CineSage_jr
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Posts posted by CineSage_jr
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Let's not forget that the great Anthony Quinn plays Quasimodo. Though the film is the version most faithful to Victor Hugo's novel, Notre Dame de Paris, it is vastly inferior to the 1939 RKO version in every conceivable way.
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"Do you think that Robert Osbourne looks crankier every time you see him. when he introduces a film that he doesn't like, it looks like he's ready to yell at something. I've noticed that a lot when he introduces Suddenly Last Summer (especially with Richard Barrios)."
From experience, I know that he's only cranky when people misspell "Osborne."
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What do people see in "A River Runs Through It"?
Water.
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& on that note Both, *John "the Duke" Wayne" & his own mentor & Idol for the most part-(plus, ACADEMY AWARD CHAMP: 4 BD victories!) *John "Pappy" Ford-(1895-1973)-(Born: Sean 0'Fenney) Both heavywgts rarely got past interviews without citing silent & sound era character actor>Harry Carey, Sr.-(1878-1947) & his relatives were virtually everywhere, in that totally North American genre "The Western!" Most on here likely know this item
At finale of "the Searchers" When Ethan Edwards-(*Wayne) is walking off & again alone, he grabs his arm, in an homage to Carey. Sr. Of whom did this gesture a lot during silent era
(TRIVIA FUN: H. Carey, Sr only garned 1 ACADEMY nom. 1939's "Mr. Smith Goes to Washington")
John Ford's birth name was John Feeney, not "Sean O'Fenney."
Secondly, John Wayne's gesture at the end of THE SEARCHERS is widely misinterpreted as an "homage" to Harry Carey, sr. While Wayne admired Carey enormously, and missed his friend and mentor (who died in 1947, nine years before THE SEARCHERS was released), it was less an homage than a physical expression of what Ethan Edwards was supposed to be feeling at that point in the picture.
Sometime subsequent to Carey's appearance in THE PRISONER OF SHARK ISLAND (1933), Ford and Carey had a falling-out; Carey never worked for Ford and his famous "stock company" again. While Ford continued to have great affection for the Carey family (employing wife Olive, and son Harry, jr.) the two men never reconciled. So, for THE SEARCHERS, John Wayne appropriated Carey's signature gesture to illustrate the same sense of isolation and estrangement that Ethan feels when he turns from the door of the Jorgensons' house, knowing that he can never enter the Promised Land of "belonging" that every other character in the story has, or can.
PS: Myidolspencer, one posting of your misspelled, inaccurate and incoherent ramblings would be sufficient; six straight entries of the same posting are intolerable.
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Dexter DuPont is the actor who played the Angel at the gate to Heaven.
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William Wyler's first version of Lillian Hellman's play, called THESE THREE (1936), with Merle Oberon, Miriam Hopkins and Joel McCrea, is generally superior and more satisfying, despite Wyler and Hellman's having to soft-peddle the story's lesbian angle in the form of highly oblique references to satisfy the Production Code.
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There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. We control the horizontal. We control the vertical. We can change the focus to a soft blur, or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to the Outer Limits.
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I wasn't referring to the photo of the building with the rounded corner, but the sharp-edged one.
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Andrews did star in a 1964 episode of the original Twilight Zone, "You Drive."
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And changing your clothes under a blanket is a price you're willing to pay for that.
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Hi. Since nobody's jumped in yet to tell you that the object in question is a skyscraper (upward view, a closer shot and darker than the similar one on the "coming up" screen), I'm starting to doubt my eyesight and assumptions. Maybe it's meant to be suggestive of several different things.
The edifice is the lower floors of New York's Chrysler Building, whose more famous upper stories and Art Deco crown have been faded into black.
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I want a cottage by the sea and Captain Gregg to visit me, too!
Remember that the gaze from the Captain's portrait, and his pervasive-if-unseen presence, compelled Lucy Muir to begin changing her clothes under a blanket.
Is that the sort of life you want for yourself?
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Have you forgotten that nothing, including and especially movies, exists in a vacuum? They are a mirror of the society and times in which they are made, and the times and society which tne later chooses to re-appraise them.
