[Were YOU also an 8 y/o(or close in age) in 1960?]

To quote Dickens, "It was the best of times, it was the worst of times," (A Tale of Two Cities, 1859)

growing up as a member of the "baby boom" generation in the 50s & 60s.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I spent much of my early youth in the South Bay Area of Southern Cali.

Grandview & Ladera in Manhattan Beach were my elementary schools, and Aviation was the newest addition of a triad of South Bay High schools that also included Mira Costa & Redondo High.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It was a fearfully wonderful time to be born!

Jonas Salk had developed a vaccine against the dreaded polio virus in 1952, and in a practically unheard of today gesture of humanity refused to patent his vaccine.

His sole focus had been to develop a safe and effective vaccine as rapidly as possible, with no interest in personal profit. When he was asked in a televised interview who owned the patent to the vaccine, Salk replied: "There is no patent. Could you patent the sun?"

The successful vaccine was made public on April 12, 1955,

Later oral polio vaccines were developed by several groups, including one led by Albert Sabin.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While at the same time as Dr. Salk was being hailed as a "miracle worker," for the good of mankind, in 1952 the duality of a schizophrenic and bipolar human nature again revealed itself.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

On November 1, 1952, the United States successfully detonated the world's first hydrogen bomb, on the Elugelab Atoll in the Pacific Marshall Islands, near Bikini Atoll.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

With a giant leap, in a few short years mankind had propelled itself from the atomic age to the thermonuclear atomic age.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Three years later, on November 22, 1955, the Soviet Union detonated its first hydrogen bomb, and the world jumped from living under the mere threat of nuclear war (since the first Soviet atomic bomb detonation in August 1949) to living under the even greater threat of thermonuclear war for the first time in history.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As one agent of debilitating destruction was being overcome, another was being created. Like the letters of Love & Hate on the knuckles of a twisted psychopathic Reverend Harry Powell in NIGHT OF THE HUNTER, it appears to be human nature to outdo its capacity for good with a propensity for evil.

And if nuclear weapons were not bad enough, we also include in our arsenal of self destruction an array of devastating biologic & chemical agents as well.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While we eradicated the scourge of smallpox in the wild in the 1970s, we stockpiled and mutated it in the lab, weaponizing it to even greater strains of viralence. And hold mankind hostage with the threat of it's release...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As in the past, in the 1950s - 1960s and beyond, it seemed like the biggest, most imminent threat to mankind was and is man himself, and our pervasive obsession with the weapons and indulgence in war.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Duck and Cover* (the 1951-52 public service animated short film) was mandatory viewing at my elementary school, where we would practice crawling under our wooden desks to protect us from a nuclear fireball.

The irony of the act did not entirely escape many of us at the time as we tried with all our might to believe the adult gibberish that this simple act would save us when the alarm went off and the blinding light flashed. I guess most of us wished we had an impervious armor shell to carry around with us like Bert the turtle (tortoise).

Of course by the time I viewed the film with any cognition we had already advanced to the age of thermonuclear megatonage hydrogen bombs, that made the earlier 20 plus kiloton bombs appear like pipsqueak firecrackers by contrast.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I'd watch the 1939 animated feature "*Peace on Earth*," A cartoon short by Hugh Harman - where animals rebuild a post-apocalyptic world after humanity has fought wars to the point of extinction, which seemed quaintly antiquated, even to my preadolescent eyes, as the last two animated human soldiers, adorned with WW1 gas masks and bolt-action rifles, shot at each other from opposing trenches. And yet those gas masks they wore hinted at another invisible agent, as deadly and even more frightening perhaps than a bullet.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

And the concept of invisible but deadly residual radioactivity was equally difficult for most of us to grasp at that tender age, but knowing that it existed and what it could do scared the bedickens out of most of us.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Walk Home Drills*, where once a month, on a friday, when the alarms went off, we kids would hold hands and gather in long lines shepherded by teachers and parent volunteers, down the the diverging roads to our various homes, breaking off in ever smaller and smaller groups, until we were finally escorted to our individual doors. There to be greeted by our stay-at-home moms, where we hoped we would be safe.

Of course the reality of the act was to bring us all home so we could die with our parents, as a family unit.

In my case, being a latch-key kid, I awaited for my atypical single parent mother to get off work while I played with my toy army men and tried to anticipate the meaning of the end of the world.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Public, backyard & basement *fallout shelters* were the rage, for those who could afford or gain access to one.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I found the thought comforting that no matter how bad it may become...above ground, for those who could stay deep enough and long enough under ground, could be found the solace of safety.

Then a college aged babysitter forever shattered that illusion for me when she said that no matter how well sheltered one could be, if they resided in a target zone they would not survive, not with the then current weapons of the day. And for those that were far enough away to dig themselves out, the world that awaited them would be an unsustainable toxic hell.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

New acronymes became part of our childish vernacular such as *MIRV* (multiple independently targetable re-entry vehicles or warheads, and *MAD* (the doctrine of mutually assured destruction) as the two leading adversarial nuclear powers of the day continually escalated the cost of armageddon folly.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The world had barely escaped the real-time penalty for the consequences of our joint actions in Oct 1962, when, by the grace of providence, two sane hands (in a sea of militaristic jingoism) relented in "pulling the ends of a nuclear knot so tightly that it could not forever be undone." The concept of *Detente* (easing of tensions or strained relations) was implemented... The result was a hotline established so that the leadership of these two nations could communicate more directly, and less encumbered by the easily misconstrued language of miltary gesticulations.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In 1963 a *Partial Test Ban Treaty* was signed and above ground atmospheric nuclear testing was finally banned, allowing the air to become somewhat easier to breathe, though the scent of strontium still permeated.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

But alas, another proxy war soon evolved and the chant of "Better Dead than Red," and "Blast'em back to the stone age" could be heard echoing down the long halls of the pentagon, and by some influential and vociferous persons in practically every community.

Eisenhower's lame duck warning against a too powerful *military–industrial–congressional complex* went unheeded ( http://coursesa.matrix.msu.edu/~hst306/documents/indust.html ) as we throttled ourselves headlong, with ever accelerating break-neck speed, to oblivion.

