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About Feego

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    Advanced Member
  • Birthday 04/18/1984

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    You might not believe this, but I'm interested in classic films.

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  1. If you scroll up a few posts in this very thread, I posted a link to the 1995 video a couple of weeks ago. You can see for yourself who was included.
  2. Someone posted the very first TCM Remembers from 1995 on YouTube recently. I really love the format of these older tributes (instrumental piece with longer clips and dialogue). I wish they would return to this format, even if it would mean much longer videos. Considering some of the really long ads and specials that are shown between movies, I don't think viewers would mind an 8 to 10-minute memoriam. It's also interesting to see who was left out of this tribute. I've heard that TCM is somewhat embarrassed of their earliest memoriams due to the number of omissions, and there are some
  3. I've never thought of a film's scare factor being related to color/B&W cinematography. I generally find movies scary based on the situations presented rather than on how they look. Full disclosure, the three films that have scared me the most, in the sense that they truly got under my skin and made me feel uneasy for several days, are Mulholland Drive, Inland Empire, and Eyes Wide Shut. All three are in color. What frightened me about the first two is their nightmare logic in which the line between what's real and what isn't is blurred. Along those same lines, the black-and-white Vamp
  4. Not going to comment much on the change in format except to say that I think it looks fine. I don't have a great preference one way or the other for either this one or the old one. HOWEVER, be sure to double check the times listed for your time zone. I am in Central time zone, but I noticed that all of the times listed were an hour behind. Setting it to Mountain time zone, I can now see the correct schedule for Central time.
  5. It won't. In the weeks following the George Floyd protests, TCM has shown numerous films containing blackface and insensitive portrayals of African-Americans. Just yesterday, they showed Jezebel in which poor Theresa Harris' skin was actually darkened to make her blacker. They also dedicated a spotlight this month to John Ford movies, many starring John Wayne, despite Ford's prickly depictions of Native Americans (at a time when the Washington Red Skins have retired that name) and despite the reignited controversy about John Wayne Airport. TCM is clearly not prohibiting movies based on cul
  6. A more recent and popular doppelganger movie is Us (2019), directed by Jordan Peele. It kind of builds on the premise of the old Twilight Zone episode "Mirror Image," in which a woman (Vera Miles in the TZ, Lupita Nyong'o here) fears she has a double who is after her. I had some issues with the way this story develops in the second half, particularly with regards to several revelations made, but it's a generally creepy movie with TWO excellent performances from Nyong'o.
  7. And you've yet to provide one good reason why Gone with the Wind should stay off TCM's schedule that wouldn't apply to so many other movies. It's racist. We get it. Literally everyone agrees with that. So are a good number of movies regularly shown on TCM. This thread is only about Gone with the Wind because YOU made it about Gone with the Wind. Why? We know racists made this movie in Hollywood in the late 1930s. Why is it not acceptable to give it a continued national audience? Before you say, "cuz it's racist," you really need to consider what makes this film so much m
  8. And you still don't respond to my comments about other films frequently shown on TCM that feature blackface, yellow face, brown face, racial and ethnic stereotypes, casual sexual assault, and misogyny. By your reasoning, shouldn't these be apologized for as well? What is the fixation with this ONE film? It makes sense that it's causing a big ruckus on HBO Max because I presume they don't offer many films from the classic studio era. which makes it an outlier and an easy target. But on TCM, it's just par for the course. TCM by its nature celebrates a period in history when Hollywood no
  9. But it is by no means the only racist film shown on TCM. Are you prepared to take all of the others (as I mentioned in my earlier post) off the air as well? Sometimes people focus on the removal of something small because it is easily attainable and they can pat themselves on the back about it, when in fact it changes nothing.
  10. I'm very aware that the depictions of black people in Gone with the Wind are offensive and racist. I never said otherwise. The difference between the two is that Gone with the Wind, while reducing its black characters to stereotypes, does not paint them as patently non-human nor ask its audience to hate them. Yes, it is problematic, and I know it makes people uncomfortable. Again, I never said that wasn't the case, and I'm not saying people should be happy about the racial depictions. But there is indeed a difference between a film with offensive racial attitudes and a film (The Birth of
  11. Why in the world would Gone with the Wind be any less appropriate for casual viewing than many other films shown regularly on TCM? What about all of the films with blackface musical numbers (e.g. Yankee Doodle Dandy, Swing Time, Babes on Broadway)? What about all of the Westerns that depict Native Americans as savages? What about films in which Asian characters are played by white actors in yellow face? What about films that casually depict acts that would now be construed as sexual assault? What about films that depict black servants or slaves as perfectly happy and content with their se
  12. How dare you, sir! What's wrong with sax and violins? If children aren't exposed to sax and violins, they won't appreciate good music, and they won't drink milk!
  13. Man, Ava Duvernay's tenure on the Essentials ended more than a month ago and people are still complaining about her. That's what you call having a lasting impact!
  14. Yes, the German and English versions were shot simultaneously. The actors delivered their lines in both languages for different takes, although several of their voices were still dubbed for the English cut, including Kinski. French-born Isabelle Adjani and Roland Topor were actually dubbed in both the German AND English versions, but that is indeed Topor's laugh! Herzog has explained that he cast Topor specifically for his laugh. Despite the dubbing, the movement of everyone's lips matches the spoken dialogue in each cut. The only actor whose voice I am certain can be heard in both versio
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