CineSage_jr
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Posts posted by CineSage_jr
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Now if you could only do something about the voices in my head!
You've just seen the opening of TOUCH OF EVIL once too often.
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This 88103 number appeared on my screen during The Russians Are Coming the Russians Are Coming
Time to take off the tinfoil hat, Yancey.
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No, they were shown theatrically in domestic venues (I remember seeing a couple as a kid), but generally as the second feature in a double-bill.
It's also somewhat of an exagerration to say that they were culled entirely from episodes of the TV series. The production values in these films -- fairly expansive sets, and locations; the average U.N.C.L.E. installment was shot entirely on the MGM lot -- are far higher than the typical episode of the TV series, and the guest stars, including Jack Palance and Janet Leigh, far too prominent to have been signed on an episodic budget.
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Yes, everyone has been great so far. Rose McGowan was really wonderful (and I agree with Robert Osborne that she looks a lot like Jane Greer).
You know, you're right (and it is, of course, spelled McGowan. My mistake), though she's got a long way to go to actually being something like Greer (but, then, it's the pictures that got small, to borrow Norma Desmond's phrase).
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A good sideways Christmas movie is the little shown "Captain Newman MD". Christmas only comes in at the end but it many ways the ending captures the human and Christmas spirit.
Yeah. There should be more Christmas movies in which Eddie Albert takes a swan-dive off a hundred-and-forty-foot water tower.
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Enough is enough already. This has been on ALL DAY! Please don't do this again.
You've given yourself away: it's clear that you're really an agent of T.H.R.U.S.H.
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If it retains Carl Foreman's intent, that it be an allegory about the evils of McCarthyism, then a new version will serve a purpose, but if it's just another superficial shoot-'em-up, then they'll be wasting everyone's time.
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I would point out that it's very subjective. I listened to the audio commentary on the 1925 "Phantom of the Opera" and Scott McQueen went to great lengths to point how much of a hack director Rupert Julian was. Yet I have a horror encylopedia, which is big on a director's influence, and they like his work.
Scott MacQueen.
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Looks like Dorothy Gish.
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Rose Magowan, hubba, hubba!
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DeMille started his career at what became Paramount (which he more or less founded, along with Sam Goldwyn, Jesse Lasky and Adolph Zukor). In 1924, following the sudden death of director Thomas Ince, DeMille persuaded Ince's widow to sell him the director's Culver City studio lot (which would later become most famous as the Selznick International lot), and established his own studio, precipating DeMille's exit from Paramount.
DeMille found that running his own studio was more daunting than he'd expected; he couldn't direct the company's full slate of films, had to meet the company's considerable overhead, and solicit outside financing of all their films, as well as run the studio's distribution arm.
While about half of the studio's films turned a profit, they tended to be the cheaper films; the more expensive productions were generally in the red. Add to this the fact that DeMille's most successful film for his own studio was KING OF KINGS, whose immense profits DeMille donated to charity. This all but guaranteed that the studio would perpetually bleed money, with little or no chance that it would ever break even.
By 1927 DeMille was forced to concede that his attempt at independent prodiction was a failure, but he couldn't bring himself to return to Paramount. He struck a deal with Louis B. Mayer and went to MGM, where he made three films (including the third, and last, version of his first film, THE SQUAW MAN, this time with sound) before both he and Mayer agreed to dissolve their deal when it became obvious that DeMille's brand of filmmaking and MGM's were a very poor fit.
DeMille did finally go back to Paramount, hat mor or less in hand, to ask his former partner, Zukor -- the only man in Hollywood of whom DeMille ever admitted being afraid -- to resume his production deal at the studio. According to DeMille's autobiography, Zukor said (referring to THE SIGN OF THE CROSS, the film DeMille proposed making for his return), "You're on trial with this picture, Cecil," tand ook a a pencil and, snapping it between his fingers, adding "Remember, I can break you like that."
DeMille, of course, went on to the most successful and profitable leg of his storied career. Ironically, Zukor, who was seven years DeMille's senior, outlived him by another seventeen years, dying at the age of 104.
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Clamille; Clamlet; Sodom and Clamorrah; A Clam for All Seasons; Clams Casino Royale; There?s a Girl in My Clam Chowder; The Clam Who Came to Dinner; Clam Diggers of 1935; Play It Again, Clam; Shuck, Shuck, Sweet Charlotte; and Chowder West Was Won. For musical lovers, there?s: Clamity Jane; Clamelot; Clamn Yankees; and of course, the Unsinkable Mollusk Brown.
Surprisingly, Clambake isn?t on the schedule. Go figure.
You forgot "The Clam Who Knew Too Much."
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Years ago, I attended a symposium given by a psychiatrists' professional organization at one of the larger hotel in downtown Los Angeles. The topic was the portrayal of psychiatrists and psychologists in the movies. A series of film clips (on video) was shown, with most of the usual (though worthy) suspects: SPELLBOUND, THE PRESIDENT'S ANALYST, etc. At the end of the clips, the lights came up and I was mystified by what, to me, was the egregious omission of the scene in MIRAGE between David Stillwell (Peck) and psychiatrist Dr Broden (Robert H. Harris), that ends with the doctor, who's just accused Stillwell of faking his amnesia, in a frustrated, resentful tizzy, that I knew would've brought down the house had it been shown to the attendees.
I remeber wishing I had a tape of the scene in my pocket, and fantasizing throwing it into their video projector. At the very least, it would've been a nice contrast between the 1940s take on the psychic problems of John Ballantine (Peck) in SPELLBOUND and the the actors mental travails twenty years later.
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Yes, it's Washington, D.C., where housing and lodging were in critically short supply during World
War II.
The film starred Jean Arthur, Joel McCrea and Charles Coburn.
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...WAS SPENDING MOST OF HIS FREE TIME DOWN AT 'THE QUARTERS?'
Halle Berry might be ideal in the Yvonne DeCarlo part in a remake of BAND OF ANGELS, but I don't think she's remotely what Margaret Mitchell had in mind...
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The tedious Vertigo is much more over-rated than Psycho.
That the average person prefers cheap horror effects to a complex tale of obsession surprises me not one whit.
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I like this movie, too. But I don't understand about the "35mm print material". Is this something that would prevent a good DVD version from being made? I'm sorry if that's a silly guess. If you don't mind, could you explain, please? Thank you.
It means that there isn't a good-quality 35mm negative in the studio's holdings, and the DVD division is unwilling to issue a disc from inferior 35mm positive-print elements.
It's the same reason Warner's has held up an edition of the Edward G. Robinson-Ida Lupino-John Garfield-Alexander Knox THE SEA WOLF. The studio no longer has a negative for the long version that hasn't been seen since the film's initial release (which is the version they're determined to put on DVD), and what they've found so far of the missing footage in foreign film archives is of less-tha-ideal quality.
At least Warner's always knew there was a longer cut to be found, as opposed to Fox, who had to be told by a friend of mine that there was a longer version of IN OLD CHICAGO than the short negative they had in their vaults (115 mins vs. 95 mins.). Even though they put in the effort to find it, Fox made the totally inaccurate claim that the DVD was the 'road show' version. For the record, IN OLD CHICAGO was never a road-show attraction; the short version was merely cut for TV prints and never restored to its original length -- until the DVD release.
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Christine, there isn't much info about actor Rex Thompson who played Deborah Kerr's son Louie in "The King and I".
He was born in New York on December 14, 1942. His credits include about 5 movies and numerous TV shows, the last in 1966.
He will be 65 soon and I suspect he'll be collecting Social Security.
A friend of mine, Patrick Adiarte, who played Crown Prince Chavachulalongkorn in THE KING AND I, will be following Thompson into the over-65 club next summer.
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I can't speak for anyone else, but I'm not being selfish in wanting to see TCM stick with older films. I don't want a weekly broadcast of "Gone with the Wind" or God help us, "Citizen Kane." (MOST OVER-RATED FILM OF ALL TIME).
Couldn't disagree more; that honor belongs to PSYCHO.
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...AND IT WOULD HAVE A WHOLE NEW MEANING...
Cut off their hands.
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You're going to have to subscribe to at least a basic cable or satellite package to get it, assuming that your local provider offers it as part of a basic package -- and most of them don't. The Federal Communications Commission may be preparing to demand that cable providers offer ? la carte menus of channels, so that subsctibers can pick and choose what they want, but cable companies have been resisting.
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Van used to be a regular there and the owner has many pictures of Van on his walls. He told us that Van was in a home up in Tarrytown, near Nyack and he visited him regularily.
Message was edited by: johnpressman
Tarrytown and Nyack are on opposite sides of the Hudson River at the Tappan Zee Bridge (seen through the windows of the dining car in NORTH BY NORTHWEST): the former is on the east bank (Westchester County), the latter on the west (Rockland County).
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What an intriguing idea. I'd love it if TCM would do just that. (For the record -- it's Jane Austen -- Austin is a city in Texas.)
Di
And a Six-Million-Dollar Man. You're quite right.
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CineSage, I would like to know more about their lives apart from the film industry if you have any inklings.
I wish that I could accomodate you, but I know little that didn't appear in Bobby's obituaries.
Help my freind out!
in General Discussions
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You mean friend.