Although a *Nuclear Non-Proliferation Treaty (NPT)* was signed in 1968, it only succeeded in an agreement among the then world nuclear powers (and coincidentally? 5 permanent members of the UN) the United States, Great Britain, France, the Soviet Union and, the then new-kid on the block, Red China that only they would be allowed to wield the nuclear stick, but NPT did not limit the number of how many sticks each of them could carry in their nuclear basket.

However, once released, the nuclear genie was not likely to voluntarily contain himself again, and one by one, future non-NPT signatory nations would crash the exclusivity of the nuclear party.

But at least, in theory, the door was cracked alittle further to allow future negotiations to enter.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Eventually, as the South/East Asian fiasco eventually toned down, or perhaps as a sideline to it, *SALT (Strategic Arms Limitation Talks)* began... Round one in 1972... Could the two super powers agree that there was no need to further increase their respective nuclear arsenals after all tactical & strategic military and industrial primary targets could be blown to smitherines multiple times, and the excuse to gather ever more arms to cover secondary and tertiary, ad infinitum, population centers, likewise, could no longer be justified... I mean how many times did we really need to destroy each other, wasn't once enough?

SALT II was finally agreed to in 1979, then the US used the Soviet invasion of Afghanistan as an excuse not to ratify their end.... By god, we'd show them Ruskies and the rest of the world that what was good for Paul did not apply to Peter... And in a childish display of cutting-off our own nose to spite our face... we eventually withdrew from SALT alltogether in 1986.

We had a president who said that *Star Wars* was no longer just a movie... at least that was the propaganda spewed.

The *Doomsday clock* was poised at 1 minute to midnite when, Fortunately for the world (including us), the other side had a younger and even saner sounding president.

His administration had inherited an un-win-able war that was draining the manpower, morale and economy of his country, with no end in sight... They were broke, facing economic collapse and ruin, and despite their nuclear parity with the west, they couldn't find the funds to combat this fantastical Star Wars innovation that threatened to totally undo the hitherto restraining logic of the MAD doctrine.

As result the term *"Perestroika"* (restructuring) and *"glasnost"* (openness) eased into the common vernacular in 1986, eventually leading to *START I & II (Strategic Arms Reduction Treaties)* in 1991 and 1992 respectively, which was, if not a 180 degree turnaround, at least a pause, and stopped the second hand of the doomsday clock from inching ever closer to zero hour... at least for a moment, by placing specific caps on each side's number of nuclear weapons.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Since then, the world and its leaders have taken steps both forward and backward to reversing the movement of the big hand of the doomsday clock.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Proponents of nuclear disarmament say that it would lessen the probability of nuclear war occurring, especially accidentally. Critics of nuclear disarmament say that it would undermine deterrence, and if nuclear weapons were completely eliminated, it would destroy the current *Nuclear peace* the world is experiencing and would make the large *Conventional wars*, common before the Nuclear age, far more likely. Of course this says nothing of the growing myriad of other *WMDs* that are available to practically any nation or well financed or insidiously creative group that seeks to acquire them.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

At least in the late 80s, for a brief moment, we had the elusive whiff of a possibility of world peace...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

However for persons such as myself, who became the first generation of the world to be born under the spectre of nuclear holocaust, the "damage" was already done.

For some peculiar reason, I, and others like me, gravitated to the very thing we feared most.

I watched & then read whatever apocalyptic movies and books were accessible to me.

Granted, I did watch and read many other things as well, but I had a special, perhaps morbid, fascination with what a post-apocalyptical world might be like.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As i began my commentary to Dargo2's thread, I compiled a partial list of these types of books and movies, and books that became movies, that I exposed myself to during those formative and turbulent 50s, 60s, 70s and beyond, and I've come to the realize that they have become an influential part of me, and my pragmatic, some would say cynical, and maybe even pessimistic nature.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

But I think that there are many of us still around who perhaps have seen and read the same, and perhaps share a kindred outlook as result of the times and the media that made us.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Sci-Fi Films:*

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Five* (1951)

*When Worlds Collide* (1951)

*The Beast from 20,000 Fathoms* (1953) suggested by a Ray Bradbury short story "The Fog Horn"

*Them!* (1954)

*Godzilla* (Gojira) 1954 Japanese

*Animal Farm* (1954) animated film based on the 1945 allegorical book by George Orwell. *Day the World Ended* (1955)

*1984* (1956 film) written by George Orwell in 1948

(Big Brother, and endless, mindless wars to maintain a perpetual state of martial law and populace obedience.)

*Invasion of the Body Snatchers* (1956) Based on the 1955 novel The Body Snatchers by Jack Finney

*The World, the Flesh and the Devil* (1959) adapted from the 1901 Novel "The Purple Cloud" by M.P. Shiel

*On the Beach* (1959 film) based on the 1957 novel by Nevil Shute

 

*THE TIME MACHINE* (1960) 1895 novel by H. G. Wells, among a host of other Wells' doom & gloom apocalyptic & post apocalyptic novels later turned to celluloid: The War of the Worlds (1898), The Shape of Things to Come (1933), among many others

 

*The Last Woman on Earth* (1960)

*The Final War* (1960) Japanese

*The Last War* (1961) Japanese

*Mondo Cane* (A Dog's World) (1962)

*Panic in the Year Zero!* (1962)

*This Is Not a Test* (1962)

*The Day of the Triffids* (1962 film) Based on a novel by John Wyndham (in the novel, the Triffids seem to have been bioengineered on Earth, while in the film they were aliens who arrived as spores in a meteor shower).

