clore
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Posts posted by clore
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You wont even see Allied Artists pix & WB owns that & UA owned by WB is gone missing.
Within the past year TCM has aired all of the Bowery Boys movies, AL CAPONE, FRIENDLY PERSUASION, LOVE IN THE AFTERNOON, THE CYCLOPS, CRIME IN THE STREETS, SNOWFIRE and AL CAPONE. All of these are Allied Artists films.
In another post in the thread on "Lousy Summer Movies" I've alredy noted UA films that have aired just this week. I guess you missed IT: THE TERROR FROM BEYOND SPACE, THE MONSTER THAT CHALLENGED THE WORLD, and THE MAGNETIC MONSTER, all are UA films and aired in June.
Within the last year, TCM has aired:
KANSAS CITY CONFIDENTIAL
THE TWONKY
DONOVAN'S BRAIN
99 RIVER STREET
TOP BANANA
WITNESS TO MURDER
RETURN TO TREASURE ISLAND
VERA CRUZ
BIG HOUSE USA
MARTY
SUMMERTIME
NOT AS A STRANGER
THE NIGHT OF THE HUNTER
THE MAN WITH THE GOLDEN ARM
TRAPEZE
RUN FOR THE SUN
AROUND THE WORLD IN 80 DAYS
THE KING AND FOUR QUEENS
DRANGO
MEN IN WAR
12 ANGRY MEN
SAINT JOAN
SWEET SMELL OF SUCCESS
THE PRIDE AND THE PASSION
MY GUN IS QUICK
RUN SILENT, RUN DEEP
THUNDER ROAD
I WANT TO LIVE
GOD'S LITTLE ACRE
THE BIG COUNTRY
THE GUN RUNNERS
MAN OF THE WEST
THE LAST MILE
SOME LIKE IT HOT
These are just the UA ones from the 50s and just those that I watched. I could probably come up with more from the decade that I didn't see.
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TCM has taken out all the film noir/crime pix & no UA or AA.
Are you saying there are zero, zilch, nada UA films?
So far this week I've seen VICE SQUAD, ON OUR MERRY WAY, MODERN TIMES, THE GREAT DICTATOR and HE RAN ALL THE WAY.
They were all released by UA.
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From an article on the Classic Images web site:
The war, however, would put a dent in Payne's career. On October 13, 1942, he entered into military service as a Student Aviator, serving in the 11th Corps Training unit of the Ferry Command. He enlisted for Army Pilot training in Phoenix, Arizona. He reported to Camp Williams, Arizona, on January 11, 1943, and after completing his training, in June, 1944, he was assigned to the Ferry Command at Long Beach, California. Basically a non-combat group, Ferry Command was assigned the job of flying planes to where ever they were needed. He received his honorable discharge on September 1, 1944, when this group was no longer a unit of the Army Air Forces.
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That makes sense since HER NIGHT OF ROMANCE is an 85 minute movie that was in a 75 minute time slot.
But as LOST HORIZON is 133 minutes, that means that the 4am start time for STORY OF MANKIND is incorrect. That should be moved to 415am.
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The question was asked whether Mabel Albertson ever played a pleasant character, and I have to wonder the same about Will Wright.
It's been a while since I've seen it, but wasn't Will Wright the man who was giving Frankie a shot at being employed in THE MAN WITH THE GOLDEN ARM. Only Frankie blew it by getting high before the audition.
His casino owner in THE LAS VEGAS STORY was a decent guy and he has a bit as an investigator questioning Robert Cummings in Hitchcock's SABOTEUR.
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I have to say that I've always found it on a par with the original. And well, it WAS a frame-for-frame remake, as I'm sure you know.
Not as much as legend has it. I watched both back-to-back several times and while there are many similarities, it is not the frame-by-frame remake as is the 90s version of PSYCHO. For example, while they are planning the ruse, Colman is sitting down through the scene while Granger does move about.
The shots of the guards and trumpeters during the coronation are actually more elaborately staged in the 1937 film. Thorpe just went for a simple head-on shot. He never was one for complex staging, a "just-get-it-over-with" approach, leaning mostly toward coverage shots.
I've got enough pluses and minuses for each version to declare a tie also.
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That ad for THE MAGNIFICENT FRAUD had me thinking that Lon Chaney came back.
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Well, all else aside, i think that Burt Lancaster deserves credit for both THE FLAME AND THE ARROW and THE CRIMSON PIRATE. The former is practically a remake of ROBIN HOOD but it's very well made and it has Robert Douglas as the villain - probably the best other than Basil Rathbone.
While not up to the Warner/Flynn level (and I do enjoy the later MASTER OF BALLANTRAE), the Monte Cristo films are fun, especially the ones with Louis Hayward as there is some more action to them. The first one with Robert Donat is more akin to THE SCARLET PIMPERNEL - a lot of swash but not much buckling. Hayward's two Captain Blood films are disappointing as they are mostly land-based. Hayward is also quite good in THE MAN IN THE IRON MASK but that's more a costumer than a swashbuckler.
I wish that Cornel Wilde got to do some better films than he managed to get as he was an Olympic-caliber swordsman. Still, THE BANDIT OF SHERWOOD FOREST and AT SWORD's POINT have their moments.
There's even some fun to be had in the ones that Tony Curtis made at Universal such as THE BLACK SHIELD OF FALWORTH and THE PURPLE MASK. No, they aren't up to the best of the genre, but they were good enough to keep me entertained at a Saturday matinee.
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Make sure to check the synonyms below!
opinion
[uh-pin-yuhn] Origin
o?pin?ion
[uh-pin-yuhn] Show IPA
noun
1.
a belief or judgment that rests on grounds insufficient to produce complete certainty.
2.
a personal view, attitude, or appraisal.
3.
the formal expression of a professional judgment: to ask for a second medical opinion.
4.
Law . the formal statement by a judge or court of the reasoning and the principles of law used in reaching a decision of a case.
5.
a judgment or estimate of a person or thing with respect to character, merit, etc.: to forfeit someone's good opinion.
EXPAND
Origin:
1250?1300; Middle English < Old French < Latin opīniōn- (stem of opīniō ), derivative of opīnārī to opine
Related forms
pre?o?pin?ion, noun
un?der?o?pin?ion, noun
Can be confused: opine, opinion (see synonym note at the current entry ).
Synonyms
1. persuasion, notion, idea, impression. Opinion, sentiment, view are terms for one's conclusion about something. An opinion is a belief or judgment that falls short of absolute conviction, certainty, or positive knowledge; it is a conclusion that certain facts, ideas, etc., are probably true or likely to prove so: political opinions; an opinion about art; In my opinion this is true. Sentiment (usually pl. ) refers to a rather fixed conviction, usually based on feeling or emotion rather than reasoning: These are my sentiments. View is an estimate of something, an intellectual judgment, a critical survey based on a mental examination, particularly of a public matter: views on governmental planning.
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If you saw someone on the street and you got the *impression* that the person might harm you in some way,maybe rape you,would you consider that you need to explain it to somebody,and that if you couldn't explain it cuz it's a feeling or impression then would that mean you're an IDIOT???.Because That's what you just called me.JR.
No, just consider that such is my impression of you. This would save me the need to explain it according to your standards.
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That's kowtow, not cow-tow.
i never *accused* the man of ANYTHING,it's all in your head,so don't accuse me of something i didn't do!
So, you just want to be able to run off at the mouth without being responsible for what you say.
You seem to realize that *you* can say what you think,but others can't,that is,if you *don't like it*.
You can say what you want - but if you're thought to be careless in your actions, you have to be able to defend it. I can't sit here and type that I think that you're an idiot. I have to provide reasons as to why I think that.
But fortunately you save me the need to do so.
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Yes, i can fine tune the audio. There's a six-band equalizer that can be altered on the "custom" setting as well as various pre-set configurations, most of which aren't prefereable.
I haven't watched a TV program in ages, I only watch various movie channels with the exception of some BURNS AND ALLEN episodes on Antenna TV. But they're edited for additional commercial time so I stopped watching them. I get all of my news from the web or actual newspapers.
When I watched AVATAR on HBO the volume changes were wearing out my fingertip. I haven't noticed it while watching any of my own DVDs but my son's THE DARK KNIGHT was another frustrating experience.
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clore, i don't owe you any explanation.Get off it.
In other words, you don't have an explanation.
Who appointed you as the arbitor of "correct speech"??
Who appointed you as Ben's accuser? By the way, as long as I'm correcting you, that's arbiter.
Who are you,the thought and speech police??
If I were, you would be under arrest.
I'll say as i feel w/o your interference or input.
That works two ways then fella. I'm just saying what I feel - or to put it correctly, what I think.
I can see you're too emotional to be rational,so i'll drop it here.Take your political correctness somewhere else. JR.
That's the first time i've ever been accused of being politically correct. And judging by the reaction that you're getting, I'm not the one here who is considered too emotional or irrational. Well, chances are they are going to clip your wings so I hope that your have a parachute.
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hlywdkjk, i never said that Ben IS that way,i said that's how he strikes me,that's the IMPRESSION i have always gotten from him.I don't know why.But mine is an honest statement of an impression that i have.Right or wrong.The mere statement of an IMPRESSION is not "hateful".*No ACCUSATIONS of coke use as one poster claimed.* Nor charges of "sexism" "racism" or "anti-gay" actvity as another claimed. Maybe people should read posts more carefully before reading what they want *into* a post.JR
Earlier you said:
Ben has always struck me as being the ne'er do well,skirt chasing,*coke snorting*,hard drinking grandson of a once bigtime hollywood director who has to do SOMETHING to make some $$$$.
Note: emphasis mine.
Maybe you should tell us why he strikes you as a coke snorter. Does he chortle a lot? Is his nose dripping? Does he have trouble keeping still and is he making wild hand gestures? Is there white powder on his mustache or just below his nostril? If he fits a stereotype, tell us how.
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Actually, , . I, misswonderly, am the one creating ids and fake screen names and sock puppets...
Where are your alter egos O'Shaughnessy and LeBlanc?
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Coke snorting is a crime and one should be able to submit proof if they are going to accuse someone of committing a crime. At least a link to your source of this info.
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I was looking at the credits before I watched the film. I noticed the Robert Ryan credit and I thought that I had better keep an eye out for Robert Ryan but I couldn't spot him. I paid very close attention, it was early in the AM and I wasn't nodding. It seemed highly possible since it was an RKO film and that's where Bob was working at the time.
So, when it was over, I was going to have the IMDb delete the erroneous info, but I double-checked just in case and that's when I discovered that it was another Ryan.
I just hope that the paychecks didn't get issued to the wrong Robert Ryans.
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I just saw *Johnny O'Clock* again last week - Robert Ryan is not in that film at all. Not the one who was in the other films anyway. This film's Robert Ryan (who had an uncredited bit) is an actor born in 1896 and who made his first film in 1926.
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Was it Alan Enterprises? I know that Color Systems Technology got them from one of those small syndicators, I thought it was Con Hartsock. There was room then for the "little guys" - like Leo Gutman.
I worked as the Director of Broadcast Administration for WCBS from 1988-90. I was there when Jim Jensen was going through his troubles and took a lot of phone calls from irate viewers about that.
His habits hurt no one but himself, personally I always found him to be quite the gentleman. I used to tease him because he would get his breakfast from the basement cafeteria and whenever I'd run into him, he would have two different brands of cereal on his tray that he would mix together.
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Creating ids sounds pretty Freudian to me.
It's actually the plural of id, and you know what Walter Pidgeon's id was responsible for in FORBIDDEN PLANET.
Those ids will take over the world.
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EXCEPT, of course, I have to say I agree with Casa's point about the B-17 scene with the score imagining each Wright Cylone Radial engine(that are no longer there, of course) startin' up. THAT is perfectly volumed.
I have to agree there, but as I said it is only with some scenes that I find it too loud.
I was discussing this with a friend of mine and he says that a lot of films in the digiital format suffer from this. Somehow the range is such that soft sounds are softer and loud ones are louder and that it mostly affects the soundtracks to recent films.
I do notice that when I watch recent films on TV, I'm constantly playing with the remote as the scores need lowering and the dialogue passages need raising. Again, not all films but then I don't tend to dwell on the high-tech comic book adaptations.
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Maybe you need a break from watching it so you don't pick it apart out of familiarity. I let the whole effect wash over me fresh after taking a break. In fact, there was a 3-4 year period when I didn't watch Casablanca for that reason.
Actually, I saw it recently for the first time in about five years. I had never noticed the score being so loud before - in certain scenes, and neither did the woman who was watching it with me, a longtime film buff herself. I know this often happens with certain Warner scores of the period, but it was the first time that I noticed it with this film, which I even saw once at a big screen revival.
I don't dislike the score, I just found it too loud in some scenes. There were Homer and Wilma and it late at night and they're in his room and I could not help but think that the music was going to wake everyone else up. It's a delicate scene and the music goes well, just too much volume per my ears.
But I know what you mean about having to step away from some films after seeing them too often. On the other hand, I've seen HIGH NOON about 50 times and it just keeps getting better, the same for THE MALTESE FALCON which I've seen at least 35 times.
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I have no way of knowing if this is true, or a joke by Mankiewicz, or not, but an individual that I trust told me that she and her husband were at a restaurant where Ben Mankiewicz and his wife were, and that Mankiewicz and wife were laughing and bragging to their dinner guests that they create ids on the TCM message boards to promote Ben, as he does not have many employment options available outside of TCM.
