TomJH
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Posts posted by TomJH
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*Dargo wrote: I LOVE movies where the lead characters are "flawed heroes" just as you described here about the lawyer character in this one. In fact, truth be told here, I'd probably enjoy watchin' THAT guy MUCH more than the "saintly" Mr. Atticus Finch.*
Dargo, you must bemoan the fact that To Kill a Mockingbird hadn't been filmed, instead, about a decade later, thereby denying Chuck Norris the opportunity to have played Atticus Finch.
Aside from your desire to see Atticus clock a guy, however, Finch was a largely an idealized portrait of a larger-than-life parent, as seen through the eyes of his children, in particular the little girl. To have seen her father react in such an impulsive violent fashion to a crude act levelled upon him, while it may have made Atticus seem a little more human, I think it would also have lowered him in the eyes of many too. In particular that little girl who looked up to him.
If Atticus seems a little too perfect as a film character to some, I think that's tempered by the sense of decency and humanity that Gregory Peck brought to the role, as well. I would have liked to have known this Atticus Finch. Wouldn't you?
Or, now that I suggested it, is it the Norris-as-Finch character that you wish you could have known?
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As a Canadian, I am hardly in a position to dispute the accuracy of the film's portrait of the American South in the 1930s. I will leave debate to others.
I must say, however, that whether some children did or didn't call a parent by their first name, as apparently depicted in Harper Lee's novel, seems a rather small point to me. What is far more significant, and what I have always responded to in the film, is the life lessons of tolerance, understanding, of, as Atticus said, "walking round in the other person's shoes" a bit, that he teaches to the children.
The fact that the understated performances of the cast are so wonderfully real, as well as (to me) the authenticity of the small town itself, adds to my perception of a film of honesty.
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Fred, I haven't viewed Intruder in the Dust for a few years now but I think you have a valid point. Both films are based on novels set in the south with liberal messages of racial understanding. Obviously, though, when Intruder was made in 1949, it was one of the first Hollywood films to deal with that kind of subject matter so, if anything, it was an even more courageous film for its time.
Both films have their events seen through the eyes of adolescents, though in Claude Jarmen's case he was obviously much older. Both films also, with Juano Hernandez and Brock Peters, gave pivotal roles to black actors, both actors playing their roles with dignity and integrity. What Intruder lacks in my opinion, though, is a great humanitarian figure at its core, though, with the almost Lincolnesque integrity of Atticus Finch, a character that, to me, is one of the great role models of cinema.
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To Kill a Mockingbird is blessed with so many wonderful performances. I've always thought that one of the chief contributors, in that respect, was James Anderson, as Bob Ewell, the racist crackerhead who spits in Atticus' face so vindictively.
I wonder, though, if it was a case of perfect casting more than great acting. Years ago (and I apologize for not recalling the source) I remember an interview in which Gregory Peck was asked if he ever worked with an actor he disliked. You guessed it, he named Anderson in this film, adding that most of the people on the set didn't want anything to do with him. Unfortunately, Peck did not elaborate as to why Anderson was so unpopular.
Perhaps Anderson was an actor that was intensely into his own characterization. In regard to that, I also heard that Brian Donlevy, playing the sadistic sergeant in Beau Geste, was also intensely disliked on the set of that 1939 production. Whether that was the case with Anderson, or he really was a bit of a creep, I don't know. Some might regard his "villainy" in the film as a bit over-the-top but I don't. Anderson is wonderfully despicable in TKAM, in my opinion.
Maybe, Dargo, since Peck disliked Anderson so much it's a good thing that the script didn't call for Atticus to punch the character after being spit upon. Peck might have made the punch real. (Though, having said that, I really don't see a gentleman like Peck doing such a thing, to be honest).
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Yes, gentlemen, the news reports are accurate. The Mars rover has found a sign that there may be life on that planet.
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As an entertainer, Johnny Carson remains the late night talk show host by which I measure all others. Having said that, when it comes to interviews with celebrities, I rather suspect that Dick Cavett's interviews probably had more depth. Nevertheless, I look forward to seeing these Carson sessions on TCM. It will be like welcoming an old friend back that I haven't seen in years.
