clore

I woke up this morning in a good mood, all set to get this back on track by seeing if maybe anyone else was into Bill Travers, but if the straight boys are just going to romp and stomp all over the one pathetic little gay thread trying to rear its head in these here parts, I'm heading south too. Please don't judge all by the snide comments that you're seeing here. I've been lurking in the thread but have stayed out of it as it's a subject that really doesn't apply to me. It's the same with a thread about somethng such as WUTHERING HEIGHTS, a film that I on't care for, but if others do, why should I rain on their parade? But as an observer I must say that I'm sympathetic to any prejudice that I may find and I apologize for taking your comments as the motivation to finally comment. Kinda makes one wonder about how little effect TCM's yearly film series devoted to tolerance may be having. Not that I expect it to really change much, bigots rarely define themselves as such. Still, the result is not the fault of the presenter, at least TCM is trying.

That may very well be, but she wasn't the first one in Hollywood to be given a position of importance and yet have no hands-on experience. While she did come with the deal to utilize Technicolor's services, she was more of a handicap than a help. She actually seemed to prefer muted color schemes which would seem to be contrary to what the company was in business to do. Despite her inabilities, it would appear that for a while she had some clout.

I'd like to know what the disagreement was about. As far as I know, it was a fairly simple matter. Kalmus was of a mind that certain things shouldn't be done, or worse, said that they couldn't be done. Whether it would be low-light scenes, or color coordination based on what the art department would suggest, it seems that Kalmus wasn't as willing to test Technicolor's capabilities. Maybe in her mind, it was protecting the process or perhaps just trying to assert her supposed knowledge of what could and couldn't be done.

I was told a while back that Fox wasn't as "cooperative" as the other studios when it came to dealing with Natalie Kalmus or the other Technicolor consultants. This was cited to me when I made a post on the IMDb about how I considered that studio to have the most consistently gorgeous uses of color as compared to the other majors. Apparently the in-house technicians at Fox had their own ideas and that as long as Kalmus or one of the consultants were credited, they didn't care as they were learning about the capabilities of color film that they were unaware of previously.

Columbia didn't have much better luck with 1990's MEN OF RESPECT, another Macbeth gangster attempt. Nice cast though with John Tuturro, Peter Boyle, Dennis Farina and Rod Steiger. It ws certainly better than this turkey.

It's funny the associations that one can make. I can still recall saying that it was a great week for Georgia that first one of November 1976. Jimmy Carter was elected and GWTW was on broadcast TV for the first time. It actually had its TV premiere on HBO a few months earlier than that. But my area was a long way from getting wired for cable at that point.

All info that I have indicates that it was on November 7-8, 1976 that GWTW first aired on network TV. I still have this TV Guide among my treasures: http://www.ebay.com/itm/TV-Guide-11-6-76-Gone-Wind-Amsel-Richard-Anderson-Football-Spies-/150702031210?_trksid=p4340.m185&_trkparms=algo%3DSIC.NPJS%26its%3DI%26itu%3DUA%26otn%3D5%26pmod%3D370526035074%26ps%3D63%26clkid%3D4408577815844802706 Nielsen data: http://tvbythenumbers.zap2it.com/2009/03/21/top-100-rated-tv-shows-of-all-time/14922/

I watched the first network airing of it back in 1976, but it was broken up into two parts and the NBC commercial load was almost half of what is going on these days. It was about twelve minutes per hour then as opposed to twenty on AMC. AMC must be editing the film to get it into a five hour slot. The film is about 230 minutes without the intermission. I've heard that TCM is on a pay tier on some systems and if anyone out there is paying for AMC, they deserve what they get.

GWTW was the first film to air on TNT if I recall correctly. But you're right about all of the previous airings of the film having been on commercial channels. Geez, most of what TCM airs either played on a major network or in syndication at one point or another.

A frightening thought. What if TCM or TIME WARNER, whomever owns GWTW , have decided to use this as an experiment to determine if classic OLD movies can still survive and thrive on a commercial channel? Then we should be jumping for joy. Because if Time-Warner finds a lot of titles are in demand by other outlets, and if they have to grant exclusivity for that license period, then we may be in for a treat. That may force TCM to have to air some titles that have either never aired or aired infrequently.

OMG. THey are showing it all wknd? With all of the commercials that they stick in there, it probably would take them all weekend to air the film from start to finish.

It was an episode of TALES FROM THE CRYPT: http://www.imdb.com/title/tt0716911/

Let me add to that the time in May, 2010 when the schedule said that the 1935 LES MISERABLES would air at 4am followed by the 1952 version at 5am. There was one problem with that and I brought it up in the forum well before the air date - the 1935 film has a running time of 109 minutes and thus won't fit into an hour slot. There was no acknowledgement of my adviso. The schedule in question affected what was listed on the May 23-24 schedules and my post was dated May 1. This caused the 1952 film to start at 6am and BEFORE I HANG which was to air at 7am was removed from the schedule. FACE BEHIND THE MASK which was to air at 815am was now moved up 15 minutes to an earlier start as was every film that followed up until the 8pm film got things back on schedule. All day the interstitial that pops up between films still showed the former schedule and not the revised start times.

