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Showing content with the highest reputation since 05/26/2019 in all areas

  1. 12 points
    (author's note, I was going to post this in the OFF-TOPIC CHIT CHAT FORUM, but, I dunno, it's very politicky there and I think this might've got lost 'twixt the cracks...) this is kind of personal, and i apologize. but i need to get this out in some form somewhere. anyhoo: I have found in life that there seem to be two different forms of the Writing Experience: 1. I get an idea and it SEIZES me MIND and TAKES ROOT so STRONGLY that I overcome hesitation and fear and start to bang it out in SCREENPLAY FORM and then, either 20, 40 or 60 pages in, I realize that I have left the gas running on the stove because I WOULD HAVE TO BE HAVING AN OXYGEN DEFICIENCY IN ORDER TO THINK THAT THERE WAS ANY KIND OF STORY IN THIS TO BEGIN WITH, MUCH LESS ONE THAT WOULD MAKE A 120 PAGE SCRIPT THAT ANYONE WOULD PAY TO PRODUCE...and I walk away from it and remind myself TO NEVER TRUST THAT DAMN BURNER AGAIN. or... 2. I get an idea and it SEIZES me MIND and TAKES ROOT so STRONGLY that I overcome hesitation and fear (and mY twenty YEAR STRUGGLE WITH THE cAPS lOCK kEY) and start to bang it out in SCREENPLAY FORM and then, 200 pages into it, I realize I am too much OF A CRITICAL PERFECTIONIST TO FINISH IT and I never do. Either one sucks and is largely no fun. I think it was LOUISA MAY ALCOTT who said, and I paraphrase, "WRITING EATS, it's arduous and gets you worked up and wears you out, and the whole time, there is that 99.999999% chance it was all for naught for a million different reasons." SO IMAGINE MY SURPRISE WHEN, a year ago ALMOST TO THE DAY- I got an idea, and it SEIZED MY MIND and TOOK ROOT so STRONGLY that I overcame my hesitation and started to bang it out in SCREENPLAY FORM, expecting more than I ever had before to have that "GAS LEAK MOMENT" about 20 pages in...40 pages in... when it didn't come by page 130, obviously, I was destined for another 240 pages of unfinished mess, and I was happy to accept that...only thing was, FOR THE MOST PART, I HONESTLY HAD A GREAT TIME WRITING THIS! Everything else I have written before was VERY MUCH GROUNDED IN THE REAL WORLD and i had to worry about making it believable, this has elements of fantasy and theater to it, and it also was a way for me to incorporate a life of being drawn to science fiction and classic horror movies. and then, LO AND BEHOLD I WENT AND FINISHED THE GD THING. It's 204 pages with 20 illustrations because I FELT LIKE IT and I've had it printed and bound and read it through all the way and I LIKE THE ENDING and am 98% pleased with it- ALTHOUGH OF COURSE I MISSED SOME DAMN MINOR LOOSE ENDS AND TYPOES BECAUSE IT IS IMPOSSIBL NOT TO. Anyhow, it's a very strange feeling and I'm trying to wrap my mind around it, so "coming out" to you here is a first step of a sort. IT'S GENUINELY VERY GOOD THOUGH, and in reading it, I WONDER WHO THE HELL WROTE IT BECAUSE I SWEAR IT DID NOT COME OUT OF ME. NOTE: pleasePLEASEPLEASE: I HAVE COMMUNICATED PRIVATELY WITH SOME OF YOU ABOUT THIS, AND AS A NOTE, PLEASE DON'T SHARE WHAT THE STORY IS ABOUT, Silly as this, I don't feel entirely comfortable discussing that, although IT IS A LIBERAL RETELLING OF A CLASSIC HORROR MOVIE.
  2. 12 points
    I own a number of original lobby cards, most of them purchased for little money ($20 tops) during the '60s when they were considered to be a little value. Among those ones I still have: (This poster is a '48 reissue)
  3. 12 points
    Yeah, I've been trying to keep quiet about this. I'm all for variety. BUT...I don't think she's picking real Essentials. I think she's missing the mark on what an Essential classic film is. If they had asked her to do a series on multiculturalism in film, then yeah, she would be great. But most of her choices do not fit the Essentials format. And when you compare her selections to Ben's, it is VERY jarring and seems like two different programs.
  4. 12 points
    My father was scared of The Giant Claw. He was an interesting man. The one creature that scared me:
  5. 12 points
    Italian actress Valentina Cortese has died. Beginning her film career in the early 1940's, she later appeared in American films including Thieves Highway (1948), Malaya (1949), The House on Telegraph Hill (1951), and The Barefoot Contessa (1953), among many others. Later in life she acted in Juliet of the Spirits (1965), The Legend of Lylah Clare (1968), Brother Sun, Sister Moon (1972), Jesus of Nazareth (1977), and The Adventures of Baron Munchausen (1988). She was nominated for Best Supporting Actress Oscar for her role in Day for Night (1973).
