sewhite2000

Ha ha ha, I sat and stared at this thread title for five minutes before clicking on it. I thought I knew exactly what I was letting myself in for, and I was trying to work up the mental energy to go through it again! I, too, was pleasantly surprised! (BTW, I watched Little Darlings on HBO when I was in about sixth grade, and much to the disappointment of my adolescent self, it DEFINITELY wasn't as risque as I was expecting!)

YOU'RE ... GOING ... THE ... WRONG ... WAY!!!!! THANK YOUUU!!!!!

I never thought to check before your post, but TCM has aired The End twice, in August, 2011, and May, 2012. It was produced by Reynolds' co-production company and released through United Artists.

Got it. Sorry, didn't think about preserving the mistake for all eternity! (Who knew I had that kind of power? It's a little intoxicating ...)

A very tiny quibble, but I did a double take on your year listing of Billy Liar, which imdb has listed as 1963. I think Julie Christie would have still been in junior high (or whatever the British equivalent is) in 1956! I feel guilty even bringing it up, since you go to all the work to post this info.

I took an intro to film class my freshman year of college. Up to that time, I'd rarely seen anything but Hollywood hits and virtually nothing that came out before 1970 (except for Wizard of Oz and Sound of Music, both on TV every year). Needless to say, it opened up a world to me and had a profound impact on my life. One night a week, all semester long, they had free but mandatory screenings in a small theater in the same building in which the class was held. To the best of my memory, here were the films we watched in order: The Birth of a Nation The Cabinet of Dr. Caligari Greed The Last Laugh The Long Voyage Home Citizen Kane Rashomon Pather Panchali Vertigo Peeping Tom Veronika Voss The Fassbinder film, his last one, wasn't yet a decade old when I saw it. I'm sorry to say I remember very little about it and haven't seen it since, but I thought it was noteworthy the two TAs who taught the class thought it should be included with all these other much-revered films. During the class itself, which was held in a auditorium, they also screened many dozens clips from movies over the course of the semester, and we watched about five minutes of Berlin Alexaderplatz. I was intrigued enough by what I saw that I always intended to get more into Fassbinder, but a couple of years turn into a couple of decades (ugh), and I still haven't done it. My best-laid plans to view the works of the best-known foreign directors hasn't really gone anywhere: I've still probably only seen in the single digits each films by Bergman, Fellini, Antonioni, Herzog, Ray, Bunuel and Kurosawa. And should I put Fassbinder ahead of any of those guys in my queue? Anyway, guess I really didn't have much to say about Fassbinder! Sorry. Your thread just got my mind a-ramblin' about this stuff ...

The plot description from Leonard Maltin (who isn't always accurate!) says Gable is "torn between his medical practice and his marriage to a society girl".

I'd forgotten about Edwards' involvement! Ultimately, it was directed by Richard Benjamin. And it has an impressive supporting cast, including the great Madeline Khan. As I say, I feel like I really need revisit it.

Yes, Price screaming over and over at Jeanne Crain about whether she loves Cornel Wilde foreshadows how over the top he would get during much of his horror movie career! Raymond Burr has already been mentioned more than once on this thread. I'm reminded of his over the top performance as the DA in A Place in the Sun, where in his enthusiasm to recreate the alleged murder scene, he starts cutting of Montgomery Clift's answers and then finally takes the oar (I assume crucial material evidence) and smashes it against the floor!

Not thinking of one off the top of my head. Did these two ever make a movie together?

Oh, yeah, the show is just about to launch an American run with Cranston still in the part.

Not converted into a musical, thank God, but as both stage and screen seem completely incapable of coming up with original ideas anymore, the 41-year-old movie was relaunched as a play last year with Bryan Cranston in the Peter Finch role. Wikipedia says the play is a "more interactive experience" than the movie, as the audience is drawn to participate in the presentation. Also, from the technology behind Cranston in this shot, it appears the story has been moved up to modern times.

