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About Bill_McCrary

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  1. Just posted this in the "Upcoming Shorts" thread, also, but to cover the bases (and possibly more appropriately): Well, they FINALLY showed "Kelly the Second," so that we could see for ourselves whether it was cute or dreadful or demeaning to Charley or whatever. I'd say, a little of all by moments. No worse than some of the shorts, but not a gem. Now, if they'll just get around to Lyda Roberti and Kelly, at least the whole Pitts/Todd/Kelly/Kelton/Roberti series will have been shown. Taxi Boys, where are you? And more of the Charley Chase shorts, of course! Bill
  2. Well, they FINALLY showed "Kelly the Second," so that we could see for ourselves whether it was cute or dreadful or demeaning to Charley or whatever. I'd say, a little of all by moments. No worse than some of the shorts, but not a gem. Now, if they'll just get around to Lyda Roberti and Kelly, at least the whole Pitts/Todd/Kelly/Kelton/Roberti series will have been shown. Taxi Boys, where are you? Bill
  3. I don't know about shorts, but last November they showed the original "Penrod and Sam" movie (they had shown it also a year or so earlier), then the later ones. Bill
  4. [/b] ...it appears as if the claim that this was a TCM premier in the films write up was actually from a few years back...[/b] Like you, I'm pretty sure I recorded it earlier - maybe on DVD-R - but did it again, just to be sure. Have gotten around to watching it in the past week and liked most of it; the music is better than SOME of what's been foisted off on us more recently. (IMHO) If you look at the VERY end of the credits, it shows 2001 for the copyright. So the 19-year-old Jesse (Jessie?) would now be 26 or so, at least. Still, quite an accomplishment; and praise be for transferring it (at least most of it) at a very reasonable frame rate. Bill
  5. Glenn Close did do a film version, not a stage version. Nellie Forbush is a naive, very young "cockeyed optimist". Someone in their 50s would have been around the block a few times. Film, videotape - whatever.... It was made for TV, not theatrical release. Mary Martin, chosen by R&H for the Broadway original cast, was 35 when she started; but then, people (before the days of TV) have gotten away all through history "playing young" onstage. She was between 42 and 47 when she played "Peter Pan" on TV, and nobody seemed to think anything of it. The only thing necessary to consider (and few did) about Glenn Close was ... can she sing (and dance) it?? After all, living out there in all that sunshine would have been enough to "stress" anyone's skin and prematurely age them, right? I have the tape (TV and commercial). Not a patch on Mitzi's performance. But it was ok; about as ok as Reba's for "Great Performances," which was a concert version, unstaged. It's a great play (especially if uncut/uncensored) that can stand most anything. As to the original thread and other comments about Diana: It is, indeed, shocking that she didn't get to do Josephine Baker's story. That would have given her at least two (three?) movies for which she was totally suited (and maybe an Oscar). There was a very good made-for-HBO (or similar) documentary; the movie would no doubt have beat that into the dust! Bill
  6. no... it's the verdict of YOUR history and nothing more. Deconstruct the film as much as you want so you can be all comfy and cozy with your contemporary (and implied superior) sensitivities. I'm still trying to figure out what part of my post you're responding to, in what manner, and for what reason(s). What I said was, same as others have said, that the movie depicts acts that most likely did happen. Griffith lived through the end of that time; he would have known. Certainly Dixon, in writing "The Klansman," was writing a version of what he saw or had been told. In today's South, remnants of the same behaviors can still be found, especially in and around rural towns. As you say (and I didn't say anything different), the movie is what it is. BUT - so many younger people, regardless of race, have no clue as to our nation's history (or geography, but that's another matter!). There have been periods of time when the attitude was, "Drop it, and maybe it will go away." Not! People seeing this movie today need guidance - and yes, we are far enough removed from WWII and Korea that the same is true of many of those movies. Propaganda is always based on some element of truth; whether the basis was commonly or seldom observed, it was there. Propaganda's purpose is to hammer it home, sometimes slyly, sometimes bluntly. Griffith (and Bitzer and the actors) do this brilliantly. But - and I speak from long years of teaching HS Social Studies in two of those communities of which I spoke - among a certain group of people, it only takes the least justification to bring back the behaviors toward others that we (most of us?) thought had been buried. I repeat, this film should never be shown (at least to younger audiences) without competent guidance, preferably both before and afterwards. Colleges could probably make a quarter/semester-long course on it! (And probably have, somewhere) And I say all this as a (guarded) admirer of the film. I had never given much thought to its being the ultimate anti-war film, but that is a good take. My attention has always been so grabbed (inflamed?) by too much else that happens in it. And it's not as though I've screened it over and over. I have seen parts of it and shorter, older versions of it in years past; I have probably actually watched it - all the way through, in one sitting or mostly - twice. Every couple of years is probably quite often enough for it to be shown. Unless they can get the proper hosts each time, certainly. Bill
  7. There are not two sides to it, the verdict of history is that it's a racist film that had a negative societal impact for several decades. Griffith was a racist. And, just as with so many of the cartoons from the '30s and early '40s, there is a great lesson to be learned from this and other films - but only when they are shown with someone/something to give context. Otherwise young and/or na?ve people will be taken in and think both that the movie (being so old and closer to the times, of course!) must be historically accurate and that the feelings one feels (at Griffith's direction) must be bona fide and perfectly ok, even though a huge majority have moved past those (even if we grew up with them). Since I'm a South Carolina native, this movie has always pulled me about in so many ways. Reconstruction is still an ongoing process (though it only historically lasted 10 years) for so many people around me. There are klan units still operating (though small) within 10-20 miles...... The most important thing with so many old movies (not just of this type) is to give them historical perspective for younger viewers. After all, how many people have any clue as to the identity of the radio stars being parodied in "The Woods Are Full of Cuckoos"? I was born in mid-century (literally), but from a fairly early age I heard about those names from family or read old books and scrapbooks, etc. So MANY references are made in passing in the movies to personages everybody would (then) understand; if you know your history, these movies don't seem old. If you don't, how can you make any real connection at all. Show the movie; try to understand what brought (the novel and) it about, and where people "were coming from." But not as true history and not without guidance of some sort. It was and is a sensationalist bit of film-making, full of technical innovations but also slanted and backward-looking. And, yes, the TCM version is far better than anything I saw for the first 20 years I'd known it. Bill
  8. I wasn't sure what you meant by TCM notes. Maybe he meant to PM (private message) him. Bill
  9. Forget bold and italics ... the menu above doesn't work for that, although there are ways to do it but I keep messing it up. Follow the following method, using b for bold, i for italics, u for underline: [x] message [/x] . Or I guess you could type it in Word, then copy/paste it into here (not sure). But it would be so much nicer if the pages would do what they say they will! Good luck. Bill
  10. ...who is Glen Daum? Has He written any actual Silent film scores? Do you know? IMDb has very little on him. Two movies. But he apparently has been writing music for "Sesame Street" for a good while, nominated for Emmy several times for it. http://www.imdb.com/name/nm1194253/ Does anybody know him, to add more? Bill
  11. Thanks for the heads-ups! Still no shorts at all on the official TCM schedule for the week (except the F/Shorts program, of course). Talk about dropping the ball........ Bill
  12. No - to me, at least, anything from a one-reeler, to 50 minutes, to full movie-length that concentrates on a particular subject: That's a documentary. Not a 3-minute "spot," of course, but longer than that, yes. Whether it's part of a series or a one-off on a particular subject. They all qualify. Bill
  13. Well, here it is, Monday late afternoon - still no shorts listed for the whole week to come. Blast! I'm sure there will be several shown, but which, and when? I surely hope nothing has happened to whoever chooses/posts them. MGMWBRKO, where ARE you? Bill
  14. Possibly "Murder in the Music Hall," from 1946 - Vera Hruba Ralston? http://www.imdb.com/title/tt0038758/ Bill
  15. The Blackhawk Films link (adjacent posting) leads to lots of pages. I was suprised in my (not-yet-completed) investigation to find a page with many titles (features) I haven't heard mentioned anywhere. Yes, I know almost all these are truly silent (no scores) in the form offered, but.... Here's a link to a specific page, and one can then click others from the bottom of that page: http://8mm16mmfilmscollectibles.com/8mm1.htm Bill
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