  6. 11 points
    http://www.tcm.com/remembers/ 6:00 AM (ET) The Strange Love of Martha Ivers (1946) 8:00 AM (ET) Two Weeks in Another Town (1962) 10:00 AM (ET) The Story of Three Loves (1953) 12:15 AM (ET) Along the Great Divide (1951) 2:00 PM (ET) Out of the Past (1947) 3:45 PM (ET) Young Man With a Horn (1950) 5:45 PM (ET) Lust for Life (1956) 8:00 PM (ET) Paths of Glory (1958) 9:45 PM (ET) Spartacus (1960) 1:15 AM (ET) Live From the TCM Classic Film Festival: Michael Douglas (2018) 2:30 AM (ET) The Bad and the Beautiful (1953) 4:45 AM (ET) Seven Days in May (1964)
  7. 11 points
    And perhaps also hosted by Eddie Muller. (although I could easily envision our friend CigarJoe around here doing this gig too) Seems I've now seen almost every film that Eddie introduces (and very well I might add) on his Noir Alley series at least a few times in the past, and so how about some "new (cinematic) blood" here! My initial film suggestions for this series would be the following: L.A. Confidential (1997) Body Heat (1981) The Last Seduction (1994) Blood Simple (1984) Red Rock West (1993) So, whaddaya think here, folks? (...oh and btw...the first person who tells me these films are not "classics" and solely and/or primarily because they were produced after the fall of the studio system era, is gonna find demsleves sleepin' wit' da fishes...well okay, not really, but you know what I mean here)
  8. 11 points
  9. 10 points
    I must admit I find Kory very hot. If I had been the Tabonga in this scene my twig would have turned into a branch and I would soon be known as Tabangher.
  10. 10 points
    Forgive the lengthy post, but I haven't felt up to posting about my horror movie marathon for a couple of days. Here are the few that I've watched: Haxan: Witchcraft Through the Ages (1922) Dir: Benjamin Christensen - Swedish/Danish pseudo-documentary look at the history of witchcraft in Europe. Much of the film attempts to illustrate what was believed to occur with witches and their unholy practices, as well as steps that the authorities of the time took to suppress them. The highlights are the sequences showing witches cavorting with a menagerie of odd-looking beasts and demons. I like this movie more every time I watch it, as I notice more of the humor buried under the macabre tableau. (9/10) Source: Criterion Blu-ray Nosferatu (1922) Dir: F.W. Murnau - German horror classic, arguably the most important horror film of the silent era. A reworking of the Dracula story, the standout aspect for me is the disturbing performance of Max Schreck as Count Orlof, the grotesque vampire who brings plague and death to a small German village in the early 19th century. I think this may be the silent film that I've seen the most often. (9/10) Source: Kino Blu-ray The Phantom of the Opera (1925) Dir: Rupert Julian - Lon Chaney stars in this adaptation of the Gaston Leroux tale about a disfigured musical genius who "haunts" the Paris opera house and falls in love with a young singer. Chaney's make-up is iconic, but I'm just as impressed with the amazing sets and costumes, and the partially color masquerade sequence is still mesmerizing. (8/10) Source: Kino DVD Faust (1926) Dir: F.W. Murnau - German fantasy with Emil Jannings as the devil, who tempts the title alchemist (Gosta Ekmann) into selling his soul. The opening sequence, featuring the horsemen of the apocalypse, as well as an angel facing off with a black-winged Satan, are among the most memorable of the period. Jannings' hammy performance may turn off some viewers, but I think he's hilarious and entertaining. (8/10) Source: Kino Blu-ray The Cat and the Canary (1927) Dir: Paul Leni - Archetypal mystery/thriller/comedy that sees several characters gather at a large, labyrinthine house in order to hear the reading of a last will and testament. The lovely Laura La Plante stars, with Creighton Hale, Tully Marshall and Gertrude Astor. Martha Mattox plays the wonderfully named "Mammy Pleasant". This film set the standard for dozens of imitators over the next two decades. I liked seeing the old opening Universal logo again. (7/10) Source: Kino DVD The Unknown (1927) Dir: Tod Browning - The Hunchback of Notre Dame and the aforementioned Phantom of the Opera are usually ranked as Lon Chaney's greatest films, and that's understandable, given their sumptuous production design and literary roots. However, I've always favored The Unknown among Chaney's films, due to it's singular lunacy. He stars as a fugitive on the run who's disguised himself as an armless (!!!) circus performer. He falls for fellow performer Joan Crawford, which always leads to trouble. Lots of sweaty leering and creepy character work. (8/10) Source: Warner Archive DVD, part of the Lon Chaney Collection.
  11. 10 points
    Many people have pointed to the "woke" content in the show to explain why the ratings were low, but the ratings were low because people didn't watch it, thus they had no idea what was in it. Award show burnout, cable-cutting, online options, and general disinterest were the main factors. Someone mentioned the latest State of the Union address. That had 7 million fewer viewers than the Oscar telecast, and that's a combined total, it being shown on all the major networks. The days of a majority of people watching the same thing at the same time are long gone, and the numbers will only continue to drop.
