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I love the old TCM logos so much, I make glass charms of them. This "classic movie" charm bracelet is my talisman for film festivals. Hard to photograph because of the glare, but the first one is the cameraman & the center one is the girl.

Appearing to be "In Society" Pocketful of Miracles (1961) My Fair Lady (1964) Breakfast At Tiffany's (1961)

La Grande Illusion (1937) - Erich von Stroheim as Cpt. Von Rauffenstein Pride and Prejudice (1940) - Edna May Oliver as Lady Catherine de Bourg The Importance of Being Earnest (1952) - Edith Evans as Lady Bracknell War and Peace (1956) - Anita Ekberg as Princess Helena Kuragina The Prince and the Showgirl (1957) - Laurence Oliver as Charles, Prince Regent of Carpathia An Ideal Husband (1999) - Rupert Everett as Lord Arthur Goring

Holiday (1938) The Philadelphia Story (1940) / High Society (1956) The Magnificent Ambersons (1942) The Great Gatsby (1925/1949/1974/2013) The Exterminating Angel (1962) The Leopard (1963) Dangerous Liaisons (1988) The Age of Innocence (1993) Ridicule (1996) Gosford Park (2001)

If it's such a dreary chore, why are you even on this dreary message board???

My first thought was “A Couple of Swells” from EASTER PARADE

Whether you find it offensive or not is your own opinion. We are all entitled to one. But, this is an issue that does exist in the black community. I can remember when a relative of mine was searching for a house to buy in the Los Angeles area. Most people they encountered assumed they would be moving to a well to do "black" neighborhood that is well known around here. He responded: "We aren't moving to a nice black neighborhood, we're moving to a nice neighborhood" Its not so much that the son feels superior to his father. Its that his father was of a generation that was not allowed to be successful. Certainly not allowed to marry a white woman. He would be called "too big for his britches", and be told to "learn your place" or much worse ! His father couldn't relate to living in any society other than the one he had known all his life. I see the father as merely trying to protect his son, as any good father would. But, the son was telling his father that times were changing. He was allowed to dream bigger than his father was able to. It was a major generation gap moment in cinema. By the way: Is that really so bad ? I think this is a tradition that should return. I live in a city where 2/3 or marriages fail. Maybe having the family vet a child's fiance before matrimony could help. It certainly couldn't hurt.

Two's Company, a British sitcom that ran on London Weekend Television (franchise is now part of ITV) from 1975-9, and later broadcast nationwide. Starring Elaine Stritch as an American ex-pat author living in Chelsea and Donald Sinden as her butler/factotum, the show derives its comedy from the culture clash of a brash American living in London going head-to-head with her stiff-upper-lip butler. Stritch's character seems to have a love-hate relationship with London and the UK (and her butler). She says she left the US to escape the rat race, yet complains about how slow, bureaucratic and stuffy the UK can be at times. I haven't seen this since the 1970s when our local PBS member station ran it. I enjoyed it then, but can appreciate it even more after living in London for a few years. Available on IMDb for free (no registration required, either), it is interrupted by commercials. Unfortunately, they don't place them at the original LWT commercial break (which is in the middle of the show). So far, they have appeared in two blocks, each block being about 2 minutes long, but they pop up rather randomly, interrupting the flow of the show. This is fairly common with the free streaming sites. Recommend it if you're a fan of British sitcoms, interested in the US/UK culture clash (as it was in the late 70s), or a fan of Ms. Stritch.

There's a book called British Cinema of the 1950s, and on page 141, it states: However, Hammer could not make large profits from British showings alone. It co-produced Cloudburst (1951) with Alexander Paal with an eye to the American market, and cast Hollywood actor Robert Preston in the lead. United Artists agreed to distribute the film, though they had no production input. Cloudburst is the first Hammer B-feature aimed at the Americans, and it is also the first one in which class issues have been rendered invisible. You could surmise that he was cast in order to have a familiar American name for the US audiences, and perhaps Hammer couldn't afford to get a bigger name from the US at the time. Preston was pretty much relegated to B pictures at home at this time too.

The new logo is definitely a misstep for TCM. As has been mentioned here, you don't fix what isn't broken. One suspects this new logo is supposed to appeal to a younger demographic. It is possible they used a focus group of under thirty year-olds and asked them which logo they liked best. Coming from years of experience in logo design, I have to say the new TCM logo is rather poor. Its animated "C" is unclear what it wants to tell us. Without animation the "C" seems out of place and leaves the logo somehow unbalanced not to mention telling us nothing about what it represents. Its stripped down san-serif type loses any connection with classic film and it's boring to boot. Tis a sad day for TCM and for logo design in general.

