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Hey hey! Art Deco was considered "Streamline Moderne" and adapted in the late 50's as "Atomic". Both are interesting, innovative styles, the difference is Moderne is smooth lines & Atomic is more dynamic. Most big design shifts come center decade- 1965-1975 and 1945-1955. I've collected Moderne for years and am so glad others have finally come around to liking/appreciating & buying it! Agreed on dumb "upgrade". Disagree on making it "period" design style. I loved the original TCM charactor logos: They were of their time, but paid homage to classic movie genres. I especially loved the animated ones.

Give Mankiewicz a break! Sure he is no Robert Osborne. Who could be? He was never going to replace Osborne, only succeed him. As is often the case around here, all of this was really Much Ado About Nothing…

"Mother of mercy, is this the end of 'Let's Movie' ?"

From TCM's YouTube: A new message from Ben reassuring the nervous fans. A Special Message from TCM host Ben Mankiewicz - YouTube Also, a story in the NY Times: Turner Classic Movies Is Changing. And Trying to Stay the Same. - The New York Times (nytimes.com)

I just watched the Criterion DVD of Robert Altman's 3 WOMEN '77 spurred on by a post in this thread. It stars Shelly Duvall and Sissy Spacek, two actresses I can't get enough of and in that aspect, loved this movie. Lots of weird emotions played by both actresses fill a rather thin story: Spacek is a new hire at an elderly PT health spa in the California desert. Duvall is her "trainer". There is quite a few scenes showing the employees (all young women) caring gently for their patrons. The lighting of these scenes create a somber mood with the theme of water & twins most prominent. Maybe I'm old, but both actresses looked absolutely gorgeous. AND they both were powerhouse actresses here. I still cannot believe Duvall started acting on a chance meeting, she's mesmerizing in her performance. Both were. The third woman is played by Janice Rule, who is quiet & somber. I kind of gathered these were 3 aspects of one character which kind of sews ups at the end of the movie. Like other Altman films, this one left me somewhat confused and dissatisfied. But the imagery & emotional performances definitely stick with you after viewing. Worth one watch for the acting & production...two watches if you want to understand the story better. Great car in the back ground and Shelly ROCKS her Gunne Sax original dress... ...and she drives a mustard color Pinto!

To address your question I don't think the Internet has increase the number that are offended by something. Instead it just increases the number we know are offended. I.e. when they were yelling at their T.V. or kicking their dog, the general public didn't know about that. This is why I objected to the OP using the term "we", as if he represented the views of a significant portion of TCM viewers. As for your "insignificant" comment: My gut tells me this is a counter reaction to those that are offended by TCM showing certain films. I.e. the OP believes the reaction of the PC activist to ban films (which TCM has faced pressure to do), is over-the-top so they do a counter over-the-top counter-reaction. But I did find it ironic the OP threated to boycott TCM, just like the PC activist they despise. I feel TCM's choice was the best middle ground between these two opposing POV. Notice that TCM has been running their own spots to explain why they went with this middle ground approach. Of course there are those that believe TCM can't have it both ways. Oh well.

What could be more reassuring on this day of change than seeing this gentleman gracing TCM?

Pinocchio (1940) - Doll into boy The Wolf Man (1941) - Man into wolf Cat People (1942) - Woman into cat Beauty and the Beast (1946) - Beast into prince My Fair Lady (1964) - Flower girl into lady Aladdin (1992) - Pauper into prince Black Swan (2010) - White swan into black swan

Thank the Lord.

Dr. Jekyll and Mr. Hyde (1931/1941) The Wolf Man (1941) The Incredible Hulk (2008) Invasion of the Body Snatchers (1956/1978) A Woman's Face (1938/1941) Now, Voyager (1942) Vertigo (1958) (Madeleine/Judy) Tootsie (1982) Superman (1978) Captain America: The First Avenger (2011)

The Best Years of Our Lives is an amazing film and certainly as you describe "one of the great American films of all time". Gregg Toland's black and white cinematography is stunning. As he did in "Citizen Kane", he used deep focus to allow the viewer to watch important action in the foreground and background at the same time without breaking the scene into many cuts. This actually allows the viewer to decide on what to focus on. The artistic quality of black and white film is hard to describe. It simplifies what is seen and draws attention to shapes and contrasting shadows. In "The Best Years of Our Lives", the black and white cinematography makes me think of WWII because that is how we saw this war - not in color. One of the most striking shots in the film is of the abandoned fighter planes being looked at sadly by the vet pilot.

