slaytonf

I ignore no one, and I insult no one. You can read through all my posts for the last several years, and you will never find one instance in which I was insulting or belittling. I participate in these threads for fun, which means I never take anything seriously enough to bother becoming abusive. I ridicule trolls when they impose themselves on these boards, as puncturing these gasbags that way is the most effective means of defeating them. I did not refer to you as a troll. If you had read the posts in this thread, you would know the troll I was referring to is the original poster, who posted an absurd comment obviously designed to be provocative. The comment I made about overfeeding trolls was a play on the recommended practice of not feeding trolls, that is, not taking an offensive posters ridiculously extreme post seriously and trying to engage them in rational debate. That is not what they are out for. Their purpose is to be provocative, and to engender heated and abusive debate that degenerates into argument and insults. This is what they feed on.

I was going to suggest A Man Called Horse, but then I read your post more closely, and decided that it could not be the movie.

Looks like. Along with other developments is the encrusting of the schedule with the series you noticed. Though they present the opportunity for much new material, they seem also to a large extent the repackaging of old movies to give them a fresh appeal. So, instead of, "The Maltese Falcon, again," it's now: Friday Night Spotlight: Film Noir.

I have hit on a new way to kill trolls. Instead of not feeding them, starving them to death, overfeed them, to make them obese, leading to thier death from diabetes, or heart failure. My comment about Gene Wilder was meant as a humorous reference to the previous posts about blackface. And shoe polish or grease paint, blackface is blackface. And as I see the scene played, it was intended as a comic send-up of that most reprehensible practice.

And Caruso!

Poke right back atcha!

The troll is getting fat. Gene Wilder donned blackface in Silver Streak, but that was ok, because Richar Pryor had him do it.

Ah, the moralist.

The films of Francois Truffaut will be featured on TCM's Friday Night Spotlight. It is difficult to overstate the importance of Francois Truffaut on filmmaking. Much like Charley Parker was to jazz, he was pivotal, along with other members of the New Wave, in breaking the conventions and empty formulas that dominated movies of the time. Paradoxically, he and the others drew a lot of their inspiration from that font of convention, Hollywood. Unlike other of the New Wavers, who were either pedantic, philosophic, abstract, or genre-specific (Claude Chabrol), Truffaut's films have an unadorned, informal quality that is disarming, in that his films are not any the less well conceived, constructed, or shot. The New Wave washed ashore in this country toward the end of the sixties, contributing to the development of a number of directors, including Peter Bogdanovitch, Martin Scorsese, George Lucas, Mike Nichols, Brian De Palma, and others. It's sad to say that, unlike Parker and the other Be Bopers, the evidence of the New Wave's influence on movies has almost completely vanished, the conventions reasserting themselves, even with the directors who were spawned by it. We've already seen a lot of his work, including Jules and Jim, and The 400 Blows. With regard to the latter, we will get to see the entire Antoine Doinel saga, including also Antoine et Colette, Stolen Kisses, Bed and Board, and Love on the Run. Two I'm particularly looking forward to are Day For Night, his love letter to filmmaking, and The Bride Wore Black. The last is a--well I won't say what it's about, except that you'll have to suspend your disbelief to a considerable extent with this one, but you'll want to, it's such a delicious tale of implacable revenge.

>Dargo2: >"The McGuffin That Knew Too Much" Wasn't that a special at MacDonalds? Choice of sausage, ham, or bacon.

Aww, he wouldna run summon through from the back.

Mmm. There's that obscure one, Hardly ever seen. Forget the title. Strangers on aTrain to Rushmore? No. The Man Who went Northwest? No. Damn.

Do not feed the trolls. Skewer them.

Chien Andalou is the one. Definitely the most uncomfortable moment in film. It is not a woman, but a man about (you think) to get a shave. You can keep your eyes closed to avoid having this most unsettling image in your mind. I have it. Of course, the meaning of it is, hey, we're going to cut through our culture's conventional ways of seeing, and give you something really new to look at.

>Fedya: >I hope you weren't implying that Number 17 is a silent. I hope I wasn't either. >It's a really fun early talkie I agree. I also agree about Lifeboat.

Missing also is Juno and the Paycock, Hitchcock's adaptation of Sean O'Casey's play. There is a boxed set of much of his early works by St. Clair Vision called The Ultimate Hitchcok Collection. The quality is less then pristine, and the version of Blackmail is with sound. But it includes six of his silents: The Manxman Champagne Easy Virtue The Ring The Lodger and Number 17, and engaging comedy/mystery that obeys the classical unities and manages not only a few plot twists, but some flips and summersaults as well.

Good idea. Try the fast forward button. Also, on my dvd player I can make chapters in the movies I record, and then either skip them or block them out.

Vertigo: Muir Woods (ok, it's a state park), Fort Point, Presidio, Golden Gate National Recreation Area HIgh Sierra: Death Valley National Monument; San Bernardino National Forest; Mount Whitney, Inyo National Forest. Dances With Wolves: Badlands National Park Gentle Ben: Everglades National Park Thelma and Louise: Canyonlands National Park, Arches National Park

Prompted by your post, Ray, I checked Martin Sheen's filmography, and he was in three other series that may have been shown on TV in 1977: Route 66, The Outer Limits, and My Three Sons. Check out this: [...And the Cat Jumped Over the Moon|http://www.imdb.com/title/tt0690425/] a Route 66 episode.

Finally, film by Satyajit Ray (Pather Panchali--the first of his landmark Apu movies. One of the great statements about the human condition. We look forward to the other two). The one great vacancy in TCM's catalogue of directors. Others I am looking forward to: And God Created Woman, Brigitte Bardot's breakout movie. Cléo de 5 á 7, in which we follow Cléo-what else?-from 5 to 7 (pm). Knife in the Water, Roman Polanski's knife in the mind's eye. Daisies, Vera Chytilova's attack on conventions and complacency. The House is Black: any Iranian film is an interesting prospect. M*A*S*H--M*A*S*H?--M*A*S*H! Chinatown, Roman Polanski's knife in the eye of the DWP. Alice in the Cities, oh boy!, Wim Wender's charming and delightful picaresque tale. Where is the Friend's House?, one of Kiarostami's finest works. I like it better than A Taste of Cherry.

Not to turn this into a Mizogushi thread, but I agree. A lot of his films I've seen (Life of Oharu, Sisters of the Gion, Osaka Elegy, Street of Shame, A Geisha) deal with the sturggles of women, particularly, prostitutes.

Hooray! I'll try watching it.

Just trying to steer the discussion back to films.

At least there's one of Mizoguchi's films on later tonite.

Captain: I think I see something. Up ahead in the mist. Helmsman: What's that, Captain? Captain: I can't make it out. It's square, with a hoop on top. Helmsman: (struck with fear) You don't think it's. . . . Captain: The Ghost Lock!