AndyM108

> {quote:title=heuriger wrote:}{quote} > > . I would not be averse to seeing films like Deer Hunter, Dog DayAfternoon, Serpico, Sophie's Choice or Mean Streets on TCM. > All those films have been shown on TCM ! And the only reason that The Panic In Needle Park hasn't shown up on TCM is that Fox has kept it exclusive to the FMC. What yogiboo needs to do is just stick around for awhile. He'll be finding many pleasant surprises that he thought he'd never see with each passing month. That's certainly still the case with me, and I've been following TCM like a hawk for nearly four years now. Just look at the Truffaut retrospective this month, or the one for Hitchcock (with 6 of his newly re-released silents) in September. It's not as if all we're getting are endless loops of Splendor in the Grass and Lawrence of Arabia, even if at times it may seem that way.

> {quote:title=finance wrote:}{quote}I think a lot of people are scratching their heads about how Bogart made it to become the AFI #1 most legendary actor ever. At first I thought it was ballot stuffing by people who only know the sort of classic movies that get shown on PBS and TCM prime time, and voted for Bogart solely on Casablanca, The Maltese Falcon, and The African Queen. But then I saw that the voting was limited to 1,500 "artists, critics, and film historians", and now I'm not so sure. Right now I'd barely put Bogie in my top 10, if that, but before I started getting into TCM's full repertory and not just the same old same old, I probably would have listed him as #1 myself. It takes awhile before you realize that the world of film doesn't begin and end with the AFI top 100.

> {quote:title=helenbaby wrote:}{quote}Wow, I can't believe they're showing I An Curious (Yellow). It had quite the risque rep when I was a kid. Risque rep, yeah, but it delivered the goods about as well as the Chicago Cubs. The universal reaction in Washington when it was finally shown after all the buildup was: *"THIS is what the fuss was all about??!!"* Seriously, if anyone out there hasn't seen this movie, pack a snooze alarm before you begin watching.

{font:arial, helvetica, sans-serif}*Andy, do you feel so honor-bound to sit through credits? Even in LA, I see folks get up and leave, and only a handful left in the theater to see the names of the crew go by.*{font} Not really, it's more that that endless scroll conflicts with my archivist's instinct when I'm recording a movie. The archivist in me insists on recording every last credit, but waiting for that final credit to disappear is like waiting for a video to upload if you have a dialup internet connection. But you're right, when I'm in a movie theater I leave as soon as the cast credits are shown. I may be an archivist, but I'm not a masochist.

Good work as always, Calvin. Hard to know which are the TCM premieres, but I do note that for the first time in a long time we're getting Nightmare Alley, which to noir buffs is easily Tyrone Power's greatest role. And I see it's even showing twice. The Fox Movie Channel revives it fairly often, but I can't remember the last time I've seen it on TCM.

I agree with everything you're saying about the importance of unions in the film industry, but I still wish they'd can all those credit lines at the end of the movie, since they're largely there for vanity purposes only. The model for movie beginnings should be the Warner Brothers films of the early 30's: The studio logo, the title, brief clips of the half dozen or so leading players with their names under them ("James Cagney as Tom Powers", with a wink and a grin), the producer, the director, and then proceed to the film. And at the end? "THE END". Period. The only exception should be when the movie is based on an actual historical event and they want to give "updates" as to what later happened to the characters in real life. If they have to list the names of every 24th assistant hair stylist to the 10th member of the cast, let them revive the lost art of the souvenir movie program and devote several pages to listing everyone involved in the production. That way the 24th assistant hair stylist to the 10th member of the cast would have something to show off to his friends that wouldn't require a two hour prelude before it gets to his name.

There are probably a lot of us who are frustrated classic film critic/historians, just as on sports forums there are a lot of frustrated baseball managers. What of it? Speaking for myself, I've always found TomJH's posts to be among the most informative offerings around here, and I hope he continues them. I'd sure rather read his takes on Bogart/Cagney/Robinson than some mindless diatribe against foreign movies or films made after 1965.

Glad to see that for one of the first times in my life, my taste agrees with a big time movie critic. I'm *really* looking forward to seeing Mississippi Mermaid again, as along with The 400 Blows it's my favorite of all the Truffauts. I didn't mind the ending at all, since the entire plot was so entertainingly farfetched to begin with that a little strangeness at the end didn't seem all that out of line with the rest of the movie. Obviously just one person's opinion.

The Falcon series is an ongoing delight, and I like the fact that "Tom Conway" inherited the lead role from his brother George Sanders. OTOH I think I've just watched what may be *the* most excruciatingly awful movie ever shown on TCM: That John Gilbert lead balloon called Redemption. The only question is which part of it sunk to the bottom of the ocean the fastest: The "plot", the "acting" (?), or the "authentic" gypsy music, which was highlighted that old gypsy classic Hava Nagila! It was a real triple threat all the way. But what really makes Redemption special in its unintentional hilarity was that it's *a 1930 movie set in Russia,* with no indication that the time being depicted was pre-1917. Right, I'm sure that Stalin was cool with bands of roving gypsies being spontaneously dropped in upon by western tourists! That's exactly how the Gay-Pay-Oo did it back then!

If it's any consolation, Laura pops up on the Fox Movie Channel every year or two, and when it does, they're liable to show it 10 times in the space of a few months. The FMC is like the little girl with the curl, either very, very good (when they show off their splendid collection of noirs) or very, very bad (all other times).

*{font:arial, helvetica, sans-serif}The other thing that I love about Footlight Parade, as well as the likes of 42nd Street and Gold Diggers of 1933, is the street wise quality to a lot of the dialogue. These are truly Warners films, with those cynical wise cracks thrown into the midst. You're never going to hear this kind of dialogue in a musical from MGM or Paramount. And sometimes the lines are downright clever. {font}* *{font:arial, helvetica, sans-serif}Is there anyone who doesn't love that moment in which loyal secretary Joan Blondell escorts beautiful but snooty Claire Dodd (who's been trying to take advantage of the, in this film, female naive Cagney) to the door. Blondell opens the door and gives Dodd a quick boot in the behind with the memorable line, "So long, Countess. As long as they are sidewalks, YOU'VE got a job!"{font}* Much as I love Joan Blondell, and that line in Footlight Parade, there's never been any line in a musical that topped the comeback of "Anytime Annie" (Ginger Rogers) in 42nd Street: *"MUST HAVE BEEN TOUGH ON YOUR MOTHER, NOT HAVING ANY CHILDREN..."*

I still can't believe George Sanders has never had SOTM honors, but it's hard to argue against Vincent Price, especially in October. And maybe one of these years, we'll finally get Bela Lugosi's Dracula. Whatever is the problem with the rights to that film, anyway? When I was growing up you'd always see it paired with Frankenstein in the rep houses, and shown over and over on TV's Shock Theatre. And yet I can't remember seeing it on TCM for God knows how many years.

> {quote:title=willbefree25 wrote:}{quote}Sorry, missw! Oh no no no, not blush worthy. > > I'm showing my age (whoa, it's not even on Wiki!). SAAM was used in the 1960s or 1970s, I can't remember which. It was the quotient by which we judged how 'hot' a guy was, iow: > > *SAAM = Sex Appeal, Animal Magnetism* > > Robinson has zero, Bogey and Cagney have lots, Grant is almost off the charts, and William (YMMV) is off the charts. > > YMMV = Your Mileage May Vary > > If all SAAM means is "Animal Magnetism", what's wrong with just saying good old-fashioned *"Kavorka"* ? Everyone knows what that means. 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!

> {quote:title=hlywdkjk wrote:}{quote}I think of only one film for Washington D.C. - *Born Yesterday*. > The city and its landmarks even play a role in the film. > "This place is prettier than the Music Hall. And it smells so nice!" - Billie Dawn > (or something to that effect) > > Kyle In Hollywood For *political* Washington DC, I'd go with Gabriel Over The White House for its melodramatic evocation of the mood in the Capital during the depths of the Depression. But *local* Washington awaits a screen adaptation of Edward P. Jones' Lost in the City, which being short stories would have to be made along the lines of Harvey Keitel's Brooklyn-based Blue in the Face and Smoke. It's rather amazing that after all these years there's still never been a first rate movie about Washington that isn't centered on national politics. The closest try is probably The More The Merrier, but even there the real Washington, DC barely makes an entrance.

The 400 Blows is definitely the best of the five that were shown on Friday, and may be the best Truffaut film, period. But other than that, the best of the rest are coming up in future weeks. In particular, if anyone hasn't seen Mississippi Mermaid or The Bride Wore Black, then this upcoming week you should circle your calendars in red. What makes these two special are the extraordinary performances of Catherine Deneuve and Jeanne Moreau. There are plenty of other great Truffauts, but those are the two that seem to show up here the least.

Funny how I've gotten to *like* all three of these giants more and more as time goes by, while at the same time I'm less and less thrilled with most of their movies. Too much exposure, I guess, but when I think of my 100 favorite films I have a hard time coming up with any of theirs that would be in the top 50 or even 75. But if I lost my memory and had to start from scratch, I'm sure my enthusiasm for their films would be quickly revived, beginning with The Public Enemy, Little Caesar, and probably High Sierra or Treasure of the Sierra Madre. It's also mildly ironic that while Cagney is the most clearly virile of the trio, it was only Bogart who's remembered for his romantic roles. When I think of Cagney and women I'm more likely to think of grapefruits than of Paris. As for choosing among them, it's impossible, since their screen personae were all so dynamic and just plain interesting. Robinson was the most versatile, Cagney the most energetic, and Bogart the most likely to play a complex character. But if I had to choose one of their repertories to take onto a desert island, I'd probably go with Robinson's, if for no other reason that I'd probably have more surprises in store.

> {quote:title=TheCid wrote:}{quote}Hope they add an indicator which shows when a movie is in a foreign language. Me, too. Why, those furrin movies are positively Un-American! And who knows what they're "really" saying in those funny languages of theirs, I'll bet it's about Communism!

I just came upon this thread for the first time, and my first reaction to that initial picture was that it reminded me of Edie The Egg Woman ("I just love my little eggies") in Pink Flamingos.

Much as I still loved The 400 Blows the third time around, I have to say that my first exposure to Antoine and Colette was about as depressing a movie experience as I've had in a very, very long time. Unrequited young love is never easy to watch, but it's never been quite so achingly depicted as it was in this brief 31 minute sequel to the first movie. Did anyone else have this same reaction?

> {quote:title=Darb wrote:}{quote}You missed "Yankee Doodle Dandy" and the Americana musicals? > > You're right. TCM is waging a war on the 4th of July. Be sure to contact Fox News.... And don't forget FreeRepublic.com!

Fred, Good question. But since depicting historical reality as accurately as possible means more to me than maximizing box office returns, I'd stick to the demographics described by Steinbeck that were reflective of that reality. The westward trek in The Grapes of Wrath was an Okie migration. No escaping that. I'd *also* love to see Spielberg try to make *another* movie along the lines of El Norte, and perhaps to make yet another one (hey, it's not my money!) on the Great Migration of African Americans to the North in the aftermath of the first World War. But those would be different movies about different migrations. The one Steinbeck wrote about was about the Dust Bowl migration of the Okies, not the northward migrations of Mexicans or African Americans, and I'd hope this would be how he'd portray it. And yes, since the rest of the groups depicted were also likely to have been Anglos, the movie should reflect that reality as well. My personal bottom line is that truth is usually much more interesting than focus-group driven fiction. Hope that answers your question, if not the question of the marketers.

Damn, reading about those TCM writeups in the LA Times makes me sadly realize just how provincial The Washington Post is. It's as if movies don't exist in our backwater city if they weren't released in the past 2 months or unless they're in the AFI Top 100. But I'm sure that if TCM ever kicked the bucket that the Post would give it a *very* sincere obiturary.

> {quote:title=misswonderly wrote:}{quote}So, nobody excited about Truffaut Friday nights? Are you kidding?? IMO it's easily the highlight of the year to date. I'm especially looking forward to my favorite, Mississippi Mermaid, a terrific Belmondo / Deneuve thriller with a million plot twists. OTOH I do wish that TCM would also consider a similar tribute to Eric Rohmer, maybe a SUTS day centered on his "Comedies & Proverbs" and "4 Seasons" series. Rohmer's completely unlike any other director I've ever seen, but the more I get into his films, especially those from the 80's and 90's, the more I've become addicted both to his style and to the recognizable character types he presents. He and Truffaut are both considered "New Wave", but there's not much that Truffaut's most well known movies have in common with Rohmer's. They're both great directors but in different ways.

Most remakes may not be up to the original, but there are certainly some notable exceptions. Much as I love the Constance Bennett and Jaynet Gaynor versions of A Star Is Born, I'm certainly glad that they let Judy Garland give the performance of her life in topping both of them. It *can* be done. B-)

Count me as one who'd be looking forward to a remake. Of course about 95% of the films attempting to depict the past inevitably blow it ( the nadir being reached in Mississippi Burning ), but at the very worst it'll be worth seeing 50 years down the road as an example of how early 21st century Hollywood viewed the Okie migration. And who knows (sacrilege alert), it might even be an improvement over the original, which IMO is a bit overrated to begin with. If nothing else, a non-Breen version might even give us an idea of what some of the language back then was really like, which if done naturally and not forced would add a bit of realism to the story.