Arturo
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Posts posted by Arturo
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JonasEB wrote:
> {quote:title= }{quote}
> {quote:title= Arturo wrote:}{quote}It's as we were just discussing in another thread....the auteur theory has sidelined MOST of these directors from the studio era, and focuses discussion on a hand full of "anointed" names.
> Name one artform that is any different.
> and...
> You're free to do the same for a Jack Conway or a Michael Curtiz. Just making entertaining films is perfectly fine (and which auteur theory is applicable, in fact)...but it's different from what many of the canonical directors achieved. Instead of bellyaching about perceived shortcomings, why not do the heavy lifting yourself and write a critical analysis of a Curtiz or Conway that shows them to be the equal to a Ford or Hawks? But that doesn't matter if you're looking for something entirely different out of films in the first place.
> J.EB:
> You're right. I don't care all that much about films as an artform...unless it's the art of entertainment. I definitely don't come to TCM as some sort of Film School extension program. I come to be entertained. To appreciate the artisanry present in the numerous departments that contributed to the classic studio era moviemaking. To enjoy the world of make believe on soundstages featuring beautiful and glamorous stars, and old friends in the supporting players and character actors. To enjoy a long lost world and its mores, and mourn its passing. I couldn't care less about which movies had some innovative camera angles, which point of view reflected a director's ouvre, who steered a studio product over the threshold into the rarified realm of 'art". I can appreciate all that, but i don't focus on it by a long shot. So no need to prove that Conway or Curtiz are the 'the equal to a Ford or Hawks" because I enjoy the movies of all of these filmmakers, and all are equally worthy in my book, with or without "a critical analysis" of their body of work. So yes I have a problem with those that are sidelighted in the name of 'art', but it's mostly on the reputations of those considered "less than", and thus less well known even here among many TCM fans, when as numerous postings on threads here attest to people's surprise and amazement that directors they had never heard of have been responsible for so many entertaining movies that they enjoy and are familiar with. That is what I think is a great disservice in the name of art and the auteur theory.
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*In Old Chicago or Nightmare Alley or Laura or Hangover Square or (joy of joys!) the elusive Cluny Brown.*
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*Hangover Square really ought to be an Essential. It's one of the those classics that even people who aren't "in" to classics can enjoy.*ADW:*
*I think that any of the above would be appropriate as a TCM Essential...moreso than a couple that were selected for this year: GOODBYE GIRL, THE WAY WE WERE (still have something against 70s movies-and more recent ones-getting shown as much as they do on TCM).
*
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I *think it's amazing that some of these great directors made so many great films, yet their names are almost unknown today.*
It's as we were just discussing in another thread....the auteur theory has sidelined MOST of these directors from the studio era, and focuses discussion on a hand full of "anointed" names.
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*As Your Desire Me was not a spoof of anyone - it has never been even insinuated as a spoof of Deitrich Deitrich was not even on the scene yet per se in Hollywood - in 1932*
This is incorrect. Dietrich arrived in Hollywood and made her first American film in 1930, MOROCCO, which was released at the end of the year. She was a sensation in it, and along with THE BLUE ANGEL, made her a very hot commodity by the end of that year.
*and it was a Paramount B film - Garbo never made a B film!*
This was one of that studio's A films for 1936. Carole Lombard became a STAR after 1934's TWENTIETH CENTURY, moving up from being a popular leading lady prior to that. She found her niche in the zany comedies, and her ability to play them. Subsequent films such as HANDS ACROSS THE TABLE and PRINCESS COMES ACROSS kept up her popularity; this would increase shortly with her two best known comedy roles: MY MAN GODFREY and NOTHING SACRED. Even before this ascent to the top in 1934, her leading lady roles were all in A features (albeit some might be programmers); there is no way Paramount was going to cast her in a B movie. I repeat: Lombard was a STAR at this point, and the studio was not going to potentially hurt her box-office by not making sure she was given the best possible vehicle. Again, you not caring for this film does not make it a B picture; nor do the over 75 years since its release.
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*Topbilled wrote:*
*The problem with this is that deserving studio directors like Vincent Sherman or my personal favorite Mitchell Leisen do not get their due and are historically neglected by film critics and theorists.*
I couldn't agree more...the Auteur theory has shunted aside many deserving directors, even those that may have been renowned and very successful in their day, as "hacks'. Totally unfair in most instances.
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Jane Withers was well known for her imitations, and was given the opportunity to do them in some of her vehicles. Offhand, I can't think of who she did. Will get back to you on that.
