Capuchin
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Posts
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Posts posted by Capuchin
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> {quote:title=Sepiatone wrote:}{quote}
> Those who drift into the area of thinking it had anything to do with nitrous
There is a clear lineage in contemporary literature from laughing gas parties to things being a gas to people being a gasser.
English is a rich, textured, and constantly evolving tapestry of expressionism. As in all things, you can't use it to best effect if you don't know and understand some of its eccentricities.
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He should get 10 points for perfect form. (Maybe subtract 1/10 point for distance.)
This one didn't keep his legs tucked.
I've long suspected cats know the secret to anti-gravity. Streak loved to play with the stream of water as the bathtub filled. One day, without help from me (I swear!) he fell in. There were four inches of water in the tub, but his paws were only wet about two inches up, proving he stopped halfway in and levitated himself out!
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> {quote:title=ugaarte wrote:}{quote}
> Is that a fact about Nitrous Oxide being used @ Parties ?
Inhalation of nitrous oxide for recreational use, with the purpose of causing euphoria and/or slight hallucinations, began as a phenomenon for the British upper class in 1799, known as "laughing gas parties". Until at least 1863, a low availability of equipment to produce the gas, combined with a low usage of the gas for medical purposes, meant it was a relatively rare phenomenon that mainly happened among students at medical universities.
http://en.wikipedia.org/wiki/Laughing_gas
This ties in with the concept that medical students were sought after for parties in the 1920s because they had access to medicinal alcohol and laughing gas, and they could steal cadavers for pranks.
It probably wasn't common, but it also wasn't unknown.
> it was said that Coca Cola used to be 'laced' with Cocaine
It's my understanding that the original formula had cocaine, but its concentration decreased significantly as the drink became popular, and around the turn of the century (19th to 20th), it was left out altogether.
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I find them hard to rank.
The Thin Man and Another Thin Man are, imnsho, better mysteries because they were solved by deduction.
Both After the Thin Man and Shadow of the Thin Man were solved by someone talking too much.
I probably like The Thin Man Goes Home the best, but it's written more as a comedy than as a light-hearted detective story as the others were. The fact that the kid doesn't appear is also a plus.
Song of the Thin Man was so bad it killed the series (whoever thought it a good idea to repeat a poorly played song so often should have been shot).
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> {quote:title=LovesLilacs wrote:}{quote}
> Interesting that it is apparently a remake of The Crime of Helen Stanley,
It is, but then again, in a way, it isn't because I don't think anyone would ever confuse Gail Patrick with Rita Hayworth.
> I'm a big Basil Rathbone fan
So many people only know him as Sherlock Holmes. He was a romantic leading man and had great comedic timing.
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A gasser is something that affects you in the same way as a hit of laughing gas. (Nitrous oxide (aka laughing gas) was popular at parties.)
It probably has nothing to do with the fact that gas is the most prevalent state of matter on the planet Uranus.
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> {quote:title=Bronxgirl48 wrote:}{quote}
> I just wrote you
I t'wern't writ, I's hatched.
You know how it always says your post was accepted but it may take a while to appear? Today, that 'while' can be half an hour or more.
It's vexing to see a reply in the list, but when you click on the thread, the last post, or two, isn't there yet.
If it gets much worse, we'll have to ask for our money back.
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> {quote:title=countessdelave wrote:}{quote}
> You came up with a couple of Columbia titles that I've not heard of (but would like to see): Who Killed Gail Preston and The Crime of Helen Stanley.
I found a clip from WKGP.
Maybe you shouldn't watch it. It'll just make you want to see the whole thing.
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Capuchin's Schedule for June 16 to 22, 2013
SOTM -- Basil Rathbone
Columbia Tribute -- Monday Evening
Daytime Themes -- *If TCM's programmers moonlighted for other cable channels.*
Evening Themes -- Cheesy Alliterations
There are times that, for one reason or another, I'm not particularly interested in watching the movie on TCM. So I start channel surfing. This led me to wonder what it would look like if TCM programmers moonlighted by creating schedules for other cable channels.
Court TV would be all about trials, DIY Network would show How To movies, etc.
I thought about a particular news channel's possible line-up (a mixture of fantasies and famous lies), but discretion is the better part of valor, and I decided not to light that fuse.
