Cinemascope
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Posts posted by Cinemascope
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Well, when you gotta dash, u gotta dash.
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Is it on DVD?
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Nakis,
Have you contacted others beside TCM and WHV regarding these longer versions? If you're having a hard time you may want to contact film writers at various newspapers and/or magazines, if anyone of them could publish an article about it, it could help bring attention to this... and possibly make it a bit more likely the longer unedited versions could be seen by more people.
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I actually don't remember reading about The Great Ziegfeld's box office returns, but in any event MGM could well afford a few "prestige" movies that didn't necessarily make money for the studio, they were the most profitable one AFAIK and also the only one that managed to stay in the black during the Great Depression.
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Well, hopefully they'll include her in the little montage they do every year with all the filmmakers and celebrities that have passed on. Anything more than that would be too tacky -- even for the Oscars!
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Sorry to disappoint you, hun, but I'm not male -- and pretty darn proud of it, too!
All of your other points (being generous here) could best be addressed via PM, rather than engaging in pointless bickering on these threads... I had doubts about you when you posted yet *another* of the "sky is falling" threads and I've tried to give you the benefit of the doubt, but once you start flaming like that, it kinda makes me wonder if maybe I was right all along.
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That's a great story, grassistant, as they say, imitation is the highest form of flattery!
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Love Cyd, love Donald, love Debbie, love Gene, love Stanley!
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> They evoke the battered but unbowed looks of an
> earlier time, when Gable, Bogart, Cooper and their
> ilk said, "This is me, take it or leave it" to the
> world as they aged. Perhaps they understood that
> those creases and lines gave them that elusive human
> quality that so many lack in current film:
> Character.
Well said, moira, same reason I like 'em.
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Exactly! I'm also glad Powell got to reprise the role (albeit briefly) in Ziegfeld Follies.
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Could it be the Asian DVDs were actually "region zero" DVDs? I thought a lot of Asian-made movies were.
But in any event you're right, it's fairly cheap to find a way to get around all this silly regional coding, it doesn't have to cost an arm and a leg unless you want top-of-the-line players.
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Larry,
I'm delighted to hear you've liked some Scorsese movies, those two are also favorites of mine.
As for replies, well, it's an open board, so anyone can reply to anything. If we dislike certain replies, we always have the option of ignoring them.
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It would be wonderful if TCM and Warner would get
> their hands on those copies and maybe one day we
> would see those films restored on DVD. I have
> actually written to both TCM and Warner (as well as
> the Brussels Cin?math?que and NFT), but nothing up to
> now.
I agree, that would be awesome. TCM actually did a worldwide search for some of the six lost RKO films, so if there's more complete versions of these (or any other classic films) then hopefully they'll get around to it!
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I've always been a big fan of The Great Ziegfeld, great MGM movie
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Well I knew it was just a matter of time before you started flaming. Thanks for proving me right.
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Well said, moira.
It is ironic perhaps that those of his movies that might be the most off-putting to some moviegoers are always the best remembered ones. When his name comes up, very few will talk about Alice Doesn't Live Here Anymore, The King of Comedy, After Hours. Maybe not his greatest artistic achievements, but well worth watching.
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Well for a while there, you could have fooled me... I think it's pretty obvious that when using the word "unknown" to refer to an actor being cast in a low-budget Italian movie, it is obviously being used in a relative fashion, rather than strictly literally.
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We can go on arguing semantics for days, weeks, months, if you like. I'm pretty sure that arriving in Italy in the mid-60's, Eastwood was pretty near a complete unknown to most people in the street, possibly even to a lot of folks in the film crews. As we all know, Leone's films (at least up to The Good the Bad and the Ugly) were very low budget, so they couldn't get famous movie actors.
It might surprise you to know that just because someone had been in a TV show in the U.S. didn't necessarily make him well-known everywhere in the world. Well, at least nobody who hadn't previously been a movie star.
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BTW -- If anyone should be interested in the DVD, Universal recently re-released it with a much improved transfer -- see screenshots:
http://www.dvdbeaver.com/film2/DVDReviews28/all_quiet_on_the_western_front.htm
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imdb.com does include him in the credits:
Produced by
Sam Spiegel .... producer
Original Music by
Leonard Bernstein
Cinematography by
Boris Kaufman
Film Editing by
Gene Milford
Art Direction by
Richard Day
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I'm gonna go out on a limb here and mention Stewart's last movie -- maybe not the greatest animated movie ever made, but at least it was kind of a sweet farewell for Stewart -- which came out in 1991, An American Tail: Fievel Goes West.
He voiced the character of Wylie Burp.
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Actually, many would consider Oh! What a Lovely War to be an anti-war film. And certainly for a movie that was originally released during the Vietnam war (albeit made by British filmmakers) you certainly could consider it wears its heart on its sleeve.
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Hun, I'm not going to "shoot" you because of the kinds of movies you like. You have every right to watch whatever kind of movie you enjoy, it should be about whatever is fun for you.
At the same time, certain subjects that not everybody wants to see portrayed in their movies can sometimes be the springboard for something that has great artistic merit.
It should be ironic indeed if Scorsese finally wins Best Director for this one, many thought he was trying to appeal to the Academy with movies like The Age of Innocence and The Aviator.
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> Well i am sorry if this offends but as a chap born
> and raised in a blue collar environment i would say
> that that the average blue collar chap could learn a
> lot about manors and politeness and basic civility,
> which should universal, from their white collar
> piers.
What's that got to do with a filmmaking discussion? You're talking RL there.
> And yes it may seem hypercritical to be nice when
> you hate some one, but that?s the point being
> nice at all times, thus offering the greatest
> possibility to diffuse conflict before it gets
> violent.
Again, what's that got to do with filmmaking?
> It is as if they were foul mouthed behavior and
> rudeness as a badge of Honor: very sad.
> And yes it would be a great world if every one was
> polite and well mannered
You're replying to a post of mine, yet have nothing whatsoever to say about filmmaking, instead you're talking generalities about society... that's all very well and all, but has ABSOLUTELY NOTHING to do with what I said in my post.
The Devil Horse (1932)
in Your Favorites
Posted
Awesome, I hope I can check it out sometime soon