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*I'd love to see COME TO THE STABLE again. I wonder if they could digitally remove Loretta Young from the film? Because that's the only way I'd be able to sit through it again without throwing something at the screen.*
Actually, I think Loretta is the best thing about the movie, in a role that had been intended for Gene Tierney. While Celeste is very good, her French accent grates after awhile. Wonderful holiday movie, with a great cast. Both Young and Holm were nominated for Oscars, if I remember correctly; Best and Best Supporting, Actress, respectively.
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*R.I.P. Celeste Holm! She was wonderful in "All About Eve" and "Gentleman's Agreement" Quite a few people I know wanted her character in Gentleman's Agreement to end up with Peck, not McGuire's.*
I too always thought that he shopuld have gone after the fun Holm character, what a sport, and not that drip-"the nice people that say nothing"- that McGuire played. Seems that that's how it's heading when Greg speaks to her and she says something to the tune of "it's never too late" . . . very ambiguous as to the meaning..but he goes for the wrong one IMO.
*I guess Bette Davis didn't speak to her at all during off carmera times of "All About Eve"*
I've read where Davis glowered at her after the scene at 21 (?) 'where the elite meet", when she goes on laughing and laughing nervously. Bette exclaimed something to the effect of "HOW does she do that!? I CAN'T do that!' Also at their first meeting (for a reading), Celeste greeted Bette, to which she replied (again not sure exactly how it went) something about "F***ing Good Manners!" Not an endearing remark methinks.
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*Eugenia wrote:*
*You probably won't like my post, johnbabe, but I love this film. I don't think the writers meant to be mean-spirited toward Garbo. When I see Lombard with her "royal affectations", complete with Swedish accent, it makes me laugh out loud. To look at it positively, Garbo's popularity and recognition was such that movie audiences got the spoof right away. It was just in good fun. :)Lombard (as her character) didn't do anything*
*particularly vulgar, right?*
I too think this was great, non-mean-spirited fun (how does the saying go..."imitation is the sincerest form of flattery"?). This is Lombard settling into her Queen of the Screwball Comediennes role. Great cast and great fun.Here I go again with one of my pet peeves:*johnbabe wrote:*
*did anyone bother to watch this B picture on saturday night past? . . . . this was a Paramount B vehicle . . . . TCM had a full evening of B pics this past saturday night - i hope they back on the track again . . .*
jb ....And RaquelV...Ok now...all of Saturday's lineup, featuring Fred MacMurray as leading man, were A features. They all had top stars at the peak of their game....Kate Hepburn, Carole Lombard, Claudette Colbert . . .Come on now, you don't get nominated for a Best Actress award for starring in a B movie. Whether you TODAY don't find the movie entertaining, or important, or maybe it ruffled your feathers, does not mean it should be denigrated as a B, because none of these were when released, either in terms of the talent involved, or of the budgets for production or promotion. -
Clore and Tom:
Thank you both for posting the pictures that I was unable to of Bob Hope and Linda Darnell.. If you'll notice, each picture is a different one, but of the same meeting.
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Upcoming movies on premium channels:
MoreMax Tuesday
1:40 AM:
THE LONG HOT SUMMER (1958): Steamy goings-on in the deep South, with Paul Newman, Joanne Woodward, Burl Ives. Anthony Franciosa. MOST LIKELY IN PAN AND SCAN.
3:45 AM:
DEADLINE USA (1952): drama with Humphrey Bogart as a newspaper editor and Etherl Barrymore as the paper's owner being pressured to kill that investigative story.
Encore Western
Tuesday 10:20 PM::
OKLAHOMA (1955): Gordon MacRae and Shirley Joes in the Long running Broadway musical translated to the big screen, although not so big a screen as it's MOST LIKELY IN PAN AND SCAN.
HBO Signature:
Wednesday, 4:50 AM:
REMEMBER THE DAY (1941) Excellent account of scoolteachers Claudette Colbert and John Payne early in the last century.
From the Fox Movie Channel Website:
Tuesday, July 17:
6:00 am EST, 3 AM PST:
RIO CONCHOS
Wild West adventure of a power struggle between a sadistic Indian-killer (Richard Boone), a Mexican bandit (Tony Franciosa), an Army captain (Stuart Whitman) and a demented Confederate general (Edmund O'Brien) who all fight for a shipment of arms.
*Cast:* Richard Boone, Stuart Whitman, Jim Brown, Wende Wagner, Tony Franciosa, James Brown, Jerry Goldsmith
*Director:* Gordon Douglas
1964
WEDNESDAY, JULY 18:
6:00 am EST, 3 AM PST:
THREE BRAVE MEN
A veteran Navy Civil Service employee (Ernest Borgnine), a lawyer (Ray Milland), and a military man (Frank Lovejoy) rally to combat the communist witch hunt after a government worker is fired and blacklisted.
