sewhite2000
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Posts posted by sewhite2000
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I certainly wouldn't mind seeing more Deanna Durbin films. I've been dependent on TCM for everything I've seen, and obviously they don't show much. I've seen Three Smart Girls, 100 Men and Girl and Lady on a Train. Maybe I've also seen First Love. I'm not much for all that operatic singing (Irene Dunne drives me crazy with that stuff, too), but she was obviously talented, and I thought she'd grown up quite pretty in Lady on a Train, in which she performs a more conventional movie musical number.
Shane was probably the first movie I ever saw Jack Palance in. I had to watch it in one of my high school classes. I don't remember why or even which class! I'm sure I didn't know him by name. Then I saw City Slickers and realized it was the same guy. Then he had a small part in Batman, in which Jack Nicholson does an absolutely hilarious Palance impression. Four other Palance performances worth seeing: Panic in the Streets, Sudden Fear, Le Mepris and The Professionals.
I like Maria Ouespenskaya in a lot of things. Dodsworth, Love Affair, Waterloo Bridge, The Mortal Storm, Kings Row.
I'm not sure I ever even heard of George Montgomery, which is probably an indication of how often TCM shows his movies, but I'm intrigued.
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I've seen a lot more of these than I realized! I was poor at my guessing. I've seen Oklahoma!, Heartbreak Ridge and Traffic. So, I've seen five.
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January 4 Dark Journey (London, 1937; Dist. in the US by United Artists)
Source: Cohen Media Channel via Amazon PrimeNot sure this is among the Korda films being aired by TCM this month.
Intelligence/counterintelligence has never been a huge interest of mine, but a couple of years ago, I read a broad history book about the subject that tracks its development all the way from Old Testament times to the post-9/11 Middle East wars. It's an aspect of war that doesn't get taught in the high school history books, but it can affect the outcome of a battle just as surely as firepower superiority. And more recently I read a biography of Virginia Hall, a Baltimore blue blood who ended up unofficially heading MI6's undercover spy efforts in France during World War II. In addition to her life being in danger on a daily basis, she also faced a lot of sexism within her own ranks. She ended up working for British intelligence, because US intelligence was never going to give her a position more important than secretarial work, and even though she was clearly in charge of everything and the very best spy the service had, she got no official leadership position because these sorts of things just didn't happen for women.
In this movie, Vivien Leigh plays a French spy in Sweden during World War I. Given the realities I've learned about women in the spy business by reading the Virginia Hall book, I would have to say this movie is pure fantasy in depicting the freedom Leigh's character has to operate and how sexism-free the plot is. That doesn't mean it's not an engaging movie. Leigh fronts as a Swiss dressmaker whose profession provides her access to all sorts of countries even during wartime. I'm a little unclear why there would be so many agents in Stockholm, which appears in the movie to be neutral, but her secret job is to embed coded messages in some of the dresses she picks up in Paris and deliver them to Stockholm. This is Leigh two years before Gone With the Wind, and it's probably the earliest performance of hers I've ever seen. I think she was about 21. Given how colorful she was in GWTW, it's a bit of a surprise to see how serious and stoic she is in this movie.
Stockholm 1918 in this movie bears more than a little resemblance to Casablanca. It's a place where soldiers, exiles, spies, lowlifes and pretty girls of all nationalities intermingle. Oh, yes, it also has the presence of one Conrad Veidt, an actor I just haven't seen that much of. As something of a comic book historian, I know his face in The Man Who Laughs was the inspiration for the Batman villain the Joker. Like many artists and intellectuals, he left Germany during the rise of the Nazis. He also worked for Korda in The Thief of Bagdad and ironically played a number of Nazis in Hollywood to shed light on their tyranny. Casablanca was his next-to-last film. He died of a heart attack while playing golf at the age of 50.
