LsDoorMat
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Posts posted by LsDoorMat
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20 minutes ago, jakeem said:
Didn't think Hanks would have done it.
Nope. That OOP DVD would go for more than 100 dollars if there was a feature commentary by Tom Hanks with all of his memories of his first film performance.
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Is the Universal Vault DVD series dead? The last time anything was released was over a year ago. There is still much in their vaults and old Universals and Paramount films are among the hardest to find anywhere.
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9 minutes ago, jakeem said:
Who did the commentary?
According to Amazon,
Audio Commentary:Commentary by Director Armand Mastroianni and Screenwriter Scott Parker
I don't have the DVD. I was just looking around Amazon and noticed the OOP DVD had this feature.
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A weird thing about this film to me is that in spite of not really being ground breaking or a particularly good film the now OOP Warner DVD had a feature commentary on it.
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I believe that the woman is a saloon keeper and she is actively looking for her sister. The man is a preacher and is always calling on the saloon owning woman to repent. I can't remember why she eventually shoots the preacher, but afterwards she learns he is married to the sister for whom she has been searching. I've asked this question before on this forum, but nobody ever answered the original question. Back in the days before paid programming, when TV stations would air westerns in the afternoons and on weekends, I saw this one several times. But it has seemingly disappeared off of the face of the earth.
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I was watching the original Thin Man on last night's NYE marathon, and this question came up again. At the beginning of the movie Maureen O'Sullivan is talking to her father about her wedding being after Christmas. He is going out of town but mentions her wedding is three months away and he should be back by then. He also mentions that the weather is changing because he feels it in an old war injury in his leg. When Maureen and her fiance go outside it is suddenly snowing. Plus everybody is wearing heavy coats - Maureen O'Sullivan, her fiance, and her father as he steals away in the night after confronting his girlfriend over the stolen bonds. It just seems strange that a major studio like MGM would make such a mistake.
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1 hour ago, EricJ said:
Reiner told Van Dyke that it was a "Stan Laurel-like" comic because that was DVD's silent hero, but it's a point-for-point Buster Keaton biography in ways that Donald O'Connor's so-called "bio" wasn't.
And Buster's revival was in the 50's, going up through TV and beach-party movies all the way back to "A Funny Thing/Forum", although it was mostly the French cineastes and film students rediscovering his movies. In the 40's-50's, he was still helping consult other comics, and supposedly helped train Lucille Ball for physical comedy before her TV show.
(But he could still be an anonymous face when he did that Candid Camera stunt.)
I know that Stan Laurel was an inspiration to DVD, but the decline after the talkies came in certainly did not fit what happened to Stan, who made the transition just fine. And I loved the Keaton Candid Camera bit.
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The last time I remember it airing was December 2010. It was actually part of the films slated for SOTM Mickey Rooney's tribute. The reason I remember this is somebody started a thread named "Too many silent films and too much Mickey Rooney". That same month they were airing the premiere of the seven(?) part series "Moguls and Movie Stars" on the history of Hollywood up to the end of the studio system, and so there were lots of silent films in the first few installments. Anyway, the title of that thread made me laugh. It still makes me laugh. Some people will complain about anything.
I think I remember reading somewhere that Buster Keaton's life was supposed to be the inspiration for "The Comic", although any number of silent film stars could have been. Actually Buster's career got a revival in the late 40s that continued until his death in 1966.
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2 hours ago, NickAndNora34 said:
THE JERK (1979) STARRING STEVE MARTIN AND BERNADETTE PETERS
I have already seen PENNIES FROM HEAVEN (1981) so I was interested in watching this earlier film of Martin's and Peters.' Although, I must admit, I felt the sense of deja vu during some of the movie, so I'm not sure if I had seen this movie a few years back, or if I just saw clips from the movie on YouTube. Either way, I did like it. It's not a major tour de force by any means, but Martin's somewhat naive character of Navin Johnson was certainly likeable. The movie follows Navin going from job to job to earn enough money for himself, as well as to send back home to his family, until he strikes it rich by coming up with a new way for glasses to stay on people's heads/faces. He ultimately meets a young lady named Marie, who he has to see on the sly until he can escape the clutches of his motorcyclist, daredevil, circus girlfriend. All in all, a cute movie, if sometimes a little weird.
