clore

> {quote:title=SansFin wrote:}{quote} > I do not believe that is true. > > Oh sure, when I ask "Who wants a drink?" they all agree. But when I ask "Who's going to chip in with me?" thats when I get arguments.

While the rest of you joyfully agree to sacrifice TCM's ideals in order to solve their non-existent financial crisis I bid you farewell. Let me see if I get this straight - because people don't agree with you, you're leaving the boards? If that's the case, what do you plan to do if you disagree with a neighbor - move out of the neighborhood? I'm not being sarcastic here, but if I want to post without seeing any disagreements, then I'd launch a blog and not allow counter-opinions. This world would be a very dull place if everyone agreed with me.

Cee- you are absolutely right. TCM promised with their mission statement to be commercial-free. No, they promised that the movies would be uncut and commercial-free. If promotions such as this keep them from inserting commercials within the movie, they can run a half-hour of them between films as far as I'm concerned.

The two previous film tie-ins I mentioned, like this latest one, were done around similar classic genre films and not stand alone typical television promos that you see on other channels. I can recall one for CHARLIE WILSON'S WAR back in January 2008, also built around clips from similarly themed classic films.

> {quote:title=FredCDobbs wrote:}{quote}You know, that old mean guy sounded a little like Abraham Lincoln! > Something of a cross between John Brown and Abraham Lincoln. I saw an old Hitchcock episode the other night and there was Raymond Massey playing the father of Richard Chamberlain a few years before the DR. KILDARE TV series. BARRICADE wan't bad at all. I had read of it many years ago in William K. Everson's book on westerns but it was one of those films that always seemed to air on The Late, Late Show on a school night. I'm glad that I have finally caught up with it.

And two Black Michaels for the price of one.

> {quote:title=musicalnovelty wrote:}{quote} > She's on TCM again today (Jan. 9) in BARRICADE (1950). > Yep, there she is while Black Michael from the 1937 PRISONER OF ZENDA squares off against Black Michael from the1952 version and Dane Clark gets his buddy John Garfield's role in this western remake of THE SEA WOLF.

Most of the time, just rebooting the cable box will unfreeze the picture. Just unplug it for at least 30 seconds, then turn it back on. It will go through set-up for a minute or two, then all should be OK.

But WHY NOT show these commercials in between the movies, instead of interrupting the movie? Actually, that was how it all started on AMC. Next it was "just one" in the middle of the film. Then the proverbial camel got his whole figure inside the tent and goodness knows, I'm sure that right now they are plotting on Adding More Commercials

> {quote:title=wouldbestar wrote:}{quote} > I want to see this documentary again as you can't take it all in with one viewing. It's on again on January 12 at 11pm Eastern.

Yes, that one has aired. I saw it on April 15, 2011 at 730pm Eastern.

Ben Affleck may surprise you in the long run. Based on his films GONE BABY GONE and THE TOWN, the guy is poised to become another Eastwood in that he may not be taken very seriously as an actor, but as a director he shows incredible potential.

As I wrote here recently, I really don't look for this stuff, but I can't help but comment when I see it. If I saw Mr. Osborne giving a flawless intro while his hair had an Alfalfa cowlick sticking up, and only half his face bronzed, I'd blame the make-up person for not doing his job properly. If he came out all dressed impeccably except for a big mustard stain on his jacket, I'd blame wardrobe for not noticing. Ditto if his shirttail was sticking out of his open zipper.. I doubt that anyone in this forum would show up to say that we should be happy just to see him show up, or "so what if he appears slovenly, at least he's there." But such things are not likely to happen because they are something that others (such as the cameraman) would likely spot, so the make-up person and the wardrobe person are easily "accountable" and thus one could say forced by that into doing his job properly. Not so with the words written for Mr. Osborne. Sometimes it has appeared that a researcher is too dependent on either a failing memory, such as crediting William Keighley instead of Michael Curtiz for THE KENNEL MURDER CASE or upon the likelihood of others on the staff to not notice the errors. Maybe the person is just too lazy to use the TCM data base at his fingertips. Why should this person have the continued luxury of slacking off just because his errors are less apparent? So, for those who may think that correcting the script errors isn't appropriate, just how far would you let the make-up or wardrobe departments fail to properly prepare Robert Osborne for the camera before you commented in this forum? It's no different with the intro errors, he's not being taken care of properly.

