infinite1
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Any news from TCM on whether or not there will be a sequel to last years' UNIVERSAL CULT HORRORS COLLECTION? There has been some speculation over on the CLASSIC HORROR FILM BOARD generated by TOM WEAVER, as to the liklihood of just such a set. Tom promissed us that something genre related, and BIG, will be released by October 31st. I just wanted to know, from the horses mouth, so to speak, if this is what Tom is referring to. He claims to have been "sworn to secrecy".
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> {quote:title=Dominick wrote:}{quote}
> Yes I hope he continues for another year. I hope next years Essentials are these films.
>
> Angels With Dirty Faces
> Make Way For Tomorrow
> It Happened One Night
> My Man Godfrey
> Stella Dallas
> Bombshell
> Topper
> Kings Row
> The Lady Eve
> I Married a Witch
> The Little Foxes
> My Sister Eileen(1942 version)
> Lifeboat
> Adam's Rib
> Rear Window
> Strangers on a Train
> The Apartment
> West Side Story
> M*A*S*H
> Young Frankenstein
Most of these films have already been played to death on TCM and show up as "ESSENTIALS" every year or every other year. I would like to see some rarer old films get the ESSENTIAL treatment.
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> {quote:title=Jo-AnnC wrote:}{quote}
> I just love the fact that Alec Baldwin joined Robert on the Essentials. Think the two together are fabulous.
And yet, as of late, I have detected an undercurrent of animosity between the two.
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> {quote:title=ChiO wrote:}{quote}
> My generalized take on it:
>
> *Are all FILM NOIR MOVIES either Gangster Flicks or Crime Dramas?*
>
> No. But because of the general mood and theme of film noir -- outsider being trapped (or thinking he or she is trapped) by forces beyond his or her control -- a crime or plotting of a crime or escaping from a crime is extremely common.
>
> Film noir is transgeneric. A Western can be a noir. A Musical can be a noir. On and on. It's the mood and theme (assisted by some combination of other stylistic elements such as camera angles, lighting, etc.) that matters. But I'm the flexible sort of film noir fan.
>
> *does a FILM NOIR have to be a Black and White movie?*
>
> No. But, again, given the mood and theme, black & white often helps. Many of the finest film noirs during what is generally considered the Classic Period of Film Noir (1940 or so through 1958 or early '60s) were relatively low budget productions. That combined with the mood and theme results in film noir being typically thought of as black and white movies.
So, is Film Noir a sub category of films of each main Genre? Also, based on your definition, could the original WOLF MAN be considered a Horror film noir?
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I'd love to see a sequel to The UNIVERSAL CULT HORROR COLLECTION with the following films:
SECRET OF THE BLUE ROOM
THE MAN WHO RECLAIMED HIS HEAD
MYSTERY OF EDWIN DROOD
MURDER IN THE BLUE ROOM
THE SPIDER WOMAN STRIKES BACK
THE CAT CREEPS
and an along waited PARAMOUNT CULT HORROR COLLECTION with the films:
ISLAND OF LOST SOULS
THE MONSTER AND THE GIRL
THE UNINVITED
MURDER BY THE CLOCK
AMONG THE LIVING
THE MAD DOCTOR
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This has become, as of late, an annoyning habit of TCM. I can accept that there are issues that sometimes require a change of schedule, but shouldn't they, at least, acknowledge the schedule change and explain why? It adds salt to a wound for TCM to ignore the change and act like it's no big deal. If that's the case, why have a guide at all?
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My questions are: Are all FILM NOIR MOVIES either Gangster Flicks or Crime Dramas? and if they are, does that mean that all Gangster Flicks or Crime Dramas are FILM NOIR? Also, does a FILM NOIR have to be a Black and White movie?
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Questions: Are prison dramas such as THE LAST MILE, THE BIG HOUSE, or EACH DAWN I DIE considered part of the Gangster Genre or are they considered an offshoot genre? I never see them appear on any list of Gangster related films. And is there a difference between a CRIME DRAMA and a Gangster Flick?
