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About HarryLong

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  1. *I don't know what studio she worked for other than Godfrey was MGM.* The original GODFREY was Universal. Patrick was also over at Paramount a few years earlier, doing essentially the same bitchy role in DEATH TAKES A HOLIDAY. She switched studios every few years it seems. She was at Paramount until about 1935 and then went over to Columbia for a bit, then RKO for a while, then MGM... She never _quite_ was a star & may have shopped around for a studio that would give her the roles that might be her breakthrough. I've also seen her play entirely sympathetic roles (& when you think about it, she's capable of making her haughty characters funny). Supposedly she was never very comfortable acting, which explains why she moved into producing (she produced the original PERRY MASON series among other things).
  2. *what a shame how tcm has little kids editing these classics into garbage.* Pardon my crudity but just what the hell are you talking about?
  3. If they did I missed it. I wish they show it... or show it again. It hasn't been released on DVD in the US.
  4. *He was a hunk. John Payne. Major beefcake.* That third shot down is practically pornographic.
  5. I've never had the opportunity to see TAMING OF THE SHREW, though I'd very much like to. Interesting though, is it not, that SUNNYSIDE UP aside, all the other films were released by United Artists? Less executive interference than at a regular studio?
  6. >>I don't know if I should go see it because I could get scarred for life or something. If you're that easily disturbed it might be best to just stay indoors with the curtains drawn for the rest of your life.
  7. >>I wonder why ?An American Tragedy? (1931) is never shown? I wonder if the rights are tangled up? MGM remade it & probably bought up everything involved (prints, negative, etc.) just as they did with the March/Mamoulian DR JEKYLL & MR HYDE... But I seem to recall having seen it once many, years ago on late-night TV. And I do have a fairly good bootleg of it.
  8. >>It's been doing it for days again, the TCM picture breaking up into little squares, stopping, skipping.... Funny how no other station on Comcast does this...... Squirrels have been at the wires. I have two hook-ups in my house (one was put in upstairs for my mother when she was precluded from doing stairs except when necessary). On the downstairs hook-up AMC looks just as you describe. On the upstairs hook-up, it's fine.
  9. It wasn't _shelved_, it just didn't have its premiere until 2/14/31. I don't want to get into a discussion of Tod Browning's direction here (the style of DRACULA is very much a result of that, not any technical limitations of the time), but on this site of all places we really shouldn't be adhering to the old wive's tale of sound limiting the cameras for years after its introduction. Both SUNNYSIDE UP and THE LOCKED DOOR (both from 1929 & shown on TCM in the past few weeks) blast that myth out of the water, as do Roland West's ALIBI (1929) and THE BAT WHISPERS (1930).
  10. *I have to admit that I have something of a larger issue with the moguls and moviestars doc which is:* *_IT HAS NOTHING NEW TO SAY PERIOD._* Afraid I'm in agreement on that. In fact a few minutes after the end of the first episode a friend (and fellow writer on movies) rang me up from North Carolina and just about the first thing he said was, "Did they say _anything_ new?" Now, there's nothing wrong with a FILM HISTORY 101 approach but for the sake of those of us who know quite a bit about older films (and I dare say that is a goodly portion of the TCM audience), it would have been nice if some more obscure facts or personalities had been touched on. Or else they could have just acquired the rights to rerun HOLLYWOOD AND THE STARS...
  11. I don't think SECRET OF THE BLUE ROOM is so much "lost" as "ignored." And why that's the case, I don't know. It was part of the Shock Theater package back in the 1960s (& I managed to acquire a bootleg VHS (obviously derived from a 16mm print) of it some years ago), so I'm not certain why this didn't make it to VHS back in the 1990s when Universal seemed to get damned near everything in their library released to VHS (even the Paula Dupre trilogy!). I wonder if there might be some sort of rights issue? (It is a remake of a German film & even incorporates some footage from the original.) I suspect the buying public for it would be pretty limited, but it'd be cool to see it & the two remakes all put out on a single disc.
  12. The zoo was entirely built on the Fox lot, in case the rental of all those animals didn't tip you off.
  13. >.those involved with choosing the content seemed desperate to create a role for women, minorities, etc., that didn't happen in reality. It's revisioinist history. I think revisionist history is what you've been reading, chum. If M&MS revises any Hollywood history, it's more in the nature of acknowledging what's been obscured over the years, such as the important role women had in the early days of film-making... until it was found out how immensely profitable the movie biz could be & the women were pushed out. If anything the first episode (where this was covered) undertold just how involved in writing, directing & producing women were in the early days of Hollywood. So far the series has entirely ignored the contributions of gay men & lesbians & was (in my estimation) soft on just how devastating the HUAC period was. If there really is a liberal agenda behind this show, they're doing a ****-poor job of promoting it.
  14. I didn't realize these threads had summer re-runs... and in December yet! (I feel as though we've discussed this sooo many times...) The fact is that those in charge of such things do not see that classic films have respectable sales possibilities at the moment - whether that has to do with the crappy economy is another matter entirely. Classic films are a niche market and silent films are a niche market within that niche market. The studios would rather put out a bazillion copies of the latest Adam Sandler atrocity (90% of which will end up in close-out bins). A case in point: Universal reissued THE WOLF MAN to tie in with the DVD release of the new version. the new version tanked & so did the reissue. Now putting aside that this is the third or fourth time (I've lost track) that Universal has put out the Lon Chaney version and putting aside that a number of people (including me) had issues with the quality of the transfer, Universal saw the lower-than-hoped-for sales as an indication that there was no market for their classic horror titles. This was the 75th Anniversary year for BRIDE OF FRANKENSTEIN and they did nothing about it (unlike their 75th Anniversary editions of FRANKENSTEIN, THE MUMMY and DRACULA). This, by the way is inside dirt, not mere speculation on my part. I will speculate, however, and say that where I think the studios are wrong is that the classic titles may sell more slowly than "hot" new releases, the continue to sell, while the newer titles have a very short window of gotta-buy status and then just collect dust on the shelves. But if we live in an age of opening weekend figures for films in theaters, we also do in terms of DVD releases. The first few weeks are all the studio execs are tracking. You may not like it & I may not like it, but the only way we're going to see classic titles on DVD is on the burn-on-demand titles such as the Warner Archives or from boutique labels such as Kino & Criterion. If the studios release anything themselves it'll be the too-famous-to-ignore titles such as GONE WITH THE WIND and CASABLANCA.
  15. *I believe that HIS GLORIOUS NIGHT (1929) is still held up in broadcast rights issues as is CHRISTOPHER BEAN (1933).* When did the rights issue crop up for CHRISTOPHER BEAN> I recall seeing it once, many, many years ago on TV.
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