clore
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Posts posted by clore
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In looking at this weekend's holiday programming, I see that JOHN PAUL JONES is not listed as being a letterboxed film. A few of us have commented on that previously so I guess it wasn't pursued. Who knows, maybe it will be a pleasant surprise.
DEVIL'S DISCIPLE isn't listed for widescreen either, but that was a 1.85:1 presentation, sometimes they show up in pre-mask form and one can zoom in on that and lose nothing. JOHN PAUL JONES is a 2.35:1 ratio and in all honestly, the cimematography may be the best thing about it.
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Usually I'm the type that can brush things off and say that everyone has a right to an opinion. In this case all that I can say in his defense is that it must be an uninformed opinion. We know they aren't really watching the film, maybe he never saw a Chaplin film.
But if he has seen Stiller and Carey, how can he compare the two of them?
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Ok, I can understand the editing as they want to show the print that was shown in a drive-in in the USA. But if we're stuck with the edited, dubbed version, why were we subject to the pan-and-scan print.
Usually, it would be that we would hear from someone offering the excuse that there isn't a widescreen digital copy available. In this case, and several other recent cases, that just isn't true. However, you'll notice that no one comes around to address the issue.
On the other hand, I'll give them credit for a longer version of THE GIANT BEHEMOTH than I had on VHS years ago. The ferry boat sequence wasn't there on the tape but i had remembered it from seeing the film in a theater.
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I'm reminded of how at the end of SHANE, Emile Meyer as Ryker makes such a good case for his position that I couldn't blame Shane if he said "You know, you're right" and walked away.
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MY PAL TRIGGER was fun, but the next film THE GOLDEN STALLION had me going. When Roy was arrested, I thought to myself "wouldn't it be funny if they auction Trigger and Roy watches from his jail cell."
That was based on the earlier film and that's just what happened. And that wasn't the only similarity but just to see the horses in action made it all worth the repetition.
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Clore: That's the same one I wrote about. I clicked on your site to confirm this but only half the article came up and that was so small it was hard to read. It's easy to do so on 1939 and it's all there.
I probably missed your addition to your post as I spent a fair amount of time thinking about nhow to frame my response. I know from my experience here and in other forums that when you even touch upon the political climate of the early 50s, you're treading on dangerous ground. I should have tested the link though, I guess it is better to just go to the thread.
http://forums.tcm.com/thread.jspa?threadID=157427&tstart=0
Not that I mind a bit of controversy but I do believe that HIGH NOON is so complex that one can find arguments for either side within it. It's just that so much has been written and said about the film and Carl Foreman's circumstances that the fact that the film does reflect broader perspectives than have been assigned to it goes either unnoticed or unmentioned.
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There's an interesting article reproduced in the thread on the year 1939 that is in the "Your Favorites" forum. It's about propaganda in movies.
http://farm7.static.flickr.com/6003/5894159562_b6e31de92a_b.jpg
While some may cite HIGH NOON as having a liberal bias, it does a good job of presenting the viewpoint of those opposed to Will Kane. It's funny how years later another film presented a lawman throwing his badge away and yet it was widely considered the most extreme of right-wing views. That film was DIRTY HARRY.
The two films have much in common, both feature a peace officer protagonist who goes against the prevailing wind in order to eliminate an outlaw - or several outlaws in the case of the western. What is often overlooked is just how much of a vigiante is Will Kane. He gave up his job, only when reconsidering the danger to himself and his new bride does he go back, re-appoint himself as a lawman and then try to gather up support.
But HIGH NOON, whether by design or not, does give a viewer plenty to think about. Is Kane going too far? Are his motives based on the need of the town or his own need? If Hadleyville represents civilization, is it right for one man to propose that civilization is on the verge of destroying itself and appoint himself guardian?
But the thing about HIGH NOON is that one need not be aware of any political intention and still enjoy the film. Even a nine-year-old can thrill to seeing one man stand up for what he thinks is right and that's more important than whether the "hero" is right or not. I speak from experience, I first saw the film on the day that Gary Cooper died and I've seen it on average once a year since then. I consider one of the greatest films ever made.
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You're quite welcome. glad to help
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That's LONELY ARE THE BRAVE with Kirk Douglas cut down on a horse on the highway by a truckload of toilets. Carroll O'Connor was driving the truck.
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It's not black-and-white, but you are describing ISLAND OF TERROR with Peter Cushing and Edward Judd.
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Supposedly the release that I linked to that was reviewed by DVD Savant has both the Japanese and American versions.
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I disagree. During his intro Osborne said the story takes place in "the english countryside" and we all know *X the Unknown* unfolds in Scotland.
They should have played it the night before when they were playing films that took place in Scotland.
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A man named John Kennedy investigating an assassination plot against Lincoln - the mind boggles.
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The advance schedules made nice talking points, not only here but on other web sites that I frequent. But when I had the Fox Movie Channel, most of the time you could only go two weeks in advance and you had to do that one day at a time.
Maybe there will be more joy in not knowing so early what's going to be running. When I was a kid, it was get the TV Guide on Wednesday to see what was on next week. That was good enough, and it was also all that we had.
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Awww - I put all of the smileys there just to show I was trying to be of good humor about it.
I've got the next three months saved on my PC, so if it takes them that long...
As long as there is a way that I can just look at the next few days, it's really not that big a deal to me, I'll adjust. I am more concerned about what happens on the air - the increased errors, the full screen prints, movies that run backwards, showing the wrong movie...
There will always be mistakes in any endeavor, but the thing is to learn from them and not continue the practices that enable the mistakes to happen.
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Hey, it looks as if we made some headway. In his intro to X: THE UNKNOWN, Robert Osborne referred to a certain movie character as Quatermass - not QUARtermass.
It would appear that someone on staff paid attention the last time that it was brought up.
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That cigarette lighter sure stay lighted for some time. I'm surprised it didn't burn his hand.
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It would really be funny if the closed captions matched the pronunciation.
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Back then you did see a lot of American cars in Japanese movies. Now it's the reverse.
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"I rill exprain."
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It's not as if this isn't available in a widescreen digital format:
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At least he is not dubbing the girl's voice.
That actually did make me laugh out loud.
Is that Elisha Cook on the drums?
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You mean like when he did all of the talking rings in THE TIME MACHINE even though they were supposed to be different people recording observations?
I do like the nightclub numbers.
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I remember the day that Warner Home Video hit the streets with the Forbidden Hollywood set that was all William Wellman titles, they all aired on TCM with intros by Robert Osborne.
Most collectors that I know still prefer a "hands-on" copy as opposed to DVR recordings or even home-made discs.