Film_Fatale

> {quote:title=BillCougar wrote:}{quote} > Yes, I am excited about the showing of Republic serials on TCM. There are many even better than Zorro Rides Again. Well, here's hoping TCM can show some more of 'em! And welcome to the boards - although you seem to have registered a while back. B-)

Coming up Sunday, Jan. 11th, at 10am ET - *Jeanne Eagels* (1957) The famed actress fights drug addiction to build a career and find love. Cast: Kim Novak Dir: George Sidney BW-109 mins, TV-PG

> {quote:title=lzcutter wrote:}{quote} > *I was just trying to point out the difference in experience between Ford and many of the directors who might not have had his experience with real cowboys, with the folks who actually lived in the Old West and were still around early in the 20th century.* > > Many of the directors of Ford's generation like Hawks, Raoul Walsh, Allen Dwan, King Vidor, etc all got their start in silent movies and likely had similar experiences with the real cowboys who were often hired as extras and such in the early days of film. Yes, you're right about that, but I wasn't talking about them.

_Musicals_ *42nd Street* *Show Boat* (1936) *On the Town* *Singin' in the Rain* *West Side Story*

> {quote:title=WhadoIknow wrote:}{quote} > Kitsch, when not properly practiced, can lead to such unfortunate events as having Ronald Reagan as President! Having RR as president was a most unfortunate event, imho, but I am not so sure that it had all that much to do with kitsch. It does, however, seem to have led us straight into the field of tragicomedy. This photo, however.... Total kitsch!

> {quote:title=visualfeast wrote:}{quote} > I'm going to answer the question relative to my understanding of it... > 'WHAT FILM EMBODIES THE ESSENCE OF THE GENRE (FILM, as entertainment) > > That would be one film, and my choice would be DAYS OF HEAVEN. > > It tells an interesting story in a very entertaining way...it features attractive, believable characters, its photographed magnificently and the score is original and appropriate to the story. It's the correct length, and it's edited beautifully. It is truly a total package Malick's film is a real masterpiece and a one-of-a-kind film, visualfeast. Did you ever get the chance to watch it in 70mm?

It took me a while to find, but I have finally located a clip from *The Pink Panther Strikes Again* with the Inspector Clouseau theme - which I happen to think is one of the nicest ones Henry Mancini ever composed.

> {quote:title=clore wrote:}{quote} > It's one irksome film for me. First off, it piles one coincidence on top of another - Da Silva is tangled up with Ladd''s wife, Ladd's just happens to get picked up by Lake who is Da Silva's wife, Bendix just happens to run into Ladd's wife, she and Lake just happen to pick at flowers at the appropriate moment... > Well, I do admit you've got a very good point regarding all the coincidences. Maybe it doesn't hold up to very close scrutiny if you really start thinking about it. Having just seen *The Glass Key* again, I'd have to say I like that one slightly better than *The Blue Dahlia*. Incidentally it appears that it was during the shooting of *Glass Key* that Ladd and Bendix became close friends - at least according to RO's outro explanation. B-)

> {quote:title=lzcutter wrote:}{quote} > FF, > > Of course he was aware of the concept but he really starts using it beginning with *The Iron Horse* which is a mythic look at the settling of the west and as many film historians have pointed out the template for many of the westerns that came after it. You can draw a straight line from *Fort Apache* to *Liberty Valance* on the whole legend vs truth angle. Oh, I agree with you completely there, Lynn. I was just trying to point out the difference in experience between Ford and many of the directors who might not have had his experience with real cowboys, with the folks who actually lived in the Old West and were still around early in the 20th century. Today, by contrast, there are many directors who seem to draw all or most of their inspiration on old movies, and little or nothing that comes out from actual life experience. Some would call it the "Quentin Tarantino school of filmmaking" - almost everything seems to take old movies as a starting point and the only source of any kind of reference. To really appreciate the difference between a myth and the way things actually used to be, I guess it really did help to be there at that crucial point in the history of the movies when the myths were beginning to be told, at least cinematically, while the people who actually were there before the myth-making were still alive to tell their stories.

Aside from appearing together as presenters in *That's Entertainment! Part II*, the only movie in which Gene and Fred appeared together was in the 'The Babbit and the Bromide' segment of *Ziegfeld Follies*.

