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DavidEnglish

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Everything posted by DavidEnglish

  1. > You see, almost all of the featured players from Brides of Dracula have passed on. But are they really dead? Sometimes late at night, when everyone else is asleep, I think I see them out of the corner of my eye. They're pale and grayish -- almost as though all the blood had been drained from their bodies. They seem to float, and they suddenly appear and disappear. Then I turn off TCM, and I don't see them any more. It's spooky. DavidE http://www.filmzoid.com
  2. > I've been waiting months for the reply... I've been waiting, too. So I did a Google search, and several sites had this as the answer: Margaret Dumont: You are the only white man to cover every acre. Groucho: I think I?ll try and make her? Chorus: Hooray! Hooray! Hooray! Here's a link to one of the sites: http://www.creemmagazine.com/_site/BeatGoesOn/MarxBrothers/SilverScreenCollection001.html. DavidE http://www.classicfilmpreview.com
  3. It was released in 1992 on LaserDisc through MCA Universal Home Video. Since it didn't have any big-name stars (for a 1992 audience), it probably didn't sell well. I remember it was remaindered as a cut-out not long after it appeared on LaserDisc. tcmprogrammer mentioned that TCM has acquired the rights to a package of early Paramount films. I hope it was included. It's one of Leo McCarey's best comedies, which is saying something when you consider he also directed Duck Soup (1933) and The Awful Truth (1937). I haven't seen all of Mary Boland's films, but it would be her best role amo
  4. One of my favorite Mary Boland movies is Ruggles of Red Gap (1935), where she plays the part of Effie Floud. Unfortunately, it isn't available on DVD, but here's a photo from the film that shows her looking particularly elegant: http://www.allocine.co.uk/film/galerie_gen_cfilm=369&filtre=&cmediafichier=18409226.html. DavidE http://www.classicfilmpreview.com
  5. > Trying again for the happy face > > -- Looks like you can see them (otherwise, you wouldn't have known to swap out the sad face for a happy face), thanks to lzcutter's able assistence. The animated smiley faces are links to graphics files on other websites that posters are embedding into their messages. They are handled the same way as the photos that show up in the Hedy Lamarr thread. DavidE
  6. Anne, This is probably the complete list of TCM Forums smiley faces that automatically convert from key combinations: colon left parenthesis ____ colon right parenthesis ____ :0 colon zero ____:0 colon uppercase D ____ colon lowercase p ____ :| colon shift-backslash ____:| ;-) semicolon dash right parenthesis ____;-) B-) uppercase B dash right parenthesis ____B-) :x colon lowercase x ____:x X-( uppercase X dash left parenthesis ____X-( The key combinations are preceded by underscore characters because otherwise they would be converted and wouldn't display as
  7. > May I present a passage from Tom Robbins' 1980 tome > Still Life with Woodpecker? Though it's a > work of fiction, the tale he tells is true. That passage from Tom Robbins does get to the heart of the matter. The best films are much more than just entertainment or glimpses at history. Back in my college days, I had a conversation with one of my English literature professors. This is a guy who thought English literature went downhill after Edmund Spenser. He said he couldn't figure out why people thought film was an art. He said he had seen a lot of films, and was in fac
  8. > Well, that's like saying that watching 1930s MGM or > Paramount films, with their glossy tales of > High-Society swells, gives one a realistic overview > of American society during the Great Depression (or > any other time, for that matter). I said that once you dig below the clich?s, you can find insight. I never said it was a realistic overview. I doubt you will find anyone here who would argue for that. > In the case of Kurosawa, that may go double (hard to > say, as I'm not Japanese), since the previaling view > in Japan is that he was "too Western,"
  9. > A film can say things about our everyday lives, our > cultures, our failures and successes and our > potential as human beings that it would take us > too long to say in words. That sounds right to me. Maybe I'm deluded about this, but I think I have a better sense of Japanese culture because of Kurosawa, Ozu, and Mizoguchi. I have a better sense of duty, and the value of family and friendship, because of Ford and Hawks. And I have a better sense of how people coped with the Great Depression because of the Warner Bros. films from the 1930s. It's a view you won't get just f
  10. A. Because I learn more about life. B. Because I can escape life. C. All of the above. I think C. is the best answer. If I just needed to watch something, I could buy an aquarium. If I just needed to learn about human nature and the world around me, I could buy a psychology book and an encyclopedia. A great Ford, Renoir, Murnau, Kurosawa, Welles, Hawks, Ozu, Hitchcock, Keaton, Fellini, Lubitsch, Chaplin, Dryer, Mizoguchi, or [fill in your favorite director] film is both entertaining and enlightening. Like a fine novel or moving piece of music, I'm a richer person for having experienced i
  11. > If anyone is interested in the career of Leisen, the bio by David Chierichetti, > called "Mitchell Leisen: Hollywood Director" is a good resource & may still > be available to purchase or through a library. Moira, we seem to have similar tastes in directors. It's a shame that so few of Leisen's films are available on DVD. I'm really itching to buy a DVD of Easy Living (when something strange happens, I may involuntarily exclaim, "Kismet"). Leisen and Sturges collaborating on the same movie. No wonder it's so much fun. I just ordered the Leisen book as a used book th
  12. [nobr][/nobr] I know which article I would be reading first.
