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Sorry that it doesn't fit your category....but the first thing that popped into my mind was 1967's TV Guide's description of STAR TREK the original series episode "Amok Time" "Spock gets the urge to mate and attacks Capt. Kirk"

TCM uses "classic" as just a marketing term it has no actual meaning with regards to the qualify of the film. E.g. how many 30s "programmers" are high qualify films? Few IMO. The studios made these to be released one time as the "B" picture. Hey, I love many of those films warts and all because I'm a fan of the actors and directors of that era, but they are not high qualify films and they were never meant to be.

I know it's a bit late to chime in with comments about Human Desire, but there's been an election in Canada, so I was distracted for a few days. Apparently Human Desire is based on a novel by 19th century French writer Emile Zola; the novel is titled La Bete Humaine ( "The Human Beast", sounds a lot better in French, doesn't it? ) Vautrin, you read this? Anyway, I have not read the novel, but from the little I know of it, it's very different from the Fritz Lang film ( I haven't seen the earlier version, so can't comment on that.) They really cleaned up the Glenn Ford character, for one thing. In the novel he's a psycho who feels a compulsion to plunge a knife into women ( yes, their cleavage, there you go, Thompson, cleavage plays an important part ). I remember seeing a copy of the Zola novel lying around at some family member's, it had a very lurid cover which attracted my 13 year old mind, and I "perused" it enough to realize it was about a man who could not separate sexual arousal from his homicidal impulses. yuck. I know Zola is a revered writer, but it certainly put me off wanting to read anything by him from that point on. About Human Desire: It's got a lot of plot flaws, or at least, weaknesses in the depiction of the characters, as others have pointed out. Its two main strengths are all those railway scenes. I love trains, I love everything to do with rail travel. I really enjoyed all those train trips, I looked out the window like I was a passenger and enjoyed seeing all that 1950s looking scenery flashing by. Trains, train tracks, railway stations, all those old shacks around the stations ( perfect for illegal sexual liasons ) , so atmospheric and mysterious, I love all that. Major saving grace of the film. The other saving grace is Gloria Grahame, an actress I like a lot ( although perhaps not as much as Dana Delany does ). I always enjoy her performances, she's different from all the other actresses from that era. She's not traditionally beautiful, yet she's very appealing looking. And she has a unique screen presence. Her character in Human Desire is, I believe, sympathetic. To me there's no question that this Owens guy molested her when she was a teenager. Nowadays such behaviour would be completely reviled, Owens would go to prison. Back then, it was "just one of those things that happens," and the blame always seemed to go to the poor young girl, rather than the rich older man.

Sunrise (1927) Foreign Correspondent (1940) The Magnificent Ambersons (1942) La Belle et la Bête (1946) Giant (1956) Dr. Strangelove (1963) 2001: A Space Odyssey (1968) Barry Lyndon (1975) Brazil (1985) The Fisher King (1991)