Rita Hayworth was in *Gilda* with Glenn Ford

After *The Return of the Pink Panther*, Sellers, Edwards & gang were back for one of the best sequels in the series, *The Pink Panther Strikes Again*. This is the one where Dreyfus' obsession with getting rid of Inspector Clouseau reaches almost unimaginable heights; he starts his own criminal gang and kidnaps a famous scientist (Richard Vernon) to blackmail the world into getting rid of Clouseau. But, of course, Clouseau's antics prove no match for even the world's best killers, as is made amply clear in the hilarious Oktoberfest sequence. The Bavaria locations, and the new themes Mancini introduced in this movie, make it one of the most memorable, and possibly the best sequel in the series since *A Shot in the Dark*. Oh, yes, there is the matter of that nifty cameo by the man playing the "Egyptian assassin". B-) And there is that unforgettable joke, when Clouseau asks, "Does your dog bite?"

Don't forget the great lineup of Jean Harlow movies tonight! *Dinner At Eight* (1933) A high-society dinner party masks a hotbed of scandal and intrigue. Cast: John Barrymore , Lionel Barrymore , Marie Dressler , Jean Harlow Dir: George Cukor BW-111 mins, TV-PG *Bombshell* (1933) A glamorous film star rebels against the studio, her pushy press agent and a family of hangers-on. Cast: Jean Harlow , Frank Morgan , Franchot Tone , Lee Tracy Dir: Victor Fleming BW-96 mins, TV-G *Platinum Blonde* (1931) A heartless heiress seduces a hard-working reporter into a disastrous marriage. Cast: Louise Closser Hale , Jean Harlow , Robert Williams , Loretta Young Dir: Frank Capra BW-89 mins, TV-G *Hold Your Man* (1933) A hard-boiled babe and a con man wear down each other's rough edges. Cast: Dorothy Burgess , Stuart Erwin , Clark Gable , Jean Harlow Dir: Sam Wood BW-87 mins, TV-PG *The Public Enemy* (1931) An Irish-American street punk tries to make it big in the world of organized crime. Cast: Joan Blondell , James Cagney , Jean Harlow , Edward Woods Dir: William A. Wellman BW-84 mins, TV-PG

> {quote:title=lzcutter wrote:}{quote} > I would be willing to bet that Warners Home Video will release both *Wizard of Oz* and *Gone with the Wind* on Blu later this year. > I thought they'd already said as much, maybe not officially, which is part of the reason that both of the movies are currently OOP. What would be really special, though, would be for WHV to release a special set with "70th Anniversary Editions" that included all the great movies from that year to which it has the rights. It could easily become one of the finest sets of the year.

Pretty darn good movie, and it was also good to see that the print was in very good, if not pristine, condition. Still, it really would be awesome if the folks at Universal would give it a proper restoration and put it out on DVD. Maybe they could even package it as a set, together with *The Glass Key* and *This Gun For Hire*

And it even has Spanish subtitles. Nice find!

> {quote:title=ladyofshalott wrote:}{quote} > Dodge City is my favorite of all Flynn's westerns. The cast is fantastic. The chemistry between Errol and Olivia is magical. They were great together, I also love them in *The Adventures of Robin Hood*. :x

> {quote:title=lzcutter wrote:}{quote} > As you know, Ford loved to mythologize the West. He started doing that back with *The Iron Horse* but *Fort Apache* is the first time that he puts the idea legend vs truth really out there for people to think about. > > He returns to that idea in *Liberty Valance* and shows us the flip side of living with the legend that one creates. Surely he must have been aware of the concept of legend vs. truth since his earliest days in cinema, since many of the cowboys he used in his movies were the real thing.

Any fans of the *Pink Panther* movies here? If so, which is your favorite *Pink Panther* movie?

_Veronica Lake:_ *Sullivan's Travels* *I Married a Witch* *So Proudly We Hail!* *The Blue Dahlia* *The Glass Key*

Henry Fonda was in *Once Upon a Time in the West* with Claudia Cardinale

It is a pretty awesome Saturday, no doubt about it. This is the kind of movie that comes to mind when someone says "classic". B-)

Don't forget... coming up at noon ET this Saturday... *Dodge City* (1939) A soldier of fortune takes on the corrupt boss of a Western town. Cast: Bruce Cabot , Olivia de Havilland , Errol Flynn , Ann Sheridan Dir: Michael Curtiz C-104 mins, TV-PG

> {quote:title=CineMaven wrote:}{quote} > Geez! Who doesn't know what a 45 is; a small caliber gun. But when did they replace bullets with music??? > And here I was thinking they were these kind of 45's: