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Showing content with the highest reputation since 06/09/2020 in all areas

  1. 13 points
    ...Dame Olivia de Havilland (born in Tokyo, Japan on July 1, 1916), the living Hollywood legend who celebrates her 104th birthday today. She has resided in Paris since the 1950s. She has been nominated for five Academy Awards. Her recognized roles and movies are as follows (Oscar wins in bold):  Melanie Hamilton Wilkes in "Gone With the Wind" (1939). Best Supporting Actress. Emmy Brown in "Hold Back the Dawn" (1941). Best Actress. Miss Josephine 'Jody' Norris in "To Each His Own" (1945). Best Actress. Virginia Stuart Cunningham in "The Snake Pit" (1947). Best Actress. Catherine Sloper in "The Heiress" (1948). Best Actress. Her younger sister -- by 15 months -- was Joan de Beauvoir de Havilland (1917-2013), who became an actress under the name Joan Fontaine‍. Their rivalry began when they were young girls. As Fontaine declared in 1978: "I married first, won the Oscar before Olivia did, and if I die first, she'll undoubtedly be livid because I beat her to it!" De Havilland was signed by Warner Bros. to star in the production of Shakespeare's "A Midsummer Night's Dream." Directed by Max Reinhardt, the movie's cast also included James Cagney, Dick Powell, Joe E. Brown, Frank McHugh, Arthur Treacher, Victor Jory, Anita Louise, Billy Barty and Mickey Rooney as Puck. De Havilland, who played Hermia, was more than familiar with the character. She had played the role in Reinhardt's stage version at the Hollywood Bowl. Between 1935 and 1941, De Havilland appeared in eight films with actor Errol Flynn, known for his roles as swashbuckling heroes. One of their best pairings was in the 1938 Technicolor action-adventure film "The Adventures of Robin Hood," which was directed by Michael Curtiz and William Keighley. He played Robin of Locksley, who became the outlaw Robin Hood. She played Maid Marian, a ward of the king, The film was nominated for four Academy Awards, including Best Picture, and won three Oscars: Best Art Direction (Carl Jules Weyl), Best Film Editing (Ralph Dawson) and Best Music, Original Score (Erich Wolfgang Korngold). By the way, De Havilland's horse in the film was a golden palomino stallion named Golden Cloud. The steed eventually was purchased for $2,500 by Western star Roy Rogers and renamed Trigger. Directed by Curtiz, the 1939 historically based film "The Private Lives of Elizabeth and Essex' starred Bette Davis as Britain's Queen Elizabeth I and Flynn as the heroic Robert Devereux, Earl of Essex. De Havilland (pictured below with Nanette Fabray) co-starred as Penelope Gray, a royal lady-in-waiting. Based on Maxwell Anderson’s 1930 play "Elizabeth the Queen," the film focused on the tempestuous relationship between Elizabeth and Essex. De Havilland received her first Academy Award nomination -- recognition in the Best Supporting Actress category -- for her performance as Melanie Hamilton Wilkes in "Gone With the Wind." But the award went to her co-star Hattie McDaniel, who became the first African-American performer to win an Oscar. David O. Selznick's 1939 film version of the Pulitzer Prize-winning novel by Margaret Mitchell won seven other Academy Awards: Best Picture; Best Director (Victor Fleming); Best Actress (Vivian Leigh); Best Writing, Screenplay (a posthumous award to Sidney Howard); Best Cinematography (Ernest Haller and Ray Rennahan); Best Film Editing (Hal C. Kern and James E. Newcom); and Best Art Direction (Lyle Wheeler). De Havilland is the last surviving major cast member of the epic film. David Niven and De Havilland co-starred for the second time in the 1939 crime comedy "Raffles," based on the British author E.W. Hornung's tales about the gentleman thief A.J. Raffles. Their first picture together was the 1936 version of "The Charge of the Light Brigade." Directed by Sam Wood, "Raffles" starred Niven as the title character and De Havilland as his love interest Gwen Manders. There had been several films about Raffles before this one. John Barrymore played the character in a 1917 silent film that also served as an early screen appearance by Frank Morgan. In 1930, Ronald Colman starred in a 1930 sound version opposite Kay Francis. De Havilland received the second of her five Academy Award nominations for her performance in "Hold Back the Dawn" (1941). She starred as an American woman who met and married a Romanian national (Charles Boyer) in a Mexican border town. Her new husband was only interested in obtaining a green card and access to America. But he gradually fell in love with her. Directed by Mitchell Leisen ("Midnight," "To Each His Own"), the movie was based on the 1941 novel by Ketti Frings. In addition to De Havilland's Best Actress nomination, the film earned five other Oscar nods: Best Picture, Best Adapted Screenplay (Charles Brackett and Billy Wilder), Best Black-and-White Art Direction-Interior Decoration (Hans Dreier, Robert Usher and Sam Comer), Best Black-and-White Cinematography (Leo Tover) and Best Music, Scoring of a Dramatic Picture (Victor Young). De Havilland was nominated in the same category with her sister, who won the Oscar for her performance in Sir Alfred Hitchcock's "Suspicion."  De Havilland and Davis became lifelong friends during the filming of the 1942 drama "In This Our Life," their third picture together. Based on the Pulitzer Prize-winning novel by Ellen Glasgow, the film was directed by John Huston and Raoul Walsh. The actresses played sisters whose personal relationship was strained by their romantic rivalry. They would appear together in three more films, including "Hush, Hush, Sweet Charlotte" (1964). Disappointed by some of the roles she was being offered by Warner Bros., De Havilland began refusing projects. As a result, the studio suspended her three times in five years. Warner Bros. also extended her contract to compensate for the suspensions. De Havilland then sued the studio for unfair labor practices -- and won a court case in 1944. "The De Havilland Law" helped lead to the end of Hollywood's "studio system," which gave the film companies control over the careers of actors. De Havilland won the 1946 Best Actress Oscar for her performance in the drama "To Each His Own." She played a young woman whose World War I-era romance with a pilot (John Lund, pictured below) led to a pregnancy. After her plan to adopt her son was foiled, she wound up being reunited with him years later during World War II. Directed by Leisen, the film also featured Lund as the grown son of De Havilland's character. After De Havilland collected her Oscar at the 19th Academy Awards ceremony on March 13, 1947, she rebuffed Fontaine's attempt to congratulate her. "I don't know why she does that when she knows how I feel," De Havilland reportedly told her press agent. The sisters were said to have had a strained relationship ever since they were children. In the 1946 thriller "The Dark Mirror," De Havilland played identical twin sisters who became suspects in a murder investigation. Unable to determine which of the sisters was guilty of homicide, a detective (Thomas Mitchell) teamed with a psychiatrist (Lew Ayres) in an attempt to solve the case. Directed by Robert Siodmak ("The Killers"), the film also starred Richard Long in one of his early screen roles. De Havilland received her fourth Academy Award nomination for her starring role in "The Snake Pit" (1947), a drama directed by Anatole Litvak. She played a married woman institutionalized at a state hospital after she began losing her grip on reality. Leo Genn co-starred as the dedicated physician who tried to bring her back from the abyss. For her performance in the 1949 drama "The Heiress," De Havilland became the third person -- after Luise Rainer and Davis -- to win a second Academy Award as Best Actress. In the film, directed by William Wyler, she played a wealthy 19th-century woman pursued by a man (Montgomery Clift) possibly lured by her money and lifestyle. Ruth and Augustus Goetz adapted the screenplay from their 1947 stage play, based on the Henry James story "Washington Square." The film also won Oscars for Best Black-and-White Art Direction/Set Decoration (John Meehan, Harry Horner and Emile Kuri), Best Black-and-White Costume Design (Edith Head, Gile Steele) and Best Original Music Score (Aaron Copland). In the 1956 romantic comedy "The Ambassador's Daughter," De Havilland (pictured below with Myrna Loy) starred as Joan Fiske -- whose father (played by Edward Arnold) was the United States' minister to France. When a U.S. senator (Adolphe Menjou) arrived in Paris, he attempted to have "The City of Light" declared off-limits to American enlisted men. In response, Joan, who opposed the move, decided to prove that American soldiers were capable of behaving themselves. She even accepted a date with Sgt. Danny Sullivan (John Forsythe), who turned out to be a gentleman. This caused complications for Joan, who became attracted to Sullivan despite her engagement to Prince Nicholas Obelski (Francis Lederer). The film was written, produced and directed by Norman Krasna ("Princess O'Rourke," "The Big Hangover"). De Havilland co-starred with Alan Ladd in the 1958 drama "The Proud Rebel," a post-Civil War tale directed by Curtiz. Ladd played a former Confederate soldier (Ladd) who moved to Illinois with his 10-year-old son. The boy (played by Ladd's real-life son David) stopped speaking after he witnessed the tragic death of his mother. As a result, his father hoped to find help for him in the North. It was David Ladd's second film with his father. They first appeared together in "The Big Land" (1957). Directed by Amthony Asquith ("The V.I.P.s," "The Yellow Rolls-Royce"), the British drama "Libel" starred Dirk Bogarde as Sir Mark Loddon -- a prominent nobleman and World War II veteran accused of being an impostor. With the support of his wife -- played by De Havilland -- he decided to sue for libel. Based on a 1930s British play by Edward Wooll, the movie's screenplay was adapted by co-producer Anatole de Grunwald and Karl Tunberg. A 1959 Academy Award nomination went to Tunberg, but it was for his screenplay adaptation of the year's biggest movie, "Ben-Hur." He was the only nominee who didn't win an Oscar for the epic production, which received a record 11 awards. The poignant 1962 drama "Light in the Piazza" starred Yvette Mimieux as Clara Johnson, a mentally challenged young woman traveling through Italy with her mother Meg (played by De Havilland). In Florence, Clara attracted the attention of Fabrizio Naccarelli (George Hamilton), a member of a wealthy Italian family. When a romance developed between Clara and Fabrizio, Mrs. Johnson became hopeful that marriage might keep Clara from being institutionalized. As a result, she decided not to mention Clara's disability. Directed by Guy Green ("A Patch of Blue"), the film also starred Rossano Brazzi and Barry Sullivan. De Havilland made her final appearance in a feature-length picture in "The 5th Musketeer," a 1979 swashbuckling film set in 17th century France and based on Alexandre Dumas the Elder's tale about the legendary "Man in the Iron Mask." Beau Bridges had the dual roles of King Louis XIV and Philippe of Gascony, Louis' little-known twin brother. De Havilland appeared as their mother. Although this was her last film, the actress continued to take occasional television roles. At the 75th annual Academy Awards ceremony held on March 23, 2003, De Havilland presided over a reunion of Oscar-winning performers from years past. On December 15, 2013, Fontaine died at the age of 96. There had been reports that the Oscar-winning sisters had stopped speaking to each other in 1975. But De Havilland issued a statement declaring she was "shocked and saddened" by Fontaine's death. In June 2017 -- two weeks before her 101st birthday -- De Havilland, was appointed by Queen Elizabeth II a Dame Commander of the Order of the British Empire for services to drama. The actress, who was born a British citizen, became the oldest woman so honored. 0
  2. 13 points
    Why in the world would Gone with the Wind be any less appropriate for casual viewing than many other films shown regularly on TCM? What about all of the films with blackface musical numbers (e.g. Yankee Doodle Dandy, Swing Time, Babes on Broadway)? What about all of the Westerns that depict Native Americans as savages? What about films in which Asian characters are played by white actors in yellow face? What about films that casually depict acts that would now be construed as sexual assault? What about films that depict black servants or slaves as perfectly happy and content with their servitude (e.g. virtually every Hattie McDaniel movie). MUCH of what is shown on TCM is politically incorrect, outdated, and potentially offensive to 21st-century social attitudes. Why single out one film as the sacrificial lamb? There is no reason why Gone with the Wind needs to be either removed or viewed strictly within an educational context. The Birth of a Nation is one of the few films I would say deserves that treatment, and only because it's a movie that actively asks its audience to view black people as naturally inferior and to cheer on the Ku Klux Klan. It's a film very much on the level of Nazi propaganda -- of historical significance but potentially dangerous without context. Gone with the Wind and the films I mentioned above are reflective of attitudes that (should be) outdated but are not actively dangerous. I would argue that this film is NOT a "huge elephant in the room" to anyone except a very vocal subset of the Twitter-verse. I know many people who are fiercely liberal and have no problem with Gone with the Wind being viewed as causal entertainment and even enjoy it themselves. They are also smart enough to recognize what aspects of it are re-written history and can process that information without needing it spoon-fed to them. Now, am I saying that there should never be scholarly commentary on it? Absolutely not. I always welcome scholarly discussions. But to suggest this as a required condition is not only heading toward censorship, it's also unfairly singling out one movie that's no different from most other films of its era. This is similar to when people call out Walt Disney for the racist characterizations in his cartoons while ignoring/probably not being aware of the similar characterizations in the Looney Tunes, Tom and Jerry shorts, Popeye shorts, etc. from the same period. As for Song of the South, that is not a good comparison at all. The reason that film has never been on TCM's schedule is because Disney will not allow it to be seen, period. It was not a moral decision made by TCM.