Here's one that you can't miss, it comes at 35 seconds into the credits. http://www.youtube.com/watch?v=jzeDGmnzRUM

That's what was said in the intro for THINGS TO COME after it was mentioned that Menzies directed the film. For the record, William Cameron Menzies was never, ever credited as a cinematographer, the bulk of his credits were as an art decorator and as production designer. Additionally, while it was mentioned that George Sanders has an early role in the film, it's likely that someone had THE MAN WHO COULD WORK MIRACLES, another H.G. Wells adaptation in mind. Sanders is not in THINGS TO COME. Also, the film does not start in the year 1936 as claimed, the first thing we see after the credits is that it is 1940.

I was hoping for some commentary on the aborted Flynn film. The TCM special on Flynn had some home movie footage of Flynn in costume, but some words from Cardiff would really have been appreciated despite the lack of any materials. I read the same story about McDowall having the footage sans soundtrack. Maybe the FBI confiscated it when they raided his home in 1974.

Funny, Cardiff shot two films with the title CROSSED SWORDS and neither one is scheduled. The earlier one with Errol Flynn is the one I was hoping for. The only Flynn swashbuckler that I've yet to see.

I read it, it's OK of its kind. Man, that woman could consume hugh amounts of cocaine. In an era where use of the drug was hardly unknown, she was considered to be doing too much. She seems to be at peace with herself by the end though.

In CALL HER SAVAGE, the one time that we see Clara Bow take to the streets and score, the night has disastrous consequences for her. Even in pre-code cinema, the wages of sin come with a price tag.

I've long since given up citing films as noir because as you note, something like SHADOW OF A DOUBT is arguably a noir. Well, if someone wants to think that, let them - I'm not going to argue the point. But I will recommend these films to a noir fan regardless of the label: Journey Into Fear The Third Man Beyond the Forest Walk Softly, Stranger Niagra A Blueprint For Murder The Killer is Loose The Money Trap

An influence perhaps, but the later film isn't a copycat. They both have in common the romanticism of the glory of the South, a plantation setting, a Civil War subplot, a headstrong female lead and Louise Beavers sitting in for Hattie McDaniel as a character called Mammy. I tend to think that its greater influence was the success of another Fox film, JESSE JAMES. Once that one clicked, we saw this one from Fox, Universal's WHEN THE DALTONS RODE (both of which had Randolph Scott who was also in JESSE JAMES) and MGM's BILLY THE KID. Brian Donlevy happens to be in the last three films mentioned.

Uh huh! I'm sayin' instead of *Fail Safe*, they could've shown us the SUPERIOR version of that movie! I would rather have seen THE BEDFORD INCIDENT over either of those two films. My favorite of the Columbia disaster trilogy.

I have to add NORTH TO THE KLONDIKE to your list. For years, since reading about it in "Castle of Frankenstein" I have been longing for the chance to see Lon Chaney and Broderick Crawford doing on-screen what they were doing off-screen - slugging it out and wrecking furniture.

> {quote:title=misswonderly wrote:}{quote}clore, TCM usually has a "theme" that somehow connects the films they show in the evening, and I couldn't figure out what last night's was. No, neither could I and that was why I had to satisfy my curiosity. When I look at the schedule, it's like a word puzzle to me and I'm pretty good with those things. I just couldn't figure the link for last night's sked and I've seen all of the films in the set. As far as ICE STATION ZEBRA goes, now that I put it in context of the theme, I must admit that it doesn't work as well as the others. When time is running out, it shouldn't run out so slowly. That film moves at a glacial pace.

> {quote:title=Bolesroor wrote:}{quote}Yes, Clore! Anybody who has a "Barney Miller" marathon is just fine by me. > > Now who wants to send me their gold? I was quite fortunate with the Barney Miller set. This was the recently released set with all eight seasons. I had it in my Amazon cart and was about to buy it when it hit eighty bucks - that was 50% off. So, I moved a few things out of the "ready to buy" part of the cart and when the screen refreshed, it turned out that the set was on one of those "Deal of the hour" sales and it was now just 68 dollars. I had some reservations at first about double dipping as I already owned the first three seasons, but at this price even I could not resist and I gave the old discs to my brother. >