*Cast:* Ernest Borgnine, Ray Milland, Dean Jagger, Frank Lovejoy, Nina Foch
*Director:* Philip Dunne
1957
THURSDAY, JULY 19:
6:00 am EST, 3 AM PST:
THREE CAME HOME
Producer Nunnally Johnson's adaptation of Agnes Newton Keith's autobiographical story of a woman (Claudette Colbert) who is interred in a Japanese war camp and her relationship of mutual respect with the commandant (Sessue Hayakawa).
*Cast:* Claudette Colbert, Patrick Knowles, Florence Desmond, Sessue Hayakawa
*Director:* Jean Negulesco
1950
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Beyond the Vincent Sherman movies, you mean, who was highlighted yesterday?
WBF25;
Also including AUTUMN LEAVES and THIS MODERN AGE, shown within 24 hours or so of the Sherman/Crawford trio.
Joan is one a a number of stars that are featured very often on TCM; usually these stars are from MGM and Warner Brothers. No explanation necessary to have several of their films on, but you can bet they get their yearly birth day tribute as well as regular SUTS and SOTM salutes.
Edited by: Arturo on Jul 14, 2012 2:32 PM
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Thanks Tom and IzC...can't seem to do it. I have saved onto my laptops two stills of Linda and Bob, but can't get them on here.
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Sepiatone wrote:
"Film Noir" is a French term for "black film" and a term for a cinema style that dates back to German expressionist cimematography of the late '30's. Oddly, the term "film Noir" wasn't coined for these types of movies, some dating back to the mid '30's, until 1946. Not all B&W crime movies from this period(mid '30's-1956) are neccessarily "noir", nor are all "noir" films neccessarily crime movies.
ST;
It's not odd at all that the term wasn't coined until 1946. It was the French who recognized certain traits in American films of the 1940s, and to which they were just seeing....these films were unavailable to them until after WW2.
The "German Expressionist cinematography of the late 30's" predates this period, going back to the 20s; it's just that in the mid-to-late 30s, a wave of German filmmakers and cinematographers arrived in Hollywood, fleeing nazi Germany, and helped kick start this visual influence in American films.
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Another expensive Criterion releases of Fox movies which I have is UNFAITHFULLY YOURS. Guess Criterion is a firm believer of the auteur theory, and prefers to deal with the films of renowned directors.
I doubt that these Criterion releases will become part of the Fox Cinama Classics series...since that seems to focus on movies that don't have a manufactured dvd release
Edited by: Arturo on Jul 14, 2012 1:44 PM
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Here's a pairing that surprised me: Bob Hope and Linda Darnell. I found this on e-bay; it apparently was in 1957, as there was also on e-bay a contract specifiying the terms of Linda's participation in a Hope television show.
never mind....ok now, I've seen instructions on how to cut and paste pictures here; apparently I cannot do it the regular cut n paste way, although it just may be my laptop, which doesn't allow me to do certain basic stuff
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Topbilled, PICK UP ON SOUTH STREET is a Criterion title. I know, because like Dassin's NIGHT AND THE CITY and THIEVES' HIGHWAY, I paid over twice as much for each of those three Criterion DVD releases of 20th Century Fox movies, than if they had been (rightfully) part of the Fox Film Noir series of releases.
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Wow when was that picture taken of Flynn and the 3 ladies? Again, kind of sad, he was soooo young and really "beautiful" in this picture and then to think of what happened to him toward the end! I mean I realize we all age, but at the end his looks took a real "hard" hit. Alcohol and drugs don't make for "graceful" aging.
I am sure those three didn't mind having their picture taken with Errol Flynn on that day.
Lori: Since one of the three ladies is Lila Damita, Errl flynn's wife, SHE might've minded the presence of the other two: Marlene Dietrich and Carole Lombard...lol
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HBO SIGNATURE:
THURSDAY, JULY 12
4:50 AM EST, 1:50 AM PST:
MY GAL SAL (1942): Rita Hayworth, Victor Mature and Carole Landis star in this technicolored turn of the last century musical biography.
6:35 AM EST, 3:35 PST:
LIFEBOAT (1944): Tallulah Bankhead heads an outstanding cast in this Hitchcock thriller set on the title vessel as survivors of a sunken ship. Great performances all around.
