Fedya
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Posts posted by Fedya
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[New York Times obituary|http://www.nytimes.com/2013/03/22/arts/music/rise-stevens-opera-singer-dies-at-99.html?hpw]
Stevens was most prominent as an opera singer, but she had important roles in the 1941 version of *The Chocolate Soldier* with Nelson Eddy, as well as *Going My Way* in 1944.
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> (I know that TCM has to rent/license the WB/MGM cartoons from the Warner library, but, heck, the same parent company owns both TCM and the library -- how about having someone walk down the hallway at the office and work out the details?)
I believe somebody did just that: the folks over at Cartoon Network, who are also part of the Turner/Warner conglomerate
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Barrios also presented the "Gay Images in Film" series with Robert Osborne on TCM back in, I think, 2007, which is about the only time *Wonder Bar* got aired on TCM.
I remember Barrios' comment on *The Broadway Melody*. He said he was watching it for his book on early musicals, and a character showed up who made him stop and say something to the effect of, "That's... out there". It's the hat designer who is an unbelievable stereotype of a queenish gay man. Interesting to see such stereotypes were around 80 years ago
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A Youtube search for Wizard of Oz 1910 yields several hits, including [this|http://www.youtube.com/watch?v=jpV29YZ7Ksw], which I haven't watched to see if it's what you're looking for. The sidebar also has "The Patchwork Girl of Oz" apparently from 1914.
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[bBC obituary|http://www.bbc.co.uk/news/entertainment-arts-21828965]
Those who are fans of the Britcoms that show up on PBS will probably best remember him as Col. Stephen Peacock, the floor-walker at Grace Bros. department store on the low-brow Are You Being Served? which ran for a dozen years. But he also appears in the bizarre post-apocalyptic comedy *The Bed-Sitting Room* as the man going around what remains of Britain reading the BBC news among other roles. (Blink and you'll miss him in Dirk Bogarde's *Victim*, for example.)
I believe Nicolas Smith, who played Cuthbert Rumbold, the bald, jug-eared lecher of a boss, is the only one of the original Grace Bros. staffers still with us.
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Kinescopes weren't so much made to preserve programs as to enable live programs on the East coast to be broadcast on the West coast at a reasonable time. That, and for syndication.
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[With a little help from Jack Nicholson and Marcel Marceau|http://boingboing.net/2013/03/12/the-day-my-grandfather-groucho.html]
An interesting little read.
Edited by: Fedya on Mar 15, 2013 9:34 PM, because these boards are screwy with formatting next to punctuation marks.
Edited by: Fedya on Mar 15, 2013 9:35 PM
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> The film Emma is all about a maid (as played by Marie Dressler), who marries her boss and is *turned on* by his children.
Sort of like Woody Allen and Soon-Yi? ;-) Oh, you mean that the (step-)children turn on her and try to disinherit her when Dad dies. Well, not the youngest one. But Myrna Loy sure does.
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You're not the only one, Sepia.
And I don't particularly care for Hollywood's mawkish doe-eyed view of Irish-Americans. It was a revelation the first time I saw *I See a Dark Stranger* on TCM, with its more even-handed view of the Irish.
Another movie with an Irishman in cahoots with the Nazis is *The Man Who Never Was*, in which Stephen Boyd plays an Irishman hired to get into Britain and investigate a possible hoax. It's airing early Friday morning on the Fox Movie Channel if you have that, and is based on the true story of Operation Mincemeat. It's quite a good movie.
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> What is wrong with the majority of viewers being from the AARP crowd?
Who's going to replace them as viewers when they die? This isn't to say that TCM (or anybody here) wants to get rid of them as viewers. But they understandably don't want to be stereotyped as a niche channel. How do they keep the current viewers, and convince new people that those old Buster Keaton/L&H silents, or over-the-top Busby Berkeley musical numbers, or mystery series (just to give a few examples) are something that they might enjoy?
I'm sure some people will say that they don't care, and that TCM should only cater to them. But that's not really a viable strategy.