Basil Rathbone is SOTM. I'm able to put him on Sunday because of his silent and foreign movies. *Autopsia de un fantasma* (1968) translates roughly to Autopsy of a Ghost. It's really tacky but kinda so bad it's good. As part of my cheesy alliterations, I called it Sherlockian Sunday, but there's only one Holmes movie.
When I think of Columbia Pictures, the first thing that comes to mind is mystery movies. I picked some I barely remember, not having seen them in decades.
The rest of the schedule is rather self-evident. I picked mostly movies I know and like to fit the theme for the day or evening.
I know 4 of the premieres on Columbia night didn't have to go against the overall count, but I don't usually use a lot of premieres anyway because most of the great movies have already been on TCM.
Premieres
5 Against the House
Who Killed Gail Preston?
Murder in Greenwich Village
The Shadow
The Ninth Guest
The Crime of Helen Stanley
The Woman from Tangier
The Pleasure of His Company
I wasn't keeping track of the years of the movies I chose. It wound up looking about normal for my preferences (heavy on the 30s and 40s).
Eras
1910's -- 1
1920s -- 7
1930s -- 32
1940s -- 29
1950s -- 18
1960s -- 15
1970s -- 3
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Capuchin's Schedule for June 16 to 22, 2013
SOTM -- Basil Rathbone
Columbia Tribute -- Monday Evening
Daytime Themes -- *If TCM's programmers moonlighted for other cable channels.*
Evening Themes -- Cheesy Alliterations
Sunday
*Court TV*
6:00AM *Witness For The Prosecution* (1957) Tyrone Power, Marlene Dietrich, Charles Laughton, Dir: Billy Wilder, Small Prod,, 116mins, P/S
8:00AM *Madeleine* (1950) Ann Todd, Norman Wooland, Leslie Banks. Dir: David Lean, Cineguild, 101mins, P/S
9:45AM *The Wreck Of The Mary Deare* (1959) Gary Cooper, Charlton Heston, Michael Redgrave. Dir: Michael Anderson, Blaustein-Baroda, 105mins, P/S
11:30AM *None Shall Escape* (1944) Marsha Hunt, Alexander Knox, Henry Travers. Dir: Andr? De Toth, Columbia, 85mins, P/S
1:00PM *Term Of Trial* (1962) Laurence Olivier, Simone Signoret, Sarah Miles. Dir: Peter Glenville, Romulus, 113mins, P/S
3:00PM *LeProces de Jeanne d'Arc* (1962) Florence Delay, Jean-Claude Fourneau, Roger Honorat. Dir: Robert Bresson, Delahaie Prod., 65mins, P/S
4:15PM *The Trials of Oscar Wilde* (1960) Peter Finch, Yvonne Mitchell, James Mason. Dir: Ken Hughes, Viceroy, 123mins, P/S
6:30PM *One Way Pendulum* (1964) Eric Sykes, George Cole, Julia Foster. Dir: Peter Yates, Woodfall, 90mins, P/S
*Sherlockian Sunday*
*SOTM -- Basil Rathbone*
8:00PM *The Flirting Widow* (1930) Dorothy Mackaill, Basil Rathbone, Leila Hyams. Dir: William Seiter, First National, 72mins, P/S
9:15PM *A Notorious Affair* (1930) Billie Dove, Basil Rathbone, Kay Francis. Dir: Lloyd Bacon, First National, 69mins, P/S
10:30PM *Fingers At The Window* (1942) Basil Rathbone, Lew Ayres, Laraine Day. Dir: Charles Lederer, MGM, 81mins
*Silent Sunday Night*
