route66
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Posts posted by route66
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To some, it is the movie that almost literally laid an egg. Others consider it possibly the worst movie ever produced by LucasFilm. Yet others still have a fond place for it in their hearts, considering it one of the most idiosyncratic movie to come out of Hollywood in the 80s.
Now that it is finally out on DVD, folks can revisit it or, if they never had the pleasure, watch it for the very first time.
Anyone here who has seen it recently?
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*What about a groovy / psychedelic night?*
As long as it's in the TCM Underground, it should be... totally groovy! B-)
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*In the past 6 months or so, TCM seems to have alternated between newer films and older ones, so things are better now.*
Not only that, they seem to be getting a lot more premieres lately. Or is that my imagination?
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>
Here, kitty, kitty... got some super-catnip for you.
It sure is a super-cute kitty, and I would love to have it as a pet. However, if it came down to Super Kitty or Edward Arnold to defend me before the Devil, I think I'd go with Arnold's Daniel Webster. B-)
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> I guess he does dance after all:
Touch?!
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CineSage,
Do you think Bernstein consulted with Elia Kazan as to the kind of music that was needed in the film?
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This has always been my understanding, as well.
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Once you discover screencaps, there's just no going back!
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They have shown quite a few of Capra's early films in the past, but I'm not sure if they've shown them all. I've been able to catch *Dirigible* and *The Bitter Tea of General Yen* so far.
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One should indeed be happy about some things. Simone Simon might be one of them. And Medford Rum might be another.
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Isn't "Harold and Maude" a terrific movie? I'm glad I'm not the only one watching.
If only directors today were nearly as creative and maverick-y (sorry!) as so many of the directors of the early 70s were.
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> In the right hands... determination can be a beautiful thing...
In *The Devil and Daniel Webster*, it can be truly said that Webster embodied the best of American determination. Here he was, just a lowly lawyer, going against none other than the Devil himself.
And it is in times such as these, that we find ourselves living in, that one can only hope American determination will prevail, for it could be argued that we face a general adversity such as had not been seen in nearly 70 years.
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Audiences in 1946 probably found it at least mildly shocking.
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> At the very least.. he knew how to out talk them, anyway! :-)
Judging from the movie, it was not just a matter of rhetorical resistance, but of Webster's ability to put together a well-reasoned argument that even that jury could not resist.
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*http://tarlton.law.utexas.edu/lpop/etext/devil/devil.htm*
Good link to have, thanks!
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That's the spirit, mark!
Only wish more posters were as enthusiastic as you.
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That's a great photo. B-)
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Speaking of rum, and more specifically the "Medford Rum" so often mentioned in the movie, here is some interesting info about this particular kind of rum:
http://www.medfordhistorical.org/rum.php
It's fascinating how some things that are mentioned in passing in a movie can lead one to all kinds of wonderful discoveries.
As Daniel Webster himself would say:
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In addition to director Dieterle having been a German, let's not forget that "Daniel Webster" is after all a variation on the story of Faust, which is itself a German legend.
The first printed source on the legend of Faust is a little chapbook bearing the title Historia von D. Johann Fausten, published in 1587. The book was re-edited and borrowed from throughout the 17th century. Other "Faustbooks" of that era include:
* Das Wagnerbuch (1593)
* Das Widmann'sche Faustbuch (1599)
* Dr. Fausts gro?er und gewaltiger H?llenzwang (Frankfurt 1609)
* Dr. Johannes Faust, Magia naturalis et innaturalis (Passau 1612)
* Das Pfitzer'sche Faustbuch (1674)
* Dr. Fausts gro?er und gewaltiger Meergeist (Amsterdam 1692)
* Das Wagnerbuch (1714)
* Faustbuch des Christlich Meynenden (1725)
http://en.wikipedia.org/wiki/Faust
It's a good bet that Dieterle knew of the original German legend that the story of Faust (and of "The Devil and Daniel Webster") were based on.
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I had to dig pretty deep to find this thread, but I was really hoping there was an already existing thread about Grace Kelly. For some reason there doesn't seem to be that much interest in her now, or maybe there just aren't that many GK fans here in the forums.
For those who may be interested, "The Bridges at Toko-Ri" will be showing at 4am Eastern this Wednesday morning.
