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Everything posted by TheSlumsOfSoftFocus

  1. I love this movie. Faulkner's book, Sanctuary, is one of my all time favorites, and even during the pre-code era a lot of it is a little too shocking for the screen. But the movie is a really strong adaptation. I run obscureclassics.wordpress.com. Would you care to exchange links?
  2. > {quote:title=goldensilents wrote:}{quote} > Yes. I really do believe that the majority of people who tune into TCM prefer the older classic films. TCM has made a concerted effort to branch out and attract younger viewers by showing newer and newer films, but in doing so they risk alienating their base. Sticking silents and precodes for the most part in the "Graveyard Shift" or other inconvenient hours like early AM when people are getting ready for work or school is in many ways turning their backs on their base. I do agree that they shouldn't be Graveyard Shifting the silents and
  3. > {quote:title=PrinceSaliano wrote:}{quote} > > {quote:title=TheSlumsOfSoftFocus wrote:}{quote} > > Yes, what makes a movie "classic" can be very subjective. It can mean different things to different people. Which is exactly why TCM shouldn't subscribe to any kind of narrow definition. > Well, the "Big Tent" approach is not working for me. And you're not the only person who watched the channel.
  4. > {quote:title=goldensilents wrote:}{quote} > I wouldn't call anyone a "snob" here just because they have a different opinion as to what is a classic film. I don't care for the James Bond films either. Then again I don't much care for anything past 1966, except for a handful of examples like What's Up, Doc or The Right Stuff. Modern films bore me to death. I'm not really calling anyone here a snob. I do, however, think that the "TCM shouldn't show these movies!" attitude is somewhat snobbish. It's not snobbish to have a different opinion of what makes a classic. Like I said, it's
  5. Yes, what makes a movie "classic" can be very subjective. It can mean different things to different people. Which is exactly why TCM shouldn't subscribe to any kind of narrow definition.
  6. Ginger Rogers... Primrose Path Bachelor Mother Star of Midnight Vivacious Lady I'll Be Seeing You Professional Sweetheart Romance In Manhattan In Person Rafter Romance A Shriek In the Night Robert Montgomery... Lovers Courageous Piccadilly Jim The Man In Possession The Lady of Mrs. Cheyney Faithless Fast and Loose Night Must Fall Rage In Heaven Ride the Pink Horse
  7. There were so many wonderful pre-code women. Great Garbo, Barbara Stanwyck, Loretta Young, Jean Harlow, Kay Francis... But none come close to the incredible Miriam Hopkins. She's one of the all time greatest actress, and she easily takes the prize for greatest pre-code actress. Design For Living, The Story of Temple Drake, Trouble In Paradise, Dr. Jekyll and Mr. Hyde. There wasn't another actress in Hollywood who was as comfortable with her sexuality, no other actress who enjoyed their sexuality so much. Miriam Hopkins is simple THE pre-code goddess.
  8. They seem to be showing a lot more pre-code films in general lately, which is just wonderful.
  9. The Single Standard is pretty fantastic. I recently rewatched all the Garbo silents, and I had forgotten how good pretty much all of them all. Flash and the Devil is easily my favorite, The Mysterious Lady is my second, and I'd say The Single Standard is probably my third, followed by A Woman of Affairs. She and Conrad Nagel should have made more films together. Their chemistry was HOT in The Mysterious Lady and The Kiss. It wish they had done a sound film.
  10. I love Garbo's pre-codes. Though I'm not fond of Mata Hari. It's an extremely flat film, and as far as Garbo spy romances go, The Mysterious Lady did it much better. I wish they would show As You Desire Me (me second favorite Garbo film, and my very favorite performance of hers) and Susan Lenox (a really great pre-code with a fantastic depiction of really messed up relationship) more often. The Painted Veil, too. It's not a great movie, but Garbo's performance is awesome.
  11. Let's not be complete snobs about this. There are a lot of different ways the word can be defined. Generally, I think people just consider "older" movies, like pre-1965, to be classic. While I'd say this is definitely the "classic era", that doesn't mean that all the movies that come from the time are classics, and that doesn't mean that movies after that era can't be defined as classics. There are a lot of movies that come from this classic era, some of them that are shown on TCM, that I wouldn't consider truly "classic" because they just aren't good. And there are many movies made after
  12. I recorded all the movies except for Star of Midnight and In Person (I already have both recorded), and I can't wait to watch them at work on Saturday. I LOVE Star of Midnight. It's probably my favorite Thin Man knockoff. It's a really funny movie, it has a mystery that's actually very intriguing and engrossing, and Powell and Rogers have all kinds of chemistry. It's just a wonderful movie.
  13. I'm a sucker for classic romantic comedies. It's so hard to narrow it down.... My Man Godfrey Trouble In Paradise Ninotchka The Lady Eve Unfaithfully Yours The Palm Beach Story Tom, Dick, and Harry Rafter Romance Bachelor Mother Libeled Lady Love on the Run Piccadilly Jim The Mad Miss Manton
  14. Anyway, I'd love a Frank Borzage pre-code set. I know a few of his pre-codes (like Liliom and Bad Girl) were already released on that AMAZING Murnau, Borzage, and Fox set. But it would be wonderful to have his other pre-codes like Man's Castle (my all-time favorite movie), Little Man, What Now?, A Farewell to Arms, Secrets, and No Greater Glory.
  15. I kind of agree with the idea that these cases should be dropped after a certain number of years. But at the same time, it wouldn't really be fair. If the cases are dropped, the rights would likely fall back into the hands of the studio. And while that's great for film fans, it isn't fair to the estate of the other party in the case. That's basically just saying that if it goes on for too long then the defendant wins. Maybe if they made the films public domain once a case goes on for so many years.
  16. I love Warren William. He was one of the great pre-code actors. It's hard to put your finger on, but he just had something to him. Something both sexual and sinister. But I think what's great about him was how he could also play a decent guy without any of that sinister-ness.
  17. I wasn't sure if it was okay to post things like this here, but I figured I'd take the chance. I run a website called Obscure Classics which is pretty much exactly what it sounds like. We discuss classic films that don't really get a lot of a attention. We update with reviews, essays, etc. frequently. We also do a podcast (about monthly) on obscure stars and movies. And we really like listener interaction. We've got podcasts for Jean Harlow, and our alternates for the AFI's Ten Top Ten list so far. We're getting ready to record a Robert Montgomery podcast, and we'll be recording a podc
  18. They're finally airing Man's Castle for Spencer Tracy day on the 31st. So this year's SUTS gets a thumbs up from me.
  19. I really prefer Capra's older films. I think he made his best stuff in the early 1930s. AMERICAN MADNESS is a great movie, and PLATINUM BLOND is probably my favorite of his movies. As the years went on, his films became more sentimental, and the more sentimental they got, the less I enjoyed them
  20. They need to put some Frank Borzage films on the Forbidden Hollywood sets. Best pre-code director in my opinion. Bad Girl, Man's Castle, Little Man, What Now?, A Farewell to Arms, Liliom.
  21. Remember the Night has been aired on TCM. It was on during the holiday season of 2006.
  22. Yeah, a number of those films the OP listed aren't pre-codes. For one, the pre-code era was a very specific time, from the birth of sound in Hollywood film to the enforcement of the production code. 1929/1930 to mid-1934. And foreign films don't really count in the era either. Pre-code is something reserved for American, Hollywood films. The Production code applied to American films. The only time it would ever effect foreign films would be in regard to the distribution in the states. Films made in other countries weren't effected by the code, so foreign film really aren't "pre-code" films
  23. Garbo was a wonderful star. I think the only movie I have yet to get my hands on is Peter the Tramp. She was definitely a one of a kind silent star. My favorite of her silents is Flesh and the Devil. It's 80 years old, and I think it's still the sexiest movie ever made. The Mysterious Lady is excellent. I think it's better than Mata Hari (probably my least favorite Garbo film.) She and Conrad Nagel sizzled together, in this and in The Kiss. The Single Standard is an amazingly well done film, as is Wild Orchids. Two beautifully and creatively shot films.
  24. I'm running a classic movie trivia game and last night's topic was film noir. One of the questions was "Name two femme fatales played by Barbara Stanwyck." I find myself stuck on the scoring because someone answered with her role in Clash By Night. I'm not so sure I consider that role a femme fatale, but I didn't just want to deduct those points without getting some feedback on the topic. What do you guys think?
  25. Definitely Cover Girl. Not only do Kelly and Rita Hayworth look amazing together, but they have excellent chemistry. It also features one of my very favorite songs of all time, Long Ago and Far Away.
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