*The Birds* (1963 film) (1952 story by Daphne du Maurier)

*Fail-Safe* (1964) (1962 novel by Eugene Burdick and Harvey Wheeler)

*Dr. Strangelove* (1964) based on the 1958 novel "Red Alert" by Peter George

*The Last Man on Earth* (1964) based on the 1954 novel "I Am Legend" by Richard Matheson also adapted as *The Omega Man* (1971 film) and *I Am Legend* (2007 film)

 

 

 

 

 

 

*Twilight Zone episodes* like "Time Enough at Last" (1959); "Two" (1961); and "The Old Man in the Cave" (1963)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Voyage to the Bottom of the Sea* (1961 movie)

*The Day the Earth Caught Fire* (1964 film)

*The War Game* (1965) BBC

*Planet of the Apes* (1968 film) based on the 1963 French novel "La Planète des singes," known in English as "Planet of the Apes" or "Monkey Planet," by Pierre Boulle

*The Bed Sitting Room* (1969 film)

*No Blade of Grass* (1970 film) based on the 1956 novel by John Christopher

*The Omega Man* (1971)

*Silent Running* (1972)

*Soylent Green* (1973 film) based on the 1966 novel "Make Room! Make Room!" by Harry Harrison

*Where Have All The People Gone?* (1974 film)

*A Boy and His Dog* (1975 film) based on the 1969 novella by Harlan Ellison

*Logan's Run* (1975 film)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Survivors* (1975–1977 BBC series)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Meteor* (1979 film)

*Quintet* (1979 film)

*Mad Max* (1979 film)

*Blade Runner* (1982) based on the 1968 novel "Do Androids Dream of Electric Sheep?' by Philip K. Dick

*The Day After* (1983)

*Testament* (1983 film)

*War Games* (1983 film)

*Threads* (1984 film) BBC

*The Terminator* (1984 film)

*The Quiet Earth* (1985 film) adapted from the 1981 novel by Craig Harrison

*Cherry 2000* (1987 film)

*Millennium* (1989 film)

*Deep Impact* (1998 film)

*Armageddon* (1998 film)

*The Handmaid's Tale* (1990 film) based on the 1985 novel by Margaret Atwood

*Waterworld* (1995 film)

*The Postman* (1997 film) based on the 1985 novel by David Brin

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*Life After People* (2008 film)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

___________________________________________________________________

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Some additional *Sci-Fi Fiction* novels that I have been drawn to, some which seem almost prophetic in retrospect, and others, perhaps just wishful thinking:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*The Last Man* (1826) novel by Mary Shelley

*The Purple Cloud* (1901) novel by M.P. Shiel

*The Machine Stops* (1909) short story by E. M. Forster

*The Scarlet Plague* (1912) novel by Jack London

*The Night Land* (1912) novel by William Hope Hodgson

*Mr. Adam* (1946) novel by Pat Frank - a nuclear power plant explosion renders the entire male population infertile.

*Earth Abides* (1949) novel by George R. Stewart

*War The Chrysalids* (1955) novel by John Wyndham - U.S. title: "Re-Birth" about the aftermath of a nuclear war in a rural Canadian community.

*The Death of Grass* (1956) novel by John Christopher - A virus that destroys plants causes massive famine and the breakdown of society. Made into the 1970 film "No Blade of Grass"

*Level Seven* (1959) novel by Mordecai Roshwald

*The Wind from Nowhere* (1961) novel by J.G. Ballard - The World is progressively destroyed by increasingly powerful winds

*The Drowned World* (1962) novel by J.G. Ballard - Climate change causes world flooding.

*The Wanting Seed* (1962) novel by Anthony Burgess - Global over-population and famine leads to mass chaos.

*The Drought* (1964) novel by J.G. Ballard - A super drought eventually evaporates all water on earth. *Greybeard* (1964) novel by Brian Aldiss - The human race becomes sterile.

*Time of the Great Freeze* (1964) novel by Robert Silverberg - Another ice-age has engulfed the earth.

*Dr. Bloodmoney, or How We Got Along After the Bomb* (1965) novel by Philip K. Dick

*The Genocides* (1965) novel by Thomas Disch - Alien flora is seeded on Earth, and quickly comes to dominate all landmasses, threatening Human extinction.

*A Wrinkle in the Skin* (1965) novel (US title: The Ragged Edge) by John Christopher - Civilization is destroyed by massive worldwide earthquakes

*I Have No Mouth, and I Must Scream* (1967) short story by Harlan Ellison

*The God Machine* (1968) and *Cyborg*, novels by Martin Caidin which were adapted into the 1970s television series, "The Six Million Dollar Man."

*Stand on Zanzibar* (1968) novel by John Brunner - Set in a future of extreme over-population.

*Incredible Tide* (1970) novel by Alexander Key

*Inconstant Moon* (1971) novel by Larry Niven

*Malevil* (1972) novel by French writer Robert Merle

*There Will Be Time* (1972) novel by Poul Anderson

*The Sheep Look Up* (1972) novel by John Brunner - The United States is overwhelmed by environmental irresponsibility.

*The End Of The Dream* (1972) novel by Philip Wylie

*The Last Canadian* (1974) novel by William C. Heine

*The Stand* (1978) novel by Stephen King

*The Zone* (1980) novel series by James Rouch

*Trinity's Child* (1983) novel by William Prochnau

*The Fourth Horseman* (1985) novel by Alan E. Nourse

*Nature's End* (1986) novel by Whitley Strieber

*A Gift Upon the Shore* (1990) novel by M. K. Wren

*The Children of Men* (1992) novel by P. D. James

 

*The Hot Zone* (1994) non-fiction by Richard Preston

 

*Resurrection Day* (1999) novel by Brendan DuBois

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*The World Without Us* (2005) non-fiction book by Alan Weisman

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*The Road* (2006) novel by Cormac McCarthy

*World Made By Hand* (2008) novel by James Kunstler

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Plus a host of intriguing books by Kurt Vonnegut, Robert A. Heinlein, Ray Bradbury, Aldous Huxley, Isaac Asimov, and many others.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As for the future, well I'm not making any serious plans until after December 21, 2012 (the end of the Mayan calendar)

[Jonathan Winters B-Day (Belated)]

THE LOVED ONE is a real satirical hoot...

Great cameo's and even had me embarrassed for mama's little joy boy... Amazing range for Steiger. thinking of him in such dramatic roles as OTWF, et al, and contrast that with TLO.

Then Brando was really out there in MISSOURI BREAKS & his rendition of Dr. Moreau, as well.... And some of the stuff he came up with in MUTINY was off the wall. Real tongue-in-cheek

Great offbeat characters.. all!

 

Reminded me of Stacy Keach, Jr. in BREWSTER McCLOUD...

"bird doo-doo, Brewster, that's bird doo-doo..."

 

I used to watch the Jonathan Winters Show on TV when I was a kid, the guy was such a quick wit, he was amazing... Ever see him and Robin Williams trade spontaneous banter?

Robin & Jonathan are two of a kind and really feed off each other... literally crazy stuff!

 

Happy belated B Day Johnny! & thanks for the memories & many smiles!

[Susan Hayward Movies]

That's it, UNTAMED. Great film.

