Film_Fatale
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Posts posted by Film_Fatale
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> {quote:title=FredCDobbs wrote:}{quote}
> Hmm. Here's some info on that video:
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> http://www.imdb.com/title/tt0121765/technical
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> Did they show this in theaters? Are they showing video tape in theaters now?
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> According to that link, they made film prints from the video.
Fred,
Your earlier post was in reference to how movies would be shot "in the near future", not in reference to the exhibition of movies.
However, many movies are now being projected digitally - no video tape involved - in the U.S. The transition to digital projection would possibly be happening even faster except for the fact that exhibitors are reluctant in making a big investment in digital projectors, especially since it will be the studios that will stand to benefit from the lower costs of distribution (compared to shipping thousands of film prints to theaters all over).
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This Raoul Walsh musical will be showing on the 1st day of *31 Days of Oscar*
Anyone seen it? I've heard it is not as good as the 50's remake with Dean Martin and Jerry Lewis.
*Artists & Models* (1937)
An ad man gets his model girlfriend to pose as a debutante for a new campaign.
Cast: Jack Benny, Ida Lupino, Richard Arlen, Gail Patrick Dir: Raoul Walsh BW-97 mins
Here is the TCM article:
_Sunday, February 1,2009 2:00 PM_
*Artists and Models (1937)*
Jack Benny's first true starring role was in the 1937 film, Artists & Models, a madcap musical comedy directed by Raoul Walsh at his usual fast pace. In his memoir, Walsh wrote, "[i made] a light comedy called Artists & Models with Jack Benny, Ida Lupino, and forty of America's most beautiful girls. I got to know them all by their first names and so did Jack. He was a fine comedian and a better serious actor than many of the older stars. He was already a past master of that elusive quality show-people call timing. When Artists & Models was finished, he belied his later public image of stinginess by buying expensive gifts for everyone connected with the picture. This comedy was popular with the critics and the public. Friends and even ultra-perfectionists, like Bill Powell and Myrna Loy, gave it the nod. Only Jack Pickford seemed surprised: 'I always thought your idea of light comedy was to burn down a whorehouse.'"
This was Ida Lupino's last movie for Paramount under her contract with the studio. She'd been growing wary of being placed in forgettable pictures and felt that the studio was wasting her abilities. Eventually she obtained a new agent and a two-picture deal at Columbia, and within a few years she was at Warner Brothers making classics such as They Drive by Night (1940) and High Sierra (1941). A decade later, she'd begin a significant directing career.
Artists & Models is notable also as the first film to include work by Vincente Minnelli. He was brought to the studio from New York, where he'd been working in the theater, to design the musical number "Public Melody No. 1." According to author Stephen Harvey, Minnelli came up with "the concept" for the number but did not fully choreograph or direct it. In fact, Minnelli "felt the result was a chaotic travesty of his original notion." As time went on, it became clear that Paramount was intimidated by Minnelli's artistic ambitions. Minnelli grew frustrated, bought out his contract, and returned to New York. Later, of course, he tried Hollywood again and ended up as one of the greatest directors (of musicals and other genre films) in history.
"Public Melody No. 1" caused a ruckus in some states due to its onscreen blending of white and black performers. Martha Raye was particularly lambasted by racist southern theater owners and newspaper publishers for dancing on-screen with "negroes." Even Variety chimed in on this, saying in its review, "This intermingling of the races isn't wise, especially as [Raye] lets herself go into the extremest manifestations of Harlemania torso-twisting and gyrations." On the other hand, Variety said of the movie as a whole that it "holds enough variety, comedy, color, spec, flash, dash and novelty for a couple of pictures."
The New York Times agreed, calling the picture "a suave, witty and polished show, one of the sprightliest of the season's musical comedies... Mr. Benny, still the drollest comic on the screen, doesn't miss a bet and turns in his best performance to date."
Artists & Models drew an Oscar? nomination for Best Song, for "Whispers in the Dark" by Friederich Hollaender and Leo Robin. It lost to "Sweet Leilani" from Waikiki Wedding (1937). The film was successful enough for Paramount to produce a follow-up called Artists and Models Abroad (1938). It again starred Benny but was a sequel in title only and did not do as well at the box office.
Look for famed cartoonist Rube Goldberg in his only movie appearance -- yes, the Rube Goldberg, the man whose name became a still-used term for outrageously complicated contraptions that perform simple tasks or nothing at all. Goldberg would win a Pulitzer Prize in 1948 for editorial cartooning. He is billed in the picture with several other names as one of "America's leading artists and illustrators," and he plays an artist as part of the number "Mr. Esquire" -- an imaginative set-piece involving puppets made to resemble famous Paramount stars of the day such as Burns and Allen, W.C. Fields, Carole Lombard and Claudette Colbert.
Also keep an eye out for Hollywood gossip columnist and occasional actress Hedda Hopper, in the role of Mrs. Townsend.
Producer: Lewis E. Gensler
Director: Raoul Walsh
Screenplay: Walter DeLeon, Lewis E. Gensler, Francis Martin; Eve Greene, Harlan Ware (adaptation); Sig Herzig, Eugene Thackrey (story)
Cinematography: Victor Milner
Music: Robert Russell Bennett, Gordon Jenkins, John Leipold, Leo Shuken (all uncredited)
Film Editing: Ellsworth Hoagland
Cast: Jack Benny (Mac Brewster), Ida Lupino (Paula Sewell aka Paula Monterey), Richard Arlen (Alan Townsend), Gail Patrick (Cynthia Wentworth), Ben Blue (Jupiter Pluvius), Judy Canova (Toots), Charles Adler (Yacht Club Boys), James V. Kern (Yacht Club Boys), George Kelly (Yacht Club Boys), Billy Mann (Yacht Club Boys), Cecil Cunningham (Stella), Donald Meek (Dr. Zimmer), Hedda Hopper (Mrs. Townsend).
BW-97m.
by Jeremy Arnold
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> {quote:title=joefilmone wrote:}{quote}
> Gee I hope its better than the recent "re-imaginings" of " Invasion of the Body Snatchers" and " The Day The Earth Stood Still"...with all the great sci-fi -horror novel and stories out there you would think they could come up with an original material.
We can only hope...
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> {quote:title=Pia wrote:}{quote}
> No, I know that movie - and I like it a lot (although the polka music nearly made me turn it off).
>
You mean the zithar?
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I'm very excited. There's some great movies playing in February. B-)
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Andre Previn was composer in *Tension*
which starred _Cyd Charisse_
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*The Big Clock* will show today at Noir City 7, the San Francisco Film Noir Festival.
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For me, it would be Albert Brooks' *Defending Your Life*.
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Francoise Dorleac was in *Les Demoiselles de Rochefort*
with _Gene Kelly_
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> {quote:title=FredCDobbs wrote:}{quote}
> Things are changing so much, its possible that Hollywood movies in the near future will be shot on video tape or on a video disk or electronic chip, with no film being used.
Actually, some Hollywood movies have been shot digitally (with HD cameras) for some time now. I believe HD cameras were used by George Lucas for *Attack of the Clones* and by Michael Mann for *Miami Vice*.
In a featurette in the recent Western *Appaloosa*, cinematographer Dean Semler remarked that it was kind of fun to make this western and return to old-fashioned film, because he had shot his last 4 movies with digital cameras.
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In whatEVER accent, I would LOVE Cary Grant whispering sweet nothings in my ear.
Wouldn't you?
I do believe I would! :x
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Be the the first person on your block to post a correct answer and win absolutely nothing.
Laffite, you really know how to motivate folks.
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Well I hope you find it at your local library.
So, I popped my DVD of *Visions of Light* into the computer and found that *Sunrise* is one of the many movies they have clips from:
These guys are the cinematographers who shot *Sunrise* :
The work of Gregg Toland is also discussed, naturally:
There's also a section on fim noir and how the look of noir was influenced by German expressionism:
(By the way, ASC stands for American Society of Cinematographers, IIRC).
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Cyd Charisse
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> {quote:title=JackFavell wrote:}{quote}
> I've wanted a book on this subject for a huge long time, and so I thought I would sort of propel the information my way. The book about filmmakers I've been reading just reminded me of the topic.
In regards to a book about cinematography, you might be interested in this:
http://www.amazon.com/Painting-Light-John-Alton/dp/0520089499
Painting with Light by John Alton (first published in 1949). It is reportedly the first book about cinematography written by a major Hollywood cameraman.
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Screencaps from *In a Lonely Place*
This is the first time Miss Gray is seen in the movie.
Dix doesn't seem to remember her. Or is he pretending not to?
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TCM is probably somewhat limited by the availability of the movies they show having CC.
I remember reading somewhere that it cost roughly $5,000 to close-caption a movie, so maybe that is why not all movies are closed-captioned..
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Albert Brooks (appearing tonight in *Modern Romance* )
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Don't forget Billy Wilder is kicking off the 1st night of "31 Days of Oscar" (well the prime time schedule at least) this Sunday, Feb. 1:
*Ace In the Hole* (1951)
A small-town reporter milks a local disaster to get back into the big time.
Cast: Kirk Douglas, Jan Sterling, Bob Arthur, Porter Hall Dir: Billy Wilder BW-111 mins, TV-14
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> {quote:title=JackFavell wrote:}{quote}
> That's really cool, but a little too 21 century for me....
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> I would completely zone out on everything, if I were walking around like that. Although the idea of living in a constant bubble with all my old movie pals is an alluring thought.....
Well, I might wait a bit to see if they go down in price, but I will probably end up getting one sooner or later. It'll be so cool to be able to watch movies anytime, anywhere!
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> {quote:title=JackFavell wrote:}{quote}
> >DP and cinematographer are pretty much interchangeable terms, as far as I know.
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> Thanks, FF. I have been wondering about DP as opposed to cinematographer, and could not find a good description of either title....
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> *Visions of Light* Is a documentary that I have wanted to see since it came out. I wasn't able to at the time, and I have been kicking myself ever since. I thought there was a book that came out too. Maybe TCM has shown the documentary?
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I'm not aware of any accompanying book and ammy doesn't show any. As for TCM showing it, I'm not sure, but the tcmdb entry doesn't show any TCM articles:
http://www.tcm.com/tcmdb/title.jsp?stid=94872
In any event you may want to track down the DVD for rent or purchase. Unless you want to wait and see if they ever release it in blu-ray - the documentary was shot with HD cameras so it should look good.
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Could you be thinking about the similarities to *The Third Man*, where Joseph Cotten arrives in post-war Vienna and investigates the mysterious death of his old friend Harry Lime?
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Wendell Corey
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Villa, Pancho - Wallace Beery in *Viva Villa!*
*Actors A to Z photos*.
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Humphrey Bogart