Without You I'm Nothing (1990) Coming right on the heels of TCM's semi-rebranding to, I guess, try to appeal to "woke" audiences in 2021, along comes Without You I'm Nothing, a stand-up film of sorts that seems to be vying for the title of most "woke" film of 1990 (although 2021 wokesters would be less than thrilled about a seemingly positive reference to old drinking cups that looked like black women in a stereotypical way). I guess that makes it the perfect TCM Underground showing for the first week of the remodel, but it's a strange, disconcerting film. It stars, Sandra Bernhard, a comedian who at various times in the film describes herself as a Communist, Jewish, Bisexual Feminist, who is likely best known for playing the kidnapper obsessed with Jerry Lewis in The King of Comedy, and for her recurring appearances as a lesbian friend of the leading lady on Roseanne in the 90s. Bernhard cannot be mistaken for anyone else with her barbed skewerings of everyone including herself and her angular face which differs in appearance even based on how light hits it. She's a strange sort to watch; she's really arrests the attention, she has a good speaking and singing voice, but everything else seems very off kilter. The film finds her smashing many public symbols of the time (this is the type of film that likely made some heads almost explode on its first release), and finds her careening between egomania and self-hatred. She jokes, she sings, she rants, she strips, she has sex, she generally is meant to confront the audience as to how they feel about her. We have looks in of mockumentary, and strange cuts to a lesbian showerroom scene and to a black woman who leaves Bernhard an R-rated insult on a tablecloth at the end of the film. At times, this film does seem to work, unlike most other stand-up in concert films, the camerawork is not static and does not rely on a laughing audience's reaction shots (the onscreen audience in this film just simply stares silently at her), and at times, her personality is enough to seemingly make it work. But in the final 20 minutes it becomes pretty overbearing and preachy, and the ending, having her draped in an American flag, until she takes it off to reveal her standing in only the tiniest thong and G-string imaginable as she does a 3 minute nude dance and burlesque number to the entirety of Prince's "Little Red Corvette" while the camera slobbers over her (admittedly good) physical physique is extremely embarrassing, simultaneously both self-indulgent and demeaning at the same time. I'm still not sure what to make of it all. Except maybe shock that this in-your-face cutting -edge comedienne once had a cameo in a Sesame Street movie. After seeing this, she seems like the least likely person to be hobnobbing with Oscar the Grouch.....

Margaret Dumont was famous for representing high society with the Marx brothers The Unsinkable Molly Brown went to great lengths to impress high society Alice Faye mocked high society in On the Avenue Philadelphia high society Staffords want nothing to do with Kitty Foyle Montgomery Clift longs to break into high society in A Place in the Sun

At the top of the list would have to be La Femme Nikita. A stylish action movie that made me a lifetime fan of Luc Besson. A French film for people who think they don't like French film. Wings of Honneamise is about putting the first man in space in a world that's not quite our own. The world they created for the film is the real star. Yes, I have a weakness for beautifully crafted fictional worlds, and for animation. April and the Extraordinary World is set in an alternative steampunk France. One that doesn't get nearly enough attention is Technotise: Edit & I. Serbian cyberpunk with an interesting style that is kind of a mix of Japanese anime, and more traditional Eastern European animation.

That was Fistic Mystic (1969) , it ended up being the final Looney Tunes cartoon.

2564--Private Hell 36 This is a solid police detective noir that I saw a couple of years ago. But I picked it to watch because Ida Lupino and her second husband, Collier Young wrote it. But Ida doesn't direct, Don Siegel is the director. Keeping it All in the family Ida co-stars with her third husband and current one at this time, Howard Duff. And the baby you see in the scene with Howard is their child Bridget. Also co-starring are Steve Cochran and Dorothy Malone. 2563--"Under Capricorn" is simply an awful Hitchcock film that I saw years ago, but I've liked nearly all the other films that he made in the 40s and 50s.

two thousand one hundred eighty-fourth category Society types IN SOCIETY (1944) JIGGS AND MAGGIE IN SOCIETY (1947) THE DISCRETE CHARM OF THE BOURGEOISIE (1972)

I find it hard to believe that anyone who watches TCM would stop viewing just because they changed the logo.

