AndyM108
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Posts posted by AndyM108
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Thanks, Thelma. Usually I don't have any problems with Firefox, but with Chrome I often wind up with everything yellow-highlighted, at least in the preview. The irony is that in that last message, the problem corrected itself in my edited draft, but I decided to leave well enough alone rather than jinx it by noting the final correction.
The even more annoying problem with Chrome is that every time I start to compose a new paragraph, the screen jumps up to the top of the message and I have to keep scrolling down. That's why this is being composed in Firefox.
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> {quote:title=Dargo2 wrote:}{quote}I have to say I'm really not all that big into Musicals myself, Eugenia, but the funny thing is almost every single time "Singin' in the Rain" comes on TCM, and no matter if I happen across it at any point of its showing, I am suddenly captivated by the thing and very often end up watching the rest of it.
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> It's just perfection, that's all. And by the end of it I get this almost overwhelming feeling of pride in the human spirit that there were people in the world that could reach such heights in comedy, dance and the musical arts and mix it all together to make that concoction.
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> (...and gettin' to watch Cyd Charisse throwing those long luscious legs around yet again is always an added bonus TOO, ya know!)
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I have to admit that there are about 10 musicals I absolutely love, including Singing In The Rain, but mainly those 3 classic Berkeleys from 1933. I pray to Buddha in the Joss House that those films will always be with us, and I could probably watch Cagney and Keeler performing "Shanghai Lil" in an endless loop for 24 hours and still never get sick of it. To me that song is *the* cinematic highlight of the 1930's.
And the Garland version of A Star Is Born at one point was my favorite Hollywood movie. But God, 90% of the rest of that genre makes me want to borrow one of John Wayne's six-shooters and go to work.
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If Paula Deen was so genuinely dense that she couldn't realize that her words were going to come back to bite her where the Sun don't shine, she deserved to be fired on the grounds of sheer stupidity. Like 90% of the country that was born when she was, she may have *"grown up"* around the n-word,* but you'd think that after all those years she might have learned to *grow out of it.* This has about as much to do with "political correctness" as a requirement that chefs wash their hands before using the bathroom.
*I grew up on the upper west side of New York City and in the upper NW Washington, DC, and became familiar with that word by the time I was in kindergarten, and was exposed to it continuously for the next 20 years. It's not as if its use was confined to the South.
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*Every movie carries a message, unless it's without story. If you imagine you're ignoring it, it's just a delusion on your part.*
No kidding. Do people think that the studios weren't trying to send a "message" of *"Don't worry, be happy, give us your money"* with all those Depression musicals?
Do all those contrived last reel marriages in 80% of the first 30 years of the sound era not contain a "message" about the One True Road to happiness?
Was there ever a John Wayne movie without a message?
And does anyone think that many of the movies of the late 60's / mid-70's weren't trying to send a "message" that the younger generation was morally superior to its benighted elders? Three gue$$e$ what was behind that.
The idea that only overtly political movies are trying to send a "message" is little more than a charming delusion. The real beef usually seems to be that we simply don't like the nature of the message.
EDIT: I've given up trying to format the text using Google Chrome. One of these days I'll learn my lesson and stick exclusively to Firefox. Apologies for the ridiculous appearance.
Edited by: AndyM108 on Jun 23, 2013 3:53 PM
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All this applies only to the type of movies liable to show up on TCM.
First, have I seen it before? Unless it's a particularly great movie I haven't seen for awhile, that eliminates it for anything but maybe a backup recording.
Then I look at the plot summary and the genre, eliminating all juveniles, "swashbucklers", "historical" or "costume" dramas, and 90% of westerns, "adventure" movies, and musicals. If it's not in one of those categories and I haven't seen it before, I'll always give it a shot, especially if the movie is staged in a contemporary urban setting, and even more if it's got any of my favorite character actors in it.
And if it's a movie I haven't seen before featuring a favorite actor or actress, unless it's in one of those no-no genres I'll circle it for attention. And with Barbara Stanwyck, I'll even sit through her westerns once, just in case there's another movie like The Violent Men lurking out there to surprise me.