  12. 10 points
    I think I smell the odour of intolerance from a good ol' boy poster whose idea of movie heaven is a two week John Wayne film festival.
  13. 10 points
  14. 10 points
    Love this thread and I am a huge collector. Started a while back before prices went out of sight. Here are just a few of my favorites (all originals):
  15. 10 points
    Here are some of my favorite originals currently hanging on the wall... .
  16. 10 points
    I have mostly fine art prints on the wall, but I did decopage my dresser with TCM Now Playing Guides
  17. 10 points
    Wouldn't you know it. A colorized 3-D version of Hot Spell is on the November schedule. Damn.
  18. 10 points
    To answer your question, no, every film picked by Ava DuVernay does not have a black cast, although some do. Neither are the films picked by new Silent Sunday host Jacqueline Stewart mostly ones with black casts or made by women filmmakers, although some may be. A look at the schedules for September and October reveals much more variety in their choices: Essentials 9/7 Sounder - dir. Martin Ritt, starring Cicely Tyson and Paul Winfield 9/14 Roshomon - dir. Akira Kurosawa, starring Toshiro Mifune 9/21 Les Rendez-Vous D'Anna - dir. Chantal Akerman 9/28 A Warm December - dir. and starring Sidney Poitier 10/5 Ashes and Embers - dir. Haile Gerima 10/12 West Side Story - dir. Robert Wise, starring Natalie Wood 10/19 Pather Panchali - dir. Satyajit Ray 10/26 Cabin in the Sky - dir. Vincente Minnelli, starring Ethel Waters and Eddie Anderson Silent Sunday Nights 9/15 Two Arabian Nights - dir. Lewis Milestone, starring Wm. Boyd and Mary Astor 9/22 The Racket - dir. Lewis Milestone, starring Thomas Meighan 9/29 Cleopatra (1912) - dir. Charles L. Gaskill 10/6 The Symbol of the Unconquered - dir. Oscar Micheaux 10/13 Faust - dir. F.W. Murnau, starring Emil Jannings 10/20 The Phantom Carriage - dir. Victor Seastrom (Sjostrom) 10/27 The Haunted Hotel - ? Putting aside the films that I'm not familiar with, here's what I see in these films: Essentials -- Of the directors, 3 white American directors, 1 black American director, and directors from Japan, France, and India. Of the casts, 3 black casts (or with black stars), 2 white casts, and casts from Japan and India. Silent Sundays -- Of the directors, 1 black American director, 1 white American director (two films), and directors from Germany and Sweden. Of the casts, 4 are white and 1 is black. The question of whether the Essentials films are actually "essential" is a matter of opinion. It looks like Ms. DuVernay is choosing films that she believes are important but aren't seen often enough, maybe including Pather Panchali and Les Rendez-Vous D'Anna. At the same time, she's also including very popular commercial movies, like Sounder, West Side Story, and Cabin in the Sky. No, they're not necessarily the movies that prior Essentials hosts might have chosen, but we've already seen those choices. Do we really need to see Casablanca, Citizen Kane, or Mutiny on the Bounty on The Essentials again? It seems like Ms. DuVernay is trying to expand the viewers' horizons. I might not choose, or even like, some of these films, but I'd sure say that Roshomon, West Side Story, and Sounder are "essentials" in my book. I also like it that she's trying to feature possibly great movies that I haven't seen -- maybe I'll really love one of them, and it'll enrich my life. I'd say much the same about the Silent Sundays line-up. I'm not a silent movie expert, but I think Prof. Stewart is trying to show us some films that aren't the usual suspects. Believe me, I love The Gold Rush and Sunrise, but I don't need to see them (again) on Silent Sundays. I've heard of The Phantom Carriage, for example, but have never seen it -- now I'll have the chance because of Prof. Stewart's choice. The movies that any of us might pick as "essential" can often be as much a reflection of our personal tastes as a judgment on what we think is historically significant. For example, years ago, Martin Scorsese highly recommended a Jeanne Crain sorority-house drama called Take Care of My Little Girl. Sounds cheesy, right -- like something that's not worth your time? Well, for some reason, I remembered that title for years, and then finally had a chance to see the movie. I loved it! I've enjoyed that movie through multiple viewings, just because Scorsese brought it to my attention on some list of films that he was compiling. It may not be Citizen Kane, but there was something about it that Scorsese really liked, and I agreed with him. That's the kind of thing I hope for from The Essentials, Silent Sundays, and, for that matter, Noir Alley -- that the hosts will occasionally show me a film that's new to me and becomes part of my personal canon. I think it's worth the time to take a chance on that result.
