CineSage_jr
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Posts posted by CineSage_jr
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Cesar Romero, hardly (he was way too old even then); Rod Taylor, definitely.
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It's easily explained. The vast majority of Bob Hope's films were made for Paramount. They are not in the TCM Library. TCM does not have ready access to Paramount titles.
In fact, they do, by virtue of contracts with Universal (who own the pre-1948 Paramount library), and Paramount. As I've said elsewhere, the TCM programmers are very slow to exploit these packages, instead larding the bulk of their schedules with the same, tired MGM and Warners fare month, after month, after month.
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"TCM is not a university. We are not enrolled in a film class. We pay for TCM so we can see old and classic movies."
You also pay for the Golf Channel as part of your monthly cable bill, but I don't see you complaining about the detail in which their pros explain how to putt or hit a wedge shot with a Nine-Iron.
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I get the feeling that if she were older and plain looking, she wouldn't be drawing so much fire.
Then how do you explain Katie Couric?
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Of course, you realize that with a Bass Main Title and an Elmer Bernstein score, the comparatively pedestrian title, STAR WARS, would have to be changed to "The Man with the Robot Arm" (a.k.a. Darth Vader).
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Heston believed in Peckinpah's film to the extent that he offered to refund his salary to Columbia to guarantee the film's completion, not really believing they'd take him up on such an offer.
His agent, Herman ("The Iceman") Citron, told him he was an idiot, and that they would, indeed, avail themselves of such an oh-so-generous gift.
Citron was right, and Heston ended up doing the film for nothing. As you may imagine, the thought of doing that again never entered Heston's mind again.
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I agree. TCM should make an effort to rent a copy of this film. I never saw it when it first came out and I've never seen it on TV.
They almost certainly already have it (along with the rest of Heston's early films, with the exception of THE PRESIDENT'S LADY, RUBY GENTRY, THE PRIVATE WAR OF MAJOR BENSON and BAD FOR EACH OTHER,) as part of the post-1948 package of Paramount films that includes SUNSET BOULEVARD, ROMAN HOLIDAY, SABRINA, STALAG 17, WAR OF THE WORLDS and dozens of others.
It's not that TCM doesn't have the films, it's that the programmers have little or no clue as to their existence or value (and would rather just show us the same Warner's and MGM titles over, and over, and over...)
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Yes, the CPUSA has been quite successful.
What, in the name of pickles and ice cream, do HOLD BACK THE DAWN, COME LIVE WITH ME and illegal aliens have to do with the US Communist Party, or any Communist Party?
Man, are you obsessed, Fred!
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I'm afraid that your time-line is a bit imprecise and, therefore, inaccurate.
The car crash was in 1937, and occurred during Sternberg's abortive filming at London's Denham Studios of I, CLAUDIUS, with Charles Laughton and Emlyn Williams.
Oberon wasn't married to Ballard at the time (they would marry in 1945), but to I, CLAUDIUS's producer, Alexander Korda. The U.S.-based Ballard's first opportunity to light his future wife came in the film THE LODGER, at 20th Century-Fox in 1944.
The crash gave Korda the cover he needed to cancel I, CLAUDIUS, which had been making extremely slow, unsatisfactory progress largely because of Laughton's inability to "find" the character of the lame, stuttering "fool" who, unwillingly, became one of Rome's most unlikely emperors (according to the fine 1976 BBC documentary on the making of the film, The Epic that Never Was, Laughton one day announced with great excitement that he had, at last, "found" the character after listening to recordings of the speech made by England's King Edward VIII the year before and getting a sense of what Laughton felt must have motivated him, but by then it was too late; Korda was determined to abandon I, CLAUDIUS for good).
Oberon's last film appearance was in 1973; Ballard continued to work until 1985.
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And, while they're at it, how about digging up the fine British thriller STATE SECRET (a.k.a. THE GREAT MAN HUNT) from the 1950s Columbia package?
