clore

The King World logo was also on the print of NIGHT IN PARADISE that aired the other night. That print was worse than the one of UNDER CAPRICORN.

Well, in the meantime you can make do with Jones and Cotten in another William Dieterle film LOVE LETTERS tonight at 10pm.

You do that and you won't be disappointed. The director is Lewis Gilbert, who helmed ALFIE, YOU ONLY LIVE TWICE and THE SPY WHO LOVED ME. When I was a kid, I swore that Kenneth More and Jack Hawkins were big stars. This was before the studios started leasing relatively recent films to TV, but there werre tons of British movies of recent vintage on local TV and it seemed to me as a nine-year-old that most of them starred More and Hawklins.

No, it's not some line from a western. REACH FOR THE SKY is an inspiring story based on Douglas Bader, a man who lost both of his legs in an airplane crash and still went on to become a pilot during WWII. It may well be the best role that Kenneth More ever had. This is a film that I've not seen in fifty years but I remember it with great fondness and recommend it highly. Edited by: clore on Jan 21, 2012 4:11 PM

Sounds like a case of JOEL McCREA ! JOEL McCREA ! Now I'm stuck For something to say

From Universal Joel McCrea Westerns Collection The post-war years saw the maturing Joel McCrea moving almost exclusively into the western genre, and a quartet of popular oaters from his latter career have been assembled for the first time on DVD. Joel saddles up opposite co-stars like Brian Donlevy, Dean Stockwell, Leon Ames and Yvonne De Carlo in The Virginian (1946), Cattle Drive (1951), Border River (1954), and Mustang Country (1976). AVAILABLE 04/02/12

> {quote:title=Dargo wrote:}{quote}Hey clore, it didn't happen to come as a two VHS set with *The Parallax View*, did it?! > > You know, as some kinda in-depth "How To Guide" for all those crazed potential political assassins out there among us! > THE PARALLAX VIEW could also be considered a primer for reporters on how NOT to cover a story. As an aside, one film that has always amazed me is the original DAY OF THE JACKAL which builds incredible suspense despite our knowing that history already makes it impossible for him to complete his objective.

As in what's the difference between "oldies" and "classic rock"? "Oldies" is all-encompassing while the other refers to maybe 25 tunes in total that get constant airplay on that form of radio known "Classic rock."

> {quote:title=DougieB wrote:}{quote}Maybe there was some confusion between this movie and "Suddenly", which I believe was pulled after the Kennedy assassination. That may well be as I can recall that there were claims that Oswald watched this film not long before that day in Dallas. Yet, I can recall seeing it on local NYC TV around 1967. But I don't recall seeing it listed for quite a few years after that until it fell into public domain and then it was all over the place, including a colorized version. But the legend about THE MANCHURIAN CANDIDATE has been around for some time, at least 30 years. I recall that I sent a letter to either VIDEO or VIDEO REVIEW in 1983 when they had a reference to it and at the time I had access to the dates for all four network runs and the Nielsen ratings for each.

I thought the story was it was pulled after it's tv showings? It was apparently pulled after the showings in the 70s, but the researchers had Osborne specifically cite that it had been withdrawn for 26 years, from its initial release year to the late 80s revival.

Are WHAT'S NEW PUSSYCAT? and HOW TO STEAL A MILLION relatively unknown films? What about THE RULING CLASS - were we supposed to take that seriously? Or GREAT CATHERINE, clips of which even appear in MY FAVORITE YEAR.

(...sorry clore, I couldn't resist that one...actually I must admit I'm one of folks who had believed this myth...thanks for the correction) You're quite welcome. Another one that Sinatra should have pulled from distribution is JOHNNY CONCHO, where he's as out of place in the American west as he was south of the border. I once mentioned to his co-star William Conrad that I had seen it and he laughed, telling me that he's never met anyone who admitted to seeing it.

It aired on the CBS network in September 1965 and was repeated later in the season. It showed up again on network TV on NBC in 1974 and 1975. Somehow the myth that Sinatra pulled it from distribution has perpetuated but a "Films In Review" article in 1988 debunked all of that and having seen it twice on TV personally, I can attest to two of those airings.

> {quote:title=Dargo wrote:}{quote}Thanks clore. Yes, or should I say, yeeEEEEEsss, it's Frank Nelson! Sometimes I watch reruns of Jack Benny's show at 3am on Antenna TV and he pops up there quite often. The other night he was the prosecuting attorney while Raymond Burr was the defense guy for Benny who was charged with murdering a rooster.

This might another case such as when people confuse Harold "The Great Gildersleeve" Peary with that other guy(who's name I can't remember now) who came along a little later, and who both were known for saying "YeeEEEEEsss" with that same inflection in their voice. That was Frank Nelson. There were two actors who played Gildersleeve. The first was Harold Peary and later Willard Waterman played the character on TV.

> {quote:title=Sepiatone wrote:}{quote}Er, I do NOT ree-call zee Gaslight being on airliaire ziss mahnth. Pear-hahps you are meez-taken? > Zair, zair, take eet eezee. pearhahps you may need a nahp? > Zeepiatone It aired on January 4 at 8pm Eastern time as the first SOTM film featuring Angela Lansbury.

