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SueSueApplegate

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Posts posted by SueSueApplegate

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    Congratulations to author Jeremy Arnold on the publication of The Essentials Vol. 2 from TCM’s Running Press!
     

    I’m enjoying my copy now.  It has even more of my personal favorites than Volume 1!
     

    Larry Edmunds Bookstore is one of the many independent booksellers where you can order a copy. 

  2.  

    The Importance of Film Preservation  on TCM's Tumblr by Kim Luperi....

     

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    “You react against the devaluation of cinema and movies by showing up,” Martin Scorsese remarked after accepting the inaugural Robert Osborne Award at the 2018 TCM Classic Film Festival. Scorsese’s nonprofit organization, The Film Foundation (TFF), has been showing up by promoting the preservation of our cinematic heritage for 30 years. This month, TCM salutes that anniversary by showcasing five evenings of TFF-supported restorations. Recently, I had the opportunity to ask the TFF team about their history and some of the unique programs and projects they’ve created and participated in throughout the years.

    Read the rest of Kim Luperi's excellent article here.

    • Like 1
  3.  

    The 2021 TCM Classic Film Festival Will Be Presented As A Virtual Experience
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    Additional Dates and Details To Be Announced

    Given our ongoing commitment to producing a safe event for all attendees, staff and partners, and the current status of the global pandemic, we will forgo hosting an in-person event and instead be presenting the 2021 TCM Classic Film Festival as a virtual experience.

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    The TCM staff are already hard at work on building an engaging and unique experience for our fans that will feature exciting discussions and panels, memorable TCM Classic Film Festival moments and movies, and the opportunity to gather as a community and share in our love of classic movies.

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    More details on the virtual festival will be shared in the coming months. To get the latest information, please follow us on social and sign up to receive our TCM Classic Film Festival emails.

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  4. The issues with the COVID 19 pandemic have put an announcement about our beloved  #TCMFF on hold as we usually have had an announcement about its dates by this time of the year.  Whenever we hear about a decision, whether the festival will be online or in Hollywood,  dedicated fans will certainly be in attendance. If the festival happens online, fans who ordinarily might not have the funds or vacation time to travel to California will have the opportunity to experience the excitement that has made the festival such a popular event. If the festival happens in person, it is likely  passes will sell out quickly as previous pass holders not only miss the panels and events in Club TCM, as well as all the celebrities and films. But even more enthralling are the connections with friends from previous festivals and viewing films in their originally intended venues with our treasured companions.

    Here's looking forward to the #TCMFF 2021 whenever and wherever the yearly event occurs!

  5. Tonight? FOSSE, FOSSE, FOSSE!!!!

     

     
     
     
     
     

    DIRECTED BY BOB FOSSE - 9/2

    Arguably one of the most influential and visionary choreographers of the 20th century, Bob Fosse brought style and sexuality to the Broadway stage through his dances for such memorable musicals as "The Pajama Game" (1954), "Damn Yankees" (1958), "Sweet Charity" (1966), "Pippin" (1972) and "Chicago" (1975), as well as his direction on such films as Cabaret(1972), Lenny (1974) and All That Jazz (1979). Fosse began his career as a dancer with aspirations of Hollywood stardom, but his slight stature and baldness put a halt to that dream. He headed for Broadway, where his steamy, jazz-influenced choreography and direction wowed audiences and earned numerous Tonys. In 1969, he made the leap to film directing, and won the Oscar for Cabaret before enjoying critical success with the Lenny Bruce biopic, Lenny, and the autobiographical fantasy, All That Jazz (1979). A larger-than-life figure whose passion for his art was matched by his appetite for hard, fast-paced living, Fosse's drive and technique made him a legend in the theater
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    WOMEN MAKE FILM - TUESDAYS IN SEPTEMBER


    TCM kicks off its monumental three-month-long festival, Women Make Film, celebrating female filmmakers with one groundbreaking, 14-part documentary from Mark Cousins, Women Make Film: A New Road Movie Through Cinema (2020), and three dozen movies by women directors. Cousins' extensive documentary is a TCM premiere, as are 23 of the 36 films in this installment of the festival. By the time it is completed, we will have paid tribute to 100 films and 100 filmmakers spanning six continents, 44 countries and 12 decades!