How many times are we old timers going to need to address these types of comments? TCM is not dead… First of all I see that you have been a member of the Message Boards since May of 2012, and yet you have only posted on the boards a total of six times. Four of your posts appear in the last month. So obviously you have been around possibly lurking in the shadows reading but not commenting, that is until the changes were announced recently for TCM. Not everyone who is a member on the Message Boards likes to share their thoughts and this is okay. But I have to write this because I truly believe it. If anyone is going to come on the Message Boards and attempt to start a thread by indicating that what they are seeing themselves is some sort of demise of the channel based on a few select films from a different time period, chiefly more recent. And I have to assume you are making these claims which I am guessing is based on a very small sampling size, instead of looking at a much larger sampling size, let’s say over a one to three month time period. You are going to have to do better than this. I have said this before and it bears repeating here again. If you are going to make wild claims like you did at the beginning of this thread, then at least have the courage to go and perform some basic research to try and back up your claims. I understand that not everyone is interested in performing research, mainly because of the time element involved. But it can be done, and once completed, one can then use that information in making much more logical opinions. Instead of making wildly based comments that are more based on emotion that actual hard data. Long-time member MovieCollector OH has been very generous over the years by performing a great amount of research about the types of films shown on TCM and the film release years that those films that have been shown on TCM were. Several months ago I undertook a labourous experiment by trying to figure out what percentage of films that have been shown on TCM over the years were films from before 1970. I use that year simply because it is one year and one month removed from the MPAA’s decision to change their film content guidelines from the long and over-used Hays Production code from 1930. That code was based on moral guidelines and was used quite extensively between 1930 and the early 1960’s. It prevented film studios from tackling more sensitive topics, such as the depiction of drug use, nudity, abortion, inter-racial marriages, gay and lesbian topics and the like. In November of 1968, new MPAA President Jack Valenti replaced the Hays Code with a voluntary system of film ratings. The new film ratings would not only protect children from being exposed to potentially harmful images, but would also allow Hollywood to produce films without any restrictions. So based on this decision, I concluded that even though the Hays Code was abolished in November of 1968, I chose 1970 as the break from older Hollywood films from the newer generation of Hollywood films being produced. Even though films released in the United States since the early 1960’s had already begun to change, especially films like La Dolce Vita (1960), 8½ (1963), Breathless (1960), Blow-Up (1966), Belle De Jour (1967), Who’s Afraid of Virginia Woolf? (1966), The Graduate (1967), Bonnie and Clyde (1967), In the Heat of the Night (1967) and many others. But there were still many films being released that were simply much lighter in tone and made with general audiences in mind. It was not really until the dawn of the 1970’s that the film industry really started to change. IMHO. So based on all of this, I decided to look back at the films TCM had chosen to show on their channel and come up with some sort of an idea that would indicate just how many films were being shown on the channel that were made before the end of 1969 and then after the beginning of 1970. These then were the results I came up with: 79.5% of all films shown on TCM from the production years of 1915 until the end of 1959. 20.5% of all films shown on TCM from the production years of 1960 until the end of 2020. I also looked at using a different set of years. 91.3% of all films shown on TCM were from the production years of 1915 until the end of 1969. 8.7 % of all films shown on TCM were from the production years of 1970 until the end of 2020. So, as you can see the information clearly shows that more films have been shown on TCM over the years that were produced from before 1970 than those that were produced after the ending of 1969. Your belief that the ending of TCM as you know it is really just a fantasy. Also, just because you may have seen a few more recently made films that many might conclude are just glorified “B” pictures is way off the mark. Yes, TCM shows more recent films. But all in all they show many more older films that were made before 1970. And as others have pointed out, when Robert Osborne first came on TCM to introduce himself and TCM to the general public, even he said at the time that more recent films would be shown on the channel. That was in 1994.

Taxi Driver (1976) TCM On Demand 10/10 A New York cab driver slowly goes mad while he witnesses the crime and squalor of the city. One of my favorite films. Robert DeNiro's greatest performance. It is a fascinating character study of a lonely, socially awkward man named Travis Bickle. Some of the most interesting scenes are when we see in social situations. When he is with his fellow cabbies, he cannot always join in their conversations, he often turns the conversation back to the job and it's dangers. The cabbies all have nick names like Wizard (Peter Boyle), the veteran driver who has seen everything. Dough Boy is one who will do anything for a buck. Travis is given the nick name Killer, which I imagine was because he was a Marine, he had not killed anyone yet in the film. Other awkward moments are when Travis attempts to ask a pretty girl (Cybill Shepard) for a date, though she accepts it turns into a disaster when he brings her to a porno film. She is disgusted and offended and refuses to see him again. However due to his twisted mind and social anxiety he cannot understand why she feels that way, he reacts with anger. We never know what made Travis the way he is. We only hear his chilling yet touching narration when he explains "Loneliness has followed me all my life...I'm God's Lonely Man." Edit- I also wanted to mention the scene where Betsy (Cybill Shepard) tells Travis he reminds her of a Kris Kristofferon song, where the lyrics say "He's a prophet and a pusher, partly truth partly fiction, a walking contradiction." The clueless Travis only sees things in a black and white way, not intelligent or worldly enough to understand metaphors or irony so he only thinks she is calling him a pusher. It is due to DeNiro's performance, Martin Scorsese's direction and Paul Schrader's writing that I can feel sympathy for his character as well as being disturbed and repelled by him as well.

Doctor Zhivago The Exorcist

Can't really say I "hate" the following film here, but like some have mentioned about Forrest Gump, I just could never understand why the movie about THIS little guy HERE is so beloved by so many people...

Wednesdays in November November 3 THE MALTESE FALCON (1941) with Humphrey Bogart and Mary Astor ACROSS THE PACIFIC (1942) with Humphrey Bogart and Mary Astor CONFLICT (1945) with Humphrey Bogart and Alexis Smith THE HUCKSTERS (1947) with Clark Gable and Deborah Kerr PASSAGE TO MARSEILLE (1944) with Humphrey Bogart and Michéle Morgan November 10 FLAMINGO ROAD (1949) with Joan Crawford and Zachary Scott THE WOMAN IN WHITE (1948) with Alexis Smith and Eleanor Parker MALAYA (1949) with Spencer Tracy and James Stewart BACKGROUND TO DANGER (1943) with George Raft and Brenda Marshall November 17 THE VERDICT (1946) with Peter Lorre and Joan Lorring THREE STRANGERS (1946) with Geraldine Fitzgerald and Peter Lorre THE CONSPIRATORS (1944) with Hedy Lamarr and Paul Henreid PILLOW TO POST (1945) with Ida Lupino and William Prince THAT WAY WITH WOMEN (1947) with Dane Clark and Martha Vickers DEVOTION (1946) with Ida Lupino and Olivia de Havilland November 24 CASABLANCA (1942) with Humphrey Bogart and Ingrid Bergman CHRISTMAS IN CONNECTICUT (1945) with Barbara Stanwyck and Dennis Morgan THE MASK OF DIMITRIOS (1944) with Zacharay Scott and Faye Emerson BETWEEN TWO WORLDS (1944) with John Garfield and Paul Henreid THE VELVET TOUCH (1948) with Rosalind Russell and Leo Genn

Li'l Abner (1959) is one of the most enjoyable stage-to-screen movies, ever. The eponymous role, which seemed to be made for him, was played by Peter Palmer, who died yesterday. Let's hope TCM screens the film on Sadie Hawkins Day (November 13). "Peter Webster Palmer was offered scholarships to a number of universities; however, he chose the University of Illinois at Urbana-Champaign to study voice under Bruce Foote. He was the first music major to letter in football at the university. While at Illinois his team won the Big Ten championships in 1951 and 1953 and the Rose Bowl in 1952. Palmer sang the national anthem at every home game in 1953 before taking the field. In 1956, Palmer was cast in the title role of the musical Li'l Abner, for which he won a Theatre World Award. In 1959, he was cast in the same role in the movie version. His Li'l Abner role brought him a guest appearance on The Tennessee Ernie Ford Show. In 1967, Palmer had a recurring role as Sergeant James Bustard, a former Confederate soldier in the short-lived series Custer. Throughout the 1960s, 1970s and 1980s, Palmer appeared on numerous television episodes, including small parts on Dallas and Emergency. He appeared on Broadway with Carol Channing in Lorelei in 1974. In 1977, he had a regular role as part of the cast on the short-lived sitcom The Kallikaks.

The Virginian (1914, 1923, 1929, 1946) -- based on novel by Owen Wister The Lone Star Ranger (1919, 1923, 1930) -- based on novel by Zane Grey Three Godfathers (1936, 1948) -- based on novel by Peter B. Kyne Western Union (1941) -- based on novel by Zane Grey The Ox-Bow Incident (1943) -- based on novel by Walter Van Tilburg Clark Broken Arrow (1950) -- based on novel by Elliott Arnold Shane (1953) -- based on novel by Jack Schaefer The Vanishing American (1955) -- based on novel by Zane Grey The Big Country (1958) -- based on novel by Donald Hamilton True Grit (1969, 2010) -- based on novel by Charles Portis The Outlaw Josey Wales (1976) -- based on novel by Forrest Carter

I'm glad this thread was posted. Willie Garson was a terrific actor. He did not have to be an actor in the classic time frame to be honored by comments. He had enough credits and his work was well known and respected . Thanks for posting about his untimely and very sad passing. Shame on anyone having a problem with posters showing their respect.