Here, Veidt is the head of an important branch of German intelligence, but he publicly pretends to be a disgraced refugee from his own country, a nobleman, but also a coward, philanderer and ne'er-do-well. I like his early scenes where women flock around him and are easily impressed by a parlor trick involving his ability to guess what a woman will say after he kisses her based on her nationality. Leigh is not so easily impressed and is more resistant to his charms. They get to know each other a little better when he brings one of his many mistresses to her shop. He woos her with relentless ardor, and she eventually softens. Of course, a revelation is coming that reminds of when Michael Keaton and Michelle Pfeiffer each suddenly realized the other's costumed identity in Batman Returns while dancing, a movie recently reviewed on this thread.
I won't reveal any more of the plot. I did like the casting of Veidt, and it's interesting to see that Korda didn't need all his male romantic leads to look like Cary Grant. Veidt has a receding hairline and a handsome, if angular face, but I believed he was charming and sincere enough for Leigh to fall in love with him. She's sort of one-dimensional in this movie, but she makes us keenly feel the pressure she's constantly under.
Total films seen this year: 9
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I'm beginning to fall behind dramatically already in the first week of the year. I'm already about five movies behind, so I better either stop watching movies (probably not going to happen) or start writing some more reviews.
January 4 Things to Come (London, 1936; dist. in the US by United Artists)
Source: Amazon PrimeI have a habit of occasionally crafting my own playlists based on TCM's nightly or monthly theme. I picked my own Alexander Korda double feature on Amazon Prime after I felt a little iffy about the schedule on the first night of his TCM month long feature. Now the movies I picked may both be airing later in the moth - I've forgotten - which will no doubt throw me off further. That's happened to me before with other themes. Anyway, this one was available for free with my membership, so I jumped on it. I'd seen it once before on TCM a number of years ago.
The timing of this H.G. Welles adaptation is a little odd, as it begins in an "Everytown" that certainly resembles London on the brink of world war on Christmas Eve 1940. Real life England was already pretty well plunged into world war by that time. I wonder how audiences felt about coming out of their real life bomb shelters then going to the movies and seeing these allegorical Englanders running to bomb shelters. Of course, the movie quickly moves on from more contemporary scenarios and into the realm of science fiction, the first British science fiction film I'm reading everywhere.
I'm giving a away a few plot points in the next couple of paragraphs. Stop reading if you don't want to know.
The war in the film doesn't have an atomic bomb to bring it to an abrupt if not-so-tidy conclusion. In 1970, people are living in the ruins of Everytown under a despot (Ralph Richardson) who's trying to rebuild old World War I planes so he can annihilate a nearby hill tribe and take control of the entire area. The populace falls prey to a "wandering sickness" that causes the landscape to sort of resemble an episode of The Walking Dead. Given the times we're living in, I frankly don't care I ever see another plague or pandemic depicted in a movie. A coalition of scientists drop a "gas of peace" that pacifies the citizenry and finally ends the war. Ore is then mined and converted into girders, as the city slowly rebuilds.
Another great leap into the future, and scientists are now ready to launch humans to the moon, much, much later than when it happened in real life. But there's a Luddite rabble-rouser who's opposed to any more scientific progress, believing it will to lead to even more deadly war. I guess Welles and the filmmakers thought this would be a powerful and threatening opponent to progress in the future, but other than the Unabomber, I'm not sure anti-technology has been much of a thing in the 85 years since this film came out. We have some of the same fears today that the original Luddites did technology was making our jobs obsolete, but at least it's keeping us distracted in our unemployment. All I have to do is look at every young person on the planet staring at their phones every moment they're awake, and I can see that technology won.
Raymond Massey and Cedric Hardwicke play characters in each era depicted, engaging in their verbal battle of progress vs. peace over the span of centuries. How well respond to this movie probably depends on how much you can tolerate characters speaking in Big Ideas rather than anything resembling actual conversational dialogue. I didn't have much tolerance for it this viewing. I'm not going to say isn't an important or that isn't a good film. I'm just saying that depending on your tastes, you might it find it a little ... boring. Also, a little Raymond Massey goes a long for me, although I guess he's pretty well suited for this sort of speechifying. I do like the visual effects and the vision of the possible future. It's a fantastic movie to look at, maybe not so much to listen to.