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The LED readouts on bombs became fashionable when producers figured it worked for GOLDFINGER, it'd probably work for their movies, too.
The problem really arises when someone on our side needs to plant a bomb where it won't be discovered, but no one thought to build one without big, bright flashing numbers on it...
CineSage jr, that is very interesting. In your opinion is the name Juggernaut more suited to the movie or the documentary (or equally both)?
I was thinking how nuclear power has "ruled" the world in the past 60+ years as well as ruled our fears.
I'm sure that the Indians' use of the word for their title was more appropriate...especially since I don't see what the term "juggernaut" really has to do with the story of a bomb-laden ocean liner.
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When are you finally going to dig deeper into the pre-1948 Paramount package and give us FIVE GRAVES TO CAIRO, IF I WERE KING, and THE LIGHT THAT FAILED[/i]?
And the 1950s-'60s Paramount package that includes SECRET OF THE INCAS, OMAR KHAYYAM and CRACK IN THE WORLD?
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WHITE HEAT; nothing else comes close.
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Here is a Juggernaut trivia tidbit you might like to know, it has nothing to do with the movie.
There is a 30 min documentary called Juggernaut, it is about India shipping their first nuclear reactor by truck over the mountains to get it to the power plant site in the 1960's. Whats amazing is that it weighs around 400 - 500 tons! The film has so color faded, it is now in brown and white.
That makes sense, since the "juggernaut" is a corruption of the Hindi Jagannāth, literally, "lord of the world," title of the god Vishnu, which found its way into the English language during the days of the British Raj ruling India.
Of course the documentary's "plot," such as it is, is reminiscent of Henri Georges Cluzot's classic suspense film THE WAGES OF FEAR.
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Hi Cinesage
What did I say to draw such a meaty response? I guess it doesn?t matter who plays the movie director or whether Bridget (did I spell that right?) is sexy or not, so long as the patron walks out of the theater I wonder how disappointed he was if there was anybody left afterwards. As absurd as the idea sounds I still believe you (honest) though naive as I am I would have thought he might have been just as happy with simply **** us off. Hmm, I wonder if anyone ever asked for their money back.
I must make a bit of a confession, Lafitte, in that there are times when I feel that, in this, Godard and I are somewhat kindred spirits.
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"My Chinese friends in California when I lived there never wanted to be called "Asian". That was an insult to them. They didn't want to be mixed in with Koreans or Vietnamese or Arabs or Indians. They wanted to be called "Chinese".
If you want to say that TCM's salute will be about Chinese, Japanese, and Koreans, that's ok with me. But please don't call my Chinese friends "Asians", because today that means "poor starving immigrant from Asia" to them."
So, NEVER call my Chinese friends "Asians", even if you do think "they all look alike" to you.
Ah, Fred, but you're injecting revisionism into your argument, which wasn't about each nationality wishing to be defined by the particular nation from which their forbears came, but in your perceived right to lump them together as "Orientals" instead of "Asian." Those of European decent are seldom, if ever, lumped together in such general terms (at least in the U.S., since a majority of Americans trace their ancestry to that continent), and maybe Asians would prefer more specific references as to where theirs come from, but they also have a right not to to be called "Orientals" if they so choose (those whom we now mostly call African-Americans are a special case, since their ancestors weren't willing immigrants to these shores, with tracing that ancestry difficult, imprecise and, in the case of DNA testing, expensive).
As for
"Now I know why you are so rude to everyone here. You are both from New York AND California, so you think that you "know it all", and we don't."
At no time have I ever said that I think that you (and, by extension, Jake) don't know it all -- but thanks for saving me the trouble.
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"Missouri Breaks". Not so good movie, but, c'mon, Brando's scene with the horse?
BEAUTIFUL.
You mean where Brando is in the Old Mother Hubbard dress? That's worth the price of admission, right there.
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Along with PRUDENCE AND THE PILL, the absolute nadir of David Niven's otherwise-wonderful career (though OLD DRACULA was pretty damned embarassing, too).