Totally agree on that, one of my favorite film scores. The sax solos seemed to represent the lonely character. I also like the ominous beginning to the score, as we see the taxi driving through what looks like Hell.

Gone with the Wind (1939)

I suppose one could say because I've never given it a chance to like it and thus would have no legitimate right to hate it, BUT I've never been able to get past the first 20 minutes or so of A Clockwork Orange. (...OR, maybe it's just the idea that I've never felt the need to watch such ultra-violence in ANY movie, and so JUST to be introduced to a treatise about the concepts of free-will, psychological conditioning, governmental overreach and the dangers of conformity)

I think Jackie Gleason is a phenomenal dramatic actor and it's a shame he didn't have the opportunity to star in more dramatic movies. As others mentioned, you can't take your eyes off him in The Hustler. He has so much presence and his acting feels so natural. I found that he played a part in the murder thriller "All Through the Night" (1942).

I love Alain Delon!!! Yes, he is gorgeous! He and Ann-Margret burn up the screen just as Ann-Margret and Elvis Presley do.. HOT! I'm also huge fan of Ann-Margret (she graduated from the same high school in the Chicago suburbs that I did). Besides ONCE A THIEF, other Alain Delon movies I like are : PURPLE NOON (PLEIN SOLEIL) ---- based on the same source material as THE TALENTED MR. RIPLEY, but in French ROCCO AND HIS BROTHERS (which is in Italian) L'ECLISSE -- directed by Michelangelo Antonioni

Once a Thief (1965) I set this movie up to record when I saw that it featured Ann-Margret, of whom I'm a big fan. Alain Delon was her co-star, rather, Ann-Margret was Delon's co-star as he was the main character of the film. I'd heard of Alain Delon, but had never seen any of his films and didn't really know what he looked like. Eddie Muller's co-host for the evening, Dana Delany (who by the way, I thought was a wonderful guest that evening and I thought she looked fantastic), said that during quarantine she fell down an Alain Delon wormhole. Once a Thief was one of her discoveries. I'd just like to thank Ms. Delany for not only introducing me to Delon (who was very easy on the eyes) but to this fabulous film! I loved it. Delon was gorgeous and I loved his voice! I didn't expect him to have such a deep voice. His voice reminded me of Charles Boyer's. Right off the bat, I loved the 60s mod/jazz/hipster/New Wave-ish (not exactly sure what adjective I'm going for) vibe of the film. I loved the jazz score in the opening credits. The whole film retained this vibe that I found to be a lot of fun and made for not only an engaging film, but a visually compelling one as well. In this movie, Delon plays Eddie Pedak, an ex-con who is trying to turn his life around. He is married to his gorgeous young wife, Kristine (Ann-Margret). They also have a young daughter, Kathy. At the beginning of the film, we see a pair of men pulling off a burglary of a shop, culminating with one of the men fatally shooting the shopkeeper. We do not see the men's faces, all we know is that one man is wearing a sheepskin coat and they drive away in a Model A car. One evening, while Eddie is at home, he is visited by his older brother, Walter (Jack Palance). Walter, the head of a criminal gang, visits with his associates, Sargatanas and Shoenstein. Walter wants to bring Eddie back into the criminal fold by offering him $50,000 to help the gang pull off one last major heist. Eddie turns him down. It turns out that Walter wants to rob one of Eddie's former employers, a large platinum company. He wants Eddie to participate solely for Eddie's knowledge of the company's operation. Meanwhile, there are personal issues between Eddie and Kristine. Eddie is traditional and wants Kristine to stay home with their daughter, but he isn't bringing in any income. Eddie's inability to bring home any income is due to his history with Detective Mike Vido (Van Heflin), who still holds a grudge against Eddie. It seems that Eddie shot him six years ago in the stomach during a robbery that Vido was never able to solve. His reason for not being able to solve the case is due to Mike only having seen the shooter's eyes. He is certain though that Eddie was the gunman. Since Eddie was released from prison and tried to go straight, Vido has made sure to harass and get him fired from each and every job he's had. We see Eddie lose his latest job at the beginning of the film. Kristine tries to help out the household finances by getting a job at a nightclub, much to Eddie's chagrin. This was such a fantastic film. I loved the whole aesthetic. I loved the score. There was a pretty sexy scene between Delon and Ann-Margret that reached its peak when their daughter interupts to ask for a glass of water. I definitely needed a glass of water after that scene. I loved the rapport of the two leads. Van Heflin is always a welcome addition to any film and he was excellent here too as the Detective with the grudge, but one who ultimately felt sympathetic toward Eddie. Jack Palance was excellent as always. The guy who played Sargatanas was a total creep and played that part very well. Thank you Dana Delany. I will now be adding this film to my collection and start looking for more Alain Delon to fill my evenings. Lol.

