ValentineXavier

We got the version Huston intended, before it was changed to suit the sensibilities of a general audience. I'm glad of it.

From the IMDb: >Originally released in a version in which all scenes were suffused with the color gold, with one object in each scene (such as a rose) normally-colored. This was in reference to the houseboy's drawing of a golden peacock in whose eye the world is a mere reflection. But that version puzzled audiences, so it was withdrawn and a normally-colored version released.

> {quote:title=FredCDobbs wrote:}{quote} > For example, I'm curious why this current film "Reflections in a *Golden* Eye" is all yellow? You answered your own question, Fred. Just what color would "reflections in a golden eye" be? :0

I didn't see *The Road to Morocco*, but I've seen a lot of Shaheen's films, and have seen ZERO "righteous indignation." Much the contrary. Shaheen has repeatedly said that the negative representations of Arabs were NOT done out of malice, or with any real agenda. I've enjoyed the series, and I'm glad I still have a few saved, yet to watch.

> {quote:title=Filmgoddess wrote:}{quote}Range and versatility? All of the films you mention are dramas. That's not range and versatility to me. Range and versatililty to me means the ability to do other genres. Brando was incapable of that. His one foray into a musical was a complete mess. His forays into comedy were, well, laughable, and not in a good way. He made only one good comedy -- The Freshman -- and then he disavowed that performance. Shakespeare? His performance in Julius Caesar is basically Terry Malloy in a toga. It reminds me of Tony Curtis "Yonda lies da castle of my fudduh." Aargh. > > I'd say that Irene Dunne was more versatile than Marlon Brando. To me, versatile means moving from genre to genre and be successful in each. Brando was successful only in drama -- and even there so many of the performances are so mannered. Not my cup of tea. August Moon or otherwise. > > He didn't just make bad choices; he gave atrocious performances. > > Greatest screen actor of all time? Not in the top 50 for me. Dana Andrews was a better -- and more watchable -- screen actor. > > Cathy Cartee You must be talking about some different Marlon Brando, with whom I am unacquainted.

Well, we'll find out in *The Avengers*, won't we? I don't think he could have come about in the 21st century, but I think he will work as a transplant...

> {quote:title=movielover11 wrote:}{quote} >I remember Roots, the mini-series with Levar Burton (whatever happened to him)? He and Data opened a bar, somewhere near Aldebaran.

> {quote:title=JakeHolman wrote:}{quote} > > And, a diamond in the rough western: The Appaloosa. > On that, we agree. I wish I had it, to post a quote when Brando tells Chuy Medina what he thinks of Chuy's scorpions.

The restoration of *The Devils* was shown at The Royal Albert Hall when it was first released, and was shown once on the west coast of the US. I think it was later shown again in the UK, probably the showing you refer to. The point is, the film has been totally restored, so WHV wouldn't have to pay for that. It would still cost money to release it, but lots less than restoration costs.

I liked it. I was a Marvel fan for many years, and read that title. Hugo Weaving was great as The Red Skull. I hope you stayed until the very end of the credits, so you saw all of the film...

I'm pretty sure it's the religious aspect that keeps *The Devils* from being released. If it were just perversion, well then, they would have buried Pasolini's *Salo:120 Days of Sodom* at the bottom of the deepest mine shaft, but it has been released on DVD. Edited by: ValentineXavier on Jul 31, 2011 6:59 PM

Would the newspaper have mentioned that La Paloma was docking?

I caught Terry Gilliam's *The Imaginarium of Dr. Parnassus* on Encore HD this week, and I think it was my favorite film of the week. I'm a Gilliam fan, like most of his films. Some I would say are the best of modern film. *The Imaginarium* is good, if not quite his very best, but lots of fun, and very typically Gilliam. Edited by: ValentineXavier on Jul 31, 2011 6:48 PM

> {quote:title=TonyWendice wrote:}{quote}It's nice to see that there's someone who knows how to beat a dead horse even deader than me! :_| Fred can get even more mileage out of a dead horse than he can out of a gila monster.

Interesting - no IMDb listing. Well, my lost film is *Tricia's Wedding* Spoofs the wedding of President Nixon's daughter, Tricia. The high jinks start when Eartha Kitt adds LSD to the punch bowl. http://www.imdb.com/title/tt0069407/

As one might guess from my handle, *The Fugitive Kind* is my favorite Brando film, and IMO, one of his best. I like Brando, and his acting, a lot. But, there are a number of films of his I don't care for at all, like *Guys and Dolls*, *Desiree*, and even *A Streetcar Named Desire*. Stanley and Blanche are such thoroughly unlikeable characters that I just can't appreciate the film. But, he has made a lot of great films, and his performances are almost always very interesting.

> {quote:title=redriver wrote:}{quote} > I have a confession to make. I like William Friedkin's SORCERER at least as much as the French film. It's more suspenseful. There's a higher level of emotion. To be honest, neither movie is a great favorite. I just can't see that. *Sorcerer* is a decent film, but can't hold a candle to *Wages of Fear* for suspense and emotion, or anything else, IMO. *WoF* is one of the tensest films I've ever seen.

> {quote:title=clore wrote:}{quote} > If Encore wasn't a pan-and-scan channel, it might have been different, but I can't see paying extra for a channel that is going to frustrate me. Encore HD is NOT pan-and-scan. I watched Terry Gilliam's *The Imaginarium of Dr. Parnassus*, and Tim Burton's *Alice in Wonderland* both this week, both in WS. They do have a few good films on other Encore channels, some that were made in 4x3. I catch some of them. If I see a WS film listed on an SD Encore channel that I would like to watch, I check the guide to see if it will eventually run on Encore HD, and program to record it in HD.

I find that I sometimes still have problems with "Rich Text." So, if I want to quote someone, I start in "Rich Text," by clicking the quote balloons, then I switch to plain text.

> {quote:title=darkblue wrote:}{quote} >Okay, after some memory-searching, I think I may have come up with an example that fits the thread title ALMOST perfectly (it definately would still be at least PG-13 and maybe still an R - but it was originally an X and was absolutely a shocking movie to see). > > Ken Russell's 'The Devils' (1971) A favorite of mine. Warner Bros. Home Video apparently still considers it too shocking, because they have refused to release the already-restored film on DVD. But, it is believed that their objections are to parts that could be taken as sacrilege.

Someone posted on another thread that if you have TCM OnDemand, *Tokyo Olympiad* is playing until Aug. 18th. I haven't checked it out yet.

No *Earthworm Tractors* ! :_| :_| :_|

*One-Eyed Jacks* is the only film that Brando directed. I think it's a fine film, and would rather have had TCM run it that a couple of others that get shown a lot.

She was savage, Ann Savage...

They're ALL real film noir. *The Big Heat* is generally considered one of the best classic noirs. *Detour* is one of my favorite films, clearly noir. I agree that noir is difficult, probably impossible, to define exactly. There are many variations. I think most everyone considers *Out of the Past* to be a noir, of the highest caliber. But, Jeff is not amoral, or a dirtbag in any way. I will admit that Kathie makes him miserable. There are plenty of noirs w/o a femme fatale. There are noirs with happy endings. There are noirs with good guy leads, bad guy leads, good-guy-gone-bad leads, and bad-guy-gone-good leads. There is just no single, or even multiple, necessary elements of a film noir. So, I'm with Potter Stewart.