ValentineXavier
-
Posts
6,917 -
Joined
-
Last visited
-
Days Won
2
Posts posted by ValentineXavier
-
-
I haven't seen *Last Holiday*, and I look forward to seeing it. I'd just add that *The Lavender Hill Mob*, and *The Lady Killers* are two of Alec's best, as well. If you haven't seen them, don't miss them!
It's been so long since I saw *The Horse's Mouth*, I don't really remember the film. But, the book was great! Very funny.
-
BB, I'll have to agree with your reasoning about the killings, and your assessment of the film. It was original, and interesting.
-
> {quote:title=finance wrote:}{quote}
> Could one of you ventrilomavens distinguish for me the personas of Charlie McCarthy and Mortimer Snerd?
Charlie was a sharp-tongued wiseacre, and Mortimer was dumb and ignorant.
Addendum: probably best characterization is to say Snerd was a simpleton.
Edited by: ValentineXavier on Oct 24, 2010 12:30 AM
-
Modern US horror films seem like an exercise of 'how much blood and gore can we get in?' That is why the best horror films now come from Japan: *Audition*, *Cure*, *Uzumaki*, and many others.
-
> {quote:title=FredCDobbs wrote:}{quote}
>
> But in the meantime, maybe you can find the switch on your remote control to change the size of the picture on your TV screen, so that you can manually click it back up to full screen.
Fred, most HDTVs can't be zoomed while receiving a HD signal. Generally, only 4x3 and "Wide" picture sizes are available with HD. HDMI inputs may allow a few other settings, designed for PCs.
When receiving letterboxed SD, most HDTVs have several picture size settings available, including a zoom setting that will make a letterboxed 4x3 image fill the screen from side to side, and maintain OAR.
-
> {quote:title=Arturo wrote:}{quote}
> *Sometimes these designations are meaningful to film buffs. If they aren't to you, then it's probably best for you to find a thread that meets your preferences.*
>
> It's hard enough to choose the most important film for a given year, whatever the criteria. it's well nigh impossible to do so for a whole decade IMHO.
If a "most important" film could be determined by objective criteria, then, I suppose, the data could be input to a computer, and it could tell us this "most important film of the decade." I would find that amusing, perhaps interesting, but not meaningful.
Of course such criteria are really subjective. So, some may find discussing various nominations for "most important" film, by year, or decade, interesting. The discussion may be meaningful. But, you are quite right, definitively picking such a "most important" film is quite impossible.
-
Mark me in the camp of those who want to be able to resurrect old threads, for all the reasons others have stated. Other sites I frequent prefer resurrection over reincarnation. One does give you a message, asking if you are sure you want to revive a dormant thread, but it lets you do it. Unless TCM-PTB changes their mind, perhaps someone who would like to restart an old thread could just post a link to it in the first post of a new thread on the same topic.
-
> {quote:title=yanceycravat wrote:}{quote}
> tcmprogrammer -
>
> I was watching on channel 292, Time Warner Cable in Los Angeles. This is not the HD channel.
>
I was watching on the SD TCM channel on Comcast in Michigan, and saw the same thing, So, it definitely wasn't an HD bandwidth problem. I've had a lot of digital glitches, on many channels, lately. So, I initially blamed it on Comcast. I do hope TCM gets a good copy, and reshows it. It's a good film, and I'm a Fuller fan, so I'd like to see it properly.
-
The IMDb lists a 159m version, and a 173m version. TCM listings said it was 173m, but had it scheduled in a 170m slot. So, what length was it, really? I'm hoping I got all of it.
-
A couple of years back, an independent short film was made by intercutting the old film with footage of a modern film making the same trip. I don't recall the new film's title, but I believe it won some awards. I saw it, and it was very poignant.
-
> {quote:title=Kinokima wrote:}{quote}
> > {quote:title=jamesjazzguitar wrote:}{quote}
> > One could make a very strong case that Casablanca isn't important at all as it relates to film history. Yes, one of the most beloved movies but important?
> >
> > Ok, it did show that Bogie could be a romantic star but other than that, what is so important about it as it relates to 40s filmmaking?
> >
>
> Granted Casablanca is no Citizen Kane but as far as what it symbolized at the time (1942 when this country was at War) I think it is a very important film. There is a reason it spoke to so many people at the time. And as I mentioned previoysly a good number of people involved with the movie fled Europe & the Nazis themselves (Peter Lorre, Marcel Dalio, Conrad Veidt, probably more that I am forgetting.) And I could argue that Bogart's character is a representation of America that for years refused to enter the War but eventually does do the right thing.