Total movies seen this year: 8
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The more that I think about it, I think I did see The Deep End of the Ocean. I am vaguely remembering some individual moments. So, I'm going to say I saw I saw four in the previous list. Who's going to dispute me?
On the current list, I recognize a number of the actors, but I'm failing to identify any of the older movies.
2176 is Le Mans. Yes.
2178 I almost said Dangerous Liaisons, but it's Mary Reilly. I started it years ago when I had a like a hundred movie channels, but I don't think I finished it.
2179 Looks like Catherine Zeta Jones, but I'm not thinking of the movie.
2180 is Crash, a Best Picture winner that made a lot people angry when it won (it was up against Brokeback Mountain, I think?). But I saw it, and I liked it.
Only two I'm sure I've seen.
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Oops, I mistook John Cassavetes for Paul Newman! Probably flattering for him. Well, I've seen Edge of the City, even though I couldn't identify it from that still. Now that I think about it, I think Newman and Poitier were in a movie together. Something about Americans living in Paris (not An American in Paris), but I haven't seen that movie.
I guess Deep Throat is a classic of its genre, but I'm surprised to see its inclusion!
I feel very strongly that I saw The Deep End of the Ocean, but reading the plot description on imdb sparks nothing in my memory banks. It may be that I just saw the trailer multiple times while going to see other movies. Sometimes they get so imbedded in my head that many years later I think maybe I actually saw the movie. Since I'm not sure, I won't count it.
Okay, I've seen three.
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2162 is The Bicycle Thief. No.
2163 is 20,000 Leagues Under the Sea. Yes.
2164 I'm racking my brain. I can't believe Sidney Poitier and and Paul Newman were in a movie together, and I have no idea what it was..
2167 is 10. Yes.
2170 I remember the trailers for this movie, but I don't remember if I saw it. I've always liked Treat Williams.
There are only two I'm sure I've seen.
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I never heard of Saigon. I've seen Hobson's Choice but couldn't identify it. I had no idea those were Mae West and Raquel Welch. Anyway, I've seen five on that list.
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Busy day for me. I saw the new list this morning but had no time to take guesses. Gonna try to get my guesses in before Dark Victory starts!
2151 sure looks like The Grapes of Wrath, though I certainly don't remember a love interest for Henry Fonda. Maybe that's Tom Joad's sister. Anyway, I've seen it if it is.
2152 One of the Esther Williams movies? I've seen some of them.
2153 The Glass Key? Or another Alan Ladd/Veronica Lake noir? I've seen it if it is.
2156 Sweet Charity or Woman Times Seven or What a Way to Go! I've seen the first one and the third one.
2157 The Umbrellas of Cherbourg? I haven't seen it.
2158 Flashdance. Yes.
2159 Crimes and Misdemeanors. Yes.
2160 The Last of the Mohicans. No.
Only two I'm absolutely sure I've seen, but I feel pretty strong about at least some of my guesses.
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I mean, not all the awards ceremonies have been virtual. Charley Pride died from COVID just weeks after accepting a Lifetime Achievement Award at the crowded CMAs.
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Holy cow, Laurence Fishburne! I've read how he went off to the Philippines to be in Apocalypse Now when he was like 16, but I didn't know he'd been in any movies before that.
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Oh, yes. Thanks. I've seen about half of Libeled Lady, and I'm aware of Manhattan Melodrama, which is going to air in February, I think. I remember people were excited when The Senator Was Indiscreet was going to air sometime in 2020, but I missed it. I don't think I've ever seen one minute of the others.
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I never heard of Geoff Stephens, but I was certainly aware of a number of the songs he wrote. I have "Catch the Wind" (which he co-produced didn't write) in my iTunes collection.
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Oh wait, that's Eva Marie Saint with Don Murray! That must be A Hatful of Rain, which I've also seen. Looks like I've seen six of these, unless I'm really wrong about some of my guesses. That would be by far my "best" score on any of the new lists of movies.
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January 3 I Love You Again (MGM, 1940)
Source: TCMIt is often pointed out on TCM, and I believe William Powell himself liked to remind people that of the 14 films he and Myrna Loy made together in a mere 11 years, only six of them were Thin Man movies, meaning that eight of them were NOT Thin Man movies. I honestly don't even know what most of those movies are. I guess TCM doesn't show them as often. The only non-Thin Man Powell and Loy movies I can think of are The Great Ziegfeld (in which Loy doesn't even enter until about two-thirds of the way in) and this one. I believe this was my third viewing of I Love You Again last night.
Powell initially plays a milquetoast teetotaler from a smallish Pennsylvania town who's fantastically wealthy but uses his resources only for clubs, lodges and community chests. While on an ocean voyage for reasons I don't think are ever explained, he attempts to save a drunken Frank McHugh from drowning after he tumbles overboard while trying to walk the railing that's supposed to protect the passengers. A team of crewman paddle out in a lifeboat to rescue both of them, and one of them accidentally klunks Powell in the head with his oar. When he wakes up, he has a completely different personality, saying he's a gangster taking the train to the Schmelling-Stribling fight nine years earlier when somebody must have clubbed from behind. He knows FDR only as the governor of New York and marvels as he collects fragments of evidence of the life he's been living under another name for the past nine years. This being a very fast-paced (almost) '30s movie, he has no time to get weepy over having lost so many years, but realizing that the man he thought was is so loaded, he plots to "steal" his own money. He and McHugh spend most the rest of the movie talking about the milquetoast personality in the third person, as if it was a completely different being. McHugh turns out to be a small time con artist who knows everybody in the business. He tags along with Powell for 25% of the profits ("I would have taken 10!") and pretends to be his personal doctor, which helps Powell get out of some jams the rest of the way.
A complication presents itself immediately upon docking in the form of Loy as the milquetoast's wife. She has found his milquetoast self so dull and such a cold fish that she wants to divorce him and marry a drip I believe played by Edmund Lowe, who might as well be Edward Everett Horton for all the flustered doubletakes he does. Powell thinks he better keep her around for a while with a potential Chamber of Commerce appointment coming so he can discreetly make off with his own money at his convenience without drawing attention to himself, and so he lays on the charm offensive. She finds herself weakening a bit, but she mostly reacts with hurt. Why is this man she doesn't believe ever loved her suddenly trying to seduce her? There's one oddly dramatic scene in which she weeps and tells him to leave her room that I found moving.
Otherwise, it's mostly hijinks in which Powell has to fake his way through the expectations people have of who he's supposed to be, what he's supposed to able to do (play trumpet?) or names he's supposed to be able to remember (everyone!). In one funny scene, a more mature woman embraces him and kisses him on the cheek in public. He says "Ixnay! The wife!" only to realize seconds later this is his mother-in-law. Of course, in the days of the Hays Code, Powell probably couldn't be shown to get away with stealing even from himself, so we have a series of near-misses during which time he finds himself genuinely falling in love with his wife.
It's great fun if you're in the mood for a little siiliness. Powell and Loy are great as always, and McHugh is especially a riot as the only character who knows the whole situation. He makes many cynical asides that baffle the people around him but are funny to us. Directed with precision by "One-Take Woody" Van Dyke.
Total movies seen this year: 7
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Ah yes, I've seen Holiday, so I may have seen as many as five.
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January 3 Overboard (MGM, 1987)
Source: TCMThere's a thread currently going on about this movie, and a recent poster said he was disappointed TCM showed such a "lousy" movie. I didn't think it was lousy, just sort of average. I did laugh out loud multiple times, but there were also long stretches where I was checking the time frequently. I had seen bits and pieces of this movie on various networks in the 30-plus years since its release, so I pretty much knew how the plot was going to go down, though I was fuzzy on some specific details. I assumed for the example the Edward Herrman character would spend the whole movie looking for Goldie Hawn. I did find it funny that he actually found her immediately but seeing her amnesia had done nothing to alter her beyotch personality, just walked away! Later on in the movie, he becomes more like a conventional villain, and there's a plot revelation at the end that explains why he would even want her around.
I saw Foul Play when I was in elementary school, and I fell in love with Goldie Hawn. I was usually up for watching her movies, although they became increasingly terrible. She's only made one movie in the last 15 or 20 years, in which she played Amy Schumer's mother. I've forgotten the title. It also made me laugh occasionally, but not much. I always thought Kurt Russell was a greatly underrated actor. The ones who make it look so effortless don't get much credit. He also had a long period of professional inactivity, but in recent years he's been in a couple of Tarantino films, a couple of the Fast and Furious films, and of course, he played Starlord's father in Guardians of the Galaxy 2. I'm delighted he's returned to working. They seem like a happy couple, although I swear I read they broke up about five years ago. I guess they reconciled. I also read he's essentially been Kate Hudson's father, and it was kind of neat to see them have a quick scene together in Deepwater Horizon.
The plot is probably well known to most of you. Hawn plays a fabulously wealthy woman in a luxurious but apparently loveless marriage to Herrman. They're yachting off the coast of Oregon, and she calls in Russell, a recently widowed carpenter who's just relocated with his four hyperactive preteen sons. He thinks it's an emergency, and to her it is: she wants more room in her closet on the boat that's already the size of an efficiency apartment. They hit it off wrong in every possible way. She's demeaning and insulting. He lacks any sophistication or refinement. She refuses to pay him when he builds a new closet with oak instead of cedar and pushes him off the boat and gets the captain to speed away when he becomes confrontational.
Not long after, she goes up on deck in the middle of the night to retrieve her wedding ring during a storm and gets washed ... well, overboard. She's klonked on the head by the garbage scow that picks her up (seems like that would have been a good sight gag, but it occurs off camera. Maybe it was a deleted scene?) and finds herself terrorizing the staff of the hospital while having no memory of who she is. As I mentioned already, Herrmann decides this is the perfect time to enjoy her money on his own and just leaves her there. But Russell sees her on the local news while at his favorite bowling alley and instantly concocts what he believes to be a genius plan. With only the flimsiest of evidence that he even knows her (the hospital staff is only to eager to get rid of her), he passes himself off as her husband and takes her home to use essentially as slave labor until he's deemed she's worked off the $600 she bilked him out off. The kids are in on the bit. He's obviously instructed them ahead of time, though we don't see that scene either.
We're supposed to feel that Russell isn't a total louse - when his buddy gives him a bit of a "heh heh" regarding the fact Russell and Hawn about to spend their first night together, he makes it clear that while he she thinks a hot body (and Hawn who I'm guessing was about 40 at the time makes it clear how much she'd kept in shape in the very skimpy bathing suits she wears early on), he's not interested in using her for sexual purposes. No, he just wants her to cook and clean and be utterly miserable for a couple of months. Meanwhile, in every fiber of her being, she feels like this can't possibly have been her life, but as the days and weeks go on and no one else comes to claim her, she grudgingly begins to accept it. Improbably, she begins to bond with the family - first with the children, whom she angrily defends to an officious female principal and to whom she provides structure and support - and then with Russell, whom she helps fulfill his dream of designing and opening his own miniature golf course and with whom she falls in love.
I kept waiting for the slip-up, where Russell accidentally exposes his charade, but the movie actually has more subtlety than that. He feels guilt and longs to tell her the truth, but when he finally does, the kids and his buddy keep up the pretense, because they know how good she is for everybody. And so when the revelation inevitably does come, it's more sad than a moment for comic anger. As is common in these movies, we have a few minutes where we see Hawn and Russell both trying to adjust to their unhappy separate existences before the big reunion, again at sea. This film is so formulaic, I feel like I don't need to warn of spoilers.