I'm one of those folks who think The Best Years of Our Lives is one of the great American films of all time. Watching it again tonight I was wondering if it would have been as effective had it been shot in color. I was trying to picture it in Technicolor and thinking, no, it's so perfect in black and white. So incredibly moving. Every scene really draws you in and makes you feel something. How can you beat Gregg Toland's cinematography? So sad he died at 44. I wonder how many modern movies would have fared better being shot in black and white?

TIME FOR GO TO BED

"Culture-forward." Political language and corporate language are starting to merge, probably because they share a source in higher education. I wish there were a present day George Orwell to lampoon this, but it's hard to make fun of things that are already kind of silly.

Yes. Why not spent the money on FILMS TCM has NEVER shown??????????

"Then meets now" sounds like a way to impose today's sensibilities on yesterday's movies.

I saw this a few moments ago: https://pressroom.warnermedia.com/us/media-release/where-then-meets-now-turner-classic-movies-unveils-new-look-meet-moment

Ruh-Roh

Other “Pygmalion” stories— of course MY FAIR LADY GIGI SMALL TIME CROOKS THE TOAST OF NEW ORLEANS MISS CONGENIALITY

Yes, it sounds like they are trying to reassure longtime viewers while courting younger, new viewers. From the email today: "Today is a special day for us at TCM. A day where the beat of culture-forward and classic-inspired is evident in all we do and where classic films become a powerful thread tying the past to the present and future. The new look and voice of TCM sharpens our heritage by celebrating classic films through our unique lens of context, curation, culture and connections. We are dedicated to our mission of celebrating the importance, influence and preservation of classic movies. We will continue to do what we do best, but with an eye to connecting the dots between the past and the present as we transport our audiences to worlds, times and lives that are different and far from our own, but all in a familiar place that feels like home and where all are welcome."

TIME TO WASTE MONEY ON NOTHING..... WHERE THEN MEETS NOW .... Except as soon as you say or read NOW it's already THEN.

GIANT YAWN

The Grapes of Wrath (a kindly storekeeper gives free candy to two very poor children) Next: Waterfall

I think it's the best ever made.

I enjoyed Get Out to a certain degree, but I didn't think it was very good. A mixture of horror styles from Hammer to Levin that ultimately didn't gel; even 2AM: The Smiling Man is referenced in the movie. Us is pretty bad and doesn't make much sense. The only good thing about it is Lupita Nyong'o's performance; I think she is very good. I liked The Shape of Water. Not among his top movies, but it is well directed and Sally Hawkins is excellent in the lead role. On the other hand, I didn't care much for Crimson Peak.

I was so looking forward to TCM showing NAZI LOVE CAMP 27 . . . I guess that's now blown all to Hell! I could've even *enjoyed* the 'content warning'! Same with SPECIAL TRAIN FOR HITLER and GESTAPO'S LAST ****. Jeez. TCM is no fun at all! I may weep . . . 😞 😜

John Mellencamp's film on his tour in 2000 dropped today on TCM's YouTube channel. Interesting choice. The companion album was also released today. Apparently he's going to be a guest programmer next month, per this article. http://www.gratefulweb.com/articles/john-mellencamp-release-good-samaritan-tour-2000-live-album

I watched THE BEST YEARS OF OUR LIVES for the very first time just a few months ago. I felt privileged to have seen it. A wonderful story. Compelling characters. I also think seeing it at this point in my life (I'm retired now) allowed me to appreciate it even more.

