speedracer5
-
Posts
11,245 -
Joined
-
Last visited
-
Days Won
22
Posts posted by speedracer5
-
-
Re: Warners having the rights to a MGM film...
I believe in the 80s sometime, TIme Warner purchased MGMs film library. TCM is also part of Time Warner, which is how they're able to show the MGM films so often--they own the rights.
-
1
-
-
Yeah. Didn't think so...
He could be a Martian for all I care.
-
1
-
-
He did have something extra special.
As for 'The Swimmer', it's my favorite Lancaster movie and, in my view, the best acting of his career.
I really liked The Swimmer-- at least the part of it I saw. I hope that TCM airs it this year. Summertime would be the perfect time to show this film.
It was such a different type of film--definitely a product of the 1960s, but such an interesting concept. I found it very interesting. I'm disappointed that I didn't get to watch the rest of it.
EDIT: Apparently this film is available in a Blu-Ray/DVD Combo set on Amazon. Can't decide if I need to own this film, however, it would be interesting as there is a 2.5 hr documentary included and the film has been completely restored for this release.
-
MARK ADDY and ROBERT CARLYLE worked pretty good comic-wise in THE FULL MONTY.
@ SPEEDRACER:
If you liked Guest, McKeon, Shearer , and Levy working together, then you'll love(or likely alREADY love) A MIGHTY WIND Hilarious. Especially if you, like me, grew up during and being a BIG FAN of the early to mid '60's FOLK SCENE in America. It pokes fun at that, which sorta means it pokes fun of ME, which I don't MIND if done by such a distinctive group!
Add JACKIE CHAN and CHRIS TUCKER in their Rush Hour franchise....And Chan with Owen Wilson in the SHANGHAI NOON and SHANGHAI NIGHTS movies.
Sepiatone
I loved A Mighty Wind! I saw it in the theater when it came out. That movie was awesome. Catherine O'Hara and Eugene Levy make such a great pair. I also loved that, in the film, they declared my birthday (June 22) "Folk Music Day in the Big Apple" that was a fun surprise.
I haven't seen Guest & co.'s most recent film For Your Consideration. I should get it via Netflix sometime.
-
Yeah, I suppose, however I always felt that Flynn's accent was almost nondescript, and kind of a "Mid-Pacific" version, if you will, of the classic "Mid-Atlantic" accent Cary Grant was so famous for.
(...I mean, at least I never heard Errol ever say anything like "Fair dinkum, Mate" in any movie I ever saw him in, anyway!)
Re: Flynn's accent. I know everyone might be shocked (shocked!) to know that I like Flynn's accent. Lol. I'm in agreement with jamesjazzguitar's wife, he had a sexy sounding voice. Who cares what country he was supposed to be from in the film?!
I've noticed in many of his (and other British sounding) actors, that his accent is used to portray a variety of nationalities. I think Flynn only plays an Australian in two films: Montana and Desperate Journey. I believe he's also been Norwegian (Edge of Darkness); Irish (Dodge City); Canadian (Northern Pursuit); and French (Uncertain Glory). It seems that his accent is pretty interchangeable for any nationality and in some of his films where he's American, he plays more of an upperclass character. His accent isn't any more noticeable than other non-American actors, like Cary Grant and Olivia de Havilland to name a couple. Even Grace Kelly, who is American, has an accent that sounds British. If Flynn walked around saying "Crikey!" and "Put a little shrimp on the Barbie!" or "G'day mate!" or any other stereotypical Australian thing, then I'd agree he'd be out of place.
I have to imagine that Flynn's muddled Australian accent is probably due to his spending at least half of his formative years growing up in England. I've never read anything about Flynn having to go through voice training classes to lose his accent like some actors have had to, so I would have to think he arrived in America with that accent in tow.
I love his fake attempt at a "Western" accent in Footsteps in the Dark, his "Tex" character is so ridiculous that he's hilarious. The Blondie character gives him a kiss and he says: "I could feel that right down to my spurs!" speaking without an ounce of his Australian accent, but with every bit of the stereotypical American cowboy talk and cliches.
-
2
-
-
I think the Rat Pack films would fall into this category--especially my favorite, Robin and the 7 Hoods. Frank Sinatra, Dean Martin and Sammy Davis Jr were great foils for one another.
There are also the obvious:
Laurel & Hardy
The Marx Brothers
The Three Stooges
Mel Brooks and Gene Wilder. I love Blazing Saddles and Young Frankenstein (even though I don't think Brooks appears in that film).
