clore
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Posts posted by clore
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Those kind of rugged individualists are my kind of people. They paid into the system for years and have a right to what's their due, Ayn Rand calling it socialism or not.
But hey, my mother tells me that her father spoke against FDR every chance that he could, even though the public works programs that he initiated were what saved her family during the depression as my gramps was in the building trade.
Ironically, my grandmother looked amazingly like Eleanor Roosevelt - maybe that was Grandpa's real grudge.
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4 - 5am some stupid educational stuff
Are you saying that you want to "educate" viewers to become stupid? Or more stupid in the case of some.
Maybe they should put on a show to inform viewers on the proper spelling of Robert Osborne's last name.
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Certainly the Ayn Rand philosophy of individualism and greed (an architect performing a criminal act, blowing up a building that he designed because others had changed his original work) is fairly bizarre, to my thinking, and certainly a contrast to the populist message of Cooper's Capra films.
King Vidor had his own reservations about the message also. So in discussing just how ridiculous a premise it contained, he said to Jack Warner "Well, suppose I toss the film in the fire, do you think the court would forgive me?"
Warner replied, "The court might, but I won't."
To me this is one of the great train wrecks of Hollywood. I just can't help but watch it, even though I know it's ridiculous beyond belief. I thought that about the novel also.
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Judy Garland is the subject of AMERICAN MASTERS this week (Friday) on my PBS station in NYC. Others may want to check their local listings to see if it's on in their area.
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Lane Smith was in PLACES IN THE HEART, MY COUSIN VINNY, THE DISTINGUISHED GENTLEMAN and THE MIGHTY DUCKS among other films.
He was also Perry White on the TV series LOIS AND CLARK and a very credible Richard Nixon in the TV movie THE FINAL DAYS.
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They had a segment they ran many times to promote the tribute, with some actors like Ricardo Montalban and others politely commenting that "the door hasn't been opened far enough yet"
What I would have loved to have seen was someone ask Montalban why he accepted the part of a Japanese Kubuki player in SAYONARA or a Native American in CHEYENNE AUTUMN.
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I'll stick to my opinions no matter what.
That's part of the problem, you don't stick to them.
When I said I dislike Japanese monster movies , everyone on here acted super upset and were ready to drive me away from the board with they're (sic) insults and bullying.
Then you came back to say that you enjoyed them in the very first post of this thread:
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Then you've already lost that competition. Just the other day in one of the forums around here, I saw a body of words that was 14 lines on screen all packed together with not a period or cap in sight and maybe two or three commas.
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Goodness Dargo, now you're not only going nuts with the cap shift key, but you're also neglecting to space properly.
I got through the first paragraph, but decided it was too much of a strain for me to continue.
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> {quote:title=darkblue wrote:}{quote}
> Do you and hlywdkjk really think it's fair to remember what someone said previously?
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> That's the type of gotcha thing that was so unjust to do to Sarah Palin. These days people have the right to not be held accountable for what they said a little while ago. It's NOT FAIR to REMEMBER! Stop bullying and get with our new political mode.
That's funny because when I was originally composing my previous post, I was going to suggest that our friend has a promising career possibility in politics.
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You made this assertion in a different thread you created weeks ago. Then you realized you were wrong and apologised for bringing it up. But now you make the same claim again. Why?
Not only that, but he expressed that it was OK to show films made up until 1983 because of some Wikipedia reference point of that being the end of "New Hollywood."
http://forums.tcm.com/thread.jspa?messageID=8645328
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However, I heard a West Virginia hillybilly call his father Pappy. I don't know what he called his mother.
Quite possibly it was "Sis."
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I love the anecdote that Akim Tamiroff told about Gary Cooper.
Tamiroff, as did many, thought that Cooper, not being a trained actor would be easy pickings and thus Tamiroff was certain that he would steal the scene in his first film with Coop. As he told it, he used every trick that he learned in his years with the Moscow Art Theater to upstage his fellow actor.
"Then I went to see the rushes and even I could not take my eyes off Gary Cooper."
He must have learned something from that experience as Tamiroff's two Oscar nominations came in films in which he appeared with Coop.
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Lane Smith and Dan Rather
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A few years ago, I carefully studied the film and I checked the time on all the clocks.
I've tried that a couple of times. Each time I get so involved in the film that I forget the task. Mind you, I have the DVD, before that I had the VHS - I could easily have gone back, but I just get so caught up in the story that I don't wan't to stop it.
The performance of Cooper though is amazing in the last 12 minutes which contains almost no spoken words. A master of body language, it seems that he held on to what he knew from performing in silent films. Watch his reaction when he's looking out the window and sees Frank Miller holding Amy - he backs up, as if he is letting us know without dialog that this is not a position that he expected or in which he wants to be.
One of the most deserved Oscars ever.
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Only Gary Cooper could have stared in High Noon. No one else could have done it as well as he did. He was perfect.
Absolutely. Gregory Peck turned it down, thinking it was too similar to his recent flop THE GUNFIGHTER. Word has it that even Montgomery Clift was considered - can you imagine? Who would have played the young deputy in that case, Dean Stockwell?
Other than THE MALTESE FALCON, HIGH NOON is my favorite film of all time. I have seen it more often, but that's because I discovered FALCON almost a decade later.
Not only Coop though, like 'em as characters or not, the town is populated by one of the most incredible groups of actors ever. I really see a township being presented here, every role, right down to Tom Greenway as Ezra (he gets me right in the gut) is so perfectly delineated that there isn't a frame that I would touch. The editing, the cinematography, the music - sheer perfection, a veritable college course on film making could use this one film for a whole semester's worth of lessons.