Anastasia (1956) Also I'm going to answer yesterday's too if that's ok because I'm disappointed I missed it, anyways Peter Lawford is a Virgo (his birthday is September 7th :D)

Yes, amazing. The longest show I was involved with, was Designing Women which started filming at 6 p.m. on Friday and never finished before midnight. Usually it was around 1 a.m. when it was done. This was a 22-minute show that had anywhere from 7 to 10 scenes. Unlike most sitcoms, Harry and Linda (the Thomasons) invested money for it be shot on film, not videotape. And they were perfectionists who wanted it done a certain way which meant painstaking attention to detail. Most of the time after a scene was filmed Linda would ask Harry, or whoever was directing, to do pick-ups on lines she felt were not delivered correctly. She wrote most of the scripts and wanted the actors to deliver it the way she envisioned the characters-- usually verbatim, no improvising. This was not easy when Alice Ghostley guest starred because she was notorious for flubbing lines. If one of her flubs brought the house down, then it might be kept in...but typically they were all expected to be letter perfect. During one filming Dixie Carter had to redo a hospital scene again, because Linda felt the emotion was not coming across correctly. Dixie's character was having a hysterectomy. Dixie opened up the flood gates, the tears came into her eyes, but it wasn't how Linda thought it should be. So Dixie had to regroup, summon the strength to go through all that again a second time in front of the audience. Dixie earned her paycheck that night! Then there were all the touch-ups with hair and makeup in between scenes, so the women continued to look glamorous and professional on camera. I Love Lucy did not have these kinds of problems!

I think the starkness of the subject matter needs the high contrast of dark and light that you get with great black and white photography. Broken men coming home to families who need to summon courage and strength to bring their husbands, etc. back to life. As many times as I have seen this movie, I still cry through most of it -- especially when Harold Russell is lying in bed after Wilma watches him take off his mechanical hands and you see a faint tear curl up out of the corner of his eye. I don't think you could emotionally drain an audience if that was in color! And the last scene, after Homer and Wilma are wed, with Dana Andrews' head turned completely to the side to look at Teresa Wright. Everything in that room has gone dark except for a rather luminous light all on Peggy. Again, it just won't work in color. Ok, there's a couple of cents' worth on the subject. Brian I also think Best Years of Our Lives is easily one of the top 5 movies of all time.

Feeling myself drowned in a sea of television miniseries of late, the proliferation of which as we all know is dizzying, I found it necessary to seek respite and latched on to a couch potato lifesaver ring in the form of the Criterion Channel. I have a monthly subscription but rarely use it and feel damn guilty bout sometimes, I mean $10.99 a month should not just be thrown away. After having tried and failed to get into MANIFEST on Netlix (or is Amazon Prime. HBOMax? Whatever.), I, as I say, looked towards CC for sanity and frantically and hastily ran down the list of films and chose a move to watch, almost without seeing what it was. It turned out to be Les Dames du Bois de Boulange (1945), a film by Robert Bresson. I never heard of this one. Hélène and Jean have pledged their love to each other, but are not engaged to marry. Their love affair allows dalliances with others, but they have promised to put each other first above all others. Hélène has been warned by a friend that Jean's love for her has cooled and fears this is correct, Wikepedia. This is the launching point and contains no spoilers. It is a satisfying little drama. There are implausibilities that would probably make it all but impossible to remake in the modern vein, but Bresson keeps the story sufficiently claustrophobic and the characters sufficiently myopic and it makes a fine go. The story sticks to who the characters are and what they do with only a cursory sense of the outer world. Okay, I've had my little break from the incessant vulgarity of modern television. Now back to GOLIATH. //

Uh-huh, and with this very sentence being said during that corporate brainstorming session. (...and I'll bet whoever said it, got high-fives all around)

Not only THAT here Rich, but all of our monikers around here are now in uppercase lettering TOO! (...NOT as you might have guessed, I personally would have ANYTHING against THIS, you understand) LOL

Only the Lonely (1991) next : eating candy

I look forward to five years from now when everyone gets worked up because the graphics they got used to are getting changed!

Pretty common back in the day for either actors or their agents to stretch the truth about their backgrounds, but these are beyond the pale. Collins became ill late in the series run, but he was still credited on screen until he passed away at age 75 in July 1965. He missed episodes broadcast from January 1964 to May 1965. Supposedly Gail Patrick Jackson knew he watched every week and wanted to keep his spirits up. Long associated with Orson Welles, he doesn't look much different in his Citizen Kane days than he does on Mason. One thing I noticed about Raymond Burr's appearance in watching reruns - in many episodes he had really dark circles around his eyes. It's more noticeable in some episodes than others. That's the thing with the HD-remastered prints of old filmed TV shows nowadays - we can see things that wouldn't be noticed on an old 19 inch B&W set.