Christopher Guest, Michael McKean, Harry Shearer, Eugene Levy-- of course, the hilarious Spinal Tap, but I also love Waiting for Guffman and Best in Show (I know that not all of these actors appear in all these films, but it's the same crew for the most part).
Simon Pegg and Nick Frost, Shaun of the Dead, Hot Fuzz
-
I remember seeing this movie last summer (?) I only watched part of it (because it was on late and I needed to go to bed. I didn't record it at the time, wish I had). I thought it seemed like a very interesting film. Burt Lancaster, for being in his 50s at the time, was in great shape (which I guess if my only costume was a speedo, I'd try to be in great shape too). I loved the concept of the film and have been waiting for TCM to repeat it so that I can see the rest. Does he make it through all the swimming pools and make it home? What does he learn along the way?
Everytime I see Burt Lancaster in a film, I'm reminded of how great an actor he is. For whatever reason, I tend to "forget" about him until I see him again in another film. I've begun to really appreciate his talents and find him to be among the best actors in the Golden Age (and ever, really). He was fantastic in his film debut-- The Killers.
-
1
-
-
What I also love about this film is the way Hitchcock approached the filming and sound for this film.
Most of the shots in the film are from the perspective of James Stewart, his binoculars or his telephoto lens. We never really see any of the neighbors (except for Burr) up close. The way that Hitchcock used sound was very interesting as well. When inside Stewart's apartment, the dialogue between the lead actors: Stewart, Grace Kelly and Thelma Ritter was typical of how you'd hear dialogue in any other film. The sound from the courtyard and the neighbors talking to one another outside was very interesting. Hitchock didn't mic them so they'd be easy to hear. All the sound sounded very realistic as to how people would sound if you at a window listening to people talk outside.
Hitchcock's attention to detail and courage to take risks definitely set his films apart from some of those of his contemporaries.
-
I like Rear Window as much as anything else that Hitchcock did. I vastly prefer this film to the darkness and violence (though the latter is admittedly tame by modern standards) of Psycho, probably his most famous film today.
One of the many things that I have always appreciated about films made by Hitch is the ambiguity audiences often feel about his villains. This is even true, to a limited degree, about Raymond Burr in Rear Window.
There is that moment of great suspense towards the end of the film in which we hear the almost Frankensteinian sounding steps of Burr's feet as he slowly climbs the stairs towards the hero's apartment as their confrontation is finally about to occur.
But after he enters the darkened apartment, rather unexpectedly, Burr's first words sound like those of a frightened man.
"What do you want from me?" he asks, or words to that effect.
After a brief dialogue exhange with Stewart he will return to monster form, trying to physically overpower a man confined by a cast in a wheelchair. And at that moment, of course, since we are identifying with Stewart, Burr's a frightening creature once again.
Still, before he actually physically attacks Stewart, Burr's voice betrays uncertainty and perhaps even a desire to reason. After all, he is trying to see a mystery man sitting in the dark who has been observing his activities from across the courtyard, a man who may be able to hurt him. For that brief moment, at least, the audience feels a little sympathy, perhaps, for Burr, even if he is, we strongly suspect, a cold blooded murderer. Even a man such as this, Hitchcock is telling us, can sound like a frightened child for a moment.
I agree wholeheartedly about the ambiguity of Hitchock's villains. For the most part, his villains are never straight out evil, there's always an aspect of them that makes you sympathetic. Poor Norman Bates, he doesn't seem like a bad guy, he's just suffering from some sort of mental illness--though that look on his face at the end when he's 100% consumed by the "mother" personality is chilling.
With Raymond Burr in Rear Window, while he did commit a crime, James Stewart's spying is definitely questionable. It's one thing to look out the window at the neighbors occasionally, but he was full on spying on everyone. Although, on the other hand, if you were basically stuck at home all day every day and can't do much other than sit, why wouldn't you look out the window at the neighbors? That courtyard seemed like a pretty happening place. With Burr, even though he apparently commited a very gruesome murder, for the most part, he was minding his own business-- it was only after he killed the little dog (which, how cheesy was that stuffed animal posing as the body? It wasn't even the same breed!) that I think he lost some of my sympathy.
Prior to the end when it becomes apparent that Stewart was right, it seems that Stewart, Grace Kelly and Thelma Ritter were so determined that Burr was guilty (based on circumstantial evidence and assumptions) that they were trying to do everything they could to trap him. Stewart's note, Kelly breaking in, Kelly and Ritter digging up his flower bed... None of these proved anything until Kelly managed to break into Burr's apartment and steal his wife's ring. Which in reality, no body (or body pieces) were found, so it didn't really prove anything. Burr is being arrested on the basis of Kelly's opinion that a married woman would never leave her wedding ring behind--unless I missed something.