12:00AM *The Great Deception* (1926) Basil Rathbone, Aileen Pringle, Ben Lyon. Dir: Howard Higgin, Kane Prod., 60mins, Exempt
1:00AM *The Masked Bride* (1925) Basil Rathbone, Mae Murray, Francis X. Bushman. Dir: Christy Cabanne, MGM, 60mins
*TCM Import*
2:00AM *Autopsia de un fantasma* (1968) Basil Rathbone, John Carradine, Amadee Chabot. Dir: Ismael Rodr?guez, Pel?culas Rodr?guez, 95mins, Exempt
3:45AM *Sherlock Holmes in Terror by Night* (1946) Basil Rathbone, Nigel Bruce, Alan Mowbray. Dir: Roy William Neill, Universal, 60mins, P/S
4:45AM *The Black Sleep* (1956) Basil Rathbone, Bela Lugosi, Lon Chaney Jr. Dir: Reginald LeBorg, Bel-Air, 73mins, P/S
Monday
*DIY Network*
6:00AM *Mr. Blandings Builds His Dream House* (1948) Cary Grant, Myrna Loy, Melvyn Douglas. Dir: H C Potter, RKO, 94mins
7:45AM *Frankenstein* (1931) Boris Karloff, Colin Clive, Mae Clarke. Dir: James Whale, Universal, 70mins, P/S
9:00AM *How To Succeed In Business Without Really Trying* (1967) Robert Morse, Michele Lee, Rudy Vallee. Dir: David Swift, Mirisch, 121mins, P/S
11:15AM *How to Murder a Rich Uncle* (1957) Nigel Patrick, Charles Coburn, Wendy Hiller. Dir: Nigel Patrick, Warwick, 79mins, P/S
12:45PM *How To Stuff A Wild Bikini* (1965) Frankie Avalon, Annette Funicello, Brian Donlevy. Dir: William Asher, AIP, 93mins, P/S
2:30PM *How to Marry a Millionaire* (1953) Betty Grable, Marilyn Monroe, Lauren Bacall. Dir: Jean Negulesco, Fox, 95mins, P/S
4:15PM *How to Save a Marriage And Ruin Your Life* (1968) Dean Martin, Stella Stevens, Eli Wallach. Dir: Fielder Cook, Nob Hill, 102mins, P/S
6:00PM *How To Murder Your Wife* (1965) Jack Lemmon, Virna Lisi, Terry-Thomas. Dir: Richard Quine, Murder Inc, 118mins, P/S
*Mystery Monday* (Columbia Mysteries)
8:00PM *5 Against the House* (1955) Kim Novak, Guy Madison, Brian Keith. Dir: Phil Karlson, Columbia, 84mins, Premiere #1
9:30PM *Who Killed Gail Preston?* (1938) Rita Hayworth, Don Terry, Robert Paige. Dir: Leon Barsha, Columbia, 61mins, Premiere #2
10:45PM *Murder in Greenwich Village* (1937) Richard Arlen, Fay Wray, Raymond Walburn. Dir: Albert S. Rogell, Columbia, 68mins, Premiere #3
12:00AM *The Shadow* (1937) Rita Hayworth, Charles Quigley, Marc Lawrence. Dir: Charles C. Coleman, Columbia, 59mins, Premiere #4
1:00AM *The Ninth Guest* (1934) Donald Cook, Genevieve Tobin, Hardie Albright. Dir: Roy William Neill, Columbia, 65mins, Premiere #5
2:15AM *The Crime of Helen Stanley* (1934) Ralph Bellamy, Shirley Grey, Gail Patrick. Dir: D Ross Lederman, Columbia, 58mins, Premiere #6
3:15AM *The Woman from Tangier* (1948) Adele Jergens, Stephen Dunne, Ian MacDonald. Dir: Harold Daniels, Columbia, 66mins, Premiere #7
4:30AM *Pushover* (1954) Fred MacMurray, Phil Carey, Kim Novak. Dir: Richard Quine, Columbia, 88mins, P/S
Tuesday
*Travel Channel*
6:00AM *London After Midnight* (1927) Lon Chaney, Marceline Day, Henry B Walthall. Dir: Tod Browning, MGM, 47mins
7:00AM *Fire Over England* (1937) Laurence Olivier, Flora Robson, Vivien Leigh. Dir: William F Howard, London Film, 89mins, P/S
8:30AM *Bonnie Scotland* (1935) Stan Laurel, Oliver Hardy, June Lang. Dir: James Horne, Hal Roach, 80mins, P/S
10:00AM *Carnival in Flanders* (1935) Francoise Rosay, Andre Alerme, Louis Jouvet. Dir: Jacques Feyder, Films Sonores Tobis, 110mins, P/S
12:00PM *Pan-Americana* (1945) Audrey Long, Phillip Terry, Robert Benchley. Dir: John H Auer, RKO, 84mins
1:30PM *Flying Down To Rio* (1933) Dolores Del Rio, Fred Astaire, Ginger Rogers. Dir: Thornton Freeland, Radio Pictures, 89mins, P/S
3:00PM *Escapade In Japan* (1957) Teresa Wright, Cameron Mitchell, Jon Provost. Dir: Arthur Lubin, RKO, 93mins
4:45PM *China Sky* (1945) Randolph Scott, Ruth Warrick, Ellen Drew. Dir: Ray Enright, RKO, 78mins
6:15PM *Forbidden Planet* (1956) Walter Pidgeon, Anne Francis, Leslie Nielsen. Dir: Fred M Wilcox, MGM, 98mins
Train Travelin' Tuesday
8:00PM *The Train* (1964) Burt Lancaster, Paul Scofield, Jeanne Moreau. Dir: John Frankenheimer, Dear Film, 133mins, P/S
10:15PM *The Lady Vanishes* (1938) Margaret Lockwood, Michael Redgrave, Dame May Whitty. Dir: Alfred Hitchcock, Gainsborough, 96mins, P/S
12:00AM *Shanghai Express* (1932) Marlene Dietrich, Clive Brook, Anna May Wong. Dir: Josef von Sternberg, Paramount, 80mins, P/S
1:30AM *Murder In The Private Car* (1934) Russell Hardie, Charles Ruggles, Una Merkel. Dir: Harry Beaumont, MGM, 63mins
2:45AM *The Ghost Train* (1941) Arthur Askey, Richard Murdoch, Kathleen Harrison. Dir: Walter Forde, Gainsborough, 85mins, P/S
4:15AM *Strangers On A Train* (1951) Farley Granger, Ruth Roman, Robert Walker. Dir: Alfred Hitchcock, WB Pictures, 101mins, P/S
Wednesday
*The Weather Channel*
6:00AM *The Hurricane* (1937) Dorothy Lamour, Jon Hall, Mary Astor. Dir: John Ford, Goldwyn, 110mins, P/S
8:00AM *Tess of the Storm Country* (1922) Mary Pickford, Lloyd Hughes, Gloria Hope. Dir: John S. Robertson, Mary Pickford Company, 118mins, P/S
10:00AM *The Rains Came* (1939) Myrna Loy, Tyrone Power, George Brent. Dir: Clarence Brown, Fox, 103mins, P/S
11:45AM *The Wind* (1928) Lillian Gish, Lars Hanson, Montagu Love. Dir: Victor Sjostrom, MGM, 82mins
1:15PM *Rain* (1932) Joan Crawford, Fred Howard, William Gargan. Dir: Lewis Milestone, Feature Prod, 94mins, P/S
3:00PM *Noah's Ark* (1929) Dolores Costello, Noah Beery, George O'Brien. Dir: Michael Curtiz, WB, 100mins
4:45PM *Monsoon* (1943) John Carradine, Gale Sondergaard, Sidney Toler. Dir: Edgar G Ulmer, Atlantis, 82mins, P/S
6:15PM *Key Largo* (1948) Humphrey Bogart, Edward G Robinson, Lauren Bacall. Dir: John Huston, WB Pictures, 100mins, P/S
*Wednesday Weddings*
8:00PM *The Pleasure of His Company* (1961) Fred Astaire, Lilli Palmer, Debbie Reynolds. Dir: George Seaton, Perlsea, 115mins, Premiere #8
10:00PM *June Bride* (1948) Bette Davis, Robert Montgomery, Fay Bainter. Dir: Bretaigne Windust, WB Pictures, 96mins, P/S
11:45PM *Royal Wedding* (1951) Fred Astaire, Jane Powell, Peter Lawford. Dir: Stanley Donen, MGM, 93mins
1:30AM *Double Wedding* (1937) William Powell, Myrna Loy, Florence Rice. Dir: Richard Thorpe, MGM, 87mins