  3. 10 points
    "Woke, woke , woke. This woke talk's spoiling all the fun. I get so bored I could scream."
  4. 9 points
    Of course he will be always known as The Beatles' drummer but a talented star in his own right. He did not sing lead on too many Beatle songs but they were all entertaining, my favorite is "With A Little Help From My Friends" from the Sgt Pepper album. He was also the best actor in the group. He had a great solo sequence in A Hard's Day Night". My favorite of his non Beatle movies was The Magic Christian (1969), while not that great was better than most of ones he appeared in (some are really bad like Caveman and Sextette), Here he underplays as a sidekick to Peter Sellers and there are some amusing moments and good music. My favorite of his solo albums is Ringo, which has two great #1 singles "Photograph" (which he co wrote with George Harrison) and "You're Sixteen" a great remake of the Johnny Burnette song. What are your favorites of his music or movies?
  5. 9 points
    Now this is reminiscent of an old movie storyline: The filmmaker Sergio Leone and Morricone were boyhood schoolmates in Rome (circa 1937).
  6. 9 points
    Reiner was a concerned citizen until the end... Matthew Rosenberg @AshcanPress Carl Reiner, his daughter Annie, and Mel Brooks 2 days ago for Mel's birthday. 5:17 PM · Jun 30, 2020·Twitter Web App
  7. 9 points
    I think that one of the funniest episodes on The Dick Van Dyke Show was "Coast to Coast Big Mouth" when Laura blurts out on television that Alan Brady is bald. Carl Reiner and Mary Tyler Moore are both hilarious in this sequence. The magic that special comedy talents could do when blessed with great writing like this.
  8. 8 points
    Per: https://variety.com/2020/biz/news/carl-reiner-dead-died-dick-van-dyke-1234694208/?fbclid=IwAR2ICceK6rQa-Ddo5tjRLo7xh94wRpU081HWPZRid5C56KS_BI_ajSBE_kM Carl Reiner, the writer, producer, director and actor who was part of Sid Caesar’s legendary team and went on to create “The Dick Van Dyke Show” and direct several hit films, has died. He was 98. He died of natural causes on Monday night at his home in Beverly Hills, his assistant Judy Nagy confirmed to Variety. Reiner, the father of filmmaker and activist Rob Reiner, was the winner of nine Emmy awards, including five for “The Dick Van Dyke Show.” His most popular films as a director included “Oh God,” starring George Burns, in 1977; “The Jerk,” with Steve Martin, in 1979; and “All of Me,” with Martin and Lily Tomlin, in 1984. Reiner remained in the public eye well into his 80s and 90s with roles in the popular “Ocean’s Eleven” trio of films and on TV with recurring roles on sitcoms “Two and a Half Men” and “Hot in Cleveland.” He also did voice work for shows including “Family Guy,” “American Dad,” “King of the Hill,” and “Bob’s Burgers.” He first came to prominence as a regular cast member of Sid Caesar’s “Your Show of Shows,” for which he won two Emmys in 1956 and 1957 in the supporting category. He met Mel Brooks during his time with Caesar. The two went on to have a long-running friendship and comedy partnership through the recurring “2000 Year Old Man” sketches.
  9. 8 points
  10. 7 points
    Catch Me If You Can (2002)- based on a true story Frank Abagnale Jr. (played by Leonardo DiCaprio) forges checks and commits identity theft.