Not sure where you big to differ; if your point is that nothing short of a full banning of these films will satisfy the cancel-activist, I agree with that 100%. But it appears when you say "What they want" that "they" is TCM's management and that TCM desired to have their cake and eat it too. I just don't see it that way based on the comments made by Ms. Stewart with regards to the new museum and TCM's programming; Note that the Academy Museum will feature films like GWTW, Birth of a Nation, etc... just like TCM does; because they are part of film history and history shouldn't be erased.

If I could I would have checked LIKE besides the laughing one. I agree completly. I saw Doctor Zhivago in a theater when it was first released, once was enough. There are some beautifully filmed scenes but the film is so long, so tedious and the fate of both Yuri and Lara so depressing., Not a favorite.

As you well know TCM has shown post studio-era films (> 1969 IMO), since the start; Osborne even mentions this in his opening statements about the brand back in 1994. As long as 80 plus percent of the films TCM shows are American studio-era talking films, I'm fine with the brand. TCM programmers can show whatever they want during that remaining 19 or so percent. That includes silent films, foreign films, post American studio era films, etc... Based on actual data from a guy with a database of every film TCM has shown, TCM remains in that plus 80% range.

The Wizard of Oz 1939 Scaramouche 1952 Goldfinger 1964 You Only Live Twice 1967 Logan's Run 1976

I find this type of thread VERY disrespectful. I've said it before. We are all guests on this site. TCM pays to maintain and moderate this website. I believe we should provide constructive criticism (helpful criticism). But to make a thread that talks about the death of the channel on the channel's own site, that's tacky. And not what a good guest does.

Noir enough for me. Gloria, Vittorio Gassman, You got an alien obsessed with finding a sponsor New York City circa 1950s and Jack Teagarden Jack Teagarden

Compromises must be made. In order to rent that film fave of yours, (you know, that one you post over and over that they don't play enough), they probably have to take on other B movies that are thrown in the deal. And if they have the film, they certainly are going to show it. And frame it some sort of way (like TCM underground or whatever). In order to keep the channel free, they have to sell wine and call it a club thing. (they should call it "whine" the way people complain about it). Or charge money to get people together for watch parties/clubs. You can't have a channel locked into a set time era or it gets old quickly. What happens when you've seen all the films from the 50's that you wanted to see ? Do you give up movies ? This channel, like any other has to evolve and adjust to the changing times. I've seen others try this format and fail (AMC, the original getTV), while TCM seems to be still growing with film festivals and cruises. We should always remember, there's much more to a story than what's reported.

As long as TCM continues to present films uncut and commercial-free, I'll be a fan.

FORREST GUMP, hands down. Everyone I know gushes over it, including my sister. My mom shares my disdain for it though. It's a shame, because I really do like Tom Hanks in just about anything he does, but I just was not bowled over by the film.

