slaytonf

The Towering Inferno (1974) has been shown once. I think for Paul Newman's turn as SOTM. It's subsequent absence has not seriously degraded the TCM experience. About once a year a TV movie thread pops up, and everybody gets to hime in with their favorites. You might be able to find one or two. But don't use TCM's search function. Use a browser. Type in something like: TV movie TCM general discussions.

What was the short where Harold Lloyd was vying with another guy for a girl's affection at an amusement park, and her dog got away and he got it back for her after, oh, dozens of misadventures, and it was all in vain 'cause the other guy got her?

Demonstrating that acting stature is independent of physical conditions.

But is dominoes the perfect game?

No, the game. But, hmm, ice cream pizza. . . .

Calm. Calm. Deep breath. Now, there's other things. BBC America. Dominoes. Ice cream. Crossword puzzles. For a few moments there, I was almost hoping. . . . . . .well, nevermind. . . .

I think it's you.

You have to get rid of that person holding a gun to your head, forcing you to watch all those painful things.

In the original, all the singing was dubbed (even Gene Kelly!), except Danielle Darrieux

One of my favorites of his, and one of the few works of his I have watched all the way through. Painful, magnificent, unflinchingly honest. It's a story about people who decide to accept an incredible gift of happiness, instead of turning it down because of their own self-imposed limitations or the limitations others would impose on them. I don't see this movie as a remake/rehash of All That Heaven Allows. The theme of inappropriate romance is common in literature and movies. And he was using it as much to explore the racial/ethnic aspect of their relationship, as well as the psycho-social one. However I will pay attention the next time I stumble on the movies. I will admit I've never been able to get more than about half-way through Heaven.

The British must have had quite enough of American material from Hollywood. No need to make more of it using resources of their own. They had all they could do to keep their movie culture from being completely inundated. However, if you slog through enough movies on YT, you will occasionally run into the the odd British movie set in the United States, complete with British actors doing, or attempting, American accents. To be fair, they aren't any worse than we are, doing the reverse. A good YT channel to slog through is PizzaFlix.

Too late: https://www.discogs.com/Spike-Jones-The-King-Of-Corn/release/8984882

Maybe it's cuz like it's this major big-**** huge movie and TCM doesn't have the money to rent it. So they get Logan's Run (1976).

MovieCollector's list doesn't have it.

Every band leader had some kind of handle at that time as a marketing tool. That was his.

Dig those ears. Look like add-ons. But he always seemed legitimate to me-O.

But just because a comparison is silly doesn't mean it shouldn't be made.

I agree.

I've already acknowledged that. Nevertheless, my arguments are serious and cogent. The fallacy lies in the conclusion drawn from them. Still, if I were forced to choose, if one or the other were to remain after the cataclysm, I would choose jazz over movies.

Now I don't feel bad.

Sorry, Princess, didn't mean to snake you. I looked for a thread on him before I posted but didn't see anything, otherwise I'd have posted my comments on your thread.

But is r 'n' r better than movies?

Truly one of the world's great composers for any venue. A lot will say he's best known for his work in movies, but if his music started there, it certainly transcended their limits. He was a brilliant pianist, composter, producer, singer (yes, he could sing great). But I don't propose to provide a biography which must surely be superfluous. His music could be lush and romantic, wistful, etherial, melancholic, bright, celebratory, energetic, sparkly, joyful, spectacular. His work with Jacques Demy on The Umbrellas of Cherbourg (1964) was revolutionary, and provided the inspiration for subsequent efforts. My favorite of his is--well, everything he did. I can't think of anything he composed I don't like. He had an unerring sense of the melodic, but without pandering to convention. Even though he had a distinctive style, everything he wrote sounded, and still does, fresh and alive. As an example, I present Chanson D'un Jour D'eté, a song from the follow-up to Umbrellas titled The Young Girls of Rochefort (1967). The lyrics are, of course, in French, but you don't need to know their meaning to enjoy the music: