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sewhite2000

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  1. Okay, that's interesting. I guess he's still doing daytime Saturdays? Which has been his spot for a while, I think. I pretty much only ever watch TCM during primetime, and I know he's made pretty much zero appearances there in 2020 and for a while before that. In fact, Eddie Mueller seems to have completely replaced him in that rotation.
  2. I don't have much to add to this discussion. I don't think they'll ever return to a point where two or five are coming out every month, but I agree with markfp2's assessment.
  3. 471 could be one of the sequels, not all of which I've seen, but I'm going to go with the original The Thin Man - yes 473 I think is Madame Bovary, in which case, yes 476 is Breakfast at Tiffany's - no 477 I think is P.T. 109 - no 478 is Young Frankenstein - yes 479 is Dune - yes 480 is Fried Green Tomatoes - yes So I think I've seen five, maybe if I'm wrong on any of my guesses. 472, 474 & 475, I have no idea.
  4. Not sure if you watched any of the new trilogy. Read only if you're not worried about spoilers. https://www.looper.com/180919/the-meaning-behind-chewbaccas-medal-in-rise-of-skywalker/
  5. And I thought Harrison Ford was fantastic in a lot of things but only nominated once in his whole career, for Witness. Look how many movies he was in that got Best PIcture nominations, and yet he didn't get a nomination. He was certainly deserving for Raiders of the Lost Ark, The Mosquito Coast, his Cary Grant-esque turn in Working Girl. Heck, I thought he should have gotten Supporting Actor consideration for The Force Awakens.
  6. Cary Grant is a bit of a head-scratcher. Only nominated twice for more dramatic turns in Penny Serenade and None But the Lonely Heart, and of course, no wins.There has always been a prejudice against comedic performances, as if they're not acting or as if it isn't as hard to do comedy. I think Kevin Kline's win for A Fish Called Wanda is still a stunner. You can take your pick on overlooked Grant performances. You could start with The Philadelphia Story, in which everybody does a fine job, but if you're only going to nominate one male lead from that movie, you make it Jimmy Stewart? Or if you like your Grant more dramatic, there are also plenty of those. Only Angels Have Wings and Destination Tokyo are just a couple.
  7. 461 must be The Ice Follies of 1939 - Think I saw five minutes of it on TCM once, but I'll have to count it as a no 462 is Tomorrow is Forever - yes 463 is Singin' in the Rain - yes 465 is In Harm's Way - yes 466 might be The Whisperers, in which case, yes, but I'm very unsure about this one. 467 is Harold and Maude - yes 468 might be Hopscotch? Whichever Walter Matthau movie it is, I probably haven't seen it. 469 is A View to a Kill - yes 470 is Presumed Innocent - yes So, I've seen probably six, a slight chance I've seen seven. I have no idea what 464 is.
  8. January 4 From Russia with Love (United Artists, 1963) Source: DVD Another in the assortment of DVDs I got my dad. I was busy with baseball season for almost all of the recent Bond tribute. I did take one night off to watch The Spy Who Loved Me and Moonraker, but I didn't see any of the films from the Connery night (s?). Some of those I hadn't seen in decades and may have only ever seen in edited, commercial-interruption form on ABC's Movie of the Week in the late '70s. Pretty sure this was one of them. This being only the second entry in the Bond franchise, it hasn't quite yet settled (ossified?) into some of the tropes we've come to expect from the series. This is the first Bond movie to feature a pre-credits scene, but officially, Bond himself doesn't appear in it. Instead, we watch someone in a Bond mask (though obviously Connery) get killed by Robert Shaw's assassin as part of some training exercise, while members of SPECTER (I'm unsure if it's spelled like that or SPECTRE, like the ghostly DC superhero. I've seen it both ways online. It would help if I knew what it stood for, I guess) observe his technique. There is a song called "From Russia with Love", performed by crooner Matt Monro, but it's performed over the CLOSING credits. As a child, I always found the Bond plots very byzantine, and while thrilled by the action sequences, I rarely grasped what was really going on from scene to scene, other than that there was Bond and there were some other people trying to kill him. But this one has possibly the most straightforward plot of any of the Connery movies. The Soviets have some kind of world-beating decoding device at their intelligence headquarters in Turkey, which both the British and the Americans would certainly like, but SPECTER also wants to get their hands on it. They've switched over a female Soviet colonel (Lotte Lenya, the widow of Kurt Weill, who name was added to the list of women lining up to spend time with Mack the Knife in the Louis Armstrong version). We're told in some exposition by Blofield (face never seen, but voiced by Eric Pohlman - Blofield's last appearance with hair, we're told in the commentary track), that the KGB is so embarrassed by her defection, they've kept it secret. Which SPECTER uses to its