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I remember reading a while back in SHOOTING STAR that Ford's treatment of Wayne on the set of STAGECOACH was to actually get his co-stars to rally in his favor. It was said that Ford knew that if he showed favortism toward the young man getting his big break, the rest of the cast might have resented it and attempted typical tricks to upstage Wayne.
Not that I would do things the same way, but overall, it strikes me that Ford tended to rule by fear and intimidation while someone such as Capra preferred a happy set, encouraging the cast and crew to make suggestions. I can only hope that with Ford, there was a pendulum-effect off the set to put things in balance.
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Yes, I just saw that after I added something to my post and went further up the thread. I stand corrected, but Wayne's attitude toward the film was still apparent, even 20 years after it was made.
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I don't know if it's on the web, I read it way back when. I did find this reference to the interview which backs up part of my recollection:
“Everyone says High Noon was a great picture because [Dmitri|http://forums.tcm.com/] Tiomkin wrote some great music for it and because Gary Cooper and Grace Kelly were in it. In the picture, four guys come in to gun down the sheriff. He goes to church and asks for help and the guys go, “Oh well, oh gee.” And the women stand up and say, “You rats, you rats.” So Cooper goes out alone. It’s the most un-American thing I ever saw in my whole life. The last thing in the picture is ole Coop putting the United States marshal’s badge under his foot and stepping on it.”
In the interview, Wayne also made some crack about being glad that he drove Carl Foreman out of the country. When the interviewer challenged him on that, asking something like "who gave you that power?" - Wayne backed off, saying it was just a figure of speech.
I guess he wasn't used to being challenged that way. He should have been on his remark about the badge in HIGH NOON. Perhaps if the interviewer had seen it recently, he would have done so. But if Wayne could see something in the movie that didn't exist, perhaps the same applies to the script.
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Even as late as that Playboy interview with Wayne (1970 or 71), the actor claimed that when he sent back the script for HIGH NOON to his agent Charles Feldman, he told him "You send me another un-American script like that and you're fired."
Yet I've seen the clip of Wayne accepting the Oscar for Cooper and he does say "I'm gonna have to check with my agent about why I didn't get the part."
The story goes that Cooper asked Wayne to pick it up, just to throw it back at him. Wayne called Cooper and begged him to refuse the part, telling him that he would be killing his career. Cooper had the last laugh apparently.
In that Playboy interview, Wayne was still insisting that it was un-American to show Kane throwing his badge on the ground and stepping on it. Kane does toss the badge, but he doesn't step on it.
As far as I know, that pic that you provided the link for was from Cooper visiting the set of OPERATION PACIFIC.
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Let these guys "duke" it out:
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clore, everything is relative. Certainly by the time that High Noon came along Cooper's career was no longer enjoying the heady prestige of the 1941 to '43 period in which he received three Oscar nominations (one win) in three giant box office films, all of which were nominated as best picture. How many other actors, including Wayne, ever had a ride like that?
That's sort of my point though - that relative to himself, Cooper wasn't as "steady" as he had been. You know as well as I do that by 1950-51, the studios, because of TV as well as the enforced ban on owning theaters, were looking for ways to cut back on the expensive players such as Cooper, Flynn, Bogart and Gable or among the women, Davis and Crawford. Some were assigned to some of their respective worst films by this point, possibly with the studio hoping it would be refused and they could terminate the contract.
The IMDb has UNCONQUERED as being released in October 1947, so it most likely didn't hit "the nabes" (as Variety called them) until 1948. Films didn't get saturation bookings on the first weekend back then, and they would be rolled out regionally. A De Mille pic was prestigious, perhaps the most-well known director to the public at the time. His stuff was critic-proof and no doubt with Cooper as another drawing card, the film hung around for a while.
Also, one factor in any year of the Quigley Poll could have been the re-release of something from the past. That's where Gable was lucky, he had GWTW coming out every few years, helping him to maintain his position when so many of his post-war films were relatively lackluster.
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I guess it depends on how one looks at the figures.
Let's plot it this way:
1944: Cooper # 2
1945: Cooper # 6
1946: Cooper # 4
1947: Cooper # 4
1948: Cooper # 4
1949: Cooper # 5
1950: Cooper MIA (even Randolph Scott made it that year to # 10)
1951: Cooper # 8 (again, even Scott ranked higher at # 7)
1952: Cooper # 2
1953: Cooper # 1
1954: Cooper # 3
Relative to his own position, Cooper was losing ground.
Mind you, I'm just playing devil's advocate here to perhaps explain how it could be perceived that HIGH NOON was a reboot for Cooper's career. I used Randolph Scott as a comparison as he was originally positioned by Paramount as another Gary Cooper, had been performing for nearly two decades in mostly non-distinguished films, and suddenly his status rises above that of Cooper by way of some modestly budgeted westerns.
But with HIGH NOON, Cooper suddenly sees himself in the highest position than he had been in since 1944's ranking at second place and the halo effect was good for at least another two years.
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In the movie "Mothra", I've heard of New York City but New *Kirk* City? Talk about getting lost in translation.
I noticed that one quick shot showed us the "New Kirk Motors Bilding." (sic)
Why Wayne Over Cooper?
in General Discussions
Posted
I have no idea as to granny's cooking skills, but she had three children and there were eight years between the first and second as well as between the second and third.
That sorta hints to me that if she cooked well at all, it was only in the kitchen.
She was fairly nasty to my brother and I - not so much anything that we did, we just weren't girls, that's all. She doted on my sister though.
Maenwhile, granny had a sister, my Aunt Bess who was the complete opposite, a real fun loving woman who treated us all nicely and once went down the slide in the playground when she was in her 70s. My grandmother couldn't even be bothered to take us to a playground, she just wanted us in the house and quiet.