SansFin
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Posts posted by SansFin
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I believe their #11: All That Jazz (1979) ‘Take Off With Us’ is iconic. The contrasts within it are supreme. It is first a lighthearted romp and then serious social critique. The dancers make it look so light and easy and we see also the strain and sweat. Passion and ennui, precision teamwork and individual excellence and tradition and innovation are all juxtaposed perfectly.
I find it interesting also that this is within Bob Fosse's autobiographical work while two other dance scenes in the WP list were choreographed by him also. I doubt that any person could seriously argue against: ‘The Aloof, the Heavyweight, the Big Finish’ and: ‘Whatever Lola Wants’ being listed among the greatest dance scenes ever.
I loved the writer's description of B. Fosse as: "the master of sinister sexiness."
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4 hours ago, Hepburn Fan said:
This isn't a Program Challenge?📽️
I know that my list would never garner any votes. My tastes have never been in synchronization with the tastes of others in this forum.
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My favorite English-language movies at the moment:
The Thomas Crown Affair (1968)
Heathers (1988)
Killing Zoe (1993)
The Mystery of Mr. X (1934)
The Princess Bride (1987)
The Third Man (1949)
Rebecca (1940)
Rosencrantz & Guildenstern Are Dead (1990)
Death Takes a Holiday (1934)
Lock, Stock and Two Smoking Barrels (1998)
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I watched: V for Vendetta (2005) because it is November Fifth.
I find this retelling of the Guy Fawkes story to be compelling despite its inaccurate history. The leads are generally not to my taste but are adequate in their roles. Stephen Fry and John Hurt are perfect.
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31 minutes ago, Sepiatone said:
So, what you're saying is....
I have to BUY yet ANOTHER device?
I guess my problem is, I usually try my best to walk around with my pants UP.
And as I also don't have WIFI, it sounds as if it's gonna get more expensive and crowded in here.
Sepiatone
This is a rare situation where buying is a good thing. A cable box generally costs $120 or more each year because you rent it from the cable company. A Roku device is a one-time purchase for $30 to $50.
I do not personally recommend wifi but it is the most popular option and is often the easiest. A better alternative is Cat-5e or Cat-6 cable. There are many benefits in speed and reliability over wifi. The major difference is that an adequate wifi router will cost approx. $30 and can be up-and-running within half an hour while running cable will cost approx. $15 but may take a long time to run from the modem to the television's location.
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On 10/27/2018 at 7:00 AM, Sepiatone said:
Somebody's GOT to provide some outlet for all of us "Ain't broke/don't fix" old schoolers who are too old and tired to sheep-like chase after any new "trend" the market SAYS we have to.
( a neighbor of mine calls it "carrot and stick" marketing. )
It is not so much a new trend as it is an evolution of equipment. It is little different from replacing your 56K telephone modem with a 100Mbps cable modem.
You Internet provider supplied appropriate modem and surely has wifi routers available. All you need from that point is a Roku device to connect to your television. The Roku can be used in any place in the home which is reached by the wifi signal.
You then use the Roku as you would use a cable box to select what you want to watch.
A new Roku device costs between $30 and $50 but can be purchased also at pawn shops for approx. half of that.
This is a one-time expense. There are many free channels available which serve a wide variety of interests. Selecting them for ready use is similar to using the 'favorites' channel line-up on a cable box.
It is in this way a change of equipment to provide the same service.
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On 9/25/2018 at 11:44 AM, Hepburn Fan said:
This challenge would be overwhelming to me, as my knowledge is minimal with all films.
My knowledge of movies is so superficial that my sole criteria is whether I enjoy a particular movie. I watch them for entertainment and do not dissect, analyse or study them. I do not track actors' careers nor do I assign values to their performances based on activity in their personal lives. I do not recognize changes of style in any director's work as they age. I have no sense for tropes or archetypes and I never look for hidden meanings.
It is necessary only to be able to chose a movie which you wish TCM would air. It is possible to use the Keywords feature on IMDB.com or search for keywords on TCM.com/TCMDB to obtain a list of movies with similarities. It is likely that any person will recognize at least a few of the movies in any such list and be able to decide if they are movies which they wish to include.
I am sure that most participants have included movies in their schedules which they have not viewed but which seem appealing for various reasons and which fit smoothly into the timeline.
The most daunting portion of the Challenge for most people is fitting selected movies into a schedule and have no overlap and not skip any starting time. It sounds as if that would be easy for you and so you have a great advantage over us mere mortals.
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Congratulations speedracer5! I am sure that Errol is quite pleased for his girlfriend's accomplishment.
LonesomePolecat - The covers are magnificent and much appreciated.
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All of the schedules are wonderful. I am very sorry I do not have time to reflect on each one as they deserve.
I wish to thank LonesomePolecat for setting a wonderful Challenge and for doing all the hard work to make it successful.