Anyway, sort of a blah screwball '80s romantic comedy with two likeable leads (well, it takes Hawn a little time to become likeable). Goldie is pretty good at playing against type for the first half of the film, though it's a treat to see her twinkling-eye, lip-biting Laugh-In mannerisms eventually emerge. Russell was born to play the well-meaning hunky slob. The kids are okay. One of them looks familiar. He went on to something else I've seen when he was a teenager or young adult, but I'm too lazy to look it up. Katharine Helmond as Hawn's mother and Roddy McDowall as her butler, are underused, though there is a nice scene between Hawn and McDowall. Ben Maniewicz told an interesting backstory I'd never heard before about MGM hiring him to go through their properties and judge which ones might be good to remake, since he'd worked for the studio as a young boy. Instead, he found this unused script (written by a woman, I think) that reminded him of zany old-school screwball comedies that weren't getting made anymore. He liked it so much, he became one of the film's producers as well as taking the supporting role. I kind of wish I liked the movie more after reading about McDowall's faith in it.
Directed by Garry Marshall, who was a few years away from his career-defining Pretty Woman, and then late in life he directed all those star-loaded ensemble romantic comedies named after holidays (I don't think he ever got around to Arbor Day, but if he'd lived long enough, he probably would have). (Edit: Oh yeah, look for Hector Elizando, who I think was in every Marshall movie, hamming it up as the Portuguese captain of the garbage scow, acting as if he's Spencer Tracy in Captains Courageous).
Total movies seen this year: 6
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January 3 Fatale (Lionsgate, 2020)
Source: TheaterSaw this one entirely by myself in the theater. I'm not entirely sure what to make of Fatale. It steals from the best. Classic movie fans will no doubt recognize the plot elements it swipes from The Postman Always Rings Twice, Strangers on a Train and especially Double Indemnity, not to mention slightly more modern fare like Body Heat and Fatal Attraction. Then throw in the modern elements of interracial relationships and a few allusions to real life contemporary fears that black people are automatically unfairly targeted by the police. For all this lineage, Fatale turns out to be an unholy mess of a movie. It appears, however, to be too ambitious to just enjoy as a good, trashy train wreck. Nor does it come anywhere close to achieving its lofty goals.
Hilary Swank was a two-time Oscar winner before the age of 30 for Boys Don't Cry and Million Dollar Baby, and then she kind of vanished. I can't think anything I've seen her in recently. I remember she played Amelia Earhart, but that might have been 10 years ago. I don't know her story at all. I have no idea if this obscurity was her own choice or the realities of an actress getting a little bit older. I see she's also listed as a producer on the film, so apparently she CHOSE this product and didn't just accept it out of desperation, which one might be inclined to believe after watching it. The leading male is played by an actor named Michael Ealy, whom I couldn't identify by name, but as soon as I saw his face, I thought, "This is a guy who's been in some of those post-millennial ensemble black cast movies. Possibly he danced around a Christmas tree and sang 'This Christmas' at some point in his career." So, upon coming home, I checked out imdb, and he's been in everything from Barbershop and its sequel to a Fast and Furious Movie to 2019's The Intruder in which a black couple is terrorized by Dennis Quaid and The Perfect Guy, in which he sort of plays the part Swank plays in this one. I couldn't identify a single other person in the cast by name.
Ealy plays a self-made co-CEO of a Los Angeles athlete management and representation firm, who has a beautiful wife, a stunning house and all the luxuries money can buy. However, there's discontentment at home. He doesn't like his realtor wife being out all hours of the night entertaining clients. He wants to get into some serious domesticity and baby-making. He also with zero actual evidence suspects she's having an affair. While he's in this funk, he goes off with his business partner for a Vegas weekend. The partner (who wants them to sell out to a corporate mega-giant but can't do so without Ealy's approval, which may or may not figure into the plot later) confiscates Ealy's wedding ring and tells him "For the rest of the weekend, you're a single man". And sure enough, within minutes, he bumps into Swank. She reveals only that she has a "stressful job in a big city" and periodically comes to Vegas to "relieve pressure". He tells her only his first name and not the correct one, either. They hit if off, and soon they're having sex in her room. We get the first hint something is a little off-kilter about her when she reveals she's locked up his cell phone and won't return it to him unless he has sex with her one more time. He goes back home, overwhelmed with guilt, and begins being truly attentive to his wife for the first time in years, a la Michael Douglas in the early part of Fatal Attraction.
