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NewYorkGuy

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Everything posted by NewYorkGuy

  1. I figured TCM would not bump anything from 31 Days of Oscar. Although -- sigh -- I've looked forward for a while to seeing "If It's Tuesday, This Must Be Belgium" with Suzanne Pleshette and several enjoyable supporting players... But for a Shirley Temple tribute I can certainly wait!
  2. LOL. This is one of my favorite curmudgeonly threads in a while. And I demur about "Little Ricky" not being annoying. In particular, every time they had him sit down and play the drums I wanted to throw a brick at the TV. Just for the record, I'm a year or two younger than the kid who played him, so this is based on having watched it in reruns in the 60s.
  3. Ah -- that makes sense. Problem of the Week series for Bickford and Burke, not the Problems of the Rich Lady's Family on the Hill. Thanks for that.
  4. *Della* - Last thing I semi-watched before going to sleep last night (semi-, because it's the kind of thing one can read a book to or do other work around the house without missing anything major). As soon as it came on I thought it looked like a TV movie, and I knew that must be the case the way the music swelled and scenes faded to black at natural commerical breaks. Looking it up just now I see in fact it was the pilot for a series that wasn't picked up. What I'm not finding on the Internet is why in the world the daughter character would be killed off at the end of the pilot...?
  5. *Deliverance* -- saw it in college with a bunch of college buddies. We knew that scene was coming because it was in the book. But a few years earlier, as a high schooler, I'd gone to see *Catch-22* by myself, not knowing the novel. Wasn't prepared for the violence and didn't make it through to the end. I think it's the only movie I ever walked out of. I think I should have walked out of *The Tamarind Seed*, though -- talk about borrrrring.
  6. LOL. Well, I was the one who tossed out "Those Daring Young Men...Jalopies." I would have put "Gidget Goes to Rome," but TCM satisfied my hunger to see that little bit of nonsense, uninterrupted and in letterbox format, just this past year (Trudi Ames' career was waaaaaay too short!). I have a British comedy from the 1950s I'd like to toss in the mix that I've not seen on TV since the 70s, but it was a one-film-only challenge. And I can wait.
  7. *Those Daring Young Men in Their Jaunty Jalopies* I'd match it up in a triple bill with *Those Magnificent Men in Their Flying Machines* (similar production staff; some crossover actors) and *The Great Race* (both starring Tony Curtis in international car races). And Jimmy Durante's vocal on the catchy title song is brilliant. I'm not aware of its ever having been shown on TCM. Letterbox only, please! :-)
  8. *The Story of Film* was perfect programming for TCM. The timely showing of movies not normally seen on the channel in and around the relevant episodes of the documentary was logical and much appreciated by many of us. I'm just sorry there were too many movies mentioned in the series to program examples of each -- a nearly-forgotten British filmmaker referenced in one of the earlier episodes springs to mind. *Russian Ark* was, and is, brilliant -- and I was very happy to see it again last night after having seen it just once before when it arrived in theaters a decade ago. So,
  9. Just to chime in again, I don't have any problem with enjoying the look of the 1934 Cleopatra, or the later Liz Taylor production. Choices are made by films' creative teams about what look and feel they want to convey. But that doesn't mean such choices don't often distract me from losing myself in the idea that a story takes place in the period ostensibly conveyed if, for example, gold lame material is put on the wild west showgirls dancing in a turn-of-the-century saloon. The filmmaker is making a calculated choice that most of the audience doesn't give a hoot and the people who will n
  10. In only her second introduction -- just now, about 1934's "Cleopatra" -- Deborah said this: "It's important to note that period costume design must *always* resemble the year in which the film is made. The audience wants to recognize and to relate to the people in every story. If their clothes look bizarre or distracting, filmmakers -- then, *and* now -- risk losing the attention of the audience." That bold emphasis was hers, not mine. She said this as part of a defense of why the clothes (and, it's fair to say, the makeup) look so 1930s, but her "and now" means she believes it true
  11. Poignant is an understatement. And it's a fantastic film. There seems to be something wrong or incomplete with Robert's outro, though. It was very sad to hear him say that both boys who played the friends were killed in an earthquake that pretty much leveled that village two years after the film was made. But last night's *Story of Film* episode indicated that the boy playing the lead was indeed found and appeared later in *Through the Olive Trees.* And iMDB indicates that the boy who played his friend was also in that later film.