  11. 7 points
    https://www.nytimes.com/2020/07/06/obituaries/ennio-morricone-dead.html The Italian composer wrote atmospheric scores for spaghetti westerns and some 500 films by a Who’s Who of of international directors. Ennio Morricone, the Italian composer whose atmospheric scores for spaghetti westerns and some 500 films by a Who’s Who of international directors made him one of the world’s most versatile and influential creators of music for the modern cinema, died on Monday in Rome. He was 91. His death was confirmed by his lawyer, Giorgio Assumma, who said that Mr. Morricone had been admitted to the hospital last week after falling and fracturing his femur. To many cineastes, Maestro Morricone (pronounced more-ah-CONE-ay) was a unique talent,crafting melodic accompaniments to comedies, thrillers and historical dramas by Bernardo Bertolucci, Pier Paolo Pasolini, Terrence Malick, Roland Joffé, Brian De Palma, Barry Levinson, Mike Nichols, John Carpenter, Quentin Tarantino and other filmmakers. Mr. Morricone scored many popular films of the past 40 years: Édouard Molinaro’s “La Cage aux Folles” (1978), Mr. Carpenter’s “The Thing” (1982), Mr. De Palma’s “The Untouchables” (1987), Roman Polanski’s “Frantic” (1988), Giuseppe Tornatore’s “Cinema Paradiso” (1988), Wolfgang Petersen’s “In the Line of Fire” (1993), and Mr. Tarantino’s “The Hateful Eight” (2015). In 2016, Mr. Morricone won his first competitive Academy Award for his score for “The Hateful Eight,” an American western mystery thriller for which he also won a Golden Globe. In a career showered with honors, he had previously won an Oscar for lifetime achievement (2007) and was nominated for five other Academy Awards, and had won two Golden Globes, four Grammys and dozens of international awards. But the work that made him world famous, and that was best known to moviegoers, was his blend of music and sound effects for Sergio Leone’s 1960s spaghetti westerns: a ticking pocket watch, a sign creaking in the wind, buzzing flies, a twanging Jew’s harp, haunting whistles, cracking whips, gunshots and a bizarre, wailing “ah-ee-ah-ee-ah,” played on a sweet potato-shaped wind instrument called an ocarina. Imitated, scorned, spoofed, what came to be known as “The Dollars Trilogy” — “A Fistful of Dollars” (1964), “For a Few Dollars More” (1965) and “The Good, the Bad and the Ugly” (1966), all released in the United States in 1967 — starred Clint Eastwood as “The Man With No Name” and were enormous hits, with a combined budget of $2 million and gross worldwide receipts of $280 million. The trilogy’s Italian dialogue was dubbed, and the action was brooding and slow, with clichéd close-ups of gunfighters’ eyes. But Mr. Morricone, breaking the unwritten rule never to upstage actors with music, infused it all with wry sonic weirdness and melodramatic strains that many fans embraced with cultlike devotion and critics called viscerally true to Mr. Leone’s early vision of the Old West. “In the films that established his reputation in the 1960s, the series of spaghetti westerns he scored for Mr. Leone, Mr. Morricone’s music is anything but a backdrop,” The New York Times critic Jon Pareles wrote in 2007. “It’s sometimes a conspirator, sometimes a lampoon, with tunes that are as vividly in the foreground as any of the actors’ faces.” Mr. Morricone also scored Mr. Leone’s “Once Upon a Time in the West” (1968) and his Jewish gangster drama, “Once Upon a Time in America” (1984), both widely considered masterpieces. But he became most closely identified with “The Dollars Trilogy,” and in time grew weary of answering for their lowbrow sensibilities. Asked by The Guardian in 2006 why “A Fistful of Dollars” had made such an impact, he said: “I don’t know. It’s the worst film Leone made and the worst score I did.” "The Ecstasy of Gold,” the theme song for “The Good, the Bad and the Ugly,” was one of Mr. Morricone’s biggest hits. It was recorded by the cellist Yo-Yo Ma on an album of Mr. Morricone’s compositions and used in concert by two rock bands: as closing music for the Ramones and the introductory theme for Metallica. Mr. Morricone looked professorial in bow ties and spectacles, with wisps of flyaway white hair. He sometimes holed up in his palazzo in Rome and wrote music for weeks on end, composing not at a piano but at a desk. He heard the music in his mind, he said, and wrote it in pencil on score paper for all orchestra parts. He sometimes scored 20 or more films a year, often working only from a script before screening the rushes. Directors marveled at his range — tarantellas, psychedelic screeches, swelling love themes, tense passages of high drama, stately evocations of the 18th century or eerie dissonances of the 20th — and at the ingenuity of his silences: He was wary of too much music, of overloading an audience with emotions. He composed for television films and series like “The Sopranos,” wrote about 100 concert pieces, and orchestrated music for singers including Joan Baez, Paul Anka and Anna Maria Quaini, the Italian pop star known as Mina. Mr. Morricone never learned to speak English, never left Rome to compose, and for years refused to fly anywhere, though he eventually flew all over the world to conduct orchestras, sometimes performing his own compositions. While he wrote extensively for Hollywood, he did not visit the United States until 2007, when, at 78, he made a monthlong tour, punctuated by festivals of his films. He gave concerts in New York at Radio City Music Hall and the United Nations, and he concluded the tour in Los Angeles, where he received an honorary Academy Award for lifetime achievement. The presenter, Clint Eastwood, roughly translated his acceptance speech from the Italian as the composer expressed “deep gratitude to all the directors who had faith in me.” Ennio Morricone was born in Rome on Nov. 10, 1928, one of five children of Mario Morricone and the former Libera Ridolfi. His father, a trumpet player, taught him to read music and play various instruments. Ennio wrote his first compositions at six. In 1940, he entered the National Academy of Santa Cecilia, where he studied trumpet, composition and direction. His World War II experiences — hunger and the dangers of Rome as an “open city” under German and American armies — were reflected in some of his later work. After the war, he wrote music for radio; for Italy’s broadcasting service, RAI; and for singers under contract to RCA. In 1956, he married Maria Travia. They had four children: Marco, Alessandra, Andrea and Giovanni. His first film credit was for Luciano Salce’s “The Fascist” (1961). He soon began his collaboration with Mr. Leone, a former schoolmate. But he also scored political films:Gillo Pontecorvo’s “The Battle of Algiers” (1966), Mr. Pasolini’s “The Hawks and the Sparrows” (1966), Giuliano Montaldo’s “Sacco and Vanzetti” (1971) and Mr. Bertolucci’s “1900” (1976). Five Morricone scores nominated for Oscars displayed his virtuosity. In Mr. Malick’s “Days of Heaven” (1978), he captured a love triangle in the Texas Panhandle, circa 1916. For “The Mission” (1986), about an 18th-century Jesuit priest (Jeremy Irons) in the Brazilian rain forest, he wove the panpipe music of Indigenous people with that of a missionary party’s European instruments, playing out the cultural conflicts. In “The Untouchables,” his music pounded out the struggle between Eliot Ness (Kevin Costner) and Al Capone (Robert De Niro) in Prohibition-era Chicago. In Mr. Levinson’s “Bugsy” (1991), about the mobster Bugsy Siegel (Warren Beatty), it was a medley for a star-struck sociopath in Hollywood. And in Mr. Tornatore’s “Malèna” (2000), he orchestrated the ordeals of a wartime Sicilian town as seen through the eyes of a boy obsessed with a beautiful lady. Talking to Mr. Pareles, Mr. Morricone placed his acclaimed oeuvre in a modest perspective. “The notion that I am a composer who writes a lot of things is true on one hand and not true on the other hand,” he said. “Maybe my time is better organized than many other people’s. But compared to classical composers like Bach, Frescobaldi, Palestrina or Mozart, I would define myself as unemployed.”
