Tikisoo

We think dogs see colors in a limited palette like the painting above of the houses, but with heightened contrast of blacks/whites of a Greg Toland photographed film. Dogs don't need to see prey hiding in the bushes-they smell it first. A dog needs to identify location by seeing large areas of light or dark moving. I honestly believe that's what transfixes moviegoers to Fred Astaire and all those great movie dancers, especially in black/white/gray. I've sat in a roomful of people mesmerized by Fred & Ginger and thought about why we like looking at others dance. Or horses running in a field with manes & tails flowing. It's primitive. And for all the ribbing Natalie Kalmus receives for being film color consultant, as a colorist myself, I can "read" all of her incredible choices. I think much of her talent (or control really) comes across rather subliminally for most viewers. One of the things I dislike about many modern movies is the tiresome "black & blue" cast of every frame. I notice it, it's my job.

Well I found it on Netflix & will watch it just for Meeker too. Can't wait to hear your impressions!

You have to understand how your eye sees color to best comprehend it. "Color-Blind" is a blanketing term without much meaning like "a Good Singer". Each color emits waves your eyes "see" and send the message to your brain. Everyone "sees" colors differently, a professional colorist, pigment designer, art designer....they're all going to have acute color perception. Most everyone falls in the "regular" tier, while others simply do not perceive certain wavelengths. Their brain confuses two colors because the waves are similar. Their world looks like kind of this: Anyone with a wave color "blindness" generally compensates with tint/contrast. Color blind does not mean seeing in black & white like an old movie. A dog would be attracted to the movement of the big white blob and big black blob of the horses in the Great Train Robbery sequence shown above. The eye also reacts to the smoke not for the color, but the fact it's a big moving blob in a busy field of trees/leaves. Contrast is compensation for color.

Very well put, thank you. Sometimes "meandering" works just fine in a movie.

Can anyone comment on FUZZY PINK NIGHTGOWN '57 shown early AM the 21st? Not only does it have Jane Russell but Keenan Wynn and Ralph Meeker, whom I love. Is it any good? Even if silly fun, it would be worth it to see Meeker unless it's a total misfire. Worth recording or just skip it?

No, my baby sitter lived down the street & my brother & her fell in love as teens and were married by 18. She was (still is) real cute, her wedding "gown" was a micro mini dress! I'll be watching a few new to me movies, but for the most part April holds often watched films for me. Noirs are the most interesting, I always am intrigued by the title, then read the summary & recognize the plot- seen it! Darnit- TEXASVILLE was taken off the schedule last minute again, never seen it. I like many movies on the 21st theme of "women", especially 1966's THE GROUP when I saw it. Similar feeling as THE WOMEN which is on right after it. The 22nd's theme of inventors contains psychedelic faves FLYIN' HIGH, a very weird but rare glimpse of goofball Bert Lahr not as a lion, if you like that sort of thing. And scheduling of the 28th holds all my favorite angels helping the living genre. Great choices!

I love everything Wes Anderson has done. John Cassavetes, same. It's great these will be available on DVD for new generations to discover. I have always loved ITALIAN AMERICAN, previously hard to find. I love Scorcese's sensibility and how the film captures first generation immigrant experience and now gone NYC setting. I like the idea of this compilation & hope to find it. The other selection seem unnecessary. While I'm a huge Paul Dana fan, that movie sounds like a real misfire. Hope Dano remains ambitious, he has lots of talent. I like Criterion releases, knowing classic film is appreciated. When I think of Criterion, I think of "artsy" movies, although DANCE GIRL DANCE is more a programmer. I like Criterion DVDs, they're usually very good quality.

There are 8 hour looped streaming channels for pets: cameras set close on bird feeders including squirrel action- my cat loved it, dog wasn't interested. My previous Golden Retriever loved watching TV and would sit rapt in attention whenever Fred Astaire danced. She liked Gene Kelly & others dancing, but couldn't take her eyes off Astaire for some reason. I have video of her watching TOP HAT. Animal Planet's Super Bowl, the "Puppy Bowl" was another show the retriever loved-she wanted to play with the puppies! The current Golden enjoys my 5.1 surround sound and often looks around when a dog's barking in the distance in a movie, most often a horror movie. She sometimes reacts to movie cat meows & doorbells too, running to the door & barking.

I'm right there with you, speedy. I love real life stories and have a harder time engaging in fiction. I had dog eared a page from Kirk & Anne because I was impressed with Kirk's candid yet diplomatic phrasing describing Stanley Kubrick: "Difficult as he was, there was no question about his extraordinary talent. That's why I was willing to put up with his less attractive qualities when I hired him for SPARTACUS a couple years later." I've never seen SPARTACUS and luckily took it out from the library a couple weeks ago. It's my last never seen Kubrick. 😕

If it's anything like the OS it goes nowhere. Ever. Thank you for your take on it & bringing it to my attention. Sounds right up my alley - found it on YT and put it on my list to watch later.

I just finished KIRK & ANNE from the library. It's just love letters between the two of them through the years. Sometimes it's maudlin, pretentious and sometimes cute. Sadly, with the library closed, I have to read from my home library. Fittingly, I pulled out a 1000+ page copy of Stephen King's THE STAND. Let's see if it's still engaging 30 years after first reading.