  12. Agree with how Dolly's clothes wouldn't look out of place today. They actually found an actor who looked like the Gump cartoon character -- completely chinless. It was kind of astonishing. "The Birth of a Hat" was the stand-out film to me. Just looking at how much repetitive physical labor went into each step of the process -- and how many people were employed at each step -- compared with how much today is automated... Can't imagine what some of these employees did to occupy their minds while going through the same motions for hours every day 100 years ago. Thoroughly enjoyed t
  13. Well that was a neat little bundle of four films last night. So I thought I'd start a thread. I can just imagine how "...Runaway Train" made audiences squirm in 1921 -- it was hard to stop squirming in my seat last night, even though I was very aware of the cuts and tricks used to create the speeding effects. The "Happy-Go-Luckies" Terry cartoon -- the train running into and out of the water shows animators were cleverly inventive from the very beginning. The "Strong Boy" trailer -- at least we have this if not the full film, since so many silents have been lost. "Upstream"
  14. Ah, me. When you go to the "Article" link that was on the daily schedule for "Go West" (http://www.tcm.com/tcmdb/title/492448/Go-West/articles.html), the soundtrack is listed as being by Konrad Elfers. I was looking forward to hearing that, but instead it was the Eric Beheim soundtrack -- perfectly fine if obviously performed on a synthesizer, and I have it from a previous TCM airing of the movie. But I enjoy hearing how different composers handle silent film scoring. AMC's airing of "Go West" some years ago had an excellent score but there was no credit listed at the end. I was hop
  15. I haven't looked at this thread since I posted before, but the list of complaint topics was pretty funny. And since this has veered off in so many directions, I thought "Xala" was fascinating. A little long, but still...
  16. I'll take it back to the original topic. And I want to complain about the complainers here. TCM scheduled Vincent Price movies during an all-too-appropriate month, October, and aired a good number of movies that haven't been on the channel in a long, long time, if ever. The final night's line-up of his 60's films was as good an idea for Halloween night as any from the past, such as featuring Hammer films. I have no problem with people's urging that other films/genres be given attention in the future -- I'd like to see some of the titles suggested in this thread myself -- but there's
  17. LOL. It was on again just now. It's the North by Northwest of interstitial programming.
  18. I hope so -- sadly, it also meant not being able to watch or get a time-delay recording of *Daisies*, *Andrei Rublev* and *Ashes & Diamonds*. So it would be great to have them all shown again in the not too distant future. And with that, I think this buttons up this thread.
  19. LOL. I did try both the regular channel (82) and HD (782) last night -- same thing. I rebooted; no, it was just TCM, for whatever reason. This went on all night. It finally cleared up this morning while I was getting ready for work. Went to shave and shower and the picture was still dark; came back to dress and it was fine. As they say in New York, go figure.
  20. Anyone else not seeing the film? Other channels on Time Warner here working fine, but picture went out after about 30 minutes, then audio towards the top of the hour, and now we have nothing. I miss the old days, when stations would at least put up a sign saying they were working on it and apologize for a loss of signal due to "technical difficulties."
  21. I didn't know either "Rawhide" or "Nightmare Alley" before the other night. I liked the former better overall -- and was scared witless when that little girl was around those horses' legs -- but certainly Power's performance in the latter was superb. I also thought maybe there was more lurking under the script's surface towards the end of "Nightmare Alley" when the hotel employee asked Power's character if he'd like anything else. But maybe that's a 2013 mind overthinking a 1947 screenplay.
  22. LOL. I sympathize with Grant in the situation, but I still find it hilarious and wish I could see it. I was a kid when Paar was on but I was aware of him enough that it sounds totally like something he'd do.
  23. To state the obvious (which I don't see anyone having said in the four pages of this thread so far): TCM is broadminded and permissive of late because they're bundling up a whole lot of films in and around The Story of Film series. Mark Cousins' cited IACY in this week's episode, et voila! I think it's great. In fact there are too many films and filmmakers in the series that we're still not getting to see that break my little heart. But I realize there are limits to what the channel can acquire and air.
  24. Some of the criticism is baffling to me. He gives credit to what happened first when and where, whether in the U.S. or elsewhere. Those are facts, not opinions. I'll make up my mind about the worth of the whole series, and its supposed prejudices, after it's concluded -- not based on just the first episode. But the comments below have certainly been interesting.
  25. The film selection was pretty great. But Ben's intros and outros weren't particularly illuminating about Glenda herself -- that was a disappointment.
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