FRIDAY, JULY 13:
CINEMAX:
4:35 AM
THE LEFT HAND OF GOD (1955). Humphrey Bogart and Gene Tierney in tale of missionaries in war-torn China.
HBO SIGNATURE:
11:25 AM EST, 8:25 AM PST:
REMEMBER THE DAY (1941) Excellent account of scoolteachers Claudette Colbert and John Payne early in the last century.
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From the FMC WEBSITE:
WEDNESDAY, JULY 11:
6:00 am EST, 3 AM PST:
SOUND AND THE FURY, THE
William Faulkner's steamy drama of a young girl (Joanne Woodward) seeking independence in a strict Southern family with issues of alcoholism, illegitimacy and ****.
*Cast:* Yul Brynner, Joanne Woodward, Margaret Leighton, Stuart Whitman, Ethel Waters, Jack Warden, John Beal, Albert Dekker
*Director:* Martin Ritt
1959
8:00 am EST, 5 AM PST:
MAN IN THE GRAY FLANNEL SUIT, THE
Based on the novel by Sloan Wilson, a Madison Avenue executive (Gregory Peck) on the fast track tries to further his career while not sacrificing his home life. The film explores the American suburban corporate culture emerging after WWII.
*Cast:* Gregory Peck, Jennifer Jones, Fredric March, Marisa Pavan, Lee j. Cobb, Ann Harding, Keenan Wynn, Nunnally Johnson, Gigi Perreau, Gene Lockhart, Deforest Kelley
1956
10:45 am EST, 7:45 AM PST:
TENDER IS THE NIGHT
An adaptation of F. Scott Fitzgerald's story of a wealthy American (Jason Robards) living among the jet set in Europe between the wars.
*Cast:* Jason jr. Robards, Jennifer Jones, Jill St. john, Tom Ewell, Joan Fontaine
*Director:* Henry King
1962
THURSDAY, JULY 12:
6:00 am est, 3 AM PST:
TONIGHT WE RAID CALAIS
British Intellengence dispatches Commando Geoffrey Carter on a one-man raid to destroy a munitions plant that manufactures bombs in Nazi-occupied France.
*Cast:* Annabella, John Sutton, Lee j. Cobb
*Director:* John Brahm
1943
7:15 am EST, 4:15 AM PST:
THE CAPE TOWN AFFAIR
James Brolin is a pickpocket who snags a purse containing top secret microfilm in Cape Town, South Africa. Jacqueline Bisset helps uncover the Communist spy ring who is also trying to capture the elusive envelope.
*Cast:* Claire Trevor, James Brolin, Jacqueline Bisset, Bob Courtney
*Director:* Robert D. Webb
1967
REMAKE OF "PICK-UP ON SOUTH STREET"!
FRIDAY, JULY 13:
9;00 AM EST, 6 AM PST:
BIGGER THAN LIFE
Produced and starring James Mason, film deals with a subject matter not dealt with in 1956-miracle drugs and unpredictable side-effects. Mason is a modest school teacher initially helped by prescription cortisone, but soon faces devastating addiction.
*Cast:* James Mason, Barbara Rush, Walter Matthau, Robert Simon, Roland Winters, David Raksin
*Director:* Nicholas Ray
1956
11:00 am
FANTASTIC VOYAGE
Oscar-winning special effects are displayed in this story of scientists (aboard a submarine) that are miniaturized to molecular size and injected into the body of an ill man in an attempt to save his life. (Raquel Welch in a wetsuit was considered by man
*Cast:* Raquel Welch, Stephen Boyd, Donald Pleasence, William Redfield, Arthur Kennedy, James Brolin, Barry Coe
*Director:* Richard Fleischer
1966
SATURDAY, JULY 14:
6:00 am EST, 3 AM PST:
PANIC IN THE STREETS
A medical officer (Richard Widmark) races against time after he discovers two gun-happy hoodlums (Zero Mostel and Jack Palance) are running around the streets of New Orleans carrying the virus to a deadly new plague.
*Cast:* Richard Widmark, Paul Douglas, Jack Palance, Barbara Bel geddes, Zero Mostel
*Director:* Elia Kazan
1950
8:00 am EST, 5 AM PST:
FANTASTIC VOYAGE . . . . AGAIN!
Oscar-winning special effects are displayed in this story of scientists (aboard a submarine) that are miniaturized to molecular size and injected into the body of an ill man in an attempt to save his life. (Raquel Welch in a wetsuit was considered by man
*Cast:* Raquel Welch, Stephen Boyd, Donald Pleasence, William Redfield, Arthur Kennedy, James Brolin, Barry Coe
*Director:* Richard Fleischer
1966
SUNDAY, JULY 15:
4:52 am EST, 1:52 AM PST (thats what it says!)
