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Never heard of Ben Colorized. What other movie has he done? Sepiatone

A Man Called Adam is a terrific tribute to Cicely Tyson. Whereas she has only a supporting role in The Heart Is a Lonely Hunter, in A Man Called Adam she has the romantic lead opposite Sammy Davis, Jr. Davis plays a very talented but very messed-up musician, and Tyson plays a civil rights activist who can't help getting involved with him. Her performance made me think not about acting but about real emotions and real life.

Two MARION DAVIES films were on this weekend as a mini-salute to MANK. They were preceded by CITIZEN KANE with Ben Mankiewicz interviewing Amanda Seyfried, who plays Davies in MANK and is a likely Oscar nominee for her performance. She talks about her interpretation of Davies.

There are four or five different editions of this movie. I saw the one streaming on Tubi, where it is listed as Black Sunday, which I believe is the original version meant for English speaking audiences. It has a run time of 87 minutes and is known by fans as the European version. Tubi gives it an MA rating, though no one smoked in it that I recall. It was made in 1960, so there couldn't be much that one might consider pornographic. Why the MA recommendation? Probably because of the prologue, an extended description of which now follows. (Scroll to "So yeah ..." for a 3-minute read.) It opens with a night scene in black and white as a masked shirtless man heats an iron in open flame. The narrator tells us we are in the 17th century, when "Satan was abroad on the earth, and great was the wrath against those monstrous beings thirsty for human blood to whom tradition has given the name of vampires." The camera pulls back for a wider view and we see two other masked shirtless men. They are executioners. There are several more figures, robed in black, many holding torches while standing amid dead wood on a foggy might. One among them, a bearded man who stands staring across the screen, appears to be in charge. The iron is then pulled from the flame, white hot, and the executioner holds it aloft as he and his two executioner's helpers walk toward a girl who is bound by ropes with the front of her body against a large wooden slab, which is set like an easel at a steep incline. Her dress appears to be open at the back. In the near background and opposite her is another such slab, with another such victim, a man, also bound but facing forward and wearing a garish mask. "But before putting them to death," the narrator continues, "human justice anticipated divine judgment by burning into the flesh of those damned ones (pause) the brand of Satan." As one helper holds the girl still while the other pulls aside her long black hair to expose her back, we hear her cry out as the iron is pressed to her flesh, and then, just under the sound of the whirring wind, we hear a subtle but audible sizzle. The iron is withdrawn and we see on the girl's flesh a large weeping wound in the shape of the letter S. But that's not all. The girl turns her face toward the camera to listen to her accuser, the bearded man in charge. His speech tells us that her name is Asa (pronounced Ozza), daughter of the House of Vajda. (VY-duh.) We learn that the robed figures around him are the High Court of the Inquisition of Moldavia, and they have declared her guilty. The bearded man says that he is both a son of Prince Vajda, and the Grand Inquisitor, and as such, he says, "I condemn you." Then he adds, as if on a personal note and with particular disgust, "And as your brother, I repudiate you." Stone cold. Asa has done too much evil, he says, including her monstrous love for Igor Javutich, "a scourge of the devil" who must be the lifeless guy on the other slab to whom the camera cuts to give us a better look at the the devish mask he wears. "Cover her face," the Inquisitor orders, "with the mask of Satan." We get a close shot of an iron mask, matching Igor's, laying beside chains against the trunk of a long-dead tree, one of many in this scene. The executioner picks it up and as its inner side is turned toward the camera we see it is fitted with long spikes. "Nail it down! May the cleansing flames reduce her foul body to ashes! so that the wind will obliterate all trace of her existence." The helpers turn Asa's body to face the executioner as he approaches. Asa shudders at the sight of the spiked mask, but anger gets the better of her fear and she yells, "Griabi, it is I who repudiate you! And in the name of Satan I place a curse upon you." No witch hunt, this. She is definitely Satan's girl. As a storm builds she promises revenge and says she will live on in the blood of Griabi's sons, and