MyFavoriteFilms
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I have not seen any versions of THE ITALIAN JOB.
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This happened to me when it played back in the summer. I had the last few minutes cut off when I went to watch it on my DVR. This time, I noticed that the DVR schedule allowed it two hours and fifteen minutes (135 mins) but that was still not enough. Fortunately, I had extended the end time on it up to 15 minutes, so it would cover 150 minutes running time. I notice that the next film, TEN LITTLE INDIANS started a few minutes late as a result of this overage.
CLOUDS is on a Frank Sinatra collection DVD, though the quality may not be the greatest. Or, you will just have to wait till TCM rebroadcasts it which is what I did.
I just checked the TCM schedule for today and they have it listed at 136 mins.
http://www.tcm.com/schedule/index.jsp?startDate=11/07/2010&timezone=PST&cid=N
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From the RKO website:
*RKO is the oldest of the continuously operating movie studios, and occupies a unique place in the history of filmmaking.*
In 1928, two titans of their age ? David Sarnoff, President of the Radio Corporation of America (RCA) and Joseph P. Kennedy, father of the future President and owner of the Film Booking Office of America (FBO), a movie distribution company ? met at an oyster bar in Manhattan. By the time the meal was over, they?d agreed to combine RCA?s Keith-Albee-Orpheum theater chain with Kennedy?s company (as well as the fledgling Pathe Studios) to form Radio-Keith-Orpheum, or the RKO Corporation. By combining film production, distribution, and hundreds of theaters under one umbrella, they knew they had an innovative business model. Little did they know how innovative the company would be.
Over the following two decades, RKO would go on to produce classics in nearly every genre, from dramas: Frank Capra?s It?s a Wonderful Life (starring Jimmy Stewart), comedies: Howard Hawks? Bringing Up Baby (starring Cary Grant and Katharine Hepburn), horror films: the original King Kong (starring Fay Wray), thrillers: Hitchcock?s Notorious (starring Cary Grant and Ingrid Bergman), and perhaps the most influential film of all-time, designated by AFI as Number One on their list of the 100 Greatest Movies, Orson Welles? masterpiece Citizen Kane. Simultaneously, RKO?s distribution arm worked with Walt Disney studios and others, bringing beloved classics like Fantasia, Snow White and the Seven Dwarfs, and Bambi to the big screen.
After a tumultuous period beginning with Howard Hughes? purchase of the studio in 1948, RKO regained its bearings with its acquisition by Ted Hartley and Dina Merrill in 1989.
Today RKO draws upon its brand and intellectual property assets to develop entertainment properties for production and distribution. RKO?s production strategy includes devoting resources to the repositioning of its famous classic library for current audiences as it develops other businesses and entertainment properties. The company seeks out additional distribution and co-financing ventures for new productions as well as for sequels, remakes and live stage productions based upon its library of titles.
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There have been so many great detectives in movies. A lot of them are based on popular crime novel characters. They may last for a few entries, or there may be a long series.
These seem to be the most memorable (please add any I have unintentionally omitted):
- CHARLIE CHAN
- MR. MOTO
- THE SAINT
- THE FALCON
- PERRY MASON
- PHILO VANCE
- NERO WOLFE
- BOSTON ****
- HILDEGARDE WITHERS
- MICHAEL SHAYNE
- SAM SPADE
- PHILLIP MARLOWE
- NANCY DREW
- SHERLOCK HOLMES
- MISS JANE MARPLE
- HERCULE POIROT
and of course
- NICK & NORA CHARLES
- NICK AND NORA CHARLES
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In both these cases, the daughters are basically non-talents. At least Lucie Arnaz has talent and an appreciation for her parents. Like I said, these other chicks need to take a lesson. A lot of people have suffered abuse by their parents, but they don't go around trying to make money from it. It makes Christina and BD look worse than anything they can accuse their mothers of doing. An ungrateful daughter is just as bad.
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But it is a prime example of Christina still cashing in on her mother's name. She did not appear before the cameras to talk about Joan's estate and will without getting paid. If this were just any disgruntled daughter, would we care? No. And we really shouldn't care that Christina is once again dragging her mother through the mud.
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I am sure this was her respectful nod to fans and long-time supporters. She doesn't seem like a self-serving celebrity. She would have nothing to gain by drumming up publicity on a radio program at age 88. We should be happy for this interview. And say thank you, Miss Day!
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Of course she didn't need money, because she was probably living off an advance from the book she was publishing about her famous mother.
I don't see how disinherited heirs can challenge a last will and testament and win. Joan wanted them cut off for a reason. One of her very close friends (and neighbors) said Christina and Christopher wanted nothing to do with Joan and they refused to see her on Mother's Day. A few days later, Joan committed suicide (this is the friend's opinion, though it was technically ruled heart failure...but the friend said it was evident to her that Joan just gave up living and purposely overdosed on meds).
Both Joan and Bette's daughters have had nothing but mean things to say about their celebrity mothers. They both cashed in on tell-all books. Now, Christina is dredging up more family dirt by discussing the legal battles surrounding her mother's estate. Let it rest already. Why not celebrate their mothers' incredible legacies in entertainment. They need to take a cue from Lucie Arnaz who fights on behalf of her mother's memory in the court system and elsewhere.
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I've read that SUMMERTIME was Lean's personal favorite. And Hepburn considered it among her best. It has so many winning elements. No remake could ever capture the essence of the original.
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That sounds interesting. The specifications of Joan's will were a big deal at the time.
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Thanks CinemaAngel for the late breaking details. And now, Bob, back to you...
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Supposedly, the sequel was filmed at MGM's studios in London and exteriors were done on location in England. When the original was made, Britain was at war and was facing continual air raids. I guess it was safer to do the original in Hollywood.
As for Ney's character, I agree that they should've addressed it. If she had not married him and divorced him in real life, then of course he would not have been erased from the canvas. They should've just recast it.
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Maybe the radio interview was her way of giving something back to the fans. Maybe that's all she intends to do.
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I thought it was cancer...but the wikipage says it was a cardiac condition.
I do know that killing Mrs. Miniver off in the sequel was a controversial and costly mistake for MGM. The original author sued the studio and won. It was claimed that by killing the character off in the movie (something that does not happen in the literature), people would stop buying future books in the series.
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I think Julianne Moore would work in either role for a DODSWORTH remake, but I think she'd have more fun (and probably get another Oscar nod) if she played the selfish wife. The mistress could be cast with a younger actress to make more of a contrast between the women. And they should get the same director who did FAR FROM HEAVEN...he would really capture the splendor of Italy with his use of color cinematography.
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The problem with the other photo is that it was too large and it did not feature Ms. Jones, just Mr. Hudson. LOL
I was trying to find a picture of them both outdoors, showing off the Italian locale.
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You're right...if only DODSWORTH had been remade in the 50s or 60s, I think it would've had a more authentic Italian feel to it. I still think this film should be remade today. And I don't know why it hasn't been. Wouldn't Julianne Moore be delicious in it?
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DODSWORTH seems mostly filmed on a U.S. soundstage. Perhaps they had a camera crew film exteriors in Europe, but I don't think the actors travelled abroad to make this film. It retains a very stagey feel (having been based on a play by Sidney Howard that was in turn based on Sinclair Lewis' original novel).
Selznick certainly liked doing Italian themed films for his wife (Jennifer Jones). Another one they did was the remake of A FAREWELL TO ARMS, filmed in Technicolor and Cinemascope for Fox. It is truly a magnificent looking film. And I wish more people raved about it. It was shot in the Italian Alps and Rome.
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Not everyone is like Betty Hutton...who had her fears and reservations, but still went through with an interview and did a bang-up job. Who cares if she had aged (we all do)...she still had that same lovable energy and proved that she was still a performer at heart, right up to the end.
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But it's a classic! LOL
I agree that cutting a fast food item is not going to automatically curb child obesity. They will have to ban candy bars and soda, too.
And there are plenty of thin, active children who do eat happy meals. They just don't eat them every day of the week.
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I know what you are saying. And for the record, I am not saying I disagree with Ray or even dislike him (that would be ridiculous since I do not know him personally), but I disagree with his statement.
When an edit and substitution is made on a film and then reissued, that is a different film, that is a new film. I believe it gets a new copyright from the library of congress, so therefore, it should be introduced as such.
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But I do think viewers could cut a bit of slack to hosts when introducing these films. Even though Robert Osborne is a longtime professional enthusiast, I'm sure he is partly dependent on researchers and copy writers.
As I stated previously in the thread and will gladly repeat, his reputation is on the line with every syllable that he reads off the Teleprompter. Until he combs through everything before the cameras start rolling (and I don't mean scanning or quickly pre-reading), he is bound to keep making errors and viewers will cry foul.
The integrity of these hosts, not just R.O. but all of them, is on the line the minute they spout something into the camera. They get paid too much to glide by without being 110% accurate.
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> {quote:title=Im4movies2 wrote:}{quote}
> A classic it is not. We should all know that, but HISTORIC it is and we can't deny that. Like the Civil War it is history and we know how horrible that was.
Excellent post. I couldn't as the saying goes agree more.
There's a sidebar issue that I will probably make a separate thread about...this kind of censorship or unwillingness to look at all aspects of history in film narratives (especially the more unsavory aspects of society) is what caused the code to be put in place and it gives us a 'false history.'
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> I can see where Ray is coming from, but I can't fully concur. While much of the footage of the 1929 reissue(s) was filmed in 1925, there has been enough alteration that it can be considered a 1929 film.
That is why I cannot agree with Ray's statement as well. I don't think Lynn understood the difference.
RKO: The studio that wouldn't die
in General Discussions
Posted
Well, they are now in a phase where they are remaking some of their original hits. BEYOND A REASONABLE DOUBT with Michael Douglas was a recent one. I think they are working on a remake of SUSPICION to star Will Smith, though that is not mentioned at their website...perhaps because it is still in the early stages of preproduction.
At some point, they will have to start making new product.
There are huge gaps, though, in their production history. I don't think they made any films in the 1970s. It's a studio that was nearly wiped out of existence, but somehow it has managed to survive.