CineSage_jr
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Posts posted by CineSage_jr
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Is The Great Escape an epic?
By today's standards, it is.
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Hello! I am looking for the movie Moby Dick made in 1930 with Joan Bennett I haven't been able to find it anywhere on the web. Can anyone help me?
Thank you!
Nancy
Does Bennett play the title role?
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It might be Three Coins in a Fountain with Jean Peters.
And Dorothy McGuire. And Maggie McNamara. And Clifton Webb. And Rossano Brazzi.
PS: It's THREE COINS IN THE FOUNTAIN.
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Just eliminate the Best Song category, so that we don't have to sit through all those god-awful production numbers, and bar Bruce Vilanch from writing any more of his tepid, lame, embarassing insider-jokes for the host and presenters.
You'd be surprised how much brisker and more enjoyable the Oscars program will be if these two very simple suggestions are implemented.
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Fortunately, the scheming Hedley Lamarr, aide to Governor William LePetomaine, is still with us.
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Why would, and how can, you get it into your head that the film is being made by Warner's? The movie's a 20th Century-Fox film, whose property it's been since 1951.
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I haven't seen the film since I caught it in November at the AFI Film Festival, but I do seem to recall that the narration made some misstatements of fact.
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Quaxer Fortune Has A Cousin In The Bronx
Quackser Fortune.
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"BIL?"
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It's really unnecessary to post things like this across multiple forums. Most people read them all and, if someone knows the answer to your question, will post it where you did.
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judging from the ugly hair it's either Cliff Robertson or Charles Bickford
Or an ad for Tesla Coils.
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THE HILL, and Roberts's role as catalyst in forging his fellow prisoners into a purposeful band of soldiers (albeit incarcerated ones), is actually far closer in tone and dramatic intent to SPARTACUS than BRUTE FORCE.
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Justus McQueen = L.Q,. Jones
Byron Elsworth Barr = Gig Young (it's actually Byron Barr, jr)
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A long-overdue honor. Bob's an immense talent and a wonderful man; I got to know him a bit when he taught at the American Film Institute.
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Just as long as the redoubtable Elwy Yost is still with us.
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Here is one that would make a good "War of The Roses" type movie. It happened in Poland where a husband (for some reason) goes into a brothel and to his surprise finds his wife there, She is an employee. A divorce is in progress.
This actually mirrors an experience that Billy Wilder had in Vienna as a young man, one that he later adapted as an episode in his masterpiece, THE PRIVATE LIFE OF SHERLOCK HOLMES, in which the young Holmes, at university at Oxford, is set up with a prostitute who turns out to be the sweet young woman with whom he'd fallen in love.
Sadly, the whole episode was cut from the film prior to release (along with a lot of other material).
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This is just a repackaging of three titles that've been available for years. Most people who like the films already have them, and won't be interested in the box.
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Those of us with a high regard for the work of Alfred Hitchcock (and the occasional film by Carol Reed) might dispute that rather hasty statement.
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I think that it's essential for someone named Bates to be in the film, since the short story upon which the original film was based, Farewell to the Master, was written by Harry Bates.
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This is a set-up for a story, but not a story, per se, because it doesn't go anywhere dramatically.
If the man and woman in question were to get back together, against the wishes of all involved, defying the full weight of the laws of the U.K., escape confinement in handcuffs only to be pursued across the Scottish moors by the police and gun-and-torch-bearing villagers until they take up residence in a thatch-roofed cottage in the Orkney Islands, eventually conceving a child who, due to his diastrously inbred heritage, is a writing mass of birth defects who metamorphoses into the Antichrist -- then you'd have a story.
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All this business re Henreid is moot, anyway, since he died in combat in World War I in GOODBYE, MR CHIPS.
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Universal Studios** has announced an April 22nd release date for for it's next wave of Universal Cinema Classics promoted as Screwball Comedies. It doesn't get much better than this wave with some of Universal's best holdings: The Major and the Minor (1942), She Done Him Wrong (1933), Easy Living (1937) and Midnight (1939). Consistent with the Universal Cinema Classics line bonus features are slim, but each does include an introduction by TCM Host Robert Osborne. Each DVD will retail for $14.98, but is available at Classicflix.com for only $10.99.
None of these is even remotely a "screwball comedy," going to show that few if any of the folks responsible for choosing and marketing films for DVD (at Universal, at least) knows what he/she is talking about. And I wish they'd get off the stick and finally issue Billy Wilder's FIVE GRAVES TO CAIRO (and Frank Lloyd's IF I WERE KING).
The Weinstein Company** has announced a January 29th release date for El Cid (Deluxe Edition). The 2-Disc DVD set will retail for $24.95, but is available at Classicflix.com for only $19.99. Also being released is El Cid (Limited Collector?s Edition) which is reported to have the film and all the special features of the Deluxe Edition, but will also contain a book.
The "book" is just a scaled-down reproduction of the film's original souvenir program; a reduced-size set of the film's 12 8"x10" color stills will also be included (since I have the originals of both, I'll take a pass on the "Collectors' Edition" and wait for a Blu-Ray edition of the disc to hit the market).
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VERA JANE PALMER = Jayne Mansfield
EMMA MATZO = Lizabeth Scott
TULA FINKLIA = Cyd Charisse (it's Finklea, not "Finklia")
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...IT'S ODD THAT IT WAS THE FIRST FELLA WHO ENDED UP PLAYING A WEREWOLF
Landon: Michael Orowitz.
Karloff: William Henry Pratt.
Carradine: John Peter Richmond.
Ivanhoe
in Epics
Posted
As much as I've always loved IVANHOE, its flaws are not unapparent: besides Robert Taylor's woodenness, his being too old for the part and inappropriate Americanness, the film's inherent problem is that it doesn't quite know what it wants to be -- is it a swashbucker, or historical epic? The two genres aren't precisely the same thing (though there is a bit of overlap). Swashbucklers are, in the end, rather light-hearted (though not tongue-in-cheek) adventures, while epics have a serious core and try to present the tone and substance (though seldom the letter) of history straight.
IVANHOE wins high marks in its commitment to telling the story of anti-Semitism as it existed in Mediaeval Britain, without soft-peddling its effects and consequences. That it manages to pull that off while telling a thrilling tale of a fight against a tyranny not all that much worse than the one that aims to expel it is treading a line fine enough to qualify the film as a straight drama, irrespective of the film's costume-spectacle trappings.
In the end, Taylor's limited acting range and dour, humorless presence made him unsuitable to carry any true swashbuckler, so IVANHOE must fall into the epic category. Unfortunately, it's not quite nuanced enough to succeed as that, either. One must, therefore, enjoy the film for its set-pieces (and its incomparable Mikl?s R?zsa music) rather than for the totality of its dramatic and filmic presentation.