clore

But TRUE GRIT was a tale of vengeance where the quest was initiated by a young girl. Revenge can take other forms, as in THE STING where it's an elaborate con. By the way, one of the earliest serial killer movies, THIRTEEN WOMEN, had Myrna Loy as the one seeking vengeance for slights made years earlier when she was in college.

I agree with you and VX that CGI is cheaper, but I am grateful on the flip side that it does incorporate artists in the realm of computer graphics. Here's where I agree with you. CGI can be of enormous benefit as a high-tech device to be used as were matte paintings were years ago. Then as now, sometimes the effects were astounding and could fool experts, and sometimes they were rather on the cheap side - such as when the space travelers step out of the ship at the end of WHEN WORLDS COLLIDE, a film that otherwise contained what were state-of-the-art effects.

You are way too young to be filled with such rage. Surely there must be something else in life for which you can redirect your frustration. CGI is a tool, that's all - it can be utilized well or poorly, it can be overdone and underwhelming. There have always been good effects and poor effects. Bert Gordon is no better an effects guy because he made his films in the 50s. He made his films on the cheap with only the love of money driving him. On the subject on animation, the dinosaur in THE BEAST OF HOLLOW MOUNTAIN does not compare to Ray Harryhausen's work of the same period. Same basic approach, but it's all about the person doing the work. Some go the extra distance, but neither of them are making movies for the fun of it. When Gloria Swanson - in 1950's SUNSET BLVD. - referred to "we had faces then" she was dismissing the then current crop of Hollywood celebrities. But hers was a fictional character and she was nuts. As Don Henley said, "If you keep carrying that anger, it will eat you up inside." But in Swanson's day, in Holden's day, in Doris Day's day, right up to today, Hollywood was always about making money. Once in a while, art might happen either by design or by accident, but as with any commercial business, it has always been about making money. By the way, Gary Cooper and Clark Gable drove around in big expensive cars. In its day, this Duesenberg was the most costly car around: Gable also owned one and they supposedly cost about $25,000.00 when new in the early 30s. You should read up on Cooper - he loved designer clothes, traveling in upper class company, fast cars and faster women. He wasn't much different than many of today's celebrities and he still has detractors who say he wasn't much of an actor. The more things change, the more they stay the same.

> {quote:title=Hibi wrote:}{quote}How 'bout Chief Dan George? Did he do anything after Little Big Man? Nothing I can remember........... He was also in OUTLAW JOSEY WALES

It was almost as if LeMat's career went up in smoke when he did in THE BURNING BED. While the TV film did wonders for Farrah, it did not do the same for LeMat and while he continued to be employed, most of it appears to be direct-to-video.

The first time that I saw the film was back in 1964, when U.N.C.L.E. was hot so Vaughn's role in the film was emphasized in the ad in TV Guide. It was on the afternoon movie on WABC and they had to edit it to fit the time slot. So, they made an interesting choice in terms of what was removed and thus I can say that the film does work without that extra knowledge and the ending has that much more impact. They aired the film again a few months later, this time in late night and it aired complete. What a difference it made. I didn't see the film again until TCM aired it in May 2010. AT GUNPOINT was an Allied Artists release, and hopefully will see the light of day on TCM or the Warner Archive. It was the first film that I ever saw in a drive-in. No, not on the original release, this was in March 1965 when it played on a double-bill at the Sunrise Drive-in in Valley Stream, NY. The main attraction was HUSH, HUSH SWEET CHARLOTTE.

It seemed to me that the cars piled up in the junkyard were newer than the ones being driven in the street. I spotted a 1961 Pontiac and a 1962 Studebaker there in full view. Oh well, the perils of low-budget film-making I guess. Otherwise, an enjoyable film, holds up much better than I thought that it would despite all of the imitations.

It's difficult to discuss GOOD DAY FOR A HANGING without revealing too much - and that was I thought the film's biggest problem. We're too aware of a certain incident that happens early in the film. So, what happens at the end only causes one to want to say to the townspeople "I told ya." Still, it's certainly watchable and while I prefer MacMurray's other HIGH NOON derivative, AT GUNPOINT, he did manage to make several enjoyable westerns before his sitcom and Disney coated him in saccharine. But what were they thinking when using some music from 3:10 TO YUMA? It sure took me out of one movie and put me in another one.

It's her only film role, and as far as I know, her only attempt at acting. She had to learn her lines phoenetically. I'm reminded of that TCM short where Anthony Hopkins says of Katharine Hepburn "She's won more Oscars and Oscar nominations than any other actress in our profession." As opposed to actresses of what other profession that awards Oscars?

Jocelyne LaGarde managed an Oscar nomination for her supporting role in HAWAII - her only role ever. She remains the only person ever nominated for an Oscar for the only performance ever given.

> {quote:title=darkblue wrote:}{quote} > > > > > Two that I'd like to see are 'The Long Good Friday' (1980) and the deeply dark Christopher Walken/Helen Mirren psychodrama 'The Comfort of Strangers' (1990). > While I can imagine that some males out there wouldn't mind seeing AGE OF CONSENT again, I can only imagine the uproar if SHADOWBOXER ever made it to the schedule. I'd love to see THE LONG GOOD FRIDAY show up and as to THE COMFORT OF STRANGERS, since I haven't seen it, I would certainly sample it. A Schrader film is usually worth at least one viewing.