Good. cause 1995 is ALL THE SHADES OF F-ED UP!!!! If they went back in time just to prevent that pink macramé sweater of Carolyn’s it would be worth it.

Guest Programmer: Dana Delaney By Roger Fristoe August 25, 2021 2 Movies / September 18 Celebrated actress and TCM friend Dana Delaney joins host Ben Mankiewicz on this evening for a double feature of films she enjoys watching and discussing. New York City-born Delaney had her breakthrough role and won two primetime Emmy Awards for ABC-TV’s China Beach (1988-91). She is also well-remembered for such films as Tombstone (1993), The Margaret Sanger Story (1995) and Fly Away Home (1996). Delaney has played major roles in several television series including ABC’s Desperate Housewives and Amazon’s Hand of God. She has also done some high-profile voice work, notably for the DC Animated Universe, where her roles have included Lois Lane in Superman. Delaney has been a special guest at several TCM Classic Film Festivals and served as guest host introducing films on the network. Interviewed at the 2019 Festival, she said, “I love TCM. It’s my go-to-channel and I have it on all day. Of course, I get nothing done because I get sucked in by the movies. But it makes me happy!” “Obviously I like dark, sad movies,” Delaney has said of her film picks in the past. She remains true to that motif with her choices here, both filmed in black-and-white with a noir flavor. Once a Thief (1965), Delaney’s first selection, stars Alain Delon as an Italian immigrant with a checkered past who struggles to go straight in San Francisco. The strong cast also includes Ann-Margret as Delon’s wife, Van Heflin as a police inspector determined to find him guilty of robbery and murder and Jack Palance as Delon’s scheming brother. Ralph Nelson directs from a script by Zekial Marko. Man on a Tightrope (1953), Delaney’s next choice, is one of director Elia Kazan’s lesser-seen films – an atmospheric drama about a circus manager (Fredric March) in Czechoslovakia who plans to lead his troupe in an escape from behind the Iron Curtain. Also starring are Gloria Grahame as March’s wife and Terry Moore as his daughter. The screenplay by Robert E. Sherwood is based on Neil Paterson’s novel, which in turn was inspired by the real-life exploits of the Circus Brumbach, a troupe that escaped from East Germany in 1950.

You're right about the casting of Douglas in YMWAH. But don't tell Bacall about that: she still wonders why they cast her as a Lesbian.

From my perspective I find it hard to believe that any intelligent person over the age of say 18 or even 14 isn't culturally aware of "blackface" in television and film. Perhaps not aware of Minstrel shows but definitely TV and movies. It's not as though it hasn't been discussed in mainstream conversations since at least the 1960's. Even Archie Bunker was in blackface when his grandson was born. This was to lampoon Archie's bigotry rather than make fun of black people. Then there was Ricky Ricardo in the 1950's when he was dressed in native gear, complete with Afro, when his son was born. I'm sure there are other examples. Even as a kid myself I knew it wasn't right. I understood what it was and why it wasn't appropriate. I guess you could say I took it at face value. We live in a time when people are easily sued and people take offense at things far, far less serious than cultural appropriation. TCM is doing what it has to do to fit the times otherwise they would have been commenting on these films appearances since they went on the air. My two cents. https://www.google.com/imgres?imgurl=https%3A%2F%2Fpbs.twimg.com%2Fmedia%2FEEyWahvWsAAriNr.jpg&imgrefurl=https%3A%2F%2Ftwitter.com%2Frossmcleansec%2Fstatus%2F1174478988049362944&tbnid=SwT-43I2lMFSEM&vet=12ahUKEwiXnMHjxNzyAhVOhJ4KHTzrB9IQMygBegQIARAp..i&docid=vybZ01o6wI_9QM&w=615&h=380&q=archie bunker blackface&ved=2ahUKEwiXnMHjxNzyAhVOhJ4KHTzrB9IQMygBegQIARAp https://www.google.com/imgres?imgurl=https%3A%2F%2F64.media.tumblr.com%2Fa2ff12db646afe40938c8f99235b578d%2Fc65cb0320d47b4fa-fb%2Fs640x960%2F9fa6501838381a9404b22ae0f2008ac540ddb1e6.jpg&imgrefurl=https%3A%2F%2Fpapermoonloveslucy.tumblr.com%2Fpost%2F132144140768%2Flucy-goes-to-the-hospital&tbnid=R2-xSmHlTjTY9M&vet=12ahUKEwjysbmBxdzyAhWClZ4KHVFKDt8QMygFegQIARAb..i&docid=MCiMn7qGNzswCM&w=640&h=472&q=ricky ricardo blackface&ved=2ahUKEwjysbmBxdzyAhWClZ4KHVFKDt8QMygFegQIARAb