  19. 9 points
    Film and television actor Stuart Whitman (February 1, 1928 - March 16, 2020) has died. After making dozens of minor appearances in films such as The Day the Earth Stood Still (1951), When Worlds Collide (1951), Silver Lode (1954), Brigadoon (1954), and Interrupted Melody (1955), Whitman finally garnered notice for his supporting role in 1958's Darby's Rangers (1958). This led to better roles, and eventually an Oscar nomination for Best Actor for The Mark (1961). Besides making many film appearances and guest spots on TV, he headlined the series Cimarron Strip in 1967. In all, Whitman amassed over 180 film and television credits in a career that spanned nearly 50 years.
  20. 9 points
    Saddened to hear this news. Truly one of the great international film stars, ever. One of my favorite performances of his would be his role as the cool and composed hired assassin in Three Days of the Condor... (...the above scene where he explains to Robert Redford why he's not going to kill him has stuck with me since I watched this film upon its initial release)
  21. 9 points
    Wow. Dear old Max. He worked with so many great directors through the entire world in just about every genre. About a ten years ago through a friend who was a member I put Max forward for a lifetime achievement award with the Academy but they didn't move forward on it. I couldn't think of an actor more deserving of that award than Max von Sydow.
  22. 9 points
    This is prompted by tonight's showing of Pygmalion (1938). She's on my list, along with the likes of Setsuko Hara, and Olivia de Havilland. She didn't have the same opportunities as other fine movie actresses of her time, due to her preference for the stage, but she had a number of wonderful roles. She was a daughter in spirit to Bernard Shaw and his wife, leading to her originating many of his best leading women, Eliza Doolittle, Major Barbara Undershaft, and Joan of Arc. In movies she reprised Eliza Doolittle and Major Barbara at Shaw's insistence. She is also known for her appearance in the popular grande ensemble adaptation of Murder on the Orient Express (1974). But my favorite role for her is a little known romantic comedy directed by Michael Powell, in which she co-starred with Roger Livesey and Pamela Brown, called I Know Where I'm Going! (1945). I don't care much for romance movies, comedy or not. They tend to be even more formulaic than horror movies. But this one is charming and Ms. Hiller is at her most delicious as a machiavellian social climber who stumbles over a threadbare Scottish laird:
  23. 9 points
    Marion Lorne as the clueless mother of psychopath Robert Walker in Strangers On A Train (1951). Only two short scenes but great impact, she was just as crazy as her son.
  24. 9 points
    Here's an idea, Vautrin: start a new thread about what a terrible person Kirk Douglas was. You can say all the nasty things about him you want, and you won't be interrupted by others saying, "Please don't do this, this is a thread to pay tribute to Kirk Douglas, it's not the place to dis him." Because clearly that's what you want to do. Personally, I don't understand why you care what kind of a person Mr. Douglas was in his private life. I don't much care what any famous person, be they actor, director, musician, writer, or whatever their reason for fame was, behaved like in their personal life. All I care about is the work they did, whether it's good or not. Kirk Douglas left us a legacy of memorable films, many of them outstandingly good. He was a really good actor. He had an exceptionally strong screen presence. He made intelligent choices in the films he decided to be in. These are the things that count about him. If you insist on vilifying him, you're free to do so. But that's a whole different topic. So stick to the topic on this thread, which is intended to honour Kirk Douglas, not disparage him.
  25. 9 points
    I watched Parasite last Friday night. It was excellent, an 8/10. Now, I personally liked Once Upon a Time in Hollywood and The Irishman more, but Parasite was very good, and it's not just the academy and me saying so. It's won prizes all over the world, as well as here, over the past year, including the Palme d'Or at Cannes, and the Best Ensemble Cast at the Screen Actor's Guild awards, as well as literally dozens of others. It's currently sitting at 8.6/10 score on IMDb, and is listed among the site's Top 25 highest rated films. It also has a 99% rating on Rotten Tomatoes, with a 92% audience score. But yeah, sure, it's all a PC conspiracy.
  26. 9 points
    It looks like TCM is currently in the process of uploading January 2020's schedule. It looks like they don't have quite everything posted yet, but there's enough posted to know who SOTM is. It looks like it's Patricia Neal. http://www.tcm.com/schedule/weekly.html?tz=PST&sdate=2019-12-29 http://www.tcm.com/schedule/weekly.html?tz=pst&sdate=2020-01-05 http://www.tcm.com/schedule/weekly.html?tz=pst&sdate=2020-01-12 http://www.tcm.com/schedule/weekly.html?tz=pst&sdate=2020-01-19 http://www.tcm.com/schedule/weekly.html?tz=pst&sdate=2020-01-26 Noir Alley 1/4 The Big Sleep 1/11 The Big Night 1/18 The Captive City 1/25 Try and Get Me!
  27. 9 points
    Rumor has it that having a low reputation on these message boards can negatively impact one's credit score.
  28. 9 points
    I used to have about 8 silent film copies of lobby posters, but through years of moving they were either lost or destroyed. This one, from THE MAN WHO LAUGHS, still hangs in my kitchen.