advantage, by getting Lenya to recruit a young agent to work with MI6 to abscond with the device and defect with it to London. This agent is played by an Italian model named Daniela Bianchi, who the previous year was Italy's entry into the Miss Universe pageant, where she was first runner-up. According to the commentary track, it was ultimately decided she was too Italian, and so her voice is overdubbed by a British actress affecting a Russian accent. Bianchi's character thinks she's working for Mother Russia, not some super-criminal organization, and s we're notified from the beginning she's essentially an innocent. MI6 is informed that the defection with the device will only take place if the agent provided to escort her be 007. And so Connery finally officially appears in the movie slightly less than 20 minutes in, reluctant to be involved in such an assignment until he sees a picture of Bianchi. Needless to say, SPECTER's plan is to kill both Bond and the young Soviet agent and abscond with the device. This job is tasked to Shaw's character. I think this was one of Shaw's first major film roles. He would later go on to considerable fame, getting an Oscar nomination for playing Henry VIII in A Man for All Seasons and following it up in the '70s with showy roles in The Sting, Jaws, Robin & Marian, Force 10 from Navarone and Black Sunday before dying from a heart attack at, I think, 52? at the end of the '70s. And that's pretty much it. Bond gets sidetracked when a team of Bulgarian assassins try to take him and his allies down at a gyspy party he attends with the British intelligence station chief in Istanbul, Kerim Bay (the Mexican actor Pedro Armendariz, very fine in his final role), but Shaw takes out the Bulgarian because he needs Bond to stay alive for a while. Anyway, it's all good fun, and one of the favorites I bought for my dad, I think (I see now I should have just gotten him all Connery Bonds and WWII movies, if I could have found that many. Maybe few Westerns. He'll go to bed 10 minutes into a musical or a romantic comedy). Desmond Llewellyn makes his first appearance as Q, and we also see M and Moneypenny. The commentary track is enlightening, as a Bond historian runs through a thorough history of both the novel and the film with a number of interesting trivia tidbits (this was the last film JFK ever watched, in a private White House screening two days before his death!) with comments interspersed by director Terrence Young, composer John Barry, several key crew members and a couple of the actresses in minor roles. I knew I'd only ever seen the edited-for-TV version before when there was a long shot of what appears to be a fully nude Bianchi climbing into bed, anticipating her first meeting with Bond, whom she's to keep happy on his trip to his potential doom. Bianchi claimed this was a body double, who's only shot from the side, so not quite full frontal nudity, but still unusual for Hollywood in 1963, though I guess it was really a UK production. Total Movies Seen in 2020: 6
  9. I'm getting more desperately behind, but maybe I can squeeze one in right now. January 3 Mr. Skeffington (Warner Bros., 1944) Source: DVD I'm sure this one has been on TCM many times, but I finally caught it for the first time ever as part of a random assemblage of two dozen DVDs I bought for my dad's Christmas present at Half-Price Books. This one covers a time span very similar to The Twentieth Century, maybe a few years more on each end. It starts just days before World War I begins and ends maybe slightly less than a quarter century later, with Nazi power well on the rise but Pearl Harbor still at least a couple of years away. It's an adaptation of a novel by an author who went only by the name Elizabeth. The film, written by the Epstein brothers of Casablanca fame, transposes the action from the UK to the US. The conceit of the novel is that the title character, while often discussed and who becomes part of the events, never actually appears "on camera", if that's the right expression to use for a novel. But he's clearly on camera in the film version, which we'll get to in a moment. Davis plays a popular and beautiful socialite named Fanny Trellis who lives with her brother Trippy (Richard Waring) in a grand estate in New York. We're told early on the young adult siblings, who lost both their parents relatively early in life, haven't a penny, but I guess their estate and company of devoted servants aren't in any danger of going away, so they enjoy themselves. Fanny is desired by every eligible bachelor in the state, who practically live in her house, hanging out in the den and the kitchen, patiently waiting for her return home if she isn't there and each continually trying to arrive ahead of the others so as to have a few precious moments alone with her. All these actors have recognizable faces, though I couldn't place them. One is the guy who thought he was Teddy Roosevelt in Arsenic and Old Lace. Trippy has been working for a fabulously wealthy Jewish banker named Skeffington (Claude Rains), but has been embezzling from his employer, who turns up on the pretense of calling him out on it at one of Fanny's fancy dinner parties. Earlier in the day, Fanny and Trippy's cousin George