When I first stuck the old TCM needle into my arm, all this meant I was watching or recording up to 120 movies a month, the high point being when Bogart was SOTM just 3 months after I signed on. Talk about a kid in a candy store. But even now, I still average between 30 and 50 movies a month, and the quality hasn't diminished in the least.
And the bottom line is always: When a movie is in doubt, give it the benefit of that doubt. You can always erase it or throw it out later.
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> {quote:title=darkblue wrote:}{quote}'Pig' was used a great deal back in my high school days - the sixties. Rather than '****', 'pig' was the term of choice for an "easy" chick.
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> In subsequent years the term underwent a gender transference, becoming attached to cops and chauvinists, and so was dropped as a term for females. Only a few of us baby boom dinosaurs would remember when it was applied to chicks.
I guess it probably just varied by region or even by school. I'm a war baby (b.1944) and only remember the word being applied to policemen and other assorted boogeymen of the late 60's and 70's. I could fill a small book with the euphemisms that I heard used for girls and women before that, but "pig" wouldn't be one of them.
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Just finished Guns, Girls and Gangsters and Vice Raid, which were the only two I recorded. Both of them were the textbook embodiments of the classic B-movie, and I loved them. Brad Dexter has got to be one of the creepiest babyfaced gangsters I've ever seen, with a sinister smile that could have been well employed as Stalin show trial prosecutor.
One curious detail from Vice Raid I've never seen either in any other movie, or heard in real life, was when Richard Coogan kept calling Mamie Van Doren a "pig". I've heard women referred to by just about every other species in the animal kingdom, but I can't even remember that one from Junior High School.
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> {quote:title=jamesjazzguitar wrote:}{quote}What about all the gritty movies Warner Bros released from 35 - 42? Ok, I can understand the lack of interest in MGM movies from that period as it relates to the Dream Factory. I have a similar POV there, but studios like WB and RKO made many movies during that period that where gritty, socially relevant and not full of over the top glamour (like MGM).
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> Also what about the Universal horror movies? (granted the best ones where released prior to 35).
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> Edited by: jamesjazzguitar on Jun 22, 2013 4:18 PM
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Again, it's all relative. I *love* movies like Marked Woman and The Roaring Twenties and High Sierra, but I don't think they can compare in numbers or in impact to pre-coders like Heroes For Sale, I Am A Fugitive From a Chain Gang, The Story of Temple Drake, Baby Face, Wild Boys of the Road, Red Headed Woman, etc., etc. And after the war, films like White Heat, Kiss of Death, Nightmare Alley, The Killers, Out of the Past, and so on, were both way more numerous and (IMO) just plain better than most all of their 1935-45 counterparts.
And that's not even getting into the non-noir postwar dramas like The Best Years of Our Lives, Homecoming, Three Came Home, All My Sons, and The Lady Eve, or the great foreign films that flooded us beginning with Open City and Children of Paradise. To me the postwar decade was truly the Golden Age of realistic drama, and that's the category I'm always looking for. Again, I fully admit my biases.
The Universal horrors? To be honest, I haven't seen enough of them to form any definite opinion. The only "horror" movie from that specific genre that I'd put anywhere near the top of my overall list would be Night of the Living Dead, since that was the only one I can remember that actually made me jump out of my seat. I guess I'd add some Lon Chaneys to that, but I don't consider them horror movies in the same sense of Dracula, Frankenstein, etc.
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> {quote:title=Dargo2 wrote:}{quote}Yep VP, I agree. And let us not forget the genre of the Swashbuckler made during those years, also. The greatest and most spectacular among them, and most likely the best ever made being:
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> "Captain Blood" (1935)
> "The Prisoner of Zenda" (1937)
> "The Adventures of Robin Hood"(1938)
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> (...and I could probably think of a few more, given time)
That only shows just how much subjectivity there is in all of this. Some people can't sit through silents or foreign movies, and you couldn't pay me enough to sit through any "swashbuckler" or historical "costume" drama. The very word "swashbuckler" makes me instantly roll my eyes, sort of like "perky", "steamy" or "quirky".
But all this means is: Different strokes for different folks, and the glory of TCM is that it gives all of us opinionated curmudgeons plenty to love.
