CineSage_jr
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Posts posted by CineSage_jr
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The scene in STAR WARS in which Luke and the 'droids drive up to his uncle and aunt's moisture farm is taken directly from John Ford's THE SEARCHERS.
The much of the X-wing/TIE fighter dogfight above the Death Star was copied from World War II films, especially THE DAM BUSTERS (along with the whole concept of the torpedo run in the Death Star's equitorial trench).
The final medal-bestowing scene was stolen from Leni Riefenstahl's TRIUMPH DES WILLENS (TRIUMPH OF THE WILL).
Individual scenes can't be copyrighted any more than titles or basic concepts can. The lawyer with whom Mr Herz spoke obviously just wanted his up-front money, because Herz had no case.
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Gibbons retained sole screen credit for directing TARZAN AND HIS MATE, even though most of the footage he directed was discarded and re-shot, uncredited, by staff directors Jack Conway and James McKay.
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Does a set of Ginsus come with the privilege of reading it?
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Полная версия: Кинолегенды
"Polnaya versiya Kinolegend" ("Complete version Cinema Legend").
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Juano Hernandez, just about the greatest actor nobody knows.
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Even though this was filmed in 35MM, it employed the Super-Technirama process, and looked fairly magnificent on the enormous Todd-AO screen on which I saw it.
The size of any or all release prints is irrelevant; SuperTechnirama utilized an anamorphic image photographed on a 65mm negative (regular Technirama utilized a 35mm neg).
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Despite his fearsome Asian appearance, the actor is Indian-born Milton Rutherford Reid (billed as Milton Reid, when he got billing). He returned to India in 1980, was eventually arrested for something having to do with a domestic-violence case, and disappeared in the mid-1980s. He's believed to be dead (he'd be 91 in April), though no proof or witnesses to his death have ever been found.
I can't positively identify the film from which the below still comes, though I suspect it's from 1971's THE HORSEMEN.
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Paramount should have the rights to both versions of The Buccaneer, having adapted the 1938 screenplay for the 1958 remake. Both are coming on TCM in February, the original version again in April.
I belive that the '38 version of THE BUCCANEER is held by Universal, not Paramount, despite the 1958 DeMille/Anthony Quinn remake needing access to the original's rights. The earlier version's airings have always seemed to come amid the others in that package of Universal-owned 1928-1948 Paramount titles.
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There were actually three other actresses on Charmed, McGowan having replaced the rather creepy and out-of-control Shannen Doherty four years into the show's run.
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Just what we need: another cop show.
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MIDNIGHT, THE MAJOR AND THE MINOR, THE BUCCANEER (1938): TCM is finally starting to dig into the pre-1948 Paramount films in the Universal package (so, where're FIVE GRAVES TO CAIRO, IF I WERE KING, THE LIGHT THAT FAILED, GOLDEN EARRINGS, THE BIG CLOCK, THE MINISTRY OF FEAR, THE UNINVITED, IF I HAD WINGS, etc., etc., etc.?).
And UNION STATION from the post-'48 Paramount package from Paramount (and where are OMAR KHAYYAM, CRACK IN THE WORLD, etc., etc., etc.?).
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why are you leaving a "." (period) on these threads ?
Everything's been reduced to a microdot for safekeeping.
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I think they chose Rose McGowan to appeal to a younger audience, which woud be fine if you are showing new movies, but I am all for having a well respected critic like Leonard Maltin host The Essentials, or a film star of a certain age, like Elizabeth Taylor or Paul Newman.
You miss the point: Rose McGowan is there to help persuade younger people that they should be watching old movies. Newer films generally don't need to be sold this way.
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If Hollywood has always had sound, why didn't they really use it until the 1920's? Why do silent films even exist?
There's sound, and there's sound. Apart from editing and layering multi-track sound, which was extraordinarily difficult using the Vitaphone sound-on-disc system introduced by Warner's in the mid-1920s, earlier attempts were even more limited due to the absence of a truly electronic recording system that permitted the sort of amplification motion pictures required to A: pick up sounds on a large film set; B: reproduce it through several generations needed for a film's post-production process, and C: project it in the often vast movie houses in which films would play.
Just as the acoustic recordings of the likes of Enrico Caruso or Al Jolson from the 'teens and earlier that one can buy nowadays on CD sound thin and scratchy, the acoustic (versus electronic) technology available in the pre-Vitaphone era was simply inadequate to the task motion pictures would place on it.
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Yay...............
It's still spelled yea.
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Hard as it is to believe, some people don't have mothers ...
Even Cody Jarrett had a mother. Enough said.
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Say what you will about Cleopatra, everything and everyone you see when Elizabeth Taylor is carried into the city was actually there. That is truly awe-some. I am never in awe of the work found in Lord Of The Rings or Troy or Alexander - three contemporary films I have seen that relied heavily on the work of computer operators.
Not quite: the peaked roof of the temple of Capitoline Jupiter, in front of which Caesar greets Celopatra after she's carried down from the great wheeled Sphinx, was added via a hanging miniature, and the more distant background buildings in between the temple and adjacent structures were flat paintings.
