JonasEB

It's listed as a "Distinct Certainty" on Criterionforum.org among other known Criterion properties like The Wedding March and I think it was confirmed on one of their facebook replies. Haven't heard much lately but surely Kino would have jumped at it if the rights were still up in the air. It sure is slow going for Criterion and silents.

Yes, it was removed from the schedule. Warhol films are difficult to obtain so I guess it just fell through.

Glad The Phantom Carriage is back, I can record that this time. Criterion needs to pick up the slack and get it out already. Also good to see Sjostrom's Scarlet Letter on the schedule again, the best filmed version of the novel.

> {quote:title=JonnyGeetar wrote:}{quote} > Without fail they are always artistic and box office disasters. Well... http://en.wikipedia.org/wiki/The_Passion_of_Joan_of_Arc And then the Robert Bresson (on in March) and Jacques Rivette versions are held in high regard by many. Preminger's Saint Joan also has many admirers. There's also a rare Roberto Rossellini/Ingrid Bergman filmed stage production of Joan of Arc that I hear is fairly good, if not on the level of the "Ingrid Trilogy".

No, you don't appear to watch the channel if you think they show stuff like Pretty in Pink or The Breakfast Club regularly (Pretty in Pink was on last year during a theme month of "Teen Movies" examining them over the course of the 1950s, 60s, 70s, and 80s. It hasn't aired since.) The post-60s films, except for 31 Days of Oscar, never make up more than 10% of the schedule. Even this years 31 Days of Oscar only amounts to something like 45 post sixties films. TCM shows around 350 films a month, there's usually only about 30 on the schedule each month. In April there are only 16. Get over it.

> {quote:title=Thx wrote:}{quote} > > Hi Miss, and it certainly is not for no reason. > > When a station comes on and claims they play "classic" movies, we don't expect to be seeing "The Matrix". > > Now, I'm sure that "Pretty In Pink" or "Porkey's" is a classic movie to their new, pimply-faced, 22 year old programming director. (Dom Delois' son.) because it was made before he was born, but for the ones who really believed the classic movie charter we are less than satisfied. Well, you've just confirmed you don't actually watch the channel.

> {quote:title=Thx wrote:}{quote} > Hey TCM, you had an original "charter". > > At first you adheared to it. > > I don't know what happened. That "charter" you have in mind never existed. As others have repeatedly pointed out, TCM's earliest advertising noted that films from the 1980s had a place on the channel. > Nowadays (as right now) you come along with some excuse to play contemporary films. "31 Days Of Oscar". It's been around for many years. It wasn't invented for that purpose. 45 films out of 350 isn't a big deal. This is the only month where post 60s films breach the 10% of the schedule line. In April you'll only see 16 films made after the sixties. > So now we have to suffer movies made in the 80s, 90, 2000 plus... just because they won an Oscar? TCM has played movies from the 80s since it first came on, 90s (few) and 2000s (very few) are likely to follow. > Bit by bit you are going the way of AMC. No, they aren't. It's not even remotely close.

> {quote:title=ValentineXavier wrote:}{quote} > The IMDb and allmovie are invaluable assets for film lovers. For instance, you could have looked up Susan Hayward on the IMDb, and seen a list of all her films. You could check a few, and find the one you wanted. Not that I want to discourage you from asking! I think IMDB is good for cast/credits/production details/etc. User reviews are hit & miss, more often the latter. The message boards are mostly useless. Few knowledgeable people and too many youngins who have just seen Sergio Leone's westerns for the first time. I would give a strong word of caution to users of allmovie.com. Its rating system quite often doesn't represent how a film is actually appreciated. For instance, although Yasujiro Ozu's best known films in the west (Tokyo Story, Early Summer, Late Spring) all receive the highest marks, films such as Tokyo Chorus are only given 2 out of 5 stars, completely unrepresentative of the quality of that film, and it's simply because of its former unavailability. It's as if they just decided to tack on a mediocre 2 stars as a place holder, assuming that because it isn't as well known as Tokyo Story it is a lesser work (the same thing happens with a film like Frank Borzage's Street Angel, one of the last and greatest silent films but because so few people could see it until recently it is wrongly diminished in stature.) Other Ozu works such as Equinox Flower, The Only Son, I Was Born But... and The Brothers and Sisters of the Toda Family are flagged with 4 stars (secondary importance) when they are in fact among Ozu's greatest masterpieces. Their reviews are mostly useful for background information rather than genuine criticism and its criticism is often literary based, critiquing just the story rather than its cinematic merits (however I acknowledge that will be good enough for some...but it is a disservice to some important films.)

> {quote:title=infinite1 wrote:}{quote} > Actually, for me it was only films prior to 1960. But, I'm willing to compromise by allowing films from the 1960s and 1970s. But, all I'm really asking for is less repeats during the year and less modern films that ARE shown on other channels. I have yet to read comments from anyone who loves modern films agreeing that those films from the 80s, 90s, and beyond are available on channels other then TCM. I, and others, don't understand why you must have them on TCM. Are they somehow less CLASSIC to you if they are not associated with the TCM BRAND? Do you only get TCM? The thing is, a lot of the 70s, 80s, and 90s (and the scant 2000s) films shown on TCM actually are NOT on other movie channels. Examples from the current slate of schedules or my memory: Five Easy Pieces Ryan's Daughter Red The Last Emperor Most foreign language films of this era Most of the Miyazaki/Takahata/Studio Ghibli animated films on in January 2006 Killer of Sheep Several films used for the various Race and Hollywood series Almost all of the TCM Underground films A Room With a View (I know Howard's End and Remains of the Day have been on Starz/Encore but I don't believe I've seen this scheduled outside of TCM in the last several years.) Amadeus Ginger and Fred Alex in Wonderland Italianamerican Jeanne Dielman Hotel Monterey Wise Blood Under the Volcano Scenes From a Marriage Gates of Heaven (and other recent documentaries like Hearts and Minds.) In fact, it seems that about 75% of the "newer" movies shown on TCM aren't going to be seen on other movie channels. Clint Eastwood films, Woody Allen films, Forrest Gump, Lord of the Rings - those do show up on other channels (although only the first two appear on TCM with regular fidelity and I'm not going to argue against Woody Allen; 31 Days of Oscar shouldn't even count, TCM doesn't show a lot of that stuff year round.)

For sure, for sure, only I don't have much reason to travel outside of Colorado (don't really know anyone out of state and I'm not the outdoorsy type. Maybe I should track down a repertory theater and catch some films for a week.) Then places like Europe and Japan are simply out of my league at the moment. If I was a heavy duty recorder I would definitely go with DVR/DVDR though.

Kinokima, the international DVDs and Blu-rays from BFI and Carlotta (France, I have these) are from the same prints Fox used for the Murnau, Borzage, and Fox box set. Fine quality all around I have the Masters of Cinema Blu-ray of Sunrise which is excellent so I can affirm the quality of the DVD. Like the Borzage films, it is sourced directly from Fox (and it's the transfer TCM shows.) You get two versions of the film: the original American cut and an export cut from the Czech Republic of exceptionally high quality (the American cut is a multi-generation 35 mm copy with weakened contrast and detail, the export version is a first generation print made in 1927.) Eureka's Masters of Cinema sub-company is the "UK Criterion", so that should tell you all you need to know about their standards (in fact, Criterion, BFI, and MOC have close working relationships and share transfers and materials between each other.) The Blu-rays of Sunrise, Seventh Heaven, and Street Angel (and Murnau's City Girl and Borzage's Lucky Star) are all notably region free but if you don't have a Blu-ray player the DVDs are certainly nothing to scoff at.

I still use VHS for recordings. I could move over to DVDR but it wouldn't justify itself. It's not that I can't afford it, of course I can, but I wouldn't really gain anything from it. The low quality of VHS also encourages me to buy things I really like on DVD and Blu-ray.

> {quote:title=krieger69 wrote:}{quote} > Practically anything and everything can be gotten online Okay, show me where I can find all of Mikio Naruse's films in Blu-ray quality, subtitled, and from the best available materials. You can't and moreover in the new proposed (terribly idealized) digital world it will actually become more difficult for his films to receive that kind of care and attention outside of Japan. The indifference in cost and selection will destroy everything. It does nothing to help films that require special circumstances find release. A silent film needs a score and it may need extensive restoration. Where's the incentive to put the work into it with the diminishing returns of subscription based streaming? > {quote:title=krieger69 wrote:}{quote} > Yes, even movies are downloadable But little of what I want to see. I know how to find certain things on the internet but the quality is terrible; it looks bad on a computer, it would look even worse on an HDTV. > {quote:title=krieger69 wrote:}{quote} > many publications have gone online-only or electronic (magazine and newspaper sales have dropped drastically and many publications have stopped paper printing), And why are people encouraging this? "Convenience"...of course...but it makes it far easier for information to be manipulated and controlled. I don't mean that in a good way. The notion of digitizing every function of our lives is utterly insane and it's odd that more people don't comprehend this. I'm not necessarily saying you are among those people but I find the casual attitude towards all of this troubling.

> {quote:title=gagman66 wrote:}{quote} > 1925 or 1927. I would take 1927 or 1928, among many other years (1956), over 1939 in a quarter of a heartbeat. Major works of 1928 - The Passion of Joan of Arc, The Wind, The Crowd, Show People, Street Angel, The Circus, Steamboat Bill Jr., The Cameraman, The Last Command, The Docks of New York, The Wedding March, L'Argent, October, Zvenigora, Arsenal, Storm Over Asia, 4 Devils (all right, that's a lost film, but judging from Murnau's other American films I can safely assume it's great.)

I don't think the employee picks are mediocre. Some might be common TCM fare but seeing Caught on the schedule alone is worthwhile, not to mention some of the other films that aren't commonly seen on TV. TCM does listen to its viewers: In May, TCM is going to show a rare film called Mother by Mikio Naruse (one of the greatest Japanese filmmakers) which isn't available on DVD in the English speaking world and is difficult to find on VHS today at a reasonable price (the only copy I've seen is going for $100.00 right now.) I've been plugging for Naruse on TCM for a while, I'm quite pleased to see a film so difficult to obtain scheduled.

> {quote:title=ValentineXavier wrote:}{quote} > > {quote:title=Engelman wrote:}{quote} > > There hasn't been a "BOGIE", or Mitchum, or Charlie Chan, etc.,etc., movie in quite a while... > > True about Chan, not true about Bogie and Bob. They've both been on very recently. It took ten posts for someone to point this out and "recently" isn't even adequate to describe how much Bogart is actually on the channel. I mean he must be among the top 10, even top 5, most seen actors on TCM. The numbers don't lie: TCM's scheduling of newer films has been consistent for many, many years. They aren't showing "more" of them. The number of post-70 films hovers at about 10% of the monthly schedule at most (30-35 films.) In April, you'll only see 14 films made after 1969. 14-35 films out of 300+ - it's not a big deal.

Mikio Naruse! A great May birthday present for me! Then there's Ingmar Bergman, rare John Ford, Max Ophuls (this is actually Le Plaisir by the way), Lang, Sirk, Mann, Andzrej Wajda, and many silents I haven't seen. Thank you TCM!

The Sternberg set is marvelous, my only (minor) complaint is: no Blu edition. These would have looked beyond great but in any case these are excellent transfers that hold up well on an HDTV. I also wish the Gaylord Carter scores for The Last Command and The Docks of New York were included. It would be a shame if Carter's great work disappeared.

Yes, this seems like a project Paramount would tend to give a big deluxe edition to so the inclusion of another film (or several, especially Clara Bow films) is an excellent idea and more desirable than a hefty-but-light-on-content commemorative book or any annoying trinkets. I hope Criterion does get The Wedding March out this year. The version of the film I've seen is the Photoplay edition, sans the score (for some reason whoever created the file neglected to include it.) I crave a quality edition. Further off topic: I indulged in the French Frank Borzage Blu-rays after Christmas and I highly recommend them. Seventh Heaven and Street Angel are indeed limited due to the condition of the materials, comparable to the Sunrise Blu-ray (original U.S. version), but they look good, certainly better than a mere upscale would. As noted in reviews, screencaps don't represent the image well; in motion they look fine. Lucky Star is gorgeous, extraordinarily luminescent, comparable to the City Girl Blu-ray and perhaps even better. The River, included on the Lucky Star disc, is only standard definition (a 1080 upscale.) The only English friendly extras are the three episodes of Screen Director's Playhouse, all quite enjoyable. The French language pieces by author Herve Dumont seem to be packed with information. The booklets include many fine photos with brief comments spread throughout. Excellent films all but it was Street Angel that really charmed me. It's depressing that such an artistically significant film took so long to make it to DVD (and as I understand it has never had much of a presence on home video prior to the Murnau, Borzage and Fox box set.) Kudos to Carlotta for getting a Blu-ray edition out so soon and thanks to TCM for selecting it for 31 Days of Oscar, the film's profile should be much higher than it currently is. These should help.