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> {quote:title=VP19 wrote:}{quote}
> > {quote:title=AndyM108 wrote:}{quote}
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> > Overrated: The mid-30's through the mid-40's. Great for screwballs and romantic comedies; not so great for anything else; way too much censorship and way too many noble priests
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> > Way too broad a brush. There were plenty of great films made from 1935 to 1941 beyond the screwball/romantic comedy genre, and other genres began to come into their own (e.g., westerns with "Stagecoach," the beginnings of noir with "High Sierra" and the '41 "The Maltese Falcon," plus "Kane," of course). It really wasn't until after Pearl Harbor that movies began to reek of sanctimony.
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Well, it was supposed to be a broad brush, and obviously it's a subjective one. Whenever I record a movie I give it a quick rating on a 1-10 scale, and I gave multiple times as many 10's to the postwar decade's films (domestic and foreign) than I did to those from 1935-45. Plenty of exceptions, sure, but in terms of numbers of the type of movies I like the best, the pre-codes and the postwars overwhelm the period in between in every category but screwballs and romantic comedies.
But again, I wholly concede my subjectivity, and in particular my preference for the grittier stuff embodied in pre-codes, noirs, and neo-realism over the "Dream Factory" product that dominated so much of the later 30's and early 40's. Not that I don't love lots of movies from 1935-45, it's just that there are relatively few of them that I'd put in my all-time top 100 list of worldwide films, especially if you eliminate the noirs from 1942-45.
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Thelma, good point about the 30's being the showcase of the studio system. To me a feature of that was that each studio put a distinctive brand on its product, and once you crack the code (which isn't that hard to do), you can see "the 30's" presented from a wide variety of perspectives, even if all of the post-Breen films were all shoehorned into a rigidly prescribed moral formula.
*NO, NO, NO!!!*
You mention The Three Stooges as your reference point for cultural contrast. For me there are two distinctive hallmarks of 30's and 40's movies that never cease to remind me that we live in a different world:
Even the most lowlife gangsters *ALWAYS* sport a coat and tie. This appears to have been mandated by Article III, Section C, Paragraph 6 of the infamous Criminal Code, amended in 1947 to allow Richard Widmark to wear a light colored tie on a midnight blue shirt.
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!
And no matter whether it's Friday night or Sunday morning, whether it's in Times Square or Washington Heights, *EVERY* single driver in New York City *ALWAYS* finds a parking space right in front of his destination. This was definitely not the case by the time that Seinfeld came along!
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!
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To me 30's films are historical artifacts- they freeze a distant moment in time. Viewing them is the closest you will ever get to time travel. They are a time machine.
Whatever the quality of the script, direction, acting etc., you are getting a glimpse of a bygone era as revealed in: clothes, music, decor, cars, fashion, mores and zeitgeist. These are the elements that can't be duplicated. Of course some modern films can cleverly duplicate the era by trotting out a few old cars, dolling up the women in period clothes etc. but the result is NEVER a 1930's film. It's a modern film creating a 30's atmosphere.
I completely agree, but why wouldn't all of what you've written be just as true for the movies of any other decade?
Films set in their own time period are always going to be reflective of the fashions and mores of that period, at least among the particular group or sub-group that's being portrayed. Sometimes we forget that many TCM viewers don't have to go back to the movies of the 30's to get a glimpse of what to them are strange and exotic times. For some of them who've only been in New York City since the dawn of the 21st century, Al Pacino's The Panic In Needle Park might be every bit as revelatory to them as any film of the 1930's.
I have always appreciated old films for the contrast they present with contemporary culture in the styles of the time. I never have appreciated films from purely a film school perspective, or from the standpoint of critics. I can enjoy "bad" films from that era. Show me a period gown, show me a Duesenberg car, show me the art deco sets and let me hear the incredible period music played by a studio orchestra- and I feel my time has been well spent. It all boils down to those who can appreciate the historical context and style of the time, vs. those who are oblivious to it.
Very well put, Thelma. It's been said that the past is a foreign country, and with this in mind, has there ever been a better travel guide than TCM?
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The following commentary is brought to you by OpinionsRUs B-)
To me there've been three or four peak periods of movies.
