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rjsdvd

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About rjsdvd

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  1. I remember watching Roy Rogers reruns on Saturday mornings when I was a child (early 1960’s). “Mister Ed” was being shown in the evenings, but later than I was allowed to stay up at the time, so I just started watching “Ed” episodes a couple of years ago, when I was in my late 50’s. (I think I’ve seen all of them now.) I do think Trigger was more majestic and noble, but Mister Ed is simply adorable. Maybe I’m just a sucker for talking animals (loved the movie “Babe” as well as the Francis the talking mule films from the 1950’s), but there is something irresistible about Ed, even though he sometimes acts like a spoiled, wilful child (Wilbur often has his hands full.) As well, Rocky Lane’s voice was perfect – if a horse could talk that is exactly what it would sound like!
  2. I believe Miss Blyth discontinued films in 1957 to concentrate on family life (she had 5 children altogether, 2 of whom were born before she stopped movies, 1 was born the year she stopped, and then 2 more in her post-film life) as well as work in musical theatre. After leaving movies, she did make some periodic TV appearances, and acted as spokesperson in TV commercials for Hostess products. I think she retired totally in 1985, after making an appearance in "Murder, She Wrote."
  3. I agree with most other posters about Jerry Lewis’s comedy – he can make me laugh, but only at times. I liked his films when I was a child; as an adult I was far less impressed. I can still sit through his films with Dean Martin, and I also agree that his dramatic turn in “King of Comedy” was very good (he also did a good dramatic appearance in “Law & Order: SVU”. Out of curiosity, I would like to see "The Day the Clown Cried" but that would seem very unlikely.). But his independent post-Martin films don’t do a thing for me any more (his non-stop mugging eventually gets on my nerves). Having said all that, I would still concur that Lewis should receive an AFI award, or some sort of recognition, since he has undeniably made a contribution to film.
  4. Difficult to determine a favourite pre-code (too many to choose from) but I would have to say "The Story of Temple Drake" with Miriam Hopkins is certainly in the top 10.
  5. Now that could certainly be - I know I have seen "Emma" at some point over the years, could certainly be confusing it with the other film. Perhaps "Christopher Bean" will show up one day.
  6. I know I never saw it on TCM; actually I was referring to late shows I watched over 45 years ago. However, given the number of years, my memory certainly could be faulty!
  7. Although this film is not technically lost, I would love to see a complete original print of Judy Garland's "A Star Is Born." The current reconstruction with the photo stills is very good; a full live action copy would be that much better.
  8. I don't think I have ever walked out on a movie, but was tempted to during the Madonna film "Who's That Girl" (what a stinker!) I only stayed in the theatre because it was winter, the theatre was lovely and warm, and it was freezing outside. (If I remember correctly, I didn't have to pay for the ticket either, so I didn't feel financially cheated!)
  9. I have a dim memory of having seen this about 45 years ago on the wonderful old institution of the late show on television; would love to see it again, as I love Marie Dressler movies.
  10. I also love that TCM includes the intermission in films which were originally shown that way. As another poster noted, intermissions during the original theatrical showings were generally about 10 to 15 minutes (provided time for a bathroom break, obtaining a snack, etc.) I think in most cases music was actually not played during the intermission (although there may have been exceptions to this); the entr'acte music would start playing at the end of the intermission break as a signal to the audience that the second part of the film was about to begin. As well, the music generally played over a black screen; entr'acte visuals have been added to TV showings (or DVD/blu-ray releases) but were not really part of the original presentation (again there may have been exceptions to this). For a TV showing (or a DVD/blu-ray) there isn't any need to keep the screen blank for 15 minutes (you can always hit the pause button on the remote control if you need a break) - the inclusion of the intermission card and the entr'acte music is only meant to give a greater sense of the original theatrical experience.
  11. I read somewhere that the original Technicolor version was restored by UCLA Archives and only became available again in 2015. Before then, only the black-and-white reissue prints were available for broadcast.
  12. I really enjoy Lucille Ball's movies from the 1930's and 1940's, whether it be a “B” movie from RKO or a strong supporting role in a film such as “The Dark Corner,” and I would not argue that “I Love Lucy” is a genuinely iconic TV show. However, I found that Ball's TV comedy style, honed in the 1950's, really never progressed with the times. Her comedy style certainly worked for “I Love Lucy,” but I thought it was hopelessly outdated for her second and third TV shows, “The Lucy Show” and “Here's Lucy” respectively. In fairness, the first season of “The Lucy Show” - the black & white season – wasn't too bad and contained some fairly amusing episodes, such as installing the shower or the TV antenna, but the show went downhill by the next season. “Here's Lucy” was simply dreadful, and Ball's last attempt at age 75 (“Life With Lucy”) was just sad. (I suppose though that there is no accounting for popularity – both “The Lucy Show” and “Here's Lucy” lasted for six seasons each.)
  13. Just to respond to the original question as to why a Spanish version - in the early days of sound films, dubbing and sub-titling had not been technically perfected, so it was not uncommon for studios to film a movie in different languages (and most often with a different cast) for foreign distribution. Although many of the foreign-language versions have disappeared, some still remain, such as French and Spanish versions of “The Big House” (the French version starring a young Charles Boyer), a German-language version of “Anna Christie,” which also stars Greta Garbo, who was fluent in the language, and French, Spanish, and German versions of several Laurel and Hardy shorts (which also starred Laurel and Hardy, who learned their lines phonetically.) As well as foreign-language versions, studios also often produced silent versions of sound films in the early sound days, for distribution to theatres not yet equipped for sound. A silent version of “Dracula” was produced, but all copies have apparently become lost.
  14. What a great list! I've seen a couple of them over the years ("Imitation of Life," "The Black Cat", and I think I've seen "The Man Who Reclaimed His Head") but certainly none of the others. Perhaps they will show up on TCM one day.
  15. I don't remember all the cuts, but they start right at the beginning. As I recall, the greater portion of cuts occur in the first half of the movie (in the TCM print, Susan Hayward’s character dies about 45 minutes into the film; in the uncut version it is around the 1 hour mark). As a few examples of cuts: in the opening court room scene, there is a longer dissertation by the prosecuting attorney (Frank Ferguson.) In the second scene (the first showing Robert Young and Jane Greer together), the TCM print only shows the last half of the scene. In the full version, Robert Young is half-snoozing at the restaurant table when Jane Greer walks in. The conversation they have before the dialogue about the boat indicates that there is a little more to the relationship than just an interest in boats. There are a number of segments, cut out in the TCM print, that show the growing relationship between Robert Young and Susan Hayward, most notably a scene at a piano concert. I thought it interesting that most of the cut material actually emphasized what a scoundrel the Robert Young character is.
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