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A couple of months ago, on the It's a Photo Joke thread, I posted a picture of Alan Ladd and Humphrey Bogart today. I didn't identify either actor by name because I assumed that it wasn't necessary. A long time poster on these boards surprised me by asking who the actor was with Bogart. And it was a good, recognizable image of Ladd.
It made me wonder she how little known Alan Ladd's work is today. Yes, I would love to see a tribute to Ladd but I'm not holding my breath, particularly regarding his rarely seen Paramounts. Even Hell on Frisco Bay, a Jaguar Production released through Warners, hasn't seen the light of day in many years, to the best of my knowledge.
I've been very disappointed that so very few Paramounts are shown on TCM. A few months ago, on a Bob's Picks night, Robert Osborne made a point of including Lucky Jordan specifically because it was a rarely seen Ladd film. I had hoped it would lead to other Ladd Paramounts on TCM. Except for replays, however, of This Gun for Hire, Glass Key or Blue Dahlia, that's it. Even Shane doesn't seem to come on the channel anymore.
Alan Ladd's film career has largely fallen by the wayside, few people knowing him for anything outside of Shane or, perhaps, This Gun for Hire. And that will undoubtedly include many viewers of TCM, excluding those with very long memories.
It would be great if TCM could correct this injustice. Considering Universal's attitude towards its older properties, however, it's not too realistic to expect it. Excluding the films of Bob Hope and perhaps one or two others, that seems to be the fate of a lot of the Paramount stars of the studio days. But Ladd, since he was such a major star at one time, is particularly noteworthy is this respect.
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Thanks, Valentine. The captions are gone, at least for the time being. A Shaw Direct tech told me that the problem was corrected at their end. The horizontal green streaks are still there, as they have been for well over a year. So far Shaw has no answers for them. They did say, however, that no one else has complained about them, though they acknowledge that it exists throughout their network. Perhaps that's the reason they haven't been addressing the problem.
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Thanks very much, RMeingast. It was lovely once again to see part of Elwy Yost's '85 interview with Greer Garson at her ranch. Where else are you going to hear an anecdote from Miss Garson talking about the occasion when Ronald Colman, with his cultured English accent, had a great time calling out the "swing your partner and dulcie dos" at a New Mexico square dance.
The charm about Elwy as an interviewer was, aside from his obvious love and enthusiasm, largely like that of a big kid, for old movies, that he was always a little bit of a square as a person. And I mean that in the best possible way. Elwy was certainly never hip. He was a scholarly gentleman (he had once been a school teacher) who always addressed people in a highly courteous manner during his interviews. (I noticed that he kept calling Miss Garson "M'am"). There was always a sincerity about Yost during the interviews and when addressing his viewers that you knew was genuine.
That was Elwy. I wonder how many others used that kind of term in addressing Garson or any other star during an interview. But in some of those interviews the stars quite warmed up to the avuncular Yost. And they became better interviews because of that. Certainly Greer Garson was an illustration of that.
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Long before TCM ever existed, I was absorbed every weekend in the world of Saturday Night at the Movies, with those incredible interviews that host Elwy Yost had with so many participants of classic films of the studio system days. In particular, I remember the rapport that Yost had with Greer Garson, when interviewing her at her (I believe) New Mexico home. She was extremely gracious and obviously enjoyed his company, knowledge and the respect that he accorded her.
A friend once called TVO for programming information on Saturday Night. Yost answered the phone and my friend arranged to have a meeting with him, bringing me along. When when met Elwy, while it was apparent that he had forgotten about the meeting, he still invited us into his office for a half hour. He was every bit as gracious and modest as he appeared on the show. He allowed us to do most of the talking. There wasn't a bone of ego in this most eager of all movie fans who became the host of this Canadian show that introduced so much of classic Hollywood to Ontario viewers.
I miss Elwy, who retired in 1999, passing away last year. Even though I stopped watching Saturday Night a few years after his retirement, I have signed the petition.
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BingFan, it must have been gratifying for you to know that your tribute to Grant touched his wife enough that she would send you a hand written note regarding it. Well done.
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Thanks Fred, but I'm not talking about any tint caused by the TV tube but instead a one second horizontal green streak, travelling from the right side of the screen.
It would be great to know if anyone else sees it, outside of those with Shaw Direct.
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Thanks midland. I'm not seeing the subtitles now either.
We should keep our eyes open, though. There were subtiltes last evening. I made a recording at 4AM that was subtitles free, then they were back again this morning. And now they're gone again.
But for how long?
By the way, have you ever noticed the horizontal green streaks that I was seeing. I think you must have if you're on Shaw.
I would love to know if anyone with a different service provider sees those occasional green streaks when the image is black and white.
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midland, I would suggest contacting your Shaw rep and letting him know that some American TCM users on the message board here are NOT having the same problem. The problem may lie with either TCM's feed to Canada, or with Shaw Direct's own satellite equipment.
Again, service providers love to say it's the channel's fault, not their's.
midland, you must also be getting the occasional green streak, as well on Shaw, which only shows up on black and white images.
Is there anyone else receiving TCM in Canada with a service provider other than Shaw who can tell us if they're having this issue? If so, then it must be TCM's feed to the country. If not, then the problem probably lies with Shaw Direct itself. I would love to feed some information back to ny provider to let them know.
I assume that this problem does not exist in the US, based on the feedback so far.
Again, any Canadians reading this who can provide feedback? Thanks a lot.
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The subtitles are happening for all Shaw Direct customers, for sure. I know that because I was speaking to a service provider representative, who was seeing both the subtitles AND the green streaks on his monitoring screen, as well, as we spoke.
The reason for this thread is to see if anyone using a provider other than Shaw is having either issue. I appreciate your responses, willbefree and sepiatone. I plan on giving feedback to Shaw based on the responses here.
By any chance, is anyone else seeing either the subtitles or occasional green streaks (the streaks have been there for over year). If you're not seeing either, I would appreciate knowing that, as well.
Thanks a lot.
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For the past day or so I have seen subtitles on TCM whenever anyone speaks. This, at least, is the case with my provider, Shaw Direct, in Canada.
Shaw tells me that the problem lies with TCM, not them.
Are others seeing these subtitles, as well, and, if so, are you with a provider other than Shaw? Also, are you in Canada or the USA?
Also, on Shaw Direct in Canada, for over a year now I have seen intermittent one second green streaks across on TCM when the image is black and white. (The streak seems to be absorbed when TCM's image is colour because I don't notice it then). Has anyone with a provider other than Shaw ever noticed this problem?
The green streaks are highly intermittent. Usually there will just be a single green streak. However, sometimes there could be a small cluster of them while at other times you can watch the channel for a while without seeing a single one.
Thanks very much. Sorry to bring up technical problems on the general discussion board but I'm really not certain how else to find out if the source of this issue lies with TCM or my provider. As we all know, whenever there are technical issues involved, channels and providers love to point the figure at one another.
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What do you mean, "No thanks, you're not as hungry as you thought you were?" I just told you, I've got a fresh pot of frog heads and lizard guts here!
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Thanks, clore. I had forgotten about some of those titles that you provided, including, incredibly, Chaplin's The Circus (a very good comedy with a circus setting).
I can't call myself a big fan of Trapeze but one of the things that I DO like about that film is the authenticity of its atmosphere because I believe that it really was filmed in a European circus.
Does anyone remember a '60s television series, International Showtime, hosted by Don Ameche, in which he hosted a presentation of various circuses each week (memory tells me that they were in Europe, but I stand ready to be corrected if some of them were in the U.S., as well).
Are there still circuses today? The closest thing that I come to it is going to the Midway at the Canadian National Exhibition in Toronto in the summer. That's no circus, however, it's more of a sideshow, fill of games and cotton candy, and, once upon a time, weight guessers and Fat Ladies.