My vote is for: Speedracer 5. It is based strictly on the number of times which I said "Yes! I want that." while reading the schedule.
All contributors are to be congratulated on their hard work and brilliance in bringing us these awesome schedules.
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On 9/18/2018 at 3:46 PM, lydecker said:
SansFin: Your selection of Vera Kholodnaya for the "What If She Had 100 Years" inspired me to find out more about her. What a fascinating career and life and what a tragedy she died so young. I loved "Hump Day" and "Variable Movies" along with "Black Friday" and Ronald Colman as your SOTM. Bravo!
I thank you very much for your kind words. I am very happy to have introduced you to the legacy of Vera Kholodnaya. She was a wonderful actress and lived very intensely. Her effect was so lasting that a statue was erected to her in Odesa a few years ago.
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1 hour ago, Hepburn Fan said:
I would have a hard time doing this, except for the part of getting the times to workout as needed.
It is relatively easy once you have fallen a sufficient depth down the rabbit hole.
You chose a movie which you wish TCM to air. You then make a list of movies with which it shares an aspect such as director, actor, genre, location, presence of camels, etc.. You then fit the movies into either daytime (6:00 AM - 8:00 PM) or evening (8:00 PM to 6:00 AM) schedule so that there are no overlaps or blank spaces of more than fourteen minutes. This part of the Challenge is the most time-consuming and requires both patience and a penchant for self-inflicted pain.
You then repeat this process for each day and evening for a week. The fact that you must incorporate TCM's existing features and limit the number of premieres gives a greater appreciation for the work done by the real programmers.
The themes you chose can range from a simple showcase of one performer's talent to deeply philosophical musings on the nature of the medium of film to spurious bits of sacrilegious whimsy.
The Challenge is open to all and participants are usually eager to help
new victimspeople who are preparing their first schedules.I hope to see you participating in the next Challenge!
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52 minutes ago, Hepburn Fan said:
Shouldn't all of this be in the Games/Trivia section?
The TCM Programming Challenge is not a game. It began a dozen years ago to give people a sense of the real difficulties of creating a homogeneous schedule which showcases their personal movie preferences while remaining acceptable to a wide range of viewers.
It quickly became the most effective method for suggesting movies and themes. Many people have found their choices migrate into real schedules. I can attest to one instance of an entire daytime's schedule being used virtually unchanged from its presentation in the Challenge. Many movie premieres have been directly linked to the movie's being included in a schedule.
The actual TCM schedulers have posted to say that they freely borrow from these posted schedules. The head of programming at TCM has stated that the TCM Programming Challenge is a valuable asset.
The structure of there being a 'winner' is only to provide a reliable method of choosing the person to moderate the next Challenge. A careful examination of the schedules reveals that they are all winners in their own way and I have never seen an entry which I would not welcome being adopted as-created by TCM for a week's schedule.
The TCM Programming Challenge needs as wide an audience as possible because it is real work to create a decent schedule within the framework imposed on the actual programmers and so turnover is high. It has been a long time since I have seen a schedule from any of the participants who were active when I began and my own submissions have decreased as I age.
To be buried in a specialty subforum would not attract the type of people who want their ideas and movie suggestions translated into real-world schedules.
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56 minutes ago, CinemaInternational said:
Uh....did not know until after posting my schedule and brousing more in depth that SansFin had a Faye Dunaway block too (with two of the same titles). Should I go back and change that part of the challenge?
Such duplications are common. You may note that both: speedracer5 and: lydecker had themes of Who, What, Why . . .. It is merely a matter of simultaneous invention. I find such things of interest because of the variety in the movies chosen to represent a particular theme.
I will suggest that you may wish to edit your schedule because your inclusion of: Slerping Beauty (1959) presents an odd mental image. ?
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On 9/8/2018 at 1:02 AM, LonesomePolecat said:
THIS IS A MASTERPIECE, SANS FIN!!!!
I love everything about this! Calvin and Hobbes would be amazing Guest Programmers, love the Bob Fosse Day, the Miyazaki section, and all of it! Ronald Coleman is one of my Classic Hollywood crushes. 
I thank you for your kind words. I did try to use more of your picks but they simply did not seem to fit.
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Program Notes SansFin's for Schedule for January 13, 2019 to January 19, 2019
Sunday -
Bob Fosse worked very much behind the scenes for many years as a choreographer. This day does not qualify for Challenge #5 because he became famous for his work. He worked only as director on last movie of the daytime but I am sure he staged scenes with the eye and heart of a choreographer.
Challenge #1 - What If They Had 100 Years?
Vera Vasilyevna Kholodnaya was the first and greatest star of the silent era. It is believed that she made a hundred movies before she was murdered by the French after she became their ambassador's mistress. She was twenty-fives years of age.The first two movies of the night are obvious roles for her had she lived. I had to use for Silent Sunday Night the option within the Challenge to imagine a movie in which she might have appeared had it been made. Vladimir Gardin would likely have made such a movie and he would surely have cast her in the most important female role. The last two movies of the night are obvious roles for her also. I would especially have dearly loved to see her bring her spirit and wit to the role of Fedosya.
