Swithin
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Posts posted by Swithin
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"Skip to the Lou" -- from I Love Lucy ("The Passports" episode)
Next: Song from a Kay Francis movie (but not necessarily sung by Kay)
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Cillian Murphy as Tommy Shelby in Peaky Blinders
Next: Prostitute who makes good
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3 minutes ago, brianNH said:
Ok, Swithin. I'll go ahead and ask. Um... which Freaks character are you talking about?
I wasn't comfortable posting a pic, but since you asked, here it is. I'm not kidding, I really did think this, the first time I saw the scene.
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11 hours ago, NipkowDisc said:
no you are wrong. in the americanized version there are frames missing from both the Lucy staking AND the climactic sunlight disintegration of Dracula.
I caught the ending. The "climactic sunlight disintegration of Dracula" was there.
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2 hours ago, JamesJazGuitar said:
I mentioned that I like this version, though not as much as the version in Applause (1929). But one of the things I find creepy about the Two Weeks with Love version is that the kid on the piano reminds me of one of the characters in Freaks (1932)!
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57 minutes ago, Princess of Tap said:
Swith--I haven't seen or heard about this film since I was in grad school. This film still gives me the creeps when I think about that woman giving birth backstage--
My introduction to Pre-Code.😝😝😝
Applause is known for being one of the first talkies to be shot on location, around Manhattan. Mamoulian was always an innovator.
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1 hour ago, Princess of Tap said:
Swith, I hate to be the answer hog, but I don't think we have very many people left on board who are interested in these kind of questions. So here goes.
Dorothy Mackaill, who was born in England, co-starred with Humphrey Bogart in "Love Affair, 1932.
She was married to Lothar Mendes, who was born in Germany. His film that you are referring to is "Jew Suss", 1934.
Dorothy's big pre-code movie was "Safe in Hell", 1931. The song Louis Armstrong became associated with from this movie was "Sleepy Time Down South", which was sung by Nina Mae McKinney in the movie.
And Conrad Veidt is the actor you're referring to in Mendes' original British movie. Of course, Veidt played the famous Nazi villain in "Casablanca".
Princess,
No need to apologize for being the "answer hog." There are only a few of us who play this game (which is one of the best games), so it's fine.
And thank you for your comprehensive and correct answer! (Lothar Mendes' best known film is probably The Man Who Could Work Miracles. H.G. Wells, who wrote the original story, worked on adapting it for film as well.)
Dorothy Mackail and Lothar Mendes receiving their marriage certificate from the judge.
Your turn to give us one!
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Christopher Strong (1933)
Christopher and His Kind (2010)
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I'm a big fan of 1930s musicals; not so much of the late '40s/early '50s musicals, e.g. I prefer Fred with Ginger to Fred with his later partners, not because those partners are not great dancers, but because the style of movie-making changed. I'm not even much of a fan of the Gene Kelly musicals, though I like Gene Kelly. The action in those later films seems to stop; whereas in the earlier films, there is a greater flow and meaning within the story, even the ones that are clearly performance-based in the context of the movie.
Btw, regarding Two Weeks with Love, there is that scene where Jane sings "The Oceana Roll" which I like, but I've always felt there is something creepy about it. I much prefer the version of that song near the top of Applause, the 1929 Helen Morgan film, directed by Rouben Mamoulian. There is something touching about all those chubby chorus girls, with their wrinkly tights, in that third-rate theater out in the Midwest, or wherever they are. It adds pathos and relevance to the film; the Jane Powell rendition in Two Weeks with Love is merely a very enjoyable (though creepy) dance number, inserted into a film.
The Helen Morgan/chorus girl version is at the 2:00 point in this link:
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4 minutes ago, brianNH said:
(By the way, I looked through my world atlas and found the title to this thread to be the name of a small village in Wales)
I guess you mean the village that is sometimes shortened to Llanfair PG, which was used as a password in the movie Barbarella.
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1 hour ago, Tikisoo said:
Oh no, is this a new trend to attract attention?
I hope not! Dargo is usually more succinct. He's just confused by his reaction to the two Jane Powell movies. So, perhaps for the moment, he's like Mantan Moreland in King of the Zombies, who famously said: "Can I help it cause I'm loquacious?"
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2 hours ago, Dargo said:
...Small Town Girl and Two Weeks with Love, I ACTUALLY found myself being VERY entertained by them!!!
(...what...am I gettin' less-discerning in my, ahem, later years here or somethin'?)
Congratulations on what may be the longest thread title in the history of the TCM Board!
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Today's hint: The actor who played the benevolent Jewish lead in Husband's film which was later desecrated by the Nazis, played one of the most famous movie Nazis of all time, when he came to Hollywood.
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On Svengoolie tomorrow, August 13, 2022
Horror of Dracula (1958)
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55 minutes ago, JamesJazGuitar said:
DUH, The Man Who Knew Too Much is a remake since both films were Hitchcock films.
The fact that films versions may be similar falls under OF COURSE! When the same source material is being used there will be similarities; e.g. many of the same characters. Same scenes, similar dialog (especially when the dialog is taken from the original source material). How similar doesn't make a film a "remake" UNLESS something is in the later film version that was NOT in the original source material and ONLY in the original film version.
So I don't see where you have any opinions in your post but instead just DUH type facts.
You mention one film you would NOT consider a remake since they "went back to the novel"; Uh,,,, in the vast majority of cases the new creative team goes back to the original source material. I'm mean, come-on, you really believe that in most cases, the new creative teams just reviews the prior film's screenplay and watches the prior movie and creates their own screenplay from there? (e.g. the screenwriting team does NOT read the novel, short story, or play (e.g. Shakespeare) and create their screenplay from that, but instead just watches the prior film).
Sorry, for the passion but I really don't see where you have made any points that have much substance.
I think sometimes -- as in Bunuel's case -- he totally went back to the novel, then adapted it to his style and need. But in many cases, a director/writer will go back to both a prior version of the film and the source material for that film, keeping in mind that nothing is purely original.
The Man Who Knew too Much (1956) is actually quite different in tone to the later film. The 1934 criminals are associated with a sun-worshipping cult; in the later, better version, the religious angle is evangelical religion, with which the criminals (i.e. Bernard Miles) are associated.
A lot goes into the creation of a remake, with material drawn from all sources.
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Harold and Maude (1971)
Next: Kitchen or bathroom detergent/cleanser
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Gertrude Michael was in I'm No Angel with Gertrude Howard.
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Wife's career was basically silent and pre-Code. Her film after her famous pre-Code film was one of Bogart's very early films. Though she lived to 87, she basically retired from films in her 30s. She spent the last 35 years of her life living in Hawaii. As an aged woman, she appeared on a television series set there, a couple of times.
Husband's famous film, made in England, was basically an expose of anti-Semitism; when Goebbel's demanded a version made in Germany, it was remade as a virulently anti-Semitic movie.
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Wild Strawberries (1957)
Every Day's a Holiday (1937) -- (Mae West as Peaches O'Day)
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15 minutes ago, JamesJazGuitar said:
I don't think I'm using semantics at all in how I define what is remake and what is new adaptation. A remake is where the original source material is a prior film.
A new adaptation is where the original source material is a novel, short story, or play, and there has been a prior film version based on the same original source material.
While there is only one film version of Sunset Boulevard, if there was another one I would label that a remake; The reason being that the plot and screenplay (co-written by director Billy Wilder), was original. Written for this film. I.e. the film version IS the original source material. Thus one could say that the Webber play is a remake of the 1950 film. (which is very odd and rare).
Confession is a great example of a remake. The original source material for the film was the German film Mazurka.
Again, the reason I stress these differences is the creative process involved and because I'm a jazz musician. E.g. I play McCartney's And I Love Her from the sheet music, with a bossa nova beat, as an instrumental. I would be insulted if someone said I was doing a cover (the musical term for remake) of Paul's song.
In my opinion, some remakes may be very similar to the previous versions; some may be quite different. The Man Who Knew too Much (1956) is a remake of the 1934 version, but the later version is somewhat different. Sometimes films are remade because the age of talkies came in; or colour; or for a contemporary audience using superstar actors and a more modern approach to the subject; etc.
I would not consider That Obscure Object of Desire (1977) a remake of The Devil Is a Woman (1935), because for the later film, Bunuel went back to the novel, The Woman and the Puppet. I would consider West Side Story a remake.
We have to be careful or someone will bring up the subject of "What is a sequel!"
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Whatever you want to call it, I loved the new West Side Story. It's actually quite different from the original movie. The tragedy of the Jets comes through to a greater extent. And it's much more moored in the neighborhood -- my neighborhood.
If you want to get into the semantics of what is a remake, I guess the Kay Francis film Confession (1938) would quality, since it's pretty much a scene for scene remake of Mazurka (1935), although Mazurka was in German.
But I think it's ok to call some films remakes, even if they're not shot-for-shot.
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Bing Crosby was in We're Not Dressing with Leon Errol.
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Today's hint:
14 hours ago, Swithin said:This couple was not born in the United States, nor were they born in the same countries as each other. Wife came to the United States as a young woman. She appeared on stage and in movies. She was the star of what may be the bleakest pre-Code movie of all time.
Husband made a movie based on a novel which was remade by someone else a few years later, for nefarious purposes.
Name Husband and Wife, giving the titles of the films referred to as well.
Today's hint: The nefarious remake of the film husband made earlier was done at the behest of a high-ranking Nazi.
Husband's perhaps best known film was based on a story by a famous science fiction writer of the late 19th/early 20th century, who actually worked on the dialogue for the film.
Wife's film has one of the great, bleak ending scenes: an extraordinary image. Her film also features a song, written by one of the cast members, which became a standard for Louis Armstrong.
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The Four Horsemen of the Apocalypse (1921)
Apocalypse Now (1979)
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Okay. What's wrong with me here? While watching two musicals starring today's SUTS honoree Jane Powell this evening, both of which usually considered to be pretty run-of-the-mill examples of this film genre...
in General Discussions
Posted
It begins at around the 2:00 mark. I guess there is a slight similarity with "Waiting for the Robert E. Lee," but it's "The Oceana Roll." It may be hard to hear the lyrics, but they become clearer when Helen Morgan and Jack Cameron dance out around the 2:45 point. You can hear the lyrics more clearly from the soloists: "Billy McCoy was a musical boy..." etc.
"Billy McCoy was a musical boy.
On the cruiser Alabama he was there on that "piana"
Like a fish down in the sea.
When he rattled of some harmony.
Every night out on the ocean he would get that raggy notion,
Start that syncopated motion lovingly.
No one could sleep way out there on the deep,
When Billy cut loose out at sea."
Another clever musical moment comes around the 7:50 mark, when you hear a soloist singing "Everybody's Doin' It" on stage as the rest of the cast visits Helen Morgan and the baby backstage. Some incredible shots in that scene -- Mamoulian was ahead of his time.