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I download the printable schedules only a few days before the start of the month, and my April 2010 schedule doesn't show *Lady in the Dark* on the 29th, or at all.
For the record, the schedule that night (I suppose the printed schedule could have been preempted, but I would have blogged about that if they had a tribute for somebody who died) was:
08:00 PM: *PT 109*
10:30 PM: *The Desert Fox*
12:15 AM: *Hitler*
02:15 AM: *The Gallant Hours*
04:15 AM: *The Story of GI Joe*
In fact, the monthly schedules going back to July 2007 don't show any listings of *Lady in the Dark*.
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Has TCM ever showed *Valley of the Dolls* before?
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The "Tradition" song showed up at the very beginning (it might even have been before the opening credits, which didn't come until about 10 minutes in).
That was about all I could stomach of the movie, however.
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I meant "evil" in the sense of "evil genius". I liked it. And I didn't realize that was your schedule.
I'm waiting for TCM Programmer to crib some of my ideas. :-(
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NOTES ON A SCHEDULE
Five years ago(!), I started my low-traffic movie blog http://justacineast.blogspot.com and, for a while now, I've thought about doing a Programming Challenge schedule based on ides from various blog posts. When I can't think of a good movie coming up on TV that I haven't already blogged about, I have a tendency to do a list-type post based upon something or other that's come up in the news or my personal life.
My first real post about movies was titled "Spare a Thought for Jack Carson", who so often played the second-banana, which was oftentimes a smarmy type you expected to con you. So, I've started off Sunday morning and afternoon with half a dozen of Carson's films with him in such roles. (Well, except for *My Dream Is Yours*, in which he actually gets to be the top banana.)
Last year during TCM's 31 Days of Oscar they spent a day on movies set in France, and I noticed how many biopic there were set in France of famous French people. I've expanded upon that by running a marathon of seven biopics of French people (Nostradamus was French too, soo if you want to consider the short a biopic that makes it eight), including Abel Gance's *Napoleon* for this week's TCM Silent Sunday Nights movie.
John Ford filmed a bunch of his westerns in Utah's Monument Valley, although I don't know that there are really any monuments there. But I used Monument Valley as a springboard for a July 2008 post (http://justacineast.blogspot.com/2008/07/monument-valley.html) on movies that use actual monuments in the plot. OK, technically many of them are landmarks, not monuments, but you get the point. In order, there's the Hoover Dam, the Empire State Building, the Empire State Building, the Acropolis, and the Statue of Liberty.
I had to come up with a programming theme around the number 100, which was a bit of a toughie since the only blog post I did was for post #100 which unsurprisingly recommended Deanna Durbin in *One Hundred Men and a Girl*. But then I remembered the Mayan Apocalypse of last December, when the TCM Programmer showed his evil genius side by scheduling a bunch of movies set against a post-apocalyptic world. How would such a programmer hit 100? Add all of Monday night's six movies together and you might figure that out.
In August of 2009 I got roped into accompanying my mother to the local Walmart's eyeglasses center to give my opinion on which sets of glasses looked good on her. I didn't really want to do it, so my first thought when I got there was to see if they had any frames like the ones on the glasses Spencer Tracy wore in *Guess Who's Coming to Dinner* or *Judgment at Nuremberg*. If you've seen the movies, you know exactly what those glasses look like; if not, the blog post (http://justacineast.blogspot.com/2009/08/eyeglasses.html) helpfully has a photo. I thought about some other types of glasses, like the ones Edie Adams wears in *The Apartment*, which are like a woman's equivalent of those Spencer Tracy specs but with small fins. (I believe you can see them in the New Year's scene where Fred MacMurray and Shirley MacLaine are celebrating at the restaurant and Edie Adams spots them.) There's also Charles Coburn's monocle (although my mom has poor vision in both eyes so that wouldn't be appropriate for her); Harold Lloyd's iconic frames, or the glasses that Rudy Vallee keeps seeing get broken in *The Palm Beach Story*.