From September 4-7, 1921, the feature at the Poli was The Great Moment, directed by Sam Wood, and starring Gloria Swanson as Nada and Nadine Pelham and Milton Sills as Bayard Delavel. The film was released on September 4, 1921. Various sources say the length was anywhere from five to seven reels. Only a fragment remains. Plot: Nadine Pelham is the daughter of Sir Edward Pelham, of the English aristocracy. Nadine’s mother Nada was a Russian gypsy. Her father picks the man whom Nadine should marry, a dull Englishman named Eustace. Nadine, her father, and Eustace travel to America to look over family property. En route, Nadine meets an American mining engineer named Bayard Delavel, who works for the family. Nadine visits the property, but when she is returning to her hotel, she is bitten by a rattlesnake. Delavel uses his knife to open the wound, and sucks out the venom. He takes her to his shack and gives her whiskey. Nadine’s father finds the pair there and believes this is a compromising situation. He demands that Delavel marry his daughter at once. Explanations prove futile. The ceremony takes place, and Nadine is taken to the hotel under a doctor’s care. When her head clears from the liquor, she argues with Delavel, and he arranges for a separation, believing she does not love him. Nadine’s father takes her to Washington D.C., where she carries on a flirtation with a man named Hopper to spite her father. She agrees to marry him, but on the night of a ball to celebrate the engagement, Delavel arrives. Nadine’s father realizes that Delavel is the right man for his daughter, and the two are united. Screenwriter Elinor Glyn composed the scenario under the working title “The Sheltered Daughter.” Glyn also appeared uncredited in the film. She is shown below, with Milton Sills: The photo below shows some of the cast receiving direction from Sam Wood, who is at right with his hand on the railing of the observation platform. The woman standing near center is Julia Faye. Moving to the right are Gloria Swanson, Milton Sills, and Elinor Glyn: Additional stills can be found at the IMDb listing. Motion Picture News called the film “first rate entertainment,” adding “there is no doubt that it is going to please the majority of audiences everywhere.” Exhibitor’s Herald also praised the film, writing that it had “many spectacular features and the work of a skilled cast places it on a high plane as entertainment.”

Ah A HIDDEN BRAIN fan are we? I have a neurological issue that absolutely manifests itself when watching movies. Especially if I fall asleep even just a few seconds. Just about every movie fade away in a month or so, UNLESS there was some big dramatic element, like Kirk Douglas screaming: "GET OUT! Sometimes I like being cheap!" in The Bad & The Beautiful. Unforgettable. So I go around with one singular vision representing the entire story and no memory of the story or how the scene fits in. All I retain is the feeling I experienced watching the movie. A re-watch a few years later can be a total joy like seeing it again for the first time. Longer, dramatic movies like THE LONGEST DAY and THE BEST YEARS OF OUR LIVES are like that. Or as is often the case of comedy, the entire thing falls flat because I'm in a different frame of mind. I couldn't believe I ever laughed -hysterically so- the first time, when re-watching TOMMY BOY. (Earlier stated neurological issues🤡)

Sunday, September 5/6 3:30 a.m. Aparajito (1956). By Satjayit Ray.

Regarding the Kate/Spencer rumors. Maybe both could be true. If Kate was bi/lesbian, doesn't mean she couldn't still have loved Tracy. Not saying she was, but there were plenty of lavender marriages or marriages of convenience in the old days in Hollywood. I could never picture Kate having sex with anyone (of either sex). Just something about her chilly personality. And in old age she came off as rather prudish in interviews. Was it all an act? Who knows. I don't think anyone could come up with enough evidence to prove these rumors. And I really don't care one way or another.

Oh my God, do I need a distraction from all the poisionous dialogue on General Discussion message boards. Trump-fueled hatred of everyone who's not old, white, heterosexual and male has had its sway over way too many people on here, IMO. Time to play a fun game. As usual, I can't identify any of the early ones. 2568 is Children of the Corn? No, I haven't seen it. 2569 is Demolition Man. No. 2570 is Nurse Betty. Yes! So, possibly I've only seen one of these, although when the older films are identified, it will probably turn out I've seen one of more of them but just couldn't identify from the still alone. We shall see.