  13. [nobr][/nobr] The covers for technical magazines are usually deadly dull, so why wouldn't they jump at the chance to do a cover story on smart and beautiful Hedy?
  14. [nobr][/nobr] Here's the photo that inspired the CorelDRAW image. GM, have we run this one before? I can't keep up.
  15. > Yes, that's right CyLor. We have a participant on > this forum named David English, a BRILLIANT "young > man" who was involved somehow in the judging of that > contest. He should come on and tell you about it. Neither brilliant nor young, I guess I'll have to fill in until that other David English shows up. Yep, CyLor, I was but one in a vast army of judges who traveled to Ottawa to vote for the best CorelDRAW image created over the past twelve months. (I was with the press, so I was brought in mainly to hear about the new version of CorelDRAW that -- by an odd coinciden
  16. > it would be terrific if TCM could present > No Time For Love (is that the one you > meant?). I last saw it on channel 13, a PBS station, > and didn't own a VCR at the time! I remember that one being very good, but it's been so long since I've seen it, I don't remember a lot about it. I checked imdb.com, and here are some snippets of dialogue: Katherine Grant: Oh, you---you coward! Kissing a woman! Jim Ryan: What am I supposed to kiss? Darlene: Aw, gee, you're wonderful! Jim Ryan: Just keep that in mind. Darlene: If I get mad, I'm liable to throw ya a dirty l
  17. > As for Laurette Taylor, I have a DVD of a documentary made > by Rick McKay, "Broadway - the Golden Age, by the > Legends who were there", a brief roll call > includes Celeste Holm, Eva Marie Saint, Uta Hagen, > Charles Durning, Hume Cronyn and on and on. To a > person, they all say that Miss Taylor had "it", that > special ability to make a character into a real > person. Sadly only a rare test of her exists, she was > rejected by Hollywood, thought "too ordinary, she > looks like a cleaning lady just off the street". I was attending a tradeshow in
  18. > But discussions of "who's the best director of all > time" are the proverbial can of worms, because there > are many kinds of director. The three main > categories are: I like your three categories of directors. That's a useful distinction, even though there's quite a bit of overlap. When a younger Ford directs a studio-chosen project in order to direct a more personal (and potentially less profitable) project, he functions as a studio contract director rather than a pure director. The same director can go back and forth among the three categories. > but the great
  19. The loser has to keep America clean.
  20. > I've been struck by the fact that British color films > such as Black Narcissus, The Red Shoes, > Genevieve, and others, which were often > photographed by the great cinematographer, Jack > Cardiff, appear to have a softer, almost intensely > translucent quality to the color. In contrast, the > American films of the studio period after the war and > into the fifties often seem to have a harsher, > "thicker" color scheme to me. I've thought it was mostly a matter of emphasis. The Hollywood cinematographers were striving for accuracy, while Cardiff was s
  21. > But when I tried (more recently) to list my favorite films, I > found that most were directed by relatively unknown > or less celebrated directors. Funny, huh? That phenomenon is probably the biggest obstacle to selecting the "best" or even "favorite" directors. Is a mediocre film by a great director better than a great film by a mediocre director? Of course not, though a mediocre film by a great director can provide insight into the director's other films. Then there's the problem of quantity. How do you compare Jean Vigo, who made only a handful of films, to Ford or Hitchco
  22. > I hope I haven't confused or upset you with my answer > DavidE, I just had a stream of consciousness as I > read through your most excellent post. Not a problem. The post was meant as an entry point for discussion. I doubt any two of us would agree on a list of top 25 directors, much less their important films. I thought about using the word "favorite," but decided to use "best" in part because D.W. Griffith makes my "best" list, but not my "favorites" list. Setting aside the very real racism in Birth of a Nation, I have immense respect for his innovative techniques and genuin
  23. Thanks for your input on French Cancan. I haven't seen it in many years, so I was reluctant to add it to the list. I already had it in my NetFlix queue, so I?ll move it up close to the top. Renoir?s Une Partie de Campagne (1936) is another one I haven't seen in a long time (not since my college days). I remember it being especially good. It never seems to turn up. You wrote something a month or two ago in which you mentioned Ford, Renoir, and maybe Lubitsch as directors you've come to appreciate as you've become older. I very much agree. Seeing their films again with more experienced eyes
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