kingrat
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Posts posted by kingrat
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I should also mention another remarkable directing debut: Mike Nichols and *Who's Afraid of Virginia Woolf?*
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*Fists in the Pocket* was one that jumped out at me, too. Marco Bellocchio was once considered as promising a director as Bertolucci, but his films are hard to find and I've never seen any of them.
*Without Pity* sounds intriguing, and *Anna Lucasta* is another one I look forward to, along with *Woman of Straw*, *The Bachelor Party*, and *The Children Are Watching Us*.
A shout out to some films which aren't necessarily well-known but are worth your time: *Il Posto*, *Shake Hands with the Devil*, and *Vera Cruz*, which wasn't included in the Burt Lancaster SOTM presentation.
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Remy, welcome to the Programming Challenge. You have many good things here which the TCM programmers could use. Love the tribute to Brock Peters, Victor Seastrom as director and actor, Susan Hayward movies, and much more. *Libel* is a good film to show Olivia De Havilland later in her career.
Not to mention that there are just lots of good movies in your schedule.
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Dick Powell would make a great Star of the Month. TCM could also include some of the films he directed. I believe he is mentioned in a number of TCM interviews, and perhaps some of these comments could be pulled together and used.
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This is fantastic news. I've never seen *The Pawnbroker*. The opportunity to see versions of *Double Indemnity*, *Touch of Evil*, and *The Best Years of Our Lives* as good as you'll ever see. Wow!
I usually go for the obscure films that are announced at the last minute. There may be even more agonizing choices to make this year than usual.
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Add *Life Upside Down* (Alain Jessua) and *Whistle Down the Wind* (Bryan Forbes), which are much better than some of the other debut feature-length films listed. Unfortunately, they are hard to come by, so not many people have seen them.
If *The Mask of Dimitrios* is regarded as Jean Negulesco's debut feature--he was fired from *Singapore Woman*, but some of the work certainly looks like his--then it, too, should be included.
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Andy, I believe that *Blonde Venus* is a premiere. Perhaps someone else can verify that. That's one I'm looking for to as well.
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Deepdiscount.com has some excellent prices for their current sale, with many films like *Between Two Worlds*, *Three Strangers*, and *The Long Night* in the $11-12 price range.
I've never seen cheaper prices on some of the Chabrol films they have available, like *Les Bonnes Femmes*, and some of the Satyajit Ray films.
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Great list of favorites, dagoldenage. There are other years which seem equally good. 1962 was great, 1950 was also very good, and the excellence of 1941 has already been mentioned. 1958 was strong, although the Oscar nominations didn't reflect the best films.
If you're a film noir fan, however, 1947 has claims to being one of the top years.
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This is a fun topic. I once used this theme in a programming challenge. Angela Lansbury wasn't much older than Laurence Harvey when she played his mother in *The Manchurian Candidate*. Lee J. Cobb played Gary Cooper's father in *Man of the West*, but Gary was older than Lee.
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An occasional film puts the big surprise in mid-film. I was not expecting the big surprise in *The Crying Game*.
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Tracy, I believe that the original title was *Chuck-a-Luck*, the name of Marlene Dietrich's ranch, but someone at the studio thought *Rancho Notorious* would bring in more customers. Good idea.
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roadrdr6, so glad you're going to the festival. TCM will announce additions to the lineup from now until about three weeks before the festival--mid-March, say--when they will unveil the complete schedule.
What usually happens is that the most famous films and some famous guests are announced earlier, and the more obscure gems which I love are often not announced until the complete schedule is revealed.
TCM has an eye out for restorations, and occasionally these may not be ready in time. Sometimes guests have to cancel for various reasons. Last year Polly Bergen was going to introduce *Cape Fear*, but she had the chance to shoot a pilot for a new TV show, so Barrie Chase subbed for her.
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Thank you, LP! I especially love the Jeopardy section of your schedule. TCM should just borrow that from you.
And SansFin, we're all hoping you'll do a schedule for us, too.
For those who don't know Stanley Baker, I especially recommend the Brit noirs *Hell Drivers* and *The Criminal*. He turns up in supporting roles in lots of war movies, too. He would be an excellent choice for Summer Under the Stars.