-
REAR WINDOW was one of the "5 missing" Hitchcock films that were pulled from circulation in the mid 60's (Hitch had control of the rights to these films and considered them an investment, and holding them out of public view increased the value of the films for a future release). In the early 80's, after Hitch's passing away, the films were rereleased with considerable fanfare, shown in theatres nationwide. That is when I first saw the five films and they all made an impression on me. Seeing them on the big screen made an even stronger impression, especially VERTIGO, which I feel loses a lot of its impact when just seen on a tv screen. REAR WINDOW is definitely Hitch at his best, its very entertaining and yet I think the hard core film buffs get much from it too. James Stewart really makes this film work, I'm not sure if any other actor could have done it better than him. If I had to pick one moment that always gets me it is near the film's end: The phone rings, Stewart picks it up and before he knows who is on the other end, he starts blabbing (he thinks his buddy the cop is calling), there is dead silence and then a hang up. What dumb Jimmy has done is revealed himself to the killer, now Thorwald knows who his adversary is , what he knows, and where he is. And poor Jimmy is stuck all alone in the wheelchair helpless, and he can't get to the apartment door to lock it because it is one of those "step down" entrances (how many of us noticed that unusual feature earlier in the film). The lights in the outside hall then go out, and Burr's heavy footsteps get closer and closer, and .... LOOK OUT!
The suspense at the end of Stewart knowing that he's trapped and trying to get his flash bulbs set as a defense and Burr's heavy footsteps getting closer and closer was definitely the highlight of the film. Stewart's fall from the window and the sped up crowd scene was kind of hokey, but I chalk that up to Hitchcock being constrained by the technology limits of the time.
I would love to see Vertigo in the theater. Vertigo is one of those films that everytime I watch it, I notice something new I hadn't noticed before. The scenery of San Francisco also greatly adds to the film. A few years ago, my husband and I stayed at a hotel in San Francisco that was used as Kim Novak's apartment in the film. It was really cool. The crazy square spiral staircase was intact and definitely made you dizzy looking down, we only stayed one night, but it was definitely a highlight of the trip!
-
1
-
-
I WAKE UP SCREAMING was an early attempt by 20th Century Fox to vary the Grable formula, even then jelling as she completed her first year of real stardom. Depsite her effectiveness in this early noir, she would resist future films of this nature, most notably a decade later, when she refused to do the part played by Jean Peters in the excellent if brutal noIr PICKUP ON SOUTH STREET.
A YANK IN THE R.A.F. saw the studio team their top male star, Tyrone Power, with their soon to be top female star, Betty. Wartime heroics combined with a romantic triangle angle. Of course, Grable played a showgirl, so that a couple of songs could be worked in for Betty's growing legions of fans.
SWEET ROSIE O'GRADY is a fun, partial remake of the 1937 screwball, LOVE IS NEWS. Set in the Gay (18)90s, a publicity still from either this film or her previous one, CONEY ISLAND, became the iconic shot that made her the top pin up, and top female star, of the war years.
So of course she had to star in PIN UP GIRL, where she returns to modern dress, in a popular but not very inspired vehicle. But it kept her fans happy and the tills busy.
THE SHOCKING MISS PILGRIM was another attempt to vary the formula, and get her away from backstsge musicals. Another period piece, this gentle film posited the shocking premise of Grable as a stenographer. The songs were woven into the plotline. A good try, but the grosses were less than hoped.
Speedracer, hope you enjoy your new schidzophrenic channel. It is criticized for the heavy rotation of a few titles; you will see similar Grable tributes, with similar lineup of films, fairly frequently. But enjoy!
Thank you Arturo. I really liked I Wake Up Screaming. I watched it on the recommendation of Dargo. While I can't say I'm that big a fan of Victor Mature (I'm sorry, there's something about his face that bothers me!) I really liked the film and thought that Grable and Carole Landis were excellent. I think Fox really had the noir niche cornered in the 1940s-1950s. I look forward to seeing more of their titles. Last year, when they aired the Gene Tierney/Dana Andrews marathon, I watched two more fox noirs: the (at the time) premiere of Laura (which I loved!) and Where the Sidewalk Ends. I love the grittiness of the Fox noirs.