Score: 3/5
You know, I actually went to the theatre to see this film back in 79, and I felt somewhat embarrassed for Steve Martin, because I loved his live comedy. I don't think he really had a film that was worthy of his talent until "All of Me". I remember when he first became well known in 1977, and to show how times have changed, do you know what the press was abuzz with in reference to him, besides his talent and premature gray hair? The fact that he was a 32 year old bachelor, like that was such a weird thing back then!
I always thought Steve Martin and Robin Williams had parallel struggles in the early 80s - great stand up comics who were having a hard time getting good roles in movies.
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Nora Prentiss (1947) 8/10
Dr. Richard Talbot (Kent Smith) is a middle aged man with two good kids, a dutiful wife, and a good medical practice, respected in the community. And he has one of the dullest most routine lives in the history of the world and doesn't even realize it until one night on his way home from his office he sees a girl (Ann Sheridan as Nora Prentiss) hit by a car and stops to render aid. She has only minor injuries, and he treats her in his office while she flirts shamelessly. He tries to remain aloof, but does kiss her goodnight at her invitation. Something awakens in Richard.
And then the two begin seeing each other. Innocently at first - he shows up at her nightclub to watch her sing on the excuse of eating dinner. And it builds from there. Suddenly the doctor realizes just how dull and routine his life is. He doesn't want to slip into the trap of an extramarital affair, and he tries to get his wife to agree to do "fun" things with him, but she just poo poos him and says they are too old for that sort of thing.
Well, the initial bloom of the affair turns to unhappiness for both Nora and Richard as Nora wants more - and so does Richard for that matter - but he just can't commit the overt act of breaking up his family. He can't make real and open what has been the truth for months. So Nora decides to make a clean break. She is moving to New York to sing in a club for an old friend (Robert Alda as Phil Denardo).
Richard won't lose Nora, but he can't bring himself to ask for a divorce either. As the clock is ticking on Nora's train out of town, in walks a patient with a fatal heart condition complaining of horrible chest pains. Richard tries to save him, but the patient dies in his office. Richard and the patient were alone. The patient has already said he lives at the YMCA and has no friends or family. And the dead man is the same weight, age, and height as the doctor.
So a cowardly solution comes to Richard's mind. He puts the dead man's body in his own car, dowses it with gasoline, sets it ablaze, and pushes it from the road off a cliff to the rocks below. The body is burned beyond recognition with all of Richard's identifying belongings on him. And then he catches up with Nora and lies to her about how he has asked for a divorce and is leaving town with her.
He reads the San Francisco papers in New York and reads of his funeral. But he also reads of an investigation caused by his partner in the practice noticing some funny things that might mean Richard was being blackmailed and was perhaps murdered. So Richard's plans - of which Nora knows nothing - are possibly foiled. I'll let you see how this all works out, but I'll just say the irony is astounding, and ask you - at the end of the film, what would you do if you were Nora?
Kent Smith never really caught on as a major talent, but here he is great as a man who starts out as dead on the inside but respected, then alive but torn, and then trapped in a jail of his own making as his sanity slowly unwinds. Nora is a tragic figure, even though she started the flirtation, probably just making fun of a guy she at first found unbelievably stiff given the world of nightclubs in which she lived. Robert Alda is as patient as a saint as the guy who loves Nora, knows all about the home she broke up but not about how Richard actually broke it, and doesn't judge her.
If you want to watch a noir in which everybody's life becomes a train wreck but you really can't find one evil character, just one cowardly one, this is your film.
Source: TCM this afternoon. Also on Warner Archive DVD but I wouldn't really recommend it as it does not seem restored at all.
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Today it seemed like the theme was "Films calvinnme has seen 100 times but will always watch again." I've always loved Nora Prentiss, the worst possible outcome in a noir with absolutely nobody having any ill intent. Private Lives of Elizabeth and Essex - that slap Queen Bette gives Errol looks real! The Strawberry Blonde - will James Cagney or won't James Cagney murder the guy who ruined his life. The trick - He's a dentist here not a gangster. Adventures of Robin Hood - great Errol Flynn adventure. Mildred Pierce - Warner Bros. seemed to have a much better idea of how to cast Joan Crawford than MGM ever did. The Beast with Five Fingers - a role Peter Lorre was born to play. And tonight three of my favorites - Jules and Jim, Night of the Living Dead, and Apollo 13. I never cared for Thoroughly Modern Millie because 60s films don't do the 60s that well, much less the jazz age.