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> {quote:title=TikiSoo wrote:}{quote}
> > {quote:title=musicalnovelty wrote:}{quote}
> > I know this discussion will never end...but for what it's worth, but may I respectfully say that I don't want to see ANY of those movies using up valuable time on TCM.
>
> Yeah, but if we KEEP this a discussion, we might enlighten each other to various opinions with good reasoning.
>
> In the 70's I was busy seeing the Ramones and didn't have time for going to the movies.
> Classic film is great because it's all just waiting for you to discover it- silents, films from the 30's, 40's, 50's....why is the 70's or 80's any different?
>
> Granted, many of us saw THE GODFATHER at the theater and several times later on TV, but it still holds up for first time viewers as a great film. I have no problem with TCM broadcasting ANY of those listed films occasionally, once in a while sprinkled in with older classics.
>
> To me if a film holds up and is enjoyable, I'd rather see it shown in it's entirety on TCM.
>
> And some of those listed films have a "classic" appropriate connection:
> > > Young Frankenstein-Gene Wilder, Madeline Kahn, Peter Boyle,Teri Garr and Marty Feldman
> > > Gable and Lombard-James Brolin and Jill Clayburgh
> > > High Anxiety-Mel Brooks, Madeline Kahn, Harvey Korman and Cloris Leachman
>
> (I've only seen YF in that group) I only recently saw LENNY and NETWORK for the first time and consider them both classic film worthy of broadcast on TCM. And remember, most later films have to be scheduled late night because of the language.
> That is really the dividing line between "modern classic" and "vintage classic" film to me, the audacity of the language and graphic violence.
>
> Let's not categorize "classic" film as films that were released before "you" were born. That's self centered.
You are missing the point. The issue is, that there are a wealth of channels that cater to films from the 70s, 80s, 90s, and beyond. amc, for one, plays most of the films on that list ad nauseum. Turner has TBS and TNT which play those kind of movies on a regular basis. As far as I know, there is only *one* channel that caters to classic movie lovers of films from the 60s back. Please, don't request something that is readily available elsewhere. Films like the GODFATHER TRILOGY. JAMES BOND, INDIANA JONES, and BACK TO THE FUTURE are all over the damn place. We come to TCM to find alternative programming, the type of films that the other channels have sworn off of. Please don't spoil it for the rest of us. You see what has become of amc. Once the premiere classic movie channel called AMC, now a parody of it's former self, a joke. Allow us to have and enjoy our little black and white classic movie channel in peace. Thank you.
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> {quote:title=PrinceSaliano wrote:}{quote}
> > {quote:title=PrinceSaliano wrote:}{quote}
> > What horror films are you hoping to see on TCM this year?
> >
> > 1. German silents (THE GOLEM; FAUST; HANDS OF ORLAC)
> > 2. SEVEN FOOTPRINTS TO SATAN (First National, 1929)
> > 3. RETURN OF THE TERROR (First National, 1934)
> > 4. THE VAMPIRE'S GHOST (Republic, 1945)
> > 5. VALLEY OF THE ZOMBIES (Republic, 1946)
> > 6. THE MAD GHOUL (Universal, 1943)
> > 7. NIGHT OF TERROR (Columbia, 1933)
> > 8. THE APE MAN (Monogram, 1943) a good print!
> > 9. THINGS HAPPEN AT NIGHT (British, 1948)
> > 10. THE CAT AND THE CANARY (Paramount, 1939)
> Well, THE MAD GHOUL and THE CAT AND THE CANARY have surfaced on DVD since last year. But I'd still like to see the others. And how about THE CRIME OF DR. CRESPI; CONDEMNED TO LIVE; THE SIN OF NORA MORAN; THE HIDDEN HAND; THE BAT (1926); SLAUGHTER OF THE VAMPIRES...?
Well the OCTOBER 2010 SCHEDULE is out and it is more of the same. Nothing new, I don't think, to get excited about. Although I would have liked a triple feature of SLAUGHTER OF THE VAMPIRES, THE PLAYGIRLS AND THE VAMPIRE, and THE VAMPIRE AND THE BALLERINA.