the sons of his sons, to exact her revenge. "They will restore to me the life that you now rob from me!" The mask is held in front of her face and we hear her muffled voice promise to return. The executioner approaches with a long-handled mallet and, at the signal from the Inquisitor, he applies a single, forceful whack! A spurt of blood appears over the top of the mask. Another through an eye hole. A close square shot of the mask fills the frame and the title appears in dripping letters: "The Mask of Satan." So yeah. Some pretty fornicated up feekle matter. And there is more to come, including eye-gouging, tiny scorpions crawling on a partially decayed skull, and immolation. It looks like a Universal-International picture, but for the dubbed audio and the not-at-all-subtle gore. The credits tell us it is in fact a Galatea production of a Jolly film - and yes the irony is rich. Our leading lady is identified, though her name is misspelled, as "Barbara Steel." After the credits, a heavy rain ("As if by the demon's command" the narrator observes) prevents Asa from receiving the cleansing flames that would reduce her foul body to ashes so that the wind can obliterate all trace of her existence - and that turns out to be important. Instead, "Asa the witch" is placed in the tomb of her ancestors, while Javutich is buried in a grave reserved for murderers. The story that follows is set two hundred years later in the mid-1800s. Barbara Steele plays not only the evil Asa but the good Katia, devoted daughter of Prince Vajda, and love interest of young physician Andrei Gorobec, played by her fellow Brit, John Richardson, and it is as Katia, in a strikingly dramatic visual at the moment of their meeting, that we next see Barbara, in the scene just after Gorobec's mentor, Dr. Kruvajan, has inadvertantly and unknowingly set into motion the chain of events that will allow Asa to exact her revenge. This is Mario Bava's debut as director and he chose an 1835 story by Nikolai Gogol, "Viy" as his subject, but after many ideas and changes were suggested, with one idea probably prompting another, the end result bears no resemblance to the synopsis I read of Gogol's story, and though elements such as transformation and reincarnation are common, Bava seems to have added the idea of rejuvenation and revivification through spilled blood to wedge his movie into the vampire repertoire. The cinematography is credited to Bava, but Armando Govoni (billed as 2nd assistant) told Bava biographer Tim Lucas that the real director of photography was camera operator Ubaldo Terzano. It features rich contrast, deep-focused black and white shots of detailed sets, eerie atmospheric outdoor scenes, and period detailed interiors, all beautifully lit, and shot with graceful camera movement. Bava is said to have insisted on black and white in order to allow for the use of red and green filters to achieve the transformation effects. Musically, the score features a recurring romantic theme played by piano and strings that is more fitting for mid-20th century romance than gothic horror. The incidental music is appropriate if not memorable. ELDA, for the English Language Dubbers Association (which is a fun name for such an association) is credited for the dubbing, which is not horrendous but is at one point funny, when the coachman tells his passengers in a mild New Yorker accent "Its not so easy to frighten me. I fought through the whole war against Napoleon." Bava wanted British leads for a more legit Dracula movie vibe and the cast spoke their lines in English during production, which was then dubbed with American accents for this version. Oddly, we never hear the true voices of the English leads. Much is said about an element of eroticism by many who write about this movie, but I didn't find any. Barbara is pretty, of course, poorly bewigged though she is, but the camera isn't exploitive of her and any sexual overtones remain just that, implied but never delivered, unless one can take from the torture a little BDSM titillation, and I'm sure some can, though that's probably not what most reviewers mean by eroticism. Or maybe it is, I don't know, but there's not much skin anyway. (There IS a full sized nude portrait of Asa discovered toward the end but even that is rendered crudely, more an illustration than an artistic depiction of the subject.) Is it a vampire movie? A witch movie? I'm not sure even Bava and his fellow story crafters really settled that question, so they used elements of both. It is eerie and damn good looking, and the story makes sense ultimately, staying true to its own artifice. If you don't know it, take a look. You may wince at the gore, but the movie's look and sound keep it surreal.