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Charles Bickford is buried in an unmarked grave. He was married for over 50 years to the same woman, they had two children, and one of the two children outlived him. If you read his autobiography he talks about his entire life including his childhood, and is particularly detailed about his time on the stage which you can tell he really enjoyed. He is also detailed about all of the people he met along the way and what he thought of them. Bickford died wealthy as he had several successful business ventures aside from his acting career. The funny thing is, not once, not in his entire autobiography, does he once mention his wife or children. I wouldn't expect some kind of embarrassing tabloid like tale - if there was one - but I would expect him to mention their names at least once. Instead, if you read his autobiography and didn't know otherwise, you would assume he died a childless lifelong bachelor.
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55 minutes ago, Dargo said:
(...in fact, this very thing would be one of the main reasons my Protestant biological mother gave me up for adoption when she became pregnant with me out of wedlock in 1952, and even though my Catholic biological father supposedly asked her to marry him...even then these sorts of "mixed-marriages" were considered "questionable")
Then you have something in common with Steve Jobs. His mother, an American Catholic, got pregnant by a Syrian Muslim. They were engaged at the time of the pregnancy, but several things - including ethnicity and religion and family objections - kept them from marrying before Jobs was born and he was put up for adoption. The thing is, his biological parents did eventually get married. Jobs never met them because he considered Steve and Clara Jobs, his adoptive parents, to be his only parents.
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10 minutes ago, spence said:
& yet another installment is coming? & the almost 77yr old Harrison Ford is making another "Indy"
I'll cut Harrison Ford some slack. He spent a decade in Hollywood getting nowhere before Star Wars came along. Before imdb and the internet but after Star Wars, did you ever watch reruns of Love American style or Gunsmoke or some old TV movie and say "Hey, isn't that Harrison Ford?". But I admit, that Indiana Jones film isn't supposed to come out until 2020, and at age 78 it seems like a stretch for him to be Indy.
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I was dragged to this the other night by my husband and stepson. My advice is do not reward Disney by handing over your money to watch this Mickey Mouse film. It has Disney's fingerprints all over it. It has all kinds of feel good sayings and diversity for diversity's sake - not integrated into the storyline IOW. Plus the players from the original trilogy do not act like themselves. They have an entire species of animal that seems to exist only for marketing. And all I can STILL tell you about Rey is that she is good at everything without actuallly training for years, which both Skywalkers had to do. But I guess to question that is sexist.
One more SPOILERISH thing ( I mean it! SPOILERS!). Given the current state of affairs, due to events both on and off the set, the Star Wars Universe is like the end of every season of British sitcom "The Black Adder" - minus the originality and Rowan Atkinson.
I'd give it 4/10. It certainly is not 1/10 - that would be "Manos the Hands of Fate" and the like. It is not like The Godfather or Casablanca both which resonate decades after their release and are 10/10. It is a third of the way between those extremes mainly because you can't put that much effort into art design and come up empty.
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5 hours ago, LawrenceA said:
It's hard to believe, but it's that time again, when one year closes and another is on the horizon. I'll start off this new year's thread by posting the list of the most anticipated releases of 2018 as voted on by the users of the Internet Movie Database (IMDb).
- Avengers: Infinity War
- Black Panther
- Deadpool 2
- Jurassic Park: Fallen Kingdom
- Tomb Raider
- Pacific Rim: Uprising
- The Predator
- Ocean's Eight
- Mission: Impossible 6
- Solo: A Star Wars Story
That's 3 superhero movies leading off the list, and that's not even all of them. There's also Ant-Man and the Wasp, X-Men: Dark Phoenix, The New Mutants, Venom and Aquaman.
We have truly reached the end of the world. Or at least the end of cinema. I like your selections AFTER this list of films that you have on your radar.
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Silence (1931) 7/10
The film starts with a middle aged man, Jim Warren (Clive Brook) awaiting execution as a prison band rehearses a lively number while the hammering of the gallows is heard in the background. Talk about the strange contrast. The prison warden and priest are telling Warren that they never believed he committed the murder and they are urging him to say what really happened. He refuses. At first. But then the warden leaves and the priest convinces him to tell him his story as a confession to a priest cannot be betrayed. So Warren tells his story, starting way back in 1909, twenty years before.