Now, Samuel Bronston's THE FALL OF THE ROMAN EMPIRE is another matter: everything was done full-scale, with no miniatures, mattes or efx of any kind. The sets were, in fact, built with finished fa?ades on all four sides, so that they colud be photogaphed from any angle (even if they were never to be used). Everything about FOTRE dwarfs CLEOPATRA in size and detail and texture -- everything except the drama, that is.
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no really I saw this on a show last night. they were discussing how all these russian jews conspired to control movies & they could not read! it was on pbs. mgm had their motto :art for arts sake & it was the exact opposite. they chained art to the assembly line. guess you didn't appreciate my attempt at humor. the truth is what it is - not what you said.
Oh, they could read, all right, despite their being born in countries from Germany (Carl Laemmle) to Ukraine (Louis B. Mayer); it's your familiarity with the English language that's questionable.
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Quit bellyaching: the very articulate Miss McGowan has proved fairly conclusively that her filmic knowledge and sensibilities are far more advanced than Carrie Fisher's (the fact that she's a lot easier on the eyes doesn't hurt, either).
Would I rather have someone like my friend, film historian par excellence Joe McBride (author of Frank Capra: the Catastrophe of Success, Searching for John Ford), as a regular host, commentator, guest programmer? Sure, but TCM seems reluctant to go in that direction, perhaps because they know that the light, flippant comments given to Bob Osborne and Ben Mankieiwcz will seem exactly that when contrasted with the deep knowledge of a Joe McBride.
More's the pity.
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Hilarious movie. The great joke in the film's denouement is that Beauregard Bottomley (Colman), who knows absolutely everything about everything is tripped up on the question because, since he's never worked in his life, he's never had any use for his Social Security number and, as a consequence, never memorized it.
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Hanks is a very talented, thoughtful actor. It doesn't mean that everything he's ever done is gold; witness THE Da VINCI CODE, a role in which he is woefully miscast (though the film is so bad in most other respects that it hardly matters.
PS: It's Yea (from Middle/Old English form of the Germanic "ja") or nay, not "yay."
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Sad news...reminds me of River Phoenix another bright young star destroyed by drugs.
I always found it ironic that Phoenix, who played the young snake-phobic Indiana Jones in INDIANA JONES AND THE LAST CRUSADE, should have died in front of Hollywood's Viper Room nightclub.
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The (two-alarm) fire at George Eastman House International Museum of Photography in Rochester, NY, occurred on May 29, 1978. Four buildings were destroyed, containing a total of 100,000 items, including rare film and still photos.
1943- Harold Lloyd?s personal vault has a fire. Losses include the Lonesome Luke series and the original camera negative of Safety Last!
SAFETY LAST destroyed because of no-safety-film first.
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You mean Jimmy was really 1943 years old when he made YANKEE DOODLE DANDY in 1942?
THE FINAL CUT
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Today comes word of the death of one of filmdom's premier editors, Russell Lloyd (from London's Independent newspaper):
Russell Lloyd: John Huston's film editor, who began his career with Korda
Russell Lloyd would always say that he was practically born into the film industry: "My mother's labour pains started on a Saturday night while at the local cinema near Swansea in Wales. I was born Sunday morning." One of Britain's most respected film editors, Lloyd amassed nearly 50 feature editing credits, including 11 for the director John Huston. Lloyd's Academy Award nomination for Huston's The Man Who Would Be King (1975) crowned a career which had begun in the great days of Alexander Korda.
Obsessed with the cinema from an early age, Lloyd ended his schooling at Bradfield College in Berkshire and then worked for almost a year as a projectionist in Swansea. He bombarded British film studios with letters applying for any position in the camera department and eventually received a telegram from Korda's production executive at London Films, David Cunynghame, inviting him to report to Elstree and offering him work as a "numbering boy" synchronising film rushes under the cutting-room head Harold Young. As Lloyd later reported: "You could imagine my dismay ? my chance of being that great cameraman destroyed! However, I've never since regretted that twist of fate."
In those days each film was handled by one editor and one assistant, but so active was Korda's production programme that Young was promoted swiftly to direct The Scarlet Pimpernel (1934) and William Hornbeck, an American, was brought over to replace him, with Francis D. "Pete" Lyon also recruited from Hollywood. Lloyd was promoted to assist them on Moscow Nights (1935).
He followed this by assisting on a series of Korda classics, amongst them Sanders of the River (1935), Rembrandt (1936) and Things to Come (also 1936), invaluable experience. In fact, he only ever assisted three editors, all Americans: Hornbeck, Lyon and the Texan Jack Dennis, whose hard-drinking habits and regular leaves of absence led to Lloyd having to edit sequences in his stead.
On The Squeaker (1937), the director William K. Howard had to view a cut sequence prior to striking the set. In Dennis's absence, Lloyd edited the sequence himself. Dennis was grateful, and not only suggested Lloyd should continue to edit sequences on The Squeaker but also that he should receive the editing credit. This led to other jobs with Howard and another visiting US director, Thornton Freeland, but at the outbreak of the Second World War Lloyd volunteered for the Royal Naval Volunteer Reserve (RNVR).