I'm looking forward to the other Grable features that I recorded. If Fox Movie Channel plays more Grable films, I won't mind. Looking at her filmography on imdb, she was quite prolific during the peak of her career. If Fox can play at least one Grable film I haven't seen, I'll be happy.
Right now I'm watching The Shocking Miss Pilgrim--so far so good. I'm liking the costumes and I like that he women are fighting back against the sexism. It was also fun to see Elizabeth Patterson (aka Miss Trumbull from "I Love Lucy") as Grable's landlord.
-
I love Rear Window No matter how many times I've seen it,when it comes on TV I always watch. What a treat to have seen it on the big screen, and with commentary by Ben.
Did you catch a glimpse of Hitchcock?
Yes I did! What a treat to see him. I don't know if anyone knew this, but did you know that the guy who plays the piano player is responsible for creating Alvin and the Chipmunks?
-
I just got my satellite installed last week and knew I now had the package with Fox Movie Channel-- a channel that often airs classic Fox films (so says people on this board). After finally finding the channel in my guide, imagine my excitement to find out that Fox was airing a mini-marathon of Betty Grable films! Grable's day during SUTS last year was by far my favorite. I think I watched like 4-5 Grable films in a row that day.
They were airing:
I Wake Up Screaming
A Yank in the RAF
Sweet Rosie Grady
Pin Up Girl
The Shocking Miss Pilgrim
I recorded all of them except I Wake Up Screaming which I've already seen. I haven't watched them yet, but I'm excited.
Prior to Grable's SUTS day, my only real knowledge of her career was How to Marry a Millionaire and her appearance as herself in an episode of The Lucy-Desi Comedy Hour. I also knew that she dated Desi Arnaz before he married Lucille Ball at the end of 1940.
I first started watching Grable's SUTS day when TCM aired a film she made with Bob Hope and Martha Raye called Give Me a Sailor. While Hope and Raye were definitely the stars of the film, I really liked Grable. That day, I also watched: The Dolly Sisters, Meet Me After the Show, Down Argentine Way, Mother Wore Tights and Coney Island. I think The Dolly Sisters was my favorite of the films I saw that day.
What I love about Grable, is while she's a good musical performer, I find her a very capable actress and more than just a pair of "million dollar legs." While musicals were definitely her niche, I thought she did well in comedy (like 'Millionaire') and noir (I Wake Up Screaming). It's a shame she didn't make many films outside of the musical genre-- which I do enjoy, I don't have an aversion to them. I love that her characters are typically strong, sassy, but sweet. She was definitely an "America's Sweetheart" but not in an overly saccharine no personality way.
While I hope that TCM gains more access to her films and eventually makes her SOTM (which she definitely deserves) I'm glad that I now have Fox Movie Channel to supplement TCM!
-
1
-
-
Just saw "Rear Window" tonight in the theater. Even though I own this movie and have seen it a couple times (I'll admit, I haven't seen it as much as I have North By Northwest, Psycho and To Catch a Thief) it was fun seeing it up on the big screen. Ben Mankiewicz put together fun opening and closing remarks-- all in all it was a fun way to spend a couple of hours.
Since I'm not as familiar with this film and hadn't seen it in a long time, it was like watching it for the first time. There were only a few things I remembered: The look on Raymond Burr's face when he finally catches James Stewart and Thelma Ritter watching him; Grace Kelly being caught by Burr in his apartment; and Stewart switching to the telescopic lens to be a more effective voyeur.
What I love about this film is the overall aesthetic and style. Hitchcock went above and beyond having that courtyard built and I loved how each of the neighbors had a storyline even though none of them were really integral to the action except for Raymond Burr. I loved the end where Burr approaches Stewart in the dark and all we see are flashes of his bold blue suit.
I loved Grace Kelly's clothes in this film, especially the green suit she wears and the white and yellow flowered dress at the end. She looked absolutely gorgeous in this film and I cannot see why James Stewart would rather play Gladys Kravitz in lieu of romancing Kelly while she's throwing herself at him. I also loved how she was eventually intrigued by the things Stewart had seen and found herself sucked into solving the mystery, despite many objections.
I don't know how the neighbors didn't see Stewart watching them for weeks on end, I know I'd have noticed him. I thought the newlyweds were hilarious. I think my favorite neighbor though was Miss Torso and I felt so bad for Miss Lonelyhearts--she finally goes out on a date and it's with some guy who only wants one thing from her.
My only criticism is the obviously fake looking dog after its body is found. The stuffed animal wasn't even the same breed as the dog!
