CineSage_jr
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Posts posted by CineSage_jr
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To quote Cassandra's line from her best-known film:
"Helen. Helen of Troy!"
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xoxoxoxo
Whew! For a moment, there, I though you were quoting dialogue from Mel Gibson's APOCALYPTO.
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You can't find ARNOLD?
Rats.
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> {quote:title=scsu1975 wrote:}{quote}
> >Oh, it was a hoot, trust me. The only thing missing was Zulu as "Kono."
As I wrote elsewhere:
On Hawai'i 5-0, Kono played Zulu, who is not to be confused with Star Trek's Mr Sulu, who was played by George Takei, who is not to be confused with Danny Kaye who, in THE COURT JESTER played the bumbling Hubert Hawkins, who is not to be confused with actor Jack Hawkins, who played the stern Reverend Otto Witt in, yes, the film ZULU.
You didn't like him in Williamsburg: The Story of a Patriot?
I remember seeing this in school, and then being surprised a few years later when we went to Colonial Williamsburg and they were showing it. I had always thought it was made by Disney and was surprised when I used it in one of the Programming Challenges to find out not only that it was purpose-made for Williamsburg, but that Jack Lord was the star.
WILLIAMSBURG: STORY OF A PATRIOT is interesting for a number of reasons: it was produced for Colonial Williamsburg by producer William Perlberg and director George Seaton (THE COUNTERFEIT TRAITOR, THE PROUD AND PROFANE) at Paramount Studios (with location work at the real CW), its music was written by Alfred Hitchcock and Orson Welles's favorite composer, Bernard Herrmann (who loved the notion of scoring the promotional film so much, he offered to write the music for nothing), and it was shot in Paramount's proprietary widescreen process, VistaVision. For nearly forty years the film ran its original horizontal VistaVision / IB Technicolor print -- the only place on earth where the process could be seen in its original format (most VistaVision films were printed in standard vertical format), until time and wear made a restoration of the featurette mandatory. Unfortunately, one of the film's three black-and-white color records (which are used to make new color prints) had deteriorated to the point that it couldn't be used, so a close facsimile had to be created to approximate the color values the original contained. What now plays at Colonial Willamsburg is that restoration.
For those interested, Herrmann's music to WILLAMSBURG has been re-recorded in its entirety, paired with the composer's wonderful music to the Burt Lancaster film THE KENTUCKIAN, by Tribute Film Classics, featuring the Moscow Symphony Orchestra under the baton of William Stromberg. It will probably go on sale this summer, or in early autumn.
You an read more about the new recording here
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=191776318
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Of course those of us paying attention remember that. I know I do.
One thing you gotta admit, CS.......this guy realized his mistake and admitted it. Doesn't make it right, it just shows character (how novel).
I agree; however, one has to question the judgment of any individual or news organization that allows this sort of thing to happen under any circumstances. It should be hard-wired into their brains that objectivity is the life's blood of any journalist (remember Don Hollenbeck, the anchor in GOOD NIGHT AND GOOD LUCK who, after giving his on-air support to Edward R. Murrow's anti-McCarthy advocacy sees his career fall apart, and ends up sticking his head in an oven when he becomes unemployable? That should be an objective lesson for all journalists. Unfortunately, those times are long gone, and all anyone cares about is ratings, and doing silly little dances with Karl Rove at the White House Correspondents' Dinner).
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Jack Warner tried to hedge his bets on the cost-versus-boxoffice prospects of MY FAIR LADY by also agreeing to let John Ford make CHEYENNE AUTUMN for the studio, figuring that a big Ford Western was a sure-fire hit, and would make up for any losses MY FAIR LADY might incur.
Of course, CHEYENNE turned out to be a dud, and the musical cleaned up.
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Back in the 90s, when the Cinerama Dome was still a single screen theater complex, I saw a 70mm presentation of West Side Story on the fabled curved screen - in six-track stereo. It was heaven.
"Fabled" is most certainly the wrong adjective. Wretched is more like it.
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11:45 TONIGHT Eastern time:
Westward The Women (1951)
A frontiersman leads a wagon train full of mail-order brides.
Cast: Robert Taylor, Denise Darcel, John McIntire. Dir: William A. Wellman. BW-117 mins, TV-PG
This is a very good Western.
And this has exactly what connection to Warren Beatty or the AFI?
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I cannot imagine what the rest of the election season will be like without his wise council.
That's "wise counsel."