I really wasn't trying to show you up. I should have better pointed to the irony that we killed more of our own than others have, and in a period when weapons were a lot more primitive.

> {quote:title=Bilgewasser wrote:}{quote}Actually more Americans were killed in World War I (116,000) and World War > Two (405,000) than in Vietnam. Of course, the most Americans killed in any war in our history happened in our own Civil War in which 620,000 died.

> {quote:title=FredCDobbs wrote:}{quote} > As Abbott said, an East Side Kids movie is fodder. A Beach Party movie is a mudder. A good mudder eats its fodder.

I hope all understand that I was being silly about English. All languages have things that seem odd to other speakers. I never thought otherwise.

I'm not going to sit here and pretend that I've never criticized anything about TCM. When I have, it was to dispute info given as facts during the intros that was in error. I also have gone out of my way to attribute such errors to the staff, not to the presenter. But such so-called "facts" are all that I dispute. If Robert Osborne was to say that he thinks that Rita Hayworth is one of the greatest actresses ever, I won't ever consider disputing it as it's an opinion and he has that right of having one. I may not agree, but to state my disagreement isn't even worth the time. Some here have jumped on my case when I have disputed "facts" but my only intention there was as honest as those here who defend TCM with statistics as to the vintage of titles and the percentage of them barely changing. As do they, I have an aversion to the dissemination of misinformation. However, a lot of what I've been reading in this thread is based on misperception or personal prejudices. It either comes down to "there's too many movies that I don't like" or "The 'M' in TCM stands for 'me" and I'm not getting what I want." Suddenly "less classic" is apparently defined by a particular year, aspect ratio, color process or what-have-you. Apparently an East Side Kids movie is more of a classic than a Beach Party one when in actuality, neither was ever considered anything more than fodder. One thing I can say is that TCM has the most passionate fans of any cable or broadcast channel, whether I agree with them or not.

I just find it amusing that someone can find their way to the forum to speak their mind, but can't find their way to the schedule to verify that what they have to say is worth saying in the first place. Even if there were three 80s films, why not check to see if it's tonight or tomorrow? It just negates all that follows.

Y'all has got a funny language! Yes, we have compound words such as: barnyard bartender deathbed goldfish So, what is someone learning the language to make of the word "extraordinary?" If he were to define it as "more mediocre" he would be going in the opposite direction.

Tonight or tomorrow night, there's going to be like three 80s films on TCM. why ? Is it that difficult to double-check as to whether it's tonight or tomorrow night? Are you in that much of a rush? What do you mean by "like three 80s films?" Do you mean one 70s film and two 50s films? Is that really "like three 80s films?" TCM underground has got to go. I don't care about what you all say. OK, with that in mind, then please tell us why anyone here should care about what you have to say? Do you not understand how off-putting such a comment can be? I think it's spoiling the channel by making people think it's ok to show trash. One man's trash is another man's treasure, but again, why should we care what you have to say? See how that works when reversed? Besides, it's on at 2am in the morning, what better hour to show "trash" than one where few people are watching? There has to be something for insomniacs other than Skinamax. I've been tuning in for the essentials for the past 2 weeks. I (sic) Drew Barrymore is ok. But I think the only reason they picked her was because her last name is Barrymore. Yes, I'm sure the Barrymore name carries a lot of weight. Look what it did for her father and her Aunt Diana. Actually, they picked it because it came right after "Baldwin" in the Hollywood directory.

We could probably use a little more info, such as approximate vintage, color or black-and-white - that sort of thing. First thing that comes to mind is TAMMY AND THE DOCTOR.

I always have a browser tab open to the forum page. It doesn't matter which one, but as long as I've been inactive on the forum for 15 minutes, I have to log in again. It's rather annoying and I wish there was a setting to alter that. Not everyone shares a PC or has to worry about someone else posting on the forum under their name.

John Kenneth Galbraith is reported to have said *“Faced with the choice between changing one's mind and proving there is no need to do so, almost everyone gets busy on the proof.”* Some won't even go as far as trying to offer proof, they just want someone else to provide more proof or they modify the terms of the required proof. However, as far as previous commentary has indicated, you should be advised that willbefree25 is a she rather than a he.

It really depends on the tone of the film. For example, I can accept the action in an Eastwood title made by Sergio Leone as they are so over-the-top in the first place. That his character survives the impossible is in line with the style of the film. On the other hand, in HANG 'EM HIGH, Eastwood first survives a hanging, then he's gunned down at point blank range by four gunmen who empty their pistols and lives through that. To go one further, he's out on a picnic with Inger Stevens, the wind and rain pick up and though he has so many holes in him that he should be whistling, he does get weak and feverish, but he lives through that also. But director Ted Post is no Leone, he adopts a no-nonsense approach to everything in the film other than Eastwood's apparently superhuman strength.

Oops, my mistake. Thanks for catching that. There was a mandate in effect for several years that all "A" level films would be shot in Cinemascope, so it may have been Zanuck who put that into effect.

> {quote:title=FredCDobbs wrote:}{quote}Hey, when TCM shows this black screen and plays the exit music, are we supposed to get up and leave our houses? Yes, and if you can wake up those patrons who fell asleep during the film, the management would appreciate it.