The first talking version of *Madame X* was made, I believe, in 1929, and has been remade several times, notably in the 1960s with Lana Turner. And then there are the movies that look like *Madame X* but technically aren't. It's something I noticed and pointed out (http://justacineast.blogspot.com/2010/04/madame-x-take-3210542184375.html) when I saw the underwhelming *To Each His Own*. So, I've programmed three movies that are variations on the *Madame X* theme. The frigtening thing is that Olivia de Havilland wasn't the first person to win an Oscar for doing a warmed-over version of *Madame X*.
In September 2009, I asked (http://justacineast.blogspot.com/2009/09/who-should-be-star-of-month.html) what sort of person would make a good Star of the Month. I think it has to be somebody reasonably well-known (to try to lure in people who aren't necessarily classic movie fans) and who was actually a star. One such person who I think has never been Star of the Month is Sir Alec Guinness. His centenary is actually in April 2014 (hint to the TCM Programmer), but since the rules say the schedule has to be a week before March 2013, I picked next January for the schedule. It would be easy to program Guinness as Star of the Month, too, since *Lawrence of Arabia* could take up one entire night, and *Doctor Zhivago* a second entire night. Or so it seems.
When I blogged about *Bright Road* back in January 2010 (http://justacineast.blogspot.com/2010/01/to-maam-with-love.html) I mentioned Dore Schary and how he seemed to want to make more "relevant" movies than Louis B. Mayer did at MGM. In fact, MGM made quite a few movies in the early 1950s that had a B-movie running length, were in black and white unlike the lavish color musicals and costume epics they were also releasing in droves in the 1950s. Many of them also seemed to have a social message. So I've programmed a morning of those MGM "B" movies from the 1950s.
When TCM showed *Now, Voyager* as part of a look at psychiatry in the movies, I blogged about... Bette Davis' nervous breakdown in that movie. (http://justacineast.blogspot.com/2008/03/tastes-great-less-filling.html) It is, after all, the best part of the movie. Davis had quite a few memorable rants with similar overacting, and I've devoted an afternoon to them.
That afternoon continues into prime time with *The Star*, which is one of her duds. (To be fair, it's a good movie to laugh at, even if it wasn't conceived as a comedy.) I've suggested on my blog that everybody who's made enough movies has a dud somewhere along the way, such as Doris Day with *With Six You Get Eggroll* (http://justacineast.blogspot.com/2008/09/retirement-was-good-idea.html). Some duds are worse than others, to be sure, but I've picked a night of movies from otherwise talented actors and directors that I consider to be duds.
In February 2009, I wrote a blog post called "Shelley Winters and Water Don't Mix". (http://justacineast.blogspot.com/2009/02/shelley-winters-and-water-dont-mix.html) Whether it's meeting a desperate criminal at a public swimming pool, or winding up in a boat that overturned, you'd think that Winters would have learned from her first three bad experiences in the water by the time *The Poseidon Adventure* came along.
There's something about the confined spaces on a boat that naturally makes for suspense, as I blogged about in May of 2008 (http://justacineast.blogspot.com/2008/05/on-boats-and-confined-spaces.html) and I've included a couple of movies that fit that theme. In the last of those movies, *Bed of Roses*, Constance Bennett escapes by jumping into the Mississippi River. That segues into the Thursday night theme.
In May, 2009, former South Korean President Roh Moo-Hyun committed suicide by jumping off a cliff. When I heard the news, I immediately thought, "What movies involve people jumping (or threatening to jump) to their deaths?" and wrote a blog post about it. (http://justacineast.blogspot.com/2009/05/dont-jump.html) Whether it's jumping out of a building, off a bridge, seemingly jumping off a bell tower, or being told by an actor playing your F?hrer to jump out of an airplane even though you're not wearing a parachute, there are quite a few movies with this as a plot point.