Actor Willie Garson, who was a regular in HBO's "Sex and the City" comedy series and co-star of the two feature films based on the show, died Tuesday at the age of 57. The cause was pancreatic cancer. Garson reprised the role of Stanford Blatch, the gay talent agent and friend of Carrie Bradshaw (Sarah Jessica Parker, pictured below with the actor), in the upcoming SATC reboot for HBO Max, "And Just Like That..." “The Sex and the City family has lost one of its own. Our amazing Willie Garson,” series creator and executive producer Michael Patrick King said in a statement. “His spirit and his dedication to his craft was present every day filming 'And Just Like That...' He was there – giving us his all – even while he was sick. His multitude of gifts as an actor and person will be missed by everyone. In this sad, dark moment we are comforted by our memory of his joy and light.” The New Jersey-born actor, whose birth name was William Garson Paszamant, is survived by his adopted son Nathen. Garson portrayed the presumed presidential assassin Lee Harvey Oswald three times -- twice in 1992. In a two-part episode of the NBC sci-fi/fantasy series "Quantum Leap," Garson's Oswald (pictured below with series co-star Dean Stockwell) came close to killing someone other than President Kennedy on November 22, 1963. Also that year, Garson appeared as Oswald in "Ruby," the feature film about Jack Ruby, the Dallas nightclub owner who shot and killed the murder suspect on November 24, 1963. Danny Aiello starred as the title character. In 1995. Garson appeared as Oswald in a "MADtv" sketch on FOX. Garson played several different characters during the seven-year run of the ABC sitcom "Boy Meets World" (and he even directed an episode of the2015 spinoff, "Girl Meets World"). But he was a key presence at the wedding of series sweethearts Topanga Lawrence (Danielle Fishel) and Cory Matthews (Ben Savage). The Season 7 episode, titled "It's About Time," originally aired on Nov 5, 1999. From 2009 to 2014, Matt Bomer and Garson played friends who also were adept con men in the USA drama series "White Collar." In the 2010 feature film "Sex and the City 2," Carrie's best gay friend married Anthony Marentino (Mario Cantone, pictured below right) -- the best gay friend of Charlotte York Goldenblatt (Kristin Davis). Liza Minnelli officiated the wedding. Matt Bomer @MattBomer I love you forever Willie Garson. Rest in peace my friend. Willie Garson 9:31 PM · Sep 21, 2021·Twitter for iPhone philip lewis @Phil_Lewis_ Willie Garson's son posts tribute on IG: "I will always love you, but I think it’s time for you to go on an adventure of your own." 7:58 PM · Sep 21, 2021·Twitter Web App Cynthia Nixon @CynthiaNixon So deeply, deeply sad we have lost @WillieGarson. We all loved him and adored working with him. He was endlessly funny on-screen and and in real life. He was a source of light, friendship and show business lore. He was a consummate professional— always. Willie Garson 9:02 PM · Sep 21, 2021·Twitter for iPhone John Fugelsang @JohnFugelsang Thank you, Willie Garson, for this final tweet. Willie Garson @WillieGarson · Sep 4 BE KIND TO EACH OTHER......ALWAYS. LOVE TO ALL. APPROACH KINDNESS. 8:35 PM · Sep 21, 2021·Twitter Web App

In these times, large corporations do care about the potential harm a small number of customers can do using social media. It would be foolish not to have a strategy to try to minimize that potential harm.

28 Days Later (2002) -- Rage is a virus Next: Slumdog Millionaire (2008) -- directed by Danny Boyle

The Sound of Music Mary Poppins Love Story Cleopatra (1963) The Jazz Singer (any version) I agree with the negative regard for Auntie Mame, as well. I wouldn't say I hate them, but I was never crazy about Some Like It Hot or The Apartment. Same with It's a Mad Mad Mad Mad Mad Mad Mad Mad Mad World. I was also never a fan of the Three Stooges, and their ubiquity on TV has made me loathe them even more. On a more recent note, all of the Transformers movies are garbage. Armageddon was abysmal. And while I'm a fan of many of Clint Eastwood's films, some of the better-regarded I don't care for, like Mystic River (to me it was like a grade-C episode of Law & Order), Sully, The Mule. or Cry Macho, the latter of which I thought was a career low point.

