CineSage_jr
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Posts posted by CineSage_jr
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It's the same thing that exists today at a studio like disney: some films go out under the Disney banner; others are Touchstone Pictures, and yet others are Hollywood Pictures.
In the case of Warner's, some films on their schedule were deemed more suitable for release under the parent company's name, others as First National (and, until the early 1930s, some as Vitaphone).
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None can hold a candle to those wonderful make-up artists of old!
Hardly; the make-up artists of yore would be absolutely astonished by what's so commonplace today in the realm of make-up, latex appliances, animatronics, etc. (and if you did hold a candle to those old make-ups, they would run like an over-wound watch).
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Bronwyn is named for Anna Lee's character in HOW GREEN WAS MY VALLEY. Maureen O. was buying a bed for her quite-grown daughter in the Brentwood section of Los Angeles when I ran into her in 1992 or '93.
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When you think of all the bent-nosed goombahs Frank could've sent over to retrieve the watch, I'd say that you got off easy.
A lot of people tell me that. However, he never asked for his watch back. It's funny but amazingly true. It doesn't sound at all like something he would do.
He may not have asked for the watch's return (obviously, he could afford to buy them by the carload), but he probably did think to himself, "The guy I left it with knows whom it belongs to and where to find me; he might at least make the gesture of trying to return it."
Had you tried, he most likely would've just said "keep it," as that's the way a man like him frequently shows gratitude (the gesture being more important than the material possession). It would've also prevented Nancy, thirty years later, from asking for it or, would have given you every right to refuse to hand it over.
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There's no such thing as a good Chevy Chase movie.
Beyond that, has anyone ever noticed that FOUL PLAY revolves around an attempted assassination of the Pope?
By an assassin called The Albino?
And that the real Pope John Paul I died thirty days into his pontificate?
And that some think that he may have been assassinated?
And that his real name was Albino Luciani?
And that these events, and the movie's release, were both in 1978?
Who needs the daVinci Code?
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Garbo was a much more effective actress in silents than she was in talking pictures, and her face was always a cipher (it was really unnecessary for director Rouben Mamoulian to instruct her to "think of nothing" in the last shot of QUEEN CHRISTINA; she was always very good at appearing to be tihnking of nothing, hence everyone was always able to read into her "expression" whatever they thought she thought).
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You are, of course, correct regarding the scenes depicting Jolson's entertaining troops; they were during World War II, not Korea.
It's always confused me a bit, in that Jolson did go to Korea to in 1950 to visit the front lines, after which his health declined rapidly, leading to his deaht in October of that year.
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There's a character called Urbancic in Robert Altman's M*A*S*H.
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Nancy forced me to return the watch as a final favor to him. And he is wearing right now in his grave. I am not making this up either.
When you think of all the bent-nosed goombahs Frank could've sent over to retrieve the watch, I'd say that you got off easy.
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Well, I hope your sweet little feathered derri?re doesn't get sunburned while you hide your head in the sand, Mr Ostrich.
Why anyone would think he'd achieved some kind of "victory" by rendering himself essentially deaf and blind, while everyone else can read what's written about him, is hard to fathom, and you've no one to blame when you get run over by the speeding truck you neither saw nor heard.
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As Walter Parks Thatcher, the Grand Old Man of Wall Street, exclaims (unhappily) on the cut in CITIZEN KANE that moves us from Mrs Kane's Boarding House in the snows of Colorado, to Thatcher's office as he lectures the grown-up Kane: "And a Happy New Year!"
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Sorry, but writing a new subject line into a -- I hope -- pithy distillation of what the following posting contains is a distinct form of expression, and an essential part of what I do. It doesn't change the title of the thread in the forum list, so I don't understand why it bothers you so.
When the message board was first constructed for TCM, it was given a subject window for posters to fill as they please, and I fully intend to keep doing so.
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Thanks for the lesson, you nonetheless, STILL stand corrected.
No, I hardly think so.
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They're all being withheld until the family can have Ozzie Nelson digitally inserted into them.
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Perhaps this is a good time to see an eye Dr. or upgrade your glasses prescription. Actually, I'm prasing how in Vertigo, the location filming in San Francisco does indeed enhanced the story.
DePalma
"How different from Vertigo's treatment of San Francisco, here the locations not only enhanced the story, but became one of the main ingredients in the film."
Perhaps you need to see a punctuation doctor (or hold a s?ance to raise the spirit of Willam Strunk, jr) so you'll understand that that the omission of a single colon (
between the word "Francisco" and "here" changed the meaning of what you said 180 degrees from what you were trying to say. -
I am very familiar with the featurette TCM shows about letterboxing being closer to the intent of the director. Well, that may be true of directors who have never heard of television. What director intends that his grand vision should be seen on a 14 inch by 30 inch screen? The argument doesn't make a whole lot of sense to me if a film is going to be viewed on a TV or computer. I know I miss some things with pan-and-scan, but I can at least make out the actors' facial expressions.
Don;'t look now, but what we call "television" is getting a lot bigger, and wider and sharper. And the units are flying off the store shelves. Telecasters and their program suppliers can no longer afford to cater to those who cling to their old 3x4 380-line NTSC or PAL sets that have been little changed since the dawn of commercial TV broadcasting.
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You don't know how utterly disappointed I am that you're not just as utterly infuriated...
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All the research i have done on this movie.have you ever seen this movie it is a classic.if you go to overview and read the messages people sent you will know why it is a great movie and why it will never be made on dvd thanks for your message
I'm sorry, but I haven't the vaguest notion of what you just said in the above. Would you please rephrase it?
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How different from Vertigo's treatment of San Francisco, here the locations not only enhanced the story, but became one of the main ingredients in the film.
So, you think that the San Francisco locations in VERTIGO failed to enhance that film's story? That's the first time I've ever heard anyone say that.
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It looks like someone inhabited the soul of Addison DeWitt. Uh-oh!!
And, as Addison DeWitt, himself, says in ALL ABOUT EVE (courtesy of Joe Mankewicz, of course): "You have a point; an idiotic one, but a point."
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TO CATCH A THIEF is a souffl?, an air-light creation that depicts beautiful people doing glamorous things. Never meant to be anything more than that, it should be viewed in that context.
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There aren't a lot of people clamoring for it to be released on DVD, but what makes you say so unequivocally that it will "never" be released?"
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Agree about Hale, but I thought Keyes was really miscast as "Julie Benson" (aka Ruby Keeler)
Keeler was apparently so bitter over her marriage to Jolson that she threatened to sue Columbia if she were depicted in the film under her real name (as though anybody back then didn't know who Jolson's first wife was). She probably wouldn't have had a case, though, since the bar is set very high under U.S. law in defamation cases involving public figures; still, Columbia decided they'd just as soon not endure the headache of litigation, and the attendant negative publicity.
Parks career was over one he was accused communist leanings. The two movies are well done but now they seemed terribly dated- there is something annoyingly phony about the approach to the story- yes it was the conventional musical bio of the period.
The problem is that there really isn't any story; the first film plays up the similarities in Jolson's early life, vis-a-vis his father's opposition to his becoming anything other than a cantor, to those in Samson Raphaelson's play The Jazz Singer, in whose film adaptation Jolson obviously starred (every time I watch THE JOLSON STORY, and "Al" asks the Warner Bros. representative "Why me?" when he's asked to star in this newfangled talking picture thing, I always shout back at the screen: "Because George Jessel didn't want to do it!" Yup, Jolson was Warner's second choice to the much bigger Broadway star that was Georgie J).
The movie's "story," such as it is, is just an excuse to give us one Jolson song after another and, for audiences back in 1946, that was enough.
The sequel is as lacking of a real story as its predecessor, with its only real dramatic element being Jolson's illness while entertaining the troops in Korea.
The two films' great value, however, is that they've provided what's probably the best quality sound recordings of Jolson's singing, with the optical tracks made for the two productions far superior to the acoustical discs made during his heyday. It's also felt that, by the time THE JOLSON STORY was made, Jolson's voice had become more mature and expressive, though he may have sacrificed some of the raw power he had back in the 'Teens and 'Twenties.
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Whatever insult you come with, I will top it...
This oughtta be good...
between the word "Francisco" and "here" changed the meaning of what you said 180 degrees from what you were trying to say.
Next Voice You Hear
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No, you don't hear it; that's the whole point, that it's so subjective that everyone hears it in a unique way (kind of like the description in Exodus, which says that God spoke to Moses from the Burning Bush in the voice of his father, so that he wouldn't be afraid).
That said, the film is leaden, talky, preachy and has MGM studio chief Dore Schary's "social message" fingerprints all over it (and certainly didn't need a director of William Wellman's gifts, since it's all Schary), except there's no social message, only a transparent and heavy-handed attempt to insulate the studio from the rampant anti-Comminist hysteria directed at Hollywood by making this naked exercise in pop-piety.
Yuk.