The last of the movies has Bette Davis in the cast (although she's not the one who jumps), which led me to think of another Bette Davis movie, *All About Eve*, which has one glaring flaw, as I mentioned back in July 2008 (http://justacineast.blogspot.com/2008/07/i-have-feeling-were-not-in-kansas.html). There's a scene of George Sanders and Anne Baxter in New Haven, which has some of the worst rear-projection photography I've seen in a prestige picture. The opening of *Captain Blood* looks to be pretty lousy rear-projection photography, too.
When I started writing the blog, it wasn't long before Valentine's Day, so I did a series of posts on movies that have plots you might think belong on the Lifetime Channel, but in fact are perfectly enjoyable for men, too. (In *The Trouble With Harry*, Shirley MacLaine thinks she's killed her abusive ex-husband. What's not Lifetime about that?)
Those of you in the Northeast US may remember the blackout of August 2003. I wrote a post on the fifth anniversary of it mentioning the strategic use of a lack of electriciy in some movies. Rather than doing blackout movies, however, I decided to program a series of movies with electricity as a key plot point.
For TCM Underground, I've recommended the first two movies of the Gamma I Quadrilogy, an Italian sci-fi series of terrible (but terribly funny) movies before. They've shown up several times on TCM. The last two don't seem to show up so often, so I selected the third and fourth for TCM Underground.
In August 2012 (http://justacineast.blogspot.com/2012/08/news-of-weird.html'>http://justacineast.blogspot.com/2012/08/news-of-weird.html'>http://justacineast.blogspot.com/2012/08/news-of-weird.html'>http://justacineast.blogspot.com/2012/08/news-of-weird.html), I read a story out of Iceland about a tourist who was reported missing by the leader of her tour group, and ended up participating in the search for the "lost" tourist, not realizing she was the person for whom they were searching! There are several movies that have a similar theme of investigating oneself, although inside jobs by corrupt cops are really more common.
Hollywood has had a long history of trying to make movie stars out of people. Sometimes, it's not such a good idea, when they take somebody famous for something else and cast them in movies. Babe Ruth can play himself, but not much else. Tony Bennet could sing, but not act; the same goes for Glen Campbell. And then there's *Victory*, a mess starring Sylvester Stallone, Michael Caine, and Pel? as soccer players who are POWs in a Nazi prison camp in World War II. At least one of the three could play soccer. As for the acting, well, let's just say that for none of them is *Victory* their finest hour.
Finally, in February 2008, I wrote a post titled "Ethnic G. Robinson" (http://justacineast.blogspot.com/2012/08/news-of-weird.html), mentioning how Edward G. Robinson was cast in a whole bunch of different nationalities in his career. It included Italian-American; Portuguese-American; Norwegian-American; Greek-American; Chinese-American; and German.
SILENT SUNDAY NIGHTS: *Napoleon*
TCM IMPORTS: *The Story of Women*
STAR OF THE MONTH: Alec Guinness
TCM ESSENTIAL: *Little Caesar*
PREMIERES: *Naked Gun 2-1/2*, *The Poseidon Adventure*, *Wild River*, *Victory*
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SUNDAY, January 5, 2014
Spare a thought for Jack Carson
0600 *The Bride Came COD* dir. William Keighley, stars Bette Davis, James Cagney, Jack Carson (1941, WB, 92 min)
