Tikisoo

I loved Hitch's cameo in the hallway....he looks startled to be "caught" on camera. I did not see the other one mentioned, I'd guess it's just a random extra in the office. I thought I had seem Marnie a million times too, but obviously I hadn't. I don't think I ever saw the first half hour. Two gaffes: hair color does not drip out of your hair when you wash it, unless it's during the initial application. And a "wall-eye" horse is a horse that has a blue eye instead of the typical dark brown. It does not effect racing ability. And I would NEVER jump on my horse in a chiffon dress no matter how excited I was to see her. Itchy stiff little hairs over a horse's bony withers.....ew.

> {quote:title=Kid_Dabb wrote:}{quote} > When you're skidding on ice in your car, ...(snipped) Many things need to be emphasized or enhanced to make the intended impression. Why when a car in a movie is skidding on ice, or slamming the brakes on a dirt road do you hear the "car skidding on pavement" sound? Sorry, it just popped into my head reading your post.

> {quote:title=HollywoodGolightly wrote:}{quote} > To me the funny thing is that I've never really gotten why The Big Lebowski became such a cult hit. I think it has to do with the idea the Dude is a stoner & slacker, yet reacts coolly with wit to everything thrown his way. (it really tied the room together) He is the most logical and reasonable of all the charactors, yet on the surface appears to be a loser. All us underachievers wish we could be so cool. And by making "confusing" films, repeated viewings bring to light little gems in the dialogue missed the first time around, like "the Dude abides". Very much along the same lines as Terry Gilliam and his gerbil wheel. And the bright colorful setting of the bowling alley and fanciful "dream sequences" that balance out the brown untidyness & squalor of the Dude's clothing and lifestyle is quite appealing.

Don't know if it's been mentioned, but I'm reading the best Robert Mitchum book at the moment, "Baby I Don't Care" by Lee Server, ISBN: 0-312-26206-X. I'm only on pg 100 and learned a ton about him I didn't know. Fascinating.

Marriage, and relationships in general can have tough, rocky periods and people often come to me for council. When I see a film that perfectly describes a common troubling element sympathetic to both sides, I hand the DVD to them to watch & discuss. Sort of along the idea that every engaged couple should see the original "Father of the Bride." They'll identify with the situation and laugh along with it, hopefully lightening some of their own "in law situations". I have used these films to illustrate points for couples: Guess Who's Coming To Dinner: to realize what's beyond attraction Georgy Girl: understanding real compatibility based on your outlook on life The Marrying Kind: remind couples it's normal to "fall out of love" The Lion In Winter: sometimes love doesn't turn out the way you want it to Best Years of Our Lives: why learning to adapt and grow within the relationship is essential I realize there's a ton of films out there about relationships, but these are definitely "morality plays" with distinctly opposing views that most people can identify with (all of them) to a certain extent. And all depict dedication and hard work, not rainbows and flowers. Woody Allen films often deal with complexities of relationships; Hannah & Her Sisters, Annie Hall and Manhattan come to mind, but they are not "typical" situations but more eccentic, entertaining. Anyone have a favorite film when discouraged in your relationship? I'd love to hear your thoughts and personal picks on this subject.

While I enjoy The Women Shearer overacting in the ending scene always makes me laugh out loud. Shearer walks down a hallway looking off into the distance (supposedly towards her husband) and holds her hands out in front of her as if holding a head of cabbage. As she gets closer to the screen her hands gesture as if grabbing the air. Silly and terribly over dramatic, that how Shearer strikes me in most of her films. Over dramatic works great with an undercurrent of darkness or nastiness like Bette Davis or Gloria Swanson, but just comes off silly when the charactor is sweet and beyond perfect like Shearer.

Funny this subject was brought up....my siblings & Mom watched the Big Lebowski over Mother's Day weekend. My Mom loves Fargo and we wanted to show her another Coen Bros film. I warned my Mom the language was going to be just awful, but pay attention to what the charactors say (otherwise) and their demeaner, not so much the plot. I realized this is typical for the Bros....they definitely concentrate on creating interesting, off beat charactors as well as clever cinematography for visual appeal. When my brother & I started listing Coen Bros films, the list was surprisingly long for "new young" filmmakers. And I've seen every one of them at the theater, then repeated DVD viewings later. Their story lines seem to be very similar (crime or caper gone wrong) with more emphasis on "style", "setting" and "people" than tight story telling. And you know what? I kind of like that. I like that they have stories they want to tell and they tell it in their own way. Confusing? Always. Too much to digest in one viewing? Yes, for me but I'm not always the sharpest tack. I really object to the violence and language, but they offer several strengths as well. They almost always pay strong homage to classic films, you just know they have a strong knowledge and love of film. I didn't like Miller's Crossing, (too violent) but boy, I'm sure glad they made it. I know several people who just love the few Coen Bros films I don't, and there are several I love that others don't. It's great when a film creates discussion, wide opinions and points of view. The Coen brothers just seem to be an island of creative artistry in a sea of testosterone laden cash grabs for the latest remake/series blockbuster.