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"Influential" and "good" are definitely not always the same. In Chapter 12 Cousins talks about *Les amants de Pont-Neuf* as the (best? most outstanding? most important?) French film of the 80s, then attacks it by pointing out that it treats homeless people in the style of *An American in Paris*.
Chapter 12 was one of the most interesting episodes to me because I am not familiar with most of the foreign films he mentioned. (Chapter 11 mainly dealt with innovation in action movies, which is very much part of the story of film, but less interesting to me.) Like JeanneCrain, I hope some of the films shown will be repeated--and that some TCM was not able to show will be presented in the future.
From Cousins' documentary, I would gather that male nudity has been much more common in films than female nudity. Mind, I'm not complaining, but that has not been the average moviegoer's experience. When Cousins can mention a movie and show a **** man, he does. This is one of the most delightful aspects of his film.
When Cousins praises John Sayles' *Return of the Seacaucus Seven* for "serious adult conversation," the image he picks is one young man in a towel talking to a naked young man who is sunning himself on the rocks.
He correctly includes the kiss scene from *My Beautiful Laundrette* as one of the most notable moments from 80s films. Should we take bets on whether the moment of revelation in *The Crying Game* will appear in the segment on 90s movies?
Chapter 12 has an interesting strategy. It opens with an attack on Reagan and Thatcher, then devotes a large chunk of time to the rebellious filmmakers of China and the Soviet Union. Is the attack on Reagan and Thatcher supposed to provide him with cover so that the politically correct won't attack him for praising the rebellious Chinese and Russian filmmakers?
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Did you ever browse the TCM Greatest Legends Collections and wish that some of your other favorites?stars and movies?were available in this format? Me, too, and that?s why I?ve included four in the schedule, all of which I would definitely buy.
Sunday: Film Imports salutes Andrzej Wajda, whose work I would love to explore. How about a month devoted to Wajda like the Truffaut retrospective? Monday: Tyrone Power and Alice Faye share the same birthday, so two of their musicals are included. The patriotic challenge highlights films about people seeking a new and better life in America.
Star of the Month is Stanley Baker, and the six films scheduled on Tuesday showcase his work with two blacklisted American directors, Joseph Losey and the little-known but talented Cy Endfield. Wednesday: American audiences of the late 50s and early 60s didn?t want to see intelligent dramas about the political situation in faraway countries like Kenya, Malaya, and Vietnam (wherever that was), but *Something of Value*, *The Seventh Dawn*, and *The Quiet American* hold up well today. Wednesday night encores November?s SOTM, Burt Lancaster, with four films not shown in November, along with an encore of *Local Hero*.
Thursday, May 8 is the anniversary of Victory in Europe Day, so the whole day is devoted to films which deal with resistance and collaboration in World War II. The evening features *The Sorrow and the Pity*, Marcel Ophuls? documentary about those in France who resisted and those who collaborated. *Le Corbeau* is included because Truffaut thought that it captured the feeling of living under the Nazi occupation better than any other film, even though that isn?t the ostensible subject of the story.
Friday Night Spotlight: It might not be Mark Cousins? favorite, but romantic fantasy isn?t necessarily the escapist genre some might imagine. The 1940s was the great era of the romantic fantasy.
If Illeana Douglas asked you for suggestions for a new series of Second Looks?films forgotten or not so well received on release?what would you suggest? Saturday includes some of my choices. These includes *The Key*, which is the Essential for this week, and the Underground film, *The Killing Game* (*Jeu de massacre*), which would be a cult film if anyone had actually seen it. Husband and wife draw the adventures of a superhero, and their biggest fan is a rich wacko who says he has actually carried out all of their hero?s adventures. Things only get more twisted after that. In the world of Comic Con, this movie is ripe for rediscovery.
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Sunday, May 4, 2014
3-Part Birthday Tribute to Audrey Hepburn
Love in Paris, But Not in the Afternoon
6:00 am ? Paris When It Sizzles (1964), C-110m, dir. Richard Quine, p/s. Paramount. w/William Holden.
8:00 am ? Charade (1963), C-113m, dir. Stanley Donen, p/s. Universal. w/Cary Grant.
Audrey Finds Age-Appropriate Suitors
10:00 am ? Green Mansions (1959), C-104m, dir. Mel Ferrer, p/s. MGM. w/Anthony Perkins.