My favorite part of the film is when Thelma Ritter, Kelly and Stewart are looking out the window watching Burr wipe down the bathroom walls. Ritter says something about Burr washing the blood splatter off the wall. Kelly tries to act disgusted with such a vulgar statement and Ritter says something like: "Come on! That's what we were all thinking."
I think I've seen all of the Stewart/Hitchcock collaborations except for The Man Who Knew Too Much. I'll have to get on it and see that one.
-
3
-
-
I've noticed that "Little Brown Jug" shows up in a lot of Westerns.
"Street Scene" is in a lot of film noir.
Wagner's Bridal Chorus and Wedding March.
-
The only Julie Andrews movie that I ever saw at the show was Victor Victoria. And I loved it, smart, sexy, sophisticated, very funny, even hilarious, at times.
Sometimes, though, you're influenced by the reaction of the audience around you. There have been a few films I saw at the show that I loved, afterward having a downward reappraisal of them when I later saw them again in quieter confines on my television.
But not Victor Victoria. This film still captures me and even energizes me, to a degree. And amidst all the impressive visuals and wonderful music and performances (Lesley Ann Warren deserves special mention I feel), the film even manages a humane message of tolerance and understanding without banging you over the head with it. The only small quibble I may have with the film is that it goes on a little too long at 133 minutes.
Long live the memories of Blake Edwards, Julie Andrews, James Garner, the marvelous Robert Preston and, of course, Lesley Ann Warren for this magical masterpiece of sophisticated humour and music.
I watched Victor/Victoria back during the James Garner tribute in July. I loved it. Julie Andrews was fantastic. I do agree that it runs a smidge too long.
I'm disappointed that I missed out on all the Julie Andrews films that aired a couple days ago. I've been so busy moving that it completely slipped my mind to record anything. I did manage to record Attack of the Puppet People for whatever reason, lol. Hopefully I can catch her films on Watch TCM or via Netflix.
For the longest time, I was only familiar with Julie Andrews as Mary Poppins. That was the only film of hers I'd ever seen. I'm happy that TCM has been putting her films into rotation more often. I also saw The Americanization of Emily also during the James Garner tribute and found it an interesting film. I think I'll need to watch it again though, as I unfortunately tried watching it in an environment full of distractions.
I've been wanting to see Thoroughly Modern Millie (I'm also a fan of Mary Tyler Moore), Star! and SOB.
I'll have to keep my eye out for them. I'll probably even look out for Darling Lili even if it seems to be getting mixed reviews here.
-
Then there's BAREFOOT IN THE PARK--which doesn't involve moving from one place to another, but just moving in together.
RAISIN IN THE SUN---but we never do see what happens AFTER the move!
THE GODFATHER, which has them moving at the end of the movie
YOU CAN'T TAKE IT WITH YOU----one of the biggest moves of all!
YOURS, MINE, and OURS---moving into that big house and getting organized isn't easy even WITH all that help!
Sepiatone
Yours, Mine and Ours is a great example. The family, now a huge blended family, finds a large Victorian home (or maybe a Queen Anne?) that will accomodate 20 people. The chaos of dealing with 18 kids is ridiculous. One of the funniest parts is Henry Fonda's chart that assigns every child a number, a bedroom and a bathroom. "I'm 11, red, A" one of the children is heard reciting. This movie, not only is it about moving into a new home, it's also about moving into a brand-new family. Adding a dad and 10 children is definitely going to change the dynamic of the single mother, 8 children family (and vice versa).
-
Don't forget the human family moving in TOY STORY. Causes all sorts of problems for the "toys".
Or in Toy Story 3, the toys move to the DayCare center because owner Andy, now leaving for college, has out grown them. Then later, the tearjerker part of the film, the toys move to a little girl's home (a little girl probably the age of Andy in the first film) so that she can love and play with them like Andy did. I'm not going to lie, when Andy said goodbye to Woody, my eyes got watery, it was the saddest part of the film.
-
I take the thread title literally. No need to "overthink" something simple.
Although, in real life, moving is anything BUT simple! Both physical or otherwise.
It would be up to the OP to come in and say if they intended for some of y'all to go overboard with the reading into something so simple as a scene of people moving into or out of a house or apartment. Sometimes you guys remind me of my ex's kid brother, who sometimes looked for more than was actually intended. After I add another "movie moving" example to my list, I'll explain further...
ADD TO MY LIST------
IT'S A WONDERFUL LIFE---
Buy a house though Bailey Building and Loan, and George will let your GOAT ride in HIS CAR! AND, his wife will bring FOOD AND DRINK!
