CineSage_jr
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Posts posted by CineSage_jr
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They're not just narrators, but are current actors giving their personal tributes to actors who inspired them in their own careers. Each one is "signed" by the actor at the end. I don't think that there have been any modern actors who've done more than one tribute on TCM. It seems to me that TCM should provide a list of all the one's they've done.
That said, I don't recall who did the one for Conrad Veidt.
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I am Wernher von Braun, and I approved this message.
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You should demand your money back.
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I keep all the current maps on file, as I have occasional business on one studio lot or another (they're usually available at guards' stations or from the lot security office), and departments are moved about from time to time. Maps of the studios' lots from the Golden Age are another matter, however. I don't recall their being published, except fragmentarily in books like Eames's The MGM Story. You're probably going to have tio wait for noted film historian Marc Wanamaker's comprehensive history of the studios' physical plants, which he's due to complete any year, now.
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"Sense and Sensibility" is a great movie. A really great movie, and one that probably still pops up on HBO, since it was released in 1995.
PLEASE, TCM, stick to classic, older films. Your core audience watches TCM for them. None of us are against movies being on TCM made through the mid-late 70's --- while my own favorite era is the 30's/early 40's, obviously "New York, New York" is a fine fit. Few of us argue against the occasional airing of the genuinely terrific early 80's movies, like "Moonstruck" or "Tootsie."
But please leave the 90's to a single token showing during Oscar month --- and save them for another 10-15 years.
I disagree. SENSE AND SENSIBILITY offers a wonderful benchmark in the evolving approach to material or, in this case, a specific author, Jane Austin. If TCM has never shown the 1940 Robert Z. Leonard version of PRIDE AND PREJUDICE, back-to-back with Ang Lee's 1995 SENSE AND SENSIBILITY, to highlight their cinematic similarities and contrasts, they should.
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Strange. One would think there's enough fondness for THE PRINCE AND THE PAUPER in the community that there'd be more comments about Mr Mauch's death.
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THE MAJOR AND THE MINOR
MAJOR DUNDEE
PRIVATE ANGELO
ME AND THE COLONEL
THE SERGEANT
SERGEANTS THREE
THE HORIZONTAL LIEUTENANT
THE FRENCH LIEUTENANT'S WOMAN
SAVING PRIVATE RYAN
THE PRIVATE WAR OF MAJOR BENSON
THE PRIVATE NAVY OF MAJOR O'FARRELL
THE GENERAL
THE GENERAL'S DAUGHTER
CAPTAINS COURAGEOUS
CAPTAINS OF THE CLOUDS
CAPTAIN LIGHTFOOT
CAPTAIN KRONOS
CAPTAIN BOYCOTT
CAPTAIN BLOOD
CAPTAIN AHAB
CAPTAIN FROM CASTILE
CAPTAIN NEWMAN, M.D.
CAPTAIN CAREY, U.S.A.
CAPTAIN KIDD
ABBOTT AND COSTELLO MEET CAPTAIN KIDD
THE CAPTAIN'S PARADISE
THE CAPTAIN HATES THE SEA
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I know he used to live in NYC and about 10 years ago I wrote him there and he responded. Good luck. That NYC address could no longer to valid.
Johnson had actually been living in a retirement home in Nyack, NY (Rockland County), until a couple of years ago. I take it that, due to a decline in his health, he decided that, because of his many years' work in the film industry, the Motion Picture Country Home offered better care for much less money (it seems rather certain that he preferred living in the NY metropolitan area to Southern Californa).
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Australia - Nicole Kidman
Spain - Penelope Cruz
France - Emmanuelle Beart
It should actually be
U.S. (Hawaii) - Nicole Kidman
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in the near future tcm will host more snooty celebratie `guest to show their favorite films that been repeated thousands of times befor u bet that all of them are ignorant of film history the celebraite wealthy pettie boo shua zee like mr trump ect usually those days i will avoid watching tcm ill look at the travel channel
Ignorance of film history is infinitely preferable to ignorance of spelling and grammar, Mr Mike.
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In tonight's closing remarks for YOURS, MINE AND OURS, Bob stated that the film's writer-director, Mel Shavelson, died this past August at the age of 80; for the record, Mr Shavelson died at 90.
Also, Bob misquoted Shavelson's comment to Lucille Ball upon completion of the film. The director actually said (and I'm now quoting Shavelson's book, How to Make a Jewish Movie): "Lucy, this is the first time I've ever directed nineteen children" (Ball knowing quite well that she co-starred with eighteen kids as reckoned chronologically, making Shavelson's implication unmistakable).
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The same go's for Winning Oscars by playing characters with disabilities
Do you mean "goes?"
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He is the only person in Red Gap that seems to know "what Lincoln said at Gettysburg that day."
And it's quite a confluence, too: one of the most moving speeches ever written in the English language being spoken by one of the most spellbinding actors in the English-speaking world.
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Hell, I love loose women (only from afar, of course).
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Word comes that Bobby Mauch, who played pauper Tom Canty (to his identical-twin brother's Prince Edward) in Warner's 1937 version of THE PRINCE AND THE PAUPER, has died at 86. His brother, ten minutes older, died last year.
The two boys, along with Erich Wolfgang Korngold's lovely score, give the film much of its charm. Fortunately, Warner's was able to find a pair of twins who had the requisite ability to carry off the fairly challenging roles of boys strikingly alike, yet terribly dissimilar. Though the twins were conspicuously lacking English accents, among such wonderful British actors as Claude Rains and Montagu Love, one scarecly notices it any more than one does with the likes of Americans Eugene Pallette and Alan Hale in THE ADVENTURES OF ROBIN HOOD. As for Errol Flynn, his Tasmanian accent served him well in both films.