  12. 7 points
    Wednesday, July 1 Still no Canada Day TCM? What about featuring some of these people on July 1: Norman Jewison, Marie Dressler, Walter Pidgeon, Mary Pickford, Fay Wray, Walter Huston, John Candy, Glenn Ford, Deanna Durbin, Colleen Dewhurst, Lorne Green, John Ireland, William Shatner, Martin Short, James Cameron, Michael J. Fox, Keanu Reeves, Norma Shearer, Christopher Plummer, Matheson Lang, Donald Sutherland, Leslie Nielsen, Laura Linney, Chief Dan George, Graham Greene, Gary Farmer, David Cronenberg, Denis Villeneuve, Denys Arcand, Francis Mankiewicz, Joanna Shimkus, Hume Cronyn, Yvonne De Carlo, Brendan Fraser, Alexis Smith, Alexander Knox, Genevieve Bujold, Ryan Gosling, Barry Pepper, Catherine O'Hara, Jim Carrey, Mike Myers, Seth Rogen, Jay Baruchel, Ellen Page, Anna Paquin, Bruce Greenwood, Raymond Massey, Ivan Reitman, Rody Piper, Kate Nelligan and Raymond Burr.
  13. 7 points
    Well, as far as I can tell, Bosley Crowther hated just about everything, at least anything even remotely noir. I imagine him as a crabby old goat who'd throw the teapot at his servants (of course a guy like that in the 40s would have had servants) if his morning boiled egg wasn't done just right.
  14. 7 points
    I certainly got that vibe. I thought it an honest portrayal of the burdens of aging & fame. I found the whole wig thing very brave of MacLaine to do. I like both Sage & Helen's insights & comments about Debbie's hard work & talent. She certainly persevered through some of the most personal & rude publicity, never succumbing to failure. A true survivor, who engaged her personality and hard work over plastic surgery & favors. All her performances on film are noteworthy, she certainly could do it all-don't forget HOW THE WEST WAS WON to her dramatic, serious roles. I was lucky enough to have seen her perform on stage, she was wonderful. You could absolutely hear a pin drop, she had the audience in the palm of her hands-THAT'S a talent in itself that you don't experience from a film role. She graciously greeted a long line of fans afterward, & autographed a photo for me. My 2 seconds with her I thanked her profusely for "saving the costumes" and we talked about how important they are as part of the art of film. This is one of my all time favorite photos, I have it framed in my home:
  15. 7 points
    Dead Ringers (1988) with Jeremy Irons playing twin gynecologists
  16. 7 points
    You do realize approximately half of America is conservative ? They do have rights, just like you and I do. I can't be concerned who takes "things out of context". People have taken the U.S. constitution out of context, the holy bible out of context. People will always see what they want to see. Some will see GWTW as racist, and some will see it as great cinema. As a black man, I see racism in places most wouldn't ever realize was an issue. Banning a movie won't do anything about racism when people are so full of hatred for many reasons. Reasons that go well beyond the scope of this website/channel. Go to any social media and you'll see so much hatred over one word, or some sentence taken out of context. People are looking for reasons to hate. First the virus, then the brutality, then the politicians, now its statues. Next it will be old movies. What the virus, the net, all these things have done is keep us all separated from each other. That's the real problem. When the only time you see certain people is on TV or in the news, your opinion is going to be swayed by the medium. But, when you socialize with people day to day, you see they are human just like you are. Live life, pay bills, raise families all the same. We have much more in common than we realize. Yet, politicians, news, and other media work to split us apart for profits. Red vs. Blue, liberal vs. conservative, American vs. immigrant, Christian vs. Non Christian, etc... And they preach that we should fear the other side in an effort to gain loyalty. So now we walk around in all looking like bandits in masks, unable to really talk to each other. Told to keep our distance from each other. Fighting each other for that last roll of paper towels. This does not lead to a healthy, happy society. We have a lot more to worry about than a 80 year old film. All that does it divert attention from the real problems we are facing day to day.
  17. 6 points
    Victor, Victoria --pretending to be a man pretending to be a woman, when she was...well, you know The Mind Reader --Warren William cons the crowds with a phony mind reading act The Princess Comes Across --Carole Lombard is a fraudulant royal to get on a ship Rings on Their Fingers --Gene Tierney is groomed to join a family of cons Hot Millions --Peter Ustinov fakes computer credentials to embezzle corporate money Can You Ever Forgive Me? --Melissa McCarthy's 'famous letters' are fakes Let's Fall in Love --Ann Sothern poses as a famous Swedish actress Six Degrees of Seperation --Will Smith presents himself as Sidney Poitier's son to gain entrance into NY society The Music Man --he was a fraud, but Robert Preston could sell ice at the North Pole edit: I've been trying to think of a film where a B'way producer has a 'nobody' pretend to be a French singing star, but I can't remember who was in it...anybody know? (the category made me think of it...)