Now, the ex's kid brother comparison---
I once told him an old joke---
"Two drunks were standing out in front of a beer garden arguing. 'That thing up in the sky! It's the MOON!' said one. The other argued, 'No! It's the SUN!' they argued like this for a half hour. Finally, one of them said, 'Listen. We'll ask NEXT guy comes along, and whatever HE says it is, we'll go by THAT!' The other drunk agreed to it. so, after about ten minutes, another guy comes along, and HE'S drunk, too. But they stop him and ask him----'Hey, buddy! See that LIGHT up in the sky? Is it the SUN, or the MOON?' the third drunk snorts and answers, 'How the hell would I know? I don't LIVE in this neighborhood!'"
After telling the kid this joke, I heard nothing but silence from the backseat of the car. Finally, after a few minutes, he timidly pipes up and asks, "Well, what WAS it?"
Kind of sounds like the kind of thing some of YOU guys'd come up with!
Sepiatone
I intended this thread to discuss films where the act of moving is a pivotal part of the plot. In Mr. Blandings Builds His Dream House for example, Cary Grant is tired of living in the cramped NYC apartment with Myrna Loy, their two children and their maid. He would much rather live out in the country in a more spacious home. The entire action of the film involves Grant and Loy trying to make their dream happen.
Many films involve the "fish out of water" concept where people move from one environment to a completely different one. The entire Green Acres (okay, not a movie) series involves the city folks from NYC trying to make it as farmers in dinky Hooterville out in the sticks. The Egg and I also uses this same concept.
However, some films, The Grapes of Wrath for example, the family moves, not because they want to, but because they are forced to due to economic (The Great Depression) and environmental factors (The Dust Bowl). Wanting to improve their situation, the family sets out for California, looking for a fresh start.
Some films use moving as a form of symbolism. I'm completely fine to discuss that here. Moving, for many people, is symbolic of a fresh start or a new stage in life. Whether you're moving into your first home (like I am) or moving into a college dorm and are experiencing your first taste of life as an independent adult. Some moves are not as happy, e.g. having to move into an assisted living or nursing home due to age or health factors. In Citizen Kane, while Kane himself isn't moving, his possessions are moved out of his home at the end of the film, due to his death--including his beloved "Rosebud." Kane's possessions are symbolic of his entire life. After his passing, his personal effects are removed one by one from his home, hereby erasing Kane from the home. Soon, his home will be ready for a new owner to fill with his own possessions.
People are free to discuss moving in whatever context they want. I don't want to stifle conversation nor am I trying to move the conversation into a specific direction. All I'm hoping for in this thread is that it will perhaps initate some interesting discussions about film.
-
Nice topic idea. Not sure if you want examples of films with moving in them. Or different ways moving might be depicted in various films.
Obviously the way the couple moves (and moves around inside that trailer) in THE LONG LONG TRAILER is quite different than other characters moving in other motion pictures.
But if we're talking about films-- might I suggest the Doris Day vehicle PLEASE DON'T EAT THE DAISIES, where she and David Niven (with kids and dog in tow) move from a cramped city apartment out to the country.
I think either interpretation of moving is fine. Some people move out of something positive, others have to move due to circumstance. There are a variety of reasons why and how people move. I thought it'd be interesting to discuss how moving is depicted on screen.
-
MR. BLANDINGS BUILDS HIS DREAM HOUSE certainly fits the topic.
I love this movie. Cary Grant's dream of living away from the city quickly goes awry as he and wife Myrna Loy don't think it through all the way in regard to all that goes into building a home. Melvyn Douglas was excellent as well.
My favorite part of the movie is when Myrna Loy is trying to explain to the painters all the different shades that she wants in the house. Her instructions and samples are so ridiculous and convoluted, that it'd be amazing if her house was painted using any of the colors she specified.
I only wish this movie was in color. I think that the Technicolor would have greatly enhanced the "dream house" aspect. Not that the lack of color makes the film less enjoyable, I think it would have been even better with Technicolor added into its budget.
"If it a'int 'Wham' it a'int ham!"
-
1
-
-
This topic was inspired by two things: 1) My husband and I just bought a 1940 bungalow and are starting to move in and trying to work up enough ambition to paint and do other things to customize the home to our tastes; and 2) MissWonderly and I were having a conversation about this topic and she (I think semi-jokingly, but I'm going with it) suggested this as a topic to discuss on the message board.