I just checked out Amazon where I've been on their notification list for ages waiting for the DVD to become available, then I saw the rent/buy section with UNTAMED, as well as AMERICAN GUERILLA IN THE PHILIPPINES & KING OF THE KHYBER RIFLES, 2 other Ty films I haven't seen for way to long.

 

I've downloaded MP3 music from Amazon, but not a movie. Is it the same principal?

what format is it in? Would it allow me to burn a DVD from it later, or would I be restricted to watching it from a computer or (god forbid) a kindle screen?

 

Update... I've read what Amazon says about downloading their videos, it does not specify the format other than AMAZON INSTANT VIDEO (whatever that is) and it sounds like you must have the AMAZON VIDEO PLAYER software installed to view what ever one downloads to buy or streams. I wonder if it would even allow me to convert to a DVD TS file or not????

 

Has anybody downloaded a video from Amazon and burned a DVD player compatible DVD from it?

 

Or would it be better to just buy the Spanish/English region 2 PAL DVD version then convert the file to region free NSTC then burn a standard DVD TS format and watch it from any dvD player I wish?

A lot of steps, but if tcm won't play these movies for us without waiting for ages, then I guess that's another, albeit inferior option...

[Sign the Petition (If you please)]

Okay Mate,

I signed yer petition.

Gave my AK address, but I'll be down in the lower 48 for a while yet, so if they send me any info by snail mail it'll be awhile in forwarding it to me.

 

In the northland I've never been further east than Alberta, but spent time in BC, NW Territory, & the Yukon.

Quality TV has always been a treat wherever I've been. Hopefully if/when I get back north again, on the east side, SNATM will still be around to enjoy. Aaaaayyyy!

[Susan Hayward Movies]

Hi Lori,

I too really liked RAWHIDE, a very realistic low key western, and one of Tyrone Power's best.

 

I can't recall ever seeing it on TCM. It wasn't available on NETFLIX to rent so I finally broke down and bought a box set of 4 classic westerns from Amazon, just so I could get RAWHIDE.

 

There was another Tyrone Power & Susan Hayward film that TCM did play at least once around 2007, but I didn't record it then... It's also one of those hard to find films and I wish TCM would air it again (been waiting 5 years now...) I can't remember the name but it co-starred Richard Egan.

It was like a western, only took place in South Africa. Colonists in covered wagons looking for new land that always belongs to somebody else. This time I think it was Zulus who attacked the train and Ty and a bunch of Afrikan rangers on horseback ride to the rescue. Hayward's husband is killed, but she carries on and starts a farm. She falls for Ty but Egan is also trying to woe her. I think she has Ty's kid, but Egan hangs in there working for her but loses his leg after a tree that he was chopping down, because of a sentimental association between Ty & Hayward, falls on him. He becomes a one legged vengeful outlaw and eventually he and his one-time friend Ty have a showdown.

somewhere in the film I think that an extremely valuable diamond is discovered on her farm...

Anyway, i can't think of the name of the film, but it was a good action yarn.

Does anything I've said about it sound familiar?

Off the top I can't think of any other movies that featured Tyrone Power & Susan Hayward together...

can you?

[The greatest Show On Earth]

The last time that I saw it on TCM was June 2009.

I think that its certainly due (over due) for a replay....

["Breathless", did anyone like this film?]

 

I know I'm not imagining this, but i didn't see any credits at the beginning of the movie, and when the movie ended so abruptly, with Jean Seberg turning her head, to a sudden cut of the TCM holiday season promo, just before Robert & guest host came back on, that there were no end credits either...

Just like the movie was created out of thin air with no director, producer, writer, or actor credits, no end music, no nothing! zippo...

Did anybody else catch that?

 

It kinda annoyed me because I'm one of those weirdo's that actually enjoys reading those credits, and recapping them in the end with exit music, along with whatever other information I can pick up on the film.

This time I got neither, not in the beginning, or the end.

Surely the original movie had credits? Did TCM deliberately cut them out... What's going on?

I've seen this happen far too many times of late.

 

 

["She"]

The 1965 version is the only one I've ever seen.

 

I'd really like to see (preferably on TCM) the 1935 screen version with the adaptation written by non-other than Ruth ( *King Kong* ) Rose (the life partner of Ernest B. Schoedsack), and starring Helen Gahagan (as SHE), Randolph Scott and Helen Mack

 

As I understand, it was the double feature viewing of *KING KONG* & *SHE* in the 30s that stimulated Ray Harryhausen to venture into stop motion animation, and triggered a life long friendship with the late great Ray Bradbury.

 

Of course I've read that there have been numerous silent screen adaptations of the H. Rider Haggard classic from 1908 - 1925, any of which would be a treat to watch!

 

I hope TCM is listening... hint, hint

[OT: Hi I'm New to TCM message boards]

See how easy it is for a thread, anybodies thread, to find itself interwoven into a myriad of seemingly unrelated topics....

 

 

> {quote:title=MerryPickford wrote:

>

> }{quote}I have an interesting sense of humor and I hope not to offend anybody on here.

I think that you will find it difficult to offend some, and easy to offend some others, but the only thing that is likely to be truly offensive is something said with a deliberately cruel or malicious intent, aside from that most of us here are generally open minded and have pretty thick hides, I think.

 

 

> {quote:title=MerryPickford wrote:

>

> }{quote}I'm also a female in my 20s that lives in Los Angeles and frequents old film screenings. Not to imply that everyone that watches TCM are older and males but ...

I think that it's terrific that you are young and female and enjoy "classic" movies (many of us still aren't in agreement as to just what that subjective term actually means, yet) though most of us here have yet to reveal our ages, i'd say that many of the most frequent posters here are probably older and male, but certainly not all of us. I think that if truth be known we pretty much run the age gamut. The one thing that we all seem to have in common here, along with a diversity of opinions, is that we do, inspite of some of our complaints, really do share an affection for this TCM station, what it represents and most of the movies that it shows.

 

When I first began watching this station I limited myself to my old favorites, then, over a relatively short period of time, something wonderful happened... i began watching movies that i thought I wouldn't like and found myself enjoying them. Now my taste in film is as broad as my taste in food, music and literature....

and what's more, each interest feeds off and expands the others. For me, it's hard to be narrow minded in one arena and broad minded in another, and so I find myself in the realm of Will Rogers when it comes to cinema, in that I can rarely say that I've watched a movie that I didn't find something worthwhile in the watching.