I was at a restaurant and I heard a guy saying that he wants Ben's job, so now he's creating IDs to go on the message boards and proclaim what a poor job Ben is doing.
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They really should do a DVD box of the Dennis O'Keefe / Allan Dwan pictures.
Just who controls those films now? For some reason, I have it in my head that an outfit known as Con Hartsock had them in the 80s, but that Color Systems Technology picked up their catalog. It gets messier - CST then entered into a joint venture with Screen Gems to distribute colorized movies, but the package wasn't to include any Columbia titles as David Puttnam was dead set against colorization.
But when Coca-Cola was selling Columbia, they sacked divisions and Screen Gems disappeared. I was working there then. A few years later, I was working at WCBS and a Columbia rep cvalled and said they wanted to show me their package of colorized movies. I mentioned a few titles and I was asked "how did you know?"
"I was the one who selected them" was my answer. But we were gone long before they were colorized. I didn't include any of the Dwan/O'Keefe titles, I went for things from the Edward Small catalogue that were colorful in subject matter - the only way that I could accomplish a task that I did not relish. So, it was things such as *Daniel Boone* with George O'Brien and *Kit Carson* with Jon Hall.
I'm going back 25 years so some of the details are hazy. I'm fairly certain that some Louis Hayward and Douglas Fairbanks Jr. costume dramas were also included. But I would not go for including *Raw Deal* or *T-Men*.
"Give Me a John Garfield Movie Anyday."
in General Discussions
Posted
We think similarly on this one Tom, here's something that I just posted on the IMDb Message Boards:
I must have been ten years old when I saw this 1951 adaptation of *To Have and Have Not*. It would be another 30 years before I got to see it again, for some reason it hardly ever aired in an accessible time slot for me.
Last night it aired on TCM and I have to say that this film gets better with each viewing. Michael Curtiz may be associated with some of the greatest films ever made, but this one is barely ever mentioned.
John Garfield plays Harry Morgan, the skipper of a charter boat and unlike the previous version of the character, he gets to keep his name for the rest of the film. That always bugged me about the Hawks version of the story, why was Bacall calling him "Steve" while everyone else called him Harry. I know the origin of the use of "Slim" and "Steve" but it still seems odd that no other character notices that Morgan responds to two different first names.
Garfield's Harry comes off initially as a guy who is pretty much in control and Ted McCord's camera emphasizes this at first by always shooting at an up angle. But there's one thing he isn't in control of and that's his finances which get worse when a customer skips out on him, leaving him stuck in Mexico with Patricia Neal. Neal was the customer's "companion" for the trip from Newport Beach to Mexico and she's also stranded by the dead beat. As the film progresses, Harry seems to grow diminutive in stature as the camera shifts to head-on and overhead shots.
Needing money to get home, Morgan agrees to sneak some Chinese refugees into the States, a deal arranged by sleazy lawyer (a redundancy?) played superbly by Wallace Ford. Harry has a few problems getting his money from the Chinese agent who represents the refugees and in a fight ends up killing the man who brought a gun to the confrontation.
In true noir fashion, this is just the start of Harry's downward spiral, a tragedy underscored by his relationship with his wife and two daughters. He's really a loving family man who does his best to avoid any entanglement with Neal who would just love to seduce him.
Neal however isn't the prototypical femme fatale, she really has no part in the unsavory events to follow. She does however cause some jealousy on the part of Harry's wife played by Phyllis Thaxter who even goes as far as to copy Neal's hairstyle when she thinks hubby may stray. The two women have a nice exchange of dialogue in the one scene they share, Thaxter isn't quite the mouse that one would assume.
One important element in the film is Harry's relationship with his partner played by Juano Hernandez. Never once is his skin color referred to and Hernandez is not given one word of stereotypical speech. So key is their friendship that the final shot of the film is something that stayed in my head from the first time that I saw the film. It's truly haunting.
The source material has an interesting history. Hawks thought that it was the basis for a good film despite Hemingway's sentiments otherwise. Still, Hawks threw most of it out and added bits of *Casablanca* and his own universe with elements that showed earlier in *Only Angels Have Wings* and even later in *Rio Bravo*.
John Huston used the ending of the story to close his adaptation of *Key Largo* and eight years after the Curtiz film, Don Siegel presided over yet another adaptation in *The Gun Runners*. There's also an uncredited adaptation titled ****** which was released in 1956 and which seems to have gotten scant distribution theatrically or on TV.