CineSage_jr
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Posts posted by CineSage_jr
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I disagree. As much as I like the film, I think she's too shrill, too contemporary, too American. Just imagine what a Glenda Jackson, or someone like her, could have done with the part.
Just as Richard Burton's Antony is forced to spend most of the film's second half moping about in self-pity that everyone compares him to the late Julius Caesar and finds him wanting, both he and Taylor must inevitably be compared to Rex Harrison's extraordinary portrayal of Caesar, a subtle, yet towering, performance which, by virtue of the inescapable facts presented by history, ends less than halfway through the film.
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Some kid of melon, perhaps a casaba.
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For flash back effects, in and out, I prefer seeing the moving picture go wavy, as if the scene is turning into water, and some dream-like music, or slow dissolve into a scene of water swirling down a drain and some dream-like music. That always tells me that this is a genuine flash back.
The technical term for the effect is lap dissolve (as in lapping waves).
To me, the most interesting thing about Bancroft?s ?Native Races? series, is his compilation of the various stories about how the Indians got to North and South America. He mentions virtually every theory, including the land-bridge, the China/Korea/Japanese boat theory, the Phoenicians, the ancient Romans, the Africans by raft, even the English and Irish and the Egyptians. This speculating about how they got here, especially to Mexico, started with the early European exploration of the Mayan and Aztec pyramids, and a lack of a good dating system, so a lot of explorers assumed they dated to the same period as the Egyptian pyramids.
Whether Egyptian or Mayan pyramids, or Babylonian ziggurats, the intent was to create a man-made mountain in emulation of nature. The building techniques of ancient times also dictated that structures made of unreinforced masonry (stone or brick, with no metal skeleton as in modern buildings) had to be much thicker at the base than at higher elevations. The pyramidal design is, then, the ultimate expression of these inescapable limitations of physics.
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David Niven in the burning bombing plane reciting poetry over the radio to Kim Hunter in Powell & Pressburger's A MATTER OF LIFE AND DEATH.
Brilliant.
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At the time of the polling, there were five living female legends: Katharine Hepburn, Elizabeth Taylor, Shirley Temple, Lauren Bacall and Sophia Loren, and there were four living male legends: Marlon Brando, Gregory Peck, Kirk Douglas and Sidney Poitier.
I have news for them: Richard Widmark's been making movies since 1947, he belongs on that list and, at 93, he's still very much with us.
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Odd that the inquest into Madeleine's death didn't feature any photographs of her that Scottie might've been shown to confirm her identity...
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SOYLENT GREEN isn't remotely like what's described below. It's clearly SILENT RUNNING.
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Seberg who, by many acounts, never quite got over her brutal treatment at the hands of Otto Premnger, split her time between making films in the U.S. and Europe. By the 1970s her screen appearances became infrequent, and she committed suicide by drug overdose in Paris in 1979 a couple months shy of her forty-first birthday.
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Warner Brothers controls its own films from 1949 (sic) to the present, plus some independently produced films.
United Artists is a bit difficult to determine, because they distributed independent films in addition to producing their own films. I'm guessing that they have the rights to the latter, and not the former. Before merging with MGM in 1979, they controlled the pre-1948 Warners Brothers library.
Ted Turner acquired the pre-1948 Warner's library, along with the pre-1986 MGM/UA library, when he bought the studio in March, 1986 (Turner almost immediately sold the studio lot to Lorimar Telepictures in order to finance the purchase of the films).
The pre-'48 Warner films became the property of what is now known as Time Warner when
Turner Brodcasting was acquired by that company in 1997. There is now no distinction between Warner's films made prior to 1948, and those made later, with the exception of those indepentdent, or partly-independent productions only released by Warner's, whose rights they may hold all or in part.
As to the Turner library's other holdings, you neglected to mention that they also now own about three-thousand half-hours of animated material produced by Hanna-Barbera, and several hundred hours of animation produced by Ruby-Spears.
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CineSage, can you tell us your source? The Complete Directory to Prime Time Network TV Shows has The Young Rebels on Sunday nights from 7-8, beginning September 1970. New People was Monday nights from 8:15 - 9:30, right after Music Scene, which ran from 7-8:15, starting September 1969.
I have my memory, which is very clear on the matter. The very times you quote for The New People, 8:15-9:30, makes no sense, in that that's an hour-and-fifteen-minute time slot.
As I said below, the two forty-five-minute programs together occupied the equivalent of one ninety-minute time slot.
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How did you come to the ridiculous conclusion that I was referring to myself?
As always, you seem very, very wide of the mark.
Go back to the tidal pool and eat your abalone, Miss Otter.
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Once Zanuck made sure that Nightmare Alley was withdrawn from release and got no publicity, Power was basically finished with the movies.
What a ridiculous statement. NIGHTMARE ALLEY was released in 1947. Becuase of its rather seamy and depressing milieu, the film's boxoffice potential was probably limited from the start, but Zanuck, as always, deserved full marks for pushing forward with a project that told a good story, even if it made the shareholders unhappy (such was the beauty of the old studio system, in which the company's yearly bottom line was much more important than picture-by-picture profits, and executives' continued employment didn't hang on the success or failure of each movie the studio made).