Be they silents, foreign films, musicals, comedies, documentary or docudrama, melo or dark dramas, film noir, war, anti-war, westerns, fantasy, sci-fi or horror, whatever the genre may be, i seem to find something enjoyable or interestingly worthwhile in them all.

I owe that to TCM.

And, likewise, I think that TCM has expanded the horizons of most of its viewer audience.

 

 

> {quote:title=MerryPickford wrote:

>

> }{quote}I just started a thread about the things I find humorous in not so much the films on TCM but just the intros/outros and interviews that take place.

I've found over recent years that I will be drawn to watch a movie that I've already seen many times before, if it falls in one of those Robert Osborne, Ben Mankiwicz, or guest programer viewing slots.

I think I do this just so I can hear the comments and maybe pick-up a tidbit of something I didn't know before from a different perspective, but often I'll find myself sitting through another entire viewing, just to see if I can see things differently than I did before, through another viewers eyes.

 

I'll be looking for your other thread, thanks!

[OT: Hi I'm New to TCM message boards]

Oh No... really...

Now I've got to watch more South Park.

 

I've seen a few of their episodes, about body lice, santa vs jesus, the christmas pooh & transsexuals, ... well I guess over the years I've seen quite a few episodes.

They never fail to entertain with shock & awe.. and point stinky fingers at human eccentricity & biggotry, to say the least. But no, I've never seen that episode, yet.

Now of course I want to.

[Call of the Wild???]

 

When it comes to the 1935 version of *COTW* & the 1930 version of *MD*, aside from the prologue reference to the actual sinking of the Essex by a maddened **** whale which was likely Melville's inspiration for the book, neither film resembled either book except in title and the names of a few characters.

 

 

IMO this is why classic movie adaptations are generally poor reflections of the novels that they claim to be so loosely adapted from, especially from the early Hollywood era. Not that they can't be entertaining on their own merit, but generally disappoint one who read the book first.

 

 

However there are a few excellent adaptation examples, usually in the form of a mini-series and most often aired from the BBC & PBS.

 

 

In *COTW* I remember seeing an outake where Reginald Owen shot Oakie, which was such a beloved character that most viewers couldn't handle him being killed off in such a callous manner, so they edited him back to life in the end.

 

 

What intrigues me most these days about *COTW* (1935) is the offscreen/onscreen romance between Gable & Loretta, and the ensuing love child that he apparently never claimed...

I generally like Gable in his movies, but in real life the impression I have of the guy was as an opportunistic womanizing cad.

 

 

[OT: Hi I'm New to TCM message boards]

{quote:title=darkblue wrote:}{quote}

 

> > You can order Sea Monkeys here

> Just don't introduce any human spermatozoa into the fishbowl. It could culminate in missile warfare.

>

 

Can't say that I ever even considered that....

Is your comment based on actual experience?

 

that reminds me of some old movie short I watched sometime long ago.... Maybe Twilight Zone, Outer Limits, Amazing stories.... Not exactly sure from where/when. But there was this scientist who created an artificial world (in minute scale) in a large fishbowl type chamber with the atmosphere of ancient earth, charged it up (perhaps with human ****?) and proteins & enzymes combined and life began... Then rapidly evolved through all the stages of evolution, as on earth. Eventually tiny microscopic humanoid beings appeared, and eventually advanced to modern times with micro warfare.. including nuclear weapons... I can't remember exactly how it ended... but I think that they advanced somewhat beyond the the observers time into a prescience cataclysmic future...

Anyway, there were many thoughtful & bizarre undertones that reminded me of a Serling script...

 

So with Sea Monkeys... who knows?...

[OT: Hi I'm New to TCM message boards]

I know he is... That is why this little excercise into how frequently TCM has actually aired Scorsese films is surprizingly enlightening. I had no idea until now how spartan they actually were.

 

I guess I'm kind of isolated by deliberately limiting myself to TCM & PBS along with maybe a couple of other channels with my precious viewing time. But I've grown to absolutely detest most commercial television, or rather the imbicilic commercials in television. When I do occassionally watch them I feel like an alien from another planet and can't believe a lot of what I'm seeing advertised, and how.

 

I suppose that a lot of what I wish TCM would air (i.e. *List*...) is being aired elsewhere, but I'm blissfully unaware, until someone brings it up.

[OT: Hi I'm New to TCM message boards]

 

*The Hill* (1965) directed by Sidney Lumet aired on TCM in May 2009, & again 5/27/2012 when Ben Mankiewicz was the TCM host (recorded it).

 

 

Like wise, I've been on the lookout for *The List of Adrian Messenger*, I haven't seen that all-star spoof in decades and wish that TCM would play it some time.... soon

 

 

Regarding when TCM will air *Raging Bull* again, is anyones guess... It's going on 5 years now so I think it's well over do for a rerun.

 

Sorry for my stacatto replies but my time on the internet is rationed these days, so I'm not on for very long.

 

------------------------------------------------------------------------------

 

 

Thanks aimalac, I was unsure of those dates, I remember watching the *King Of Comedy*, and enjoying it, but for some reason failed to record it so I could watch it again or share.... Like wise *Italianamerican*. Hopefully next time I'll be ready.

 

Though sometimes when I view something that I recorded earlier I discover that the cable company let me down with a foiled broadcast (freeze-ups & pixilation galore) I absolutely hate it when that happens, especially on a rarely broadcast film. So I may have tried to record the above but had to discard it.

My cable provider ruined *THE MOUNTAIN* for me when it played last month.

I do have an older Asian import DVD that I bought of the film, but I really wanted one that I recorded from TCM, oh well. Hopefully we won't have to wait years for TCM to repeat that one...?????

 

 

[Heaven's Gate for and against]

I remembered first seeing THE BRIDGE (1959) long ago, when I was a kid. i thought it was an extremely powerful antiwar film. Not quite on a par with Milestone's, ALL'S QUIET ON THE WESTERN FRONT, but certainly up there.

I was fortunate to acquire a copy and watched it again, after decades, just a few years ago. Now, I'm charged to dig it out and dust it off for another viewing.

thanks

[OT: Hi I'm New to TCM message boards]

 

Let's see, according to my inferior data base, I recorded

 

 

The Age of Innocence (1934, Philip Moeller, director version, NOT the 1993 Martin Scorsese version), early Jan. 2012. Not sure when the 1993 version was aired.

