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JonasEB

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  1. At this point they’re as well known as anyone...at least to silent film people. They’re no worse off than most silent film figures, largely neglected with even people who would call themselves “classic film fans.” I only say so because even though Kevin Brownlow, David Shepard, and others have been referencing and featuring them in their work for decades, this idea that they’ve been overlooked is still mentioned left and right, year after year. Alice Guy was working during the pioneering days and is on par with those filmmakers - interesting, but mostly curiosities for those interested
  2. This is the truth. Whenever I hear public domain mentioned in the positive, my first thought is, “Do you see how public domain films look when they’re on TV? Pretty bad!” Most just take the easiest, lousiest rip off they can find of anything and slap it on their disc, station, or service. In some cases these may have hurt the prospects of superior versions being released by people (usually studios) who have the best, or even only good, materials. Public domain was created with printed material in mind - all one needs in the case of a book is an authoritative copy of it and it’s easy e
  3. Apparently classic film fans just can’t see the forest for the trees. A few Chantal Akerman films, out of 300 some films a month, is really a huge problem? If you can avoid them on Imports how do you struggle to do so on The Essentials? So TCM is making Silent Sunday “woke” by...showing exactly the same films that they always do? That’s exactly what the schedules for the next three months show. I fail to see how showing those mediocre William Haines films again qualifies as forcing wokeness on anyone. Someone there really likes Oscar Micheaux (an interesting figure but his films aren’t t
  4. This was the best post in this thread and no one responded to it (fortunately it was noticed by a few people.) There are other ways to watch and engage with film. If you’re not going to try, it’s not necessarily the film’s fault. But it seems if less than 1% of a channel’s programming deviates from the norm it’s a huge problem for some people. That said, Cleopatra 1912 is a poor film...but it’s not like TCM hasn’t replayed that one before, or other mediocre to bad silent films like it. Let’s blame the presenter instead and pretend that the schedule isn’t really running along like it
  5. "Perfected it" is stretching it quite a bit. I have all of the Kinos too and enjoy them very much but the new restorations are really quite wonderful. One thing that I do not like, though, is that each of these will be presented in 1080/24p. This is absolutely fine and right for 24 frame per second films like The General, Sherlock Jr., and Steamboat Bill Jr. but the films intended for a lower frame rate such as Our Hospitality and Three Ages will have duplicate frames inserted to conform to 24 frames per second, making them noticeably jerky. The original Kino editions of these two films we
  6. TCM for the last month plus seems to be having some sort of scaling issue with SD content that makes motion choppy (most noticeable in camera pans.) Some of the odd aspect ratio stretching and squashing must be related to it.
  7. I actually had some down time that day and decided to watch this and it really is a good film. Good enough that I decided to watch several of the others on On Demand the week after. I recant. I don't know if a flip was switched or TCM just happened to save a number of their better films for that day but I enjoyed them.
  8. I was going to record these but then thought the better of it. I've given these guys enough chances already, I can't bear the thought of sitting through another eight or so of their films.
  9. You certainly seem to be “fretful and agitated” by the article, which isn’t anything like you’re making it seem. Quite an overreaction.
  10. I haven't looked in too often over the last month but it seems lately every film TCM shows from an SD master has the same stuttering frame rate issue. That certainly seems to be the case this morning. I'd like to think it's Comcast's fault but this is restricted to TCM and does not affect their interstitial advertising or HD-sourced films. Not only does it affect the frame rate but the video compression also seems to reach terrible lows. It's really ugly. Maybe it's AT&T's fault? New cost cutting measures? In any case, hope it gets fixed.
  11. Also a terrible dramatist. Everything you ever hear about Napoleon comes from the stunning Act 1 and the Triptych from Act 4. Act 3, which I like to call "Napoleon & Josephine: The Blandest Lovers of All Time" is dire, a gaping hole of mediocrity that no one ever mentions when this film comes up (hearing about this film for more than a decade, I had absolutely no clue this was coming when I finally watched the BFI's release a couple months back because the boosters invariably skip over it; they just don't talk about it.) It's all of his weakness with plot and character and none of his s
  12. Wholeheartedly agree, but at least the Road Runner cartoons had some thought put into them. Every single Speedy Gonzalez short is exactly the same as any other and I know they used the same Sylvester/Guillotine gag at least three times. I don't care about any stereotyping - I probably won't watch that disc in the Golden Collection ever again because it's just soooooo boring. Also agree about when the Warner shorts started to heavily decline - pretty much around the start of the widescreen era. Robert McKimson's work probably fared the worst as the fifties progressed. One-offs tended to
  13. Actually, Disney brought themselves low themselves back at the time of The Jungle Book. Walt was known to be dissatisfied with the animation unit for a long, long time by the time he died. I'm sure he hated stuff like The Sword in the Stone (quite rightfully - it's awful) and wouldn't have cared for much of anything the studio did in the sixties and seventies (quite rightfully, that stuff was lazy and constricted, both in terms of animation and story, compared to the 30s, 40s, and 50s stuff.) Don Bluth and Wolfgang Reitherman had great technical skill in their day but they weren't the g
  14. I'm sure TCM would like to spend more money...but they can't get that money from their parent company. I wouldn't throw the TCM Film Festival in with the Wine Club and the Cruise (hell, even the cruise, if not for someone like me, is surely a nice idea for other people); it gives people an opportunity to see a lot of films theatrically that they might not otherwise see and meet and interact with some of the last surviving members of the Old Hollywood system. Plus, the festival debuts big restorations of certain classic films before they surface anywhere else, like the Buster Keatons a few ye
  15. That the films largely come from Janus Films/The Criterion Collection is totally correct but also it's because there aren't so many films from Nazi Germany and post-war Germany that are readily available to programmers to use. It would require a great deal of resources from TCM itself beyond its means to specially acquire some of this stuff. Just as noteworthy, Japanese cinema (and Italian cinema as well) rebuilt itself much, much faster than German cinema did; it started its new Golden Age relatively quickly, many of its brightest talents continued working as soon as the war ended, while Ge
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