3:00AM *The Wedding Night* (1935) Gary Cooper, Anna Sten, Ralph Bellamy. Dir: King Vidor, Howard Prod, 83mins, P/S
4:30AM *Haunted Honeymoon* (1940) Robert Montgomery, Constance Cummings, Robert Newton. Dir: Arthur B Woods, MGM British Studios, 83mins, P/S
Thursday
*Animal Planet*
6:00AM *King Kong* (1933) Fay Wray, Robert Armstrong, Bruce Cabot. Dir: Merian C Cooper & Ernest B Schoedsack, RKO, 100mins
7:45AM *The Yearling* (1946) Gregory Peck, Jane Wyman, Claude Jarman Jr. Dir: Clarence Brown, MGM, 128mins
10:00AM *The Black Stallion* (1979) Kelly Reno, Mickey Rooney, Terry Garr. Dir: Carroll Ballard, Omni Zoetrope, 118mins, P/S
12:00PM *The Jungle Book* (1942) Sabu, Joseph Calleia, John Qualen. Dir: Zoltan Korda, Alexander Korda Films, 108mins, P/S
2:00PM *Safari* (1956) Victor Mature, Janet Leigh, John Justin. Dir: Terence Young, Warwick, 90mins, P/S
3:30PM *Hatari!* (1962) John Wayne, Elsa Martinelli, Red Buttons. Dir: Howard Hawks, Malabar, 157mins, P/S
6:15PM *Mysterious Island* (1961) Michael Craig, Michael Callan, Joan Greenwood. Dir: Cy Endfield, Ameran, 101mins, P/S
*Thinkin' Thursday*
8:00PM *Sitting Pretty* (1948) Robert Young, Maureen O'Hara, Clifton Webb. Dir: Walter Lang, Fox, 83mins, P/S
9:30PM *Lost Angel* (1943) Margaret O'Brien, James Craig, Marsha Hunt. Dir: Roy Rowland, MGM, 91mins
11:15PM *Lust For Life* (1956) Kirk Douglas, Anthony Quinn, James Donald. Dir: Vincente Minnelli, MGM, 121mins
1:30AM *Charly* (1968) Cliff Robertson, Claire Bloom, Lilia Skala. Dir: Ralph Nelson, ABC, 103mins, P/S
3:15AM *Genius At Work* (1947) Wally Brown, Alan Carney, Bela Lugosi. Dir: Leslie Goodwins, RKO, 61mins
4:30AM *The Mad Genius* (1931) John Barrymore, Marian Marsh, Donald Cook. Dir: Michael Curtiz, WB, 81mins
Friday
*Food Network*
6:00AM *If You Could Only Cook* (1935) Herbert Marshall, Jean Arthur, Leo Carillo. Dir: William A Seiter, Columbia, 72mins, P/S
7:15AM *Our Daily Bread* (1934) Karen Morley, Tom Keene, John Qualen. Dir: King Vidor, Vidor Prod., 74mins, P/S
8:30AM *Breakfast for Two* (1937) Barbara Stanwyck, Herbert Marshall, Glenda Farrell. Dir: Alfred Santell, RKO, 68mins
9:45AM *Kisses For Breakfast* (1941) Dennis Morgan, Jane Wyatt, Shirley Ross. Dir: Lewis Seiler, WB, 82mins
11:15AM *My Kingdom for a Cook* (1943) Charles Coburn, Marguerite Chapman, Bill Carter. Dir: Richard Wallace, Columbia, 81mins, P/S
12:45PM *Oliver Twist* (1922) Jackie Coogan, Lon Chaney, Gladys Brockwell. Dir: Frank Lloyd, Coogan Prod., 74mins, P/S
2:00PM *Christmas In Connecticut* (1945) Barbara Stanwyck, Dennis Morgan, Sydney Greenstreet. Dir: Peter Godfrey, WB, 101mins
3:45PM *The Man Who Came To Dinner* (1942) Bette Davis, Ann Sheridan, Monty Woolley. Dir: William Keighley, WB, 112mins
5:45PM *Satyricon* (1970) Martin Potter, Hiram Keller, Max Born. Dir: Federico Fellini, PEA, 128mins, P/S
*Femme Fatale Friday*
8:00PM *Mata Hari* (1931) Greta Garbo, Ramon Novarro, Lionel Barrymore. Dir: George Fitzmaurice, MGM, 89mins