  29. 9 points
  30. 9 points
  31. 9 points
    TCM Makes History With New ‘Silent Sunday Nights’ Host University of Chicago professor Jacqueline Stewart has been announced as host of “Silent Sunday Nights,” the 25-year-old Turner Classic Movies (TCM) block that offers iconic movies from the silent era as well as forgotten gems and international classics. Stewart is a professor in the Department of Cinema and Media Studies, specializing in the history of African American cinema from the silent era to the present. She is also a three-term appointee to the National Film Preservation Board (NFPB), which advises the Librarian of Congress on policy, and is the Chair of the NFPB Diversity Task Force working to ensure the films chosen for the National Film Registry reflect diversity and inclusion. For Stewart, hosting TCM’s “Silent Sunday Nights” is an opportunity that meshes harmoniously with the kind of work she’s been doing throughout her career. “It’s an incredible alignment of my expertise as a scholar across my career, which has included trying to reach beyond academia and enter the mainstream,” said Stewart, whose relationship with TCM began three years ago, when she was invited to present films that are featured on a groundbreaking compilation she co-curated, titled “Pioneers of African American Cinema.” It was a monumental collection of historically vital films by the earliest African American filmmakers, digitally mastered in HD using archival elements. A Chicago native, Stewart curates a local film series called “Cinema 53,” which spotlights women and people of color. She also shepherds the archival South Side Home Movie Project which accumulates, digitizes and screens amateur films shot by people who live in the infamous south side of Chicago. “I have this incredible life of living where I grew up and teaching at a very prestigious institution, and it’s important to me to bring those intellectual resources and those economic resources that the university has, to people outside of the walls of the campus,” said Stewart. “So this is just like taking that desire and that commitment to a new level. I did not expect to be doing work like this but I think that it’s exactly the right kind of move for me to make.” That she is an African American woman, and the first black host of a TCM programming staple, is certainly appreciated by Stewart, who fully expects her identity will be of influence on the framing of the franchise going forward. “I think it’s extremely significant, and I feel honored, while also feeling appropriately pressured,” she said. “I never feel like I walk into any space as just myself. I carry with me specific histories and strengths. And so I think that for so many of us who operate in predominantly white spaces, which is not new to me as an academic, we can choose to accept quite a bit of responsibility for speaking for our people.” The pressure she speaks of includes channeling the anxieties of the communities she proudly represents, especially during a period of robust conversations around issues of diversity, equity and inclusion. And she’s well aware of how ephemeral moments like this can be, which only amplifies the urgency to seize them. “It is incredibly important to use this platform as effectively as I can while I have it, and so being impactful, using my voice to point out things about these films, and help select films that we show that really teach us something new about the diversity of film history, is definitely something I plan to do, and that TCM has been completely supportive of,” said Stewart who is confident that, under her watch, the full range of cinematic experiences during the silent period will be represented. And as an archivist, she also plans to introduce conversations around the preservation of these aged films that viewers will find educational. Some of her favorites of the period include Carl Theodore Dryer’s “The Passion of Joan of Arc,” which she describes as a extraordinary work of art. “It demonstrates the power of the sheer visual image, and is a film that is always spellbinding to me.” She’s also a huge fan of Oscar Micheaux, calling the pioneer an “especially singular cinematic voice,” whose work will be included in her programming of “Silent Sunday Nights.” Included will be “The Symbol of the Unconquered” and “Within our Gates,” which were both audacious responses to D. W. Griffith’s incendiary “The Birth of a Nation,” which is also on the docket. And Stewart will not shy away from the problematic dimensions of these films, with a goal being to critically examine them in their full complexity. “I think this is part of the invitation that TCM has given to me, to come and really talk about the challenging racial and gender questions that come up with some of these early films,” she said. “And even if I’m not talking them, I think my sheer presence as a black woman hosting this series will automatically raise the kind of inquiries that otherwise may not come to the surface.” “Jacqueline is sharp, lively, and has an illuminating depth of information,” said Pola Changnon, senior vice president of marketing, studio production and talent for TCM. “Her knowledge of the silent era and the way she weaves a beautiful narrative about this genre of film will surely entertain viewers while also allowing them a front seat to their own personal film class with her as their teacher.” Stewart will begin hosting “Silent Sunday Nights” on September 15, 2019. https://www.indiewire.com/2019/09/jacqueline-stewart-tcm-host-silent-sunday-nights-1202171378/
  32. 9 points
    In The Toast of New York Frances Farmer has to choose between Edward Arnold and Cary Grant. SPOILER ALERT: she picks Cary Grant. Well, duh. In Come and Get It Frances Farmer the First (saloon girl) has to pick between Edward Arnold and Walter Brennan. Not quite the same kind of choice, is it? Personally, I'd be saying, "Monty, I'll see what's behind Door Number Three." And Lorna--you are so right about Brennan's performance in this film. It's like a screen test for Not as a Stranger, where you do get John Qualen and a few others, including Olivia De Havilland, doing the Min-ne-so-ta accent. If you haven't seen Not as a Stranger, you must. It's a Stanley Kramer production where decisions were made like, "Who can we cast as an aspiring medical student? I know, Frank Sinatra!" But I digress. Frances Farmer the Second (the rich young lady) has to choose between Edward Arnold and Joel McCrea, which puts us back in "duh" territory. I also find Frances Farmer a very interesting actress. If she could have held things together, she could have been outstanding in film noir, instead of living a film noir.