1. The silent era
2. The early sound era (pre-Breen code)
3. The iconic noir era (~1944-1958), which also had some of the best non-crime drama movies ever made, which in turn made up for too many musicals and too many westerns
4. The separate but related era of foreign films from Italian neo-realism to the French New Wave.
Overrated: The mid-30's through the mid-40's. Great for screwballs and romantic comedies; not so great for anything else; way too much censorship and way too many noble priests
Overrated: The Pauline Kael era (mid-60's - late 70's) Too much generational narcisscism and too many mawkish musical soundtracks.
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Stephan, I just PM'd you. Check your messages.
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> {quote:title=TopBilled wrote:}{quote}Interesting thread and welcome to the Message Boards!
>
> Even the 1930s had a few clunkers (every decade does)...but I agree that it is not so easy to find really well-made modern-day classic films. It is everyone's loss.
>
> Sometimes when I watch something like IF WINTER COMES (which aired on TCM yesterday), I think why can't today's studios make something like this now? Do the studio execs and producers really believe that a simple, straightforward story about love and war with mature performances and finely crafted characterizations will not sell tickets?
Short answer: Just look at what they're putting out. Actions speak louder than inner conflicts.
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I'm not quite as completely turned off by all modern movies as you seem to be, but I will say that the exceptions are getting harder and harder to come by, unless you go to the art houses. It's as if nearly every movie has to feature hyperkinetic gun battles, car crashes, gimmickry animation, or just about anything that turns our attention away from the story to the special effects. It's pathetic, and like you, I say thank God for the existence of TCM, which shows us every day what movies can be like when they pay attention to the fundamentals of storyline and acting.
And as for the syrupy music and other assorted auditory annoyances, the less said about them the better.
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For those who haven't seen the movies that Arturo so kindly listed below, they're all *outstanding* with the one exception of The Bowery, which is hampered by its non-contemporary time frame. Dramas like that come off much better when they're set in the present, and not in some studio's idea of the past.
Not that it's necessarily the best of the rest of them, but Vicki is particularly worth watching for Richard Boone's first rate reprisal of Laird Cregar's role as the creepy detective Cornell in I Wake Up Screaming. Boone looks the part to a T, and plays the part every bit as well as Cregar did, which is saying a lot considering the competition.
The other total gem in the lot is Moontide, which gives us a rare look at Jean Gabin in an American film, and for a romantic couple, it's hard to top the match of Gabin with Ida Lupino. Thomas Mitchell is the third main actor, and let's just say he's the 180 degree opposite of lovable old Uncle Billy in It's a Wonderful Life. It's a thoroughly sinister side of Mitchell that seldom gets displayed, and he plays it to the hilt.
Murder, Inc. was Peter Falk's first leading role, and I believe it got him a well-deserved Oscar nomination for his portrayal of Abe Reles, the notoriously vicious hitman of the Albert Anastasia gang that terrorized Brooklyn in the 1930's. Here's how The New York Times described his performance:
*Mr. Falk, moving as if weary, looking at people out of the corners of his eyes and talking as if he had borrowed Marlon Brando's chewing gum, seems a travesty of a killer, until the water suddenly freezes in his eyes and he whips an icepick from his pocket and starts punching holes in someone's ribs. Then viciousness pours out of him and you get a sense of a felon who is hopelessly cracked and corrupt.*
But then they're all worth watching, as it's truly an all-star lineup that's sadly absent from TCM due to Fox's restrictive policies. (EDIT: I think that TCM actually *has* shown Panic In The Streets several times in the not-too-distant past, but I think that's the lone exception.)
Edited by: AndyM108 on Jun 20, 2013 3:19 PM
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> {quote:title=Maliejandra wrote:}{quote}
> I think it is high time Dick Powell was honored. He was a versatile actor whose films please a wide variety of classic film fans.
Powell would be an excellent choice, especially if they concentrate on his small studio noirs and go light on his early "juvenile" roles. I love those 1933 Busby Berkeley musicals he was in, but they've been played to death over the past few years, and it'd be nice to see something a bit less shopworn.