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Frankly, I thought this programming lineup was TCM does amc. A few more nights like this and TCM will take on a whole new meaning. After all there are a lot of other words that begin with C other then CLASSIC that can be inserted between T M to best describe programming like this. TCM, please save this DREK for TBS and TNT. We want our GOLDEN OLDIE CLASSICS. ACCEPT NO SUBSTITUTES.
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> {quote:title=PrinceSaliano wrote:}{quote}
> Universal had some great "B" leading ladies...Evelyn Ankers, Anne Gwynne, Anne Nagel, Louise Allbritton, Elyse Knox, Jane Frazee, Constance Moore, Peggy Moran, Martha O'Driscoll, et al. Time to free 'em from the vaults.
Yea, whatever happened to that blitz of Universal films that Robert Osborne promissed us months ago in FILMS OF THE GOLDEN AGE? I was hoping to see some UNIVERSAL HORRORS/MYSTERY CHILLERS on TCM's OCTOBER schedule this year and there isn't even one. Methinks he opened his mouth a little too soon.
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> {quote:title=Fedya wrote:}{quote}
> My satellite box guide (DirecTV) had the 1930s version of *Les Miserables* running two hours, from 4:00 AM to 6:00 AM (correct), followed by the 1950s version in a 2:15 slot with *The Face Behind the Mask* at 8:15 AM.
>
Ditto for the DISH NETWORK. What I want to know is, whose fault is this? My DISH DVR was all fouled up. The problem is that this is not the first time this has happened with TCM. A few months ago during a HAROLD LLOYD film festival there were many instances where the DVR ended recording too soon and started the next feature too soon. The result was that the endings were tagged on to the beginning of the next programs in the schedule. I don't know if this is a DISH problem, a TCM problem, or both. I complained to the DISH tech support and they don't know what I'm talking about.
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My dream cast:
Gilligan Woody Harrelson
Skipper John Goodman
Ginger Kim Kardashian OR Jennifer Lopez
Mary Ann Janeane Garofalo
Proffesor Harrison Ford or David Hyde Pierce
Mr. Howell Kelsey Grammer or David Hyde Pierce
Mrs. Howell Shelley Long
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> {quote:title=jamesjazzguitar wrote:}{quote}
> What actor would you say was 'special' and can you provide a role or two where that actor provided this something special. i.e. a role that only that actor could of played (or where other actors woudln't of played the part as well).
Bela Lugosi was a great DRACULA. Everything about him from his accent, his piercing eyes, and exaggerated hand movements. His "mysterious" background as a European and a Hungarian to boot, coupled with his experience with the role on the Broadway stage made him a great DRACULA. Unfortuantely for Lugosi, he was forever playing DRACULA in one form or another whether it be as a Mad Scientist or some other character role. I would stick Bogart into the LUGOSI category of actor. No matter what part he played there was always a little bit of Duke Mantee lurking underneath.
However, if you are talking about "special" actors that were really GREAT I would name Paul Muni, Edward G. Robinson, Lon Chaney Sr. for the varied parts that they played.
But, I still don't think that there are any roles that "belong" to just one actor. In order to make that definitive a statement you would have to see every other actor in the same part to form some basis of a comparrison and that is impossible.
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> {quote:title=JefCostello wrote:}{quote}
> I don't agree at all.
>
> He wasn't one-dimensional. If you watch films like The Caine Mutiny, In a Lonely Place, The African Queen or Treasure of the Sierra Madre, in those films Bogie played a weaker more pathetic man than he was accustomed to. Hardly the same confident, fast talking, in control tough guy that he played in his usual role. Those were more sensitive, darker performances where he wasn't in control or confident.
>
> I'm guessing you haven't seen many of his films if you think every character he played was the same.