Just think. With enough HD/SD permutations, the possibilities could be endless. Infinity Mirror I know, not much help...

I thought it stunk! Came off like the tv movie it was (except for the violence) The whole Cassavettes/Angie story was really boring. And Angie (though I like her) is no Ava Gardner. The changes they made to the script didnt help either (auto racing?). It was fun seeing Reagan playing a villain and slapping Angie around, and Marvin and sidekick were good, but I was mostly bored. Poor Virginia Christine! She should have offered them some coffee! I didnt see the final double cross coming, but otherwise pretty predictable. Angie really got a workout in this film! (LOL)

I might have to turn in my Noir License. I literally did not know until now that the 1965(?) version of THE KILLERS is a remake of the 1946 version. I truly thought they had nothing to do with one another except the title. I hang my head in shame. edit- not to blow the thread up but I have always avoided it because of RONALD REAGAN. Take that as you will.

Hunt, Laura, played by Gene Tierney in "Laura"

I'd seen this version of The Killers once before. It was many years ago, and all I could remember about it was I didn't much like it. What a difference a decade or two can make. This time around, I liked it a lot. I was totally engaged with it from beginning to end. In fact - sacrilege ! - I liked it better than the 1946 version. For some reason, I always fall asleep watching the earlier version. I always like Burt Lancaster, and for that matter, Edmund O'Brien. But beyond that, the classic The Killers has always struck me as kind of "meh". Sorry, everyone. I think my main problem with it is the Ava Gardner character, who remains a cipher throughout the entire film. Yes, she's mysterious and beautiful, but she's completely one-dimensional. We get no insight into who she is or why she makes the choices she does. I've never even thought she seemed all that enamoured with Burt, not even from just a physical perspective. Not so with the 1964 version. Angie Dickinson is a much more interesting character than Ava's. We get a lot more of who she is - even if it's all lies, as is apparently the case, judging by the ending - you still get a lot more scenes with Angie, and dialogue from her than you ever do with Ava. When Ava betrays Burt, it's not that much of a shock, since (to me, anyway) she never seemed that interested in him in the first place. But boy, Angie really makes us believe, at least for a while, that she is truly in love with Cassavetes' character. She's also luminously beautiful. I'm not a huge fan of 60s films, partly because the colour looks odd and sometimes jarring to me. But in the case of 1964's The Killers, the colour really works - you can see how brown Angie's eyes are ! And she doesn't look harsh, - so many woman in 60s movies have hard-looking make-up and teflon hair. I also really enjoyed Lee Marvin's and Clu Gulagar 's (quite a name, that) performances. I agree that Clu was really entertaining, both scary and funny, as he gargled some cheap bourbon or played with toy cars or spritzed some bril cream spray on his hair. The combination of psycho and silly really did make him, as Eddie said, an amusing character to watch. And of course, just looking at Lee Marvin's face could freeze anyone's blood (remember his portrayal of that cruel thug in The Big Heat ?) Anyway, I just found the whole story more interesting than the 1946 one. And I wasn't expecting to - as I mentioned, the first time I saw the Don Siegel version, I didn't like it at all. Guess my tastes or something has changed over the years. ps: I see that once again Eddie is showing a repeat on Noir Alley. For sure he's already shown The Killer That Stalked New York before. I just wish he'd come clean and tell us he's started doing this, and maybe explain why. Although it seems I'm the only one who's bothered by it.