And of course the real scandal regarding both SOTM and SUTS omissions continues to be the absence of George Sanders, who for some inexplicable reason has never been afforded either honor. It sure would be nice to hear the official TCM explanation for this, because it certainly can't have to do with either the lack of available titles or any lack of memorable roles he's had to play in them.
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Those are dress uniforms for ceremonial purposes. They weren't expecting any enemy attacks on the white house lawn. Women nurses and other female military people wore
pants on the battlefield and while flying.
That reminds me of one of my all-time favorite Lana Turner movies, Homecoming
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I know this is totally out of the blue, but every time I see Shoot The Piano Player I keep thinking I've seen that little pinch-faced character somewhere before. And then it hit me.
From Shoot The Piano Player
And from Shoot The Carolina Blue Heel
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I'll check to see how much got recorded. I only say that because you never know, and I haven't yet watched this recording. (I bought a commercial DVD earlier.) I'm not a particular fan of recording introductions, but since this was on in the middle of the night, I probably just recorded everything between the starting time of Kapo and the starting time of the next feature. I'll let you know what I find.
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> {quote:title=Sepiatone wrote:}{quote}
> I'm afraid I didn't read ANY book penned by Davis. I'd be skeptical of anything she'd write because it would probably be packed full of...
>
> wait for it...
>
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> BETTE DAVIS LIES!
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> (OK Dargo...NOW you groan...)
>
>
> Sepiatone
>
Whitney Stine's bio, Mother Goddam, which has Davis's running commentary throughout, is a hell of an entertaining read. Whether to believe every word or opinion of that commentary is another question, but I wouldn't let that kill my enjoyment of the book.
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> {quote:title=darkblue wrote:}{quote}
> > I think what our friend meant here was that the Japanese culture was for years a very xenophobic society, and to them IF you WEREN'T Japanese and didn't live within the constraints of their culture and upon their Island chain, you were somehow considered inferior to them.
> >
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> >
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> > (...though this mentality has subsided quite a bit in recent years, of course)
> >
> I recently listened to an interview (can't remember who it was, though) where the woman said that in China the Chinese people feel sorry for Caucasians because they're not Chinese. They feel pity.
That sounds like the mirror image of Eugene Pallette's argument in Shanghai Express, once his drinking companion Warner Oland reveals himself to be the leader of a group of Chinese revolutionaries who've just taken over the train they'd be riding on:
*Sam Salt* (Pallette): I can't make head or tail outta' you, Mr. Chang. Are you Chinese, or are you white, or what are you?
*Mr. Henry Chang* (Oland): My mother is Chinese. My father was white.
*Sam Salt*: You look more like a white man to me.
*Mr. Henry Chang*: I'm not proud of my white blood.
*Sam Salt*: Oh, you're not, are you?
*Mr. Henry Chang*: No, I'm not.
*Sam Salt*: Rather be a Chinaman, huh?
*Mr. Henry Chang*: Yes.
*Sam Salt*: *What future is there in bein' a Chinaman?* You're born, eat your way through a handful of rice, and you die. What a country! Let's have a drink!
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> {quote:title=TopBilled wrote:}{quote}
> > One thing that should be mentioned is that the Japanese were every bit as racist towards us
> So you are saying that the Japanese were racist against Japanese Americans living in the United States when Pearl Harbor was bombed?
Not in the same way, of course, since there were relatively few Americans living in pre-war Japan, as opposed to the large numbers of Japanese Americans living on our West Coast. I was referring to the way that Japanese propaganda often portrayed Americans and Europeans in starkly racial terms, and white people in general. The Dower book I mentioned earlier goes into this in great scholarly detail.
Should offensive dialogue be removed to satisfy political correctness?
in General Discussions
Posted
> {quote:title=darkblue wrote:}{quote}So you think she should have lied under oath? That's a crime, is it not?
Of course she shouldn't have lied. She said what she said, and she wasn't criticized for saying it in 1957 or 1967, but for saying it in 2007, when she was *60 years old.* We're not talking about some innocent little girl in 1963, just repeating words her All-benny High School classmates were using. This is a grown woman in the 21st century who's simply facing the consequences of her unfortunate language. Or does the notion of individual responsibilty only apply to those at the bottom, while those on the top get awarded a mulligan?