 

 

Alice Doesn't Live Here Anymore (1974) aired at least twice: June 2009 & again early June 2012.

 

 

I recorded Boxcar Bertha (1972) in Dec 2010, but I know that it has been repeated since.

 

 

Goodfellas (1990) played at least once in June 2009.

 

 

Italianamerican (1974) unsure when TCM aired it last.

The King of Comedy (1983) unsure when TCM aired it last.

Kundun (1997) unsure when TCM aired it last.

The Last Waltz (1978) unsure whenTtCM aired it last.

 

 

Mean Streets (1973) aired at least once in June 2009.

 

 

New York, New York (1977) aired 4/12/2012, when Robert Osborne, hosted it live at the TCM annual Film Festival.

 

 

Raging Bull (1980) aired at least once in February 2008.

 

 

Taxi Driver (1976) aired September 2009.

 

 

If this information is helpful, great, if not, it's the best that I can come up with in five minutes. But, it is free.

 

-------------------------------------------------------------------------------------------------------------------------------------

 

Whew, SansFin, I didn't realized that it was such an ordeal. I apologize for steering Mike00 in your direction for additional information. I only did so because you offered such a quick response with relevant information, I thought that perhaps it wasn't a very big deal. I know that a lot of people spend a lot of time on these boards offering whatever in opinions, advice and such, I don't think any of us expect to get paid for what we share.

 

 

I have a lot of DVDs, some purchased from Walmart, Amazon, and elswhere, and some recorded from TCM, & some that I've traded for with other TCM viewers.

I've found that I actually enjoy those traded TCM 480p dvds even more than the generally better quality comercial ones, I think its because there is some added personality in a dvd that I watch that someone else is sharing with me, by virture that they have watched it and we have agreed to trade and share with each other. Not quite as intimate as a letter, but better than a commercial product.

I don't think that those of us who record TCM movies do it because we are cheapskates, and unwilling to purchase a movie that we enjoy. I think that we do it as sort of a hobby, and when you watch something that you've recorded earlier and viewed before, there are additional memories that go along with the viewing, especially if some of the pre & post commentary is caught on the recording as well.

There are also many, many films that TCM shows that are available from no where else, in either comercial VHS or DVD format.

 

 

Anyway, sorry if I offended you by suggesting that you might be able & willing to offer additional info.

 

 

[OT: Hi I'm New to TCM message boards]

Mike00,

"recently" is kinda subjective, depending on the user of the term.

 

*Alice Doesn't Live Here Anymore* (1974) & *New York, New York* (1977), & I think *Boxcar Bertha* (1972) were aired before and repeated earlier this year ( New York, New York may have been a TCM premier this year????) .

I can only recall seeing *Goodfellas* (1990), *Taxi Driver* (1976), *Raging Bull* (1980),

*Mean Streets* (1973), and *Kundun* (1997), only once on TCM since 2008.

I think that *The King of Comedy* (1983), *Italianamerican* (1974), *The Last Waltz* (1978), and *The* *Age of Innocence* (1993), have been shown more than once on TCM during this same time frame, perhaps SansFin or someone else can come up with the precise viewing times, if you require that information...

But you are very correct when you say that TCM rarely airs a Martin Scorcese film, which makes it so very special when they do.

[OT: Hi I'm New to TCM message boards]

Welcome to the TCM message boards.

I hope that you find your stay here to be a pleasant one.

 

I think that you will find (if you haven't already) that TCM shows quite an eclectic mix that should mesh quite nicely with your diverse tastes in cinema.

Likewise You will find the membership here to be quite diverse in their tastes as well, in all except perhaps the common flavor of what is perhaps the most unique station on air today.

 

Martin Scorsese is kind of a rare and special treat on TCM.

I'm pretty confident that TCM has shown at different times some of Scorsese's earlier works such as Boxcar Bertha, Alice Doesn't Live Here Anymore, New York, New York, The Age of Innocence, and The King of Comedy.

And I think I can recall seeing at least once on TCM: Taxi Driver, Mean Streets, Goodfellas, Casino, and maybe even Raging Bull, and Kundun. as to some of Scorsese's more recent and/or controversial subjects, we are still waiting to see what the future brings.

 

Don't fear, Merry, you haven't disrupted anything here. The more the merrier.

As in any diverse forum please try not to take anything personal, and do try to keep an open mind,

When you get to know more of the posters, I think that you will find most of us try to be helpful and incitefull, though as in any place you will find that not everyone agrees with each other, and some are quite quick and verbose in saying so.

 

Have fun and enjoy!!!

[Heaven's Gate for and against]

TCM showed this once in it's entirety a few years ago... I think that I'm ready to see it again and hope TCM will air it a second time, soon.

 

The first time that I saw HEAVEN's GATE (the movie, not the cult) in a theater I felt it was a bit to long and somewhat disjointed. But I think that it was just me at the time as when I saw it a second time, after reading up on the actual events and characters of the Johnson County War, I found the movie to have a flavor of more fact than fiction, and viewed it as more of a docudrama depiction, and actually enjoyed it, the second time.

Then again, I found that to be the case with me and all of Michael Cimino's films. They all required a second and more viewing to appreciate.

[How does a 99 minute movie fit into a 90 minute slot?]

Long ago I noticed that there were occassional discrepencies between the "Month Schedule," which I use to print out months in advance and rely, sometimes too heavily upon, vs the more current, and generally more reliable "Full TCM schedule." Generally, when there is a discrepency between the two, the "Full TCM schedule" will be more accurate.

I used to rationalize that the difference/s were due to the "Month Schedule" being posted so much further in advance, that the programers used it as more of an outline to follow, but couldn't account for some last minute difficulties when obtaining movies outside of the TCM library and also when there was an unforeseen loss of an old TCM friend which necessitated an otherwise unplanned tribute.

I've even missed recording a favorite movie that was listed in the "Month Schedule" because I forgot to double check the "Full TCM schedule" before adjusting my recorder's timer.

 

However, on several occassions of late I've noticed abrupt cuts to the endings of movies that I've been watching, nothing as drastic as what happened in our TCM Holloween premier of THE MUMMY's HAND, but annoying for someone like me, just the same.