Never thought about the 31 Days of Oscar deal. So anyone who had a birthday in February gets no birthday salute. Just think about this - John Carradine was born in February and also made enough films to occupy the 31 days given to Oscar.

I would agree that Vic Morrow is worthy of a "day", but I see that his birthday is also Valentine's Day. That might work against Vic, he never became associated with "romantic" type roles or movies. And it also works against him since that's time for 31 Days of Oscar so there goes any chance of a b-day salute.

Did you spot Christopher Lee? He was the voice of U.N. Owen.

The Titanic sinks.

Thanks for the kind words Jonny, I liked what you had to say about the film also. The thng that I like about JAWS is that it's a film that does keep on delivering. Sure there are the shocks in it, but there are well-developed relationships in the film also. I just love the scene where Shaw and Dreyfuss are comparing scars and all that Sheider has to come up with is an appendix scar. But he also proves to be tremendously resourceful despite being (excuse the phrase) a fish out of water. This is one of those films that I know by heart yet whenever it comes on, I can't walk away from it. You're right, it shouldn't have succeeded as well as it did, the troubled production of it had us all expecting to be disappointed as I'm sure that some Universal execs figured at the time also. But it turned out to be one of the great accomplishments of what I consider the last great decade for film.

Funny, I was actually reading them before I posted. I was trying to find some clue as to exactly what might be expected of this new Kino release. But thanks for trying. I guess I'll have to wait for DVD Beaver to cover it all. If I recall properly, *Nothing Sacred* wasn't planned to be in color, but some other project of Selznick's wasn't ready to go yet and in those days you had to contract the service of Technicolor for a specific period. It may even have been something that he abandoned such as *Dark Victory*.

It's coming from Olive Films sometime in 2012. One of many Paramount releases: *Assault On The Queen* (1966): Frank Sinatra, Virna Lisi *Boeing Boeing* (1965) Jerry Lewis, Tony Curtis *The Buccaneer* (1938): Fredric March *The Buccaneer* (1958): Yul Brynner, Claire Bloom *Captain Carey USA* (1950): Alan Ladd *Come Blow Your Horn* (1963): Frank Sinatra, Barbara Rush. *Denver And The Rio Grande* (1952): Edmond O'Brien *Geisha Boy* (1958): Jerry Lewis, Suzanne Pleshette *The Hangman* (1959): Robert Taylor, Tina Louise *It's Only Money* (1962): Jerry lewis *The Jayhawkers* (1959): Jeff Chandler *The Lawless* (1950: Macdonald Carey, Gail Russell *Man Trap* (1961) Jeffrey Hunter, Stella Stevens *My Son John* (1952): Robert Walker, Helen Hayes *Night Of The Grizzly* (1966): Clint Walker, Martha Hyer *No Man Of Her Own* (1950): Barbara Stanwyck *Pony Express* (1953): Charlton Heston, Rhonda Fleming *Proud And The Profane* (1956): William Holden, Deborah Kerr *Rock A Bye Baby* (1958): Jerry Lewis, Marilyn Maxwell *Run For Cover* (1955): James Cagney, Viveca Lindfors *The Savage* (1952): Charlton Heston *Savage Innocents* (1960): Anthony Quinn, Peter O'Toole *Silver City* (1951): Yvonne De Carlo, Edmond O'Brien *Slender Thread* (1965): Sidney Poitier, Anne Bancroft *Spirit Is Willing* (1967): Sid Caesar, Vera Miles *Something To Live For* (1952): Joan Fontaine, Ray Milland *Too Late Blues* (1961): Bobby Darin, Stella Stevens (directed by John Cassavetes) *The Trap* (1959): Richard Widmark, Lee J. Cobb *Turning Point* (1952): William Holden, Alexis Smith *Warpath* (1951): Edmond O'Brien, Polly Bergen *Who's Got The Action?* (1963): Lana Turner, Dean Martin *Who's Minding The Store?* (1963): Jerry Lewis, Jill St. John

It looks like Cinecolor to me. It remains to be seen whether the December 20 release of the Kino DVD will be any better.

And if you're a mermaid in a Florida theme park, it's WeekiWachee-pedia

Thank you so much. As I said, it was a while ago that I saw what I did of it and I'm embarrassed that I could not even recall the leads.

I remember looking at an episode of ROSEANNE about twenty years ago. There must have been over a dozen names spread out among producers with the preface of executive, associate, assistant and then just some plain vanilla producers.

Fairly certain of the vintage. I only saw the beginning of it and this was ages ago. The premise was a career woman - perhaps an author - and what would have been considered a feminist in those days, is mistakenly thought to have married a man in one of those "meet cute" situations. I think that she gave him a lift, he got out of the car to send a telegram and in the meantime a "just married" sign was mistakenly placed on her vehicle. Someone sees the man getting back into the car, recognized the driver and they're assumed to have eloped and I guess the whole thing magnified from there, but I didn't get to see the rest of the film.