I gave the same reply I always do: as long as 80% or so of the films TCM shows are American Studio-Era films (pre-1969), I'm fine with the brand. What we are seeing is the same-old-same-old; TCM shows a couple of post-2000 films and oh, my,, oh my,,,, all is lost!

Cimmaron (sp?) two versions (Edna Ferber) Lonesome Dove (Larry McMurtry)

Late to this discussion, but the problem is the conflict between "classic" and old movies. TCM shows old movies, but not all are classic. However, I have been exposed to and entertained by many "old" movies and have purchased the DVD's because of that exposure. Lot of them were B movies, at best. Some SciFi movies shown on TCM are C's, but very entertaining. As for old or "classic," it is a moving target. The same argument occurs in the old car hobby. God Forbid, they are now including cars from the 70's and 80's as "classics" and soon cars from the 90's. Roughly 25 years ago.

I would also like to make mention of the effectiveness of Bernard Herrmann's final remarkable musical score for Taxi Driver. The sounds of that lone sax stay with you. There is something uncertain, deep and disturbing to this score, reflecting the mind of the film's central character and his decent into madness.

Search for Tomorrow

Thursday, September 23/24 4 a.m. No Blade of Grass (1970). Directed by Cornel Wilde. I saw this in the theatre when it came out. I was quite young and thought it was pretty good. I wonder if I will find it shockingly bad this time around?

Yes...and now I can't help visualizing Nathan Lane's imitation of him in The Birdcage. :-)

THE PICTURE OF DORIAN GRAY (1945)

Here's another tune in which strictly the music grabs me. The lyrics, OTOH, don't resonate with me, an atheist.

Lori was really one of the most polite and courteous posters. She passionately supported John Garfield, for whom she felt great compassion due to his early death and the Red Scare circumstances surrounding it. She had also been in contact with the actor's actress daughter, Julie, and was trying to get a petition to pressure Warner Brothers into releasing a Garfield box set of DVDs. The sudden announcement of her death came as a real shock to me.

Dee, Frances

Yes I remember Lori, very sweet poster. I think she was a nurse. She wanted so badly to keep John Garfield's memory alive. Someone had posted at the time that she had passed, I remember how sad we all were.

Busby Berkeley’s early musicals

Speaking of METROPOLIS… All the German expressionist films including THE CABINET OF DR CALIGARI … which went on to inspire many other filmmakers including Tim Burton

Now that is what I call both sexist and ageist. And I'm an old male! What is she supposed to do, wear pants and a blouse/dress up to her throat? You might wish to get a job with the Taliban as a female clothing consultant. EDIT: I quoted what you said and hour ago - "varicose vein legs."

Did I say she was an "expert"? Does someone have to write a book to be an expert? Do they have to be book writer and expert to appear as a TCM host or co-host/presenter? How many TCM hosts, including Robert Osborne, wrote books about the people they discussed and/or presented movies featuring them? As someone noted above, she wrote a lengthy article for the Film Noir Foundation magazine about Graham and possibly more. Suffice it to say, Eddie Muller thought she was knowledgeable enough and articulate enough and interesting enough to be a presenter/co-host on Gloria Graham. I certainly think so.

Read the plot summary on Wikipedia for The Glass Wall and sounds moderately interesting since I have never seen it. Plan to watch it and be sure to watch "old, lesbian hag" Dana Delaney. 😄 As I explained sometime back and has also been noted since, Delaney is a big fan of Gloria Graham and has studied her work and written about her. What do you mean be "getting younger?" Probably "spouting out fact after fact at a rapid rate" as she has a vast knowledge of Graham and trying to get as much out there as possible in the brief time allowed. And yes she did deserve to be co-hosting as much as a younger woman or any member of the army of old men TCM brings out. So, are you saying you are too old to appear on TCM? Why are males(?) here so obsessed with the small amount of cleavage Delaney was showing? Or her legs. I have a 55 inch HD TV and I did not notice any varicose veins and I used to work in a medical program.

OXFORD BLUES (1984)

the 1954 version of A Star Is Born (I got to see it on the big screen in 2019 and it was so much better getting to watch it on the big screen than just my tv for sure) Next: another movie about someone struggling with addiction (any kind)