0745 *Love Crazy* dir. Jack Conway, stars William Powell, Myrna Loy, Jack Carson (1941, MGM, 99 min)
0930 *The Strawberry Blonde* dir. Raoul Walsh, stars James Cagney, Rita Hayworth, Jack Carson (1941, WB, 97 min)
1115 *Mildred Pierce* dir. Michael Curtiz, stars Joan Crawford, Zachary Scott, Jack Carson (1945, WB, 111 min)
1315 *Bright Leaf* dir Michael Curtiz stars Gary Cooper, Lauren Bacall, Jack Carson (1950, WB, 110 min)
1515 *My Dream Is Yours* dir. Michael Curtiz, stars Jack Carson, Doris Day (1949, WB, 101 min)
Biopic after Biopic after Biopic
1700 *Voltaire* dir. John Adolfi, stars George Arliss, Doris Kenyon (1933, WB, 72 min)
short: Nostradamus (1938, MGM, 11 min)
1830 *The Story of Louis Pasteur* dir. William Dieterle, stars Paul Muni, Josephine Hutchinson (1936, WB, 86 min)
2000 *The Life of Emile Zola* dir. William Dieterle, stars Paul Muni, Gale Sondergaard (1937, WB, 116 min)
2200 *Marie Antoinette* dir. WS Van Dyke, stars Norma Shearer, Tyrone Power, John Barrymore (1938, MGM, 149 min)
0045 *Napoleon* dir. Abel Gance, stars Albert Dieudonne (1927, Cine France, 330 min) Exempt
MONDAY, January 6
0615 *The Story of Women* dir. Claude Chabrol, stars Isabel Huppert (1988, MK2, 108 min, p/s)
0815 *The Song of Bernadette* dir. Henry King, stars Jennifer Jones, Charles Bickford (1943, Fox, 156 min, p/s)
Monument Valley
1100 *711 Ocean Drive* dir. Joseph Newman, stars Edmond O'Brien, Joanne Dru, Otto Premingre (1950, 102 min, p/s)
1245 *King Kong* stars Fay Wray, King Kong (1933, RKO, 100 min)
1430 *Zazie Dans Le Metro* dir. Louis Malle stars Catherine Demongeot, Philippe Noiret (1960, 89 min, p/s)
1600 *Boy on a Dolphin* dir. Jean Negulesco stars Clifton Webb, Alan Ladd, Sophia Loren (1957, Fox, 111 min, p/s)
1800 *Saboteur* dir. Alfred Hitchocck, stars Bob Cummings, Priscilla Lane, Norman Lloyd (1942, Universal, 109 min p/s)
Evil TCM Programmer
2000 *42nd Street* dir. Lloyd Bacon, stars Ruby Keeler, Dick Powell (1933, WB, 89 min)
2145 *8-1/2* dir. Federico Fellini, stars Marcello Mastroianni, Claudia Cardinale (1963, Cinecitta, 138 min, p/s)
0015 *Five Came Back* dir. , stars Lucille Ball, Chester Morris (1939, RKO, 75 min)
0145 *Naked Gun 2-1/2* dir. David Zucker, stars Leslie Nielsen, Priscilla Presley (1991, Paramount, 85 min) PREMIERE
0315 *The 39 Steps* dir. Alfred Hitchcock, stars Robert Donat, Madeline Carroll (Gaumont, 1935, 86 min, p/s)
0445 *Three Wise Girls* dir. William Beaudine, stars Jean Harlow, Mae Clarke (1932, Columbia, 69 min, p/s)
TUESDAY, January 7
Helping Mom buy glasses
0600 *Guess Who's Coming to Dinner* dir. Stanley Kramer, stars Spencer Tracy, Katharine Hepburn (1967, Columbia, 108 min, p/s)
0800 *The More the Merrier* dir George Stevens, stars Jean Arthur, Joel McCrea (1943, Columbia, 104 min, p/s)
0945 *The Palm Beach Story* dir. Preston Sturges, stars Joel McCrea, Claudette Colbert, Rudy Vallee
1115 *The Apartment* dir. Billy Wilder, stars Fred MacMurray, Jack Lemmon, Shirley MacLaine (1960, Mirisch, 125 min, p/s)
Short: An Eastern Westerner dir. Hal Roach, stars Harold Lloyd, Mildred Davis (1920, Hal Roach, 23 min, p/s)
1345 *Safety Last* dir. Fred Newmeyer, stars Harold Lloyd (1923, Hal Roach, 70 min, p/s)
Madame X, Take #3210542184375
1500 *The Sin of Madelon Claudet* dir. Edgar Selwyn, stars Helen Hayes, Lewis Stone (1931, MGM, 75 min)
1615 *The Secret of Madame Blanche* dir Charles Brabin, stars Irene Dunne, Lionel Atwill (1933, MGM, 84 min, p/s)
1745 *To Each His Own* dir. Mitchell Leisen, stars Olivia de Havilland, John Lund (1946, Paramount, 122 min)
Who Should Be Star of the Month? Alec Guinness
2000 *Kind Hearts and Coronets* dir. Robert Hamer, co-stars Dennis Price, Valerie Hbson (1949, Ealing, 106 min, p/s)
2200 *The Ladykillers* dir Alexander Mackendrick, co-stars Peter Sellers, Cecil Parker (1955, Ealing, 91 min, p/s)
2345 *The Horse's Mouth* dir. Ronald Neame, co-stars Kay Walsh, Renee Houston (1958, 97 min, p/s)
0130 *A Majority of One* dir. Mervyn Le Roy, co-stars Rosalind Russell, Ray Danton (1961, 156 min, p/s)
0415 *Murder By Death* dir Robert Moore, co-stars Peter Falk, Peter Sellers (1976, 94 min, p/s)
WEDNESDAY, January 8
MGM 50s B Message Movies
0600 *Bright Road* dir. Gerald Mayer stars Harry Belafonte, Dorothy Dandridge, Philip Hepburn (1953, MGM, 68 min)
0715 *Talk About a Stranger* dir. David Bradley, stars George Murphy, Nancy Davis, Billy Gray (1952, MGM, 62 min)
0830 *The Next Voice You Hear* dir. William Wellman, stars James Whitmore, Nancy Davis, Gary Gray (1950, MGM, 83 min)
1000 *The Sellout* dir. Gerald Mayer, stars Walter Pidgeon, John Hodiak, Audrey Totter (1952, MGM, 83 min)
1130 *Slander* dir. Roy Rowland, stars Van Johnson, Ann Blyth, Steve Cochran (1957, MGM, 81 min)
Bette Davis' rants
1300 *In This Our Life* dir. John Huston, stars Bette Davis, Olivia de Havilland, Charles Coburn (1942, WB, 97 min)
1445 *Now, Voyager* dir. Irving Rapper, stars Bette Davis, Paul Henried, Claude Rains (1942, WB, 117 min)
1645 *Jezebel* dir. William Wyler, stars Bette Davis, Henry Fonda, George Brent (1938, WB, 104 min)
1830 *Of Human Bondage* dir. John Cromwell, stars Bette Davis, Leslie Howard (1934, RKO, 83 min)
Everybody Has a Dud
2000 *The Star* dir Suart Heisler, stars Bette Davis, Sterling Hayden (1952, Fox, 89 min, p/s)
2145 *Once Upon a Time* dir. Alexander Hall, stars Cary Grant, Janet Blair, James Gleason (1944, Columbia, 89 min, p/s)
2330 *Cluny Brown* dir. Ernst Lubitsch, stars Jennifer Jones, Charles Boyer, Peter Lawford (1946, Fox, 100 min, p/s)
0115 *With Six You Get Eggroll* dir. Howard Morris, stars Doris Day, Brian Keith, George Carlin (1968, Arwin, 95 min, p/s)
0300 *The Left Hand of God* dir. Edward Dmytryk, stars Humphrey Bogart, Gene Tierney, Lee J. Cobb (1956, Fox, 87 min)
0430 *Mr. Peabody and the Mermaid* dir. Irving Pichel, stars William Powell, Ann Blyth, Irene Hervey (1948, 84 min, p/s)
THURSDAY, January 9
Shelley Winters and water don't mix
0600 *He Ran All The Way* dir. , stars Shelley Winters, John Garfield (1951, UA, 77 min, p/s)
0730 *A Place in the Sun* dir. George Stevens, stars Shelley Winters, Montgomery Clift, Elizabeth Taylor (1951, Paramount, 122 min, p/s)
0945 *Night of the Hunter* dir. Charles Laughton, stars Shelley Winters, Robert Mitchum (1955, 93 min, p/s)
1130 *The Poseidon Adventure* dir. Ronald Neame, stars Shelley Winters, Gene Hackman, Ernest Borgnine (1972, Fox, 117 min) PREMIERE
On boats and confined spaces
1330 *Journey Into Fear* dir. Norman Foster, stars Joseph Cotten, Dolores Del Rio, Ruth Warrick (1943, RKO, 68 min)
1445 *Plunder of the Sun* dir. John Farrow, stars Glenn Ford, Patricia Medina, Diana Lynn (1953, WB, 81 min, p/s)
1615 *Death on the Nile* dir. John Guillermin, stars Peter Ustinov, Bette Davis, David Niven (1978, EMI, 140 min, p/s)
1845 *Bed of Roses* dir. Gregory La Cava, stars Constance Bennett, Joel McCrea, Pert Kelton (1933, RKO, 67 min)
Don't Jump!