11:45 am ? Breakfast at Tiffany?s (1961), C-115m, dir. Stanley Donen, p/s. Paramount. w/George Peppard.
1:45 pm ? How To Steal a Million (1966), C-123m, dir. William Wyler, p/s. Fox. w/Peter O?Toole.
4:00 pm ? Two for the Road (1967), C-111m, dir. Stanley Donen, p/s. Fox. w/Albert Finney.
6:00 pm ? Robin and Marian (1976), C-106m, dir. Richard Lester, p/s. Columbia. w/Sean Connery.
Prime Time Double Feature
8:00 pm ? Roman Holiday (1953), BW-118m, dir. William Wyler, p/s. Paramount. w/Gregory Peck.
10:00 pm ? Wait Until Dark (1967), C-108m, dir. Terence Young, p/s. WB. w/Alan Arkin, Richard Crenna.
12:00 am - Silent Sunday Nights: Kiki (1926), BW-108m, dir. Clarence Brown, p/s. First Natl. w/Norma Talmadge, Ronald Colman.
2:00 am - TCM Film Imports Double Feature: Landscape After Battle (1970), C-105m, dir. Andrzej Wajda. Film Polski. w/Daniel Olbrychski, Stanislawa Celinska. Exempt.
4:00 am ? Everything for Sale (1969), C-109m, dir. Andrzej Wajda. Zespol. w/Beata Tyszkiewicz, Elzbieta Czyzewska. Exempt.
Monday, May 5, 2014
The Bergman Stock Company Performs in English
6:00 am ? The Kremlin Letter (1970), C-120m, dir. John Huston, p/s. Fox. Bibi Andersson.
8:00 am ? Return from the Ashes (1965), BW-105, dir. J. Lee Thompson, p/s. UA. Ingrid Thulin.
10:00 am ? Three Days of the Condor (1975), C-117m, dir. Sydney Pollack. Paramount. Max von Sydow.
12:00 pm ? Forty Carats (1973), C-110m, dir. Milton Katselas, p/s. Columbia. Liv Ullmann.
A Birthday Tribute to Tyrone Power and Alice Faye, Too
2:00 pm ? Alexander?s Ragtime Band (1938), BW-106m, dir. Henry King, p/s. Fox. Tyrone Power, Alice Faye.
4:00 pm ? Rose of Washington Square (1939), BW-86m, dir. Gregory Ratoff, p/s. Fox. Tyrone Power, Alice Faye.
5:30 pm ? The Razor?s Edge (1946), BW-145m, dir. Edmund Goulding, p/s. Fox. Tyrone Power, Gene Tierney.
The Patriotic Challenge: ?I Want To Be in America?
8:00 pm ? The Emigrants (1971), C-151m, dir. Jan Troell. Svensk. w/Max von Sydow, Liv Ullmann. PREMIERE #1.
11:15 pm ? The New Land (1972), C-102m, dir. Jan Troell. Svensk. w/Max von Sydow, Liv Ullmann. PREMIERE #2.
1:00 am ? America America (1963), BW-174m, dir. Elia Kazan, p/s. WB. w/Stathis Giallelis, Gregory Rozakis.
4:00 am ? Hold Back the Dawn (1941), BW-116m, dir. Mitchell Leisen, p/s. Paramount. w/Charles Boyer, Olivia De Havilland.
Tuesday, May 6, 2014
The English Pub Challenge
6:00 am ? Saturday Night and Sunday Morning (1960), BW-89m, dir. Karel Reisz, p/s. Woodfall. w/Albert Finney, Rachel Roberts.
7:30 am ? Look Back in Anger (1959), BW-98m, dir. Tony Richardson, p/s. Woodfall. w/Richard Burton, Mary Ure.
9:15 am ? The Bells Go Down (1942), BW-90, dir. Basil Dearden, p/s. Ealing. w/Tommy Trinder, James Mason.
11:00 am ? Esther Waters (1948), BW-108m, dir. Ian Dalrymple and Peter Proud, p/s. Wessex/GFD. w/Dirk Bogarde, Kathleen Ryan.
TCM Greatest Legends Collection: Ida Lupino
1:00 pm ? Ladies in Retirement (1941), BW-91m, dir. Charles Vidor, p/s. WB. w/Louis Hayward.
2:45 pm ? The Hard Way (1943), BW-109m, dir. Vincent Sherman, p/s. WB. w/Dennis Morgan, Joan Leslie.
4:45 pm ? Deep Valley (1947), BW-104m, dir. Jean Negulesco, p/s. WB. w/Dane Clark, Fay Bainter.
6:30 pm ? On Dangerous Ground (1951), BW-82m, dir. Nicholas Ray, p/s/ RKO. w/Robert Ryan, Ward Bond.
Star of the Month: Stanley Baker
8:00 pm ? Hell Drivers (1957), BW-91m, dir. Cy Endfield, p/s. Rank. w/Peggy Cummins.
9:45 pm ? The Criminal (1960), BW-86m, dir. Joseph Losey, p/s. Merton Park. w/Sam Wanamaker.
11:15 pm ? Eva (1962), BW-107m, dir. Joseph Losey. Paris/Interopa. w/Jeanne Moreau. PREMIERE #3.
1:15 am ? Accident (1967), C-105m, dir. Joseph Losey, p/s. Royal Avenue. w/Dirk Bogarde.
3:15 am ? Sands of the Kalahari (1965), C-119m , dir. Cy Endfield, p/s. Paramount. w/Susannah York, Stuart Whitman.
5:15 am ? Sea Fury (1958), BW-86m , dir. Cy Endfield. Rank. w/Victor McLaglen, Luciana Paluzzi.
Wednesday, May 7, 2014
TCM Greatest Legends Collection: Jennifer Jones
6:45 am ? Love Is a Many-Splendored Thing (1955), C-102m, dir. Henry King, p/s. Fox. w/William Holden.
8:30 am ? Beat the Devil (1953), BW-89, dir. John Huston, p/s. UA. w/Humphrey Bogart.
10:15 am ? Cluny Brown (1946), BW-100, dir. Ernst Lubitsch, p/s. Fox. w/Charles Boyer.
12:00 pm ? Love Letters (1945), BW-101, dir. William Dieterle, p/s. Paramount. w/Joseph Cotten.
Politics in Faraway Lands
1:45 pm ? Something of Value (1957), BW-113m, dir. Richard Brooks, p/s. MGM. w/Rock Hudson, Sidney Poitier.
3:45 pm ? The Quiet American (1958), BW-120m, dir. Joseph L. Mankiewicz, p/s. UA. w/Michael Redgrave, Audie Murphy.
5:45 pm ? The Seventh Dawn (1964), C-123, dir. Lewis Gilbert, p/s. UA. w/William Holden, Capucine.
More Burt Lancaster, Please
8:00 pm ? Go Tell the Spartans (1978), C-114m, dir. Ted Post. Mar Vista/UA. w/Craig Wasson. PREMIERE #4.
10:00 pm ? Ulzana?s Raid (1972), C-103m, dir. Robert Aldrich. Universal. w/Bruce Davison. PREMIERE #5.
12:00 am ? Local Hero (1983), C-111m, dir. Bill Forsyth, p/s. Enigma/WB. w/Peter Riegert.
2:00 am ? Atlantic City (1980), C-104m, dir. Louis Malle, p/s. ICC/Paramount. w/Susan Sarandon.
4:00 am ? Castle Keep (1969), C-105m, dir. Sydney Pollack, p/s. Columbia. w/Patrick O?Neal.
Thursday, May 8, 2014 ? V-E Day
Resistance and Collaboration
6:00 am ? Underground (1941), BW-91m, dir. Vincent Sherman, p/s. WB. w/Jeffrey Lynn, Philip Dorn.
7:45 am ? The Seventh Cross (1944), BW-112m, dir. Fred Zinnemann, p/s. MGM. w/Spencer Tracy, Signe Hasso.
9:45 am ? Hotel Berlin (1945), BW-98m, dir. Peter Godfrey, p/s. WB. w/Faye Emerson, Raymond Massey.
11:30 am ? First Comes Courage, BW-88m, dir. Dorothy Arzner, p/s. Columbia. w/Merle Oberon, Brian Aherne.
1:00 pm ? The Moon Is Down (1943), BW-90, dir. Irving Pichel. Fox. w/Cedric Hardwicke, Lee J. Cobb. PREMIERE #6.
2:30 pm ? Edge of Darkness (1943), BW-119, dir. Lewis Milestone. WB. w/Errol Flynn, Ann Sheridan.