>
> And the fact that it still speaks to people today even though the War is long over says a lot. There might be better Classic Films but very few still capture the hearts of so many people, even those who are not Classic Film fans.
>
> Quite honestly I am not sure how anyone can say it isn't important to film history. And writing it off because it is just a studio product seems silly. It's probably the finest example of a studio produced film.
>
I quite agree with you, Kinokima. I think it's fair to say that *Casablanca* wasn't innovative, nor influential, as far as filmmaking goes. But, culturally, as a part of film history, and a part of world history, very important, and very affecting. No matter how many times I see it, I always tear up when they sing Le Marseillaise!
-
Well, Frank posted the lyrics, I just quoted him. I guess they could have run the film exactly as is, but tacked on the posse catching up with Vern and Frenchy. Much better without that, though.
It strikes me as a bit ironic that in *Destry Rides Again*, Dietrich was called "Frenchy."
-
> {quote:title=FrankGrimes wrote:}{quote}
> RANCHO NOTORIOUSLY SPOILED
>
> Hey, James -- To me the triangle relationship shown in the movie is one of the most mature ever on film. I believe Vern is interested in Altar but he sticks to his mission and doesn't let something silly like falling for a gal like her distract him from this mission.
>
> I actually don't think Vern was really drawn to Altar. I believe he was drawn to his mission and his dead fiance. I think he's using Altar to get what he wants. When they kiss a second time, he pulls away. I don't think it's because he's falling for her, but because he's struggling with his seduction.
>
> And when he finds out the truth, he reads Altar the riot act.
>
> Vern: Now the game is over and I can tell you what's been choking me every minute since I chased after you. Tell you who wore the brooch before you did. It was a girl. A girl that I was gonna marry. A girl the last time I saw was lying on the floor, out-(?) and butchered by the man who took that from her, and gave it to you for ten percent of her life. That's right, move back. She's right there on the floor, right there in front of you. And she's got blue, blue eyes. Do you feel them staring at you? You see the blood on the floor? You hear her screaming?!
>
> Vern: Look around you, Altar Keane. What do you see in there? A bedroom or a morgue? Look over here! Through that window, what's that? A courtyard or a graveyard?! You think a dance hall girl was a dirty life. You oughta be proud of that compared to what you are now. Here's your cut from yesterday's job. And there's payment for this (brooch). I'm buying it back from ya.
>
> Vern was choking on what he had to do.
>
Certainly at first, Vern was just pretending to be attracted to Altar. But, I think he had a lot of sympathy for her, and was falling in love with her. Then, when he finally got the info he wanted, his anger and hatred crystallized, and was directed at her. I agree he was choking on what he had to do, but because he didn't want to have to do it to Altar. In the end, when Vern and Frenchy find her shot, Vern tells Frenchy that she took it for him. That simple act, to preserve Frenchy's love for Altar, shows he really cared for her.
>
> Two men rode away from Chuck-A-Luck
> And death rode beside them on the trail
> For they died that day, so the legends tell
> With empty guns, they fought and failed
> And so ends the tale of hate, murder, and revenge
>
Jamesjazzguitar, I, too, find it odd that the code didn't require that Frenchy, and probably Vern as well, get 'justice.' I wonder if maybe just saying in the song that they were killed was considered enough? I agree that the triangle relationship was very mature for its day, or even today.
> Frank, I'd be interested to hear what you think of Moonfleet, when you finally see it. A decent film, but not great. I wonder how you would compare it to the thematically similar Hitchcock film, Jamaica Inn. Although it was a darling of the revival houses in the 60s and 70s, I've never cared for JI.
>
> Oh, so that's what kind of film it's similar to. Yeah, that might fall short with me. But I do like George Sanders.
I think *Moonfleet* is way better than *Jamaica Inn*, which I think is probably the worst film Hitch ever made. That I've seen, anyway.
-
> {quote:title=phroso wrote:}{quote}
> I don't hate David Lynch, but I DO enjoy watching his fans squirm whenever I offer my opinion that THE STRAIGHT STORY is his best movie.
I would chuckle, not squirm. *The Straight Story* is a fine film, and easily his most accessible. As to which is his best, I lean toward *Mulholland Drive*. Definitely not *Dune*, although I think the film is worth watching. I do appreciate long experimental narratives, and have seen *Inland Empire* a couple of times. I like it, but I don't think it's his best.
-
According to the IMDb, she's still alive.
-
I think it's really making people furrow their brows that he prefers...
-
> {quote:title=phroso wrote:}{quote}
> I don't think THE GENERAL is boring or stupid, but I'm a little flummoxed whenever I see Buster Keaton fans taking cheap shots at Charlie Chaplin, or ignoring Harold Lloyd's career altogether. They were all great, but I would honestly rate Keaton as the third-funniest silent comedian.