Monday -A few of the movies of daytime are truly some of my favorites but would be difficult to include in a theme which did not require a few clunkers to fill out the time.
Faye Dunaway is one of my favorite actors and so a tribute is necessary. The last movie of the night is one of my all-time favorites.
Tuesday -"Tuesday" comes from "Tīw's Day." Tiw was the god of single combat. Each movie contains a significant one-to-one combat.
Ronald Colman was SOTM last year but I feel strongly that he should be honored again very soon.
Wednesday -Humpday reminds me of camels. Why not a day of movies in which camels appear?
Challenge #2 - Guest Host - Calvin of Calvin and Hobbes
The first movie is set on a ship of which its cargo of animals escapes to amuse and terrify the passengers. The first four movies concern tigers in recognition of his close friend and lifelong companion. The fifth movie acknowledges his experiences with dinosaurs. The last movie is meant to embrace his imagination ranging from his transmogrifier to Spaceman Spiff.
Thursday -This theme is merely an excuse to show a few of my favorite movies.
Calvin being Guest Host leads to portrayal of cartoonists and illustrators in movies. Some seem to be nearly human.
Friday -I was recently reminded by store display that Christmas season will soon be here and its infamous Black Friday.
The Calvin effect persists to create a TCM Spotlight on influential animators. Several of the movies this evening are among my all-time favorites.
Saturday -Daytime is 'A Day For Charles.' I took this to include Charlie/Charley/Charly.
TCM Essentials is a wonderful movie which needs to be more well known. I wish that TCM would more often step outside of Hollywood for its important movies. Noir Alley is a neo-noir which I feel would work as well if it was in black-and-white. TCM Underground is a magnificent movie in all regards.
Silent Sunday Night:
Macbeth (1926) - Imagined VersionTCM Import:
The Idiot (1958)Noir Alley:
The Bird with the Crystal Plumage (1970)TCM Underground:
The Dark Crystal (1982)Premieres:
The Pajama Game (1957)
All That Jazz (1979)
Formula of Love (1984)
Sword of the Beast (1965)
The Camels Are Coming (1934)
The Last Remake of Beau Geste (1977)
John Goldfarb, Please Come Home! (1965)
The Story of Molly X (1949)
Goodbye Charlie (1964)
The White Dove (1960)LP Exempt Premieres:
Damn Yankees (1958)
Charley's Aunt (1941)
Where’s Charley? (1952)Casting Exempt Premieres:
Michel Strogoff (1926)
Gypsies (1936)Host Exempt Premieres:
Striped Trip (1961)
Tiger of Bengal (1959)Year Distribution:
1920s - 5
1930s - 23
1940s - 12
1950s - 14
1960s - 19
1970s - 11
1980s - 6
1990s - 7
2000s - 1-
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SansFin's Schedule for January 13, 2019 to January 19, 2019
Challenge #1 - What If They Had 100 Years? - Vera Vasilyevna Kholodnaya 1893 - 1919 - Sunday Evening
Challenge #2 - Guest Host - Calvin of Calvin and Hobbes - Wednesday Evening
Challenge #3 - LP's Picks - One movie Sunday and two movies Saturday
SOTM - Ronald Colman - Tuesday Evening
Sunday, January 13th
Bob Fosse as Choreographer6:00 AM The Pajama Game (1957) Doris Day, John Raitt, Carol Haney. Dir: Stanley Donen. WB. 101 mins. Premiere # 1
7:45 AM Kiss Me Kate (1953) Kathryn Grayson, Howard Keel, Ann Miller. Dir: George Sidney. MGM. 109 mins.
9:45 AM My Sister Eileen (1955) Janet Leigh, Jack Lemmon, Betty Garrett. Dir: Richard Quine. Columbia. 108 mins. P/S
11:45 AM Cabaret (1972) Liza Minnelli, Michael York, Helmut Griem. Dir: Bob Fosse. Allied Artists. 124 mins. P/S
2:00 AM Damn Yankees (1958) Tab Hunter, Gwen Verdon, Ray Walston. Dir: Stanley Donen. WB. 111 mins. LP Exempt Premiere
4:00 PM All That Jazz (1979) Roy Scheider, Jessica Lange, Leland Palmer. Dir: Bob Fosse. Fox. 123 mins. Premiere # 2
6:15 PM Star 80 (1983) Mariel Hemingway, Eric Roberts, Cliff Robertson. Dir: Bob Fosse. Ladd. 103 mins. P/S
Challenge #1 - What If They Had 100 Years?