> {quote:title=CineMaven wrote:}{quote} > I met Susan Kohner last nite at a book-signing WOW! Did you tell her she still has a strong fan base of admirers? There's an appreciation thread for her on another internet film board & I started one here. I bet she's just as gorgeous today even with silver in that beautiful black hair. My mother admired her so much, I was named after her. Back to ethnicity: I certainly didn't mind John Turturro playing Jesus Quintana in the Big Lebowski. He was only on the screen for 2 minutes, but unforgettable. Does it matter where his ancestors were born to play an acting role? As for "gypsies", well I'm of gypsy decent. Whenever friends complain about their ethnic stereotypes, I bring up that MY heritage is always portrayed as loose women/drinking men who wear big earrings, crazy loud clothing and are born thieves and con artists. Gypsies are found in every culture: Irish, Italian, Spanish but for some reason are portrayed as East European Czech/Romanian/Hungarian (my heritage) Instead of taking offense, I embrace the snaggle toothed image of the sideshow fortune teller who picks pockets. I think it's colorful and amusing. It has nothing to do with my ancestors or myself, an American.

I have nothing to contribute but encouragement. At least you have a title/date. It *can* be done. I searched for a short film that turned out to be Czech, no title, just a description. I knew I had seen it when I was around 10 (1970 or so) on Saturday Morning's "Children's International Film Festival". (into film even as a kid!) Through several Kukla, Fran & Ollie "fan" sites, I found possible titles. I didn't remember KF&O were the hosts, just the films! I was surprised when the trail led to short educational film collectors/preservationists AV Geeks.com. Amazingly, they had a copy of the short on one of their compilations. I think it cost $15 to get it.

Don't know about "method" acting technically, but he certainly seems to absorb the charactor's personality. Or at least appear to (isn't that what acting _is_?) Like others here, I love Muni, although there are roles I can't watch him in. The Good Earth is too frustrating, I just want to shake Rainer's simpering, whimpering charactor's shoulders and make her stand up to cruel Muni. And he's a dressed candied ham in A Song To Remember, just over-the-top as mentioned earlier. But isn't "ham" just the other side of the coin of great acting? Lionel Barrymore, Chas Laughton comes to mind. If these guys weren't hams, they wouldn't be worth watching. My guess is some roles just don't offer the correct dialogue or situations for their (over)acting to blend in correctly. I often find fantasy or over-the-top roles to fit these strong type of actors better, like Muni in Angel On My Shoulder or Fugitive From A Chain Gang. Pity Muni made so few films. Only about 20 according to IMDB.

Thanks, but I'd never say my paintings were "beautiful". They need to appear somewhat washy and soft, since the original artists were of the signpainter ilk. Here's the sort of references I use: So you can see the MMIStL panel really isn't historical restoration. Yes, the Mt Hood panel is more in keeping with the "original" look of rounding board scenes. But I also know kids that grew up riding that carousel in the last 20 years are going to have the image of kids building a snowman in their memory. So I thought I'd keep with that "theme" so when they see it now, as adults they won't be jarred looking for a scene that's not there. And I know the laymen is going to love the scene. How many blurry river/forest scenes can I paint? So I snuck Judy in just for fun. Shhh.

> {quote:title=CineSage_jr wrote:}{quote} > See yourself as the daughter, or the "real" man? Heh, I'm a flibberty jibbet sort of gal who needs a real man to tame her. Where's Jack Carson when you need him? Busy taking Veda home for Mildred, I guess.

OK, the base painting is done...I couldn't let it go over the weekend without showing you. Please bear in mind that though the pictures Kid Dabb posted for me look good here, blown up to 8x10 and printed from a computer, they are a blurry mess. Also realize in keeping with the original murals, they can't be too sharp or have too much detail, one of the reasons I put the backround in sepia tones. The original paintings were almost impressionistic lanscapes, like the one below. Also the top & bottom 3" is covered in dentil molding, so I didn't bother too much with acurracy. But I just couldn't resist putting my beloved Judy in my work. The way it will look viewed from 20 ft away: And close up: Very cute that the kids of the village where the carousel runs collected pennies to pay for this board's restoration!

> {quote:title=finance wrote:}{quote} > You missed it again. It was on yesterday. The Bad & The Beautiful contains my very favorite Kirk moment: "Maybe I like being cheap!Everybody does once in awhile...or don't you remember? Now get out! (screams) GET OUT!!" There's just something great about how Kirk Douglas screams. Great film.

> {quote:title=LonesomePolecat wrote:}{quote} > yes, he had such a flair for dialogue----maybe it was his English as a Second Language status that helped Great observation! And I bet you're right. I spent several years around a bilingual (French/English) family, and I never spoke English better in my life than those years! It's a weird phenomenon.

> {quote:title=CineSage_jr wrote:}{quote} > The ending's hardly "tragic," merely bittersweet. I just meant "sad" as opposed to a "happy" ending. But I like both your & Lonesome Polecat's observations about It Happened One Night. While both films have similar story lines, they are treated very differently. IHON has a lot of fun lighthearted touches, whereas RH seems to be more a string of episodes. IHON has real laughs, usually from Gable's huge personality (the hitchhiking scene) whereas RH has "cute" (hand in statues mouth scene) scenes that neither star has the strength, nor the writing, to get a real laugh. To me the ending of RH *is* it's most redeeming touching scene. >delighted that his daughter, badly in need of a "real" man to tame her flightiness ^^ Whoa, I see myself in that statement.