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Thank you coopsgirl for mentioning that free software. Seems like you can do a lot of neat things with it, and really come up with great new looks for even old photos. B-)
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Hi marlene, welcome to the boards.
You may already have checked the TCM schedule for tomorrow, but if you didn't, I'll just mention that there are two Lana Turner movies airing on Tuesday: "The Three Musketeers" airs at 3:30am and "Johnny Eager" is on at 4pm (all times Eastern).
Otherwise, the best way to find LT movies is to check your favorite online retailer.
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March 4, 2009, 4:41 pm
Horton Foote Has Died
By The New York Times
Update | 5:20 p.m. Horton Foote, who chronicled America?s wistful odyssey through the 20th century in plays and films mostly set in a small town in Texas and left a literary legacy as one of the country?s foremost storytellers, died in Hartford, Conn., on Wednesday. He was 92, said his daughter, Hallie Foote.
In screenplays for such movies as ?Tender Mercies,? ?To Kill a Mockingbird? and ?The Trip to Bountiful,? and in plays like ?The Young Man From Atlanta? and his nine-play cycle ?The Orphans? Home,? Mr. Foote depicted the way ordinary people shoulder the ordinary burdens of life, finding drama in the resilience by which they carry on in the face of change, economic hardship, disappointment, loss and death. His work earned him a Pulitzer Prize and two Academy Awards.
Here is a portion of his obituary, written by Wilborn Hampton; the complete version will be posted at nytimes.com Wednesday evening.
In a body of work for which he won the Pulitzer Prize and two Oscars, Mr. Foote was known as a writer?s writer, an author who never abandoned his vision or altered his simple, homespun style even when Broadway and Hollywood temporarily turned their backs on him.
In screenplays for such movies as ?Tender Mercies,? ?To Kill a Mockingbird? and ?The Trip to Bountiful,? and in plays like ?The Young Man From Atlanta? and his nine-play cycle ?Orphans? Home,? Mr. Foote depicted the way ordinary people shoulder the ordinary burdens of life, finding drama in the resilience by which they carry on in the face of change, economic hardship, disappointment, loss and death. His work earned him a Pulitzer Prize and two Academy Awards.
Frank Rich, who as theater critic of The New York Times was one of Mr. Foote?s champions, called him ?one of America?s living literary wonders.? Mr. Rich wrote that his plays contained ?a subtlety that suggests a collaboration between Faulkner and Chekhov.?
Mr. Foote, in a 1986 interview in The New York Times Magazine, said: ?I believe very deeply in the human spirit and I have a sense of awe about it because I don?t know how people carry on. What makes the difference in people? What is it? I?ve known people that the world has thrown everything at to discourage them, to kill them, to break their spirit. And yet something about them retains a dignity. They face life and don?t ask quarters.?
Mr. Foote spent most of his life writing about such people in a simple, homespun style. In more than 50 plays and films, most of which were set in the fictiional town of Harrison, Texas, he charted their struggle through the century by recording the daily, familial conflicts that filled their lives.
He often seemed to resemble a character from one of his own plays. Always courteous and courtly, he spoke with a slow Texas drawl. He enjoyed good food and wine but would usually opt for barbecue and iced tea or fried chicken with a Dr Pepper when he was home in Texas. He was a jovial man with a wry humor, and his white hair and robust frame gave him the appearance of a Southern senator or one?s favorite uncle, the one who always had a story.
Albert Horton Foote Jr., one of three sons of Albert Horton Foote and the former Hallie Brooks, was born March 14, 1916, in Wharton, Texas, a small town about 40 miles southwest of Houston that was once surrounded by cotton fields. His father was a local haberdasher and his mother, who was from an old Southern family, taught piano.
Although he boarded a train for Dallas at the age of 16 to pursue a career as an actor, Mr. Foote never really left home. From his first efforts as a playwright, he returned again and again to set his plays and films amid the pecan groves and Victorian houses with large front porches on the tree-lined streets of Wharton. His inspiration came from the people he knew and the stories he heard growing up there. ?I?ve spent my life listening,? Mr. Foote once said.
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Sounds like sure-fire hit to me!
A DEANNA DURBIN ST. PATRICK'S DAY BRONXGIRL GREETING
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Thank you for those green cupcakes! They look delicious. B-)