clore
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Posts posted by clore
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Writer Lou Lumenick doesn't seem to understand the distinction between old MGM (the titles now owned by Time Warner) and the current MGM (post-1986 films now distributed on video by Fox). There's no possible reason why Fox and Warner's should ever combine their websites and manufacturing/distribution networks.
He would have had a valid point if he referred to Sony rather than MGM. The Sony titles are at the Warner Archive, but rarely part of the sales - unless by accident. Someone at the Archive posted the wrong price for the 6-disc set of Sony's GHOST STORY/CIRCLE OF FEAR TV series release, and savvy buyers picked it up for 18 dollars.
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Yeah clore, and the young ones would probably just fast-foward "The Great Escape" to the part where McQueen(actually Bud Ekins) tries to jump that barb wire fence and right past all that "talky stuff" before it, huh?!
Possible candidates for the 2013 edition of "Essentials, Jr." include
MY DINNER WITH ANDRE
SWIMMING TO CAMBODIA
DEATH IN VENICE
THE LEOPARD
UNDER CAPRICORN
ANATOMY OF A MURDER
Feel free to add other possibilities.
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I remember seeing THE STRANGER (a TV movie with Glenn Corbett) and a couple of Monogram films with Lugosi, and that was it. It's not so much the idea of it that I object to, plenty of times my buddies and I would get together and with some form of mind altering assistance, be it Boone's Farm or something else, we'd rip on some films and have a grand time.
But that was long before the MST3K crowd came along, perhaps I just outgrew it.
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I was not a fan of MST3K. I watched perhaps three of them, but it was because I wanted to see the film, not the robots.
The problem was that I just didn't find them funny.
I thought that the fight scenes in CATALINA CAPER were poorly done to the point of laughter, but the girls were cute, especially Venita Wolf who played Tina.
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Walt found out he was playing on the "wrong" team and Walt and Mickey wouldn't tolerate that!
Walt found out when an underaged boy's mother came complaining. This was from Tommy Kirk himself in an interview with Richard Valley of "Scarlet Street" magazine.
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The monthly schedule also has some erroneous info for ALICE which airs tonight.
h2. [Alice (1990)|http://www.tcm.com/tcmdb/title/67017/Alice/]
An unhappy wife turns to an acupuncturist for mystical solutions to her problems.
*Dir*: [Gabriel Benattar|http://www.tcm.com/tcmdb/person/729202%7C0/Gabriel-Benattar/] *Cast*: [Nadia Mourouzi|http://www.tcm.com/tcmdb/person/1242165%7C0/Nadia-Mourouzi/] , [Alain Fromager|http://www.tcm.com/tcmdb/person/945394%7C0/Alain-Fromager/] , [Martin Provost|http://www.tcm.com/tcmdb/person/1332681%7C0/Martin-Provost/] .
C-106 mins, TV-14, CC, Letterbox Format
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I liked "Dude" much better when he was "Pepi" in THE SHOP AROUND THE CORNER.
The primary failing of TOBACCO road was that it just wasn't entertaining, not for me anyway. OK, that's not always a priority, so the next goal should be to be informative.
The only info I got out of it was that it wasn't entertaining.
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Anytime that you see the name Ted V. Mikels attached to a film - in any capacity - you know you're bound for either boredom or unintended laughs.
The one exception that comes to mind is CHILDRED SHOULDN'T PLAY WITH DEAD THINGS.
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Bill Macy was too old to play David O. Selznick (and looked nothing like him), but I loved it when his character said, "You want me for violation of the Mann Act? No, you must have me confused with my brother, Myron."
Slight correction, Bill Macy played Myron, Tony Curtis played David O. Selznick.
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> {quote:title=misswonderly wrote:}{quote}Well, sorry, everybody who liked this film, but I thought it just plain stunk.
An online friend sent me a VHS of this about a decade ago when I commented that it was the only post-STAGECOACH Ford title that I hadn't seen. I watched about 30 minutes of it and turned it off.
Last night I made it about 45 minutes in, but between this and GOD'S LITTLE ACRE, I spent enough time in the dirt to last a lifetime.
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The lovely Gloria Winters from SKY KING
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Anyways, I have always thought that Marie Dressler's part was based somewhat on Ethel Barrymore's life, especially her stage career when she was a young woman.You know the part in the film where Marie and Lionel are talking about how popular Carlotta was in her early stage career. They say things like, "oh yes they named battleships after me, and perfumes," when "you worn a new hat, it became the rage," etc.
Funny that you should mention that as the other day I read that Carlotta Vance was based on Mrs. Patrick Campbell who was on TCM the other day in OUTCAST LADY and was also in ONE MORE RIVER.
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> {quote:title=HOLLYWOODFAN wrote:}{quote}
> Do any of you have memories of taking the UNIVERSAL STUDIOS TOUR in the 1960's ?
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> Please tell us...