I prefer Keaton, but respect Chaplin and Lloyd. I think it's just a matter of personal taste, as to which you enjoy most.
-
> {quote:title=gagman66 wrote:}{quote}
> Say, I thought that his sir name was Herman Munster???
Seems appropriate for such a cheesy 'monster.'
-
> {quote:title=clore wrote:}{quote}
> >>Drats, YOU CAN'T WIN EM ALL was 1 of 2 Tony Curtis movies that I didn't record cause it only had a 1.5 stars rating on the TV Guide.
>
> Technically you only missed about half of the film. So did those who watched it since it's a 2.35:1 aspect ratio film that was shown in a pan-and-scan version.
57% shown, 43% cropped off, to be exact...
-
Well, I do love Errol Flynn's swashbuckling fight scenes as Robin Hood, Captain Blood, and Don Juan,+ but I believe my favorite fight scene is the intense, fairly short fight between Robert Mitchum and Robert Preston in Robert Wise's great film noir western, *Blood on the Moon*. One of its virtues is its realism, and also the great noir lighting and composition.
-
> {quote:title=FrankGrimes wrote:}{quote}
> RANCHO NOTORIOUSLY SPOILED
> I didn't get this movie.
>
>
The film is about finding the truth. Both Vern (Arthur Kennedy) and Altar (Marlene Dietrich) find their truths. In fact, they need the other to tell them.>
I see the flip side of the coin. I see the film as the destruction of fantasies. First, their is Vern's stereotypical fantasy of settling down on a ranch, with a new bride, and living happily ever after. When that is destroyed, his fantasy of revenge begins. In pursuit of that, he builds a fantasy about Altar, not sure if she is woman, or myth, later admitting as much to her. He expresses fantasies about her, to her, to win her confidence, and pump her for information. Eventually, he reveals to her how his fantasies about her have been crushed by reality. Vern fantasizes that George Reeves jovial good humor is really sinister. Vern's revenge doesn't really seem to satisfy him. When Altar is killed, Frenchy and Vern ride off, bereft of their fantasies.
Frank, I'd be interested to hear what you think of *Moonfleet*, when you finally see it. A decent film, but not great. I wonder how you would compare it to the thematically similar Hitchcock film, *Jamaica Inn*. Although it was a darling of the revival houses in the 60s and 70s, I've never cared for *JI*.
-
While rewatching *Tension*, Tom D'Andrea came to mind. He is an unsung actor, always the most sympathetic and helpful guy you will ever meet. He was also very good in *Dark Passage*, and had lots of TV work later, with a long running part in The Life of Riley.
-
> {quote:title=markbeckuaf wrote:}{quote}
>
> 1:30 PM Topper Takes a Trip (1939) *(I actually think this one is funnier than the original, thanks to Constance!!)*
> A glamorous ghost helps a henpecked husband save his wife from gold-digging friends. Cast: Constance Bennett, Roland Young, Billie Burke. Dir: Norman Z. McLeod. BW-80 mins, TV-G, CC
>
Years ago, I ran across an old paperback copy, from when it was first published, and read it. I like the film, but as they say, the book was way better. They didn't have to worry about the Hays Office. I think my favorite bit is when Marion materializes, naked, on a fountain in a square, with water spurting out of her comely ectoplasm...
-
> {quote:title=redriver wrote:}{quote}
> I suggest you never watch any films by Stan Brakage, Kenneth Anger, Jack Smith, Maya Deren, Peter Greenaway, David Lynch... and many others.
>
> I'm not familiar with all those filmmakers. But I have no intention of watching anything more by Greenaway or Lynch.
Well, to each their own. I would most happily watch anything Greenaway or Lynch made, and most likely be in awe of it. My point in posting that is that a film doesn't have to have a clear, precisely understood plot, to be a great film, with *The Big Sleep* as the original example, and the works of those filmmakers supporting my position.
The film is about finding the truth. Both Vern (Arthur Kennedy) and Altar (Marlene Dietrich) find their truths. In fact, they need the other to tell them.
Did anyone catch "The Boogens" last nite?
in General Discussions
Posted
Well, the good news is that although the TCM program guide didn't list it as letterboxed, it was. The bad news is that on TCM HD it was 'pictureboxed,' that is they didn't zoom it, so it had black borders on all four sides. But, I was ready for that, and DVRed it from both TCM HD, and TCM SD. So, I can zoom the SD recording, and fill my 16x9 screen. I haven't watched it yet, but I scanned through the recording, and it looked OK.