More than a quarter century after being fired from Universal, Clint and Burt finally made a movie together with City Heat. Unfortunately, it's not much of a movie. I wish this once-in-a-lifetime pairing had been more memorable. It's sort of a noir buddy comedy (and comes across as awkward as that description sounds). There are some humorous moments of the actors playing up to type - Burt as the fast-talking smoothie and Clint as the dour grouch prone to completely losing his sh*t at the drop of a hat. Been many years since I've seen it. I'm hoping a re-viewing will improve my opinion.

I'm watching Mockingbird for the zillionth time right now. I would say it presents, unfortunately, a "believable real life situation" for what it was like to be black in Macon, Georgia in the early '30s. Edit: Oh, I wanted to say this is the first film in the series I've watched, so this was my first exposure to the two young African-American film critics I must admit I've never heard of. As a middle-aged white man, I didn't honestly know what the reaction of black film viewers who appear to be under 40 would be to this film. I was struck by how impressed they were of the film just as a film. Race is almost not mentioned at all in the intro; rather they talked mostly about the acting performances of Gregory Peck and the children and about adapting the novel and about the score.Going to try to stay awake for the outro to see if they specifically address the racial themes of the movie.

Yes, every street in America, practically! Pontiac could never have designed an ad campaign that would have worked better than that movie.

Imitation of Life wants Peola to feel shame for trying to "pass" as white in an era where, distasteful and ludicrous as it must seem to modern black people (now we have white professors trying to pass as black! Times have changed) could actually have its advantages. I recently read a fascinating biography of George Herriman, the cartoonist and creator of Krazy Kat, who it's only been discovered long after his death, was black! He pretended his whole adult life to be Greek. I think not even his wife and children knew? There's no way he could have gotten the kind of high-paying job he had as a syndicate cartoonist if the truth of his race had been known, awful as that is to say.

Yes, Ernst Lubitsch movies, too! I do feel there's a certain sameness to the Paramounts we see on TCM, though obviously Wilder, Lubitsch, Hitchcock are all considered greats, therefore TCM is more likely to show them.

It's important to remember (and I keep forgetting) virtually every Paramount film made in the '30s and '40s is now owned by Universal. Also, I think most or all of the films Hitchcock made at Paramount are now controlled by Universal. So, the question of just who is leasing Paramount films to TCM depends on what years those films are from.

Requiem for a Heavyweight is maybe Rooney's best film. It's the most restrained and underplayed I've ever seen him. Although thinking of that movie made me think of another scenery-chewer! Julie Harris! I actually don't mind her in that movie, but Member of the Wedding, East of Eden, The Haunting, Reflections in a Golden Eye, she drives me nuts in all those movies with her histrionics.

Must confess Miriam is a tough watch for me. Love her in some of her younger, sexy roles, but oh my gosh, Old Acquaintance? Is the character really supposed to be that over the top? How her husband could have stood to be with her for five minutes not to mention many years is beyond me.

The End is a largely forgotten but worth seeing off-the-wall Reynolds movie, a dark comedy about a guy trying to commit suicide.

Yes! I knew I was forgetting something. Burt claimed to have turned down both Terms of Endearment and One Flew over the Cuckoo's Nest, both films for which Jack won Oscars!

Just a cursory glance of your lists I would say confirms my suspicions. Fox films seem to have risen dramatically beginning in 2010 on TCM, hitting their peak in 2013 and have backed off some since that year, but still way more than the early aughts. Paramounts seem to have had their biggest representation from 2005-2009 and have diminished since then, though there were a bunch of Paramount films from the '40s shown in 2014, for some reason.

I would say this virtually guarantees a Best Picture nomination now for Black Panther, whose makers had loudly bristled at the prospect of being shuttled off to the popular category.

It was only a couple of months ago I heard a list of all the roles Burt claimed to have turned down. Perhaps that's from his most recent book. I mean, it was absolutely mind-boggling. Whole careers were made on roles Burt turned down! Michael Corleone (he claimed Coppola personally offered him the role, then called him back and apologized: "Brando says he won't do the movie if you're in it"); Superman, James Bond after Connery (they offered it to an American?), John McLain in Die Hard, Han Freaking Solo, Mickey in Rocky. Some more I'm forgetting (and yet, he chose to do Stroker Ace! Possibly he and/or his agent didn't have the best career compasses ...)