I just watched.... I had read good things about it on this board, my library had it so I gave it a look. My first impression was: this was made in 1971 and dated the same way GUESS WHOS COMING TO DINNER is dated-the plot just doesn't have the same impact today. But let's go back in time, to a "gentler" era, to enjoy this movie. Clint Eastwood stars in this and boy is he gorgeous. I'd say gorgeous on the same level as Warren Beatty since he's playing the same kind of cocksman Beatty often personifies. Eastwood is a radio DJ (remember those?) who gets regular requests from a listener to "play Misty". She finds out where he hangs out, stalks him then goes home with him & they have sex. Whoa, within a decade THAT behaviour is over, thankfully. To the DJ, it's an easy one nighter, to her it's love. She stalks him, follows him, makes herself a pest. He tries to gently let her down, distance himself to get rid of her. Second big mistake. The best part of these scenes is when the stalker (deftly played by Jessica Walter) yells obscenities to strangers during their public arguments. Nowadays that happens all the time, but it was SHOCKING back then (a woman, yelling the F word?!) and an indication something's mentally wrong with her. Well, the story escalates until Eastwood finally realizes she's a whacko and the last third is filled with tension as he tries to keep ahead of her escalating demands & violence. I was OK with the violence for the most part because the blood was thick & orange, just like everything else in the 70's, pretty unrealistic. I enjoyed the tension of the last scene, especially the choice of no dialogue/great laid back jazz playing on the radio -surely Eastwood's ironic touch- although the stalker's defeat made me LOL. Overall, a fun thriller but sadly a somewhat period piece.

Yeah, thanks for bringing it back to my attention, I'll look for them. Thanks for the heads up on the missing intros-I had forgotten all about the unique ones. I do recall the pop songs Addison would sing, he was so adorable. Shepherd was the annoying one, it's hard to keep your character likable, but she always did. (similar dynamic of Shelly Long & Ted Danson in CHEERS) My favorite episode, VHS taped off TV is the TAMING OF THE SHREW episode, which I loved. Maybe now that Moonlighting is streaming, I can finally toss it. When people rave on & on about FRIENDS or BIG BANG THEORY or what I consider one dimensional sit-coms I think back to really creative television shows like MOONLIGHTING and ground breaking writing like MTM Show & Norman Lear's productions.

I too have lots of collections of genres-musicals, noir, documentary, etc. Also Directors like F. Lang. My first actor "collection" was easy- Judy Holliday made a limited amount of films, wanted to see them all. I'll record almost anything featuring: Barbara Stanwyck John Barrymore Bette Davis Ginger Rogers (everything is good!) Jesse Matthews (hard to find!) Sometimes I'll record so many featuring the same actor/actress they will fill up one of my genre boxes and rate migration to a box dedicated to them individually. Like I have so many Joan Blondells some can migrate out of "Pre-Codes" to make her own box. That happened with both Stanwyck & Bette Davis bursting out of the "Leading Women" box. I keep my sets of DVDs in old 16mm film cans.

I was in Melbourne in the 80's and my impression was most Australian accents were indistinguishable from British accents. When I traveled -especially to Sydney- I found the accents stronger with harder tones like Alecia Malone's. I found notable accent variations especially in rural areas. Most of noir discussions mention "the City" locations. Are there any notable "rural" noirs or is urban setting part of what makes it noir?

Last night I watched 1965's FASTER PUSSYCAT KILL KILL, a movie I've wanted to see a long time mostly because I love what's indicated by the photos- It pretty much met my expectations seen in this photo-great cars and tacky but kind of hot looking gals as the stars. The girls looked that way because they were "exotic" dancers but upon hearing of an old man's fortune, became violent thieves going after his dough. The silly plot is peppered with scenes of girls erotic dancing, girls fighting in water and escalates to girls fighting men while rolling around in the sand. Watching the movie made me hot, but only because two of the gals constantly wore black jeans and all 3 were in tall boots-IN THE DESERT although no one showed any sweat. I actually liked the girls and thought they did a pretty good job acting. Tura Satana had real star power, the camera sure loved her. I'll never have to watch this movie again, but most likely if it's on won't be able to turn my eyes away. Fun, mostly because the plot & violence is super fake and not believable. I bet this movie improves with subsequent viewings.

Ugh, I had been waiting on the request list for this over a month before the library closed.

Thanks for that link...I've always wanted to see it. Some movies redeem themselves by being fun, not necessarily "funny". I loved THE MANITOU especially the bombastic climax scene with the dwarf.

I liked the American Masters about Walt Disney. I also really liked separate documentaries about the Disney Corporation like THE BOYS (Sherman Brothers) and especially 2009's WAKING SLEEPING BEAUTY.

Like the graphic better than the movie. I especially like that very suggestive image just above^^^in the bottom corner of the poster-WOW While not familiar with Hammer movies at all, it was at least an enjoyable pastime while crafting Sat night. I really like the sets & props but the music was unmemorable and the acting kind of stiff (no pun intended) Definitely geared to teens, kids. Many of my "horror fan" friends who were adolescent boys in the late 60's through late 70's rave about Hammer films, seeing them as kids in the theater. They LOVED that these horror films were in color (RED blood!) and the costumes/sexiness of the ladies...even if the ladies had fangs! The fanboys really loved the B&W Universal horrors, but apparently full color was a factor making these average films more enjoyable. I remember the excitement getting our first color TV in around 1968. So I guess while wrong, I can understand Ted Turner's reasoning colorizing movies.

Amazing diversity of work....I was shocked recognizing Maggie Smith as the tart in THE PUMPKIN EATER- she seems to become a different person in each of her roles.

We screened this at our Monday film night. It was my first viewing, I'd never heard of it before. We all loved it, it was fascinating history and actually helpful to understand the background of the banking industry.

JT Walsh is often in small but memorable roles (not unlike Phillip Seymour Hoffman) because his deft acting makes them memorable. He did so as the big Hollywood Executive in 1989's THE BIG PICTURE and as the Mayor of Pleasantville, in the '98 movie of the same name: After further consideration, Walsh's Mayor would likely be considered more a "supporting" role than a cameo. Still, very few scenes.

Because in the 70's, black was beautiful: