ValentineXavier

Repeating a scene many times would make it difficult to keep the performance fresh, and spontaneous-seeming.

I'm not a musical fan, but the 1981 film *Zoot Suit* is excellent. And, there are lots of zoot suits. IIRC, in Spike Lee's *Malcom X*, there are a few zoot suits early on.

Yeah, those clipped ends are annoying. Your DVR may or may not let you record 24 hours straight, but there are similar alternatives. You can program in blocks of time, ending at the end of a film that is somewhat shorter than its time slot, so it shouldn't run over. Sometimes the "extend recording" feature can help. Say you want to record two films, and the first is almost as long as its time slot, and the second is sufficiently smaller than its time slot, and its time slot is 1.5, or 2 hours. Then, program for the first film, starting a few minutes early, and extend that recording 1.5 or 2 hours, to include the second recording, with no division between them.

Thanks for all the photos! I've enjoyed them a lot.

So, I guess you missed TCM's tribute to Kurosawa's 100th birthday, when they showed many of their films? Personally, I'd like more Japanese film in general. I've enjoyed the Ozu films they've shown lately, and Mizogichi's *Sansho the Bailiff* is coming in November, but that's just a scratch on the surface.

*The Big Sleep* is one of my favorite films. What makes it great is the characters, the dialog, and even the convoluted, contorted plot. I love *DOA* as well, but it is much easier to explain - it is a 'high concept' film, with the concept being that a man solves his own murder! On the face of it, that would be impossible. The film shows that it IS possible, even if some of us find it unlikely. The whole film is organized around that one concept, and everything flows from it.

To me, Bruce McGill will always be Maj. Ed Ryan, from the Severed Dreams ep of Babylon 5.

Or, he could kneecap them... Actually, I like them.

I'm tempted to say that there are enough apes in Congress today to take over a country. But, that would be political, so I won't.

"Possibly Dennis Morgan" also looks a bit like Robert Goulet.

> {quote:title=FredCDobbs wrote:}{quote}It's an odd phenomenon of memory, but we all get things mixed up about movies. > > I first saw King Kong in a theater in 1952, and I still "remember" one scene of Kong being towed behind the ship on a raft, on the way back to New York. > > I suppose, over the years, my mind just made up the scene about the raft. Actually, we had this discussion before. I thought I remembered that scene being in *Son of Kong*. Someone else pointed out that there was an old issue of Mad Magazine with a drawing on Kong on a raft, behind the boat.

*Sansho the Bailiff* wow! Great film! *Ivan* is good too. I think TCM has shown it before.

Well, The Marx Bros., Danny Kaye, Oliver and Hardy, and Buster Keaton are my favorites. TCM has done a lot of Stan and Ollie, so I would most like to see some Danny Kaye.

I love *Wise Blood*, but I have tried to watch *The Dead* three times, and couldn't get through it, I find it so deadly dull.

> {quote:title=finance wrote:}{quote}Any chance that it was"made" in 1951 and released in 1952? I don't recall what film this comes from, but did you just return from the hairsplitters' convention? I wondered that too, and looked it up. It was released in September of 1951 in the US and three other countries. It was released in 1952 in six countries. Maybe Ben was abroad then... Seriously, it would be nice if there were never any errors in such details, but it's a very small thing.

> {quote:title=FredCDobbs wrote:}{quote} > > I agree with you 100% Fred. My only point has been that while the movie is ahead of its time and unique in so many ways I just find the Rosebud childhood part convensional and not a reason the film is one of the all time greats. > I think you are right about that. > > But the Rosebud thing, to me, was a very unusual technique, used all through the film, and the very ending was just, to me, a very powerful realization. It was a simple idea but it really worked on me. And, to me, it had much more meaning than a simple memory of his childhood. A second meaning was about the reporters trying to make something important out of it, when it wasn't important at all, and a lot of old people experience the same thing, thoughts of their childhood when life was much more simple. Well, I agree with that, too. Rich old man, empty inside, an old and much-used story. A Christmas Carol, the E. A. Robinson poem Richard Cory, (later made into a song by Paul Simon,) just two quick examples. But I agree with Fred, "Rosebud" is a bigger hook than just that angle.

Get yourself to a library, or a bookstore. There are lots of interesting books on filmmaking, directors, films, all aspects you could imagine. If you go to a library, ask to talk to a reference librarian. They can help you find material on your specific interests. All for free!

Can't provide examples, but I used both kinds with my Nikon still camera, and the difference is striking. You could rotate the linear filter, and cause the shot to go from bright to dim. Of course the effect depends entirely on the angle of the light, usually meaning the angle of the sun, and your orientation to it. Looking on the wiki, I guess I used the wrong term. When I said "radial" I should have said circular. I think it would be possible to make a radial polarizing filter, but I guess it hasn't been done. Anyway, here's a link to the wikipedia article about polarizing filters. They do have one example of a linear filter, and rotated 90 degrees. http://en.wikipedia.org/wiki/Polarizing_filter_%28photography%29

> {quote:title=TikiSoo wrote:}{quote} > I liked the insinuation it would be fairly quick, due to youth! Guess pre-marital sex isn't any result of the 60's sexual revolution. It just became less risky, and more common, with the advent of the pill. I always got a laugh out of adults saying that kids were "experimenting" with sex. I think it went beyond the experimental stage eons ago... :0

I use the quote function in "Rich Text," then switch to "Plain Text," and stay there. Things are much less likely to get screwed up that way.

I'd agree that *The Fugitive Kind* was better, even if I hadn't taken my handle from the film. Brando, as well as Laughton, directed only one film. That was *One-Eyed Jacks*, and it is a great film. As great a film as *The Maltese Falcon* is, I think Huston made even better films, *The Treasure of the Sierra Madre* being one. British/Australian director Ray Lawrence has only directed three films. They are all very good, but I think his first, 1985's *Bliss* is the best. Sadly, it is not available on R1 DVD. I had to buy an Australian copy, to replace my LD.

> {quote:title=kingrat wrote:}{quote} > > 2. Getting more of Dennis Weaver is not an improvement. Obviously this is what Welles wanted, and I can see why he wanted it this way. However, I find almost every moment Weaver is on screen, especially in the endless scene with Charlton Heston, excruciating to watch and hear. My noir nightmare is having to watch this scene over and over again. What can I say? I love the crazed idiosyncratic performance of Dennis Weaver as much as I do those of Mercedes McCambridge, and Valentin de Vargas. I love the great cast Welles assembled. I will admit that I think the real stand-out is Joseph Calleia. He often steals the scene from Welles and Heston. That takes some acting!

It was definitely scheduled. I didn't record it, there were too many Ben Johnson films I hadn't seen that I wanted to see.

*This Gun for Hire* is great, and I haven't seen it in years. I look forward to it!

Quite right. I should have looked it up, I was afraid I had it wrong. It's not like I claimed I was his buddy. Thanks for the correction.