clore
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Posts posted by clore
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I watched LILLIAN RUSSELL a few weeks ago on one of the HBO channels and there wasn't a bug to be found. Every once in a while you can catch an oldie on HBO, you just have to be up early in the AM to do so.
What gets me is that their own programs such as the MILDRED PIERCE mini-series and even POLITICALLY INCORRECT are aired in a wide-screen format, but they still air movies in full screen with the exception of AVATAR. In that case, I'm guessing it was something contractually bound, similar to when ANATOMY OF A MURDER could not be edited for content as that was in Preminger's contract with Columbia.
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Again, this would not be necessary if TCM did not imply that they only show uncut films. What do you all think?
I think you are bound to find some support but don't expect to be heading a movement. It's the same thing with letterboxed films - TCM does its best to have it appear that they don't run pan-and-scan films, but we all know better. However there are those here who will defend the station and claim that these occasions are few, you should thank your lucky stars that you got to see the film at all, either love TCM or don't watch it.
The other night they aired STATIONS WEST in its re-release form at a length of 80 minutes. When originally issued the film ran seven minutes longer. I have no idea as to whether the footage even exists anymore, but they did list it at being 80 minutes. Thus, I'm sure the attitude is that they didn't promise anything other than what they delivered.
There have been occasions when TCM has run an edited version or a full screen version of a film, in the case of Godard's CONTEMPT, it was both. The problem was cited here by many and addressed by someone from programming and we got the proper version in the next airing.
I can alsop recall a time when TCM aired a Randolph Scott western in black-and-white but Robert Osborne stated up front that it appears that no color copies exist. About a year or so later they did find a color print and aired it, if one wants to consider Cinecolor to be real color in the first place. :;
On other occasions we got the excuse that "we thought it was the right print" which rather implies that no one checks. The danger with that is that you end up with a bad copy of A STAR IS BORN where the problems started with missing credits. A ten-second check would have revealed that. Another potential problem with running things that way is that maybe the label says A STAR IS BORN and you end up with A STAR IS PORN.
Maybe it would take an incident such as that to effect a change in policy from the way things seem to be.
I think that your intentions are good, but expect to hear contrary opinions. That's as it should be anyway, all sides should be heard.
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Try the book "Swordsmen of the Screen" by Jeffrey Richards
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I'm pretty sure that what you're describing is a scene from JACK THE GIANT KILLER which stars Kerwin Matthews and Torin Thatcher, the hero and villain respectively of 7th VOYAGE OF SINBAD. The two films also share the same director.
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If they wait any longer for GHOSTBUSTERS III they will have to cast the ghosts of the cast members.
Me, I can wait. I was lukewarm to the first one and insulted by the sequel.
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I remember seeing THE BIG GUNDOWN at The New Amsterdam Theater in Summer 1968. It was just before we went back to school and it was on a double-bill with THE STRANGE AFFAIR.
I have yet to see the uncut version. I'm not about to spend the bucks on an import, I'll just have to hope for a Region 1 release evenually. These days I'm on a fixed income so I have to bargain shop, but even that doesn't mean I'll give in to one of those SW collections unless I'm going to get a few that are letterboxed. I'm just suspect about the quality of the prints anyway since these are public domain packages and I've yet to buy a PD DVD.
Not that I haven't gotten some from well-meaning friends as gifts, but that has only served my unwillingness to spend on such things.
I liked your post on the IMDb about FACE TO FACE, one of many that I have not since its release in the States.
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They both died on-screen in films that were released after their demise.
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A long time ago (in a galaxy in the Bronx far, far, away, I used to confuse Hinds with Lewis Stone)
Must be a NYC thing as I did the same on the Brooklyn/Queens border where I grew up in Ridgewood. My sister would watch all of the Kildare and Andy Hardy movies, Hinds was Kildare's father and Stone was Judge Hardy. They struck me as very similar types so when I saw DESTRY RIDES AGAIN or SON OF DRACULA, I had to double-check which of the two I was watching.
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My friend in Brooklyn gets the DIS channel. Soon they'll have the DESE, DEM and DOSE channels.
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Mabel Normand was tied to the tracks in 1913's Barney Oldfield's Race for a Life.
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I hear what you're saying. I'm not fond of the Sabata films for example despite being a big Van Cleel fan. I just didn't want your efforts to go unnoticed so I responded.
There are so many that I saw way back when and have forgotten completely, especially the ones that I saw on TV. In 1970, WABC-TV had a regular Sunday night Late Movie (silly scheduling actually) of SWs that were about the equivalent of a Sons of Hercules film. I can't remember the title of a single one of them and most of them didn't air more than once. Someone at WABC liked to buy foreign films, as long as they were fads such as the SWs, the Mexican horror films and Eddie Constantine action films.
Usually one could find an SW playing at one of the grindhouses on 42nd Street and it was there that I saw many. This was where you would find the ones with an American star, such as a Mark Stevens, Gilbert Roland, Dan Duryea or even someone a bit younger such as Jeffrey Hunter or Ty Hardin.