  18. 6 points
    It looks like there will be an online concert for his 80th:
  19. 6 points
    Of course Ringo turning 80 is thread worthy. Glad the thread was started. It Don't Come Easy is probably my favorite. I really like Act Naturally, Ringo and Buck Owens recording. As a young teen Paul was my favorite, later on it was George. I LOVE the Traveling Willbury's ( thinking about George) and I played that tape constantly. I digress, so back to Ringo, I've always loved all the Beatles and wishing Ringo a Very Happy Birthday. ( OY! Ringo is 80, I feel so old)
  20. 6 points
  21. 6 points
    I agree that Ringo was the best actor in the Beatles. The others are amusing in A Hard Day's Night (and the Beatles' other movies), but Ringo created more of a character in HDN than the others did. I think the only other movie I've seen Ringo in is Son of Dracula (1974), which starred Harry Nilsson and featured veteran British actor Dennis Price, as well musician friends Keith Moon, Leon Russell, and Klaus Voorman. It came out while I was in high school, and along with a friend who was also a devoted Beatle fan, I went to see it in one of the few showings that this relatively under-distributed movie received. Even to our teenaged sensibilities, the humor seemed overly broad, but the movie was fun and featured some good Nilsson vocal performances ("Without You," which he didn't write, and "Jump Into The Fire," which he did). I've always wanted to see The Magic Christian but have never found an opportunity (although I love the Badfinger album with songs from the movie). Ringo is a great album, one of the best solo works by any of the ex-Beatles. In fact, because of the hits from that album, along with the excellent hit single "It Don't Come Easy," Ringo was the most musically successful ex-Beatle for a time. I won the Ringo album from a radio station when it first came out, and I played it endlessly. It features performances by all of the Beatles, the Band, Marc Bolan, Billy Preston, and Nilsson, among others, as well as songs written by Lennon, McCartney, Harrison, Ringo, and Randy Newman. A few years back, I saw Ringo and his All-Starr Band (this incarnation featuring Todd Rundgren). It was a very enjoyable night of hits associated with Ringo and his various band members. I remember being impressed by how fit Ringo was, for a guy in his 70s at the time. He was very energetic throughout the show and seemed determined to really entertain the sold-out crowd. Ringo Starr may not have had his biggest accomplishments in the movie world, but overall, he's entertained a lot of people for a lot of years. Happy Birthday, Ringo!!
  22. 6 points
    Mature is/was always full of those interesting kind of stories. One I liked was when he was filming some "Swords-and-Sandals" flick, business partner JIM BACKUS picked him up to rush to some crisis at one of their business concerns with Vic still in costume. They stopped for a bite at a roadside diner and the waitress looked hesitantly at Vic and the way he was dressed and Vic, in good humor allegedly asked her, "What's the matter? Don't you serve men in uniform? " And that he wasn't above self parody(think "After The Fox") or self deprecation, as we all know the tale of his trying to join a certain country club that refused him admission with the explanation "We're sorry, but we prohibit actors from membership." and Vic protesting...... "I'm not an actor, and I've got 30 pictures under my belt that proves it!" Sepiatone
  23. 6 points
    That's Norman Lear sharing the moment with three of the world's great comedy performers. This photo was taken in May, 2017.
  24. 6 points
    Yea, Carl was great! My wife and I have been watching the Dick Van Dyke show and I had pointed out to her that it was rather odd the two male actors were still alive, especially Carl who had to be the oldest cast member in the show. Funny man that left a legacy of fine work.
  25. 6 points
    Somehow I always thought he'd live to be 2,000 years old, too.
  26. 6 points
    Too bad JOSEPH COTTEN and JOHN CANDY didn't develop an act... (groan)
  27. 6 points
    Here's mine, what are yours? Arsenic And Old Lace (1944) Bride Of Frankenstein (1935) Clock, The (1945) Detective Story (1951) Ed Wood (1994) From Here To Eternity (1953) Gunga Din (1939) Hoosiers (1986) Imagine John Lennon (1988) Jaws (1975) King Of Comedy, The (1983) Little Mermaid, The (1989) Midnight Cowboy (1969) Night Of The Hunter, The (1955) On The Waterfront (1954) Patch Of Blue, A (1965) Quiz Show (1994) Rosemary's Baby (1968) Shadow Of A Doubt (1943) Taxi Driver (1976) Untouchables, The (1987) Vertigo (1958) What Ever Happened To Baby Jane (1962) X-The Man With The X ray Eyes (1963) Young Mr Lincoln (1939) Zodiac (2007)
  28. 6 points
  29. 6 points
  30. 6 points
    She was the wisecracking comedienne of many 1930s films and had a long career into the 1960s and 1970s. When I was looking over some of my favorite films, there were a few that I realized had Patsy Kelly in them, she definitely made an impression in anything she did. Top Flat (1935) This was a Hal Roach short that she appeared in with comedy partner Thelma Todd. Thelma was the more sophisticated one while Patsy the down to earth smart aleck. This is the only one of their co starring films I saw and it was hilarious. Thelma is working as a maid in a swank apartment but tells Patsy she actually owns the place. Patsy decides to surprise her with a visit from a couple of rowdy boy friends and cause havoc. Pigskin Parade (1936) a terrific underrated comedy/musical. Patsy plays the wife of wimpy football coach Jack Haley. She ends up being a better coach than he. The Naked Kiss (1964) My favorite Samuel Fuller film, Patsy only has a small role as the head nurse in a children's hospital, but still tosses off a line as only she could. Rosemary's Baby (1968) One of my top ten films of all time. Patsy plays a devil worshiper but still brings her trademark humor to the role. The picture I included above is one of her funniest moments of her reading Reader's Digest with a magnifying glass.
  31. 6 points
    Torch Song is now politically incorrect. Strictly Mammy Dearest stuff.