    Filmmaker Barbara Kopple will appear with TCM hosts Alicia Malone and Jacqueline Stewart to introduce the films. A producer-director who specializes in documentary films, Kopple won Academy Awards for Harlan County, USA(1976), about a Kentucky coal miners' strike, and American Dream (1990), about a strike at a Hormel plant in Minnesota.

    Kopple's other films include The Dixie Chicks; Shut Up and Sing (2006), Miss Sharon Jones! (2015) and This Is Everything: Gigi Gorgeous (2017). Harlan County, USA will air on TCM Tuesday, September 15, as part of the Women Make Film festival.

    Director Mark Cousins was born in Coventry, England, and raised in Northern Ireland. This producer-director-film critic is remembered by TCM fans for his massive documentary The Story of Film: An Odyssey (2011). This 15-hour film was shown in 2013 on our network and accompanied by screenings of relevant films. For this endeavor, TCM received a coveted Peabody Award for "its inclusive, uniquely annotated survey of world cinema history."

    Cousins' other works as director and writer include I Am Belfast (2015), Stockholm, My Love (2016) and The Eyes of Orson Welles (2018).

    Women Make Film: A New Road Through Cinema runs for a total of 14 hours and looks at the work of 183 female directors. The documentary is narrated by Adjoa Andoh, Jane Fonda, Kerry Fox, Thandie Newton, Tilda Swinton, Sharmila Tagore and Debra Winger. The film premiered in 2018 at the Venice Film Festival and was released on the British Film Institute Player in May 2020.

    The five "chapters" of the documentary, as shown on TCM are listed below, along with the TCM premieres, their filmmakers and countries following the episode title.

    "Episode 1: Openings and Tone"
    Merrily We Go to Hell (1932), Dorothy Arzner (U.S.A.); Olivia (1951), Jacqueline Audry (France); Sleepwalking Land (2007), Teresa Prata (Mozambique); Seven Beauties (1975), Lena Wertmuller (Italy); Je tu il Elle (1974), Chantal Akerman (Belgium)

    "Episode 2: Introducing Character and the Meet Cute"
    El Camino (1963), Ana Mariscal (Spain); Lovely & Amazing (2001), Nicole Holofcener (U.S.A.); The Watermelon Woman (1996), Cheryl Dunye (U.S.A); In the Empty City (aka Hollow City) (2004), Maria Joao Gonga (Angola); Entre Nous (1983), Diane Kurys (France)

    "Episode 3: Framing and Tracking"
    The Virgin Suicides (1999), Sophia Coppola (U.S.A.); Loving Couples (1964), Mai Zetterling (Sweden); Zero Motivation (2014), Talya Lavie (Israel); 10 to 11 (2009), Pelin Esmer (Turkey); Strangers in Good Company(1990), Cynthia Scott (Canada)

    "Episode 4: Staging, Journey and Discovery"
    The Cave of the Yellow Dog (2005), Byambasuren Davaa, (Mongolia); The Juniper Tree (1990), Nietchka Keene (Iceland); Women Who Loved Cinema (1 & 2) (2002), Marianne Khoury (Egypt)

    "Episode 5: Adult/Child, Economy, and Editing"
    Adoption (1975), Márta Mészáros (Hungary); We Need to Talk About Kevin (2011), Lynne Ramsay (UK); Wasp (2003), Andrea Arnold (UK); XXY (2007), Lucía Puenzo (Argentina); My American Cousin (1985), Sandy Wilson (Canada)

    For more information about these films and each director in our lineup, visit the official Women Make Film website.

    by Roger Fristoe
     
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    DIRECTOR MARK COUSINS’ VISUAL GUIDE TO WOMEN IN FILM HERE...

    Article by Trudy Ring celebrating WOMEN MAKE FILM HERE....
     

  7.  

     

    John Barrymore day!

