sewhite2000

Well, I was probably being presumptuous to speak for what the OP would say about it. When I said "I think these would be fine", I didn't intend for it to sound as if I was personally granting permission for you to do so, though I can see how it could sound that way. I just meant I thought the OP (TopBilled, right? I'd have to scroll back up) would be okay with it.

Fair enough. Sorry if I overreacted As I say, I checked out her imdb resume, and I have actually seen a few of her films, but her name just didn't go into my long-term memory banks until she started being discussed here. It may be some kind of gender bias I have, but I seem to remember individual actors more easily than I do actresses.

Well, you seem to be going out of your way to make me feel small and stupid, but no, I didn't.

If that's existing protocol, that's news to me! Almost every thread I've ever created, if people are still posting on it all after a day or two, have shifted so radically in subject matter, they're completely unrecognizable as being related to what my original topic heading was. No one has ever asked me for approval! Still, I appreciate your consideration for the OP's original intent for the thread. You could always create a thread of your own if discussing the films you're thinking of is of interest to you. I recently posted that there was once a thread about films available to watch on YouTube. It consisted of little but people posting titles and a link to the film, maybe a sentence or two about the background or the film or what they thought about it. I thought, hey why don't I watch some of these films and post short (non-spoiler-revealing) reviews of some of them? Honestly, I didn't feel that was any egregious violation of the OP's intent, certainly not to the degree that my own recent thread about my absence from these boards got turned to a discussion of the 70s band the Raspberries! (I did make a post on there saying boy this thread sure has changed in subject matter, but I expressed no anger and I didn't demand anybody stop. I'm 100 per certain no one would have listened to me anyway). I was still talking movies other people on the thread were talking about. But the OP (whom I believe is no longer with us) got really p*ssed at me and dressed me down publicly for monkeying around with his original intent. Only post links to these movies, he ordered me. Do NOT write reviews of them! You have no right to do so on my thread! I thought he was being a jerk, frankly, but I backed off and didn't post any more reviews. I've always wondered how he would have reacted if somebody had turned THAT thread into a thread about the Raspberries.

In Harm's Way is strong to quite strong for a good chunk of its running time, but ironically for a war movie, when we get to the battle stuff in the final act, in my opinion, it runs out of steam. Part of it may just be my personal tastes. I'm more into "interior dramas" than battle scenes. From Here to Eternity is all interior drama until the very end and, I agree, is more compelling overall. Personally, I like Heaven's Gate and have tried to defend its storytelling on several threads, but I've always been met with such hostility and scorn, I don't have the strength for it anymore.

Yes, oh my gosh, I watched this on TCM. Perfect example.

I think these would be fine to include, as well. If you have some examples, I'd like to see them!

I mean, I consider myself pretty damn knowledgeable about classic film, and just by looking at her name, I had zero idea who Ruth Roman was, as I stated in a previous post. Checking out her imdb resume, I see that I had seen her in a handful of films, but she hadn't made enough of an impression on me for me to remember her. The typical viewer of TCM has probably seen quite a bit more of Ruth Hussey, who made a lot of films at MGM, and I suspect that's why she won.

The Man in the Gray Flannel Suit is not insanely long, I guess, at 153 minutes, but boy, is it meandering. Once we've set up the basic scenario, we go into a very long WWII flashback. And major subplots keep getting introduced much later than one would expect in a more conventional movie, subplots about Frederic March and his daughter and subplots about the butler contending for possession of Gregory Peck's grandmother's house.

I've started Exodus, I think, three different times and never finished it. So I don't know if it truly counts as a movie I've "seen". I've always bailed out or fallen asleep a little past the two-hour mark. So, maybe I've seen 130 or 135 of its 208 minutes.

Ah.

Why is it silly? It's the only way I've ever seen it (well, I think I watched it on DVD once).

I'm going to add a very recent example. Avengers: Endgame is probably going to be the biggest-grossing movie of all time, and I quite enjoyed parts of it, but right at three hours, its third act drags on interminably, and the final battle scene goes on forever.

I remember watching that one the year it accidentally got included in 31 Days of Oscar! The second half of the movie, I was squirming in my seat like a little kid.

For me, it's not so much that a movie is accessible in other formats. It's that I like to think of TCM is television's most (only?) champion of the classic film format. The addition of any previously unshown film to the vast body of film it's already shown is just another feather in the cap for TCM, in my opinion, just further validation of its importance. That's why I'm always delighted when an All About Eve or Godfather or (soon) Star Wars appears on the network. If this is the ultimate source for classic films, then it ought to present as many different films that have earned that title as possible.

I'm just hoping the new ownership doesn't result in FEWER Fox films being aired on TCM! In my very unscientific opinion, TCM has shown more Fox films in the past five years than at any point in the network's history, indicating the network and the studio had developed a nice, healthy working relationship. I hope Disney's purchase doesn't change that. TCM and Disney also appear to have a good relationship, as TCM devotes an entire night to Disney programming four times a year, although I'm personally not crazy about the self-limiting format. I'd like to turn on TCM on just a plain old Tuesday once in a while and see that a Disney film is playing without it having to be a trumpeted event. I hope Disney doesn't insist upon TCM limiting its presentation of Fox films in a similar manner.

Yeah, I've always thought the bit about the political rallies had less to do with licensing and more to do with the recording artists, who tend to be liberal, being unhappy with conservative political candidates using those artists' songs to rouse their fan base. This goes back at least to 1984, when Bruce Springsteen asked the Ronald Reagan campaign to stop playing "Born in the USA" at Reagan rallies. I don't think Springsteen had any legal right to prevent its use. It was merely a request, and for the most part, these requests seem to be honored once they've been made. The Trump campaign found itself in 2016 having to use a new a song at practically every event, as virtually every song they played would lead to a "cease and desist" request from the author(s).

This thread is almost making me too tired to comment, but I feel compelled to echo what multiple posters have already said on here ... that TCM is actually showing MORE war movies this year because of the 75th anniversary of D-Day. They're just spread out over two whole months rather than crammed into one weekend. I can't fathom why this programming change should upset anyone so much.

Does anybody know anything about the film Where Were You When the Lights Went Out? I see on imdb that it was an MGM release, which would seem to make it relatively stunning that TCM has never aired it (according to MCOH's database). Is it because Doris called it her least favorite film in her memoirs, describing how her soon to be ex husband signed her to do it without her knowledge (and that she spent every moment of the shoot she wasn't on camera on meds and in traction and barely even remembered making it)? I can almost imagine Robert Osborne, out of some loyalty to her, insisting to his bosses at TCM that this movie never be shown. But maybe I'm dramatacizing. Perhaps it's just some rights issue. But if anyone has any idea why TCM has never shown it, I'd like to hear.

Boy, I hope Nipkow makes the effort to come over here and vote for you!

The Columbia films are owned by Sony, a completely separate entity, but they seem to have always had a cozy relationship with TCM. The Awful Truth, His Gal Friday, On the Waterfront and the films Frank Capra and David Lean made for Columbia I would guess are probably among the most-played "out of library" films in the network's history. I remember somebody once posted on here schedules from the first few weeks TCM was on the air, and they were mixing in some Columbia films right from the start. TCM's first-ever Star of the Month was Greta Garbo, an easy pick, since she made every one of her English-language films at MGM. But TCM's SECOND-ever Star of the Month, way back in June, 1994, was Glenn Ford (about to be spotlighted again), and while I wasn't watching way back then, I assume they must have shown some of his Columbia films, since he made so many for them (though he made a bunch at MGM, too). But you never know how these things are going to go: for the past several years, I've been counting up the 31 Days of Oscar films by studio, and in 2017, the year they played the films in alphabetical order of title, I was stunned to see TCM was airing only five Columbia films the whole month. I was like, "Wow, have things soured between TCM and Sony?" But the very next month and ever since, TCM has been showing its usual share of Columbia pictures.

Missed that one! I will amend above.

