aminahyaquin
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Posts posted by aminahyaquin
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Just wanted to add my two cents worth, having been watching TCM for so long and really delighting in the wonderful scheduling of movies and stars they feature generally. I am finding August to be an adventure in appreciating stars and movies from sleepers to huge hits, but most of all those whose work is wonderful, but who are in a supporting role.
Borgnine's well-deserved day was fantastic, i watched as many of his movies as i could. Ernest was a superb actor, and the choice of films represented his range and unforgettable, searing roles. Just wonderful!
I also had the chance to watch the trilogy of Akira Kurosawa's exquisite study of the life and times of Tazeko aka Musashi and i was awed, and grateful.
But truly, this whole month 's scheduling has been a masterpiece of opportunity for film exploration; just a great job, !!!!! TCM!!!!
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I am really ecited too--thanks you so much TCM
i ahve also enjoyed the discussions very much here, adn opn the folm/filmmakers pages
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i am afraid i am a little slow on this. gosh, where did this month go?
alrighty then, will do all i can to find more info and share as i go along
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THE UCLA folks, in particular Mark Q., astounded me with extremely timely and generous offers of assistance, and sincere interest.
I am most grateful to the folks who replied thus far for their sterling help.
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What wonderful news! I am just thrilled that Alec Baldwin is returning to co-host ESSENTIALS. this si the firtst time that a co-host, IMO, has actually complemented robert Osbourne to the point that i am glued to the screen.
SO VERY DELIGHTED!!!
and love his picks
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Thank you for your comments and help thus far. Atlas Film Corp has 43 titles listed in the American Film Insitute archives, all from 1910.
My great Aunt would have been acting in the years between 1915 and 1920, according to my father who said that she acted prior to attending college, but he is not certain what years. he believes she was an actres for some perof the period between 1916 and 1919. Dad say her surviving children may know the film titles.
any additional info greatly welcomed
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Thank you for this information. I did find a land dispute on record that indicates that the Atlas Film Corp was still functioning into the late 1930s at least.i believe there was a french movie museum that collected films, i often wondere if they had any of hers.
The family lore did not go into specifics and though my great aunt died at 104 still sharp as a tack,we were not in touch about this subject.
She did however many many years ago give me her film making cosmetic kit, with greasepaint rouge and et al, which i still have more or less intact. It is stamped with the name of the company.She used her real name as an actress, and it has her first intials and last name Perkins written in by the wardrobe people, i guess.
In the kit itself, a large tin box, the smell of the grease paint is till strong and pungent after almost a hundred years. I "recycled" the lipstick and the rouge in the early 80s., but the rouge container is still part of the kit. and somewhere i may find the lipstick container that matches.brushes and pads still there too.
i am very interested in exploring this. my aunt has always been a kindred spirit.
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My great aunt was an actress for this company which had studios in Newton, Massachusetts. I would like to find a film in which she had a role, no matter how small, if such is still extant...
Daily Dose #1: The Nasty Man in Black (The Opening Scene of Fritz Lang's M)
in Summer of Darkness: Investigating Film Noir
Posted
Some words that convey , for me, the quality of the opening scene to Fritz Lang and Peter Lorre's masterpiece "M" are trapped, ominous, foreboding, eerie, doomed ,.
I believe that the film captures, from its opening moments, that sense of immanent death that is inherent in all of life, and that it is complicated in a compelling way by the immediate assertion of a corruption of innocence by intentional, compulsively disordered evil .
Both the beginning and the ending of "M" are shiveringly intense, dynamically engrossing movie sequences that epitomize the genre of film noir. It seems to me that Fritz Lang achieves this spectacular immersion in the lives of ordinary people who face extraordinary violence against what they love and cherish most the innocence of kids, and hope for a better future through children, by foreshadowing images of jail like staircases, the daily labor of hard scrabble adults, and the contrasting precarious joy and rebellion of still vital, still unwary young people.
The visual power of in the opening, individuals who confront fear on their own, and the ending, where the power of a large community to respond to a threat to its most precious and vulnerable by the predatory unbalanced appetite for murder by one of its own, and in which the group seeks to avoid acting as a mob, but rather poses an alternative form of justice... is uncanny in its own reason and rationale for achieving cessation of the threat , justly.