2000 *The Bad Sleep Well* dir Akira Kurosawa; stars Toshiro Mifune (1960, Toho, 151 min, p/s)
2245 *Fourteen Hours* dir Henry Hathaway, stars Richard Basehart, Barbara Bel Geddes, Paul Douglas (1951, Fox, 92 min, p/s)
0030 *The Stork Club* dir Hal Walker; stars Betty Hutton, Barry Fitzgerald, Don De Fore (1945, Paramount, 98 min, p/s)
0215 *To Be Or Not To Be* dir. Ernst Lubitsch, stars Carole Lombard, Jack Benny, Robert Stack (1942, UA, 99 min, p/s)
0400 *Vertigo* dir. Alfred Hitchcock; stars James Stewart, Kim Novak, Barbara Bel Geddes (1958, Paramount, 129 min, p/s)
FRIDAY, January 10
0615 *Three on a Match* dir. Mervyn LeRoy; stars Ann Dovrak, Joan Blondell, Bette Davis (1932, WB, 63 min)
I Have a feeling we're not in Kansas any more
0730 *All About Eve* dir. Joseph Mankiewicz, stars Bette Davis, Anne Baxter, George Sanders (1950, Fox, 138 min, p/s)
1000 *Captain Blood* dir. Michael Curtiz, stars Errol Flynn, Olivia de Havilland, Basil Rathbone (1935, WB, 119 min)
Chick Flicks for Guys
1200 *Leave Her to Heaven* dir. John Stahl, stars Gene Tierney, Cornel Wilde, Jeanne Crain (1945, Fox, 110 min, p/s)
1400 *The Miracle of Morgan's Creek* dir. Preston Sturges, stars Eddie Bracken, Betty Hutton, William Demarest (1944, Paramount, 98 min, p/s)
1545 *The Sign of the Cross* dir. Cecil B. DeMille, stars Elissa Landi, Fredric March, Claudette Colbert (1932, Paramount, 122 min, p/s)
1800 *The Trouble With Harry* dir. Alfred Hitchcock, stars John Forsythe, Edmund Gwenn, Shirley MacLaine (1955, Paramount, 99 min, p/s)
Short: Crime Does Not Pay: Buried Loot (1935, MGM, 19 min)
Electricity
2000 *Wild River* dir. Elia Kazan, stars Montgomery Clift, Jo Van Fleet, Lee Remick (1960, Fox, 110 min) PREMIERE
2200 *Edison the Man* dir. Clarence Brown, stars Spencer Tracy, Rita Johnson, Charles Coburn (1940, MGM, 107 min)
0000 *Slim* dir. Ray Enright, stars Pat O'Brien, Henry Fonda, Margaret Lindsay (1937, WB, 85 min)
0130 *Lovin' the Ladies* dir. Melville Brown, stars Richard Dix, Lois Wilson, Allen Kearns (1930, RKO, 65 min)
TCM Underground
0245 *War Between the Planets* dir. Antonio Margheriti, stars "Jack Stuart", "Amber Collins" (1966, Mercury, 80 min) EXEMPT
0415 *The Snow Devils* dir. Antonio Margheriti, stars "Jack Stuart", "Amber Collins" (1967, Mercury, 90 min) EXEMPT
Short: Voices of Venice (1951, MGM, 9 min)
SATURDAY
News of the Weird
0600 *Go Chase Yourself* dir. Edward Cline, stars Joe Penner, Lucille Ball (1938, RKO, 70 min)
0715 *The Big Clock* dir. John Farrow, stars Ray Milland, Charles Laughton, Maureen O'Sullivan (1948, Paramoount, 95 min, p/s)
0900 *The Prowler* dir. Joseph Losey, stars Van Heflin, Evelyn Keyes (1951, Horizon, 92 min, p/s)
1045 *Pushover* dir. Richard Quine, stars Fred MacMurray, Kim Novak (1954, Columbia, 88 min, p/s)
Don't Quit Your Day Job
1215 *Headin' Home* dir. Lawrence Windom, stars Babe Ruth, Ruth Taylor (1920, 71 min, p/s)
1330 *The Oscar* dir. Russell Rouse, stars Tony Bennett, Stephen Boyd, Elke Sommer (1966, Embassy, 119 min, p/s)