Vera Vasilyevna Kholodnaya - 1893 - 1919Movies In Which She Should Have Appeared:
Nathalie Kovanko's role as: Nadia Fedor
8:00 PM Michel Strogoff (1926) Ivan Mozzhukhin, Nathalie Kovanko, Acho Chakatouny. Dir: Viktor Tourjansky. Deulig Europa-Produktion. 168 mins. Casting Exempt PremiereMariya Sinelnikova's role as: Tira
11:00 PM Gypsies (1936) Alexander Granach, Nikolai Mordvinov, Mariya Sinelnikova. Dir: Moisei Goldblat. Mezhrabpomfilm. 85 mins. Casting Exempt PremiereImagined Movie In Which She Could Have Appeared as Lady Macbeth:
Silent Sunday Night:
12:30 AM Macbeth (1926) Pavel Baratov, Vera Kholodnaya, A. Platonov. Dir: Vladimir Gardin. Mirograf. 103 mins. Silent ExemptMovies In Which She Should Have Appeared:
TCM Imports:
Klavdiya Polovikova's role as: Nina Alexandrovna Ivolgina
2: 15 AM The Idiot (1958) Yuriy Yakovlev, Yuliya Borisova, Nikita Podgorny. Dir: Ivan Pyryev. Mosfilm. 122 mins. Import ExemptTatyana Pelttser's role as: Fedosya Ivanovna
4:30 AM Formula of Love (1984) Nodar Mgaloblishvili, Yelena Aminova, Aleksandr Abdulov. Dir: Mark Zakharov. Mosfilm. 90 mins. Premiere # 3
Monday, January 14th
Favorite Movies6:00 AM My Favorite Wife (1940) Irene Dunne, Cary Grant, Randolph Scott. Dir: Garson Kanin. RKO. 88 mins.
7:30 AM My Favorite Spy (1942) Kay Kyser, Ellen Drew, Jane Wyman. Dir: Tay Garnett. RKO. 86 mins.
9:00 AM My Favorite Blonde (1942) Bob Hope, Madeleine Carroll, Gale Sondergaard. Dir:Sidney Lanfield. Paramount. 78 mins. P/S
10:30 AM My Favorite Brunette (1947) Bob Hope, Dorothy Lamour, Peter Lorre. Dir: Elliott Nugent, Hope Ent, 87 mins. P/S
12:00 PM My Favorite Spy (1951) Bob Hope, Hedy Lamarr, Francis L. Sullivan. Dir: Norman Z. McLeod. Paramount. 93 mins. P/S
1:45 PM Man's Favorite Sport? (1964) Rock Hudson, Paula Prentiss, Maria Perschy. Dir: Howard Hawks. Gibraltar Prods. 120 mins. P/S
3:45 PM My Favorite Year (1982) Peter O'Toole, Mark Linn-Baker, Jessica Harper. Dir: Richard Benjamin. MGM. 92 mins. P/S
5:30 PM My Favorite Season (1993) Catherine Deneuve, Daniel Auteuil, Marthe Villalonga. Dir: André Téchiné. D.A. Films. 127 mins. P/S
7:45 PM A Trip Thru a Hollywood Studio (1935) William Ray, Arthur Aylesworth, Busby Berkeley. Dir: Ralph Staub. WB. 10 mins.
Faye Dunaway Birthday Tribute8:00 PM Eyes of Laura Mars (1978) Faye Dunaway, Tommy Lee Jones, Brad Dourif. Dir: Irvin Kershner. Columbia, 104 mins. P/S
9:45 PM The First Deadly Sin (1980) Frank Sinatra, Faye Dunaway, David Dukes. Dir: Brian G. Hutton. Artanis Prods. 112 mins. P/S
11:45 PM The Arrangement (1969) Kirk Douglas, Faye Dunaway, Deborah Kerr, Dir: Elia Kazan. Athena. 125 mins. P/S
2:00 AM Chinatown (1974) Jack Nicholson, Faye Dunaway, John Huston. Dir: Roman Polanski. Paramount, 130 mins., P/S
4:15 AM The Thomas Crown Affair (1968) Steve McQueen, Faye Dunaway, Paul Burke. Dir: Norman Jewison. UA, 102 mins., P/S
Tuesday, January 15th
"Tuesday" is "Tīw's Day." Tiw was the god of single combat.6:00 AM Spartacus (1960) Kirk Douglas, Laurence Olivier, Jean Simmons . Dir:Stanley Kubrick. Bryna Prods. 161 mins. P/S
8:45 AM King Solomon's Mines (1950) Deborah Kerr, Stewart Granger, Richard Carlson. Dir: Compton Bennett. 77 mins. P/S
10:15 AM Our Man Flint (1966) James Coburn, Lee J. Cobb, Gila Golan. Dir: Daniel Mann. Fox. 108 mins. P/S
12:15 PM Murderers' Row (1966) Dean Martin, Ann-Margret, Karl Malden. Dir: Henry Levin. Columbia. 105 mins. P/S
2:00 PM Sword of the Beast (1965) Mikijirô Hira, Gô Katô, Shima Iwashita. Dir: Hideo Gosha. Shôchiku Eiga. 85 mins. Premiere # 4
3:30 PM Lady Snowblood (1973) Meiko Kaji, Toshio Kurosawa, Masaaki Daimon. Dir: Toshiya Fujita. Toho. 97 mins. P/S
5:15 PM Seven Samurai (1954) Toshirô Mifune, Takashi Shimura, Keiko Tsushima. Dir:Akira Kurosawa. Toho. 158 mins. P/S
Star of the Month -- Ronald Colman
8:00 PM The Prisoner Of Zenda (1937) Ronald Colman, Douglas Fairbanks Jr, Madeleine Carroll. Dir: John Cromwell. Selznick International Pictures, 101 mins., P/S
9:45 PM If I Were King (1938) Ronald Colman, Basil Rathbone, Frances Dee. Dir: Frank Lloyd. Paramount, 100 mins., P/S
11:30 PM Raffles (1930) Ronald Colman, Kay Francis, David Torrence. Dir: George Fitzmaurice, SG, 72, P/S
12:45 AM Kismet (1944) Ronald Colman, Marlene Dietrich, James Craig. Dir: William Dieterle. MGM, 100mins.
2:30 AM A Tale Of Two Cities (1935) Ronald Colman, Elizabeth Allan, Edna May Oliver. Dir: Jack Conway, MGM, 126 mins.
4:45 AM The Devil to Pay! (1930) Ronald Colman, Loretta Young, Frederick Kerr. Dir: George Fitzmaurice. SG, 72 mins. P/S
Wednesday, January 16th
Humpday - The Day of the Camels6:00 AM The Camels Are Coming (1934) Jack Hulbert, Anna Lee, Hartley Power. Dir: Tim Whelan. Gainsborough. 79 mins. Premiere # 5
7:30 AM The Last Remake of Beau Geste (1977) Marty Feldman, Ann-Margret, Michael York. Dir:Marty Feldman. Universal. 85 mins. Premiere # 6
9:00 AM The Sheik (1921) Rudolph Valentino, Agnes Ayres, Ruth Miller. Dir: George Melford. Paramount. 86 mins. P/S
10:30 AM The Son of the Sheik (1926) Rudolph Valentino, Vilma Bánky, George Fawcett. Dir:George Fitzmaurice. Feature Prods. 68 mins. P/S
11:45 AM Gallipoli (1981) Mel Gibson, Mark Lee, Bill Kerr. Dir: Peter Weir. R&R Films. 110 mins. P/S
1:45 PM Arabian Nights (1942) Jon Hall, Maria Montez, Sabu. Dir: John Rawlins. Universal. 86 mins. P/S
3:15PM Road to Morocco (1942) Bing Crosby, Bob Hope, Dorothy Lamour. Dir:David Butler. Paramount. 82 mins. P/S
4:45 PM Abbott and Costello in the Foreign Legion (1950) Bud Abbott, Lou Costello, Patricia Medina. Dir:Charles Lamont. Universal. 80 mins. P/S
6:15 PM John Goldfarb, Please Come Home! (1965) Shirley MacLaine, Peter Ustinov, Richard Crenna. Dir: J. Lee Thompson. Fox. 96 mins. Premiere # 7
Challenge #2 - Guest Host - Calvin of Calvin and Hobbes8:00 PM Striped Trip (1961) Aleksey Gribov, Ivan Dmitriev, Margarita Nazarova. Dir: Vladimir Fetin. Lenfilm. 84 mins. Host Exempt Premiere
9:30 PM Sinbad and the Eye of the Tiger (1977) Patrick Wayne, Jane Seymour, Taryn Power. Dir: Sam Wanamaker. Columbia. 113 mins. P/S
11:30 PM Fang and Claw (1935) Frank Buck. Dir: Frank Buck. Van Beuren Studios. 73 mins. P/S
12:45 AM Tiger of Bengal (1959) Debra Paget, Paul Hubschmid, Walther Reyer. Dir: Fritz Lang. Rizzoli Film. 101 mins. Host Exempt Premiere
2:30 AM When Dinosaurs Ruled the Earth (1970) Victoria Vetri, Robin Hawdon, Patrick Allen. Dir: Val Guest. Hammer Films. 96 mins. P/S
4:15 AM Things to Come (1936) Raymond Massey, Edward Chapman, Ralph Richardson. Dir: William Cameron Menzies. London Film. 92 mins. P/S
Thursday, January 17th
Variable Movies6:00 AM Madame X (1966) Lana Turner, John Forsythe, Ricardo Montalban. Dir: David Lowell Rich. Universal. 100 mins. P/S
7:45 AM The Mystery of Mr. X (1934) Robert Montgomery, Elizabeth Allan, Lewis Stone. Dir: Edgar Selwyn. MGM. 84 mins.
