JamesJazGuitar

I really like those Cara Emerald songs. Yes, the singer of the Zippers, Katharine Whalen and Cara have a similar voice and style of singing. The Zippers put out some nice records, but my favorite is a solo album by Whalen call Jazz Squad. Here is one track, the old standard Just You, Just Me.

Well said. While I'm a big fan of Paris Blues because I'm a want-a-be jazz musician, as noted there were some missed opportunities here. E.g. Many New York\East Coast based jazz musicians moved to Europe due to how they were treated in the USA. One of my favorites tenor sax player Dexter Gordon did so. I wished they worked in a scene where Carroll meet some of these musicians so that it didn't look like it was only the Poitier character that felt a lot more at "home" (welcomed) in Paris than he did in the USA. The jazz guitarist Jimmy Raney visited Paris in the late 50s and was very successful. The film also reminds me of his experiences there with French jazz musicians.

When I posted those speculative percentages above the person that came to mind was MovieCollector; Does he have stats on TCM films by studio, by some periodic timeframe? This is yet another topic related to the-films-TCM -shows where actual data would be enlightening. (like the great percent by decade stats he provided).

I think we see things mostly the same on this topic. I'm not so sure I can agree that TCM airs a lot of Fox films (but I'm a stat guy and a lot can be interpreted in many different ways). My gut tell me that less than 5% - 10% of the films TCM shows are from Fox, but that is just a wild guess. I say this since I assume 80% (or so) of the films shown are from what I call the Ted Turner library of films (which your call Time-Warner). That only leaves around 20 percent for Columbia, Fox, Republic (which TCM almost never features), early Paramount films, and Universal (where TCM will pony up for their horror classics, but not much else). Anyhow, I believe we have the same overall goal: TCM lease more films from studios outside of the Turner\Time-Warner library! Take care.

Yea, I know we disagree on this topic. Political correctness has also existed since mankind began and formed political systems. Take your example of dogma: what side of the political spectrum was mainly the one pushing dogmatic ideals, and conformity to these ideals over the centuries? You know the answer but I guess you will continue to pretend you don't. I do agree that in the USA progressive (which I'm not, since I'm a libertarian) today are more dogmatic and trying to ensure conformity to their dogmatic ideals than conservatives. Maybe a lot more. That is because they have the political power to do so. I reject such thinking from both sides of the political spectrum. I.e. let people be what they want to be, and think what they wish to think, as long as they are not harming others. I would hope that is a concept most people would agree with but it appears the vast majority of people do not. Oh well, I just play more guitar and ignore them.

Curious why you would compare Jane Fonda to Ida Lupino. I.e. of all the studio-era actresses why Lupino? Anyhow, I'm a big fan of both of their work. It appears you don't like A Star is Born, or is it just Garland, or both?

What occurred with Married with Children etc.. was the first time I became aware of a cancel-culture type of activity backfiring and instead of getting shows canceled made them major hits. And yes folks I meant to say cancel-culture; this isn't something that progressive just invented in the last few years, but instead has been going on since the beginning of time: public pressure to ensure conformity to norms.

So I'm driving and I have sports-talk radio on. This is at a time I'm typically not driving (which is the only time I list to AM radio); the host mentions: this is our noir segment. Say what???? It appears this is a recurring part of their broadcast. They go on to discuss The Naked Kiss, mentioning director Sam Fuller, the year it was made, 1964, give a description of the movie (but make it clear they don't want to give away the story), and play audio clips from the film. I was in shock. (as in Shock Corridor the Fuller film made before this one). This host has been on sport stations for years in So Cal, but I had no idea he was into this. Then they go on to another film; The Longest Day. They compare the film to Saving Private Ryan but go on to say, well, The Longest Day, has Robert Mitchum, storming that beachhead and what can be better than that.

So we have more in common than just Bette Davis. I'm an amateur jazz guitarist and play jazz from the 20s - 60s. But I also love 60s British invasion rock, mostly The Beatles and Kinks. My two main passions are movies and music from the 30s - 60s and these overlapped. E.g. I would see a film from the 30s with a song I liked, get the sheet music and learn to play it or my guitar teacher would show me a song from the 50s to learn and I would seek out movies that featured that song. So cool to see someone of your generation that is into what was created well before they were born. You have given me hope! (ha ha).

Note that both the Chan and Moto serials are the property of 20th Century Fox which was recently purchased by Disney. I assume you know that TCM has always had limited access to 20th Century Fox films due to the fact Fox plays hardball when it comes to leasing their films to competing content providers (which of course Time Warner is), reserving their films for Fox content providers and networks. Mr. Wong is Monogram; How many Monogram films does TCM show? Few that I can recall. So I question the assumption that TCM isn't showing these serials for "PC" type reasons. I would also be sad if TCM wasn't leasing these films because of their content, especially since all of these serials show the Asian detective as intelligent, competent, brave, and stand up citizens. So I hope that isn't the case. But if it is, that makes me sad, and no one is wrong to feel that way (and BTW my mom is 100% Japanese).

The Academy Awards are just a marketing event manufactured by the studios to promote their products. During the studio-era were most actors and directors were under contract with a specific studio, the awards were not intended to reflect who was the best, but instead who to promote so the studio could make more money off the actors \ directors they had under contract. Actors like Stanwyck were largely independent, signing short term contracts (e.g. 3 picture deals), instead of 7 year contracts. Same goes for Cary Grant and some others. Mitchum was under contract for RKO early in his career but after that made films with multiple studios. For me that is the primary reason for their lack of nominations.

Well Newly is still with us (actor Buck Taylor, so he may be featured in a sequel). I'm a fan of Gunsmoke, especially the first few seasons where it was 30 minutes, and in Black and White. I like some of the color episodes but not as much as I like a B&W western (same goes for crime drama). But I rank the character of Festus to be one of the most annoying in T.V. history, right up there with Gomer Pyle. Now I'm not knocking these actors but just the personas of these characters. Of course maybe I'm channeling Doc; Festus annoyed the hell out of him!

I really like the movies MOVIES shows since they focus on studios that TCM doesn't (Warner, MGM, RKO). Thus MOVIES has those fine 20th Century Fox noirs, films from Columbia studios and others like United Artist. So while I don't like the editing or the commercials, I still end up watching MOVIES. Thursday is noir in the evening, and Sundays is almost all noir films.

It is very true with guns so I assume it works with other products are well. The NRA has worked with gun manufactures on this marketing strategy for years now. E.g. NRA has articles in their magazine to members how Obama would ban this gun, or that gun (when the Obama admin had no specific such plans), and sales of these guns increase big-time. There are suckers born every minute.

Funny but in the movie Double Wedding TCM showed the other day, William Powell goes to a bar (since that is where he has to take his phone calls) and they ask him if he wants breakfast. He gets a beer with a raw egg. I wonder if anyone here has actually tried this and what they think about it.

Yea, the lead cop (a young William Conrad in fine form), and how he let Heflin's character take over the case wasn't very realistic but hey, it's Hollywood! I have always felt Ava Gardner was a good actress. Not in the league of Stanwyck (few are), but convincing in the roles I've seen her in. As for Mitchum; I can't recall anyone at this forum ever saying they felt Mitchum wasn't a fine actor. I think he was one of the best.

Yes, it is ridiculous but a lot of MOVIES-TV editing fall under that category; this is because MOVIES is an over-the-air broadcast network and subject to more restrictions. But some of their editing is self-imposed. E.g. They show the 1946 noir The Dark Corner; There is an Italian statue made many years ago shown of a nude women. Like all of these statues the women's breast are exposed. But this was shown in American movie theaters in the 40 like that: MOVIES blocks them out!!! This is art you bozos! If it was OK to show them in 1946 it should be OK now.

I watched East Side, West Side last night for the 2nd time and was glad I did. The film has a fine cast with first rate, experienced actors like Barbara Stanwyck and Van Heflin, new to Hollywood actor James Mason, and fairly new actresses Ava Gardner and Cyd Charisse. The film is a very mature and frank portrayal of a man (Mason), who has a mistress (Gardner) who also plays the field, a wife that loves him as well as supports him (Stanwyck), and a man, who was a former cop, that steps into the drama (Heflin), who falls for Stanwyck. All in a well filmed New York setting. The film is mostly a melodrama but it does take an interesting turn with a murder. The film is fairly open about sexuality especially for a 1949 film. If you haven't seen the film I highly recommend it.

Uh, Love Me Tender is a 20th Century Fox and Disney recently purchased the company, along with the rights to all their films. Fox always charged a premium leasing price to content providers for their films, as well as, not even leasing films once Fox started some of their own movie-related-networks. Disney is even more controlling when it comes to their products. Therefore when you say: "There isn't any reason for TCM to stop doing so now", you likely don't know what is taking place with the leasing of any 20th Century Fox.

No problem. A common theme I bring up is how us studio-era movie fans watch movies verses how they were watched when released at the time. I have found that few of us watch the films associated with an actor or director in chronological order. This is unlike my dad who saw these films in theaters as they were released. I try to live by the principle of "each movie stands on its own", but of course that is only in theory; we are influenced by what we have seen before. In the case of SLOMI; before I saw this film, I had seen Van Heflin in a few roles and one that stood out was his Oscar winning supporting-actor in Johnny Eager. I had seen Kirk Douglas in films like Spartacus, Seven Days in May and a few noirs like Out of the Past and I Walk Alone. Thus by the time I saw SLOMI for the first time, what popped into my head was: they miscast the two leading men! I know that isn't the case now, but I have found such bias is hard to get out of my head.

Of course there can be no "resolution" since there isn't anything to resolve as it relates to movies made decades ago. So that does bring in question: what are the activist that wish for content-providers to provide OCD content messaging, trying to accomplish? I have heard it is to educate people; Well if one really needs to be educated that some (many) movies made decades ago have content related to depictions and \ or behaviors that are no longer appropriate in today's society, I don't see how such OCD messaging is going to accomplish that. I.e. if it isn't obvious to someone, I assume they must feel it is appropriate today. So no-harm, but no-gain either, appears to be the overall outcome.

As far as which of the 3 actors has the film legacy I would want to watch if I could only watch the films from one of these three, it would be Clift. Brando would have my favorite film in On the Waterfront but that being said, I still prefer Clift's overall film legacy over that of Brando. I have never been a fan of James Dean.

I love 50s westerns and watch them often on ME-TV and Warren Oates always pops up. If I recall correctly the characters he played are always cads (at best), and often just downright mean killers. Oates is great at these roles and stands out over the other actors that have such parts; E.g. if he is one of 3 brothers, that are part of a criminal gang, Oates makes his mark with the limited screen time he is given.

I watched Double Wedding last night on TCM; This was the only William Powell \ Myrna Loy film I had not seen. It had it moments but I found it to be only OK. Of course how much the sudden death of Jean Harlow, who was Powell's fiancée and Loy's close friend, had on the two appears to have impacted the film (based on their own comments). My view was that the Powell character was all-over-the-place; yes, he is a free spirited bohemian but then he would sometimes change persona into the type of sophisticated gentleman Powell screen persona. In some ways this was necessary to ground the character, but it just didn't work for me. The Loy character just lacked charm. The character was a no-nonsense harden gal and we often find such a female character in these type of romantic comedies but at some point (say halfway), they lighten up. The Loy character never does that even at the end. (The Shop Around the Corner is a good example of the type of female character that does tone-it-down as the plot moves forward). Some of the screwball comedy scenes worked but others fell flat. Still it was great for TCM to feature Florence Rice last night. She made some good films during her fairly short film career.