  33. 9 points
    Most will mention his turns in Easy Rider and Ulee's Gold, and he was perfect in both films, but I also liked him in his early "sensitive guy" role in Lilith, his first iconic biker movie The Wild Angels, his directorial debut on The Hired Hand, 70's exploitation classics Dirty Mary, Crazy Larry and Race with the Devil, an obscure but fun genre film from the 1980's named Dance of the Dwarfs aka Jungle Heat, and his late-career turn as an ex-hippie villain in The Limey.
  34. 9 points
    Bob Dorian, the amiable TV host who introduced cable viewers to movies of yesteryear back when AMC was known as American Movie Classics, died June 15 in Florida, his family announced. He was 85. Dorian started out as an actor and a magician (the Amazing Dorian), and his voice was heard on a tape recorder that resurrects a demon in Sam Raimi's The Evil Dead (1981). He also had a recurring role on one of AMC's first original series, Remember WENN, which premiered in 1996 and was set at a fictional Pittsburgh radio station in the late 1930s, and appeared in the Woody Allen films The Curse of the Jade Scorpion (2001) and Hollywood Ending (2002). Ten years before Turner Classic Movies, American Movie Classics launched in October 1984 as a premium cable channel that licensed and aired old films uncut and without commercials 24 hours a day. Execs were looking for announcers to introduce the features, and a producer recommended Dorian, he recalled in a 2009 interview. "Among the people they were looking at at the time were two Broadway actors, a well-known TV film critic and a few others who were more involved in writing as a profession," he said. "After call backs, I heard the powers that be had been thinking of pairing the TV critic and me as a sort of Siskel & Ebert duo. Interestingly, one of the AMC execs said, 'Wait a minute. The critic might not be too crazy about some of the films we've brought in. This guy Dorian likes everything!' That was it." Dorian served as AMC's primetime host, and Nick Clooney (George's father, singer Rosemary's brother) and Gene Klavan introduced pictures during the daytime. In 1998, AMC began inserting commercials into the films and then broadened its focus beyond features, eventually leading to original series like Mad Men and Breaking Bad. Dorian left the network in 2001. Born Robert Vierengel in Brooklyn on April 19, 1934, he said he always loved the movies. "As soon as I could go by myself, I would imitate the people. I thought I was Cary Grant, I thought I was Jack Benny or whoever it was," he told the Baltimore Sun in 1995. "When I was 9, I went for my first suit. I wanted a black suit, and my father said, 'Why do you want a black suit?' I said: "It looks like a tuxedo. I'll look like Fred Astaire.' " The Hollywood Reporter
  35. 9 points
    Jumping in here (very) late to the party. I'm Brandon, one of the brothers featured in this promo. I was recently trying to sort out when we worked on this promo, and stumbled across this thread. Thought I could clear up a couple of the questions posed her, if by chance anyone is still interested... Yes the original promo, I believe titled Master of Titles, or at least that is what we called it, aired back in 2014 when we did the work. The making of promo, aka promo of a promo, still airs. Why? Beats me. Perhaps because it was shot so beautifully by the creative team at Crawford Communications, now doing amazing work as Chorus Films in Atlanta. Or maybe it’s just the right length as suggested above to fill the ad-free gaps TCM has between programming. I believe the original promo spot is still included at the end of the segment as it is in this version on TCMs YouTube page. https://www.youtube.com/watch?v=ZUCqfp20nMo But here is the crazy thing. I’ve been very fortunate to live a creative and professional life that has put me in odd corners of pop media consumed by the masses. I make my living bobbing around behind famous types on big stages, live TV appearance, and chart topping songs. And I don’t mean that to sound boastful. These opportunities are almost always a part of a job I’ve been hired to do and are in no way dependent on or a result of any fame on my part. When the band you play for gets booked to play Oprah, you appear on Oprah. And thus occasionally people I meet will give me a funny look as they are trying to connect where they have seen me before. Sometimes it’s immediate, other times it takes a little guess work, but almost always the result is, I’m that guy who composed music in that TCM promo. It has been a backstage security guard, a Publix deli employe, an art fair vendor who chased me down the street, and most recently the estranged relative of a dear friend. It happens monthly if not more since the promo started airing in 2014. And it has reaffirmed what I’m sure many of you here on these forums already know. The TCM community is widespread, diverse and passionate. Everyone who makes the connection is quick to share how much they love the channel and all it represents, which makes me proud to have the association we have through this promo. And for that reason, I hope it never goes away. And as Overeasy above suggests, that we are in fact “old men” and it is still running. -Brandon
  36. 8 points
    The Tabanga isn't much of a monster - all bark, no bite.