  32. 6 points
    This was the second time I'd seen "Underworld USA". I do like the film; it is, as joe says, what you could call a "transitional noir", and as such, you don't even expect the shadows and angles etc. of classic era noir. Still, it had some good noirish bits, most notably that alley with the garbage cans, so nicely structured with its being featured at both the very beginning and very end of the film (wonder if they were even the same garbage cans, 18 years later? 😐 ) A few observations: god, Dolores Dorn is a pretty one. Exceptionally pretty. I did notice they didn't bother with maintaining that cut on her face, the one she got from Gus before Tolly rescued her. After that first scene where Sandy is giving her a bit of first aid for it, you never see that cut again, she made a complete recovery in one day ! "Cuddles" is a character in the same Sam Fuller tradition as "Candy" from "Pickup on South St." Both women are no angels, they have what would have been called then a "history"; I do like the way Fuller sees these women so sympathetically, he clearly thinks their (extensive?) previous sexual experience is no reason to not take them seriously as people, and as potential long-term mates. Kind of ahead of its time, in that usually the "experienced" woman, possibly an ex-prostitute or call girl?. is considered not worthy of serious consideration for marriage on the part of the male protagonists. Also, both these female Sam Fuller leads have silly names, obviously not their real names, names that suggest their sexual availability: "Candy" and "Cuddles". ( Not so much with the Jean Peters character in "Pickup", but definitely in "Underworld USA", I was really hoping for a moment where Tolly asks her " "Cuddles"...that's not your real name, is it? What's your real name?" but of course we get no such scene.) Gus (Richard Rust): ok, stone cold hired killer, yes. But did anyone notice how, every time he was ordered to "take care" of someone, the expression on his face changed, just for a second, and he looked almost sad, before putting on those sunglasses which were part of his killing ritual? Maybe this was something the actor himself thought of, I'm not sure it would have been in the screenplay. Something else I kept thinking about, watching "Underworld USA" this time around, was how the film would have benefited from just a little more backstory on Tolly's relationship with his father. Either a very brief scene near the beginning, shortly before the dad gets killed, or a flashback, maybe Tolly thinking about his father when he's reminded of him in some way, or even just a bit of dialogue between him and Cuddles (or maybe Sandy), in which he talks about why he cared about his dad so much, why even if his father was "no good", he mattered to Tolly. Just because someone's your parent is not an automatic guarantee that you will care for them; I found Tolly's revenge agenda slightly extreme, mainly because we are never given a reason why he became so obsessed with avenging his father's death. Some kind of memory or flashback or something that would show us a bond between the two, some kind words or fatherly advice or maybe just a father/son shoplifting expedition (hey, these guys were tough),----just give us some reason why Tolly cared so much about taking revenge on his father's killers, besides just the fact that he was his father. Anyway, I still enjoyed it. Sam Fuller was a unique talent, and every film I've ever seen by him, I remember.
  33. 6 points
    Real life sisters Catherine Deneuve and Francoise Dorleac played twins Delphine and Solange in Jacques Demy's 1967 French musical, "Young Girls of Rochefort."
  34. 6 points
    Scenes from a Mall (1991) This was completely trashed critically in 1991, but it looks better today. The story is simple: Bette Midler and Woody Allen play a couple who have been married for 16 years, but both of them, unbeknownst to the other, have strayed from their marriage vows, although both feel miserable about it and about having to break it to their spouse. Their secrets both emerge while they are at the mall on their anniversary, whereupon the two drift through a course of complex emotions, grappling with the idea of continuing their marriage or ending it, like so many of their friends have. The film itself was mislabeled in 1991 by casting and studio publicity as a comedy; its really more of a bittersweet, wistful drama with some elements of social satire, aided immensely by strong playing by both leads, who are the whole show here. They have fine chemistry and their facial reactions really capture the sense of individuals, who despite their shortcomings, still have feelings for one another and are vulnerable even in the midst of loud squabbles. it also showcases yet again of how Paul Mazursky was a wonderful filmmaker who is definitely missed. Source: One brand-new, recently obtained Kino Lorber Double Feature DVD (with Big Business)
  35. 6 points
    ALL ABOUT EVE BRINGING UP BABY CASABLANCA DR. JEKYLL AND MR. HYDE (1941) THE ENTERTAINER FATHER OF THE BRIDE (1950) GENTLEMAN'S AGREEMENT HOLIDAY IT'S A MAD, MAD, MAD, MAD WORLD JEZEBEL KEY LARGO THE LITTLE FOXES MR. BLANDINGS BUILDS HIS DREAM HOUSE NATIONAL VELVET OUT OF THE PAST THE PUBLIC ENEMY THE QUIET MAN THE ROARING TWENTIES THE SEARCHERS TWELVE ANGRY MEN (1957) UNFORGIVEN VERTIGO WHITE HEAT YANKEE DOODLE DANDY Can't think of any with X or Z.
  36. 6 points
    Apocalypse Now Blade Runner Chinatown Dr. Strangelove The Exorcist Frankenstein The Godfather Halloween Ikiru Jaws Kwaidan The Lord of the Rings Monty Python and the Holy Grail Night of the Living Dead One Flew Over the Cuckoo's Nest The Passion of Joan of Arc Quatermass and the Pit Raging Bull Sunset Boulevard Taxi Driver Unforgiven Videodrome The Wild Bunch X2: X-Men United Yojimbo Zelig
  37. 6 points
    The Swimmer (1968) TCM on demand 8/10 A day in the life of a middle aged suburban man (Burt Lancaster) who gets an idea to swim in the pools of all his friends and acquaintances while trekking to his home. This is the third or fourth time I have seen this, it gets better every time. I believe this is Lancaster's best ever performance. Each encounter gives us another clue to his state of mind. The ending is haunting. Marvin Hamlisch's score is beautiful too. I recall seeing him on a episode of Mike Douglas's talk show where he showed a clip of this film without the music and then took suggestions from the audience on how the score should be in the scene. I also remember it was the scene where he jumps some hurdles with the blond girl in the bikini.
  38. 6 points
    POLITICO @politico In an Oval Office interview Thursday, President Donald Trump called mail-in voting the biggest threat to his reelection and warned his party in blunt terms not to abandon him 'My biggest risk': Trump says mail-in voting could cost him reelection With his poll numbers slumping, the president warns Republicans in a POLITICO interview not to abandon him. politico.com 7:25 AM · Jun 19, 2020·Hootsuite Inc.
  39. 6 points
  40. 6 points
  41. 6 points
    Sunday, June 14 8 p.m. Chariots of Fire (1981). When I ran my first marathon I passed a bunch of college students at the 22 mile mark who were set up in deck chairs with what looked like pitchers of Gin. They were playing Vengelis on a boom box and watching all the suffering runners go by.