4:30 pm ? Assignment in Brittany (1943), BW-96m, dir. Jack Conway. MGM. w/Jean-Pierre Aumont, Susan Peters.
6:15 pm ? Orders To Kill (1958), BW-93m, dir. Anthony Asquith. Lynx/British Lion. w/Paul Massie, Irene Worth.
8:00 pm ? The Sorrow and the Pity (1969), BW-251m, dir. Marcel Ophuls. TV Rencontre. PREMIERE #7.
12:15 am ? Le Corbeau (1943), BW-92m, dir. Henri-Georges Clouzot/ p/s. Continental. w/Pierre Fresnay, Ginette Leclerc.
2:00 am ? Les Maudits (1947), BW-105m, dir. Rene Clement, p/s. Speva. w/Marcel Dalio, Henri Vidal.
4:00 am ? Carve Her Name With Pride (1958), BW-119m, dir. Lewis Gilbert, p/s. w/Virginia McKenna, Paul Scofield.
Friday, May 9, 2014
TCM Greatest Legends Collection: Jane Wyman
6:00 am ? Johnny Belinda (1948), BW-102, dir. Jean Negulesco, p/s. WB. w/Lew Ayres.
7:45 am ? The Yearling (1946), BW-128, dir. Clarence Brown, p/s. MGM. w/Gregory Peck.
10:00 am ? All That Heaven Allows (1955), C-89, dir. Douglas Sirk, p/s. Universal. w/Rock Hudson.
11:30 am ? Miracle in the Rain (1956), BW-108, dir. Rudolph Mate, p/s. WB. w/Van Johnson.
TCM Greatest Legends Collection: Henry Fonda
1:30 pm ? The Ox-Bow Incident (1943), BW-75m, dir. William Wellman, p/s. Fox. w/Dana Andrews, Anthony Quinn.
2:45 pm ? My Darling Clementine (1946), BW-97m, dir. John Ford, p/s. w/Victor Mature, Linda Darnell.
4:30 pm ? The Long Night (1947), BW-101m, dir. Anatole Litvak, p/s. w/Barbara Bel Geddes, Vincent Price.
6:15 pm ? 12 Angry Men (1957), BW-96m, dir. Sidney Lumet, p/s. w/Lee J. Cobb, Ed Begley.
Friday Night Spotlight: Romantic Fantasy
8:00 pm ? Night Song (1947), BW-102m, dir. John Cromwell, p/s. Fox. w/Merle Oberon, Dana Andrews.
9:45 pm ? High Barbaree (1947), BW-91m, dir. Jack Conway, p/s .MGM. w/Van Johnson, June Allyson.
11:30 pm ? The Enchanted Cottage (1945), BW-91m, dir. John Cromwell, p/s. RKO. w/Robert Young, Dorothy McGuire.
1:15 am ? Laura (1944), BW-88m, dir. Otto Preminger, p/s. Fox. w/Gene Tierney, Dana Andrews.
2:45 am ? Portrait of Jennie (1948), BW&C-86m, dir. William Dieterle, p/s. Selznick. w/Jennifer Jones, Joseph Cotten.
4:15 am ? The Uninvited (1944), BW-99m, dir. Lewis Allen, p/s. Paramount. w/Ray Milland, Gail Russell.
Saturday, May 10, 2014
Second Looks, for Films Not So Well Remembered
6:00 am ? The Half-Naked Truth (1932), BW-77m, dir. Gregory La Cava, p/s. Radio. w/Lee Tracy, Lupe Velez.
7:30 am ? Four?s a Crowd (1938), BW-92m, dir. Michael Curtiz, p/s. WB. w/Errol Flynn, Rosalind Russell.
9:15 am ? Three Strangers (1946), BW-92m, dir. Jean Negulesco, p/s. WB. w/Geraldine Fitzgerald, Peter Lorre.
11:00 am ? We Were Strangers (1949), BW-106m, dir. John Huston, p/s. Columbia. w/Jennifer Jones, John Garfield.
1:00 pm ? Innocent Sinners (1958), BW-95m, dir. Philip Leacock, p/s. Rank. w/June Archer, Flora Robson.
2:45 pm ? The Long Memory (1953), BW-96m, dir. Robert Hamer, p/s. Rank. w/John Mills, John McCallum.