9:30PM *The Devil Is A Woman* (1935) Marlene Dietrich, Lionel Atwill, Edward Everett Horton. Dir: Josef von Sternberg, Paramount, 79mins, P/S
11:00PM *Cleopatra* (1912) Helen Gardner, Pearl Sindelar, Harley Knoles. Dir: Charles Gaskill, Gardner Picture Players , 88mins, P/S
12:30AM *Framed* (1947) Glenn Ford, Janis Carter, Barry Sullivan. Dir: Richard Wallace, Columbia, 82mins, P/S
*TCM Underground*
2:00AM *Kitten With a Whip* (1964) Ann-Margret, John Forsythe, Peter Brown. Dir: Douglas Heyes, Universal, 82mins, Exempt
3:30AM *Solomon And Sheba* (1959) Yul Brynner, Gina Lollobrigida, George Sanders. Dir: King Vidor, Small Prod,, 139mins, P/S
Saturday
*ESPN*
6:00AM *Alibi Ike* (1935) Joe E Brown, Olivia de Havilland, Ruth Donnelly. Dir: Ray Enright, WB, 72mins
7:15AM *The Cowboy Quarterback* (1939) Marie Wilson, Bert Wheeler, William Demarest. Dir: Noel Smith, WB, 56mins
8:15AM *Indianapolis Speedway* (1939) Pat O'Brien, Ann Sheridan, John Payne. Dir: Lloyd Bacon, WB, 82mins
9:45AM *Kill the Umpire* (1950) William Bendix, Una Merkel, Ray Collins. Dir: Lloyd Bacon, Columbia, 78mins, P/S
11:15AM *The Story Of Seabiscuit* (1949) Shirley Temple, Barry Fitzgerald, Lon McCallister. Dir: David Butler, WB Pictures, 98mins, P/S
1:00PM *Six Day Bike Rider* (1934) Joe E Brown, Maxine Doyle, Frank McHugh. Dir: Lloyd Bacon, First National, 69mins, P/S
2:15PM *Genevieve* (1953) John Gregson, Dinah Sheridan, Kenneth More. Dir: Henry Cornelius, Rank, 86mins, P/S
3:45PM *Elmer The Great* (1933) Joe E Brown, Patricia Ellis, Frank McHugh. Dir: Mervyn LeRoy, First National, 72mins, P/S
5:00PM *Ladies Day* (1943) Lupe Velez, Eddie Albert, Patsy Kelly. Dir: Leslie Goodwins, RKO, 62mins
6:15PM *Angels In The Outfield* (1951) Paul Douglas, Janet Leigh, Keenan Wynn. Dir: Clarence Brown, MGM, 99mins
*Supernatural Satuday*
*Essential*
8:00PM *Angel On My Shoulder* (1946) Paul Muni, Anne Baxter, Claude Rains. Dir: Archie Mayo, Rogers Prod., 100mins, P/S
10:45PM *Scrooge* (1970) Albert Finney, Alec Guinness, Edith Evans. Dir: Ronald Neame, Cinema Center, 113mins, P/S
11:45PM *Gildersleeve's Ghost* (1944) Harold Peary, Marion Martin, Frank Reicher. Dir: Gordon Douglas, RKO, 64mins
1:00AM *I Married An Angel* (1942) Jeanette MacDonald, Nelson Eddy, Edward Everett Horton. Dir: Maj W S Van Dyke II, MGM, 85mins
2:30AM *The Woman In White* (1948) Gig Young, Eleanor Parker, Sydney Greenstreet. Dir: Peter Godfrey, WB Pictures, 109mins, P/S
4:30AM *The Ghost Breakers* (1940) Bob Hope, Paulette Goddard, Paul Lukas. Dir: George Marshall, Paramount, 85mins, P/S
Premieres
5 Against the House
Who Killed Gail Preston?
Murder in Greenwich Village
The Shadow
The Ninth Guest
The Crime of Helen Stanley
The Woman from Tangier
The Pleasure of His Company
Eras
1910's -- 1
1920s -- 7
1930s -- 32
1940s -- 29
1950s -- 18
1960s -- 15
1970s -- 3
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My favorite line of the movie is when her brother is talking to him about her betraying a family to the Revolution.
