sewhite2000

I do both of the first two choices, but more live watching than recording, so I voted for that one.

Given the time the novel was written, I think it's safe to say it wasn't originally intended to be a feminist tract. But it's interesting to see how the same source material gets interpreted differently over the years as attitudes change. I would encourage you to watch the remake from, I think, two years ago, with Carey Mulligan in the Julie Christie role. Several feminist soliloquies are written for her that Julie Christie didn't get.

A Clockwork Orange is largely vanilla now? What movies has tuca been watching that have pushed it into that category?

Something of a Luddite, I have kept records of what I've watched on TCM in notebooks over the years, and I think a couple of times, I've dug up some old notebooks and posted some of those viewings on here. But, slightly fearing I was becoming of a hoarder, I had a massive pre-spring cleaning in February and threw out dozens of notebooks, some of which were probably 20 years old. Wish I had taken time to transfer some of that info to computer.

Forman was clearly one of the all-time greats. I've only seen five of his films: his two Oscar-winners, plus Hair, Valmont and Man on the Moon. I've always meant to watch more. Hope TCM will do a tribute.

That's what I thought about Angels with Dirty Faces, which has aired 51 times, but not since 2009. In the article on the Michael Curtiz tribute, it was listed in bold print, which usually in the website articles means it's a film TCM is going to air (if they discuss other films relevant to the topic of the article that aren't going to air, they put them in italics). But it didn't end up making the cut. My feeling based on this circumstantial evidence is that TCM was planning to air it as part of the Curtiz tribute, but then found out they couldn't. I mentioned all this before in another thread and didn't get any support for my "rights issue" theory. I was told I didn't understand how lease packages work.

No, 19 times according to the database, but not since 3/05. So, it used to be on regularly.

I hadn't heard of Tovarich before this thread, so I checked out moviecollector's database, and sure enough, TCM hasn't shown it in 13 years! That trumps my recent cause celebre of Angels with Dirty Faces, which TCM hasn't shown in nine years. Seems like it would have been a natural for Boyer's SOTM.

Oh, boy, I was only half paying attention to it. I went over and got on my laptop between movies. It was during primetime hours, and it was relatively late to into 31 Days, maybe the final week. I think I would be hard-pressed to get more specific than that, but if I figure it out, I'll post here.

Okay, I got one that hasn't been posted by anyone else: Boom Town (1940). This is a pretty silly movie - and let's face it, most of the great ones have already been taken by the above posters - but it's the superstar power of Colbert, Gable, Tracy and Lamarr all together. If I ever turn on TCM, and it's on, I'll stay with it until the end. One ridiculous plot twist after another, and the romantic triangle will drive you nuts - I keep waiting for Colbert to just give philandering Gable the heave-ho once and for all and settle down with utterly devoted Tracy. But it's good fun all around.

Well, crud, I looked back at the OP but missed it somehow.

Yikes, looks like I need to see Sign of the Cross, if that indeed is the film that top photo is from. I've seen Cleopatra, but if that scene is in it, I have somehow forgotten, though how such a thing could be possible, I don't know. Anyway, how about Drums Along the Mohawk from the much-ballyhooed year of 1939? Been some years since I've seen it, but I have an impression of enjoying it. I don't know if I remember that it was so much for Colbert's character. Maybe not her most progressive role. As I recall, in the early part of the film, she's quite a whiner until good ol' steady as a rock Henry Fonda gets her in line.

Yep, definitely caught Peace on Earth one night in February between features.

Okay, sorry I if I'm a stick in the mud. Apparently 15 years ago they used to let guest post on here as well, but I assume that's no longer allowed.

All I can think about is this person who said they were 16 back in 2003 is 31 now. All this endless bumping of threads 15 years old or more that has been going on for months now is freaking me out. Sorta interesting to see what people were saying a generation ago, but don't the people on this board now have enough ideas of their own to generate?

Skimpole, you resurrected a thread no one had posted on in 16 years? These are threads I can actually access? Like if I click on the very last page of General Discussions, they are there? This time-warping, which has mostly been done by Allenex the last few months, is freaking me out a little bit. Don't we have enough new stuff to talk about on here?

Just wanted to say I appreciated this post. I didn't really watch much Bochco product, but clearly he had a profound impact on television.

I was delighted to see a present-day photo of her. I wasn't aware that she'd allowed herself to be photographed in decades. Happy birthday, Ms. Day.

Here's an interesting one: the 1993 film The Crush is about a writer (Cary Elwes) who moves into the guest house of a wealthy couple and becomes the target of the obsessive infatuation of their 14-year-old daughter (Alicia Silverstone). In the original theatrical release of the film, the girl's name was "Darian". I often don't remember character's names, but this one stuck in my head, because it was an unusual name for a girl. But when I saw it again on TV two or three years later, all references to the character had been badly overdubbed to "Adrian". I knew there had to be some backstory to that. This was in the very early days of home Internet. There was no place to look up this kind of information. I actually wrote a physical letter to the TV Guide section of my local paper, which on Sundays answered questions about TV shows from their readers. There was never any reply to my question. I'm sure the guy didn't know either. About 20 years later, I learned the story on imdb: writer-director Alan Shapiro lived a very similar real-life experience, at least according to his version of events, living in the guest house of a wealthy couple whose teenage daughter made advances on him, that he claims he rejected, causing her to act out against him in various ways, including damaging his property and making false accusations about him. The girl's first name was Darian, and Shapiro actually used that name in his script. Once the movie was released, the girl and her family filed a defamation suit. As part of the settlement, the name "Darian" had to be changed for all television airings and home media releases. Oh, yeah, can't say I remember this firsthand not having seen the movie in a longtime, but according to one imdb poster, even though the name was changed in the dialogue, in letters the girl addresses to the man late in the film, the name "Darian" can still be seen. Apparently none of the lawyers noticed that.

That's an interesting scene, for sure, maybe one of the most interesting in the movie, as it's one of the very few or only that really addresses what slavery was like. I feel like I should add Ashley tells Scarlett that he was going to free his slaves after his father's death had Twelve Oaks not collapsed, and also he tells her, "We didn't treat them like that". I don't know how to feel about that statement. I mean, maybe we're supposed to believe the Wilkses didn't treat their slaves like that, but certainly most Southerners treated them as badly as these convicts.

I don't know anything about Margaret Mitchell or her politics, and I haven't read the novel. I'm going to assume you know what you're talking about. The scroll of text that opens the movie indicates that even in 1939, the focus was going to be on the romantic passing of a noble era, much less how people feel about it now. I do find Gable's Rhett refreshing. I feel like maybe much of his dialogue was lifted directly from the book, based on what you say about Mitchell. He's the only one who ever seems to address any situation with any realism. Well, maybe also the broken, post-war Ashley occasionally.

Yeah, wow, I love almost all of the Coen Brothers films. I won't argue that they do seem to occasionally look down their noses at everyone, but I would strenuously argue against the assertion that their films are tedious! I think they're the most consistently interesting American filmmakers of the last 30 years. Edit: That's a response to Lorna's post from two pages ago. I thought it was from this page, otherwise I would have quoted it.

The Maze (Allied Artists, 1953) - Stumbled across this at random on YouTube on a recent night when I couldn't sleep. It doesn't appear to have ever aired on TCM, though it would surely fit in on a night when they show sci-fi/horror stuff from the '50s, especially since it stars Richard "I'll Do Anything for a Paycheck" Carlson, whom TCM often features on their '50s sci-fi/monster movie nights. This video was apparently recorded from a very long ago AMC airing when that network actually showed movies uncut and commercial free. Twenty years ago? More? Carlson plays the heir to a Scottish castle and estate that he hasn't even seen since he was a child who's vacationing in Cannes with his fiancee (Veronica Hurst) and her aunt. All he knows about it from his childhood visits was that his uncle, the current estate owner, followed certain very specific rules such as locking all the doors at night, that all his ancestors also followed. There's no electricity or telephone on the estate. Also, there's a garden maze like the one in Sleuth into which no one is allowed. Word comes to Carlson that his uncle has died and that he must come to Scotland to settle the affairs of the estate. He leaves his fiancee and her aunt in Cannes telling them it should be no trouble at all for him to be back for the wedding in two weeks. Instead, something like three months go by before he finally sends a letter to Cannes saying the idea of his now getting married is quite impossible. He's scratched out one sentence that the two women nevertheless are able to decipher, hinting that only the death of some unnamed person could ever free him to marry. These apparently fabulously wealthy women who have remained at their hotel in Cannes all these months now travel to the Highlands to find out what's what for themselves. Carson is extremely unhappy to seen them. He looks pale and haggard and haunted, as if he's aged ten years in those three months. Though he initially tries to not even let them in, he finally reluctantly agrees to let them stay a few nights. The fiancee and the aunt are locked up in their rooms at night, at which time they hear odd sounds of dragging feet in the halls. Also, there are weird webbed footprints all over the place when they're let out in the morning. But neither Carlson nor his two creepy servants will tell them anything. They, too, are forbidden from entering the maze. The film reminded me a bit of some of those Vincent Price/Roger Corman films, in which they would try to stretch a nine-page Edgar Allen Poe story into a 90-minute film. There's a lot of wandering around the castle, but the plot advances at an absolutely glacial pace, as time needs to be filled. We finally get a creature reveal very late in the film, and there's a heavily verbose explanation in the final scene of what's been going on reminiscent of the rush of information suddenly provided by a psychiatrist about the psyche of Norman Bates that's been left unsaid for the rest of the movie. I was unfamiliar with Veronica Hurst. I don't even know her place of origin. But she reminded me of Grace Kelly, not only because of being blonde, but because she speaks with a highly stilted, overly proper accent that seems to come from many years all-girl prep school tutelage that I've always found in Kelly's speech. I mean, such overly affected and self-conscious proper English that she hardly seems like an actual human being, something that also other bothered me about Kelly's acting. If you like this sort of fare, it's not any better or worse then similar films of its style. Oh, yeah, it was a 3-D film, which obviously you don't get to see in that format on YouTube. Like other 3-D films of its era, there are lots of shots that were meant to appear to be projecting something out into the audience. You can kind of imagine as you watch just where these scenes are.

Oh, and I'd also like to say I've never, ever, not once found Marlon Brando hard to understand. Maybe I have exceptional hearing, I don't know. But that is such a cliche. There have been dozens and dozens of posts on here over the years attributing intelligible speech to him. I don't think I've ever commented on it before. But let me be the first poster in the entire history of these message boards to say I find him to be completely legible in every performance he's ever given.

Don't know what year this was, but TCM once had a Carson McCullers theme night in which they showed Member of the Wedding, Reflections in a Golden Eye and The Heart is a Lonely Hunter all in one night. And I think I sat and watched all three of them. It was more overwrought, crazy melodrama, in-your-face human misery than anyone should ever be exposed to. This was not an author I was even aware of until I learned all these movies were adapted from her novels. Blech. Not having read her novels, I can't say anything about her writing style. I assume it's great, given all the praise she's received. But a night of watching those movies left me really, really depressed.