A good man, no doubt, and his contributions to Meet the Press will have lasting value, but everyone eulogizing him today seems to have conveniently forgotten Russert's cheerleading for the Iraq War during its early days, with little attempt on his part to maintain a position of journalistic neutrality (something that continued for some time afterward, as he, along with most other members of the mainstream press with access to major government officials, failed to press them on the obvious inconsistencies in the Administration's stated rationale for going to war).
As Joe Gillis's corpse says as they fish him out of Norma Desomond's swimming pool in SUNSET BOULEVARD, "Funny how gentle people are with you when you're dead."
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Give him a star? I suspect that Cheeta will be just as happy if you give him a banana.
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For several years in the early- and mid-1970s, AFI published a generally excellent magazine, American Film under the editorship of film journalist and historian Peter Biskind (who would go on to edit the now-defunct, and inferior, Premiere). While aimed at a general audience of non-professional film enthusiasts, it often featured fine articles about the filmmaking process; even the cover stories were frequently about the nuts-and-bolts of movie-making, and not the "glamour" side of it.
When I arrived at AFI's Los Angeles campus in 1983 to begin my education at the Center for Advanced Film Study, I was pleased to note that we fellows (as the students are called) received a complimentary copy of the magazine each month in our mailbox.
What please me much less that the magazine had begun to pander in search of an even broader readership. Gone were stories (especially cover stories) about such topics as the costume design in GONE WITH THE WIND; the cover of each issue now featured a nice, big headshot of some well-known contemporary actor. More disconcerting is that most, if not all of these actors just happened to also serve on AFI's Board of Trustees.
That the magazine always served to some extent as an organ of self-promotion for AFI was a given, but the idea that its purpose was redirected to ingratiate the Institute with a small group of influential individuals was, frankly, rather disgraceful.
The wolf has never been all that far from AFI's door in a nation where arts funding is held by a segment of the political classes to be a form of limousine-liberal welfare for "elites" (AFI receives much of its funding from the National Endowment for the Arts), and the need to augment its income -- through the magazine, Life Achievement Award telecast or "100 Greatest"-list TV specials -- has always been a priority. Still, it's always seemed an example of throwing out the baby with the bathwater if it sacrifices some part of its credibility as an arts institution on the altar of crass commercialism.
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The real answer is the actress Evelyn Venable who, as the "Columbia Lady" logo, appeared at the opening of every single film released by Columbia Pictures for almost forty-one years (1936-1976). Martin Scorsese's TAXI DRIVER is, in fact, the last film in which Venable appeared.
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> {quote:title=scsu1975 wrote:}{quote}
> You left out the Cheyenne and Arapaho. Give credit where credit is due.
So Sioux me.
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Perhaps these ol' eyes are getting really poor, but is the movie showing now, "Girl Crazy" kinda washed out? There doesn't seem to be true black and white, but everything is in shades of gray.
You must be girl-crazy. If we've told you once, we've told you a thousand times, if you keep doing it you're gonna go blind.
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Liberty
Ah, yes: the freedom to oppress without restriction in pursuit of financial gain.
Capitalism at its most vigorous.
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The word is still spelled "yea." Always has been, always will be.
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AMERICAN GRAFFITI contains more cruising than any other film I can think of.
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The problem lies in your apparently abysmal ignorance of American history, since CUSTER OF THE WEST concerns an 1876 event typically categorized as a massacre, in this case of a U.S. Cavalry regiment by warriors of the the Sioux Nation.
Since this is clearly a literal, and not figurative, massacre, simple common sense should have suggested that the conflict was genuinely violent, ending very, very badly for one side in the battle.
More practically, the burden rests with you, the parent, to do a minimum of research to ensure that nothing enters your home that you don't wish your children to see (by the way, the film's rating in 1967 was "G"; by today's standards it's even tamer and more benign. In fact, virtually all the film's violence is suggested, rather than graphic, meaning that it's designed to generate inferences in the viewer's head, without actually depicting them onscreen at all. This suggests that you, and perhaps your children, already have these violent images inside your heads).
It's you who was lazy and negligent, not TCM.
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No. When the film's final frame fades out, the story's over.
If, in some sequel, Fred and Peggy, or Homer and Wilma, or Al and Milly were not able to cope with their post-war lives, and slipped into financial ruin and/or marital discord, would you then demand yet another sequel in hopes that they could straighten out their lives? The six main characters in THE BEST YEARS OF OUR LIVES are representative types, many of whose analogues in the general population will fail,sometimes badly. That's just the way it goes and, if there's any realism to be found in this film, the possibility of two or more of the characters going on to unhappy lives must be accepted as representative of life is it's really lived.