9:15 AM Comrade X (1940) Clark Gable, Hedy Lamarr, Oskar Homolka. Dir: King Vidor. MGM. 104 mins.
11:00 AM The Divorce of Lady X (1938) Merle Oberon, Laurence Olivier, Binnie Barnes. Dir: Tim Whelan. London Film Prods. 91 mins. P/S
12:45 PM Doctor X (1932) Lionel Atwill, Fay Wray, Lee Tracy. Dir: Michael Curtiz. First National. 76 mins. P/S
2:15 PM The Return of Doctor X (1939) Humphrey Bogart, Rosemary Lane, Wayne Morris. Dir: Vincent Sherman. WB. 72 mins.
3:30 PM X: The Man with the X-Ray Eyes (1963) Ray Milland, Diana Van der Vlis, Harold J. Stone. Dir: Roger Corman. Alta Vista. 79 mins. P/S
5:00 PM The X from Outer Space (1967) Eiji Okada, Shun'ya Wazaki, Itoko Harada. Dir: Kazui Nihonmatsu. Shôchiku Eiga. 89 mins. P/S
6:30 PM The Story of Molly X (1949) June Havoc, John Russell, Dorothy Hart. Dir: Crane Wilbur. Universal. 82 mins. Premiere # 8
Cartoonists Are Almost Like Real People8:00 PM How to Murder Your Wife (1965) Jack Lemmon, Virna Lisi, Terry-Thomas. Dir:Richard Quine. Murder Inc. 118 mins. P/S
10 PM Piccadilly Jim (1936) Robert Montgomery, Frank Morgan, Madge Evans. Dir: Robert Z. Leonard. MGM. 95mins.
11:45 PM Marry the Girl (1937) Mary Boland, Frank McHugh, Hugh Herbert. Dir:William C. McGann. WB. 68 mins.
1:00 AM Ex-Lady (1933) Bette Davis, Gene Raymond, Frank McHugh. Dir: Robert Florey. WB 67 mins.
2:15 AM Theodora Goes Wild (1936) Irene Dunne, Melvyn Douglas, Thomas Mitchell. Dir: Richard Boleslawski. Columbia. 94 mins. P/S
4:00 AM Whisper of the Heart (1995) Yoko Honna, Issey Takahashi, Takashi Tachibana. Dir: Yoshifumi Kondô. Tokuma Shoten. 111 mins. P/S
Friday, January 18th
Black Friday6:00 AM Black Moon (1975) Cathryn Harrison, Therese Giehse, Alexandra Stewart. Dir: Louis Malle. NEF. 95 mins. P/S
7:45 AM Black Narcissus (1947) Deborah Kerr, David Farrar, Flora Robson. Dir: Michael Powell. Archers. 100 mins. P/S
9:30 AM Blood and Black Lace (1964) Cameron Mitchell, Eva Bartok, Thomas Reiner. Dir: Mario Bava. Emmepi Cinematografica. 88 mins. P/S
11:00 AM Black Orpheus (1959) Breno Mello, Marpessa Dawn, Lourdes de Oliveira. Dir: Marcel Camus. Dispat Films. 100 mins. P/S
12:45 PM Black Robe (1991) Lothaire Bluteau, Aden Young, Sandrine Holt. Dir: Bruce Beresford. Samson Prods. 101 mins. P/S
2:30 PM Black Girl (1966) Mbissine Thérèse Diop, Anne-Marie Jelinek, Robert Fontaine. Dir: Ousmane Sembene. Filmi Domirev. 65 mins. P/S
3:45 PM The Black Cat (1934) Boris Karloff, Bela Lugosi, David Manners. Dir:Edgar G. Ulmer. Universal. 65 mins. P/S
5:00 PM The Black Room (1935) Boris Karloff, Marian Marsh, Robert Allen. Dir:Roy William Neill. Columbia. 70 mins. P/S
6:15 PM The Black Orchid (1958) Sophia Loren, Anthony Quinn, Peter Mark Richman. Dir: Martin Ritt. Paramount. 96 mins. P/S
TCM Spotlight - Masters of Animation
This week: Hayao Miyazaki8:00 PM My Neighbor Totoro (1993) Dakota Fanning, Timothy Daly, Lea Salonga. Dir: Hayao Miyazaki. Studio Ghibli, 88 mins., P/S
9:30 PM Only Yesterday (1991) Miki Imai, Toshiro Yanagiba, Youko Honna. Dir: Isao Takahata. NTV. 118 mins. P/S
11:30 PM Princess Mononoke (1999) Yôji Matsuda, Yuriko Ishida, Yûko Tanaka. Dir: Hayao Miyazaki. NTV. 134 mins. P/S
1:45 AM Spirited Away (2002) Daveigh Chase, Suzanne Pleshette, Miyu Irino. Dir: Hayao Miyazaki. NTV. 125 mins. P/S
4:00 AM Pom Poko (1994) Shinchô Kokontei, Makoto Nonomura, Yuriko Ishida. Dir: Isao Takahata. NTV. 119 mins.