I remember once going into a sideshow tent there in which they claimed that we could see a woman turn into a gorilla. They showed a woman behind bars, and the lights went out. Sure enough, when the lights came up again, there was a "gorilla," who broke through the bars and ran amuck, sending the crowd screaming out of the tent.
I was there with a girlfriend at the time. When the gorilla ran crazy in the crowd, I did my best Bob Hope imitation and hid behind the girl, shaking. My girlfriend was laughing the whole time and pointed out the fact that the "gorilla" was wearing adidas. I looked and, sure enough, there were white running shoes on the ape.
After the crowd scattered, we were almost the only two still in the tent (I was busy being petrified with fear, of course), and the gorilla went outside the back of the tent. I remember how we were able to watch the outline of the gorilla through the canvas of the tent because it was bright and sunny outside. We watched the gorilla's outline as he walked up some stairs (which would take him to the back of his cage inside the tent), and, just as he got to the top of the stairs, the ape removed his big gorilla head to revel the head of the occupant of the costume. That, in turn, made me scream louder than ever.
It was a fun experience, the closest I've come to carny life. But ever since then I've always been suspicious of anyone who claimed he could turn himself into an ape.
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*TikiSoo wrote: But my very favorite circus film will always be Freaks*
That's where I would differentiate between a film like Greatest Show on Earth and Freaks. One, clearly, is a family-oriented depiction of life under the Big Top, while the other I would classify as a carny film, with an emphasis upon the seediness of an alternate lifestyle.
The only other true circus films that come to mind are The Big Circus and Circus World, both of them colourful and cliche-ridden. The circus films, including the DeMille film, will never get high marks for great originality in their screenplays. It will, instead, be the atmosphere or the casts or a certain sense of melodramatic excitement (a train crash or a big fire) that occupy the viewer's attention.
I can't think of that many carny films. Freaks would be the most famous, I think. The early scenes in Nightmare Alley clearly qualify, as well. Even though the film is set in a circus, the creepy seediness of the plot mechanisms of Chaney's The Unknown make it qualify, in my mind, as more of a carny film than anything else. Things don't get much more bizarre than those two Todd Browning films, Freaks and The Unknown.
Even though carny films can lend themselves quite beautifully to the world of film noir, I can't think of any noir other than Nightmare Alley that actually tried to use it. At that, I think the underbelly seediness of a carny film, while it could repell some viewers to a degree, can make for much stronger dramatics than the brights colours of a more simple minded, traditional circus film.
A film like The Greatest Show on Earth is fun to watch (and it's probably the best circus film ever made), while the carny efforts like Freaks or Nightmare Alley linger in the memory and are taken far more seriously as filmmaking, I think.
There's not a lot in common between the likes of
DeMille's endorsement of Ringling Brothers
and
Todd Browning's world of Freaks
or
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!
Edmund Goulding's Nightmare Alley, which, away from its initial carny setting, was one of the few films of the '30s and '40s to explore charlatans' exploitation of man's belief in the hereafter.
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I can't think of all that many circus films but certainly I think it's safe to say that The Greatest Show on Earth remains the circus movie by which any others would be measured (and considered to come up short, by comparison).
Yes, there were better films made in 1952 but that doesn't prevent this DeMille production from being a fun, if corny, production, with a noteworthy casts of actors, and an impressive train wreck sequence. Paulettte Goddard, badly in need of a career comeback, pleaded with the director to cast her in the role that would be played, instead, by Gloria Grahame. (DeMille was still feeling bitter with Goddard over her refusal to participate in some of the Fort Pitt action scenes in Unconquered of a few years before. Ironically, it's my understanding that Goddard's double would suffer an injury doing the scenes that the actress refused to do).
The Academy awarded Greatest Show a Best Picture Oscar to honour one of the film community's original pioneers, even though they couldn't bring themselves to name C. B. best director in '52 (that award going to John Ford for The Quiet Man).