In the case of the first two films tonight, they were made in the Academy ratio to be shown in that ratio - soft mattes weren't an item at the time of their production. The third film tonight is late enough in the day (post-1953) for "widescreen" and is listed on the IMDb as a 1.85:1 ratio. However, it's being shown as a 1.33:1 film. Thus, all three A&C films tonight are being shown in the wrong aspect ratio on TCM HD. I just got off the phone with a friend of mine and I had mentioned what was going on tonight with the fist two films. He said "Again? The same thing happened last Sunday while I was watching JOAN OF ARC." To that I said that "maybe there's someone on the weekend shift who is hitting the wrong button." My friend said that no other channel was affected that way last week. I don't know if it's a problem at the Atlanta end or just at our cable provider's end, but I'll make sure to pay attention next Sunday to see if it happens a third time.

Oddly the opening credits remaining Full Frame but the film itself was widescreen. Yes, I noticed that, so I thought that the MPAA rating visual prior to the film, which also noted that the film was letterboxed, was in error. Then as soon as the film began after the credits, the image was cropped.

Yes Valentine, that's exactly what's happened - also going on with A&C MEET THE INVISIBLE MAN. On channel 285, the TCM HD signal is letterboxed, but on channel 82, the "normal" TCM channel, the film is in the 1.33:1 ratio. Even the descriptive card prior to the Frankenstein film, the visual that shows the MPAA rating, indicated that it was letterboxed. I didn't notice if that happened for the second film tonight.

I know, usually I'm pointing out the opposite. But while I understand why there are pan-and-scan prints circulating, I can't see why one would crop an Academy ratio film. EDITED TO ADD: I've turned to regular TCM and the image is in standard ratio. First time that has happened to me in the eight weeks that I've had the HD cable boxes. Edited by: clore on Jan 15, 2012 8:51 PM

> {quote:title=misswonderly wrote:}{quote} > I don't know who this actress is, but she delivers a delicious performance, savouring every word of her speech - something about how the young man had taken her to the graveyard and encouraged her to lie down on one of the gravestones. It was such a hot night, and that stone was "real cool and smooooth". > Love the girl's thick Southern accent, and the suggestive way she drawls out her story. Just a fine little scene. The actress' name is Quentin Dean and she did deliver a fine performance, unfortunately her career stalled and she passed away nearly a decade ago. She's also in STAY AWAY JOE, WILL PENNY and THE YOUNG RUNAWAYS, all of which have aired on TCM. that was it for her feature film career. What got me when she was delivering that dialogue was that I knew just what she was talking about. It was only a few years earlier than my friends and I would sneak into the cemetary on a hot summer night and laen against the marble while smoking cigs appropriated from our parents.

I always phrase a great-looking color film as appearing as if it came out of the lab yesterday. That's because so many of them do appear these days as terribly faded, especially the ones done in DeLuxe Color. What they do to color films these days turns me off completely. It's not that I'm a nostalgist who insists that everything made "in my day" was better that what comes out now, but it does bother me that so many color films made me think that I'm looking at it with sunglasses on.

> {quote:title=audreyforever wrote:}{quote}Around 9:30 last night I flipped to TCM to cathc a glimpse of The Life and Death of Colonel Blimp and I mean WOW! the colors are so balanced and in-line I thought it was a modern movie for a second! If it was a modern movie, it would have had a green or amber tint.

> {quote:title=finance wrote:}{quote}What do Friday's '60s comedies have in common? They all revolve around apeartments or other dwellings? I didn't give it much thought, but on reflection, you seem to have picked up the proper link. They could have mixed it up a bit more, films such as THE KEY, JOHNNY DOESN'T LIVE HERE ANYMORE and RAFTER ROMANCE would also have fit in. But I'm not going to get all upset about it. I'm one of those who thinks it's only fair that as TCM has become almost two decades old, it's appropriate that they have a similar extension for the number of years upon which to select titles. That doesn't mean that I'm at all thrilled about today's line-up, but I have seen them all already and besides, TCM's mission statement never said anything about pleasing me only.

h4. 13 Friday h1. 7:00 AM h2. [Apartment, The (1960)|http://www.tcm.com/tcmdb/title/16634/Apartment-The/] An aspiring executive lets his bosses use his apartment for assignations, only to fall for the big chief's mistress. *Dir*: *Cast*: , , . BW-125 mins, TV-PG, CC, Letterbox Format h1. 9:15 AM h2. [Any Wednesday (1966)|http://www.tcm.com/tcmdb/title/24781/Any-Wednesday/] A young businessman catches his boss keeping a mistress in the company apartment. *Dir*: *Cast*: , , . C-109 mins, TV-PG, CC, Letterbox Format h1. 11:15 AM h2. [sunday in New York (1963)|http://www.tcm.com/tcmdb/title/91903/Sunday-in-New-York/] A philandering pilot gets real moral, real fast when his sister contemplates a premarital fling. *Dir*: *Cast*: , , . C-105 mins, TV-PG, CC, h1. 1:15 PM *BOY'S NIGHT OUT (1962)* h2. A psychology student researches infidelity by becoming a platonic kept woman for four buddies. *Dir*: *Cast*: , , . C-113 mins, TV-PG, CC, Letterbox Format h1. 3:30 PM h2. [bachelor In Paradise (1961)|http://www.tcm.com/tcmdb/title/977/Bachelor-In-Paradise/] A writer moves into a housing development to study married couples. *Dir*: *Cast*: , , . C-109 mins, TV-PG, CC, Letterbox Format