The mystery elements of any of the Thin Man films is always of minimum interest to me. It's also such a cliche when Nick gathers all the suspects to reveal the killer's identity. It's the light hearted banter and chemistry between Powell and Loy that brings interest to these films, even in the later lesser efforts. The first two films in the series were unquestionably the best, with Powell in peak form in both films. I may lean slightly towards After the Thin Man, the second in the series, as my favourite. The physical comedy was at a real peak in this one, with Powell in bathrobe in one scene chasing after Asta who is carrying something he wants (I forget what). Powell makes himself look quite silly when he runs in that robe. Broad comedy appealed to the actor, while Loy, by beautiful contrast, was more reserved. The second TM also gave Asta more screen time, along with Mrs. Asta and a dark haired Scottie that brought out Asta's barkie jealousy. The third TM film, Another Thin Man, while respectable enough as entertainment, also marked the beginning of the series' decline in quality. 1936 was unquestionably the peak year of William's Powell career, not only with After the Thin Man getting released but My Man Godfrey (and an Oscar nomination for him), Libelled Lady and The Great Ziegfeld which, while not a particularly outstanding film by modern standards, perhaps, did enjoy the status of being named Best Picture at the Oscars.

1964

Most likely reason is the source material they used for that airing was once formatted for "standard definition", then that was recycled and later formatted for "widescreen". See my diagram below. This is the first two rows of this diagram, scenario #1).

My impression of the 1964 version of The Killers is mostly that it looked like what it was, a made for TV movie. Lee Marvin was good, but then he pretty much does the same character in most of his movies and TV shows. I did enjoy Clu Gulager's performance, but it was a minor role. I like Angie Dickenson, but this was not one of her better roles. She wasn't bad, she just didn't have that something extra she would bring to roles later on. Read somewhere that John Cassavetes was not first choice and actually did not know how to drive very well. This is type role where Paul Newman, James Garner or Steve McQueen would have fit better due to their experience with racing cars. As for Ronald Reagan, mediocre at best just as any role I have ever seen him in. The 1946 movie was far better in every aspect.

Robert De Niro in Raging Bull (1980)

I am new to here, so HELLO! I watch almost nothing but TCM! Anyway, today is my birthday too! So I'm in GREAT company lol) ~»»»» I'm not 100, but feel like it in my mind, due to my interests in music, Television shows, celebrities, and movies. Just my lifestyle in general! 🤠 🎼🎹🎙️🎻 🎬📼🎥📽️ 📺 Sincerely, SaraJane. P.S. Would love to chat with people who like the things I like. I've been feeling down lately, due to a life altering experience and need people who are like me. To get me out of my funk.

Monday, February 1 11:45 p.m. The Conqueror (1956), With the Duke as Genghis Khan!

I watched a rare showing of Le Dernier Tournant 1939 with Michel Simon & Fernand Gravey several months ago,it is the first filmed version of The Postman Always Rings Twice,it is very good and would be very interesting to show,TCM should be able to get it.

If you haven't seen A Man Called Adam (1966), which is right after Sounder, you'll see a fine if little-known film with an excellent cast topped by a stunningly real performance by Cicely Tyson. Previously I had not had a strong choice for Best Actress of 1966, but I do now.

CAESAR AND CLEOPATRA 1945

1932 w/Loretta Young ..

I see it's on 2 Feb. at 8:45pm Pacific. Not part of the tribute, but better than nuttin.

That's the one, Peebs. Good for you. It's all yours.

1993

Haha. Can you imagine William Shatner giving the low-down on someone's grape laxative-induced overdose? He. Exploded. All. Over. The. Bathroom. Purple. Carnage. As. Far. As. The. Eye. Can. See. Here's. The. 9. 1. 1. Call.

A Bridge Too Far (1977) - Also based upon a book by Cornelius Ryan Next: The Bridge at Remagen (1969)

In Harm's Way (1965) Next: The Longest Day (1962) two starring Tom Tryon

Judith Anderson is also great in The Furies, and I love Charley Grapewin as a judge in Johnny Apollo.

Kirk Douglas (natch!) Next: someone who portrayed a mad doctor

Ms. Tyson was a major part of my childhood growing up. He level of acting skill was what I thought was the norm because that was all I knew. Until time passed and I realized just how special she was. What she did with those roles to make them iconic and stand the test of time. I'm amazed she was so active for such a long time. I even caught her on an episode of "To Tell The Truth" as one of the liars 🙂 She definitely will be missed. Its good to see TCM give her such a tribute. She certainly deserves it.

Forever Amber

A Child Is Waiting

The first thing I remember seeing Cicely Tyson in was "The Autobiography of Miss Jane Pittman". Not only was her performance riveting, but I thought the makeup job they did on her was outstanding as she went from a young woman to a centenarian.

Cicely Tyson Opened Up About Her Relationship with Her Daughter in Her Memoir: ‘My Beloved Princess’ https://people.com/movies/cicely-tyson-opened-up-about-relationship-with-daughter-memoir/

Sunday, January 31 6 a.m. Gabriel Over the White House (1933). A crooked President reforms mysteriously. Pure fantasy.

I had posted something about this a while back because I have the same issue for the TCM on demand content on my cable system. I will try to summarize: - on my cable system, the on demand content is separated into 2 categories, HD and SD - the HD content fills a 16x9 standard HD TV screen as expected - the SD content is "full screen" which is for older 4:3 content (row 4 of MCOH diagram). There are bars on the side. - for some reason, all TCM videos are only available as SD content. - TCM adds 16x9 intros to much of their content, so the default TCM aspect ratio for all videos is 16x9. Classic 4:3 films fit into this frame with bars on the side. - since the TCM videos are part of the on demand SD directories, this content is shown in the 4:3 frame, which applies a 2nd level of letterboxing. So I end up with a picture like this: This may be what is happening for you as well. The other problem with using the SD content format is that it is lower resolution, so even if you are able to zoom in the picture quality will be degraded.

Hugh Jackman and Anne Hathaway lost weight for LES MISERABLES

I would love for TCM to show Calcutta (1947); this is the only Ladd 40s noir\crime film I haven't seen. Also has the always interesting Gail Russell, and pairs Ladd again with William Bendix.

Next: Richard, Gene and Jean

Just Shoot Me

Our sixth western star is DALE EVANS A true beauty. She appeared in countless B westerns. But is best known as the wife of Roy Rogers. They were together for many years.

Postcards from the Edge (1990) Next: R. A. Dick

Fallen Angel (1945).

Borchers, Cornell

Andrews, Judith -- Mary Astor in Romance of the Underworld (1928)

I watched Cain and Mabel and Page Miss Glory last night, and I must admit that I was underwhelmed by Marion Davies. I couldn't believe how little chemistry there was between Gable and Davies in Cain and Mabel. I don't think I've ever watched a move with two strong leads that was less pleasant (although Gable in gym or boxing togs is worth a look). The "musical" numbers just seemed to be set pieces to show Davies off in a variety of white costumes surrounded by castoffs from Busby Berkeley movies (including recycled Harry Warren tunes); all the "dancing" was in long shot and clearly doubled. I liked her better in Page Miss Glory, especially when she's the maid. I think she was more appealing without the bleach blonde do and the massive eyeliner and false eyelashes; also, the Warner's cast that includes many of the "usual suspects" helps it along (Dick Powell as a dumb aviator is a hoot), and Pat O'Brien can make that dialogue go a mile a minute. She does have a certain amount of comic timing, but nothing near some of the queens of screwball comedy at the time -Carole Lombard, Jean Arthur, Irene Dunne, Claudette Colbert, etc. I remember seeing her in the silent When Knighthood Was in Flower and being charmed by her, especially when she "plays" at being a boy. I recently saw Mank and feel Amanda Siegfried was miscast -- too young, almost ingenue territory -- Davies was near 40 when she was making pictures in 1935-36, and in the later part of Mank, she has to be in in her mid-40s, but Siegfried still looks like a blonde starlet.

PERSONALLY (and thankfully), I'm "regular", so I have no dog in the great "laxative flavoring" debate. You really probably don't want to make a laxative too delicious though, lest someone start chowing down on em like they're Starbursts and ending up on an episode of RESCUE 911.

The Mark of Zorro (1940)