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Showing content with the highest reputation since 07/09/2019 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. 13 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.
  4. 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)
  5. 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.
  6. 12 points
    My father was scared of The Giant Claw. He was an interesting man. The one creature that scared me:
  7. 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).
  8. 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)
  9. 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)
  10. 11 points
  11. 10 points
    "Woke, woke , woke. This woke talk's spoiling all the fun. I get so bored I could scream."
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 10 points
  17. 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):
  18. 10 points
    Here are some of my favorite originals currently hanging on the wall... .
  19. 10 points
    I have mostly fine art prints on the wall, but I did decopage my dresser with TCM Now Playing Guides
  20. 10 points
    Wouldn't you know it. A colorized 3-D version of Hot Spell is on the November schedule. Damn.
  21. 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.
  22. 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?
  23. 9 points
    Now this is reminiscent of an old movie storyline: The filmmaker Sergio Leone and Morricone were boyhood schoolmates in Rome (circa 1937).
  24. 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
  25. 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.
  26. 9 points
    Not to get off track here, but I'll take this moment to give a shout-out to Speedracer5, who created this thread just over 5 years ago (anniversary was actually May 22). Here we are 5 years and 937 pages after her first post, and this thread is still going strong! 😀👏💪
  27. 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.
  28. 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)
  29. 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.
  30. 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:
  31. 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.
  32. 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.
  33. 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.
  34. 9 points
    I disagree. I think Alicia Malone is excellent and I enjoy watching her introductions. I also love her accent. Alicia is a classic film fan and that is apparent not only in her introductions, but outside of TCM with her books and podcast. I think TCM has put together a very good group of hosts, with Ben Mankiewicz, Alicia Malone, Dave Karger, Eddie Muller, and Jacqueline Stewart. I just saw Stewart for the first time this past Sunday when I watched the series of Harold Lloyd films. I thought she did a great job and I look forward to seeing more from her if Silent Sunday Nights is showing something interesting. My husband and I are easing into the world of silent film by starting with the comedians as those films are the easiest to follow.
  35. 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!
  36. 9 points
    Rumor has it that having a low reputation on these message boards can negatively impact one's credit score.
  37. 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.
  38. 9 points
  39. 9 points
  40. 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/
  41. 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.
  42. 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.
  43. 8 points
    One of the more moving movie-watching experiences that I've had in the past few years was watching the 1968 Ingmar Bergman film Shame for the first time. Von Sydow stars with Liv Ullmann, and they play a couple whose marriage is falling apart. It's the kind of heavy subject matter that Bergman excelled at, but that can be a dreary slog if one is in the wrong mood. However, the movie surprised me when the story took a total turn when war breaks out in the couple's unnamed country, and they are soon swept up into the conflict in ways that they are not prepared for. It was meant to reflect the sentiment of those countries caught in the middle of the Cold War, when death could come at any moment through no action of their own, purely at the capricious whims of those in other nations. It's perhaps the most powerful film I've seen on that subject, and it works largely thanks to the performances of Ullmann and Von Sydow. Max von Sydow is one of the actors whose work I'm trying to see all of, and I've seen 54 of his films so far. That's less than half, so I have a lot more to look forward to.
  44. 8 points
    Wait...so this is interesting, you've actually turned it around so that people who write properly and expect others to do the same are the dumb ones who "don't have a brain", and the ones who write as you do -- not observing any of the generally accepted practices around writing -- are the smart ones. Yes, why should caps or writing words out in full be necessary? I know it's a losing battle, and that the way you write is probably soon going to be the norm, and that people like me who expect and value proper writing will become dinosaurs (probably are already.) After all, clearly the way you write and the way you think everyone "with a brain" writes is the way people text. Writing clearly and legibly is not "brain surgery", nobody said it was. It's just kind of normal. Probably not for much longer, though.
  45. 8 points
    Oh, aren't you so "woke" ! Bet you're proud of yourself, making an accusation like that about someone who's now gone and will never be able to defend himself. If you really feel the need to bring this nasty allegation up, at least have the grace to do it on a different thread, not one that has been started to honour this great actor.
  46. 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
  47. 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.
  48. 8 points
    None of my posters are original from when the film was released, they were all inexpensive purchases online. I have: This French Casablanca poster that's mounted on some type of canvas board, but it's not canvas. I also have this black and white Casablanca poster, but its not hung up at the moment. I have this poster. It's not particularly because I'm a super fan of Breakfast at Tiffany's (I do like the film), I just really liked the overall aesthetic of the poster. I also have this poster, because I think it's funny. I want to get the Amazing Colossal Man poster and put the two side by side. I haven't hung this one up yet, but I have this poster that I purchased to put in my bathroom to go with my Singin in the Rain shower curtain. I haven't figured out what type of frame and if there's anything I need to do to waterproof it so it doesn't get ruined by the water in the bathroom. I got this poster at Disneyland and I need to have it framed and mounted. I have this Disneyland poster mounted next to my front door. Right now, my husband and I want to get a couple retro Disneyland posters so we can put them side by side above our couch. I see so many amazing movie posters, it's just a matter of figuring out where I would put them.
  49. 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.
  50. 8 points
    Three on a Match has more plot than most of the two-and-a-half-hour movies you can see these days.
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