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slaytonf

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Everything posted by slaytonf

  1. I DVR'd the movie and plan to watch it soon. So I still keep my mind open.
  2. I would. And would also say she is not believable as a nun.
  3. Yeah, sure. That's a nun. And who is nothing like Sophia Loren. Thanks for making my point. Who is nothing like Sophia Loren. Who is less believable as a nun than Sophia Loren. A woman, a sexy beautiful woman. But not Woman. Not believable as a nun, And who is nothing like Sophia Loren.
  4. Your thinking is exactly what Shaw was trying to break up. As history shows, he failed even on opening night. The triumph of sentimentalism over sentiment.
  5. You don't have to have an image of nuns as frumpy mice to have reservations about Sophia Loren as one. She is perhaps the best definition of Woman. But I said I'd keep an open mind.
  6. Bianco, Rosso, e. . . .(1971). TCM Imports tonight--tomorrow, 12:45a. m. She's a good actress. Ok, I'll keep an open mind.
  7. You can see here the desperate desire for people to see things follow in cultural conventions. The supreme demand for a sentimental ending p e r verts Shaw's play even till today. As a social reformer, Shaw wanted Eliza to achieve her emancipation from both the economic servitude of her class and the oppression of the overbearing ruling class symbolized by Higgins. It is in a way a sanction of the Stockholm effect, where a hostage comes to form an emotional bond with their captor.
  8. This was not the ending Shaw intended. In fact, during his life, Shaw never saw his ending performed. He wrote the play to end indeed with Eliza going to marry Freddie. But the actor playing Higgins played it to imply she would return to him. The ending we see in My Fair Lady was created by the original movie version of the play (Pygmalion, 1938). Shaw hated it. The intention of the play is to overturn cultural convention, but the force of cultural convention it seems was too overwhelming. A more recent adaptation (1983) with Margot Kidder and Peter O'Toole has what is likely a more fai
  9. Well, if yer almost sure, that's good, 'cause IMCDB, despite a lengthy list of 124 Spiders and Sports doesn't have anything I'm familiar with except The Lady in the Car With Glasses and a Gun (1970). But the main transport in that is a 1969 Mercury Marquis. The Spider only has a cameo. And it's never been shown on TCM And thinking of road movies set in ol' Europe, I can only think of like Two For the Road (1969, but the car in that is a 1963 Alfa Romeo Giulia 1600 Sprint), or Alice in the Cities (1974, but that is a 1973 Renault 4 Export), or Three (1969, but that is a Peugeot 202 BH C
  10. I do know the movie. It is Il Sorpasso (1962), with Vittorio Gassman, Jean Louis Trintignant, and Catherine Spaak (aaahhh). Directed by Dino Risi. It's been shown on TCM Imports. The car in the movie is a 1956 Lancia Aurilea Convertible, and a nice car: Comments on IMCDB note that two Lancias were used, based on differing rear lights (sheesh).
  11. Attention moviemakers: Opportunity.
  12. ooooo. . . . . What movies has that been in? Titles, please, and maybe a pictcha from it?.
  13. It's true moviemaking is a team effort. That's why I look for similarities in movies by the same director with different crews. That helps to recognize what the director is doing. I don't watch different movies by the same cinematographer or editor with the same end in mind, but now that you mention it, I may start. My guess is it would be harder to see their styles because, though a collaboration, making a movie is still controlled--guided--by a director.
  14. What they mean, and what they could probably say more clearly, is that they don't edit movies. I notice lots of places in old studio movies where evidence of a censor's scissors is apparent. Especially in movies of pre-1934 date. I recall it being mentioned on a number of occasions by Mr. Osborne and others that states and cities enforced their own standards, clipping movies shown there and sending them back to the studios edited.
  15. *Sigh* Guess I couldn't get you to do the work of listing some movies. Well, from what I can see, they are mostly documentaries. The one fiction movie likely to have a real GT would be, what else?, Le Mans (1971): And, less likely, Un Homme et Une Femme (1966):
  16. Ow! Was a GT ever in a movie?
  17. What makes a great movie? What makes great art? Why are Rembrandt and Marc Chagall great artists? I find knowing about art, its history and schools helps in understanding what a director is doing in a movie. That and a lot of film courses I took. Community colleges and continuing education programs offer courses if you are interested. You can probably also find something on the internet. A book called The Cinema As Art, by Ralph Stephenson and J. R. Debrix is a great overview of filmmaking, from sound and lighting to cinematography and editing. It was published in 1965, but is avai
  18. Yeah. I hate not feeling confident in a four-wheel drift. . . . Y i i i i i i !
  19. Apropos. . . . Unfortunately, there's no good picture I could find of this gown. One of the most stunning on one of the most beautiful women in movies. People familiar with the movie Random Harvest (1942) will know.
  20. He had a touch of class. Don't forget No Way to Treat a Lady (1968).
  21. I'll have to pay attention to her color movies.
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