But yes, there is a big gap between the top and bottom of the genre, but doesn't that go for any genre? Back then we would try to see as many as possible if only because they were different from American westerns but many of them were so derivitive of each other. Again, that can happen in any genre, you get a successful film and then come the ripoffs. Asylum and Full Moon productions made a business of that kind of thing.
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J. Pat O'Malley
and William Frawley
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I'm not sure if 200 bucks is high these days. I got out of that line around the time that a certain now well-known film restorer was busted by the FBI with a print of THE GODFATHER a couple of weeks after the movie opened. I wasn't into it big time but I might have been spotted at the guy's house and I did do a fair amount of "leg work" for high profile collectors.
YANKS isn't as good as the other three comedies, but there are some laughs in O'Keefe and Bendix in drag.
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Can anyone explain how some one with as little talent as Esther Williams ever became a star?
I'm with you on that one all the way. Last month they had Williams as Star of the Month and the only one of her films that I watched was THE UNGUARDED MOMENT. That was only because she didn't swim and I was curious about seeing a film that I had not seen since 1967. It was as bad as I remembered.
But what do I know, I can actually enjoy a Sonia Henie film.
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TCM also provides auto-schedule check. No matter which one you try to access, it takes you to June.
Gee, they're running the Now Playing: the Show for July, can't they provide the July schedule?
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Anyone who thinks that Robert Osborne "just reads lines" really knows nothing about him or about classic films. Or much else, really.
Respectfully,
Terry
Boy, I'd sure hate to have to read what you have to say to someone when you're not being respectful.
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Maybe he's thinking of Jesse L. Lassy.
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Dr. Lao? Oh. My. God. That's easily one of the ten worst performances in all of film.
I almost have to agree with you there. I thought that at first but then I realized that Randall's playing the stereotyped Chinese man on purpose. He does have scenes with the young man where all of the "pidgin" English disappears. Otherwise he's giving the townspeople what they expect to see.
That may have been a poor choice editorially as without mass media in the setting of the turn of the century, how many in the town had any idea of a Chinese person? I have to blame George Pal for that.
Laurence Harvey was originally announced to play Dr. Lao. I wonder what that would have been like.
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Well, I've been sitting here watching STAGE FRIGHT. The program came on at 8pm, the movie itself started at 803pm.
Hitchcock's cameo occurred at 843pm and the TCM logo showed up at 923pm. It lasted for 18 seconds - using the "one-Mississippi, two-Mississippi" scale. All other timings were based on the clock in the cable box.
If the logo shows up again, I'll edit this post.
The logo showed up again at 944pm for 17 seconds. While that is 20 minutes later than the first occasion, the movie ran for 80 minutes before the logo was displayed.
I'm probably not going to sit through I CONFESS, that's not a film that I favor.
Edited by: clore on Jun 27, 2011 9:46 PM
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Youi're the one. I recall seeing that not too long ago and when I've seen some subsequent threads revived, I thought of your situation.
Not wanting to jinx others, I didn't mention it.
Funny, most other sites I go to encourage the "search and revive" process. This is the only web site that I frequent that will penalize someone for trying to keep a subject all in one place.
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They're getting a 33% premium at the boxoffice for 3D in NYC theaters. I don't know what it takes to convert a film, but they must think that it's worth it.
I haven't seen a 3D film since HOUSE OF WAX was reissued in the mid-80s.
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Who can take a movie?
Make it nice and good
So you'll sit down and watch
You know that he won't botch it
Anthony Mann can
Anthony Mann can
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It must be a decade since TCM had their spaghetti western fest. It sure seems like it anyway. We deserve another go-round. It was a whole month devoted to them, all airing on Saturdays.
Some others worth mentioning are DJANGO THE BASTARD (did it influence HIGH PLAINS DRIFTER?)
ANY GUN CAN PLAY (fun spoof of THE GOOD, THE BAD AND THE UGLY with Edd Byrnes, George Hilton and Gilbert Roland)
DAYS OF ANGER (Lee Van Cleef serves as a mentor to Giuliano Gemma then must face him in a duel)
THE PRICE OF POWER (Tony Valleri and Gemma from the above in a western take on the JFK assassination, this time it's President Garfield's life at stake)
A PISTOL FOR RINGO (Valleri and Gemma again, popular enough in Italy that a bunch of official and unofficial sequels followed. Gemma infiltrates an outlaw gang holding hostages after a robbery.)
MINNESOTA CLAY (I'll always have a soft spot for this Corbucci film as it was the first Euro-western that I saw. Cameron Mitchell plays a gunfighter going blind.)
THE RUTHLESS FOUR (Van Heflin, Gilbert Roland and Klaus Kinski in a story of gold and greed. More like an American western than most Euros, that doesn't necessarily make it any less involving)
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Hey Ray, don't forget ABROAD WITH TWO YANKS, another O'Keefe/Small comedy directed by Allan Dwan.
film request
in General Discussions
Posted
It last aired in January 2010.