from California (Walter Abel) has arrived - we never learn too much about him, but I guess he likes the climate change, because he's still there at the end of the movie nearly 25 years later. He mainly serves as a sounding board for Fanny for the rest of the movie. Speaking privately with Fanny and George, Skeffington agrees to "Let matters ride" for the time being, though there's little hope any of the Trellises can generate the money - which Trippy has lost gambling - to pay him back. It occurs to Fanny she might be able to compensate Skeffington in other ways, to which he turns out to be amenable. In fact, we learn he's surreptitiously had occasion to view her several times before the movie's action began and become determined to marry her. He accepts outright that while she's fond of him (and especially his money), she doesn't love him. They talk very frankly about this and agree to marry anyway. I don't know that there was ever a Hollywood movie like this where such a marriage ended up running smoothly, so we probably shouldn't expect it to be any different here. I found the inter-faith marriage a bit scandalous for Hollywood well into the Production Code era, and in other circumstances it might have been ignored, but Skeffington's Jewishness proves too essential to the plot to jettison. Anyway, Fanny becomes increasingly selfish and unlikable as the marriage progresses. Her suitors only become more ardent AFTER the marriage and keep hanging around the house, determined that Fanny needs "rescuing" from Skeffington. She becomes pregnant and demands to be allowed to spend the time in seclusion in California, so vain that anyone might see her looking anything less than youthful and fabulous. "Children get older, and their parents get older with them," she whines. "But children stay young for a long time," Skeffington tries to reassure her. "OTHER people's children, never your own," she says, with a cadence that reminded me of Margo Channing. Ultimately, she breaks down Skeffington's good-natured, long-suffering tolerance until he no longer sees any point in being around her. With her permission, he puts their daughter in a fancy boarding school in Switzerland, while he goes to work in Germany, given the time setting, not a terribly good place for a wealthy Jew to be. A return visit by the now nearly grown daughter, also named Fanny, reminds her of own advancing age, especially at a time she's begun to court a man barely older than her daughter. She begins taking increased risks to continue to appear youthful. Exposure during an ill-advised boating outing leads to a case of typhus (I think? Been a couple of weeks since I saw the movie), and while she makes a full recovery, her pocked face now reveals her true age - "plus a few years", a doctor says bluntly. I'll add nothing more save that the final act of the film involves Skeffington's return with a plot twist that might be the key to the only possible way a reunion could take place. Davis seems to be having a lot of fun with a character whose story arc somewhat resembles her character in Jezebel - willful and vain to the point of uncaringly hurting those around her until the realities of a world gone mad finally force to her to show some nobility. She was reunited with director Vincent Sherman, who also helmed her in Old Acquaintance. Sherman provided the DVD commentary track, which is largely limited to him reciting the narrative and elaborating on what the characters are feeling, though he tells some interesting Davis anecdotes. She proclaimed her love for him, he claims, and kissed him on the cheek as Acquaintance was wrapping, although she was married to a man who died only days later. On this film, he says, she was much cooler toward him and more combative on the set, including a scene in which she insisted on returning after a fight with her brother to his room, even though his character had already left. Sherman kept asking her why she wouldn't go to her own room, but she wouldn't listen to him, so they just filmed it the way she wanted. Rains is great as always, and the rest of the cast, most of which I was unfamiliar with, are serviceable. Total Movies Watched: 5
  10. Pretty sure you're right. Well, I couldn't identify them, but I actually have seen both of those movies, so that makes seven out of 10 for me.
  11. 452 is Libeled Lady - no, somehow 454 is Mrs. Miniver - yes 455 is The 10 Commandments - yes 456 is The Diary of Anne Frank - yes 457 I think is Pollyanna - no 459 - is Rollerball - yes 460 is Broadcast News - yes So, I've definitely seen five. I'm not sure what 451, 453 or 458 are.
  12. I've seen Love Affair, Casablanca, The Men, Butterfield 8 and Finding Nemo, so that's five. I was able to identify every movie except for Too Late for Tears and The War of the Worlds.
  13. I saw a trailer for Call of the Wild today, and I felt a little sad as I thought I was probably seeing the 20th Century Fox logo before new product on a movie screen for the last time. This trailer has been out for a month already, so I guess they're going to let it play out, but by the time of the movie release, apparently the word Fox will no longer appear before the movie.
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