> {quote:title=CineSage_jr wrote:}{quote} > Very good, not great. About 15 minutes too long, and Gregory Peck is miscast, forcing newcomer Audrey Hepburn to carry the whole movie Every time this film is broadcast we seem to get the same dis-discussion. First off, I am NO Peck fan, nor an Audrey fan, but I do like this film and both of them in it. I would expect a handsome hard boiled reporter to be sort of cold and stiff, like Peck. And I would expect a pampered princess to be over the top full of herself precious, just as Audrey behaves. I very much like the ending; tragic for the romance, but successful for morality. The "adventure" shows they are not really so different inside and the thoughtfulness & respect shown for each other in the ending bridges their two classes. It's good, not great. But for me the reason it's not "great" is the writing. It Happened One Night has killer dialogue. Instead, this movie substitutes silly action, like Audrey driving a scooter dangerously through crowded streets or hitting a man over the head with a guitar. I'll take clever writing over silly action anytime.

> {quote:title=lzcutter wrote:}{quote} > There was another great little film about early film making during that same era, *Hearts of the West* with Jeff Bridges, Blythe Danner and Andy Griffith that you would probably enjoy. Oooo! Thanks for the recommendation! There were good films made in the 70's-80's, just kind of covered by the dust of time...not old enough to to be deemed "classic" not new enough to find in video stores. > As for Bogdanovich, his over-preening ego got the best of him in the wake of his success with *Last Picture Show* and *What's Up, Doc*. >Somewhat like George Minafer, he got his comeuppance. Unfortunately for Bogdanovich it was a very spectacular public one Haha! Great analogy! I am entirely mesmerized by PB earliest films, even Targets. I actually like his silly ascot persona, it evokes a campy homage in the vein of DeMille for me. It seems such a shame it took over and he spiraled out.

> {quote:title=LonesomePolecat wrote:}{quote} > Billy is certainly one of the greatest screenwriters that ever lived, imho. I have an actual script of Sunset Blvd, what a joy to read! You can actually "see" the film as you read it, and the wording is just perfect. (unlike Double Indemnity, jmho, because it's somewhat stilted & dated) I think his gifted writing is why his films are so stellar.

When I hear things like this it just breaks my heart. But as someone in the "collectibles" business, I hear this all to often. It took years to amass rare circus artifacts for the Barnum & Bailey Museum in Sarasota, all to be broken up and scattered again upon the death of the last interested family member. Such a shame for those of us who need these well rounded specialized collections for historical research. I am often employed by these "high end" collectors for conservation or restoration of objects and see their kids just waiting to sell off the collections for the money after their death. Heirs really just don't know what to do with Unce Bob's cigar store figure collection. It has taught me a big lesson on "collecting". No one appreciates your "junk" as much as you do. If you feel your collection is "museum worthy" (which Ackerman's definitely was) just leave it all to a reputable museum. It has a better shot of staying together, at least the really rare important pieces. Some of the lesser pieces may be de-aquisitioned and sold to support the preservation of the great ones, but that's better than entire dispersal. It makes what Debbie Reynolds did to save Hollywood costumes all the more impressive. She isn't hoarding it for herself, she saved it for the public. When I met her, THAT'S what I thanked her for.

> {quote:title=Hibi wrote:}{quote} >Allthough the movie ended on a happy note, her personalities continued for another couple of decades. And Ben said exactly that after yesterday's showing. Maybe he's reading the boards? And yes, while I am fully aware of my "two sides", I have zero recollection of any childhood, like Eve. I'm sure it's a result of turning over the compost pile of my crazy upbringing, which I think is very common. What really sets "Eve" apart is how extreme her condition is. And boy, Joanne Woodward is a great actress....can't you just see her face and expression change?

Yup, that's the one! Kidd, you certainly are master of obscure photos! What a sweet face! Just goes to show you what hard living & booze does to your appearance. (picks up bottle in computer desk drawer....drops it on the floor)

> {quote:title=HollywoodGolightly wrote:}{quote} >Of course, some directors are able to pull it off, but a lot really seem burned out creatively by their mid-50s or early 60's. That certainly holds true for Woody Allen in my opinion. But the films Hitch made in his 50's/60's would be some of my favorites. A lot of people really love Double Indemnity, but it definitely strikes me as an "early" Wilder film. I definitely prefer his middle to later films, all the way through The Fortune Cookie.

> {quote:title=redriver wrote:}{quote} > If you want to see a young Gleason in a small part, watch the deliciously clever LARCENY, INC. Is that the movie where Gleason is in a teeny bit part playing the bartender? I recall seeing a film where he was VERY young and he was behind the bar...about 30 seconds on the screen. I was thrilled to have spotted him! Anyone know what made him go into acting in the first place? His backround? Such an unlikely actor and comedian, but so wonderful for us that he made that plunge! I think I'm going to NYC for a weekend getaway....I should look for the Ralph Cramden bronze statue while there.