> {quote:title=MyFavoriteFilms wrote:}{quote} > I mute the scores because in my estimation, they often do not work for the film. Simple as that. Maybe if you're buying cheap public domain collections in which they just play random Mozart pieces over the image but I can't fathom anyone saying that about a silent film's original score or a new one by Carl Davis or Robert Israel, > Nobody ever said a silent film had to be watched with music. That is how most audiences have been conditioned to watch them. Well, you don't have to do anything in any particular way. You might as well watch a talkie muted with the closed captioning on. > {quote:title=gagman66 wrote:}{quote} > > "Paramount is working on its own version of WINGS using the Academy's beautiful tinted restoration, a new orchestral recording of the 1927 score by J. S.Zamecnik (which is wonderful) and sound effects as done in the roadshow screenings which will be executed with modern technology by Ben Burtt. Be patient." > > David Shepard > > http://nitrateville.com/viewtopic.php?p=48430#48430 Wonderful news. I'm quite surprised that Paramount is taking this on themselves. I hope they do offer a Blu-ray, a major studio releasing a silent on Blu would be very encouraging. Now, someone _please_ do The Wedding March ASAP. > {quote:title=ThelmaTodd wrote:}{quote} > > I'm not going to blame a 15 year old for the fact that the above is not happening and is an unknown experience today; for that I will savagely criticize older generations who have not perpetuated something that is an integral part of our cultural inheritance. > > Young people DO want to know about their past and they do want leadership from their elders. When they realize somewhere along the way that the older folks are passionless empty shells who have nothing to really share with the younger set, then they retreat into their own contemporary pop culture world, ready to perpetuate this cycle of cultural and historical amnesia with their kids. Quoted for truth. People in general are detached from the past and its implications for the present, the young people of today inherited it from their parents. That's just the way it goes. Myopia belongs to everybody. Being exposed to the good things in life by chance on one's own is highly unlikely; I received it from one person, an art teacher, and had the prior art teacher stayed on two more years I would have turned out to be an entirely different person simply for not having known this one man. No one else could have fulfilled this role. That's how precarious modern culture and education is.

No.

> {quote:title=gagman66 wrote:}{quote} > Right now Harold Loyd's features with a few exceptions, are still out there to discover, but I honestly don't know how much longer the fabulous DVD set released in the fall of 2005 will remain in print? Probably not a whole lot longer. So I strongly suggest to H L's fan's that don't have these yet, to snap them up while they still can. New-Line that released the collection, has since been absorbed into Warner Home video. Looks like the Harold Lloyd films are out of print (http://forum.dvdtalk.com/10614678-post639.html - sorted by studio.) A Criterionforum.org poster emailed the Lloyd estate and the news is that New Line's contract is up. At this point there are no plans to re-release them immediately, perhaps in a couple of years. The speculation is that Criterion or Kino will vie for them this time around, no doubt for Blu-ray.

Breathless.

I also considered it a long shot but it just goes to show, don't underestimate the power of the suggest a movie page. And it's not just Jeanne Dielman, we get another Chantal Akerman film, Hotel Monterey, immediately after. Also of note: Jacques Tati's first feature Jour De Fete. M. Hulot's Holiday and Mon Oncle are among the foreign language films one can expect to see scheduled at least once a year, so it's great to see this one finally get its due. Perhaps it's also an indication of the long awaited Criterion Blu-ray/DVD? Very, very pleased with the offerings this April. Thanks for all of the great work!

No, you just think these things magically happen. One can't sort out a problem without assessing all of the logistics and potential situations. Clore has the right idea.