Wider view of the same photo:

I agree...we (you and I) both know the original poster is acting like a self-appointed spokesperson of offended right wingers everywhere. These people used to be called the Christian Right but since Trump they very seldom put Christ at the center of what they say and do. My honest opinion.

Jack Palance would have matched the actual looks of Duchin better than Power but then the producers would have had to cast someone other than Kim Novak to avoid the "no way a gal that looks like this would be with some guy that looks like that!". PS: The point being that casting is done to fill the seats and not to be representative of the actual characters. E.g. look at the posters for the film. Clearly they were designed to highlight this beautiful couple.

I welcome the help of benevolent off-worlders.

The Kid with the Golden Arm (1979) Hong Kong/Dir: Cheh Chang - Ridiculous yet entertaining martial arts flick from the makers of Five Deadly Venoms. The emperor assigns Iron Feet (Sun Chien) and his men to escort a shipment of gold to a famine-stricken area. The evil Chia Shia gang, which includes Golden Arm (Lo Mang), Silver Spear (Lu Feng), Iron Robe (Wang Lung Wei), and Brass Head (Yang Hsiung), plots to steal it. The character names should clue you in to what kind of affair you're in for here. It's very silly but never boring, and the fights are a bit bloodier than the norm. (7/10)

Clan of the White Lotus (1980) Hong Kong/Dir: Lo Lieh - Martial arts film that's the third part in a trilogy, following Executioners from Shaolin (1978) and A Slice of Death (1979). The brutal priest known as White Lotus (director Lo Lieh) seeks revenge on Shaolin monk Hung Wen-Ting (Gordon Liu) for killing his brother in the previous film. Hung must practice his techniques in order to defeat the more powerful White Lotus, and he receives some aid from widow Mei-Hsiao (Kara Wai). The overly-choreographed fight scenes become a sort of performance art, heavily laden with humor. Liu and Lieh are both old pros at this sort of thing, and they make for an enjoyable time, although some of the silly sub-plot stuff threatens to bog things down. Also known as Fists of the White Lotus. (7/10)

Deerskin (2019) France/Dir: Quentin Dupieux - Oddball black comedy with Jean Dujardin as an amiable drifter who arrives in a small town after purchasing a vintage fringe leather jacket and a video camera. He presents himself as a filmmaker, and recruits an ambitious waitress (Adele Haenel) to help him make his movie. This short (77 minutes) feature is strange, low-key and a slow burn, but I found it humorous and engaging. Dujardin and Haenel are both good, and I was never quite sure where things were headed. (7/10)

I don't know about anyone else, but I do notice the subtle changes even if I don't discuss it. The TCM database recently had an overhaul that made it more generic and just erased all of the user reviews that had been there for years and they said nothing until it was done. TCM has gradually eliminated all of their classic graphics and wrap-arounds over the past 15 years. Until just a few years ago a human voice would discuss what was playing next and then that was gone. Now they can't even be bothered to show the times it is just "NEXT, THEN, LATER". TCM Underground has shifted from showing cult films from all eras - I actually have an old recording of the silent "Unholy Three" that aired on TCM Underground about ten years ago - until it is almost all 80s horror films now. TCM used to play silents during the day on a regular basis. Now silents are relegated to Silent Sunday Nights except for special occasions. About the best change they have made since 2010- 2015 is to bring Eddie Muller on board. Nothing as awful as what happened to AMC so far, but I do remember in the fall of 2002 watching "It Happened One Night" one day on AMC and the next day it was "Officer and a Gentleman" - heavily censored - loaded down with commercials. And that is the horror I think that is on everybody's mind.