Arkadin
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Posts posted by Arkadin
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"The Shop Around the Corner" is a wonderful film.
For Sullavan fans don't miss "Three Comrades" (1938) showing 3/6.
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Seventh Heaven (1937)
Firecreek (1968)
The Naked Spur (1953)
Of Human Hearts (1938)
The Shopworn Angel (1938)
The Mortal Storm (1940)
Harvey (1950)
Winchester 73 (1950)
The Far Country (1955)
Vertigo (1958)
Rope (1948)
The Last Gangster (1937)
Anatomy of a Murder (1959)
It's a Wonderful Life (1946)
Destry Rides Again (1939)
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People always want to mention "Hunchback" or "Phantom" as Chaney's best role, but for me personally this has to be one of his top three. Just the symbolism of him carrying his little heart around in his pocket makes you want to rip your own out to give to him.
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I made a DVD-R of the last time it showed, but am waiting with baited breath for this one to come to DVD.
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I have seen some of the film, but never had a chance to see all the little stories altogether within the film. Looks like from the schedule that this is the only showing TCM plans to do for awhile.
We will also be treated to three other great films that morning:
Divorce: Italian Style (1961)
I, Vitelloni (1953)
Wild Strawberries (1957)
Discussion anyone?
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One film I forgot to mention is "Paisan" (1946) which is coming on early Thursday morning. It is a series of viginettes about the Allied invasion of Italy. It's an Italian film, but it might be dubbed here instead of subtitled. Won't know until we see it.
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Glad you started this thread Dfordoom. I will be dropping by the library to pick up the ones I haven't read yet!
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> Arkadin:
> Doesn't offend me a bit - everyone is entitled to
> their opinion.
> Actually, I kind of like DD. For some reason I seem
> to like most of her films. The cut-off date for me
> for films I really love is about 1963 so she just
> makes it under the wire. I agree that most of her
> singing isn't all that great. I just happen to like
> Que Sera Sera.
Cool. Well, I realize we all have different tastes and that's what makes the world interesting. I actually enjoy her acting quite a bit.
She is also an animal rights activist and she talked about being on location for the Hitchcock film. She said that the animals were horribly treated and she told Hitch that she would not be in a scene with an animal or have one pull her in a cart or carriage unless they were properly fed. Hitchcock acquiesced and the scenes were shot. A great lady to be sure!
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You're welcome. You might enjoy "Three Comrades" (1938) which is coming up in March (3/6) on TCM.
It deals with the state of Germany inbetween the wars and three returning soldiers struggling to make a go of it. It's directed by Frank Borzage and beautifuly shot and lit. It also boasts F.Scott Fitzgerald's only screenwriting credit.
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Here is a link to a teaser on war films I did for my wife's forum on Memorial Day last year or so:
http://www.internationalgathering.co.uk/php2/phpBB2/viewtopic.php?t=3616
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I apologize if you are a DD fan. I personally just never cared for her singing.
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This might be a better link. that other one seemed to be freezing a bit:
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> Hi Moira -- After thumbing through the Leibowitz
> spread I've come to the conclusion that most
> contemporary actors seem to lack the viusal authority
> to convey a true sense of despair and experience that
> seems to define the noir universe. Your comment about
> poor Tobey Maguire sums it up: these people have a
> lot of living yet to do before assuming the roles of
> bonafide grownups in a dark and dangerous world!
There was an interesting article in Newsweek (2 yrs ago?) about the state of American actors and how most of them are very young looking pretty boys. They noted that there are no more Bogarts or Mitchum types any more.
If a movie calls for a rugged man type of character they are usually imported (ala Antonio Banderas, Russell Crowe, etc.). The reasoning behind the younger pretty males was that the audience they were trying to reach is 15-25. They really don't make movies for older people anymore. Although I didn't agree with everything in the article, it was certainly thought provoking and an interesting read.
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In my opinion, the earlier version is much superior to the later one. There is more suspense and Peter Lorre is a much better villian.
There are some differences notably in the way the film ends (I won't give that away) that make for a more exciting picture. I also enjoy the fact that I don't have to listen to Doris Day sing, but that's a bonus.
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Yes. Forgot PB. I am always forgetting something...
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> > "I'll say again what I've said before (and I find
> no critic "influential,") critics are people who,
> without any talent other than the ability to write
> well, and certainly bereft of the ability to produce,
> direct or even act in a film, exist for no other
> reason than to find the shortcomings of those who
> can. "
>
> Well put, Hollis; and I'll back up that observation
> with an extension of a quote that I paraphrased
> several years ago in an effort to reduce that same
> principle to a handy axiom:
>
> "Those who can't "do", "teach"; and those can't
> "teach", "critique"!
That's a very unfair statement. Most of the French New Wave directors started as critics. In this era you only have to look at Martin Scorsese who has written articles and done many commentaries to realize that this is not true.
To be able to look at a film and pull it apart is a talent in itself. To be able to put pen to paper, share those thoughts and excite others to see it even more so.