There are, in the end, no stories about redemption, only those about people given a chance at redemption.
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Bravo! Why not put him on "ignore"? I did.
Sure, why not? The Republicans have put climate change, the exploding deficit, U.S. service personnel's need for body armor and effective rolling armor, need for new auto fleet fuel-economy standards, and the lack of any connection between al-Qua'ida and Saddam Hussein and the Iraqi civil war (to cite just a few examples) on "ignore," and look at how well things are going.
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Right in the middle of the courtyard, the prison guards either built or brought in a guillotine. One of the prison guards puts a watermelon on the guillotine and then lets the blade slice it. I was about four or five years old and this was the first time I have seen such a device.
The first guillotine one sees is irrelevant; it's the last one one sees that should give one pause.
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A hearty "nay" (but if I did give a thumbs-up, it would be spelled "yea," not "yay").
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and wrote: "We need to bring back sweatshops, child labor, high infant mortality, and can SS, too. People can't produce? TOO BAD"
There you go again with Liberal hyperbole...
Conservatives are not for the above...
But, what they do believe is our people must be freed to create and keep the fruits of their labors without the manacle of government keeping them enslaved.
Nor, do they believe the people are sheep who can't reason and make their own decisions.
They think too highly of man and society and believe government is best that governs least and let's the people have a free and open exchange of ideas and commerce.
Conservatives are for maintaining the [/i]status quo[/i] (the very definition of "reactionary"), especially if it serves their interests. Hence, sweatshops and child labor are just "part of life," which "market forces" will take care of when, and if, it sees fit. Such a nice, placid view of the universe.
One can easily substitute "god" for "market forces" in the above, helping to make the argument that to conservatives, serving god and mammon, or making god and mammon interchangeable, is at the core of their most deeply-cherished beliefs.
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It's going on four days now and there hasn't been a signal on TCM at all during that time. I've tried contacting both the cable company and TCM but both are unable to answer my question.
There aren't any weather conditions right now that should be causing anything like this. It's frustrating enough that it happens, but for it to go on for days and not even be able to get an explanation makes it doubly so.
If anyone else near the Baltimore or Northern Harford County area (especially if you use Clearview Cable) is experiencing similar problems, please let me know.
This sounds like what's known as a "head-end" problem, meaning that there's some problem with your cable company's equipment at their satellite downlink, and you should describe it to your satco's general manager in exactly those terms (the more he thinks you know, the less likely he is to try to dismiss you as just another idiot customer).
With Respect to Sergeant York
in Films and Filmmakers
Posted
Alvin York (in real life) was a man of deep religious conviction and also a man of principle. He was the sort of person you see very rarely these days. And in my opinion he is the sort of person this world needs more of---perhaps now more than ever. In a day and age that is all about sound bites and popularity polls, it would be refreshing to find someone in the limelight (especially in politics) who is a genuine person of Christian faith and who cares more about honoring the namesake of that faith and their fellow man than they care about themselves and their own careers.
Christianity has suffered a tremendous black eye for years, perhaps decades, and it is due in large part to the actions of people who profess that faith. And our culture seems to mirror that in the tv and movies of recent date. It used to be different, but now days, Christians are portrayed as bigots, liars, hypocrites, and worse; or often times they are just discounted as buffoons. And it?s a mindset that has crept so carefully into our culture and made itself at home, that it is now the rule rather than the exception in most modern day entertainment.
According to the film's narrative, York was a man of no particular faith at all until a lightning bolt just happens to split the rifle he was going to use, in a drunken rage, to kill someone he believed had wronged him.
A convenient dramatic device, of course, but it sends a message (typical of Christian fundamentalists these days) that goodness, charity and forgiveness can only come from god. That perspective is, frankly, downright offensive, insulting as it does the entire human species, since it implies that human beings are but empty vessels awaiting Divine direction, and have no real free will or ability to direct their own affairs.
As for the dialogue you quote, I'd rather quote Wamba, from MGM's IVANHOE, in reply to Sir Brian Bois de Guilbert's statment that he'd "rather bivouac by the side of the road than share a roof with an infidel." It puts the sanctimony of those who believe their religion -- and, therefore, them -- is superior to all others in a rather neat perspective:
"For every Jew you show me who is not a Christian, I'll show you a Christian who is not a Christian."