I've been listening to some of the DS interviews on YouTube. Kathryn Leigh Scott may have cleared up our questions about the oddity of Dennis Patrick playing the two particular roles he played. She mentioned that everyone loved Dennis Patrick, and that Joan Bennett especially loved working with him. Perhaps that's why they brought him back. Also learned how to pronounce some names: Christopher Bernau's last name is "Ber-NO," not "Ber-NOW" (per Marie Wallace and Christopher Pennock) and Humbert Allen Astredo's last name is "Ah-STRAY-do," not "Ah-STREE-do" (per Marie Wallace). Marie said she had great chemistry with Astredo, but not with Robert Rodan. She had nothing bad to say about Robert Rodan. Kate Jackson talked about how amazing it was, in retrospect, that her first job out of acting school was Dark Shadows.

Bombshell (1933)

WILDE, Cornel

I would have called that place a drug store, with a small pharmacy and more room taken up by a soda fountain and miscellaneous items. I remember one I went to as a kid which kept the candy in rows right close to the front door and not in a straight sight line to the employees. Tempting customers like that ought to be a crime. And after all that, Joe forgot to take Norma's imported cigs with him. Mad at the boy. I'm not much for formal wear, but he had some sharp looking suits that I wouldn't mind wearing. My relationship advice to Gillis--try a little tenderness.

THE BAND WAGON (1953) Remember the scene where Fred Astaire goes to the "after party" . . . and he's the only one there -BUT- there is a veritable FEAST of food to be eaten! I hope the cast and crew had a good meal after Minnelli yelled "Cut!" Next: A movie where a normally/dependably good actor "phones it in".

LEAVE HER TO HEAVEN (1945)

The View from Pompey's Head

Kid Rodelo (1966) Next: Frank Morgan

I think some may do it as a form of validation rather than self-importance. Most people like to be part of a group.

I was going to have my friends design new drapes for me, but you wouldn't believe the amount of backstabbing and insanity it led to.

I totally agree that TCM is for everyone. I wish I knew a lot of under 40's who appreciate classic movies but, sad to say, I do not. I've tried countless times to convert folks to the joys of watching black/white movies from the 1920's - 1950's and invariably they look at me as though I am deranged. (I am, but that's another topic for another time.) My point is that in making graphic decisions, it's clear that the current regime feels that the original logo/graphics/slogan were a turn-off to under 40's and that to attract them they need to destroy "the old" and promote how "with it" TCM can be. They may think "cosmetics" matter when making viewing choices but, no matter what age you are, content is what counts.

Agreed. I find the loss of the TCM logo, to put it mildly (or not so mildly) a true tragedy. Smart retailers know that an iconic logo is something you don't throw away. (See: Coca-Cola, Levis, Kelloggs, Johnson & Johnson, Heinz, etc., etc.) Change the sets, change the on-air graphics and music but, there was no reason to lose this wonderful logo. However, I am sure (having worked in TV production, advertising and marketing) that much of the decision-making which went into tossing the logo was because the powers that be thought it "looked old" which would defeat their mandate to GET YOUNGER VIEWERS. I really don't think potential viewers (younger or older) make their viewing choices based on logos!

Barefoot in the Park Next: campfire

On Svengoolie tomorrow, September 4, 2021: When I was a little kid, my friend's father took my friends and me to a Chinese restaurant on 170th Street in the Bronx, after which he took us to a bakery to get Charlotte Russes. Then he took us to a very enjoyable double bill at the Luxor Theater: The Amazing Colossal Man and The Attack of the Puppet People. But I don't think I knew there was this sequel to the former film.

ALICE DOESN'T LIVE HERE ANYMORE 3.5/5 I thought this a fairly decent film from Scorsese; this is one of his few films that seems to focus on a character of the more feminine persuasion. I enjoyed this, although I wanted to give it a higher rating than I did but it just didn't quite reach that point for me. I will say that I thought Ellen Burstyn's performance was quite solid, as were those of Kris Kristofferson and Diane Ladd (fun fact, a 7 or 8 year old Laura Dern can be seen sitting at the diner counter in one of the scenes towards the end of the film). PLANET OF THE APES (1968) 3.5/5 I had been putting this film off for months, possibly even years, but I finally broke down and decided to watch it. I'm glad I did, because it was a solid entry in the sci-fi repertoire; I don't much care for Charlton Heston in looks or in acting choices (the exception being DeMille's "Ten Commandments"), but I didn't mind him in this role at all. I do think there were some scenes that I could have ultimately done without, but overall, I think it was a quite engaging piece. I would recommend it to anyone who is wanting to view older sci-fi films. UNFORGIVEN (1992) 3.5/5 In my opinion, this was entirely too long of a film given the subject matter... I felt like there were a few unnecessary scenes, as well as a few that were somewhat of a chore to sit through... maybe that's just me, though. I really do enjoy westerns, but I think this one felt inconsistent to me at times; there were several scenes that I felt were quite engaging, and a few that seemed rather tedious. THE TIME MACHINE (1960) 3.5/5 Let me first preface this by stating that no one truly knows for certain what the future will hold. That being said, I don't think the futuristic society depicted here is an accurate reflection of what life will be like by then. I really enjoy time travel as a major premise for films, and this was executed pretty well. There was a scene where Rod Taylor demonstrated how the machine operated, and the passage of time was observed by a mannequin in a store window, with her outfits being switched to fit the fashion of the times. I thought that was a clever method of showing the effects of time travel and the passage of time. The time-lapse photography was also a clever touch; no wonder this film won the Academy Award for special effects.

Yea, that is the main scene I was referring too. I believe such a film needs this type of silly, slightly out-of-place (based on what has occurred so far), type scene, especially when the final outcome is known by all. How to end these type of romantic films is one of the biggest challenges for screenwriter and directors. In the 30s, the director would just of had David show up at Anna's, they would look into each others eyes and then THE END would show up and the film would be around 75 minutes. But for these 50s "A" productions they needed to go at least over 85 minutes (or so), and Indiscreet clocks in at 100 minutes. So without these silly scenes I might have lost interest with the last quarter of the film.

No matter what, ***big thanks*** to whomever spared the MESSAGEBOARDS during this reinventioneering and to everyone who manages and moderates them. (Believe it or not, I would miss most of you very much were they to go away a la IMDb)

"Younger" audiences aren't attracted by logos, typefaces, colors...branding. They are attracted to the station by hearing directors they admire (ie Cohen Bros, Tarantino, Spielberg, Scorsese, etc) talk about the classic films that influenced them & checking them out. Ask any teen if they want to see a "Hitchcock film" and they know it's old but should be good. I don't know about you, but I enjoy the inclusion of the past "incorrectness" shown in movies. Nothing is more shocking than seeing how women, non-whites and kids were acceptably treated 100 years ago. Seeing it in a movie where you're emotionally involved in the story is a much better historical context than some talking head dweeb 'splainin' it away. What TCM (and any classic movie fan) needs to do instead of trying to smooth over the "political incorrectness" of old movies, is to reassure younger people black&white, foreign & silent films can be worth watching. Personally, that's the prejudice I'd like to see "awakened".

Original graphics elements Robert Osborne 2001 (RIP)

https://pressroom.warnermedia.com/us/media-release/where-then-meets-now-turner-classic-movies-unveils-new-look-meet-moment I don't mind the "refresh." It's colorful, it has a retro, yet modern vibe, I like it. I believe all the abstract designs are supposed to be various C's that match the "4 key C's of the brand" curate, context, connection, culture. A while back, when TCM changed the website to black and white, everyone complained about that. Now they add color and everyone's complaining about that. They change the font from one with serifs, to one without. They literally just changed their slogan (from the "let's movie" slogan that everyone complained about) and gave their marketing a new look as an attempt to give Classic Hollywood a modern, fresh look, yet everyone's complaining. TCM tries new things and continues to evolve to attract new audiences and people complain. However, if TCM were to keep their 1994 look and never change, people would complain that they've gotten stale and refuse to update. The way that everyone on social media (Twitter and Facebook included) are carrying on, one would have thought that they had added commercials. Frankly, I'm just sick of the constant complaining about things that are so innocuous like a channel's attempts to keep up with modern sensibilities even though at the core, they still have the same mission they had 27 years ago.

SOULS AT SEA (1937)

I'll post the cheat sheet this afternoon. I still haven't seen NURSE BETTY so you're one up on me!

Priscilla Next: Smits, Dean, and Hunt

October Sky (1999)

Did not know that about her...interesting! *** For tall actor I will say Fred MacMurray. *** Next: guest-starred on an episode of Friends

JAMAICA INN (1939)

In that case, here's the very first episode of the Lou Grant series. Enjoy.