So, this is the type of thing I do when I can't sleep. I've made a list of every film airing during Summer Under the Stars that are outside of the usual TCM "library", i.e., all films airing that were NOT made at MGM, UA, RKO or WB. I also left out Embassy, Allied Artists and AIP, since I'm pretty sure almost all of those studios' films are now under the control of MGM, and TCM can show them any time they want. A handful of these films are in the public domain, like Penny Serenade and Charade, but as long as they weren't originally released by one of the above four studios, I listed them anyway. One caveat: I pretty much left out all foreign films, as I didn't want to look up all their studios of origins that I would never have heard of, anyway. That leaves out pretty much all of Liv Ullman day. I think we can assume most of these films aren't typically under TCM's control. Okay, here we go: August 1 - Henry Fonda Let Us Live (Columbia, 1939) Young Mr. Lincoln (20th Century Fox, 1939) The Grapes of Wrath (20th Century Fox, 1940) The Lady Eve (Paramount, 1941) August 2 - Ruth Hussey Our Wife (Columbia, 1941) The Uninvited (Paramount, 1944) August 3 - Marlon Brando The Wild One (Columbia, 1953) On the Waterfront (Columbia, 1954) Morituri (20th Century Fox, 1965) The Freshman (Tri-Star, 1990) August 4 - Shirley Temple (All these titles are from 20th Century Fox) Poor Little Rich Girl (1936) Wee Willie Winkie (1937) Heidi (1937) Rebecca of Sunnybrook Farm (1938) Susannah of the Mounties (1939) The Little Princess (1939) August 5 - Melvyn Douglas Mary Burns, Fugitive (Paramount, 1935) I Met Him in Paris (Paramount, 1937) There's Always a Woman (Columbia, 1938) There's That Woman Again (Columbia, 1938) I Never Sang for My Father (Columbia, 1970) August 6 - Lena Horne The Duke is Tops (Million Dollar Productions, 1938) Stormy Weather (20th Century Fox, 1943) August 7 - James Stewart Mr. Smith Goes to Washington (Columbia, 1939) Harvey (Universal, 1950) The Man from Laramie (Columbia, 1955) Anatomy of a Murder (Columbia, 1959) August 8 - Ava Gardner The Killers (Universal, 1946) August 9 - Red Skelton None! It's 12 straight MGM releases. August 10 - Rita Moreno Seven Cities of Gold (20th Century Fox, 1955) The Lieutenant Wore Skirts (20th Century Fox, 1956) Summer and Smoke (Paramount, 1961) August 11 - Humphrey Bogart In a Lonely Place (Columbia, 1950) The Caine Mutiny (Columbia, 1954) August 12 - Ann Sothern A Letter to Three Wives (20th Century Fox, 1949) The Whales of August (Alive Films, 1987) August 13 - Brian Donlevy Beau Geste (Paramount, 1939) The Great McGinty (Paramount, 1940) Two Yanks in Trinidad (Columbia, 1942) The Glass Key (Paramount, 1942) August 14 - Liv Ullman (As previously mentioned, mostly foreign films here I'm choosing not to list) Lost Horizon (Columbia, 1973) August 15 - Rod Steiger The Harder They Fall (Columbia, 1956) The Unholy Wife (Universal, 1957) Run of the Arrow (Universal, 1957) August 16 - Irene Dunn Show Boat (Universal, 1936) The Awful Truth (Columbia, 1937) High, Wide and Handsome (Paramount, 1937) When Tomorrow Comes (Universal, 1939) Penny Serenade (Columbia, 1941) Over 21 (Columbia, 1945) August 17 - Erroll Flynn None! 12 straight Warner Bros. pics August 18 - Audrey Hepburn Sabrina (Paramount, 1954) Funny Face (Paramount, 1957) Charade (Universal, 1963) Paris When It Sizzles (Paramount, 1964) Robin and Marian (Columbia, 1976) August 19 - Buster Keaton None! Everything is MGM, UA or AIP August 20 - Dorothy McGuire A Tree Grows in Brooklyn (20th Century Fox, 1945) Gentleman's Agreement (20th Century Fox, 1947) Mother Didn't Tell Me (20th Century Fox, 1950) Flight of the Doves (Columbia, 1971) August 21 - Joel McCrea Union Pacific (Paramount, 1939) Sullivan's Travels (Paramount, 1941) The Palm Beach Story (Paramount, 1942) The More, the Merrier (Columbia, 1943) August 22 - Leila Hyams The Island of Lost Souls (Paramount, 1932) August 23 - Fred Astaire You Were Never Lovelier (Columbia, 1942) August 24 - Shirley MacLaine The Trouble with Harry (Paramount, 1955) Gambit (Universal, 1966) Woman Times Seven (20th Century Fox, 1967) Sweet Charity (Universal, 1969) Terms of Endearment (Paramount, 1983) Steel Magnolias (Tri-Star, 1989) August 25 - Dustin Hoffman The Tiger Makes Out (Columbia, 1967) Marathon Man (Paramount, 1976) Tootsie (Columbia, 1982) Death of a Salesman (CBS, 1985) (TV movie) Hook (Tri-Star, 1991) Hero (Columbia, 1992) August 26 - Mary Astor Return to Peyton Place (20th Century Fox, 1961) August 27 - Walter Brennan Home in Indiana (20th Century Fox, 1944) August 28 - June Allyson None! It's 12 MGM titles (or all "in library", anyway - too lazy to look it up again) August 29 - Paul Lukas Strictly Dishonorable (Universal, 1931) August 30 - Susan Hayward Smash-Up: the Story of a Woman (Universal, 1947) House of Strangers (20th Century Fox, 1949) With a Song in My Heart (20th Century Fox, 1952) August 31 - Kirk Douglas The Strange Love of Martha Ivers (Paramount, 1946) Gunfight at the O.K. Corral (Paramount, 1957) Spartacus (Universal, 1960)

The themes seem more formatted than ever. Take SOTM, for example. I feel like in years past, they would just show the star's movies with no particular rhyme or reason on a given night, other than maybe they would more or less be in chronological order. Then, whenever the next designated night was, they'd just pick up where they'd left off. Now, look at the lineup for Glenn Ford. One week it's all his movies with Rita Hayworth. One week, it's all Westerns. One week, it's all movies where he's a cop. And they do it this way for all the SOTMs now, programming each night strictly by genre or decade or theme. The last time I can remember it being really free form was when they showed nothing but John Wayne movies for an entire week, and they pretty much just went chronologically. I find the rigidity of this format limiting and problematic. There are probably some really good Glenn Ford movies that don't neatly fit into one of these categories and thus won't air. Also, why not space out the thematically similar movies instead of bunching them altogether? Who's gonna watch four Ford/Hayworth movies back to back? How about one each Monday?

Hey, it worked, finally! Okay, I don't know what was going on there.