Armand: So that is why you ceased to love her. What a tragedy.
Percy: Ceased? I shall love her until the day I die. That's the tragedy.
That's just so in character for him!
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> {quote:title=countessdelave wrote:}{quote}Capuchin,
> I can hardly believe that you've got your films already picked-you are fast!
It's easy! (If you cheat.
)My database now has 13,048 movies.A lot of the entries are just title, year, and studio, but 7,496 have at least the actors, director, and a few keywords.
It's easy to pick movies when all you have to do is sort the list and decide which of the top 50 you want.
And I have time on my hands right now. I'd cleared my schedule so SansFin and I could have a lot of time together before she started school. With her away, I'm kinda at loose ends.
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> {quote:title=markfp2 wrote:}{quote}
> I've always been of the opinion that every film is worth seeing once because, good or bad, I learn something from it.
Once is curiosity. Twice is perversion.
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I don't think I could identify with the main character.
". . . a **** bank where he made a deposit years ago with the help of his friend . . ."
What kind of person needs help with that?
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> {quote:title=audreyforever wrote:}{quote}
> How do you know if a movie has been on before?
The method countessdelave stated is the best bet.
You can also try an advanced search in Google. Enter the name of the movie in the box for exact phrase and copy everything up to the first / in this page's url and paste it into the site box. You might get a lot of hits where the movie is in someone's favorite list, but posters mention a lot of the movies that will be or were on.
There used to be a site with a couple years' worth of old schedules, but since their remodeling, the old urls don't work.
Lastly, you can ask here. I have schedules going back to 2005. I'm probably not going to look up a dozen titles for anyone, but if you only need to check a few to get under the limit on premieres, I'll help where I can.
I've selected all the movies for my schedule. Now it's only a matter of moving them from database to word processor and writing up the program notes.
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Great challenge!
Since so many movies I like in a certain genre are from Columbia, that night's theme is a natural.
One thing I should point out, though. There are two Columbia Pictures.
Columbia Pictures
http://www.imdb.com/company/co0071509/
They produced only 198 movies.
Columbia Pictures Corporation
http://www.imdb.com/company/co0050868/
They produced 2903 movies.
They're probably one and the same, just different names for tax purposes or something.
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A few years ago, I was looking for a movie. It turned out to be unavailable because another studio bought it to avoid legal complications when they were making what could have been called a remake. The kicker is they apparently never actually got a copy of it (or if they did, they threw it away), and the original studio didn't keep a copy since they no longer owned it.
I don't know if that was the situation here, but it sounds like it could have been something along those lines.
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My schedule for TCM Challenge #13 gave character actors half a day (vs. the full day for SUTS).
James Gleason
Wilfrid Hyde-White
Alan Hale
Judith Anderson
Eugene Pallette
Alan Mowbray
S. Z. Sakall
Harry (Henry) Morgan
Oscar Levant
Edward Everett Horton
Rudy Vallee
Lee Patrick
I'd be remiss if I didn't mention Charles Lane, who's someone's favorite.
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> {quote:title=darkblue wrote:}{quote}
> I'm in some considerable pain (my back)
Sorry to hear that.
> As to whether the director is the person who is responsible for all the other artists and technicians
Not being argumentative here, just supplying a bit of information you might want to consider.
Some directors are so disappointed in how the print was put together they ask they not be associated with the movie. It became a common enough situation they coined Alan Smithee as a standard false name to use in such situations.
http://www.imdb.com/name/nm0000647/
The producer is in charge. That's why the Oscar for Best Picture goes to the producer, and there's a separate award for directors.
Hope you get to feeling better!
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> {quote:title=darkblue wrote:}{quote}
> It's the director's job to create a finished product through the process
Wrong.
It's the film editor's job to put together a copy. Sometimes the director is also the editor and sometimes the director works with the editor, but neither are a requirement.
If what you stated were true, then there wouldn't be so many Director's Cuts available.
> Once the film is settled upon as that which will be seen in theaters by the masses, that's the movie forevermore.
Wrong.