Moving in/out of a home is an experience that most everyone undergoes a few times in their life. Some more than others; but I very much doubt that someone is born and dies in the same home without ever living elsewhere, if this is the case, it is a very small segment of the population. There are many movies that feature this very same topic. Some are moving out of an apartment and moving to the suburbs; Others are moving from the country to the city; Some are escaping destitution by moving to a more affluent city; the list goes on. Not all moving experiences are positive.
One of my absolute favorite movies is The Long Long Trailer. This film features Lucille Ball and Desi Arnaz as newlyweds who move out of an apartment in So.Cal and into a large trailer. Arnaz' job apparently involves a lot of traveling. Ball, not wanting to be left home, or having to live out of suitcases, suggests purchasing the trailer so they have all the comforts of home and are able to go on a honeymoon at the same time. They are enroute to Colorado where Arnaz' next job is lined up. Sounds good right? Well, in typical Lucy fashion (because lets face it, this entire movie could be just one big long I Love Lucy episode), things don't go how they should. Moving struggles involve fitting an entire apartment's worth of belongings into a small space and the shower being short and small. Also, the lack of a fixed foundation means that Lucy and Desi often need to find a new place to park (sometimes with or without electricty) or having to deal with nosy neighbors. Having to literally move your home puts a new meaning into the word "moving."
A couple nights ago, I watched The Egg and I. This film featured Fred MacMurray and Claudette Colbert, newlyweds, who move into a dilapidated farmhouse on a chicken farm. MacMurray, tired of the 9-5 grind, surprises Colbert on their wedding night by stating that he quit his job and purchased a farm and that they're going to be farmers! The next day, they arrive at the farm. The home is a wreck as are the structures that the animals live in. Cue a montage of MacMurray and Colbert trying to fix up the home and the animal structures and voila! a few minutes later, the place is as good as new. The rest of the film features the city folks trying to fit in with the country neighbors like Ma and Pa Kettle and dealing with issues related to living in the middle of nowhere. While my house wasn't dilapidated by any means and I didn't move to the middle of nowhere, I am relating to the issue of needing to fix and update things in an older home.
What other examples of moving are there in film?
-
I'm sorry I missed this PBS special as I like Judy and think she had immeasurable talent.
My brother watched it and called me afterward to ask a question. He wondered why she was so destitute and had such huge financial woes during the latter part of her life. He mentioned that she had still made some films in the early 1960's, had record album sales, had her hugely successful live concerts and even had a TV show for a short period. So he asked me why she was so financially destitute. I thought part of it was because of Sid Luft who was a big gambler. But I'm not exactly sure why she was so poor. Can anyone enlighten me on this?
Sid Luft squandered much of her earnings which is why she was doing the concerts and The Judy Garland Show TV show. She also owed hundreds of thousands of dollars in back taxes to the IRS. I doubt Judy was handling her own finances, so I don't know if someone was pocketing money on the side in lieu of paying her taxes or what was going on there. She also had much invested in A Star is Born (Her production company with Sid Luft produced it) and its subsequent failure at the box office meant that Garland's company didn't make a profit on the expensive film. She was then involved in her TV show as a means to resolve her financial problems, and it too failed. Not due to quality, but due to poor programming decisions on CBS' part (like putting her show on opposite of the hugely popular Bonanza.) the show was canceled after only one season. This further exacerbated Garland's financial woes. By the mid-60s, Garland was experiencing major health problems and continued substance abuse issues and was unable to successfully complete a concert performance and didn't appear in any films. She was supposed to appear in Valley of the Dolls but missed rehearsals, was fired and replaced by Susan Hayward.
While it's sad that she died at only 47, based on all her health problems and other issues, it isn't surprising.
-
Apologies to CARY GRANT impersonators. But this thread is about something ELSE...
Last night, on a presentation of the "American Masters" PBS series, the PBS station out of Toledo showed the episode that covered the life of JUDY GARLAND.
It opened showing the clip from THE WIZARD OF OZ of when Dorothy opened the farmhouse door after the house landed in "Munchkinland". And the VOICE-OVER said:
"When DOROTHY GALE stepped into the land of Oz, JUDY GARLAND entered the realm of IMMORTALITY!"
And hearing THAT, I thought, "How SO TRUE!"
My WIFE said she was amused to look over and see me keep wiping TEARS from my eyes. But, I can't help it!
I've always LOVED Garland! I STILLTHINK she was the GREATEST female vocalist of the 20th century, And readily agreed when the narrator said she was probably the greatest entertainer of that century( move OVER, Bob Hope!).