Even when I go out to see a movie on the "big screen" I'm one of those guys who sits through the exit music watching the screen credits roll by. Like wise, when I watch a movie on TCM, I look forward to the complete informative experience. So when the exit music is playing and the credits are on the screen, and then they abruptly cut away before the music actually ends, it's an obvious program error.... At least that's what i hope... and not a deliberate act to get a little more in between feature promotion, when there is otherwise ample time between one movie and the next. But if it is programer error, I've noticed it far to often of late, so maybe there's someone new on board at TCM that's still learning his or her craft, at the viewers expense. If such is the case, I hope that they learn it quickly.

To me the mantra of "complete & uncut" is more than just words when it comes to TCM. And that includes the entire film from beginning logos to the exit music & credits. Often that is where I find those obscure actors that weren't "big enough" to get in on the opening credits, and sometimes one finds more little gems of info, like the names of individual songs and who played them, etc. there at the very end.

So please TCM, get your act together, and don't cut away prematurely, wait until the exit music ends and the screen goes legitimately black, before you move on to the in between promos.

 

And this is just a critical observation, not a general complaint aginst TCM, which is my favorite movie channel. No proverbial "sour grapes" intended, though I must confess that it does sour me somewhat, when it happens.

I just want TCM to be all that it can be and live up to the standards that it promotes and that we have grown to expect with consistency.

[Did Anyone Else Watch SON OF FRANKENSTEIN? Anyone else unimpressed?]

Granted, a lot of plot holes as presented.... I'd like to see the original "Frankenstein" (1931) script.

 

As Shelly wrote it, the creature wanted his "father" (actually Victor Frankenstein in the book) to create a woman for him, one of his own kind, so that he would'nt be lonely. (This was dabbled with in the sequel "Bride of" )

Victor eventually agreed, but later reneged on the deal. The monster promised him that he would be there on his (Victor's) wedding night. But not before first killing Victor's younger brother, William, and later Victor's bride, Elizabeth, to teach him the meaning of loneliness by losing that which he loved. Victor Frankenstein then spends the remainder of his life chasing after his elusive creation in revenge... Much better novel than either of the Whale originals. Both movies and the book had enough pathos for me to sympathize with the plight of the creature... created, and rejected, unloved and hated for being what he was....

The 1994 Kenneth Branagh film version with Robert De Niro was far more faithful to the book. But there will always be a special place in my heart for the early Universal films of my youth, especially the first two by Whale, plot holes and all.

[Drew as co-host]

hlywdkjk

 

Of course I was being facetious in my last post (albeit with a poker face, sans smiley face ), in all except the part about finance having a secret (well, not so secret anymore), crush on Drew.

 

I think my previous posts in this thread and elsewhere make it quite clear where I stand on Drew's sincerity.

I went along with Finances "devil's advocate" routine to hopefully illustrate how foolish (in my opinion)his (and some other posters) rationale can be along this line if carried to extreme.

 

I quite agree with you that it is pure non-sense to project that Drew or practically, any guest host (likewise anyone associated with TCM or these boards) would "feign" their enthusiasm for classic films or TCM.

 

Likewise if someone said they don't like something or another and can rationally back-up their reasoning why, then they are probably being genuine as well.

 

While some persons are no doubt addicted to bulletin boards (here and elsewhere) that doesn't negate them as being a sincere fan of classic film, or TCM, or whatever else they partake in religiously.

But, I am not sure where the cut-off mark is that determines a "genuine classic film fan of long standing"?

Drew may have"officially" become a part of the TCM "family" at the 2010 Classic Film Festival when she enthusiastically agreed to introduce the screening of NIGHT FLIGHT, but that's not to say that she hadn't been watching the channel and studying film through other venues for many years prior to that event.

Many of the first time posters here have been enthusiastically watching TCM since its inception and sharing the channel with their friends. Some loyal TCM fans may never post on these boards, for a variety of reasons.

Like wise a "new" guest host doesn't equate to a new fan of TCM or of classic film..., quite the contrary.

Some extremely prolific posters here have only been "registered" members for a relatively brief time, Does that make them any less a TCM fan or classic film lover than someone who registered several years prior? Likewise, do we/should we measure the "genuineness" by the quantity of posts a member has made?

 

We don't yet possess the ability to look into each others TV rooms and see what it is each of us watches in our precious "free" time. So how are we to quantify whether someone is truly a "recent" addition to the "party" and "just sampling the program," vs someone who is a truly dedicated fan? How do we qualify what a "genuine" classic film fan is? What does it mean to be a TCM fan?

Since, on these boards anyway, we haven't been able to achieve a general consensus as to what exactly qualifies as a "classic" film, let alone what an "essential" film is,...

I'm confident that we likewise have many divergent opinions as to what exactly defines a "genuine classic film fan" and where the cut-off is/or should be, that differentiates between an implied "steadfast" long standing one, vs an implied "flighty" short standing one.

 

Surely one can be a "genuine classic film fan" and still have other interests as well?

Some of us may have TCM as our primary channel and watch it 90+ percent of our viewing time, but may also watch some other channels on other occassions, be it PBS or whatever.... Are there not other sources (albeit perhaps not as good or readily available 24/7/365, as TCM) for "classic" film viewing? Does that make us any less genuine than another classic film fan.

Some of us are actually employed in the film industry, should that make those of us any more "genuine" a classic film fan than another?

 

Some of us may also read, perhaps "classic" books, perhaps some of those same books that have been so famously adapted to film. Does that make us more or less than someone who doesn't or who perhaps can't read???

 

Some of us are scholastic students of classic film, others of us are self taught....

Some of us have been at it longer than others of us and have the benefit of being "seniors" either didactically, or experientially, ... others of us are new to the game but no less dedicated to the subject.

 

In my humble and "genuine" opinion, I view the "classic" film family of viewers as I do parts of the body... we are not all hands or feet, ears or eyes,... but together we make a whole. Some of us are old exfoliating, keratinized epithelium, and others of us new emerging dermis... We, each of us, contribute to the whole in some unique way that another part of the body cannot quite do as well, and we would be less than we are without the most humble small toe among us....

Granted we may be "blessed" with a few extra rectums, that most other organisms do not possess, but perhaps they serve the positive purpose of keeping the brain alittle clearer and less "foggy," than it might be otherwise?

