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Everything posted by VP19

  1. Drew, honor your grandfather this year by selecting "Twentieth Century." Especially since I know you like Carole Lombard.
  2. > {quote:title=ElectricBarbarella wrote:}{quote} > > {quote:title=VP19 wrote:}{quote}Believe it or not, William Powell has never been featured in SUTS (possibly because his birthday is July 29, and Powell was honored on TCM that day in some of those years). But I think it's time my all-time favorite actor finally got 24 hours of his own. How about it, TCM?. > That's sort of like saying IHOP has never had a pancake day. > I'm just half joking with you...I love William Powell, too, but TCM regularly shows Powell movies. I mean REALLY often. True -- but Powell made a lot of fi
  3. > {quote:title=AddisonDeWitless wrote:}{quote}For the years 1935-1945, THE STUDIOS submitted one entry a piece in the technical categories, such as BW/Color cinematography, sound and adapted/original score- which were then *automatically given a nomination*, the AMPAS really had nothing to do with the nomination process. In some years there were almost *20 nominees* for score alone. > > So the academy really deserves no credit for being "innovative" enough to nominate the score from Revolt of the Zombies or the sound from Bride of Frankenstein: *it was all the studios.* And real
  4. Believe it or not, William Powell has never been featured in SUTS (possibly because his birthday is July 29, and Powell was honored on TCM that day in some of those years). But I think it's time my all-time favorite actor finally got 24 hours of his own. How about it, TCM?.
  5. I'm not implying any "evil" on the part of TCM, merely that this promotion helps keep the channel in good graces with AMPAS and that during the rest of the year, TCM can be more eclectic in what it airs (the way we like it).
  6. Don't get me wrong, there are some wonderful films scheduled, and I like this year's concept of focusing on various studios. But nevertheless, for some of us, February and "31 Days Of Oscar" is the antithesis of August and "Summer Under The Stars": http://carole-and-co.livejournal.com/572419.html Your thoughts?
  7. > {quote:title=darkblue wrote:}{quote}Agree. Others sing Dylan, but it ain't Dylan. When I listen to his 'Love and Theft' album with his sandpaper vocals I just know that he's the only artist who can do those songs in truth. > > > > > > > > > > > This was true when he was young, doing 'Subterranean Homesick Blues', and it's even truer of his stuff 40 years later. > > > > > > > > > > > > > Elvis Costello's "Pump It Up" is "Subterranean Homesick Blues" for the new wav
  8. Hitchcock's films became very popular stateside in the mid-'30s. Watching "The 39 Steps," I wonder if it was because British films weren't subject to the U.S. Production Code. (One doubts any American movie made after July 1934 could have gotten away with Robert Donat and Madeleine Carroll sleeping in the same bed -- albeit fully clothed and handcuffed -- or that Carroll could be shown removing her stockings in which her garter belt is fully shown.) Had there been no Code, one senses some Hollywood studio would have made its own version of "The 39 Steps."
  9. In the 1941 comedy "Mr. & Mrs. Smith," Carole Lombard's character has to give up her job in a department store when the manager is informed she is married to Robert Montgomery (legally, she isn't, but that's another matter) because the store's policy is not to hire married women. Can't afford to have these two-paycheck households in a time of high unemployment, you know. Were an employer to even try that today, the lawsuits would fly, not to mention the picket lines.
  10. > {quote:title=ginnyfan wrote:}{quote}Great news! As Jerome Howard himself would say, "Soitanly!"
  11. Or you could call Rogers and threaten to boycott all Blue Jays advertisers if you don't get your TCM. (Some favor Toronto to win the AL East this season after some smart trades and free-agent signings.)
  12. > {quote:title=MovieMadness wrote:}{quote}*Laurel and Hardy* are responsible for the schedule goofs today, lol. Yes -- for a while, the schedule itself was "Blotto."
  13. > {quote:title=Geminigirl wrote:}{quote}I agree, George was definitely sexy........................................... Carole Lombard certainly thought so. She reportedly told close friends that in a strictly sexual sense, George Raft was the best lover she ever had.
  14. > {quote:title=AndyM108 wrote:}{quote}Loose Ankles may be the lamest pre-code Loretta Young I've ever seen, and I've seen nearly all of them by now. The best of Loretta Young month are almost all concentrated in next week's lineup, and you should record any and all nine of them you might not have seen already. "Loose Ankles" indeed wasn't much of a film, but it was fun to see Daphne Pollard of the later era Mack Sennett troupe (Carole Lombard era, 1927-28) in a talking picture, even if her role was rather silly.
  15. > {quote:title=Hibi wrote:}{quote}I'd forgotten about Virtue. There are some similarities in the storylines. Lombard I think had a better part in her vehicle than Young did in Taxi....... Columbia designed "Virtue" as a Lombard-centered film, while Warners designed "Taxi!" as a Cagney vehicle (pun unintentional). Therein lies the difference.
  16. > {quote:title=TomJH wrote:}{quote}No other studio could make authentic urban dramas quite like Warners, and I feel that Taxi is a prime illustration of this fact. Whatever holes may exist in the storyline are compensated for the film's typical fast pace and street atmosphere. > > Loretta Young stands up surprisingly well to Cagney. It's also fun to watch Cagney and George Raft as competitors in a dance contest. > > To me, however, the most remarkable scene in the film occurs towards the end. It's that moment when Cagney's character, obsessed with vengeance, goes total
  17. > {quote:title=Hibi wrote:}{quote}That one sounded like it might be fun. I'm curious about Your Show of Shows too.....The movies went on till around 10am today.......... You're confusing it with Sid Caesar and Imogene Coca's TV series. The title is simply "Show Of Shows," and it was Warners' attempt at a 1929 all-star extravaganza along the lines of MGM's "Hollywood Revue Of 1929."
  18. Intriguing little programmer from mid-1930 in which Loretta Young (then all of 17) plays two roles -- a hardscrabble girl who's fallen in with the crime crowd, and a socialite. The resemblance between the two is pointed out to the bad Young at a restaurant (unbeknownst to her good lookalike), and her hoodlum pals decide to pass her off as the socialite in her mansion to rob the place. All sorts of havoc ensues, and at the end we learn the two Lorettas have more in common than first thought. The special effects are rudimentary but effective (for the restaurant scene, the socialite and her f
  19. > {quote:title=AddisonDeWitless wrote:}{quote}it also didn't help that the character played by Williams was a complete and utter jackass *as scripted*. Really, I see redoing the whole film as a horror movie from the POV of the Louise Closser-Hale character. > > ps- didn't Louise Closser-Hale also die soon after Platinum Blonde ? > Not right away; she didn't die until July 1933 (at age 60) of heat prostration. After "Platinum Blonde," Louise Closser Hale (no hyphen) appeared in the likes of "No More Orchids" (as the grandmother of Carole Lombard's character), "Shanghai Expres
  20. > {quote:title=AddisonDeWitless wrote:}{quote}Platinum Blonde was not a terribly good choice as the second feature tonight. While Loretta is luminous in her scenes, they're few and far between. The bizarro casting ( *why* was Young not in Harlow's role and Harlow in Young's???) does not help, nor does the glib script, iffy performance from a still-learning Harlow and the *awful* performance from the male lead. > > Not since The Smiling Lieutenant has there been a movie where the exact reason why *any woman* would *EVER* find the male protagonist anything other than *utterly loaths
  21. Welcome to 2013, the first year since 1987 containing four different digits! (For some of you, it's something you've never experienced before.) Have a happy, safe, productive and healthy year, everybody.
  22. > {quote:title=Filmgoddess wrote:}{quote} > Totally agree about Gwenn here. > > As for Bette, she was only very good when she stuck to that one line of performance she did best: the female melodrama. Get her outside of that, and forget it. Even some of those she did were awful. > > At her best, no one could touch her. But that's only a handful of performances. She became a caricature at some point. There's a reason she's a favorite of drag queens. She became so "unnatural." There's also a reason drag queens don't do Stanwyck. No mannerisms, no over-the-top stuff.
  23. > {quote:title=jamesjazzguitar wrote:}{quote}I agree with you 100%; I never found Grable that sexy, even the famous poster, but Rita pin-up shots done in the early 40s were very sexy. But the Grable poster shot is neat and smart and I guess that is why it became so iconic. Grable's great legs lead people to miscategorize her as a sex symbol, when in fact she was more likable than sexy. Betty was down-to-earth, unpretentious and popular with both men and women, a girl-next-door type.
  24. > {quote:title=gagman66 wrote:}{quote} > > Two strong candidates among the MGM Silents for possible premieres might be SALLY, IRENE, AND MARY (1925), or 12 MILES OUT (1927). If for no other reason than Joan Crawford being in these films. TCM seems to be on a m,ission to eventually present all of Crawford's surviving MGM Silents. But both titles offer much more than just Joan. > Such as Constance Bennett and Sally O'Neil in "Sally, Irene and Mary." Connie had a brief period of silent stardom in the mid-1920s before she left the business for a few years.
  25. > {quote:title=EugeniaH wrote:}{quote}Forty Guns is a Stanwyck film that I only saw once, compared it unfavorably to what I considered the "better" of her Westerns (e.g. The Furies, etc.) and then forgot about it. If there's time I'll try to watch The Maverick Queen and I like some parts of The Violent Men but, generally, my favorite Stanwyck genres are non-Westerns. > > > Looking forward to "Forty Guns" tonight. I have a friend of mine who likes Stanwyck but hates westerns (even though she's spent most of her life in the Dallas-Fort Worth metroplex, where westerns would
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