast: Louise Brooks (Lulu), Fritz Kortner (Dr. Ludwig Schn), Franz Lederer (Alwa Schn), Carl Goetz (Schigolch), Krafft-Raschig (Rodrigo Quast), Alice Roberts (Grfin Geschwitz - Countess Anna Geschwitz), Daisy d'Ora (Charlotte Marie Adelaide v. Zarnikow - braut Dr. Schns - Dr. Schn's Bride), Gustav Diessl (Jack the Ripper), Michael v. Newlinsky (Marquis Casti-Piani), Siegfried Arno (Der inspizient - the instructor).
BW-110m.

by Jay Carr

Sources:
Lulu in Hollywood, by Louise Brooks, Knopf, 1982; (expanded edition, University of Minnesota Press, 2000)
The Haunted Screen, Lotte H. Eisner, University of California Press, second edition, 2008Louise Brooks, by Barry Paris, Knopf, 1989
The Films of G. W. Pabst, edited by Eric Rentschler, essay by Mary Ann Doane, Rutgers University Press, 1990
Variety review, December 11, 1929

crit%20pandora%20box%20louise%20brooks%2

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Right before La Haine tonight, there's also another universally acclaimed film directed by G. W. Pabst that's one of the signature works of the Weimar film industry.  It's not a TCM premiere, but it shows up only about once every two years and  shouldn't be missed:

 

Pandora's Box (1929)

Like Dorothy in The Wizard of Oz (1939), Louise Brooks came from Kansas. Dorothy rode a tornado. Brooks was one. Intelligent, temperamental, quick on the trigger, at the forefront of liberated behavior for women between the wars, she made 24 films between 1925 and 1928, all but three made in Hollywood. But it was in Germany that she starred in the film that transported her to immortality, Pandora's Box (1929), for Georg Wilhelm Pabst.

 

Although she went broke, at one time working as a salesgirl in a Manhattan department store, and never worked in film during the last 47 years of her life (1906-1985), Brooks had the last laugh twice over, wittily skewering Hollywood's ruling philistines in her autobiographical essay collection, Lulu in Hollywood, after having enjoyed belated worldwide acclaim, launched by the critic Lotte Eisner, Andre Langlois' Louise Brooks revival series at the Paris Cinematheque, and above all James Card's ongoing supportiveness at Eastman House in Rochester.

 

 

Yes, with PANDORA'S BOX and LA HAINE on the schedule we are being treated to one of the best TCM late night Sundays ever.

 

I think the author of this article means Henri Langlois.

Very recently I re-watched Bernardo Bertolucci's THE DREAMERS (2003). An early sequence in Bertolucci's film focues on the protest in Paris over Henri Langlois's dismissal by the French government from his position at the Cinémathèque Française.

The 3 main characters are cinephiles and the movie incorporates clips from many films that they discuss (although PANDORA'S BOX is not one of them). 

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Yes, with PANDORA'S BOX and LA HAINE on the schedule we are being treated to one of the best TCM late night Sundays ever.

 

I'll stick my neck out and opine unequivocally that it's THE best one-two punch TCM has ever presented, not just one of the best.  IMO these are easily two of the best fifty films of all time.  I'm only glad that I already own them both and don't have to stay up all night in order to watch them.

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Yes, with PANDORA'S BOX and LA HAINE on the schedule we are being treated to one of the best TCM late night Sundays ever.

 

I'll stick my neck out and opine unequivocally that it's THE best one-two punch TCM has ever presented, not just one of the best.  IMO these are easily two of the best fifty films of all time.  I'm only glad that I already own them both and don't have to stay up all night in order to watch them.

 

My wife was reading while I was watching La Haine.    She speaks french and after a few scenes she looked up and said;  'this is a different French film for TCM.   Such nice use of the French language!'

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My wife was reading while I was watching La Haine.    She speaks french and after a few scenes she looked up and said;  'this is a different French film for TCM.   Such nice use of the French language!'

 

My wife's second language is French, and she introduced me to La Haine several years ago. One of the top films of the 90's.

 

What I'd love to see would be an evening that featured, in chronological order, The 400 Blows, Pixote, La Haine, and The Kid With a Bike. Four extraordinary movies about childhood (early and late)  of a sort that for one reason or other don't ever get made in Hollywood more than once in a blue moon.  Menace 2 Society and Fresh are two of the very few that come to mind, and it's too bad TCM hasn't yet gotten around to showing them as well.  In my fantasy world they could displace the 10,000th showing of the Andy Hardy series.

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