  37. 8 points
    Thank you TCM for listening to your many viewers who requested a tribute to feature film and TV star, Don DeFore. On May 28 TCM will broadcast several films in which he co-starred (this is just a sampling of his work as he was in more than 35 feature films). As Don DeFore's youngest son, Ron, may I suggest if you want to read more about his career and my life in a Hollywood celebrity family, read my new book, "Growing Up in Disneyland." Much of the book includes my Dad's own unpublished memoirs (www.GrowingUpinDisneyland.com). Come to the Don DeFore Fan Club Facebook group to learn more. and enjoy TCM's tribute May 28. Maybe TCM should record me doing an intro for this tribute day! :-)
  38. 8 points
    Cat People (1942) Dir: Jacques Tourneur - Atmospheric horror with Simone Simon as a Serbian immigrant who marries American Kent Smith. It's only after the marriage that Simon informs her husband that she's cursed to turn into a man-eating cat if she has sex. With Jane Randolph, Tom Conway, Jack Holt, Alan Napier, and Elizabeth Russell. This is perhaps too subtle and low key for most horror fans, especially those who are expected a Wolf Man-style creature feature, which I was when I first saw this as a kid. Over time I've grown to appreciate the artistry involved, and while I like producer Val Lewton's I Walked with a Zombie and The 7th Victim more, I still rank this among the best horror released in the 1940's. (7/10) One of the bonus features on the disc is the documentary Val Lewton: The Man in the Shadows (2007), which I believe has played on TCM in the past (they're a credited co-producer). This was the first time I watched it, and enjoyed the information imparted. Source: Criterion Blu-ray
  39. 8 points
    Lawrence,sending you only good thoughts, hoping you're feeling better asap. Stay calm and relaxed and watch some films that you love and keep in touch with your drs. by phone. I know you'll be ok, I just know it.
  40. 8 points
    Maybe they should have ended the Memoriam with this great photo two last major stars of the Hollywood studio era Just a note: the sum of their ages is exactly 200 years! Young Man with a Horn (marking the 70th anniversary) Release date February 9, 1950
  41. 8 points
    Another death to report, but this one was actually a while ago: this week last year to be exact. The hollywood Reporter just published a long extended article about the search to find out about a missing Oscar nominee of the past, 1969 nominee Catherine Burns, nominated for Last Summer. It was hardly the most seen film, but it left a big impression on those who saw it. Aside from that film though, she only appeared in two other films: Me Natalie (which will be released on DVD/Blu-Ray this summer) and Red Sky at Morning, the latter with her Last Summer costar Richard Thomas. She also made a handful of guest spots on TV including The Waltons, Love American Style, Emergency, Cannon, Medical Center, Adam-12, The Mod Squad, The bionic Woman, and police Woman. She then completely left the business behind, not impressed with it in the least. Death came quietly on February 2, 2019, the result of a fall, though cirrhosis was also a factor. She was 73. https://www.hollywoodreporter.com/features/catherine-burns-inside-50-year-disappearance-an-oscar-nominee-1275646
  42. 8 points
    There are several brief performances that I can think of that made a big impact on me: the aforementioned ones are all good examples. Sylvia Miles made much of her short time on screen in Midnight Cowboy. And Ned Beatty was very memorable in his small role in Network, as well. Christopher Walken in Annie Hall, and Michael Shannon in Revolutionary Road are a couple more good ones. Lenny Montana as Luca Brasi in The Godfather. Edmund Gwenn in Foreign Correspondent. John Turturro in The Big Lebowski. Anthony Hopkins was only onscreen for 16 minutes in The Silence of the Lambs, but it was enough for his performance to win the lead actor Oscar and to become iconic.
  43. 8 points
    Wilford Brimley as Assistant U.S. Attorney General James J. Wells in "Absence of Malice" (1981). His character comes in near the end of the film and lowers the boom on an overzealous federal prosecutor (Bob Balaban) and a district attorney (Don Hood) responsible for damaging the reputation of a Miami businessman (Paul Newman). Sally Field also starred as the newspaper reporter whose stories further damaged the businessman's reputation. Brimley was sensational in small but great scenes, including memorable moments in "The China Syndrome" (1979) and "The Electric Horseman" (also 1979). Small wonder that his trustworthy image led to a long run as a TV spokesperson in commercials.