MAN WHO WOULDN'T DIE, THE
Detective Michael Shayne (Nolan) poses as the husband of millionaire's daughter (Weaver) to smoke out the man who is trying to kill them.
*Cast:* Henry Wilcoxon, Helene Reynolds, Lloyd Nolan, Marjorie Weaver
*Director:* Herbert I. Leeds
1942
6:00 am est, 3 am PST:
WING AND A PRAYER
Set in the South Pacific just after Pearl Harbor, this tells the story of American fighter pilots aboard a navy aircraft carrier and their involvement in the events leading up to the Battle of Midway. Compelling actual combat footage.
*Cast:* Don Ameche, Richard Jaeckel, Glenn Langan, Dana Andrews, Charles Bickford, William Eythe, Cedric Hardwicke, Harry Morgan, Richard Crane
*Director:* Henry Hathaway
1944
7:45 am EST, 4:45 AM PST:
BIGGER THAN LIFE
Produced and starring James Mason, film deals with a subject matter not dealt with in 1956-miracle drugs and unpredictable side-effects. Mason is a modest school teacher initially helped by prescription cortisone, but soon faces devastating addiction.
*Cast:* James Mason, Barbara Rush, Walter Matthau, Robert Simon, Roland Winters, David Raksin
*Director:* Nicholas Ray
1956
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WEDNESDAY, JULY 11:
MoreMax 4:50 AM EST, 1:50 AM PST:
13 RUE MADELEINE (1946): Westerm spys and double-agents in Vichy France tracking the Gestapo. With James Cagney, Annabella, Richard Conte.
HBO Signature 7:40 AM EST, 4:40 AM PST:
DESK SET (1957); Enjoyable batte of the sexes and man vs technology in the research dept. of a TV station. With Katherine Hepburn, Spencer Tracy, Joan Blondell and Gig Young.
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LFN:
Thanks fo the heads-up. I did see it on the schedule about a month ago, and guess i forgot. I too plan to record it, and make one less title to purchase. It's not the only movie that FMC has now scheduled, that are also among the releases for this new series.
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Got me there Clore. But ionly because i wasn't more specific in stating the "Summer" franchises...which is what I meant. If memory serves me, the Friday the 13th franchise were released to coincide with an actual, Friday the 13th, and thus was not a summer blockbuster series.
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MY WIFE'S BEST FRIEND is one of my most anticipated of those titles that have been announced. I recorded it years ago from AMC on VHS, but I'd like to have a DVD copy of this. This enjoyable comedy has Baxter upset that hubby confessed adultery, with her best friend, and it sends her into a tailspin (they thought they were going to die in just such a tailspin-in an airplane). With the always welcome Catherine McCleod in a strong part as the titular friend. Anne Baxter is good but rather shrill, with MacDonald Carey his usually affable bore. Would have been better with someone with less intense comedy technique than Anne, maybe Linda Darnell, or the originally announced Betty Grable ... AND someon with more pizass than Carey...like Cary Grant. One can only dream.
Topbilled, please keep us informed as to the quality of this movie. Thanks.
Edited by: Arturo on Jul 9, 2012 7:36 PM
Princess comes across
in General Discussions
Posted
*MGM paid two other actresses to spoof Greta Garbo in movies they remade. Cyd Charisse does an impersonation in SILK STOCKINGS and Kate Hepburn pokes fun at Garbo in THE IRON PETTICOAT. Both films recycled the plot from NINOTCHKA.*
Actually, since as you mentioned, both use plot elements of NINOTCHKA (with SILK STOCKINGS a musical remake of same), neither actress is actually spoofing Garbo, much less encouraged to do so. They saw the character to be played was from behind the Iron Curtain (at a time when that meant Everything), and so they did their versions of Russian accents, which may or may have not coincided with that of the great Garbo.
*So to single out Lombard, when everyone else was getting in on the act and getting paid to do it, seems rather unfair. Especially when these other two were encouraged to rip off Garbo at her former studio.*
The significant difference here is that Lombard did it when Garbo was at the height of her fame...in the mid-30s. The others did it 20 or so years later, when Garbo's name, while still a magical movie name, was already from the past; she hadn't done any movies at that point in some 15 or so years. It meant a whole lot more, and the spoofing definitely more timely, and possibly more cutting (if so intended) at the time when Garbo was filming, or about to film, what was arguably her greatest triumph, CAMILLE.