Saturday, January 19th
A Day for Charles6:00 AM Goodbye Charlie (1964) Tony Curtis, Debbie Reynolds, Pat Boone. Dir: Vincente Minnelli. Venice Prods. 116 mins. Premiere # 9
8:00 AM Charley's Aunt (1941) Jack Benny, Kay Francis, James Ellison. Dir: Archie Mayo. FOX. 80 mins. LP Exempt Premiere
9:30 AM Where’s Charley? (1952) Ray Bolger, Allyn Ann McLerie, Robert Shackleton. Dir: David Butler. WB. 97 mins. LP Exempt Premiere
11:15 AM Dance Charlie Dance (1937) Stuart Erwin, Jean Muir, Glenda Farrell. Dir: Frank McDonald. WB. 64 mins.
12:30 PM Hurry, Charlie, Hurry (1941) Leon Errol, Mildred Coles, Kenneth Howell. Dir: Charles E. Roberts. RKO. 65 mins.
1:45 PM Good Time Charley (1927) Warner Oland, Helene Costello, Clyde Cook. Dir: Michael Curtiz. WB. 70 mins.
3:00 PM Charlie Chan in Egypt (1935) Warner Oland, Pat Paterson, Thomas Beck. Dir: Louis King. Fox. 73 mins. P/S
4:15 PM Charly (1968) Cliff Robertson, Claire Bloom, Lilia Skala. Dir: Ralph Nelson. Selmur Prods. 103 mins. P/S
6:00 PM Charley Varrick (1973) Walter Matthau, Joe Don Baker, Felicia Farr. Dir: Don Siegel. Universal. 111 mins. P/S
An Evening For The BirdsTCM Essentials:
8:00 PM The White Dove (1960) Katerina Irmanovová, Karel Smyczek, Gustav Püttjer. Dir: Frantisek Vlácil. Filmové. 76 mins. Premiere # 109:30 PM The Penguin Pool Murder (1932) Edna May Oliver, Robert Armstrong, James Gleason. Dir: George Archainbaud. RKO. 70 mins.
10:45 PM The Giant Claw (1957)Jeff Morrow, Mara Corday, Morris Ankrum. Dir: Fred F. Sears. Clover. 75 mins. P/S
Noir Alley:
12:00 AM The Bird with the Crystal Plumage (1970) Tony Musante, Suzy Kendall, Enrico Maria Salerno, Dir: Dario Argento. Seda Spettacoli. 98 mins. Noir ExemptTCM Underground:
1:45 AM The Dark Crystal (1982) Jim Henson, Kathryn Mullen, Frank Oz. Dir: Jim Henson. ITC. 93 mins. Underground Exempt3:40 AM Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes (1965) Stuart Whitman, Sarah Miles, James Fox. Dir: Ken Annakin. Fox. 138 mins. P/S
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7 hours ago, jamesjazzguitar said:
The only thing I can add is that I try not to use the term 'remake' but instead new adaptation. E.g. in your first sentence I would have said "that every great original source material (book, play, original screenplay) should be adapted within each generation'.
I accept the correction. How the source material is re-presented is perhaps the most important element.
I am sure that a great number of hairs can be split over what constitutes "original screenplay". What if the first script was rejected and a complete rewrite is done? Which is the original? What about rewrites done during filming?
I also will note that there may be some exceptions. Rough Cut (1980) was based on the 1975 novel: Touch the Lion's Paw by Derek Lambert. The novel is insipid, mediocre and would bore the most avid mystery/caper enthusiast. Only the most basic framework of the heist and the lack of lively dialogue were retained when creating the movie. The novel does not deserve a new movie be made from it. The movie does deserve a remake.
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On 8/20/2018 at 3:48 PM, GGGGerald said:
It seems anytime a good film from the classic era is compared to a remake, its solely to rip the new film and praise the old one. Its very predictable and boring frankly. If they made the second identical to the first, there would be no reason to watch. They make changes and every change is bad because its not like the original. Its like fishing in a bucket.
I enjoyed both films. I don't compare and contrast. I just try to enjoy the show.
I know that I am in the minority in believing that every great movie should be remade within each generation. This showcases changing social values and evolving social landscapes. It also can highlight how advancements in technology can change how a story is told. I feel that: A Story of Floating Weeds (1934) and Floating Weeds (1959) is an excellent example of this.
I would like to think that I judge each movie on its own merits and then try to assess differences with an open mind. I understand that this is particularly difficult when one movie is loved much and the expectations for the remake are high.
That was not the situation in this particular case because I knew in advance that the remake would not be as spectacular because the male lead is simply a prettyboy in contrast to a real man. My expectations were therefore low. I was hoping it would at least be competent as I love heist films.