[Drew as co-host]

If it was feigned, then it wouldn't be genuine....

But then I suppose that is the point that you're trying to make.

 

if it is all an act, then its a good one and has me fooled, as well as Robert Osborne...

That is unless his reaction to Drew is feigned as well.

In which case none of their comments and/reactions about anything they say can be deemed as genuine. Perhaps its all an act and they are just reading offscreen que cards from above each others shoulders.

Maybe Ben's reactions to his cohost this month has been an act as well. Maybe his cohost's comments and reactions were not genuine either... Maybe he made it all up and maybe he really doesn't have CP.

 

Maybe Ben, Robert, Drew, and the myriad of other cohosts don't really sit through the movie with us when we watch... Maybe it's all prerecorded and five minutes after their opening comments they just read the closing comments and pretend that they sat through the entire movie with us and feign the enjoyment of doing so....

 

Maybe your comments about Drew are feigned as well.

I think that you have a Drew Barrymore fixation, and you really adore her...

You're like the little boy who puts the little girl's (who sits in front of him in the class room) pigtails in the inkwell. You really like her, but you say such negative things to get attention. Secretly you thrive on the comments of those that rise to defend her. They build her up in your mind and make you adore her even more.

 

Possibly nothing can be trusted to be as it appears to be.

[Did anybody record this movie?]

 

Did any of you record THE MOUNTAIN (1956) with Spencer Tracy and Robert Wagner shown earlier this month?

 

 

If you have a good DVD recording of THE MOUNTAIN would you be willing to swap a copy of it with me?

 

I'm also looking for a good copy of RASPUTIN AND THE EMPRESS (1932) with John, Ethel, and Lionel Barrymore, shown once a few years ago on TCM.

 

 

I have accumulated quite a few TCM recordings over the years.

I've learned to only record on genuine quality Taiyo Yuden or Verbatim discs. I usually will record a feature that is 128 min or less at SP speed. If the feature is 165 or more min then I'll use multiple discs at SP. If the feature is over 128 min but less than 165 min then I'll record using SPP speed. For short features 65 min or less, I'll either record at HQ speed or combine a couple at SP or maybe SPP.

 

 

If you are interested please PM me back with a list of your favorites that you don't have & would like to see, and if TCM has shown them in the last few years, I may have recorded some of them. I'll let you know.

A lot of what I like isn't even offered on commercial DVD and I'd much rather trade DVDs this way, than purchase from Amazon or elsewhere.

 

 

Anyway, if you think that you might be interested please send me a pm and let me know!

 

 

[Greatest movie monster of them all?]

The greatest movie "monster" for me will always be the original Willis O'Brien animated KING KONG (1933). Though I never saw him as a "monster" except that he was monstrous in size, I always rooted for him to somehow win, inspite of it all... Since my childhood and to this day it's the only movie that I've never tired of seeing despite hundreds of viewings. And each time i see it I find more to appreciate.

 

Not the scariest, though the concept of being lost or trapped in a prehistoric world could be a frightening one. Great, fast paced adventure from the beginning to the end, and like a good meal, always leaves me wanting more!.

 

There have been other, scarier monsters in movies. The mindless flesh eaters like Caltiki, and the zombies from Romero's original "Night of the Living Dead" presented in a quasi newsbroadcast format, giant telepathic crabs, all seemed to scare the dickens out of me. but not Frankenstein, Dracula, the wolfman, the mummy, the invisible man, and others of their ilk.

 

karloffs Frankenstein, was an empathic creature for me. In both the '31 original & '35 "Bride of," I even found myself weeping along with him and the old blind man as they found in each other a friend of the heart in a cold & lonely, persecuting world. The real monsters were Victor Frankenstein and the villagers intent upon destroying him.

 

I loved the wolfman, and as a kid wished that I had Lon Chaney, Jr's, lycanthropic abilities... not to rip someones throat out, but to be able to transform myself into a wild creature of the night, to run fleetfootedly, and see in the dark. To be able to relate with the other wild things as one....

 

Bela's Dracula certainly seemed the most malevolent and deliberately evil of the bunch. However, as I grew older I found myself attracted to the vampire's abilities. Once again, a lycanthropic attraction. To be able to transform oneself into a creature of the night, not just at the fullness of the moon, or only into a wolf, but at any time of any night, and into any creature that one willed, or even a smokey mist. To be able to fly anywhere one wanted, and to have the power to sudue the will of others with a mere glance. As a young, precocious, preadolescent boy I don't think I have to elaborate on where I would have taken such aphrodisiac abilities if I'd had them. Of course my idea of necking and Bela's count, probably weren't exactly the same.... As I grew older still, the thought of an eternal "youthful" life, with the wisdom and wealth of the ages also became attractive attributes.

 

Rain's invisible man never frightened me either. Even as a child I enjoyed his twisted James Whale sense of humor, as one would laugh at a bad but somehow funny joke. Once again, the thought of what I'd do with the marvelous powers of invisibility, if I possessed them, was a powerful attractant. But listening to Claude discuss the foibles of invisibilty, and in even greater detail when I read the Wells novel, somewhat detracted from the attraction...

 

And though universal included him as a movie monster model, I never saw "the hunchback of Notre Dame" as anything other than a poor but noble soul trapped in a deformed body.

In as much as I love the marvelous Chaney, Sr., Laughton's rendition of Quasimodo is the one that I saw first and sticks with me the best! I'll never forget his parting lines as the camera panned away in that last scene as he sat, perched among the stone gargoyles of Notre Dame... That movie and others, got me to reading Hugo, Shelly, Stoker, Stevenson, Poe, Verne, Wells, and other authors of a bygone era.

 

When I stop to re-think about the most horrifyingly, monstrous monster of them all, both from my childhood memories of growing up, and perhaps to this day... depicted both on film and in reality, was (is) man himself....

From the spectre of a post WMD holocaust world of mutant survivors... to our accelerated corporate ambitions to alter the natural course of things with artificially created GMOs and through "our" chronic environmental abuse and neglect... to the individual and mass cruelties we inflict upon each other daily because of religious, gender, ethnic, and ad infinitum bias', hatreds & indifference...

 

On second thought, or perhaps in full circle back to Kong, I rediscover that man can be the Greatest "movie" monster of them all...