Film_Fatale
-
Posts
15,982 -
Joined
-
Last visited
Never
Posts posted by Film_Fatale
-
-
Xisca,
Welcome to the boards! The Silent Sundays are a regular feature _except_ during "31 Days of Oscar" and "Summer Under the Stars".
The next Silent Sunday features are *Girl Shy* and *An Eastern Westerner* with Harold Lloyd, scheduled for Sunday, March 8th
-
Walter Pidgeon
-
> {quote:title=laffite wrote:}{quote}
>
>
> *The Nyaaahing Gecko strikes again.*
>
> (It's nice to have something like this when the team you hate keeps winning)
>
I love that nyaaahing Gecko, laffite. :x
-
Noir62, welcome to the forums.
There's been a lot of talk about releasing the other *Show Boat* movies on DVD but nothing concrete yet. In the meantime, if you have a recording device, you may want to record the following showings:
*Show Boat* (1936) will show on _March 16_, 11:15pm (ET)
*Show Boat* (1929) will show on _April 13_, 6pm (ET)
Hope that helps!!
-
Metry Road,
I watched the Criterion DVD of *Tunes of Glory* and enjoyed it very much. The casting is very interesting because one could argue that both Mills and Guinness were cast against type - yet they raise brilliantly to the challenge. It's a great and unforgettable movie, to be sure.
Also don't forget the P&P film *The Tales of Hoffman*, which is showing again this Wednesday, Feb. 4 at 5:30pm ET.
-
Uma Thurman
-
Horst Buchholz was in Billy Wilder's *One, Two, Three*
which starred _James Cagney_ (in his last starring performance)
-
Here is one of the trailers for *It's a Mad, Mad, Mad, Mad World*, courtesy of the TCM Media Room:
http://www.tcm.com/mediaroom/index/?o_cid=mediaroomlink&cid=16874
-
TCM has posted a clip with the "Ballad of Cat Ballou" in the Media Room:
ttp://www.tcm.com/mediaroom/index/?o_cid=mediaroomlink&cid=221350
(The trailer was apparently not available)
-
Thanks for the info (and the link) Phil. There should be more such films, imho, because the public doesn't always recognize the many disabling conditions that our brave men and women may face after their tours of duty. We owe it to ourselves to honour them and give them access to adequate treatment.
-
Anita,
TCM is actually showing *The Alamo* on Feb. 20th at 4:30am and again on March 17th at 2:15pm (all times Eastern).
I did record *The Last Command* but haven't had a chance to watch it yet. I did hear something that RO said in the intro about competing projects and Wayne having pulled out of this version.
-
I am in complete agreement, Wendy. More rambles would be great. I love everyone's rambles!
Stewart is not at ALL the typical sherriff/hero. He is creative and different. And yet, he gets the job done in the end. This is one of the things I like so much about the movie. I totally agree with your QT's opinion of the women - no pale, smooth-skinned shrinking violets here. Almost a role reversal - The women take charge, AND end up saving the day, as I recall.
It's interesting to contrast his role in *Destry* with the lawyer in *The Man Who Shot Liberty Valance*, who also tries to take a very different approach to law enforcement. Stewart was just great at playing the one guy who's willing to buck the trends, to think outside the box, to avoid jumping on the bandwagon. Maybe it was a little from having been in *Mr. Smith Goes to Washington* early in his career that producers and directors cast him in such roles.
-
You got some mighty interesting stuff in your scrapbook, Angie! Plus that photo of Gary's wife is really glamorous! She was such a lucky gal! :x
-
Daniel Mann directed *Our Man Flint*
starring _James Coburn_
-
I enjoyed it VERY much...in fact, it would now have to rank way up there on my list of favorite Stewart films. The first night I watched it, I liked it so much that I turned around and watched it again the next day.(and made the QT watch it with me too. HA!)
*Destry Rides Again* really is a terrific western, and I enjoy the comedy side of it quite a bit, too. I'm glad you enjoyed it so much, Kathy. Stewart and Dietrich really had good chemistry, imho.
-
> {quote:title=Minya wrote:}{quote}
> I like this new series!
I do, too! It is easy on the eye, and it makes me think. B-)
-
From Kyle's Poster thread:
Incidentally it seems there were technical problems during the first minutes of the picture, and that it affected everyone regardless of their cable/satellite provider. Hopefully, this movie will be rescheduled for a later date!
-
Yes, I would love to hear from the NYC-based folks who may be lucky enough to attend some of these rare screenings!
-
Blyth, Ann
-
*One Night of Love*
-
The last time I looked in the mirror I still looked like this:
laffite, sorry to hear your team lost this time. Maybe next year? Here's hoping the Cardinals get another shot at the title very soon. B-)
-
http://www.nytimes.com/2009/02/01/movies/01raff.html
February 1, 2009
Film
*In Hard Times, the Hoi Polloi Stay in the Picture*
By TERRENCE RAFFERTY
MOVIE stars are supposed to be people who stand out from the crowd, and that is harder in some times than in others. In the Great Depression there was an awful lot of crowd to stand out from. ?Breadlines & Champagne,? a monthlong, 50-film series of movies from that era, at Film Forum in Manhattan, is lousy with stars: Mae West, Cary Grant, Jean Harlow, Gary Cooper, Carole Lombard, William Powell, Humphrey Bogart, Edward G. Robinson, Jean Arthur, Claudette Colbert, Clark Gable, Bette Davis, James Cagney, Ginger Rogers and two guys named Tracy (Spencer and Lee) are among the luminaries on display, and you can see the sweat on all of them. As this series, which starts Friday, demonstrates, they ? like everyone else who was lucky enough to be employed in those grim years ? had to work pretty hard to make an impression.
