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About cinemafan

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  1. Hope this enlarges - it is wonderful. All credit to hawaiiansurf1
  2. I agree with you about James Dean in East of Eden. Although I wrote this a few years ago, I still feel the same way about this movie............ I will watch this everytime, not just for the great actors, but for the gorgeous depictions of classic central and northern California scenery. Anyone who has read John Steinbeck knows how his descriptions of that area are vivid and so real that you can see it, especially if you have ever been to Monterey, Salinas, King City or Big Sur. The ocean, wildflowers, fields, mountains, and colors all come alive in this movie. You can almost feel and smell the air. I grew up reading John Steinbeck and two summers ago went on a pilgrimage to his birth place in Salinas and the National Steinbeck Center there. A dream come true. Many hands-on recreations of his books and the films made of them. *The Red Pony* (which I got to sit on) from *The Long Valley* , *Of Mice and Men*, *Tortilla Flat*. They even had his truck and camper from *Travels with Charley*. Anyhow, the scenery is wonderful, and makes me want to visit again.
  3. Robert Vaughn and Joan Collins were hilarious as the hoity-toity in laws on the TV show The Nanny.
  4. RE: 9:00 PM (ET) Perfect Candidate, A (1996) Mudslinging highlights Oliver North's campaign for the Senate. Dir: R.J. Cutler Cast: Oliver North , Charles Robb , C-105 mins, Oh my gosh - does this guy (Mark Goodin) really know he is being filmed? I'm not sure I can make it through this.
  5. Mr. 6 - thanks for the heads up on tonight's schedule. I couldn't quite figure out what the theme was. Your link to the article did not work for me, so here is - ******************************************************************************************************** "To Tell the Truth - Mondays & Wednesdays in November Documentaries have been an important part of moviemaking since the silent-film era and continue today as one of the most powerful means of spreading information and expressing viewpoints. We are proud to present a TCM Spotlight that looks at the influential history of non-fiction films, showcasing more than five dozen important examples of this influential art form and featuring actor/TCM favorite Alec Baldwin as host. This Spotlight is chock-full of TCM premieres including two episodes of the ongoing series To Tell the Truth: A History of Documentary Film (2014), directed by David Van Taylor and Calvin Skaggs, in which Baldwin serves as a narrator. Episode 1 is entitled Working for Change, while Episode 2 is called Strategy of Truth. Among 11 other premieres are Paul Strand and Leo Hurwitz's Native Land (1942), which looks at labor organizing during the Great Depression; Michael Wadleigh's Woodstock (1970), a landmark documentation of the turbulent 1969 Woodstock Music & Art Festival; Ira Wohl's Best Boy (1979), a compassionate look at a mentally handicapped man who must learn to care for himself; Godfrey Reggio's Koyaanisqatsi (1982), an expressionistic study of modern humanity's separation from nature; God's Country (1985), Louis Malle's examination of two different eras in the life of a farming community in Minnesota; Michael Moore's Roger & Me (2089), a bold and personal look at the elimination of 30,000 jobs in Flint, Michigan by General Motors; and Alma Har'el's Bombay Beach (2011), a dreamlike reflection upon the American Dream as expressed by life on the edge of California's Salton Sea."
  6. with son David I've noticed the ring before, not the finger it was on, but the size of it when he was in the fist fight with Chris (Ben Johnson) - ouch! I have a feeling that it was Ladd's personal ring. It looked silver to me. Marian couldn't break up the fight - Shane was trying to save her husband's life by preventing him from going to meet Ryker and being killed for certain.
  7. That looks like Frank McGrath in the very middle (with the beard). I knew that he was a stuntman on The Searchers, but never was able to spot him. Looks like the whole gang is there.
  8. My favorite, one of his first.
  9. I wonder who complained aka brought it to the moderator's attention.
  10. This is very disruptive - every evening. I wonder how many others find this happening when they decide to post, and then change their mind.
  11. My first time seeing this - I enjoyed the young cast, especially Dana Andrews, who got to use his "Southern accent". Even Walter Huston and Walter Brennan looked young in this. Reminded me of The Southerner, also directed by Jean Renoir. The Southerner is a favorite of mine - Zachary Scott is hard to recognize as the lead in such a different role than the stuff that (I assume) he got stuck with playing later. This photo is from the set of Swamp Water. Anne Baxter did a good job at looking unkempt - lots of actresses might not have cooperated as well with that aspect
  12. darkblue said - "Don Ameche gets bigger billing than Tyrone Power!" But look who got their picture on the poster!
  13. Article I happened to read today - http://www.houstonchronicle.com/entertainment/tv/article/Today-s-filmmakers-drawn-to-TCM-screen-8316132.php Here it is, without photos, if you don't want to click the link - Today's filmmakers drawn to TCM screen Jake Coyle, Associated Press June 21, 2016 NEW YORK - Turner Classic Movies, that bastion of black-and-white, holds a unique place on the dial and in the hearts of cinephiles. In a continuous, commercial-free stream, much of the history of Hollywood is on view, 24/7, for sampling and binging - an uncorrupted corner of celluloid obsession that flickers day and night with Buster Keaton shorts, Robert Ryan series and Ernst Lubitsch marathons. But for many filmmakers, TCM isn't just a favorite channel, it's their lifeblood. Among directors from Martin Scorsese to Paul Thomas Anderson, it's a common refrain that Turner Classic is a constant source of inspiration and a beloved background in their lives. "I tend to have it on in the kitchen," said Anderson ("There Will Be Blood"). "I have a small TV in the kitchen, a great old Sony Trinitron. And that's probably where I see it the most. It's a comfort blanket. It's like a pacifier." Though Anderson might have once watched a string of films on TCM, he now has four children and is more likely to catch 15 minutes of something while making breakfast. But he says even a small bite of a great film is "food and drink in a way, to me. "I wake up in the middle of the night with hot sweats, thinking: 'What's going to happen to TCM? Are there going to be commercials? Is somebody going to buy it?' " said Anderson, building to a mock scream. Since premiering in 1994, ("Gone With the Wind") Turner Classic has been a glorious anachronism on the television landscape. Now available in about 85 million homes, it beams out film after film with almost no exceptions: an endless feast of pre-code comedies and post-war noir, John Ford Westerns and Fred Astaire musicals. Especially in the dog days of summer, when superheroes have a stranglehold on movie theaters, TCM can be an oasis. "Turner Classic is the only thing that kept me a U.S. citizen during the Bush years," says Alexander Payne ("Sideways," "Election"). The round-the-clock programming (some 400 movies a month) means there are plenty of duds, too. But they in some way add to the charm. Even weaker, forgettable films can offer directors lessons - sometimes more so than the classics. It has long been watched by filmmakers with a keen eye to their craft: a window into how different directors moved the camera or summoned an atmosphere. Sidney Lumet, the director who so famously satirized television news in "Network," said before his death in 2011 that he didn't watch TV much, but he watched Turner Classic Movies religiously. "Every evening I'm home, I automatically check Turner Classic Movies and see what's on," Lumet said. "And it doesn't even have to be a good movie. For me, it starts you thinking: What was it that made them do this?" There are, of course, many other avenues for such study but few that can be beckoned with a simple click or with the same sense of discovery. TCM is like radio for movies. Scorsese pens a monthly column for the network and has made the restoration of old films a personal crusade. For him, the distance between making movies and watching them on TCM is comically small. While editing his films alongside his regular editor Thelma Schoonmaker, Scorsese keeps the channel perpetually playing on a nearby monitor. "All the time. Not with sound. And away from Thelma," Scorsese says, chuckling. "I watch when I want to. I'll glance over and see a certain scene. Or she'll glance over and say, 'What was that a minute ago?' And I'll say, 'That's so-and-so.' Or I'll show her a sequence that comes on." It's also a connection for Scorsese to his earliest exposure to movies; he grew up watching films on television. Payne, too. But TV has changed considerably since then. Amid the rise of original cable programming, TCM has been one of the few to stay devoted to movies. Its original rival, AMC, became home to "The Walking Dead" and "Breaking Bad"; it no longer goes by its full name: American Movie Classics. IFC, too, has moved away from indie films to embrace scripted comedies like "Portlandia." But TCM, which is owned by Turner (part of Time Warner), has been happy to be the standard bearer for vintage film. It now hosts an LA film festival and a seven-night cruise. The channel's longtime host and face of the network, Robert Osborne - that friendly font of movie trivia, forever walking toward the camera - is now joined by hosts Ben Mankiewicz and the recently added Tiffany Vazquez. But the biggest change is yet to come: a new subscription-based streaming service from TCM and the Criterion Collection, a partnership that unites two tent poles of home-movie cinephilia. It also fills a void; Netflix has shown little interest in streaming older films. The service, FilmStruck, is to launch in the fall. Yet being able to pick and choose isn't quite the same as dipping into and out of TCM's broadcast stream. Though TCM can seem like a nostalgia factory for golden-age Hollywood, the network (which has an on-demand app) has courted younger viewers. A 2012 survey found that its audience isn't so old - 60 percent are aged 25-54. And some of its most famous fans watch on a variety of screens, including Steven Spielberg, who describes himself as "a TCM devotee." "I watch these movies mainly when I can't sleep. I'll get my iPad out and watch them," says Spielberg. "Instead of just running one Greta Garbo film, they run four or five and you get to see them all." Such discoveries are a part of a never-ending communion with cinema. "I like to watch a lot of the silent movies," says Spielberg, who has re-watched all of Keaton's films in recent years. "They taught me so much about where to put the camera."
  14. One more til next year - Errol always looked so happy on his boat.
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