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On 8/20/2018 at 3:33 PM, Dargo said:
LOL
Boy Sans, you JUST have never liked Rene Russo, have ya!
(...but yeah, in this case, I have a tendency to agree with ya about Russo's more "overt" take on Dunaway's original more "subtle" approach to the role)
There are many actors who are not to my taste. I find it interesting that some have roles which I absolutely love them playing and can not envision any other actor being better in the role. Rene Russo is not one of these.
The script defined the character as a cheap hooker. Selecting her for the role was knee-jerk typecasting.
I feel the flaw is primarily in the script, the direction, and the casting. I believe the screenwriter of the remake missed an essential point in the original movie. The original had them being loose cannons within the upper-class. The remake presents it as a clash of lower-class and upper-class. This loses the complexity of a shared world and forces bland stereotypes.
I place some blame on casting only because I feel the script calls for the character to be of at least average intelligence. I have seen this actor in other roles and have never seen her bring the 'presence' which indicates a three-digit IQ. I find it difficult to believe that every script and every director has demanded she portray a dullard.
I find Dunaway's role far more complex and interesting. It also was very much of its time. A sophisticated and elegant woman taking full responsibility for her sexuality depicted a stage in the evolution of the 'free love' movement. She was libertarian without being a libertine. It could not have been an easy role to play as it relied primarily on nuances.
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On 8/13/2018 at 11:32 PM, LonesomePolecat said:
You're good, just 2 movies short. Just schedule 2 more movies you wish she could have performed in to follow the other Imports and you're fine.
Thank you for your kind reply. I did fear that splitting the four movies into two sets of two with an intermission of two movies in which she appeared between the sets might violate the spirit of showing the four movies in a single block. I believe that I might be best served by removing the Silent Sunday Night movies scheduled and finding two silent movies in which she might have appeared had she not been murdered.
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On 7/27/2018 at 1:36 PM, sewhite2000 said:
The female lead is a cheap hooker? I don't think we watched the same movie. Perhaps you don't mean that literally, but because she offered herself to Brosnan too easily?
She is dressed more appropriately for a street corner than for a fine arts museum when she first appears. She is rude and uncouth and vamps her way through every scene. She does not respect any of society's refinements as exemplified by her appearance at the black-and-white ball. She uses brute force instead of the original's finesse. She is quick to make a scene when she believes that she does not have exclusive rights to him. It is obvious that she was playing above herself when she took the role of a character of normal intelligence.
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I am sorry to say that I must ask a small clarification and/or a pre-ruling before I work more on my schedule.
I had a few hours open this evening and so began working on the first challenge. It should be obvious to all who know me that I must chose: Vera Kholodnaya as she was greatest actress in silent movies and was murdered by the French when she was only twenty-five years of age.
The first four movies which came to my mind fit perfectly in Sunday evening from 8:00 PM to 6:00 AM with two of her movies filling from 12:30 AM to 2:15 AM as Silent Sunday Night feature.
It was as I finalized this in my word processor that I realize that it is not in strict adherence to the rules. The Challenge rule states: ". . . your challenge is to schedule a minimum of 4 films in a block anywhere in your schedule . . .." I am sad to say that I do not have a block. I have two movies in which I wish she had performed and then two movies in which she did perform and then two more movies in which I wish she had performed.
Is this at all permissible or should I recycle the electrons I used to compose this first evening?
What I have is:
8:00 PM Nathalie Kovanko's role as: Nadia Fedor in: Michel Strogoff (1926)
11:00 PM Mariya Sinelnikova's role as: Tira in: Gypsies (1936)
Silent Sunday Night:
12:30 AM Azra (1919) in which she appeared.1:30 AM Be Silent, My Sorrow, Be Silent (1918) in which she appeared.
TCM Imports:
2: 15 AM Klavdiya Polovikova's role as: Nina Alexandrovna Ivolgina in: The Idiot (1958)4:30 AM Tatyana Pelttser's role as: Fedosya Ivanovna in: Formula of Love (1984) I realize that she would have been ninety years of age at time of filming but the role is minimal and I can quite clearly picture her as remaining feisty at that age.
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It is my understanding that the 'trick' to tearing a telephone directory or a deck of cards is half is to bend them sharply to separate the layers and then beginning the tear at an angle so that you are in effect starting the tear in each page or card individually.
https://www.youtube.com/watch?v=QR2OaAW4mZc
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Lucy Russell, Susannah Corbett, Maisie Williams
All excel at roles of humourless, demanding narcissists with little regard for authority.
( a neighbor of mine calls it "carrot and stick" marketing. 
I love everything about this! Calvin and Hobbes would be amazing Guest Programmers, love the Bob Fosse Day, the Miyazaki section, and all of it! Ronald Coleman is one of my Classic Hollywood crushes. 
Washington Post's Best Dance Scenes in Movies
in General Discussions
Posted
My favorite tribute to that dance scene is this: