Fedya

> but wouldn't it have been delicious for WB to have done a parody of it with Pepe LePew? Sure, but Pep? Le Pew had not yet been created at that time. In a Programming Challenge several years ago, I actually did a night of Charles Boyer movies and threw in a Pep? Le Pew short to see if anybody would notice it. :-)

> This mentality - supreme godlike artistic omnipotence - is very unhelpful and unappealing. We're probably getting off-topic, but this comment struck a chord because it reminds me of another thing that I always find off-putting when it comes to these "greatest of all time" lists, which is the elevation of auteurs. It's as if there are people who think that if somebody had to fight the Hollywood studio bosses while making their movie, it automatically makes the movie better, if not even brilliant. I've never understood the praise for *F For Fake*, for example, yet there it is on the list. (Surprisingly, *Mr. Arkadin* isn't on the list.) By the same token, I don't get why Charlie Chaplin is always given so much more praise than Buster Keaton, although it's nice to see *The General* and/or *Steamboat Bill* (take your pick) getting more attention. And then there's the really overlooked Harold Lloyd; *Safety Last* isn't on the list at all. But Chaplin had the more prominent problems with the studio, I think, and especially had the political problems. (Which brings up a whole different issue I don't want to derail this thread with.) Getting back to Tarkovsky, I picked him simply because his was the name the jumped out at me. I'm used to seeing Truffaut and Godard among the French New Wave directors show up on such lists; or Fellini; or Ingmar Bergman; or Kurosawa. Tarkovsky, not so much.

> Any comments? Is Andrei Tarkovsky really that good, or are people naming him because they think it makes them erudite to name him and omit some Hollywood movie? (Note that this isn't meant to denigrate Tarkovsky; it's just that his name really popped out at me among the non-Hollywood directors because of how many movies he had high up the list.)

Doesn't Stewart also play Kirk Douglas' assistant in *The Bad and the Beautiful* ? (Or is he assistant to the Walter Pidgeon character? I suppose I could watch the movie again tomorrow when TCM is running it.)

Donen, for his part, DIDN'T give us *Meet Me In St. Louis*, which is a huge check mark in his favor. I'll take Minnelli's non-musicals, though, like *Father of the Bride*, *The Bad and the Beautiful*, and *Lust for Life*.

*20,000 Leagues Under the Sea* with Kirk Douglas and Esmerelda the seal?

Isn't Winston Smith asked what 22 equals in 1984+ ? It's been a long time since I've read it, and the only copy I've got here is a translation into Russian that I picked up when I was studying in Sankt Peterburg.

> the blockbuster with a profit *Going My Way* (which it is a better movie than.) That's not saying much, however, since practically everything Oscar-nominated in 1944 was better than *Going My Way*.

> Since the age of Reagen, television has dictated the way politicians speak to some extent. The age of heightened oratory is (sadly) over. Doesn't this go back to Kennedy? Supposedly in the first Kennedy-Nixon debate, the people who listened to it on the radio believed Nixon won, and the people who watched it on TV believed Kennedy won.

> to "nuke(cu-lar)" this here thread There's actually a [Wikipedia article on the nucular mispronunciation|http://en.wikipedia.org/wiki/Nucular], which suggests that the mispronuncation was used by Presidents Eisenhower, Carter, and Clinton in addition to GW Bush. For some reason, I seem to recall hearing Carter mispronounce the word when I was a kid and he was President, and also recall learning somewhere along the way that Eisenhower was the first prominent person to use the "nucular" mispronunciation. Edited by: Fedya on Feb 9, 2013 3:54 PM, because this message board is extremely screwed up in what it allows in linking text

> After all, I believe it was one of the first American productions shot entirely in Europe, so money couldn't have been an issue. Were any of the movies studios filmed in Europe done so becaue of "blocked" funds? That is, money that had been earned by the studio there, but because of currency controls, couldn't be taken out of the country? A lot of countries have had restrictions on how much money you're allowed to leave the country with, although I don't know if any of this applied at the time *Prince of Foxes* was made. But if they were using up such moneys, that could limit what sort of budget they had. I distinctly recall when TCM had the Merchant-Ivory salute a year and a half ago that it was mentioned *The Householder* was made with money they couldn't take out of India.