I never said he played a "confident, fast talking, in control tough guy". In all his films he basically played a tough guy on the surface, but underneath usually weak, cowardly, or pathetic. Yes, he could rise to the level of a hero, but nothing that couldn't be essayed by anyone else. In other words, nothing special.
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Frankly, I don't understand why Bogart would have won an Oscar for anything, let alone be considered a great actor by anyone. He basically played the same kind of tough guy MUG from one film to another. A very one dimensional actor. If it wasn't for George Raft turning down the leads in big profile films like HIGH SIERRA, DEAD END, THE MALTESE FALCON, and CASABLANCA, Bogart would have stayed at the same level as Barton Maclaine and Joe Sawyer.
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My two cents - Frankly it's the advances in technology that are killing the home video market. Just as DVD killed VHS, and LASER; Blu Ray, downloading, etc., etc., etc., are killing DVD. There aren't too many fans out there who are willing or able to recollect whole libraries in order to jump on the latest technological band wagon. So, the alternative is to say _____ it. I'll admit, I was not one of these. I own a massive collection of VHS tapes recorded, pre-recorded, and LASER DISCS, and jumped on the DVD BANDWAGON. HOWEVER, I made a conscious decision, NO MORE NEW FORMATS. Therefore, retail outlets like BEST BUY, WALMART, BORDERS, ETC., that have sacrificed DVD space in favor of BLU RAY have lost buyers like me because I will never waste a dime on a BLU RAY machine. I wonder how many people jumped off at the conversion from VHS to DVD and feel the same way I do about BLU RAY?
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> Hi Soo (and TikiKid),
>
> So glad you're enjoying The Bowery Boys on TCM!
> You can catch the ones you missed when TCM devotes a whole day to repeating the first ten of them on July 23.
>
> July 23, 2010 - Friday
>
> 7:15 AM Live Wires (1946)
> In their first film, the Bowery Boys tackle gangsters. Cast: Leo Gorcey, Huntz Hall, Mike Mazurki. Dir: Phil Karlson. BW-65 mins, TV-G
> 8:30 AM In Fast Company (1946)
> The Bowery Boys get wrapped up in a taxi war. Cast: Leo Gorcey, Huntz Hall, Bobby Jordan. Dir: Del Lord. BW-63 mins, TV-G
> 9:45 AM Bowery Bombshell (1946)
> The Bowery Boys tackle gangsters to clear one of their own from a bogus robbery charge. Cast: Leo Gorcey, Huntz Hall, Sheldon Leonard. Dir: Phil Karlson. BW-66 mins, TV-G
> 11:00 AM Spook Busters (1946)
> When they set themselves up as ghost hunters, the Bowery Boys tangle with a mad scientist. Cast: Leo Gorcey, Huntz Hall, Douglass Dumbrille. Dir: William Beaudine. BW-68 mins, TV-G
> 12:15 PM Mr. Hex (1946)
> A hypnotist turns one of the Bowery Boys into a championship boxer. Cast: Leo Gorcey, Huntz Hall, Gale Robbins. Dir: William Beaudine. BW-63 mins, TV-G
> 1:30 PM Hard Boiled Mahoney (1947)
> The Bowery Boys try to expose a phony fortune-teller. Cast: Leo Gorcey, Huntz Hall, Betty Compson. Dir: William Beaudine. BW-63 mins, TV-G
> 2:45 PM News Hounds (1947)
> When they get newspaper jobs, the Bowery Boys take on a sport-fixing mob. Cast: Leo Gorcey, Huntz Hall, Anthony Caruso, Christine McIntyre. Dir: William Beaudine. BW-68 mins, TV-G
> 4:00 PM Bowery Buckaroos (1947)
> The Bowery Boys head west and land themselves in hot water. Cast: Leo Gorcey, Huntz Hall, Iron Eyes Cody. Dir: William Beaudine. BW-65 mins, TV-G
> 5:15 PM Angels Alley (1948)
> An ex-con cousin of one of the Bowery Boys gets them into trouble with the law. Cast: Leo Gorcey, Huntz Hall, Frankie Darro. Dir: William Beaudine. BW-68 mins, TV-G
> 6:30 PM Jinx Money (1948)
> The Bowery Boys find a dead gangster's loot-and the mob out to get it back. Cast: Leo Gorcey, Huntz Hall, Sheldon Leonard. Dir: William Beaudine. BW-68 mins, TV-G
I hope this dosen't herald the end of the Bowery Boys on TCM. Whenever they run a marathon the series soon bites the dust. Remember Cartoon Alley, another Saturday morning series that was given the marathon treatment before the kiss off.
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GEORGE RAFT
LIONEL ATWILL
JOHN CARRADINE
RAYMOND MASSEY
UNA O'CONNOR
UNA MERKEL
THELMA TODD
FAY WRAY
GLORIA STUART
MAUREEN O'SULLIVAN
GEORGE ZUCCO
CHARLES BICKFORD
MAUREEN O'HARA
VICTOR MCLAUGHLIN
GEORGE SANDERS
WARREN WILLIAMS
WARNER BAXTER
JOHN BARRYMORE
ANN SHERIDAN
BARBARA STANWYCK
EDWARD ARNOLD
PAT O'BRIEN
LEE J. COBB
YAKIMA CANUT
VINCE BARNETT
WILLIAM FRAWLEY
WILLIAM DEMEREST
LAUREL AND HARDY
DEANNA DURBIN
BELA LUGOSI
MICKEY ROONEY
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> {quote:title=BuccaneerMoe wrote:}{quote}
> Without a doubt I and many I know would love to see Frank Sinatra re-featured. It was exactly two years ago this month he was finally Star of the Month. At the time I had absolutely no idea he had made so many films, musicals drama, thrillers, comedy, westerns, war and just about every imaginable type of film one can come up with. He won a Oscar and other nominations and almost all his movies were top notch because that was what he was. But it goes beyond even his great films. Every Weds. when he was featured his kids (who luckily are still with us) were on the set with Robert Osborne giving very insightful info. the kind we never get on any of the other star of the month actors. Tina, Nancy and especially Frank Sinatra Jr. provided so much additional info about each film that made it so much more enjoyable. Frank Sinatra Jr. was on the set for many of his dad's films and his story telling kept me glued to the set. Unfortunately at that time I had a job that required me to get up early so I missed several of their commentaries and discussions. Now I could stay up for all of them. Our group of 27 at the Clubhouse 25 out of the 27 all voted for the same return of frank for Star of the Month for the reasons I just listed!!!
With so many stars never given their due on TCM as SOTM, what we do not need are any repeats, especially Sinatra.
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> {quote:title=PrinceSaliano wrote:}{quote}
> United Artists was not a studio.
I have a complete set of coffee table sized STUDIO books that list each film by year. UNITED ARTISTS is one of those books. Therefore, I have assumed that it was a separate studio.
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DOROTHY LAMOUR because...well, I dunno, she kind of fits there. Maybe it has a little something to do with that sarong.
And if she wasn't available, Kathryn Grayson, because I bet she would have looked nice in a sarong too.
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> {quote:title=jamesjazzguitar wrote:}{quote}
> Note that I didn't say removing past emotional ties is easy, instead it is a live long process, one that no one every perfects. All part of growing up. But as we can see some people just refuse to grow up and in fact appear to enjoying being stuck in the past. Oh well!
Look, there is racism and it is right and proper to speak out against it. However, I just do not consider these films racist. I see no difference between STEPIN FETCHIT, WILLIE BEST, MANTAN MORELAND, LAUREL AND HARDY, and THE THREE STOOGES. They are all comedians, they all make me laugh, and that's all I care about. I'm sorry if anyone is offended by Laurel and Hardy but as I said, there is always the remote control unit. Use it, and leave our CLASSIC films alone!
Three Favorite Horror Actors?
in Horror
Posted
Bela Lugosi, Bela Lugosi, AND OF COURSE Bela Lugosi.
Next three:
Lionel Atwill, George Zucco, and John Caradine.