  44. 8 points
    Forget the Christmas movie line-up. Forget the remakes. Forget (gasp!) Noir Alley. Joan Blondell is December's Star of the Month! She is one of my veryveryveryvery favorite of actresses. On the A-list of my A-list. Though she was not a great actress, she was still very good and handled all her roles with professional aplomb. Put that together with just about the adorablest, darlingest presence that ever was on a movie screen and you've got one knockout. Her story is the archetypal show-biz baby one, born into a troupe of Vaudevillians, making her way through beauty contests and modeling to the New York stage, discovered and--voila!--movie star. As well as me, the rest of America was in love with her, making her one of the most successful actresses of the early to mid-thirties. She had a naturalness and down-to-earth quality in her performances which no doubt endeared her to audiences, making her seem like a pal. If she wasn't the picture's lead that that much, she was likely the female lead, as often as not providing the clear-headed voice of reason opposite the male lead's obliviousness (viz. Lawyer Man 1932; Footlight Parade, 1933). TCM could have improved Joanie's treatment with a larger line-up of movies. Perhaps they thought it would get redundant. Dunno. But there are three I'd have like to have seen included: Other Men's Women (1931), in which she plays a supporting role as the lead man's intermittent squeeze, a party-girl and dance-hall habitué who isn't necessarily focused on any particular man. The Greeks Had a Word for Them (1932), in which she stars along with Madge Evans and Ina Claire as a trio of ex-Ziegfeld gold-diggers out to stick it to the men. They trade snappy repartee with each other and male characters, like Lowell Sherman who plays his typical worldly ennuyeuse. AKA Three Broadway Girls. The Blue Veil (1951). Don't know about it, but it was an Oscar-nominated performance.
  45. 8 points
    I've been watching some older sci-fi TV shows. I re-watched seasons two and three of the original Star Trek, which I hadn't watched since buying the complete series on Blu-ray. I recalled most of the episodes, but there were a few that I didn't remember at all, like one with a pregnant Julie Newmar. Anyway, I liked seeing them again, and they looked great in HD. I also watched two Doctor Who serials, 1967's "The Tomb of the Cybermen" and 1968's "The Mind Robber", both starring Patrick Troughton as the second Doctor. The former serial was very enjoyable, as I enjoy stories that deal with alien archaeology, and I've always liked the Cybermen. "The Mind Robber" wasn't as good, but it had some interesting touches. The Doctor and his two current companions end up stranded in an alternate dimension where fictional beings come to life, including the Minotaur and Medusa. These were the first serials with Troughton that I've ever seen. He was quite a contrast to William Hartnell's grouchy original Doctor, with Troughton playing him as a bit of a goof, dressed in over-sized clothing and with a shaggy mop of dark hair.
  46. 8 points
    I thought that Johnny Depp brought an affecting naivety and sweetness to the title role in Ed Wood, portraying the director as a man with an unbridled enthusiasm for a craft at which, unfortunately, he had little skill. Landau was a pure pleasure to watch as Lugosi. I'm very much a fan of this film, as well.
  47. 8 points
    I love TCM because the core personnel involved with the channel seem to be very passionate about preserving the history of cinema and celebrating film as a whole. I love that they can collaborate with people like Eddie Muller and put together interesting programming features (e.g. Noir Alley) and highlight different film topics that people may not have otherwise given a second thought. Watching classic films on TCM is also a form of education in the sense that you can see how things looked, learn about social mores of the time, hear slang that may have been prevalent (e.g. "tight" for drunk), and just see what it was like decades before I was born, decades before my parents were even born. While I'm not the biggest fan of silent film, seeing something that was produced 100 years ago (or almost 100 years ago) is fascinating from a historical perspective. TCM is just one of the many resources I utilize to procure movies, but I am happy that it continues to exist. I remember when it first started in '94. My family had it for a couple years on expanded cable before it moved to a higher tiered package. I used to scope out the schedule looking for Lucille Ball and Gene Kelly films. I loved the old vintage-inspired graphics they used. I loved hearing Robert Osborne's introductions. One of my absolute favorite things about TCM right now is the intro used for the late night movies. The music is my absolute favorite part. Sometimes I'll rewind my recording to hear the music again. Other times, I'll purposely pick movies on the DVR that were recorded late at night, just so I can see/hear the Late Night Intro. I love that TCM is keeping classic film alive and that niche communities of classic film devotees have developed in communities as well as online. It is definitely a goal of mine someday to visit both the TCM Film Festival in LA and Eddie Muller's Film Noir Festival in SF. Neither city is really that far away from me, so it's just a matter of saving up that $$. I also love that TCM, like me, continues to be committed to remaining commercial free.
  48. 8 points
    They couldn't do it in February, as everyone's favorite 31 Days of Oscar would have to go away, and no one wants that. 😨
  49. 8 points
    https://www.bbc.com/news/entertainment-arts-49098435 Actor Rutger Hauer, who starred in 1982's Blade Runner, has died at the age of 75. His agent confirmed the star died in the Netherlands on Friday after a short illness. Hauer played the murderous replicant Roy Batty in Blade Runner, which was directed by Ridley Scott and also starred Harrison Ford. The actor's funeral was held on Wednesday. His performance in Blade Runner was by far his most famous role, but he continued acting right up until this year. He also appeared in Sin City, Batman Begins and True Blood.
  50. 8 points
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