clore
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Posts posted by clore
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A couple of the things that would work for "poverty row" studios, probably made DILLINGER look so realistic on its "miniscule' budget, is that a lot of it was probably done in actual locations, or standing sets were employed for their city scenes.
Fritz Lang was rather annoyed that one robbery sequence (the Farmer's Bank payroll scene) was lifted from his film YOU ONLY LIVE ONCE.
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I'll never forget the first time that I saw DIRTY HARRY. Leaving the theater with a friend, we were talking about the film and my friend asked "Wasn't he really creepy?"
I said "I thought that he reminded me of Liberace."
Nearly 20 years later. Robinson would play Liberace in a TV movie.
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Glad that you enjoyed the comment.
One has to be a good actress to have to read a line about the cute looking blond guy, all the while knowing that he's one homely dude. Maybe if he had some charisma going for him that would be one thing, but he looks as if there is nothing going on upstairs at all.
Chandler was fine in small parts as in RIDE THE HIGH COUNTRY or OUTLAW JOSEY WALES, but people should not have to tolerate him for more than a few minutes.
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We still flush toilets like we did 40 years ago. No computers there.
Just you wait, this is the office of the future:
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Here's what I wrote last night before the film started:
http://forums.tcm.com/message.jspa?messageID=8643094#8643094
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I noticed that they skipped the 1929 scene with the cowboys switching the newborn babies around, perhaps a scene that influenced a similar one in Leone's ONCE UPON A TIME IN AMERICA.
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> {quote:title=Jayo wrote:}{quote}Dear TCM Programmer:
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> I would like to suggest that you devote a day's programming to real-life gangsters, from "Dillinger"
> (1945) to "Dillinger" (1973). In between, there'd be "Machine Gun Kelly" and "The Bonnie Parker Story"
> (both 1958), "Al Capone" (1959), "Pretty Boy Floyd" and "The Rise and Fall of Legs Diamond" (both
> 1960), "King of the Roaring 20's: The Story of Arnold Rothstein" (1961), "Young Dillinger" (1965),
> "Bonnie and Clyde" (1967), and "The Valachi Papers" (1972). With the exception of "Pretty Boy Floyd"
> and "The Valachi Papers," the movies are part of the Warner Bros. and MGM libraries (the original
> distributors being Monogram, AIP, Allied Artists, WB and W-7).
>
> Thank you for taking the time to seriously considering my suggestion.
Somebody must be really happy with tonight's schedule.
Folks, you don't want to miss one of the all-time worst performances in film history at 1130pm when John Davis Chandler stars as MAD DOG COLL. It's like watching Frank Gorshin doing Steve Buscemi doing an impression of Don Knotts. We're talking train wreck proportions here.
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clore, you really misunderstood my post.
More a case of my not effectively stating my point. I just found it unusual that one of the films that you cited has the revenge motive being initiated by a young girl rather than the usual male-driven plot line. That makes if somewhat unique, as if Charles Portis sought to expand the appeal of a fairly well-worn genre.
I am surprised in a way that it has yet to show up on "Essentials, Jr."
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i have never witnessed anybody speak face to face instead of texting.
I would have to say that you are more than slightly exaggerating.
get me out of here ! technology can make people's lives hell.
The irony of your saying that on a message board is just too much to let pass without noting.
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Jonny, I have to throw in a mention of Jerry Lee Lewis opening HIGH SCHOOL CONFIDENTIAL while singing and playing from the back of a flat-bed truck as school opens.
That never happened when I went to high school. Nor did I go home to an Aunt like Mamie Van Doren, more like Mamie Eisenhower.
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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.
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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.
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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.
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> {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
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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.
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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.
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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.
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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.
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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?
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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.
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> {quote:title=darkblue wrote:}{quote}
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> 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.
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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.
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> {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.
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> {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.
UPCOMING CLASSIC 20TH CENTURY FOX FILMS
in Hot Topics
Posted
Here's a real rarity for you - THE EYES OF ANNIE JONES on June 5th at 6am on the Fox Movie Channel. This thing has been unseen for over 40 years, never on video.
http://www.imdb.com/title/tt0058075/