Power returned from his service in World War II older, more mature, and unsuited for the sort of dashing-boy matinee idol parts he'd played for Fox since 1936. Zanuck accomodated this by buying the rights to both Somerset Maugham's THE RAZOR'S EDGE and William Lindsay Gresham's NIGHTMARE ALLEY as "grown-up" dramatic vehicles for Power, interspersed with lavish costume epics CAPTAIN FROM CASTILE, PRINCE OF FOXES and THE BLACK ROSE, which were tremendously costly investments by the studio. The films' returns were mixed; still, even when combined with less-costly misfired like LUCK OF THE IRISH[i/], Zanuck stood by his pledge (almost), made after what he felt was an ill-considered loan-out of Power to MGM for MARIE ANTOINETTE in 1936, to never lend the star to another studio (in fact, Power was lent twice -- and only twice -- to Universal for THE MISSISIPPI GAMBLER and THE LONG GRAY LINE, toward the end of his employment at Fox, though the latter loan was done as a personal favor to John Ford).
Power continued to be put into fairly high-profile projects by Fox to the end of his tenure there, finally leaving the lot after making the fairly expensive CinemaScope film, UNTAMED in 1955.
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Kind of vacant, like a model.
Well, like a Stepford Wife.
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As for "prick," I can think of other definitions, but am too much of a lady to elaborate.
I can see that something essential is missing from your life.
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Sorry, but you haven't got it completely right. ABC decided to experiment with show lengths during this period (1969-70): The Young Rebels, starring future Oscar-winner Louis Gossett, jr, Richard Ely and Alex Henteloff, aired from 8:00 PM to 8:45 PM; it ran back-to-back with the The New Pople, a young-people-survive-plane-crash-and-try-to-start-idealistic-society-on-desert-island tale (sound familiar?). Starring Tiffany Bolling and Zooey Hall, it also also ran 45 minutes, concluding the ninety-minute block of airtime at 9:30 PM.
Thr Young Rebels ran 15 episodes; The New People 17 before cancellation.
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The 7th VOYAGE OF SINBAD is an occasionally charming fantasy enlived by Ray Harryhausen's effects, and Bernard Herrmann's splendid score. In the end, though, it's little more than a colorful kiddie film meant for the Saturday matinee crowd.
THE THIEF OF BAGHDAD, on the other hand, despite its having three credited directors (Michael Powell, Tim Whelan, Ludwig Berger), and as many uncredited ones (Zoltan Korda, Alexander Korda, William Cameron Menzies, which results in a somewhat choppy visual style), is perhaps the most poetic film ever made, fantasy or not, thanks to a wonderful, literate script, and incomparably romantic and thrilling Mikl?s R?zsa score. It also doesn't hurt that June Duprez, possibly the most beautiful movie actress on either side of the Atlantic during this period, makes the later film's Katherine Grant look like a Baltimore fishmonger's daughter by comparison.
And, do I really have to ask: Whom would you rather watch, the always charming Sabu or the always irritating Richard Eyer?
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Sorry, CS, but you aren't funnier than Wilder. Nice try, though
I am now, since Billy's been dead for six years.
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If you're referring to 2001 (which you obviously are), what alien do you mean?
Beyond this, it was certainly not part of HAL's programming that he murder the crew and continue the mission on his own. The whole point is that, unlike the man-apes who were taught to kill by the black monolith on Earth, HAL decided entirely on his own that killing would further his ends.
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Indirectly, it shows what American elected officals were really up to, in that hollywood studios only made this kind of anti-Communist propaganda to refute the charges made by HUAC and others that the movie industry was infiltrated by "pinkos," "Commies" and saboteurs.
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Ben-Hur is the story of a man driven by revenge. When he finally achieves that revenge, it is a hollow victory, because he is still filled with hatred. Only after listening to the words of Christ does he finally let go of his hatred. He learns and can move on.
It's really about a man whose thirst for vengeance begins to turn him into the very thing he was determined to destroy. As Esther tells him, "Hatred is turning you to stone. It's as though you had become Messala![/i]"
The Christ business was forced on William Wyler and screenwriter Christopher Fry by the constraints of Lew Wallace's 19th century novel, and its subtitle, "A Tale of the Christ," but the director and writer would have much preferred for Judah's redemption to arise from the rebirth of his own inner decency, and not through such metaphysical means as depicted in book and film.
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I believe that the one behind his back is Spencer Tracy, any help will be very appreciated.
The actors in the photo are, left to right: William Bendix, Mary Anderson, Walter Slezak, Hume Cronyn and John Hodiak (not pictured: Tallulah Bankhead, Canada Leem, Henry Hull and Heather Angel).
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Looks paralyzed to me.
The result of the elephant, Minyak, in THE GREATEST SHOW ON EARTH, stepping on it, no doubt.
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No other religion has been bashed so long, or so often as the Catholics.
Oh, the poor, poor Catholics. Catholicism is the state religion in at least 44 countries, with a total worldwide number of (at least nominal) adherents of 1.35 billion.
And the Catholic Church has existed for less than 2000 years; Jews have been around for nearly 6000, and been oppressed for most of them (including by, you guessed it, the Roman Catholic Church).
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Yes, I won it for about $65.00 (it'd be worth 3-4 times that at a bricks-and-mortar film memorabilia auction).
The sword's made of cast aluminum (looks like steel), with Egyptian motifs on the blade and handle; the sheath's of wood and leatherette, with brass trim.
Idiots at the Western Channel
in General Discussions
Posted
They actually showed Randy blasting Richard Boone, Henry Silva and Skip Homeier. For good measure they showed Arthur Hunnicut getting shot. I couldn't believe it! Idiots!
Of course, anybody who missed the promo in question just had all this stuff given away by...you!