clore
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Posts posted by clore
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> > And I timed it. It's every 15-20 minutes. Not once an hour as one poster claims and it has nothing to do with your cable outlet.
I am that poster and I've timed it, several times. I have hundreds of recordings from TCM and none of them exceed my claim.
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It only appears briefly every 20 minutes, and is very unobtrusive compared to all the other networks.
On my Time-Warner cable in NYC, I only see it once an hour for about 15 seconds.
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There's also a connection between MIRACLE ON 34TH STREET and BEAST FROM 20,000 FATHOMS - and I'm not talking about the fact that Edmond Gwenn and Cecil Kellaway were cousins.
The first person to speak in BEAST is actor Alvin Greenman who played Arthur the young janitor in MIRACLE. He shares his scenes with James Best in BEAST.
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You can always watch the 1966 TV version with Robert Goulet and Peter Falk here:
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Duryea was a good guy in THUNDER BAY, WORLD FOR RANSOM, BATTLE HYMN, KATHY O and THE HILLS RUN RED.
He was a scoutmaster off screen!
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When "separated at birth" threads come up on any movie board, those two are among the most often cited as being similar.
When Fox remade RED SKY AT MORNING as a one-hour TV drama on "The 20th-Century Fox Hour," it was Duryea playing the part that Widmark played in the movie.
In William K. Everson's book THE BAD GUYS, there is a shot of Duryea slapping a woman and the caption reads that the difference between 30s and 40s films was that somehow it was acceptable when either Cagney or Gable did the slapping, but by the time that Duryea or Widmark did the same thing in a 40s film, it was meant to show us that this was a real bad man.
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Didn't Larry Blyden host a movie-trivia game show back in the early to mid-1970s or am I thinking of someone else?
Yes, he hosted THE MOVIE GAME, a show that featured some clips but mostly stills as I recall. I only saw it a few times, I was already part of the working world then. Once I saw it when Burt Reynolds was one of the celebrity panelists. There was a still or several of them of Marlon Brando, one had to guess the film they were from.
After the person made their guess, Larry Blyden said "And that wasn't Marlon Brando, that was Burt Reynolds who looks just like him."
Reynolds, who must have been sick of the comparisons by then, responded "I'd rather be compared to Brando than be known as the poor man's Roddy McDowall." You could feel the temperature drop about twenty degrees at that moment.
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The nice thing about the Saint collection is that it's only 30 bucks for all five features.
The bad thing is that it's missing the Louis Hayward and Hugh Sinclair chapters. As the first one with Hayward is so much the best, I really hope to see that one soon in a restored edition. The one used for TCM airing is in rather sad shape.
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You still can use italics but can't change the background but one funny thing is that when changing the color of the text, there is an option to make what you type invisible. WHY?? Its the white box in the color pallette.
I think the most useful purpose of that would be if you are describing a film and for whatever reason, have to reveal a major plot turn. You can turn on the invisible text for that and this way only those who are really curious will highlight the text to read the spoiler.
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It wasn't an "exact" shot-for-shot remake, although it's obvious that the 1952 film is heavily influenced by the earlier one.
For example, when the are first presenting the idea to Rassendyll about impersonating the King, in the Colman version Rassendyll is sitting down, in the Granger version he's standing up and moving around.
I did get a klck out of Colman having a beard and only needing to shave that off whereas Granger had to shave his mustache. I guess that Colman was willing to shave off the lip hair to play Sidney Carton but not for this role.
Color didn't add anything really, the older film had some more impressive staging. Consider when the trumpets were announcing the coronation. In Cromwell's film we see them standing from up-stage to downstage, seeming to go on for infinity. Thorpe just goes for a head-on shot with them lined up left-to-right that may have hues but is nowhere near as imposing.
The scripts are just about identical though, there's no getting around that.
One of my most astute purchases was to get the two films together on DVD for the bargain price of six dollars.
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I really felt sorry for Peggy Ann Garner, from the heights of Jane Eyre and A Tree Grows in Brooklyn , to wearing a leopard skin and trying her best to laugh at a coconut hitting Sheffield in the head.
I was thinking much the same. It took years of drinking on the job for her former co-star James Dunn to go from Fox to Monogram. What was Peggy Ann's sin? She certainly had more footage than Johnny Sheffield in the film.
I felt bad for all of the actors. It was the kind of film where they are shown to be in the middle of trees and vegetation, but thern one of them would point to something and the camera cuts to wild animals or natives in a clearing. The safari folk were always just a few steps away from having to chop vines to get through.