Short: The Soundman (1950, AMPAS, 10 min, p/s)
1545 *True Grit* dir. Henry Hathaway, stars John Wayne, Glen Campbell, Kim Darby (1969, Paramount, 128 min, p/s)
1800 *Victory* dir. John Huston, stars Sylvester Stallone, Michael Caine, Pel? (1981, Lorimar, 116 min) PREMIERE
Ethnic G. Robinson
2000 *Little Caesar* dir. Mervyn LeRoy, stars Edward G. Robinson; Douglas Fairbanks, Jr.; Glenda Farrell (1931, WB, 79 min)
2130 *Tiger Shark* dir Howard Hawks, stars Edward G. Robinson, Richard Arlen, Zita Johann (1932, WB, 77 min)
2300 *Our Vines Have Tender Grapes* dir. Roy Rolwand, stars Edward G. Robinson, Agnes Moorehead, Margaret O'Brien (1945, MGM, 105 min)
0100 *Smart Money* dir. Alfred Green, stars Edward G. Robinson, James Cagney, Evalyn Knapp (1931, WB, 81 min)
0230 *The Hatchet Man* dir. William Wellman, stars Edward G. Robinson, Loretta Young, Dudley Digges (1932, WB, 74 min)
0345 *The Prize* dir. Mark Robson, stars Edward G. Robinson, Paul Newman, Kevin McCarthy (1963, MGM, 134 min, p/s)
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> (Yeah. I was watching *Desk Set*.)
The computer at the end of *Desk Set* was reused for *What a Way to Go* in the Dick Van Dyke segment. (Sorry, but FMC just showed *What a Way To Go* last week and that computer, with the words *The End" very obviously noticeable, is something tough to miss.)
Yeah, I know this has nothing to do with Floating Island.. Feel free to carry on with your original thread.
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> Currently, I am watching *The Grape of Wrath*, and I couldn't be more 180 degrees from Imitation of Life.
Must not have been very much wrath if it only produced one grape. ;-)
{ducking}
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I love Douglas Sirk too. He directed some of the greatest comedies of the 1950s.
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I'm thinking of using Abel Gance's *Napoleon* for my Silent Sunday Nights movie, but IMDb lists a whole bunch of running times. Anybody know what the proper one would be if TCM ever runs it?
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Why would anybody want to come to [an artifical nylon fabric|http://en.wikipedia.org/wiki/Cordura] anyway?
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> 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. :-)
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> 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.
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> 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.)
The Boy With Green Hair
in General Discussions
Posted
I'm sorry to say that I found this film to be one of those that fit the Fred Dobbs "25 minutes in and nothing's happened" quote. It's terribly slow going, or at least that's how it seemed to me the last time I tried to sit through it.
It takes quite some time for the boy to get his green hair, too, since he shows up with a shaved head at the beginning and the story is then told in flashback.