It's become rather fashionable, I feel, for Demille's costume epics to be looked down upon today. His films do, at times, have a certain tableau staginess in some scenes in which a large cast of actors will stand around spouting dialogue (and sometimes that dialogue is a hoot). However, DeMille was also a good story teller who sure liked to bring a lot of sex on screen when he could in the midst of his morality tales (i.e. The Sign of the Cross as an outstanding example).
I can't think of a single talkie epic that DeMille made that I wouldn't call fun to some degree, obviously some more than others. I particularly enjoy his Americana tributes, be it his fanciful take on Wild Bill Hickok (The Plainsman), or sea wrecking adventures in the Florida Keys (Reap the Wild Wind), or colonial America Indian wars (Unconquered).
Unconquered is a particularly enjoyable serial-like epic, nicknamed The Perils of Paulette since leading lady Goddard has so many Pearl White-like escapes from bondage, what with Howard Da Silva lusting over her, and she being taken captive by the Indians (with Boris Karloff as a campy Indian chief), only to get rescued by Gary Cooper in a still spectacular, if slightly incredible, sequence, in which the two of them make an escape by canoe and tumble over a waterfalls. My point being that, even though these films can hardly be taken seriously, they're still a lot of fun to watch.
And, for me, the same applies to Greatest Show, whether deserving of its Oscar or not.
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That's close, Dargo I believe it's actually a shot taken on the set of The Cat and the Canary, made the year before Ghost Breakers.
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You should see your face. But, yes, it's true, the Democrats took the White House again!
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That's right. If Buck also knew about Gable activities off set, that would have ticked the dog off even more.
They're both smiling here. Poor Buck. Nose to nose with his two-faced "pal."
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I haven't seen Call of the Wild in a few years but I remember quite liking the film, though it's possible that the activities off screen were more interesting than what we see in the final product.
I've heard that Gable and the Saint Bernard that played Buck got along great on the set UNTIL that sled pulling sequence was filmed. They had to really put a heavy load in the sled in order to make it look real when Buck pulled the thing. In order to make him do it, however, they had a female dog in heat off camera, and THAT was the dog's inspiration to pull that sled in the manner in which he did. What we're looking at there is one big randy dog!
At the same time, Gable who, again, had made friends with the dog, was also urging him on. Anyway, after the scene was successfully completed (possibly the best scene in the film, too, if memory serves me correctly) Buck didn't get his reward, so to speak, because the ***** in heat was taken away. After that Buck's attitude towards Gable on the set noticeably cooled, considering the actor to have been in on the plot to deceive him.
Yep, these two had been pals until Gable's "betrayal"
Is TCM getting too commercial?
in General Discussions
Posted
TCM is to be congratulated for making The Iron Petticoat available for the first time in years. If the film is the dog that many say it is, so be it, but at least viewers will have the opportunity now to judge for themselves. I'm sure that there are enough fans of the film's two stars who will appreciate having the opportunity to see the film even if it does not prove to be either star at his or her best.
If TCM is showing the film another three times after tonight that will give TCM viewers more opportunities to view it. Otherwise they may well be some Hope/Hepburn fans who might actually be MORE inclined to buy it should they miss tonight's broadcast.
And if TCM is blatantly try to turn some kind of profit off this film, I see no reason for concern. It is still better than making money by putting commercials in the middle of a film. It is no skin off my nose if the channel makes money on DVD sales of this film or any others. I have a hard time understanding why others are so concerned that the channel has understandable interests in making sales.
Perhaps the channel has lost a certain innocence that it once had in which it wasn't promoting sales so much between its movie presentations. I never had the lucky chance to see TCM years ago and, obviously, it would have been more of a delight to see more in the way of shorts between the features, as it apparently was then.
Still, while I'm sorry that there are fewers shorts to view today, it seems a very small price to pay as long as TCM does NOT go the way of AMC, with commercial interruptions and promotions at the bottom of the screen while a film is playing. TCM is still the best that we have as old movie viewers. If the channel makes some money on DVD sales of The Iron Petticoat, good for them. Those sales may lead to the restoration of other films, including, hopefully, some from the pre-code era.
This, I think, is much ado about nothing.