And I STILL bristle and get teary-eyed when I think of HOW BADLY MGM and that rat bastard LOUIS B. MAYER FU**ED her over! She was a NATIONAL TREASURE, and HE treated her like so much POCKET LINT! But, up until her death, she'd sell out any and every venue in which she was booked, and crowds would greet her with STANDING OVATIONS before she even CLEARED HER THROAT!
If you can find, either on your local PBS station, a broadcast sheduled, or locate the episode on YouTube or something, I recommend SEEING it, or, if you have already, you know good and well what I mean!
Sepiatone
I love Judy Garland. She's one of my favorites. I've seen the American Masters documentary you're speaking about (although, unfortunately it was during an annual pledge drive, so there was 5 mins of documentary, 15 mins of pleading for money. I've heard that the 2-disc Easter Parade contains the documentary as a special feature, unfortunately, I already have the 1 disc version :-/) I read Gerald Clarke's biography, Get Happy about her life and it was so sad. I felt so bad for her. In a joint effort, Garland's mother and MGM started her on her life of addiction and depression. Poor Judy never felt she was pretty enough, thin enough, good enough, talented enough, etc. Unfortunately, MGM boss, Louis B. Mayer did nothing to help her esteem by referring to her as "[his] little hunchback," and forcing her to keep her weight down with pills and wear prosthetics to change the shape of her nose. For the most part, Garland was used as nothing more to earn money. She repeatedly associated herself with someone who was going to exploit her talents to earn themselves money. Sid Luft is a good example. Garland had very few friends who liked her for her and didn't try to take advantage (Mickey Rooney, Gene Kelly, Bogie & Bacall, Vincente Minnelli, come to mind).
I'm much more a fan of Garland's adult work than her work as a child star, mostly because I'm not a big fan of Mickey Rooney. However, even in her films with Rooney, there is no denying her talent. My favorite of their films is probably Girl Crazy. I also enjoy The Wizard of Oz and completely agree with the documentary's statement that she stepped into film immortality. The scene of Dorothy stepping out of the sepia-toned farmhouse into the Technicolor Oz is one of the most iconic scenes in film history. One of my favorite films of hers is For Me and My Gal, Gene Kelly's film debut. Judy's Ballin' the Jack number was excellent and she had great chemistry with Kelly.
I also loved her in her other musicals: The Pirate, Summer Stock, Easter Parade, Presenting Lily Mars, Meet Me in St. Louis and The Harvey Girls. Another of my favorite movies of hers, is one of the few non-musical films she did: The Clock with Robert Walker. This movie showed her talents for dramatic roles in addition to the light-hearted musicals she was typically known for. Also, probably one of her more famous films, A Star is Born, I'll admit I have only seen it twice or so (because it's so long!) but this film combined her musical and dramatic skills and is truly one of the highlights of her career. It's a shame that she was robbed of the Oscar. The torch song, The Man That Got Away, is one of the best performances ever put on film.
I have her Judy: Live at Carnegie Hall album and she is fantastic. Her voice sounds noticeably older and a little more hoarse, but there is no denying her talent and how much the audience loved her. While I can't see the performance to see how the audience is responding, the amount of applause and cheers is indicative of how beloved she was.
Regardless of how many times I've seen her films and despite the fact that I own many of them, I always welcome TCM's birthday, SUTS, daytime theme, etc. tributes to Garland. She was truly one of the best that Hollywood has ever seen.
TopBilled's latest pick
in General Discussions
Posted
I love Holiday Inn! For some reason, I always associate it as being a Christmas movie, even though I know that an entire year's worth of holidays are recognized. I loved the pairing of Fred Astaire and Bing Crosby. Astaire's dancing combined with Crosby's singing is what makes this film-- this and Irving Berlin's great music.
My favorite number in this film is the one that Astaire performs for Washington's Birthday. Crosby, upset with Astaire for taking his girl and taking over performing at his inn and conducting the orchestra, purposely keeps changing the style and tempo of the music. Astaire manically adjusts his dancing to keep up with the style and pace. It was amazing to see him move from a waltz to a tango to a minuet to jazz, etc.
I also love Fred Astaire's firecracker dance that he did for the 4th of July routine.
I remember I first saw this film on some random channel on satellite. They edited out the controversial Lincoln's Birthday number. Unfortunately, the editing was done poorly and it was very obvious that footage had been cut. It was very apparent that something was missing, even to someone like me, who hadn't seen the film before. I wanted to know why this footage was cut and found out it was due to a blackface routine. I actually went out and bought the film just because I wanted to see the film in it's entirety and how it was originally intended.