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The producers at Monogram were counting way too much on the footage being enough to interest viewers. But taking 25 minutes to tell us that they were photographers was ridiculous. Ford Beebe was an old hand at serials, in less than 25 minutes of the first chapter of one of them we knew who were the heroes and villains and we had a cliff hanger.
But what do I know, they made about a dozen BOMBA movies so someone must have been pleased.
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This doesn't look like a film made in 1949. Looks like it was made around 1933.
I have a feeling that whenever the stock footage was filmed, there were no members of the ASPCA around.
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Is 25 minutes our standard, let's walk out and get our money back, approach? LOL
I just couldn't resist. I noticed I was yawning at 9:57, so allowing a couple of minutes for Robert's intro gave me 25 minutes. It was just too tempting after Fred's HOTEL post.
This was made for kids, surely they must have been wondering "when does the good part come?"
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All I see are a lot of actors on one set looking through camera viewfinders while we cut away to out of focus stock footage that must be from the silent era.
More "Bomb" than "Bomba"
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LOL. I'd all but forgotten Camilla Sparv. But they live on at imdb!
I only remember Camilla Sparv because way back when I used to confuse her with Catherine Spaak since both were European blondes of similar age who showed up around the same time and had the same initials.
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No, Warner Bros. never got that much of their murderer's row together in one film. I just threw all of those titles out there so that maybe I'll jog the memory and the person will find what he's looking for.
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Bogart and Raft appeared in INVISIBLE STRIPES and THEY DRIVE BY NIGHT together. Neither Robinson or Cagney were in either of those films.
Bogart and Cagney were in ANGELS WITH DIRTY FACES, THE OKLAHOMA KID and THE ROARING TWENTIES.
Bogie and Robinson were in KID GALAHAD, BULLETS OR BALLOTS, THE AMAZING DR. CLITTERHOUSE, BROTHER ORCHID and KEY LARGO.
Cagney and Robinson were in SMART MONEY
Cagney and Raft were in TAXI (only a bit for Raft) and EACH DAWN I DIE.
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>>I think it's safe to say that Aaron Spelling was a fan of ALL ABOUT EVE. When Davis bowed out due to health, he ironically replaced her with Anne Baxter, who really did a bang-up job.
When Lauren Bacall left the Broadway show APPLAUSE, it was Anne Baxter who took over as Margo Channing. This was in the early 70s.
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> > Maybe it's her wardrobe but she looks older in the film.....
When her character said she was 22, I rushed to the PC to check out just how old she really was. She looked at least a decade older and the diffusion only helped to give me the impression that she was really older than that.
I found her incredibly untalented, she makes Camilla Sparv seem to be the second coming of Garbo. Yet she's still working, so what do I know?
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>>Did some checking. As it turns out Catharine Spaak was 32 (or 31) when the film was made, so maybe she needed a little diffusion to pass for a 22 year old.........
I looked it up before I had posted about her last night. The IMDb has her born in April 1945. That would have made her 22 when HOTEL came out.
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I've long since noticed that Ford uses a lot of pauses in his dialogue, that may tend to make it seem that he's making it up as he goes along. It's not as hammy as in the way that his fellow Canadian William Shatner pauses, the Shat seems as if each syllable has to be emphasized.
I find that Ford works better in comedies where funny things happen around him and he reacts to them.
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You're welcome.
Seems terrible for a bunch of you to be doing duplicate efforts. Maybe you can each take a different week of the schedule to edit and then each come back and repost that result.
I tried doing that with the June schedule a few months ago as it was too spread out and I was actually getting a bit dizzy from the chore. I did about ten days at a time but swore off ever doing it again.
My one BIG complaint about TCM
in General Discussions
Posted
The FCC mandates station identification for stations using the airwaves, but as far as I know, cable stations don't require same. These IDs are supposed to be once an hour, as close as possible to the hour mark. In the old days one would often hear "This is channel 2, WCBS, New York." Channel, call letters and location had to be designated.
Now all of that can be done in a graphic.
I'm going back a few years on this, I haven't worked at a broadcast station in 20 years and the rules may have changed somewhat. I do know that many commercial cable stations are insistent on a constant "bug" so that anyone filling out a Nielsen diary knows what channel they are watching. To get proper credit, a viewer must log program, channel number and channel name and be correct with two of the three qualifications.