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slaytonf

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Posts posted by slaytonf

  1. As Der Bingel might say: Whoah, whoah, waaaitaminute there. Hold your horses. I said surprised, but I did not say displeased. Although I can't say I'm in love with La Femme, I don't mind TCM showing it. And I would like to see an expansion of thier international fare. My comment was made in counterpoint to many made here that would like to strangle TCM's offerings down to a narrow selection. It was made more in hope, than fear or disgust. Even so, I would not care to see The Cook, the Thief. . . ., I've tried a few times, and I've never got more than forty-five minutes or so into it before becoming too annoyed to continue watching it.

  2. In the book, Uncle Remus was a slave, and he told his stories to one boy, the son of his owners. He was depicted as intellegent, though it was more cunning and wiliness than wisdom. The relationship between the two was uneven, with either Uncle Remus or the boy at different times angry with the other. But all difficulties were ultimately overcome, becasue of the irresistable appetite the boy had for the stories, and the desire of Uncle Remus to take advatage of the boy to get favors and things. This is not to imply there was no actual affection they had for one another.

     

    Disney rightly realized that even in the times they made the film, drenched in bigotry and racism as American society was, it would probably be a bad thing to maintian the antebellum time frame of the book, so they transferred it to an undefined non-slave time, maintaining, of course, the degrading and mocking stereotypes to flavor the work.

     

    It is ironic to note that, meritorious as the elimination of the slave element is, it also eliminates the basis for true frienship between Uncle Remus and his young audience.

  3. I have noticed on a few early sound films and some silent films that it is cited as a production by the director on the tile card (e.g.., A Mervin LeRoy Production, a Fred Niblo Production), with no separate directorial credit. I assume the film companies assumed the audience would understand that the person cited was the director.

  4. There've been ads for movies before, and TCM's come through it alright--though some might argue the point. TCM has even programmed a evenings of movies around releases of recent adaptations of The Three Musketeers, and Les Miserables. If it helps pay the bills and allows TCM to continue showing uncut, uninterrupted movies in thier original aspects, I'm ok with it.

  5. Thanks to ee horton, the cousin of the famous poet who chose the road to movies.

     

    Actually, it's Edward Everett Horton's birthday, tomorrow. One of the most lovable and beloved of Hollywood's character actors, he was nearly ubiquitous in Thirties comedies. He perfected the role of the pompous, prim, priggish provocateur. Yet altogether he was so charming with his mannerisms he never came off as nasty or mean-spirited. His trademark not-quite-a-smirk-half-smile is so cute you just want to pinch his cheek, the bubbela.

     

    Of course, he worked with all the great stars of the silent and sound period, so a mini-marathon of his movies include the likes of Joan Blondell, Pat O'Brien, Adolph Monjou, Warren William, just to name a few.

     

    Aside from Front Page, one of the greats of any time, I'm not familiar with any of the movies tomorrow, so I'm settin' my DVD player (let's see, put in a blank disk, set the cable box for channel 59, and DON'T FORGET TO TURN IT OFF!!)

     

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