> You probably know the history of the Colts and Baltimore, They had to leave in the middle of the night because the state legislature threatened to take the team over via eminent domain. SO they packed up everything in the middle of the night, and the next morning, there was nothing for the state to take.

> but we love our Ravens Including the putative murderer? I listened to the game on the radio. Since I don't like NYC or Boston teams (I find the two fan bases to be the most obnoxious and arrogant out there), last year I watched Laurence Olivier in *The Entertainer* on TCM.

I wsa always more disturbed by the scene of Edward G. Robinson in the bathtub smoking his cigar.

Abbeville SC is the town used for the "Iowa" town Julia Roberts flees to in *Sleeping With the Enemy* (a film which needed one more bullet if you ask me).

I few weeks back I came across a [radio documentary from Bayerischer Rundfunk|http://www.br.de/radio/bayern2/sendungen/bayerisches-feuilleton/herbert-selpin-beyer102.html] on Selpin, his death, and Walter Zerlett, the man who made the denuniciation that got Selpin arrested. Zerlett was put on trial in 1947 by the denazification tribunals set up by the Allies. Of course, it's in German. I suppose you could run that page through Google Translate, or wait a long time for me to do the translation For those who speak German well, the [audio link|http://cdn-storage.br.de/mir-live/MUJIuUOVBwQIb71S/iw11MXTPbXPS/_2rc_H1S/_-iS/_AF6_ANc/130119_0805_Bayerisches-Feuilleton_Der-Untergang-des-Filmregisseurs-Herbert-Se.mp3] is to a 47MB file of a documentary that runs about 51 minutes.

> Thursday May 30 > REMAKES > 10:15AM Two Against The WOrld (1932) > X > 12:30PM Libeled Lady (1936) There's a 1936 film called *Two Against the World* which was a remake of *Five Star Final* I believe, but I don't think those two would fit into a 2:15 time slot.

> One favorite scene is in the prison, when they get the news of the successful robbery, and do the stomp! Funny, but that was one scene that I found intensely off-putting. No?l Coward walking like a newly-crowned Miss America while soaking in the adulation just didn't seem to fit in with the chase scenes.

> While you were interested in sports cars, I was interested in subway cars. [Canadian freak has vintage 1980s VIA Rail car in his basement|http://podcast.radionz.co.nz/aft/aft-20130121-1508-train_in_the_basement-048.mp3] (Link is to a 5.8 MB, ~16 minute audio file) But it's about a Canadian, so I'm sure one poster here will be interested. ;-)

If memory serves, Humphrey Bogart said that the hat James Cagney wore in *The Oklahoma Kid* made Cagney look like a mushroom!

I believe that today's airing of *The Corpse Came COD* was the first in over five and a half years. (I have the monthly schedules going back to July 2007 and a search through them yesterday didn't yield any matches.)

Did you see the scene where the husband has the bag from the grocery shopping in his arms, and you can clearly see an obvious roll of toilet paper? I can't imagint that happening after 1934. :-) The husband is Norman Foster, who I believe also played Ginger Rogers' love/hate interest in *Rafter Romance* which is a lot of fun.

> CRY DANGER, IMHO, is not on the same planet as A TOUCH OF EVIL. I agree. Dick Powell had the enormous good sense to stop editing his movie and release a finished product.

You didn't find the professional regurgitator interesting? He's right up there with the *Dogville* shorts for circa-1930 shock value.

It's been a while since I've seen *The Ghost and Mrs. Muir*, but I thought in that particular scene, Rex Harrison's ghost was talking about going into a brothel. I think a Victorian woman would still have had an objection to using a word like "brothel". Unrelated, but Charles Coburn repeatedly gets away with using Farragut's line "Damn the torpedoes!" in *The More the Merrier*.