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A: I'm from New York; I just happen to be in California for the foreseeable future.
B: Remember your basic "Inherit the Wind": your comment suggests that you think that, like the lyric in "Thet Old-Time Religion," if it was "good enough for our mothers," it's good enough for you (and everyone else). Life and ethics and morality frozen in time at a point that serves you and your peculiar sense of propriety.
The world moves on, Freddie, like it or not.
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The concept of Brigadoon is somewhat dodgey. The town of Brigadoon exist only for one day every 100 years. Doing the math one year in that town would get you to the year 36,500, probally in time for another Ice Age or another huge global event. After ten years, (maybe longer) the sun will expand and all life on earth will be destroyed. I know it's only a musical and I'm sounding like a sci fi geek,(or Al Gore) but the idea does not hold water.
It's a little-known fact that, by the year 802,901, the good citizens of Brigadoon had evolved into the bifurcated societies of Eloi and Morlocks discovered by Rod Taylor in THE TIME MACHINE.
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This ?salute? is about Orientals, not ?Asians?. But they can?t call it an ?Oriental? salute because liberals in California don?t want us to use the term ?Oriental? any more, so we have to call Orientals ?Asians? now.
But Asia is a big place.
East Asians and especially Northeast Asians are mostly ?Orientals?.
To you, and others, who're too lazy or self-righteous (or bigoted) to accord people the right to be characterized as they wish, and not as you'd like them to be.
You probably characterize yourself according to the geographic origin of your forebears, yet you won't allow Asians to do the same. Your calling them "Oriental" is the rough equivalent of an Asian addressing you as a "round-eyed devil."
Of course, if you stay on your present course, you'll make a very good case for your being exactly that.
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MGM/UA Laserdiscs did the same thing with the "director's cut" of THE ALAMO (always a dicey term, especially here, when the director, John Wayne, had been dead for nearly twenty years before the disc was issued. Was this cut his "vision?" Who knows?), but the later DVD was only the standard-release version. Still a bad film, but always an extremely handsome one.
There are always issues with these things that those on the outside can only speculate about. In many cases it has to do with the longer version being without a copyright, because the short version is the only version for which the studio applied for one. There was a kind of swashbuckling ethos among a number of those employed in the production of laserdiscs fifteen or twenty years ago: film buffs who blithely disregarded the legal niceties to the extent that they could (remember that laserdisc was always the stepchild of the home video business, and that the parent companies didn't much know or care what the laserdisc people were doing, as long as they stayed within their yearly budget); DVD is a different entity altogether: very corporate, a major profit center for the studios, whose legal departments ride herd over everyone and everything, micromanaging the choice of product and presentation.
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Hi Richard, welcome to the boards. THE WAR LORD, now there's a film I haven't thought of in decades. It was produced by an independent producer and Universal only had the U.S. distribution rights. It's very possible they no longer do so that might explain why it's not out on DVD or shown on TV. It may be one of many films that have fallen into "film limbo" which would be too bad. With Heston starring, I'll bet TCM would be delighted to show it if it were available.
The film was produced for Universal Studios by Court Productions, an entity organized by producer Walter Seltzer and director Franklin Schaffner for the purposes of this project, but it didn't retain rights to the film, which are still held by Universal.
I have a copy of the DVD; unfortunately, it was released before the DVD companies made anamorphic transfer the standard for widescreen films; consequently, it is a flat, letterboxed transfer (and is also a bit grainy; it's obvious that they didn't go back to the original elements to produce the disc).
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For all the money and attention Richard Attenborough lavished on CHAPLIN sixteen years ago, I think Carl Reiner's THE COMIC is still the most evocative movie ever made about the early silent era of moviemaking.
Plunder in the Sun (1953)
in General Discussions
Posted
Nonsense. Welles wasn't profligate; he made most of his films on relative shoe-strings. If there's one knock on him, as Charlton Heston once observed, Welles's talent was so protean that he tended to lose interest in projects before they were finished.