Then the movie takes a twist, so that it's not just a remake of that movie. A burglar breaks into their home. Ealy manages to drive him away. Then, the detective investigating the break-in turns out to be Swank! She clearly enjoys making Ealy uncomfortable, tormenting him with the fact that she could reveal their one-night stand to his wife at any time. But she's also apparently really good at her job and immediately realizes there's something fishy about the break-in, as there was no real attempt to take anything. She suspects someone in Ealy's life may have been trying to kill him and make it look like a robbery and will no doubt try again. But who? The shady business partner? A cousin for who long ago took a fall for Ealy and has never truly left the thug life behind? Someone involved in Swank's tragic backstory which involves a restraining order, a disabled child and an investigation into corruption charges against her DA ex-husband? There are a lot of plot elements swirling around, and while the Swank character is clearly forming some kind of master plan to make her life better in her mind, the movie takes it sweet time to give us any insights as to what that plan is.
It's a nice slow burn for a while, but then the bodies start to pile up, and my God, in the final half hour, they REALLY pile up. The movie gives us some really hackneyed cliches. In one scene, Ealy comes home to see his wife standing in the kitchen, but as he moves around a partial wall obstruction, he sees Swank is also in the kitchen! Reenk! Reenk! (trying to make the Psycho shower scene sound). Oh, it also borrows from the horror movie trope (and Fatal Atrraction) that warns us to never assume your enemy is actually dead.
I can't recommend it, but if you're into these kinds of movies, you might enjoy.
Total movies seen this year: 5
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2142 is The Best Years of Our Lives. Yes.
2146 is Days of Wine and Roses. Yes.
2149 is The Terminator. Yes.
2150 is Mr. Saturday Night. Yes.
Not sure about the others. I think I've seen at least four.
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5 hours ago, Sepiatone said:
Funny, but I thought BEETLEJUICE, MARRIED TO THE MOB and WORKING GIRL , all earlier movies than "Red October, AND bigger "hits" made Baldwin more of a "name" in the biz.
His parts in all three of those movies aren't exactly leads. Beetlejuice was an ensemble cast, I guess. They were all very successful films, true.
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I have "Don't Let the Sun Catch You Crying" in my iTunes collection. Sorry to hear about this.
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Hooray, it's the final night! Glad I finished this before the March schedule (hopefully) becomes available!
Primetime February 28 Zero Mostel Birthday Tribute
DuBarry Was a Lady (Red Skelton, Lucille Ball) (MGM, 1943)
The Front (Woody Allen, Zero Mostel) (Columbia, 1976)TCM Imports begins with Yasujiro Ozu and then moves into a trio of Agnes Varda films, two of them are documentary shorts. I'm just listing the feature.
Walk Cheerfully (Minoru Takada, Hiroko Kawasaki) (Asakusa Teikokukan, 1930)
Lions Love (... and Lies) (Viva, James Rado) (Dist. in the US by Max L. Raab Productions, 1969) -
6 hours ago, Lori Ann said:
I'd like to see Gene Kelly as a SOTM or a 24 hour feature for Summer Under the Stars. But show some of his movies that aren't shown as much as others.
Some years ago, the theme one night was Gene Kelly: Non-Singing, Non-Dancing. As I recall, the showed Black Hand, Inherit the Wind, 40 Carats and maybe one other film.
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I was wrong on my guess of Burton/Taylor movies. I haven't seen that one. So, I've only seen one.
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Have you seen these 10 classic films..?
in General Discussions
Posted
I am once again struggling with the older movies.
2187 is That Touch of Mink. I've seen bits and pieces but not the whole thing.
2190 is Youngblood. No.
It's possible I haven't seen any of these. I will have to wait for them to be identified.