JamesJazGuitar

G-Men (1935).

Another 60s T.V. spin off. The lead character of the first T.V. show, which started in the 50s, was a producer, singer, entertainer and actor in a few films. One of the guest stars of the show received his own show, that was named after the actor. This actor had a limit film career before T.V. giving a great performance in a very cynical film.

It just means, that MGM left themselves an out for a possible sequel, but never utilized the opportunity. That's my story, and I'm sticking to it.

Rooney made 4 films in 1941, so it was a fairly busy year. He was also involved with Ava Gardner and married her the following year. I suspect that the studio felt the role in Ziegfeld was too small for Rooney to take. The film has an ensemble cast, so why have Rooney in the film, when he could be the lead in a film, which would bring in more overall money to the studio.

Above there is a link that provides, per year, the number of films show, per decade. As for "it can seem that way": this is because you're are only looking at a short period of time, e.g. a month, AND TCM did have that Women On Film theme based programming that showed a lot of more recent films. BUT again, look at the stat. Review the data. 80% or more of the films TCM shows are American films released between 1929 - 1969.

This guy: Backus was in some fine films; My favorite is the noir His Kind of Women, where Backus plays a slimy gambler after much younger married women by cheating their husband in cards.

Uh, TCM has shown those films. This is why they are mentioned. Anyhow, most of us wish the TCM would feature more Fox, Columbia, Universal and Paramount stars. They don't due to contractual issues with leasing films from the copyright holder. TMC gets some but on limited leasing arrangements.

Next: song that is as hot as matches

Forbidden Planet (1956).

Honey West was the character and the star was Anne Francis. The Honey West books were written by Gloria and Skip Fickling. Gloria is still around living in Laguna Beach. We are friends. She has a room in her home dedicated to all things Honey West. Note that Aaron Spelling was the producer of both shows. Gloria claims Spelling canceled the show after a year because he didn't wish to pay them for creating the Honey West character, and that Spelling created Charlie's Angels stealing their idea of a female PI.

Broken Lullaby (1932).

That Osborne quote is a good one to bring up since it counters the false narrative that if Robert was still around,,,, well, TCM wouldn't have changed. NOT!

Note that despite the complains TCM hasn't changed. Their business model (what I call their branding), is still the same; mostly American Studio era talking films (1929 - 1968). Moviecollectors database confirms this. I.e. the odds are still strong that if one tunes to TCM they have at least a 4 \ 5 chance of seeing an American Studio era talking film.

TCM's programming has been consistently over 80% American Studio Era films since the beginning. That is their branding. If TCM's programming was to drop below that 80%, that would indicate something has changed. Curious where you stand on this; I.e. do you want TCM to change? I.e. to devote < 80% of their programming to American Studio-Era films?

There is no definition of "classic" and TCM uses this only as a marketing term. TCM was founded on the idea that most of the films shown would be American Studio-era films. I.e. America made talking films, released from 1929 - 1968 (note that the end of the Studio-era can be debated). This is TCM's branding. Note that TCM has remained true to this branding: The vast majority of films shown "fit" the branding. While special niche type programming like Women on Film does lead to TCM showing more films "outside" of this branding, when viewed in the aggregate, over say a 3 month period, TCM remains true to their original branding. TCM will show films outside this branding, and have always done so since day one. Is it time for the branding to change? I hope not, and nothing TCM has done recently suggest that it will.

The Prowler (1951).