Apparently Jim was just getting out of jail for some thievery, but the police still don't have the loot. They think his girlfriend, Norma (Peggy Shannon), may have the goods, and when they find it in her apartment they put her in jail. Jim finds out and says he'll do anything to get her out of trouble. The woman who helped Jim get out of prison in the first place, Mollie (Marjorie Rambeau), says she can fix it but Jim must marry her. Apparently she has always carried a torch and doesn't care if the feeling isn't mutual.
The wedding day is bittersweet, because part of it is just hilarious. Clive Brook uses his naturally rather sullen looks to good effect here as there is a huge clamor of a pre-wedding celebration going on in Mollie's saloon. Mollie tries to get Jim into the spirit of things showing him how she's redecorated the bedroom for him, but there hang the portraits of his two predecessors, Mollie's first two husbands, both of whom died in the same bed which will be his bed by the end of the day.
Meanwhile, Phil Powers is getting Norma out of jail. As Norma can speak of nothing but being reunited with Jim, and Phil knows of the bargain that has been struck, Phil thinks he can sneak Norma into Mollie's boarding house, help her collect her things, and get Norma out before she finds out what is going on. But that's not how it works out. When Norma learns Jim is marrying Mollie - remember she does not know why - she faints and is carried upstairs. Jim says he cannot go through with it to Mollie, who threatens him with the law. Jim doesn't care and goes upstairs to marry Norma, but it is too late. The alderman has just married Phil and a half conscious Norma (is this legal??) to one another.
Two decades pass and the child Norma was carrying at the time of their marriage - of which Phil had full knowledge - is born and grows into the spitting image of Norma. Phil and Norma also name her Norma??? Phil becomes very prosperous, owning a newspaper and real estate. Plus he is on a crusade to out a local crime boss. Young Norma is about to marry into - not just a wealthy family - but a socially prominent one.
Meanwhile Jim Warren has been working various pickpocket and shell game schemes to keep a roof over his head all of these years with his unseemly companion, Harry Silvers (John Wray). Nobody plays the early talkie Snidely Whiplash like John Wray, and this film is no exception. Jim has had nothing to nurse him through the lonely years but a photo of Norma from twenty years ago, and the letters she sent to him when he was in jail and he learned of her pregnancy. Now Harry is tired of being poor and always one step ahead of the cops, and he vocalizes a plot to blackmail Phil Powers into buying the letters so the two of them can retire in style. Jim reacts violently to the suggestion and says he'll kill anybody who jeopardizes his daughter's future. In these snobby eugenics believing times, Jim's daughter would be considered a social pariah if she was known to be the illegitimate child of a common thief. I'll let you watch and see what happens. Let me just say that this thing is not going exactly where you think it is, and its conclusion is an object lesson in why employees should wear badges with photo ID.
The acting in this Paramount film that feels somewhat like a poverty row film is well done. Paramount tried to give Clive Brook a chance in talking films, but his aristocratic British accent just did not go with what people expected given his silent roles. Here he almost pulls off an American urban street accent. At least I'm not wondering why this guy is not in a tuxedo as I had in some of his earlier talking roles. And something else unusual for the early talking films - when they go back in time people are actually dressed like it is 1909 not 1930. They actually got the early 20th century costume design right.
The only bad thing I can say is it feels like some of the film has been edited for television due to the production code although archives say it was never actually televised. The reason I say that is that it is not at all clear that Norma is pregnant with Jim's child until twenty years later when that fact is revealed. Nothing ever said in the copy I saw would lead you to that conclusion in the early part of the film.
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Bittersweet Love: 27-DEC-17 03:45 PM EST (1976)
Synopsis:A newly married and pregnant young couple discover that they are half-siblings.
Cast: Lana Turner, Robert Lansing, Celeste Holm.
Dir: David Miller.My comment:Yikes!! I have to admit the prurient subject matter of this thing makes me at least want to watch the beginning. This was made in the 70s yet I've never heard of it.
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1 minute ago, darkblue said:
Thanks.
As the film is in public domain, it is available from a couple of sellers on EBay. They're region 0 DVD's, so one must have a compatible player, but it's not as difficult to get a copy as I thought.