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I can tell you of one that I read about. Apparently Neville Brand was so displeased with the trams going by that he relieved himself upon one. He didn't work at Universal again for a while after that.
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> {quote:title=finance wrote:}{quote}If Drew Barrymore can co-host Essentiais, Sr., then Essentials, Jr. should be hosted by a 12 year old actress. Sorry I can't supply any current names. Who is the Virginia Weidler of 2012?
One year, perhaps the first one, it was co-hosted by Abigail Breslin who was starring in KIT KITTERIDGE: AN AMERICAN GIRL. I believe that Chris O'Donnell who played her father was the other host.
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It's not theme music, but background music in both films. In the POW film, you hear it as the camera pans the camp or the area outside the fence. In the Verne film, it comes with similar camera movements of the subterranean world.
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I never thought about that before, but you're right. At times the Bernstein score also reminds me of Herrmann's score for JOURNEY TO THE CENTER OF THE EARTH.
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Although I was about ten when I first saw THE GREAT ESCAPE, the attraction was seeing the likes of McQueen, Garner, Bronson and Coburn, all of whom I knew from TV shows and several from THE MAGNIFICENT SEVEN.
But it's 50 years later now, today's youngsters won't know these guys and yes, it is rather talky for the most part and it's average shot is probably over ten seconds long. They might recognize the music as THE SIMPSONS did a spoof of the film with Maggie escaping from pre-school.
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This is from the NY Post the other day:
When Fox began distributing the MGM Limited Edition Collection in 2012, it seemed likely that Fox would eventually follow with its own manufacture-on-demand program. The Fox Cinema Archives, as it's called, is finally arriving sometimes this month, with three titles already available for pre-order at Amazon for $19.98 apiece: Rouben Mamoulian's romantic comedy "Rings on Her Fingers'' (1942) starring Gene Tierney and Henry Fonda; Irving Cumming's Technicolored Betty Grable musical "Sweet Rosie O'Grady'' (1943) with Robert Young; and Henry Hathaway's thriller "Diplomatic Courier'' (1951) starring Tyrone Power and Patricia Neal.
Other titles said to be included in the program's first wave include John M. Stahl's costume adventure "The Foxes of Harrow'' (1947) starring Rex Harrison and Maureen O'Hara; Arthur Pierson's "Dangerous Years'' (1947) with Billy Halop, Scotty Beckett, and Marilyn Monroe in a bit part; Ray McCarey's "The Perfect Snob,'' a delightfully obscure 1941 comedy starring Charlie Ruggles and Charlotte Greenwood; Hugo Fregonese's "The Raid'' (1954) with Van Heflin, Lee Marvin, Richard Boone and Anne Bancroft; and Edward L. Cahn's thriller "Twelve Hours to Kill'' (1960) with Sypros Skouras protege Nicos Minardos and Barbara Eden.
There are also four films directed by sometimes actor Irving Pichel: "Hudson's Bay'' (1941), an adventure with Paul Muni, Gene Tierney, Laird Cregar and Vincent Price; "The Man I Married'' (1940), an anti-Nazi tract starring Joan Bennett and Frances Lederer; "Secret Agent of Japan'' (1942), World War II propaganda with Preston Foster, Lynn Bari and Victor Sen Yung; and "Life Begins at 8:30'' (1942), a theatrical comedy starring Monty Woolley and Ida Lupino.
The partial list will also include a pair of titles previously available only as part of sets, Alan Dwan's "Frontier Marshal'' (1939) with Randolph Scott as Wyatt Earp and Cesar Romero as Doc Holliday; and Tay Garnett's "Love is News'' (1937) starring Tyrone Power, Loretta Young and Romero, which was remade as both "Sweet Rosie O'Grady'' and "That Wonderful Urge.''
I'm told that a second wave of titles will arrive in late July/early August, with Fox shooting for around 150 MOD titles by year's end. Given that the MGM titles are already there, I wouldn't be surprised if the Fox Cinema Archives titles were eventually available also at the Warner Archives website.
Amazon and its CreateSpace subsidiary have created a new Never on DVD page to collect its MOD offerings from Warner, MGM, Universal, Disney and now Fox. That leaves Paramount as the only one of the heritage studios without a manufactured-on-demand program.
Paramount has instead aggressively licensed its back catalogue to specialty distributor Olive Films, which is now apparently offering all of these titles on both the Blu-ray and pressed DVD formats. Olive's latest announcements, for Aug. 21, are Leo McCarey's notorious anti-communist drama "My Son John'' (1951) with Helen Hayes, and in his final performance, Robert Walker; Mitchell Leisen's adventure "Captain Carey, USA" (1950) starring Alan Ladd; and from Paramount's vast Republic holdings, Don Siegel's "Private Hell 36'' (1954) with Ida Lupino and Howard Duff, and Raoul Walsh's noir western "Pursued'' (1947) starring Robert Mitchum and Teresa Wright.
Read more: http://www.nypost.com/p/blogs/movies/slate_extra_selznick_busy_rko_yea r_vICHuCtouImBWmB3tEhy8M#ixzz1wJ6ij0XB|http://www.nypost.com/p/blogs/movies/slate_extra_selznick_busy_rko_year_vICHuCtouImBWmB3tEhy8M#ixzz1wJ6ij0XB
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And when they get to NORTH BY NORTHWEST, even the young ones are going to say "Oh no, not this one again."
I can't see them sitting around for three hours of THE GREAT ESCAPE either.
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Here's something I wrote almost 11 years ago as part of a review of Randolph Scott's career on the Western board at the IMDb:
To write of *Ride the High Country* is almost superfluous in this forum, few westerns appear to be as cherished and admired. This is one even non-Peckinpah fans speak well of as it emphasizes character, not violence. From its nominal beginnings, with producer Richard Lyons sending a story to Scott, certain it would not even be read, to the actor's enthusiasm so brimming that he passed it along to Joel McCrea, one can only wonder if this was fate. The script prepared by N.B. Stone did not meet with the approval of Lyons, and he suggested Sam Peckinpah, with only one previous feature, to rewrite and direct. The businessman in Scott had to look at Sam's *Deadly Companions*, and surely he saw the similarities to the Boetticher films, especially *Ride Lonesome* and *Comanche Station* - Brian Keith's hero was not that much different than the ones Scott had portrayed.
The question of billing was solved over lunch at the Brown Derby - a simple coin toss that Scott won. The concern was over which roles to play, and it took only one day of filming before the roles were swapped by mutual dissent, and immediate consent. The rest of the shoot went fine, according to McCrea, Peckinpah was "A very gifted writer...he was fine to work with. I hear he got tough later on, especially with crew, but with us he was fine, a real talent."
The budget was $800,000, and the filming was on a 24 day schedule, which is easier to accomplish with vets of Scott and McCrea's caliber, but Peckinpah also had relatively new performers such as Mariette Hartley (her debut at age 22) and Ron Starr to contend with. Others such as Edgar Buchanan, R.G Armstrong, L.Q. Jones and John Anderson were around long enough, and Warren Oates, James Drury and John Davis Chandler had some, if not much seasoning by this time.
The big problem came when the unit went back, and the post-production and editing were finished. Sol Siegel, who green-lighted the project was gone, and, as tends to happen in studio takeovers, the new administration had no good will towards a chancy project from the old administration. So, in the summer of 1962, *Ride the High Country* opened on the second half of double-bills, barely noticed by the public, but it received the kind of attention and reviews accorded to only the most prestigious productions:
Time: "*Ride the High Country* has a rare honesty of script, performance and theme - that goodness is not a gift, but a quest."
Newsweek: "In fact, everything about the picture has the ring of truth, from the unglamorized setting to the flavorful dialog and the natural acting."
The domestic failure went on to win First Prize at the Venice Film Festival, and the Grand Prize at the Brussels Film Festival, beating out *8 1/2*. All over Europe, it became one of MGM's most financially successful releases, and its ending had to influence the closing scene between Bronson and Robards in Leone's Once Upon A Time in the West.
And thus ended the cinema saga of one of Hollywood's top cowboys, the acclaim came late, but it came in greater number than many ever get to experience. That it came at all must surely have surprised a man who was the first to say "I'm no actor."
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Why doesn't TCM show this ad nauseum (sic), as they do Boston ****?
Why would anyone want something to be aired "ad nauseam" since it means to occur to the point of making one ill?
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Still, "Dad" might enjoy being here. After all, we are such an amazing group of people.
True, we can adopt him for Father's Day.
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FYI - this poster got an answer in the Information Please forum. The film is THIS LOVE OF OURS which starred Merle Oberon and Claude Rains.
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The theme was "Primrose Lane" and it was sung by Mike Minor of Petticoat Junction fame.
Minor also just happened to be the son of Don Fedderson who was the producer of THE SMITH FAMILY (as well as MY THREE SONS and FAMILY AFFAIR).
Speaking of a family affair, Minor was married to Linda Kaye Henning who just happened to be the daughter of Paul Henning who produced PETTICOAT JUNCTION and the other cornpone sitcoms on CBS at the time.
What is your definition of a CLASSIC FILM?
in General Discussions
Posted
My objection to KRAMER VS KRAMER is that except for a flash of nudity, it really wasn't much different than an issue-of-the-week TV movie. Sub Barry Bostwick for Dustin Hoffman and you've got ONCE UPON A FAMILY, a TV movie of the same era.
But I share your regard about the Dick Foran films as they're a lot less in circulation than KRAMER. On the other hand, there are a lot of vintage films also that are in constant rotation on TCM and at this point, I'd rather see VIOLENT ROAD than 12 ANGRY MEN or REBEL WITHOUT A CAUSE.