Fedya
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Posts posted by Fedya
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Then it wasn't on TCM, whose prime time lineup last night was:
8:00 PM *Five Came Back* (1939)
9:30 PM *Island in the Sky* (1953)
11:30 PM *Plunder of the Sun* (1953)
1:00 AM *Valley of the Kings* (1954)
2:45 AM *Sinbad the Sailor* (1947)
4:45 AM *A Thousand and One Nights* (1945)
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Don't forget to look for the Pepsi cameos! ;-)
And make certain you stay to the bitter end of *Strait-Jacket*. (Gotta love that dress!)
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I just looked up my copy of TCM's August 2011 schedule. Bette Davis was the Star of the Day on August 3 (since this is Summer Under the Stars), and the following movies aired (all times Eastern):
0600 *The Working Man* (1933)
0730 *Stardust: The Bette Davis Story* (2005 Documentary)
0900 *Now, Voyager* (1942)
1100 *Bordertown* (1935)
1245 *20,000 Years in Sing Sing* (1932)
1415 *Juarez* (1939)
1630 *The Letter* (1940)
1830 *The Petrified Forest* (1936)
2000 *The Old Maid* (1939)
2200 *Jezebel* (1938)
0000 *The Corn is Green* (1945)
0200 *The Catered Affair* (1956)
0345 *John Paul Jones* (1959)
In fact, I distinctly recall watching *The Old Maid* that night, since it's one of the Bette Davis movies that shows up less often on TCM. I was underwhelmed. :-|
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I'd like the $350,000 that was buried under the Big W in *It's a Mad, Mad, Mad, Mad World*. :-)
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Is the airing of *The Letter* a premiere?
I'm also thrilled to see TCM got the rights to *Dante's Inferno*. Watch for one of the shipboard dancers; that's a young Rita Cansino, as the screen credit goes.
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For me it would be one of *King Kong* (the local library showed it as part of one of its programs for kids) or *Calamity Jane* (my uncle and grandfather were projectionists and one summer evening one of them had a projector and screen set up in the backyard and showed it). I don't remember which came first.
*Calamity Jane* put me right off musicals and Doris Day.
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No; I meant [the article|http://www.tcm.com/this-month/article.html?isPreview=&id=484545|202745&name=Ten-Cents-a-Dance], which ends with the following doozie:
> Barrymore would go on to work on one more film as director - *Guilty Hands* [1931] - but would be replaced by W.S. Van Dyke and receive no screen credit. Luckily, his film career as a character actor took off the same year when he was nominated and won the Best Supporting Actor Oscar? for *A Free Soul*.
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TCM just showed Raymond Burr's *A Cry in the Night* again today. There's an actor who looked like a creep. And I like his work.
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Isn't TCM telling them to pick several of their favorites/movies that have a special meaning for them out of the master list of movies they have the rights to? There's a reason why certain movies are favorites, after all.
As for movies not showing up for six months, how many of the prestige films from MGM/WB/RKO (since those are the ones TCM has an easier time of getting the rights to) haven't shown up in the last six months? (This isn't a rhetorical question.) I'm sure there are some: I know some of Bette Davis' work from WB after the lawsuit shows up less often, such as *The Old Maid* But I'd guess that a lot of those Bette Davis films show up more than twice a year
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To steer this back for movies, I was reminded of the scene in *Saboteur* when Norman Lloyd tries to escape in Radio City Music Hall and runs out in front of the screen, shooting. The audience thinks the gunshot noises are part of the film until Hitchcock cuts to a shot of an audience member who's been wounded.
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> One thing: I feel like I've made a link between "auteur" and "art" that I didn't mean to but was pushed into pursuing. I think the underlying message of the anti-auteur stance (not saying this about you, Arturo) is, "Don't dare make art." So I feel like I'm defending two positions here.
Well, I have a different position when it comes to "auteur" work I don't like, which boils down to "Just because you're an auteur doesn't automatically make your picture better". Orson Welles may have been an auteur, but stuff like *F For Fake* is in my opinion nearly unwatchablecrap, and it's not any better just because of how much time during his career. *Mr. Arkadin* is also a muddled mess. Don't tell me I watched the wrong version unless you're willing to tell me which of the 598459843279852745 edits Orson Welles intended for us to see.
The other thing I sense a lot of the time when I hear people who talk about their preference for indie/auteur/foreign stuff is that many of them seem to think they're somehow better fans because they look down their noses at the Hollywood studio system.
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> I'm not so sure all guest programmers really love classic movies when they pick the same basic movies time after time.
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> To me this is an indication they have limited knowledge of classic movies;
Translation: they're not as good a fan as I am because they don't have suitably obscure taste when it comes to old movies.
At least, that's the impression I get from the usual suspects who constantly complain when a Guest Programmer selects something like *A Face in the Crowd* or *42nd Street*. Hell, that's what most of the complaining about the TCM schedule seems to be about.
And frankly, the repetitive complaining is so obnoxious that it would thrill me if some future Guest Programmer came to these boards, saw the complaints, and specifically selected a tentpole or two just to tick off the complainers. And said so when sitting down with Robert Osborne.
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Try reading the article on *Ten Cents a Dance*.
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William Castle would have had a scale-model biplane flying over the viewers' heads.
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It wasn't until well into my adulthood that I discovered the main character in the Williamsburg film was played by Steve McGarrett. :-)
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Just because you don't like him doesn't mean he's a creep. I mean, I don't like Brando, but that doesn't make Brando a creep.
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> But shortly into the movie, here comes CLARK GABLE! And NO. I DIDN'T see his name in the opening credits.
I did. :-p
I didn't care for the ending, however. I was hoping (but didn't expect it to happen) that when Elfie (Marjorie Rambeau) came to the apartment looking for money from Bennett, that Bennett would leave Eflie there to be Menjou's kept woman and run off with Bob Montgomery. It certainly would have been a bigger shock!
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> She always struck me as the actress who may have had the highest IQ.
I would have guessed Hedy Lamarr was the smartest.
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Ah, but *Skidoo* is a fun bad.
If you want a movie that's so bad it's not even "so bad it's good", try something like *Dondi*.
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*Soylent Green*.
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I missed it. Is it anything like *Desire in the Dust* ?
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I don't believe anybody's mentioned *Night Must Fall* yet, in which Robert Montgomery may or may not have a human head in a hatbox.
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Bette Davis romantically paired with Sterling Hayden.
Wendell Corey romantically paired with anybody.
And yet Hollywood did both. :-)
Then again, Davis paired with Sterling Holloway would be an interesting couple....
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The corpse in Alfred Hitchcock's *The Trouble With Harry* is mistreated six ways from Sunday.
2012 SIGHT AND SOUND poll: VERTIGO beats CITIZEN KANE
in General Discussions
Posted
I think *Vertigo* is overrated.