Now that's the kind of self reliant behavior I would expect from a Man Going His Own Way! (Not being sarcastic here, honest). If you ever come across a guy named FAT-W selling DVD-Rs of public domain "The Purple Taxi", a late Fred Astaire vehicle (no pun intended), I can tell you that at least the copy I got was of very good quality.
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3 minutes ago, darkblue said:
How'd you get yours?
Capitolfest dealer room.
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I never heard of GRIT, but it sounds much like The Encore Western channel. I don't think that one has commercials and although they seem to derive their films mainly from Paramount and Universal in the 40s and 50s, some surprises do pop up. From time to time they air the 1929 version of "The Virginian" starring Gary Cooper. I also came in on the tail end of "The Cockeyed Cowboys of Calico County" (1970) with Dan Blocker. It's on Amazon Prime for streaming, but it has never been on DVD to the best of my knowledge.
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Beyond The Forest (1949) 7/10
Wow, Jack Warner must have really wanted to get rid of Bette Davis once and for all!
And although I know this was written based on a novel of the same name, beyond what forest? The film starts with a voiceover describing the town of Loyalton, Wisconsin, and the fact that an inquest is going on concerning the death of a man killed by Rosa Moline (Bette Davis). She claims it is an accident. You do get from the introductory narration that this is a town where everybody derives their income from the sawmill and that Rosa is an insufferable snob. What you don't know is who it is that Rosa has killed - accidentally or on purpose. Then comes the rest of the movie in flashback.
Rosa is very unhappily married to Lewis Moline, MD (Joseph Cotten). Before I watched this I thought, who would be unhappy being married to handsome Joseph Cotten? But he plays this as such a doormat, a guy who is OK with patients who never pay him, who gives in to every expensive thing that Rosa wants, that it is no wonder Rosa has no respect for him. Fine acting from Mr. Cotten to play this as such a weak milquetoast of a guy.
So Rosa lusts after the wealthy Neil Latimer (David Brian) from Chicago, who has a hunting lodge near Loyalton. He's a strong self made man, and that and the money draw Rosa to him and into an affair. If she knew that David Brian would play a character who beats the living daylights out of Joan Crawford the following year I'm sure that wouldn't have hurt either, but that's another story.
So Rosa's dilemma is how to get out of this marriage and get Neil to care enough about her to marry her. What she does to accomplish this and the problems and twists and turns of the plot that crop up along the way constitute the rest of the film and eventually bring us full circle back to the inquest.
Why do I say it seems that Jack Warner was trying to get rid of Bette Davis with this film? It's not so much her acting - she is as good as she ever was - but she is playing a woman about ten years younger than she looks, especially with the tight fitting clothes that show every inch of extra avoirdupois that she is sporting, plus a ridiculous long black wig. And then there is the dialogue. Every time somebody suggests that Rosa do something that she feels is beneath her, Rosa retorts "I would never do THAT, I'm Rosa Moline". How odd. The whole film is about how much she does not want to be a Moline, yet she seems to proudly hail it as part of her identitiy. There is a ridiculous scene with Lewis talking to an unconscious woman about her blood, and why did Rosa build her house as far from the center of town as possible, but position the master bedroom such that the flames shooting from the sawmill incinerator in the middle of the night glow through the window and even the shades and keep her awake? Rosa is a poor architect of her house and her life.
I could go on forever with what is weird about this film, but the acting is quite good, and the story is so odd that the camp actually becomes one of its strengths. I'd suggest it if you can ever find a copy.
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4 hours ago, Fedya said:
What's Grand Theft Auto?
Yep, missed that. Apparently Ron Howard was the Orson Welles of Grand Theft Auto. He starred in it, directed it, and wrote it (along with his dad, the late Rance Howard). His dad and brother Clint had small parts. I believe Roger Corman produced it? The Wikipedia article is unclear, but apparently there were legal fights between Corman and a video game producer over the rights to the name. Made for 600K, it made over 15 million worldwide. Ron Howard was still on Happy Days until 1980, so I assumed his directorial career started after that, and apparently he was dabbling in directing even earlier than that.
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Night Shift (1982) 7/10
A star is born...
... well actually several of them are. The film is based on a true story of a couple of morgue employees caught running a brothel out of the morgue at night.