Sometimes a movie opened the same day in several places, and the prints were slightly different. Some of the most common differences were upbeat rather than realistic endings, scenes replaced with identical scenes done by actors of another race, or simply the overall length of the movie, but for whatever reason, there are several versions of many movies that were simultaneously released to theatres, and none can claim precedence.
> Whatever is chosen (usually by the director if it's anywhere close to an important movie) for theatrical release should be considered the original, uncut version of the movie.
As I've pointed out, there can be many versions released to theatres at the same time. How do you choose between them?
> This is what TCM should mean when it claims to be running a movie uncut.
Why should they mean something that isn't possible, either by logic or law?
> What it sometimes runs is a version that's had content removed so as to alter a classification or pander to certain regional or broadcast sensibilities.
I did a little digging and found that the owner of a movie can't cut it. Anytime they make a change, even if it's only to remove scenes, it's called, by law, editing. This is important because editing constitutes work which can, but does not have to, replace or supplement prior copyright on the material, and it can, but does not have to, establish the new version as an original work.
So when the owner of a 397 minute movies edits it down to 63 minutes, that is the official, legal version of that movie.
As long as TCM does not cut it, they are showing the movie uncut.
I understand you want movies in some ideal condition according to standards you decide upon using definitions you've created, but it's unrealistic.
When a movie is aired, is TCM supposed to beam the Southern version to viewers in Atlanta, the Eastern Seaboard version to NYC, and the "no naughty bits" version to Cleveland because those were what was seen in those cities when the movie premiered?
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I feel like Pavlov's dogs. I'm not salivating, but mention of the challenge has unleashed a flood of ideas (they're not good ideas, but they are flowing in).
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Time for me to be pedantic
I can't think of any theatrical movie from a major studio that is uncut. Directors shoot more scenes than are used, they shoot several versions of scenes, and they shoot scenes from different angles. Many of those end up on the cutting room floor, and are, by definition, cut from the movie.
Ever hear of a Director's Cut? It's when the director didn't like the original way the movie was put together and created their own version, adding things the edit cut and cutting things the editor left in. Could any such movie ever claim to be uncut if there are scenes in one version that aren't in another version?
Distribution does not lock in a movie. Looking at IMDB, you'll often see several times listed, meaning some prints, as originally distributed, were missing scenes that were shown in other areas. The most common reason was for release in different countries, but some movies were edited specifically for the area of the US where they would be shown. A movie opening in NYC might have several scenes different from the same movie opening the same day in Atlanta. Could either version claim to be uncut?
Many owners and distributors edited movies for release to tv. In some cases, the copyright renewals were based on those versions, so a print that was cut by the editor, then cut for locale, and then cut for tv is the official version of the film.
In common parlance, a station cuts a movie when it deletes frames or scenes to leave room for commercials or make it fit into a specific time slot.
TCM's claim that it show movies Uncut simply means they do not engage in that practice. Any reasonable person should be able to understand that.
All the clamour over cut or uncut is ridiculous. Unless you know of a movie where they loaded the camera with two hours' worth of film, let it run undisturbed while they staged the action in front of it, printed the film, added titles, and released it in exactly that manner, you've probably never seen a truly uncut movie in your life.
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My 2 cents . . .
A full day for him was justified by the range of films available (many stars were great only in one or two genres), the variety of billing (most stars fade into the background if they're not the lead), and he's so popular TCM has been showing his movies and didn't have to scramble to license many of them at the last minute.
Considering his support for TCM, it would have been a slap in the face to give him only a standard 4 or 5 movie tribute.
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Love it!
It's first on a 6 movie DVD I made for when I want something on that's interesting but not distracting (when I'm at the computer, I need something playing in the background to drown out external noise. It also lets me know how deeply I'm attached to what I'm working on -- if I know which movie is playing or, worse, what's going to be said next, it means my work isn't fully engaging me).
Warren William is great, but I wish Ricardo Cortez had made more than just *The Case of the Black Cat.*
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What's a "Gasser"?
in General Discussions
Posted
> {quote:title=Sepiatone wrote:}{quote}
> SOLID, Jackson! NOW you're cookin' with GAS!
I might as well fess up -- I wanted to use "bee's knees" in that reply, but I couldn't work it in so it sounded natural.