4:30 pm ? The Mask of Dimitrios (1944), BW-95m, dir. Jean Negulesco, p/s. WB. w/Peter Lorre, Zachary Scott.
6:15 pm ? These Thousand Hills (1959), C-96m, dir. Richard Fleisher, p/s. Fox. w/Don Murray, Lee Remick. PREMIERE #8.
8:00 pm ? THE ESSENTIALS: The Key (1958), BW-134, dir. Carol Reed, p/s. Columbia. w/William Holden, Sophia Loren.
10:30 pm ? The Journey (1958), C-126, dir. Anatole Litvak, p/s. MGM. w/Deborah Kerr, Yul Brynner.
12:45 am ? The Crystal Ball (1943), BW-81m, dir. Elliott Nugent, p/s. Paramount. w/Ray Milland, Paulette Goddard.
2:15 am ? SATURDAY NIGHT UNDERGROUND: The Killing Game (Jeu de massacre) (1967), C-90, dir. Alain Jessua. IFD. w/Jean-Pierre Cassel, Michel Duchaussoy. Exempt.
4:00 am ? So Well Remembered (1947), BW-114m, dir. Edward Dmytryk, p/s. RKO. w/John Mills, Martha Scott.
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Yes, I also noticed the problems with the subtitles. "Vulgar" came out "fulgar," and Marianne said she "checked out" Johan's furniture after he left her, although "chucked out" was what was intended. And even if "You're very perspicacious" is a correct translation, that's not a word likely to be used in conversation.
I was glad to see the film, which I liked a good bit better than the shortened version shown when it was first released, but the quality of the subtitles was not good.
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"Romantic" is not a good word in Mr. Cousins' vocabulary. "Realistic" and "classical" are good; the most classical director is Ozu (per Cousins). He did previously mention that Powell & Pressburger made a perfect blend of romance and realism; many of us would agree with that. However, I believe he was paying tribute to Spielberg's skill, even in a kind of film Cousins doesn't favor.
Cousins paid tribute to Spielberg's skill in building up to moments of awe and wonder (the sight of the spaceship in *Close Encounters*, the first sight of the dinosaur in *Jurassic Park*). He also suggested that Spielberg might be the most influential director in film history, a thought I have also had, given the direction of movies in the last 40 years.
All in all, Episode 11 was one of the least controversial in the series, although the film excerpts were not particularly interesting. Not the most interesting period of film history, perhaps. I'm enjoying the series even when I want to argue with Cousins; it's making me think about various aspects of film history.
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Though I'm not Edward Arnold's biggest fan, both *Johnny Eager* and *Johnny Apollo* are outstanding films.
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I only saw his intro and outro for *Easy Living*. He read accurately from the teleprompter, but had no emotion or expression. I hope he did better on the other intros. If Illeana Douglas hit a home run with Second Looks, Broderick struck out without the bat ever leaving his shoulder.
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Way to go, Thom! An outstanding first schedule. I especially love the Clouzot tribute. Interweaving the Jane Powell and Debbie Reynolds films is a neat idea, too. Your choice of films for the America theme was great.
So we already have several super schedules, including two by first-time contenders. The challenge is alive and well!
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James, my experience watching Burt Lancaster movies is similar to yours. By forming his own production company he had more independence than many other stars of his era, and he worked for many fine directors from the 1940s into the 1980s, all the way from Robert Siodmak to Louis Malle and Bill Forsyth.
Whatever you may think of his acting, he had an exemplary career, one of the greatest in the history of American films. Burt was involved with a remarkable number of films which still hold our interest today.
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I'll agree with everyone who likes the theme songs from *Friendly Persuasion, The Hanging Tree*, and *High Noon*, and I'll second clore on *The Man from Laramie* having an especially bad title song.
From the 1950s on, a memorable title song or theme could add considerably to the success of a movie, from *Three Coins in the Fountain* to *Love Is a Many-Splendored Thing* and *A Summer Place* to *Doctor Zhivago* on to the James Bond movies to *Chariots of Fire* and beyond.
Andy, I totally agree about the excellence of the theme to *Walk on the Wild Side*. It's a lot better than the movie!
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I would rate *Pather Panchali* and *The Mother and the ***** very highly. Some of the others, not so much.