You have Michael Keaton in his breakout role acting like...well..Michael Keaton, at least pre "Clean and Sober" Michael Keaton, with his smart remarks and cheery yet loser persona. You've got Henry Winkler as a guy who just lets people walk on him to the point that he's engaged to a woman he really doesn't love because she is there, and just takes it when he's moved from his day post at the morgue to the night shift with Keaton's Bill "Blaze" Blazejowski. Winkler's character, Chuck, got to this sad state of affairs when he had a nervous breakdown working on Wall Street, even though he is a talented investor. Since then he's decided the best way to get through life is keep his head down and keep a low profile.
But then his night shift brings a little sunshine his way in the person of prostitute Belinda (Shelley Long), who is getting home about the time that Chuck does, and they begin to have breakfast together and get to know each other. When Belinda is injured by a client because she doesn't have a pimp, Bill talks Chuck into letting Belinda and her friends work for them, and Chuck agrees to invest the girls' money so they'll have a nest egg.
Eventually Chuck and Belinda fall in love, with Chuck assuming Belinda will quit prostitution. Belinda asks the pertinent question - "And do what?". She asks it tearfully, because of course she doesn't like this life, we really never get any background as to how she got here, but future employers would want to know what she was doing with this big blank space on her resume and she knows she has no acceptable answer.
The whole situation comes to a head when other pimps don't care for Bill and Chuck cutting in on their territory. And then there is the little matter of undercover cops. I'll let you watch and see how this all works out.
This would probably just be a 6/10 if it weren't for the important place it holds in film history. It is the first feature film directed by Ron Howard at only age 28, and he did a very able job his first time out. It boosted the careers of both Michael Keaton and Shelley Long, who was less than a month away from beginning her star making role on Cheers. And then there is the film's theme song "That's What Friends are For" that was rerecorded in 1985, became a hit, and whose proceeds went to benefit the American Foundation for AIDS.
And what of Henry Winkler who was top billed here? Well, even though he was nominated for awards for this performance, it was pretty much downhill from here professionally. Since 1973 Winkler had built the reputation as the ultimate Eisenhower era alpha male - Fonzie - on the long running TV show "Happy Days". He was a cross between Brando and Elvis. People stepped out of his way when he walked down the street, and he would snap his fingers and several beautiful girls would come running just to be on his arm. A great performance as a man who is a walking doormat through most of the film does not mean that it enlarged his fan base.
I'd say watch it for its place in film history for all the reasons I gave. Even if you weren't alive at the time, the film is at least mildly amusing. Also watch out for cameos by Richard Belzer (Munch on Homicide and then Special Victims Unit), Kevin Costner, and of course Clint Howard who I don't think ever got an acting job without big brother's help, with the exception of maybe his part on TV show Gentle Ben.
Source : DVD
What do you know, I finally reviewed something that is accessible by the general public.
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HITS & MISSES: Yesterday, Today & Tomorrow on TCM
in General Discussions
Posted
Tomorrow, January 2 - although I (sigh) must be back at work after 10 days off - I suggest:
8AM EST Disraeli (1929) - The forgotten George Arliss in his first talking film. He was responsible for bringing Bette Davis to Warner Bros. after Universal dismissed her. He put her in some of his films to promote her. He also helped out a young James Cagney by giving him a small part in "The Millionaire" as an insurance salesman. When Darryl Zanuck recruited Arliss away from Warner Bros. over to Twentieth Century Pictures it was considered a great loss for the studio. A very good early talkie.
9:29AM EST Will Hays introduces Vitaphone (1926) - Why do people who are accustomed to public speaking turn so stiff when speaking in these early talkies? A historically interesting short.
9:45AM Parnell (1937) - I thought Clark Gable was good and believable in his role as Charles Stewart Parnell, Anglo Irish politician and champion of Irish home rule, but this was not what people expected when they went to the movies to see a Clark Gable film. I guess it would have been like seeing Johnny Weismuller on a marquee in the 1930's, buying a ticket, and finding out he is portraying Abraham Lincoln instead of Tarzan or a Tarzan like figure. A case of unexpected casting rather than miscasting.
6:00 PM EST Bridge to the Sun (1961) - I believe this is a true story of a Tennessee girl who marries a Japanese diplomat before WWII, and her difficulties after she decides to stay in Japan while the war is on. If I were a guest programmer on TCM this would be one of my choices.
Then, of course, there is the delightful evening of W.C. Fields films tomorrow night.