New York Times obituary: http://www.nytimes.com/2007/10/25/movies/25mauch.html?ref=obituaries
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Last night, while introducing EDISON, THE MAN, Robert Osborne referred to the Black Maria, Thomas Edison's early silent film studio in West Orange New Jersey, and pronounced it "Ma-REE-ah."
For the record, it is pronounced "Ma-RYE-ah." I really wish that TCM would spend the bloody money it takes to hire someone sufficiently knowledgable and responsible to ride herd over Osborne, his producers and writers, so that embarassing misinformation like this would not be thrown into the viewers' faces, to be passed on as fact when, in fact, it is rubbish.
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Your synopsis isn't quite accurate, but what you're describing is clearly David O. Selznick's PORTRAIT OF JENNIE (1948), with Jennifer Jones, Joseph Cotten, Ethel Barrymore and Lillian Gish.
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I'm just counting the hours till I go up to the studio store on the Warner Bros. lot tuesday to pick up the Kubrick DVD box, with the long-awaited collectors' editions of his Warner and MGM films (at which time I'll orobably pick up the new Burt Lancaster box, too).
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I never said it didn't have a producer, only that it didn't have a credit for one. It suggests that Pirosh produced it himself (doubtful), or one of Metro's house producers did it without wanting a credit, figuring that it would be too big an embarassment.
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It was probably better that way. Bogart doing a Brit accent just isn't an appealing idea, for some reason.
I'll bet you didn't care for the Mexican accent Bogey employed as the bandido in VIRGINIA CITY, either. Shame, shame, shame!
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John Huston said that he'd always wanted to make THE MAN WHO WOULD BE KING in the early 1950s, with Bogart and Gable. While I, and a lot of other people, would love to have seen the two paired in a film, the idea of them as 19th century British Army veterans-c-u-m-soldiers-of-fortune is so ludicrously inappropriate that it's a happy circumstance that Huston didn't get to make the movie till the mid-1970s, when he had Sean Connery and Michael Caine as the perfect Danny Dravot and Peachy Carnahan.
Still, had Huston been given the resources to make the film when he first got the notion, Cary Grant as Peachy, and Errol Flynn as Danny, would have been another great pairing that we never got to see.
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VALLEY OF THE KINGS did extensive location work in Egypt, and much of it's very effective. The use of exteriors simulated on soundstages was kept to a minimum (obviously, the battle atop the Colossi of Ramesses at Abu Simbel -- in its original location before the building of the Aswan High Dam that necessitated its relocation to higher ground -- was more easily, and safely, filmed in Culver City), which was rather unusual for the period. The Abu Simbel fight did, of course, prefigure the climax of NORTH BY NORTHWEST. One wonders if Hitchcock and Ernest Lehman saw the earlier film before writing NbyNW's script.
I have a question: How come MGM's budget could allow them to shoot on location in Egypt, but yet they couldn't fly to Scotland to give BRIGADOON some real local flavor? Just wondering
As for BRIGADOON, MGM's reasoning was that films like VALLEY OF THE KINGS had taken up a lot their yearly budget for location work, and that, because it was a fantasy, it would actually benefit from being shot on soundstages where Vincent Minnelli could control every aspect of the film's look, something he was wont to do, anyway.
What's actually interesting is that VALLEYOF THE KINGS carries no producer credit, something almost unheard-of at producer-centric MGM. One of only five films directed by writer Robert Pirosh (BATTLEGROUND), it seems very odd that no producer wanted to have his name attached. Such a circumstance suggests that the project was a troubled one from its conception, with the final product failing to dispel that notion.
While Robert Taylor's "Marc Brandon" is obviously a model for the later Indiana Jones (dollars to the proverbial doughnuts that George Lucas and Steven Spielberg were well acquainted with VALLEY OF THE KINGS long before they created Jones), it's quite obvious that Indiana Jones owes more to Charlton Heston's "Harry Steele" in Paramount's SECRET OF THE INCAS, right down to the laconic streak, leather jacket and felt fedora.
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I don't think that Jolson's, or anyone's, appearance in blackface was a tribute to anyone; it was just part of a century-old tradition, the aforementioned minstrelsy, which was a part of the convenient notion abroad in those days that, back in the good ol' antebellum South, black folks down on da plantation were always happy, always singin' and loved captivity more than anythin', 'cept their white massas.
By the nineteen-'teens, nobody was appearing in blackface with the express intent of offending black people; the biggest problem with the U.S. then, and well into the 1950s, is that white people never cared what black people thought. Blacks were kept "in their place" by filling the function -- jobs that white people disdain -- that illegal aliens occupy now and, if society as a whole now does consider the feelings of black people to one degree or another, then the illegals now take their place in the public consciousness as mere bodies without souls or feelings.
Part of it is a matter of empowerment, or lack of it: after being emancipated in the wake of the Civil War and being given the right to vote, in the late 19th century and into the mid-20th, black people were considered apolitical, intimidated from voting by the white power stucture and kept away from the polls by onerous poll-taxes and other "Jim Crow" laws designed to keep them from organizing.
Nowadays, illegal aliens don't need to be kept from the polls, since they're not citizens and have no right to vote, but their children, born in this country, are automatically citizens, regardless of their parents' nationalit(ies). That is something the current white power structure fears, and is the chief reason there is such a strident campaign to keep them marginalized, or have them jailed or expelled: that their offspring will one day vote to change the system that penalized their parents. Black people then; illegals now -- so long as they didn't vote, or have no vote, politcians didn't and don't care if they exist or not.
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Is Power DVD 6 available as a free download?
Gone With The Wind
in Information, Please!
Posted
The official running time of GWTW has always been three hours and forty-two minutes, not including overture, entr'acte and exit music.