He was brought back from active duty at sea and commissioned by the Crown Film Unit to edit a documentary on submarines called Close Quarters (1943) which led to his producing, directing and also writing A Harbour Goes to France (1944) for the Army Film Unit.
The war over, Lloyd edited School for Secrets (1946) for Peter Ustinov, a propagandist piece about the use of radar during the war, and, again for Ustinov, a popular comedy, Vice-Versa (1948). His directorial ambitions were partly fulfilled when Korda invited him to film second unit for Julien Duvivier's Anna Karenina (1948, starring Vivien Leigh), but the film was not a success. Nevertheless, Lloyd secured a co-directing assignment with Emlyn Williams on The Last Days of Dolwyn (1949), necessitated because Williams was also starring, and needed another eye behind the camera. "Emlyn used to talk to the people who were going to be in the scene," recalled Lloyd, "and then I would decide where the camera went and what they did."
But the British film industry was going through what could be seen with hindsight to be one of its regular periodic depressions, and it was not a good time for a newcomer to direction. After trying to set up a solo project, Lloyd "thought I'd better go back to cutting where I was more or less of sure of getting a job". Korda had bought up Lloyd's contract and used him in an advisory capacity but Korda's glory days were, alas, nearing an end.
In 1950 Lloyd was hired to direct second unit and location sequences for Walt Disney's first British action feature, the glorious Treasure Island, and shot exquisite Technicolor material, but, as so often happened in an almost unbearably fickle industry, there was no follow-up.
Returning to the cutting room, Lloyd was fortunate to edit a series of American-financed features with US stars and directors, including I'll Get You For This (1951), Saturday Island (1952) and Rough Shoot (1953). More prestigious in terms of UK cinema, he edited The Sea Shall Not Have Them (1954), a wartime naval saga directed by Lewis Gilbert starring Dirk Bogarde and Michael Redgrave (of the title and stars No?l Coward famously quipped: "I don't see why not. Everybody else has.")
In 1956 John Huston was preparing Moby Dick for Warner Bros to star Gregory Peck as Ahab, but his regular editor was contracted to another film company. Lloyd, an admirer of Huston's work, found out that the director was shooting whale tests prior to principal [sic] photography, and quite simply arranged to visit Huston in Milford Haven in order to apply for the editing job. They met, clicked, entered into long, ecstatic discussions, and then Huston said simply, "Let's get started."
Lloyd was involved for well over a year, beginning a relationship that would continue through 11 features, of which Moby Dick (1956) afforded Lloyd a rare directorial moment. A Warner Bros executive noted the absence of a character assumed to have perished when the ship went down ? Lloyd found some frames, ran them backwards, had the art department construct the matching miniature, and built up a shot wherein the character is dispatched by the collapsing ship's rigging. Huston was delighted with the result and ever afterwards exited his films when shooting was over, and entrusted post-production totally to Lloyd.
Lloyd followed up Moby Dick with Huston's Heaven Knows, Mr Allison (1957), a Robert Mitchum-Deborah Kerr two-hander for Fox, who were so delighted that Lloyd was then hired to edit a series of CinemaScope features for the Fox chief Darryl F. Zanuck, including two featuring Zanuck's lady of the moment Juliette Greco, who personally thanked Lloyd for arguing with Zanuck over choice of takes. "I don't know what you do with Darryl in the dark, but he loves you!" she said.
After The Roots of Heaven (1958) with both Huston and Greco, Lloyd's next Huston assignment was the western The Unforgiven (1960) with Burt Lancaster and Audrey Hepburn, on which shooting was delayed when Hepburn took a bad fall from a horse. Lloyd used the hiatus to learn how to fly, a new passion which almost equalled the pleasure of playing endless rounds of golf with Lancaster before shooting resumed.
Lloyd was particularly respected within the industry for his work, in between assignments for Huston, on Of Human Bondage (1964), a film which had gone through the hands of three directors, and on which Lloyd created a whole new sequence out of trims and rushes, and also for editing Fox's mammoth title Cleopatra (1963) for the director Rouben Mamoulian at Pinewood.
Lloyd's remarkable relationship with Huston reached its apogee with The Man Who Would Be King (1975) in which the editor's and director's styles meshed seamlessly, for both were opposed to the then (and still) current trend for overcutting action sequences, and there is a tremendous moment of pure cinema when Sean Connery falls to his doom from a collapsing rope bridge in a single shot. Lloyd received an Academy Award nomination for his editing.
But such a style of classical editing began to be deemed "old-fashioned" by young Turks from television and like many film technicians of Lloyd's generation, his work veered between sex films such as Swedish Fly Girls (1971) and The Amorous Milkman (1975) and foreign features such as Turnaround (1986) and Foxtrot (1988). Despite his being enlisted to salvage such movies as Caligula (1979) and Absolute Beginners (1986), after The Dive in 1989, there were no more offers.
Tony Sloman