  42. 6 points
    Gone with the Wind is a historically significant film, despite it's story and reputation. I don't think they should quit showing it just because people are too sensitive. Get thicker skin or don't watch it
  43. 6 points
    I'm very aware that the depictions of black people in Gone with the Wind are offensive and racist. I never said otherwise. The difference between the two is that Gone with the Wind, while reducing its black characters to stereotypes, does not paint them as patently non-human nor ask its audience to hate them. Yes, it is problematic, and I know it makes people uncomfortable. Again, I never said that wasn't the case, and I'm not saying people should be happy about the racial depictions. But there is indeed a difference between a film with offensive racial attitudes and a film (The Birth of a Nation) whose very thesis is that black people must be kept in their place in order for American civilization to prosper. GWTW presents Northerners as the enemy without really specifying what the war is about. The sentiments of both films are similar, but GWTW at least recognizes some humanity and intelligence in Mammy. TBOAN sees the entire black race as the enemy. They are at fault for daring to not stay in their place and must be forced back by these heroic white knights. In the end, both films are racist, but one is explicitly so to the point it clouds everything else. Compare this to the difference between, say, Shakespeare's The Merchant of Venice and the Nazi adaptation of Jew Suss. Look, I'm of Mexican and Puerto Rican heritage. When I see the "stinkin' baches" scene in The Treasure of the Sierra Madre, it truly makes me roll my eyes, as do most depictions of Hispanics in classic films. Natalie Wood's casting (and accent) as Maria in West Side Story is one of the silliest things I've ever seen. Other Hispanics might have even stronger responses than me. But I would never, ever endorse those films being removed from TCM's rotation just because they are politically incorrect. How does that help anything. If we only keep the films of the past that coincide with current progressive attitudes, it paints a dishonest picture of the past, one in which minorities were not abused, not devalued, not discriminated against. It suggests that there was no racism, no suffering. And once again, I am by no means against scholarly discussions. But it shouldn't be a requirement for these films. People are perfectly capable of doing research for themselves if they have the interest.
  44. 6 points
    Hopefully TCM will ask the TCM insiders this question in the next survey. For the record I believe TCM should show GWTW without any commentary.
  45. 5 points
    Here is a Reiner tribute from CBS Sunday Morning:
  46. 5 points
  47. 5 points
    I wondered if one or more of the scriptwriters had seen Harold Pinter's play The Dumb Waiter, which was produced in 1957, the year before Murder by Contract. Pinter's play, though less realistic, has the set-up of two hitmen waiting to learn who their next target will be. The scenes with Vince Edwards, Philip Pine, and Herschel Bernardi have certain parallels, including the dark comedy and the emphasis on waiting. The film, for all the holes that people have rightly noted, definitely kept my attention. I didn't care for the preachy preachy preachy scene where our sanctimonious hitman says he's no worse than soldiers, people who drop bombs, etc. I would guess this was an addition by Ben Maddow, whom Eddie Muller identified as an uncredited scriptwriter. The look of the film is surprisingly arty, very Nouvelle Vague except that most of those French films hadn't been made yet. The first scene where Claude (Edwards) goes to Mr. Moon's apartment, for instance, gives us a low angle shot with Claude seated and we don't see Moon's head, only his torso. With a master cinematographer like Lucien Ballard, this has to be deliberate choice, not a mistake. I loved the location shots of 1950s LA. Most of the actors were unknown to me, but quite good. I was expecting a much more conventional film, but I'm not complaining.
  48. 5 points
    Sometimes I feel like a survivor after getting through the scenes with Prissy.
  49. 5 points
    Just a clarification - Gone with the Wind was pulled from HBO Max, which is the new Warner Media streaming service. Despite the name, it's a separate entity from the traditional HBO pay channel available on cable and satellite. HBO Max is comparable to Netflix or Amazon Prime, and it offers programming from Warner Brothers, TCM, Criterion, DC Comics, HBO, and various other TV and film outlets. Gone with the Wind was pulled from their streaming offering. I don't think it was ever aired on the HBO channel, but if it did, it wasn't often. With streaming, people had to choose to watch the movie, unlike if it's aired on TCM, where someone would have to change the channel if they didn't want to see it. The current political/social climate caused the just-launched HBO Max to pull the movie, but they most likely will bring it back to their service with the aforementioned disclaimers before the movie. The corporate bosses are also very skittish about losing subscribers to their (very expensive to get running) brand new streaming service. And personally, I'm 100% against removing the film, or any film, from the market, particularly from streaming offerings, where the customer has to click on the movie to watch it, making a conscious decision to do so, rather than passively coming across it while flipping channels on cable. I also don't mind it being shown on TV, either, though. And that goes for other films like Song of the South as well. Like others have mentioned, there are more offensive depictions of people in other films than Gone with the Wind. I personally find Breakfast at Tiffany's to be much more racially offensive, but I still wouldn't want to see that movie banned, or for people to be denied access to it.
  50. 5 points
    MOVIELAND continues to beguile me, serving up all sorts of films I have been wanting to see... and now... THE NAME OF THE ROSE (1986) I remember they made fun of LEONARD MALTIN on the LASERBLAST episode of MYSTERY SCIENCE THEATER 3000 for giving LASERBLAST (a really bad movie) TWO AND A HALF STARS while awarding THE NAME OF THE ROSE only two; a lot of critics of the time were very dismissive of it- and in a way, I can understand- it's a bit of a meanderer as films go- but damned if it doesn't PULL IT TOGETHER quite nicely at the end. the version they showed on MOVIELAND had Spanish subtitles (which I actually liked FOR MANY REASONS) and periodically would flash a website name across the middle of the picture (which i DID NOT like)...I am beginning to think MOVIELAND is going to be shut down by the FBI some day soon. A lot of terrific character actors are having an obvious ball- including WILLIAM HICKEY and (especially) RON PERLMAN, who was just AN UTTER DELIGHT in his role as a passionate, multilingual Hunchback. The special effects at the end were terrific, as were the sets- I'm not sure what was real and what was built for the film, but there was some OUTSTANDING PRODUCTION DESIGN EITHER WAY. It's funny that I was ranting about another film with an underage sex scene just yesterday, but there is a REALLY SHOCKING, VERY VERY GRAPHIC (and well-shot) SEX SCENE BETWEEN A 15 YEAR OLD CHRISTIAN SLATER and a 20 year old actress that I don't know what to think about. F. MURRAY ABRAHAM is in this, but for a surprisingly brief amount of time. He's good- according to the director he was a pain on set, having recently won BEST ACTOR. I really liked his final scene.
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