ValentineXavier

> {quote:title=kriegerg69 wrote:}{quote} > > {quote:title=SansFin wrote:}{quote} > > > > I have always wondered on how appropriate mathematics would be in a first contact situation. Science fiction writers all seem to be adherents to the numbers-are-a-universal-language cult. > > > I've sometimes wondered about that notion, simply because our ideas of what mathematics are is not necessarily what their ideas would be. "One" to us might be "Ten" or something else entirely, to them. Yep. There are just 10 kinds of people in this world - those who understand binary, and those who don't.

> {quote:title=GreatMoviesFan wrote:}{quote}I just saw this movie for the first time and I LIKED IT, but my brother and I argue over whether it's funny when Richard Dreyfuss is throwing bricks and trees and garbage cans in through his window and climbing in through the window and pulling the ladder in behind him. I found it funny as hell and laughed myself sick, he disagrees. Can anybody else comment? This scene made the movie for me. Funny, yes. To me, this scene shows that the film is satire, and that's really the only way I can appreciate it. Oddly, in the first re-release, they removed this scene, but it was put back in later. I also laughed at what I call the "cosmic candelabra."

Musikone, Clore posted this good bit of advice, to which you have not responded: >OK, let me ask if you have this problem with any other channels. For example, comparing HBO SD to HBO HD. If it's isolated to just TCM, then yes, there's a good chance that something is wrong at the Cox Cable end and not your hardware. It sounds to me like your picture size problem on TCMHD is likely the result of watching a HD picture over a SD input. This is because the 16x9 HD frame, which would fill the screen top-to-bottom, and have black bars on the sides, with a 4x3 image, will be reduced so that the 16x9 frame is contained within a 4x3 frame, adding an extra frame of black bars, all around. It sounds to me like your problem is most likely a wiring, or switching problem, with your own equipment.

Face it Fred, the Japanese Americans were far less of a threat than German Americans, during WWII. The reason we locked up the Japanese, and not the Germans, is because the Japanese have 'yellow' skin. They are 'the other.' The Germans are 'us.' Neither should have been locked up wholesale. Exclusion zones around ports, military bases, war factories, for those without permits, well, I can see that. I've read more than once that there were NO Japanese Americans in the US charged with espionage during WWII, but lots of German Americans were. I'm not sure how to reconcile that with what you've posted.

Slaytonf, you said it better than I did...

Okay, Fred, I don't think that anyone disputes that the quality of life in our concentration camps for Japanese Americans was, in comparison, far, far better than in those of the Japanese and Germans. But, we still imprisoned them needlessly. All though we humans would prefer a gilded cage to a hellhole, we still prize freedom, warts and all, above the gilded cage. And, Manzanar wasn't exactly gilded, despite those there making the best of it. You can't post any photos that show they were free to come and go as they pleased. Would you have wanted to live in confinement there? After having your home and business taken away? Edited by: ValentineXavier on Dec 20, 2011 10:51 PM

I noticed that too. The IMDb lists it at 59m for the "Turner Library Print." My guess is that they trimmed it, after the Hays Office went fully operational. But that's just a guess. Edited by: ValentineXavier on Dec 20, 2011 10:36 PM

Fred, one could post frames from *Stalag 17* that would look similar.

> {quote:title=LoveFilmNoir wrote:}{quote} > > {quote:title=ValentineXavier wrote:}{quote}That's Rene A-bear-noise... > Aren't you missing a syllable though? I thought there was a "jo" in there. Well, I guess it wasn't clear, but I was kidding. I never pretend to be able to pronounce French.

Sure, our concentration camps were nothing like the deadly and brutal hell-holes run by the Axis. But, they were still prisons, and especially at first, the accommodations were so bad that absent the force, few would have been willing to live in them.

Now you see, Dargo, the fact that we "sugar coated" it back then, just shows how NICE we were to the Japanese Americans. Remember - sugar was rationed then!

I don't think Marylin was a great actress, and her signature look - kind of a caricature of a woman - doesn't appeal to me that much. But, a society such as ours where she can be called a "chunker," implying she was fat, shows just how sick we have become. I don't really have a preference for either fat or thin women. But today's popular emaciated look, with models who look like they got out of Treblinka a couple of weeks ago, I find repugnant. And a social ill.

There are already about a dozen threads about TCM Remembers on the forums. Here's a link that lists most of them: http://forums.tcm.com/thread.jspa?threadID=162937&tstart=25

Film? I thought we were talking about cars.

Best to hear it pronounced by a native speaker - true, of course. But, I'm not exactly guessing, since I lived in Venezuela for two years, and have spent months in Mexico. None of my Latino friends have that name, so I haven't heard it often.

I prefer the '59, for its electric starter, over the '25, with its hand crank start.

That's Rene A-bear-noise...

> {quote:title=Sprocket_Man wrote:}{quote}No, it's pronounced "ar-mehn-DAR-eess" -- that's why there's an accent over the second "a" in the name: Armendáriz. > Okay, I got the accent in the wrong place, I should have looked it up. But, it's still "main," not "menh." In Spanish, "e" is pronounced like a long "a" in English.

It occurs to me that there might not even be a WS transfer of *The Appaloosa*, since I've never seen one on TV, that I can recall.

There's the 1951 B&W classic *The Lavender Hill Mob*, where they steal bars of bullion, and melt them down. But, they cast them into miniature Eiffel Towers. So, I guess that's not the film you are looking for. http://www.imdb.com/title/tt0044829/

Nine years before he made *Life With Father*, Curtiz made *The Adventures of Robin Hood*, one of the most spectacular Technicolor films ever made. So, we know Curtiz could direct in color. And, nine years later, he was well past becoming accustomed to directing in color, or being affected or distracted by it. Peter Sellers made some great comedies in B&W, but he made plenty of great ones in color too - like *The Party*, and *The Magic Christian*, to say nothing of several good Pink Panther films. I'll admit that directors had a learning curve, when switching to color, and that might have distracted them a bit at first. But, I doubt that any film that would have been a great comedy, if made in B&W, was ruined by being made in color.

> {quote:title=SansFin wrote:}{quote} > I know it is silly of me to miss a thing I outgrew so many years ago. Not silly at all. Those are the kinds of things we miss the most.

Indeed it was sometime ago, back in the 70s, IIRC. I almost added a line saying that kids today wouldn't get it.

> {quote:title=Dargo wrote:}{quote} >Yeah Fred, maybe...but I'm pretty sure most of the WPA camps back then had folks who mostly volunteered to go to 'em. > Not only that, but most of the Japanese who were forcibly interred had homes and businesses or farms, or at least jobs, which they lost. The WPA people were out of work, usually homeless.

I haven't seen it, but there is info about it, and other versions, on the IMDb: http://www.imdb.com/title/tt0825347/ >Matt Lucas as a marvellous Toad, Mark Gatiss as a spiky rat, Lee Ingleby as a nervous Mole, and Bob Hoskins as a grumpy old Badger make a classy cast within yet another version of Kenneth Grahame's classic book. > >Comparing well with the Python-heavy 1996 version, which got lost in music and a mincemeat factory plot, this has many pluses in its favour - the best of all being the famous 'Piper at the Gates of Dawn' chapter covered in full, with all its ethereal magic. Plenty, then, to enthrall children and interest adults who happen to be watching with or without them.