Unhappy times are here again, but in the movies of the 21st century the crowds are often computer generated. What strikes you as you watch the romantic comedies, gangster melodramas and earnest social-protest pictures of the ?30s is just how many real, live people the filmmakers packed into the frame. Even the musical numbers seem dangerously overpopulated. (The musicals here, ?Footlight Parade,? ?Gold Diggers of 1933? and ?42nd Street,? were all choreographed by wacky, grandiose Busby Berkeley, who put so many dancers onstage that they had to be photographed from vertiginous heights, approximating the perspective of God looking down on the multitude of his creation.) Movie after movie in ?Breadlines & Champagne? features scenes in which great masses of human beings converge in one too-small place and, more often than not, get a bit hysterical.
In Frank Capra?s fascinating, rarely seen and aptly titled ?American Madness? (1932), for instance, a rumor about the dubious solvency of a bank causes a panic and then something like a stampede, as hundreds of depositors rush to withdraw their money, all at more or less the same time. Although the sequence is remarkable on its own terms, in the context of this series it seems like, well, business as usual.
You start to anticipate the mob scenes, and few of these pictures disappoint. William A. Wellman?s beautifully shot ?Wild Boys of the Road? (1933) has a terrific battle between railroad policemen and a veritable army of teenage hoboes. Ernest Schoedsack and Merian C. Cooper?s ?King Kong? (1933), of course, has thousands of awestruck New Yorkers snarling traffic and screaming at the big ape. And the plot of practically every one of the several screwball comedies ? Roy Del Ruth?s ?Blessed Event? (1932) and Victor Fleming?s ?Bombshell? (1933), both starring motor-mouthed Lee Tracy, are two of the livelier ones ? turns on some tabloid scandal that gets the whole town talking. Or rather, shouting. The Depression was not, it appears, a time when people were timid about giving voice to their opinions.
Maybe the most satisfying and certainly the funniest of these crazed-mob sequences occurs about halfway through Mitchell Leisen?s speedy, head-splittingly complicated ?Easy Living? (1937), written by Preston Sturges. A fight in an Automat accidentally results in all the tiny coin-operated windows popping open at once, and the patrons, who had looked so quiet and dignified moments before, go into a literal feeding frenzy. One civic-minded customer thoughtfully ventures out into the street and announces, ?Free food!? The passers-by don?t need to be told twice.
Watching the rowdy, eventful, insanely populous movies of the ?30s, you can?t help marveling at what a strong presence the public is in every one of them: it?s as if private life hadn?t been invented yet. As tough as the times are, nobody has the leisure or, especially, the space to brood. Even when people aren?t thronging the streets in a collective frenzy, they live (the non-swells, anyway) in disturbingly close proximity to one other, in stifling tenements, as in William Wyler?s 1937 ?Dead End.? And several of these movies place their characters in closer quarters still, in the shantytowns of ?Wild Boys of the Road? and Gregory La Cava?s ?My Man Godfrey? (1936) and, most evocatively, Frank Borzage?s lovely drifter?s romance ?Man?s Castle? (1933). The people of the Depression era, anxious, industrious and (sometimes) hopeful, seem unable to get away from one another no matter how hard they try.
And except for the gangsters and some of the more obnoxious rich, most of them don?t really try very hard. There is, if not safety, at least some comfort in numbers, in the knowledge that there are millions of folks huddled together in the same leaky boat ? all reading the same newspapers, gazing up at the same movies, dreaming about the same stars. The beauty of the Film Forum series, in a way, is that alongside the established classics like ?King Kong? and Capra?s ?It Happened One Night? (1934) and Howard Hawks?s blistering ?Scarface? (1932) there are so many profoundly ordinary movies: terse, unpretentious little melodramas and cuckoo farces that manage to say their piece in 75 minutes or so and then shuffle off the stage before they get the hook. (The running times are brief enough to allow several triple bills.)
The silver screen of ?30s Hollywood wasn?t wide: it was squarish and cluttered, and even the stars had to fight for their share of the available space. ?Breadlines & Champagne? shows how the good ones succeeded in clearing some breathing room for their outsize personalities, but it also shows how limited that room usually was. There were crowds of people in there with them, or just out of sight and waiting for their opportunity to bust in. It was a tight frame, and we were all in it together.
-
Stephen Boyd
-
*HAPPY BIRTHDAY...*
*S.Z. SAKALL !!!!!!!!!!!!!!!!!!!!!!!!!!*
(Feb. 2, 1884 - Feb. 12, 1955)
*FRANK LLOYD !!!!!!!!!!!!!!!!!!!!*
(Feb. 2, 1886 - Aug. 10, 1960)
*BONITA GRANVILLE !!!!!!!!!!!!!!!!!!!!!!!!!!!*
(Feb. 2, 1923 - Oct. 11, 1988)
A to Z of Characters
in Games and Trivia
Posted
Yorick - Ken Dodd in *Hamlet* (1996)