How many of us would have discovered every film that we as individuals prize by ourselves without reading about it in a book or hearing the glowing comment of a friend?
I am also a musician and (recording) engineer and while I don't want to boast about personal abilities I can handle myself pretty well and have been offered teaching jobs several times. I turn them down because I have tried teaching (music) before and it takes skills that I don't personally have.
Being a critic is the opportunity to teach others about film and yes, we do need them.
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Have a great one! Many happy returns.
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No problem. I am a musican and I always listen to scores and EM's music here defintely enhances the film and turns a a very good scene into a great one.
I also think it's interesting that it can be performed on just 2 instuments. To me, that is the hallmark of a good melody. One should use whatever orchestration one feels the need for , but in the end the melody should be one that could be played on a single (or this case 2) instument(s) and still retain it's feeling
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> No one has mentioned The Life and Death of Colonel
> Blimp. Am I the only one who likes this movie?
No, there's two of us!
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I found a clip of Shawn Lane playing the beautiful ballad from "Once Upon a Time in the West" (1969). I have often heard people cover the main theme, but never the ballad which I personally think is one of the most beautiful peices of music period.
Here is a clip from the film so you can hear what the original score sounded like:
http://www.youtube.com/watch?v=uU8PyzplcPI&mode=related&search=
Here is Shawn's Version:
For those who have never heard of Shawn Lane, he was probably the biggest underground guitar player in the US. He won guitar contests at 13 and went on tour with Black Oak Arkansas at 16 in 1978.
He had amazing fluidity and dexterity and was also a master pianist. Shawn finally got a record deal in 1991. "Powers of Ten" was an interesting debut and Lane went on to work with other great musicians like Jonas Hellborg and Michael Shrieve.
Shawn suffered from Psoriasis and also had Psoriatic Arthritis. The drugs he had to take for these conditions caused him to gain a huge amount of weight and finally caused his death of Pulmonary Fibrosis at the age of 40.
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Try your local library. You can probably find a VHS copy. If not, talk to the libarian about an Inter Library Loan. If you already have a card you can do all this from your computer.
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I personally have not found a lot of info from Clint on those films. I have read where he thought (like I do) that "For a Few Dollars More" was the most interesting film of the three.
I'm sure there is probably more info out there about these films (probably online), but most of the books I've read rarely talk about them.
As far as criticism on 60-70's westerns goes, most articals are either on Peckinpah's "Ride the High Country" & "Wild Bunch" or Altman's "McCabe and Mrs. Miller". These are legendary films, but how you could leave out Leone's work in that period is a mystery to me (Kirk Douglas' wonderful "Lonely are the Brave" is another that I have only found 2 serious articals about).
Eastwood began directing in 71 (Play Misty for Me). Although I certainly don't care for everything he's made, he has grown in skill considerably and also shown he's willing to take chances with material.
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For me it would be:
Time Bandits (1982)
One thing that is often forgotten in SiFi is humor. The film also works on deeper levels as well.
Escape From New York (1981)
This is a nice little flick made on a small budget that works well because the actors all do a credible job. Proof that you don't have to have tons of special effects to make a good movie.
Robocop (1987)
A halarious satire that still has moments that will touch your heart. One of the only great films of the 80's where the male and the female DON'T sleep together. Think about that.
Naussica of the Valley of the Wind (1984)
Naussica is one of the greatest heroines in film history. She is strong, yet caring. Kind, but can kill. She is loyal to the point of death--who could not fall in love with her?
Blade Runner (1982)
Beautiful special effects with a great storyline. Harrison Ford may have hated playing Deckard, but it's hard to imagine anyone else in the role. His world weary approach provides a centering effect for the film. Is Deckard a replicant as well?
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The Man Who Fell to Earth (1976) is a real mindblower. It also probably saved Bowie's life as he was incredibly strung out during that period and couldn't find any drugs while they were on location.
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Poke my eye out, TCM
in Hot Topics
Posted
> I find it amazing how often we're urged to go right
> ahead and be honest & not hesitate to voice our true
> opinion, only to get cut-off at the knees for daring
> to step away from the "everybody just make nice!"
> credo of the homogenized pacifier tyrants.
I can only speak for myself. I have no problems with people voicing their true opinions and how they feel about a film one way or the other. What I don't care for is when it becomes something personal and people can't just let go and agree to disagree.
I choose my words carefully on message boards because it's much harder to understand one's intent through writing than face to face where you can see their eyes, hear the inflections in their voice, etc. Smileys help a bit, but they still fall short.
I also don't feel that I have to stomp on someone's fun if they really enjoy something I don't care for. There is a thread about a popular film here that I have stated I felt was overated in another thread. There would be no point in me going into the new thread to say the same thing. It wouldn't change anyone's mind or help anyone. All it would accompish is turning something people are enjoying into a big fight--so why do it?
So to conclude, yes I agree with your right to disagree with anything and everything (even what i'm saying now), but if we can't have a friendly discussion without it becoming personal, then perhaps it's better to let sleeping dogs lie.