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    6:00 AM    Dr. Jekyll and Mr. Hyde (1920)
    7:15 AM    Don Juan (1926)
    9:15 AM    When a Man Loves (1927)
    11:15 AM    State's Attorney (1932)
    12:45 PM    Rasputin and the Empress (1932)
    3:00 PM    Night Flight (1933)
    4:30 PM    Bulldog Drummond Comes Back (1937)
    5:31 PM    How To Be A Detective (1936)
    5:45 PM    Maytime (1937)
    8:00 PM    Grand Hotel (1932)
    10:00 PM    Dinner at Eight (1933)
    12:00 AM    Night Club Scandal (1937)
    1:30 AM    Arsene Lupin (1932)
    3:00 AM    Svengali (1931)
    4:30 AM    The Great Man Votes (1939)

  8.  
    Tomorrow is Goldie's day!
     
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    The enduring star power of Goldie Hawn is a fairly unusual phenomenon for a contemporary Hollywood actress. She first gained celebrity through a brief stint as a "dumb blonde" dancer-comedienne on TV in the late 1960s and segued to the movies as an acclaimed supporting player before quickly achieving star status. The now gracefully middle-aged showbiz veteran has maintained her celebrity and pumped up her industry muscle without any major tinkering with her persona. Sharp-eyed viewers may have detected a subtle evolution but, to the general public, she remained an eternally youthful and joyously giggly girl for decades. Long one of the elite group of actresses who could "open" a major motion picture, Hawn made a series of box office hits ranging from "Private Benjamin" (1980) to the black comedy "Death Becomes Her" (1992) before gracefully transitioning into semi-retirement punctuated by occasional films like "The Banger Sisters" (2002) and "Snatched" (2017).

    The daughter of a Presbyterian musician father and a Jewish mother who was a jewelry wholesaler and dance school owner-administrator, Hawn was born in our nation's capital and raised in Tacoma Park, MD. Having begun her training in ballet and tap-dancing at the age of three, she was dancing in the chorus of the Ballet Russe de Monte Carlo production of "The Nutcracker" at age ten. Hawn made her acting debut at age 16 in Williamsburg, Virginia, playing Juliet in a Virginia Stage Company production of Shakespeare's classic. By 17, she was running her own dance studio where she taught ballet to pay her college tuition. Hawn abandoned her drama studies at American University at age 18 and headed for NYC to pursue a career as a professional dancer. Her debut in this arena came in 1964 performing "Can-Can" at the Texas Pavilion of the New York World's Fair. She subsequently worked in NYC as a go-go dancer and sang and danced in revivals of "Guys and Dolls" and "Kiss Me, Kate." Other hoofing gigs took her to Puerto Rico, Las Vegas and Los Angeles. The latter locale was the setting for her first big break.

    Hawn was "discovered" dancing in the chorus line of a 1967 Andy Griffith TV special. An agent singled her out, signed her and got her cast in a supporting role on a sitcom, "Good Morning, World" (CBS, 1967-68). Hawn's winning portrayal of a gossipy neighbor on the one-season sitcom quickly landed her work the following season as a featured performer on the landmark comedy variety revue "Rowan & Martin's Laugh-In" (NBC, 1968-70). She danced, giggled and jiggled, covered with body paint and a bikini. America took notice as did the Television Academy which gave her two Emmy nods. British critic David Thomson has written, "I don't think any film has ever captured the lyrical blonde naivete that Goldie showed on TV's 'Laugh-In'. She is usually pert and engaging: amiability perches on her high, child's voice and gurgles from her baby's mouth. The eyes are still eyes from Lolita's face."

    Hawn's film acting career got rolling with a winning portrayal of a ditsy Greenwich Village salesgirl having an affair with a "married" dentist in "Cactus Flower" (1969). Even working alongside such veterans as Walter Matthau (playing the deceptive amorous dentist) and Ingrid Bergman (playing his repressed but adoring receptionist), Hawn won the critical raves and a Best Supporting Actress Oscar. She continued in the nice and nubile nincompoop mode opposite Peter Sellers in "There's a Girl in My Soup" (1970). "$" (1971) offered a change-of-pace role as a prostitute embroiled in a bank heist with Warren Beatty. "Butterflies Are Free" (1972), a romantic comedy, returned her to a more comfortably kooky character in love with a blind neighbor (Edward Albert). Hawn truly displayed her dramatic chops in her next film project, "The Sugarland Express" (1974), director Steven Spielberg's feature bow. As petty criminal Lou Jean Poplin, she showed the downside of kooky immaturity, playing a mother whose child is taken away after she is deemed unfit by the courts. Lou Jean breaks her weak-willed husband (William Atherton) out of a pre-release facility to aid her in her quest to get back their child. Their initially comic misadventures escalate to a tragic conclusion. Hawn has never been better but the film, though scoring with the press, bombed at the box office.

    Hawn continued to display new depths in such projects as "The Girl from Petrovka" (1974) and, again with Warren Beatty, in Hal Ashby's "Shampoo" (1975). She enjoyed a huge popular success opposite Chevy Chase in the romantic caper "Foul Play" (1978) but that pair proved less palatable in their follow-up "Seems Like Old Times" (1980).

    Hawn marked her debut as an executive producer with one of her biggest hits, "Private Benjamin" (1980). She was perfectly cast as a caricatured "Jewish American Princess" who grows up through a stint in the Army. Hawn received an Oscar nomination for Best Actress for her efforts. She received the worst press of her career in the wake of rumors about her behind-the-scenes machinations on the period romantic comedy-drama "Swing Shift" (1984). Director Jonathan Demme accused Hawn of recutting the film to play up her character at the expense of impressive supporting player Christine Lahti. The beloved Goldie emerged as the villain at the time though subsequent reports have suggested a different version of events. In any event, the film was a critical and commercial failure. Beginning with "Protocol" (1984), Hawn joined costume-designer-turned-producer Anthea Sylbert in the Hawn/Sylbert Movie Company to produce a string of mostly mediocre starring vehicles which tended to make modest profits. Thanks to her winning screen persona, Hawn survived with her star status intact.

    In the early 90s, Hawn tried to appear in a wider variety of films than the comedies with which she had become associated. She replaced Meg Ryan to play a compulsive liar opposite a befuddled Steve Martin in the comedy "Housesitter" (1992), but her other credits included the Mel Gibson actioner "Bird on a Wire" (1990), the failed Hitchcockian "woman in jeopardy" pic "Deceived" (1991) and "Crisscross" (1992), a surprisingly effective and gritty story about a welfare mother raising her son in a seamy part of Key West. Hawn was less sympathetic than usual teamed with Meryl Streep and Bruce Willis in Robert Zemeckis' elaborate black comedy fantasy "Death Becomes Her" (1992).

    After a four-year hiatus from the screen, Hawn joined forces with Diane Keaton and Bette Midler in the hit comic romp "The First Wives Club" (1996). Hawn had obvious fun as an aging Hollywood star who turns to plastic surgery to remain competitive in an industry where women are relegated to three roles, "babe, district attorney and 'Driving Miss Daisy'." Later that year, she returned to her musical roots, singing and dancing as Woody Allen's ex-wife (now married to Alan Alda) in Allen's "Everybody Says I Love You." She also had several projects in various stages of development as a producer. Hawn moved behind the cameras to make her directorial debut with the TV-movie "Hope" (TNT, 1997), a coming of age tale set in Arkansas.

    After a brief hiatus, Hawn returned in front of the camera teamed with Steve Martin in the uneven remake of "The Out-of-Towners" (1999). She then co-starred with Warren Beatty and Diane Keaton in "Town & Country" (2001), a comedy about marriage that became known for its protracted filming and troubled production history. As a producer, Hawn oversaw the well-recieved TV-movies "When Billie Beat Bobby" (ABC, 2001), and "The Matthew Shepard Story" (NBC, 2001). She was next seen on the big screen teamed with Susan Sarandon as former groupies who reunite in "The Banger Sisters" (2002). Hawn then entered a period of unofficial retirement, broken only by the publication of her memoir A Lotus Grows in the Mud in 2005, a voice appearance on the animated hit "Phineas and Ferb" (Disney 2007-2015) in 2013, and narration of a documentary about menopause, "Hot Flash Havoc" (2016). Hawn made her first film in 15 years, the action comedy "Snatched" (2017), playing opposite Amy Schumer as a mother-daughter duo who get kidnaped during a tropical vacation.


     

     

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