There can be nothing more central to any topic than questioning the topic's very validity -- as I have done. Just because you are, apparently, too incurious and conformist to do anything other than swan along at the shallow depth at which this thread began doesn't mean that my statements should not be made, repeated or expanded upon.
In a sad time, when thousands of U.S. servicemen and women have sacrificed themselves on the battlefield, while their countrymen make no sacrifice and are, indeed, "rewarded" with tax-breaks and exhortations to go out and shop, the nature of heroism, and its price, should be front-and-center in our discussions. Instead, you and others whine about the "intrusion" of even the most fleeting political sentiment, so I can only surmise that the realities of the world in which you live are too complex for you to fathom.
That world is in a mess, though much of it could be improved substantially with fewer go-along-to-get-along types who confuse conformity with patriotism, or engagement, or thought of any kind.
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What's wrong with you? All scoundrels are inherently lovable (granted, I'm prejudiced, being one myself).
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As I understand it, Lean's movie is close to the book until the end. He gives the story an upbeat ending, with Pip tearing down the curtains to let light in to Miss Haversham's house. (Critics usually see this as symbolic of the new Labour government letting light into tradition-choked Britain after WWII.)
Miss Havisham.
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Green Dolphin Street--one of my very favorite movies---imagine if it had been shot in color as it should have been, scene after scene is done as a good readable novel--Richard Hart died soon after completing this.
Absolutely: if it had been made in color, the movie might've had real dolphins, and they'd certainly be green.
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I want to know the film name where Mr. Garner gave this short speech that caused such a explanation of joy and pride in a great American patriotic manner as expressed by Mr. Eastwood when discussing Mr. James Garner's career.
The words Garner (and everyone else) spoke in THE AMERICANIZATION OF EMILY were written by the great Paddy Chayefsky. Garner did not make them up as he went along.
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For those who are fans of the old Batman TV show, there is an episode where Eddie G. pops out of one of the windows while the Dynamic Duo are are climbing up the side of the building and they discuss art for about 5 minutes.
It was more like five seconds, but those wall-climbing interludes were always amusing, especially when one concentrated on the fact that the camera was mounted sideways of the perfectly horizontal "wall," while Adam West and Burt Ward, their starched capes "hanging" behind them, pretended to be hauling themselves "up."
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Attack of the 50-Foot Stalactite.
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You are trying to belittle and derogate the idols and role-models of people on this thread. You have an arrogant, snobby attitude about the topic at hand. And this snotty attitude will alienate others against you. And that is stupid! No what I mean, Jellybean?
Would you like to have your speaker's fee paid in Iranian rials, President Ahmadinejad?
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The second paragraph is largely correct; the first paragraph is b.s.
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CineSage jr----Mr. Price was, evidently, a very kind soul. He made a generous endowment to East Los Angeles College over fifty years ago.
A rather interesting window into Price's soul, one that illuminates a bit of his evolution as a human being, is recounted in Vincent Price: A Daughter's Biography, by Victoria Price. She writes that when her father arrived in Hollywood, he was filled with the sort of disdain and bigotry against Jews that was common among Midwesterners at that time (note: if you're anti-Semitic, the film industry is probably not the place you should be seeking employment). As the years went by, with Price of necessity working for, and alongside, Jews, he noticed that what was, in Oscar Hammerstein's lyrics from South Pacific, "drummed in his dear little ear" during his Missouri childhood and adolescence was simply untrue. Price went from unrepentant anti-Semite to one who numbered Jews among his better friends, and became a contributor to Jewish charities and causes.
Not eveyone is capable of, or will admit to, his or her failings to the extent the Price evidently was. There's a lesson in this somewhere.
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Instead of describing what I've written as "stupid," and leaving it at that (the outward sign that the volume between your ears may be a permanently intellect-, or just guts-free, zone), why don't you enlighten us as to your argument as to why my postings have no merit?
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I love Italian Neo-realist films. The influence they've had on all cinema, including Hollywood movies, is immense.
PS: In case anyone's interested, the correct pronunciation of the film's title (and the Italian volcano for which it's named) is STROM-boli.
seeking nearly impossible answer
in Information, Please!
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Sounds like the Nicholas Brothers in Fox's DOWN ARGENTINE WAY, with Don Ameche, Betty Grable and Carmen Miranda.