TopBilled
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Posts posted by TopBilled
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I haven't seen THE LIMEY. I will have to check it out.
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I've mulled this over almost every evening lately. I do think that some of the films need to be recognized in this venue, even if they are a bit overplayed. We do have to recognize achievements in cinema. However, I think this particular format that TCM uses, as well as the SUTS format, prevents us from seeing other important films that automatically get shoved off the schedule for two months of the year. That part of this scheduling is definitely wrong.
My suggestion is that SUTS run 12 hours a day, not 24. And that the 31 days of Oscar also run 12 or even 18 hours a day, not 24. This way they can still do it each day, but they can put little breaks in there for viewers that this kind of marketing alienates. They can make more people happy this way. Otherwise, it become a vanity thing, where TCM markets itself and says 'hey, we are pro-Oscar, and we are pro-Star.' No, folks, just be 'Pro-classic movie.' That is all anyone asks of this channel.
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Great example, clore. That's a wonderful episode. All the original actors were used.
There was also an episode of Falcon Crest in which Jane Wyman's character, Angela Channing, recalls giving birth to an illegitimate son. For the flashback scenes, they used clips from an old black-and-white film Wyman made decades earlier. Technically, this is not a sequel, because she was playing two different characters in two different productions, but the way it was edited, it did seem like a continuation of the same story.
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*IVY (1947)*
From Agee on August 16, 1947:
IVY is an unusually ornate melodrama about an Edwardian murderess. It stars Joan Fontaine who pops her eyes, coarsens her jaw, and wears her elegant clothes very effectively. The real star is whoever was chiefly responsible for the dressing, setting, lighting and shooting. That, I infer from past performance, is the producer, William Cameron Menzies.
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*BILL ELLIOTT AS LT. ANDY DOYLE*
SUDDEN DANGER (1955) with Tom Drake & Beverly Garland
CALLING HOMICIDE (1956) with Jeanne Cooper & Lyle Talbot
CHAIN OF EVIDENCE (1957) with Jimmy Lydon & Meg Randall
FOOTSTEPS IN THE DARK (1958) with Douglas Dick
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Thanks for mentioning JULIET OF THE SPIRITS. Sylva seems to have had success in many markets.
She was born in Croatia (formerly Yugoslavia). She worked in the American, British, French, West German and Italian film industries.
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*AN IDEAL HUSBAND (1947)*
From Agee on February 14, 1948:
Vincent Korda's sets are good. Cecil Beaton's costumes are mouth-watering. And most of the players are visually right. The composing and cutting of this fine raw material is seldom above medium grade. Wilde's lines are unevenly and in general too patiently delivered, and the whole production is too slow and realistic.
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*SYLVA KOSCINA*
SIEGE OF SYRACUSE (1962) with Rossano Brazzi & Tina Louise
SWORDSMAN OF SIENA (1962) with Stewart Granger
AGENT 8 ? (1965) with Dirk Bogarde & Robert Morley
DEADLIER THAN THE MALE (1967) with Richard Johnson & Elke Sommer
A LOVELY WAY TO DIE (1968) with Kirk Douglas & Eli Wallach
HORNETS' NEST (1970) with Rock Hudson
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Interesting comment. I like your phrase 'racial-neutral' or perhaps more accurately, 'race neutral.'
I do not think new films about Native Americans can ever be cast with non-Native or white actors, because of political correctness.
And when a white is hired to play a black on film, it is usually done as a comedy...such as C. Thomas Howell in black-face in the politically un-correct SOUL MAN.
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I'd love to see a SUTS tribute for Anne Baxter (and John Payne). Both very deserving stars.
But if Marilyn is the honoree when SOME LIKE IT HOT airs, then my guess is that she'll be the solo Fox respresentative.
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THE ODD COUPLE II was the inspiration for this thread. I found it interesting that Lemmon and Matthau AND Simon all reteamed so many years later to provide an update on the beloved characters.
Incidentally, Lemmon and Matthau had recently completed the sequel for GRUMPY OLD MEN, called GRUMPIER OLD MEN. So maybe they were in a sequel mood.
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*MARK STEVENS*
WITHIN THESE WALLS (1945) with Thomas Mitchell & Mary Ryan
FROM THIS DAY FORWARD (1946) with Joan Fontaine & Rosemary De Camp
I WONDER WHO'S KISSING HER NOW? (1947) with June Haver
OH, YOU BEAUTIFUL DOLL (1949) with June Haver, S.Z. Sakall & Charlotte Greenwood
SAND (1949) with Coleen Gray & Rory Calhoun
DANCING IN THE DARK (1950) with William Powell, Betsy Drake & Adolphe Menjou
LITTLE EGYPT (1951) with Rhonda Fleming
KATIE DID IT (1951) with Ann Blyth
TARGET UNKNOWN (1951) with Alex Nicol & Robert Douglas
REUNION IN RENO (1951) with Peggy Dow, Gigi Perreau & Frances Dee
MUTINY (1952) with Angela Lansbury, Patric Knowles & Gene Evans
JACK SLADE (1953) with Dorothy Malone, Barton MacLane & John Litel
TORPEDO ALLEY (1953) with Dorothy Malone, Charles Winninger & Bill Williams
CRY VENGEANCE (1954) with Martha Hyer, Skip Homeier & Joan Vohs
TIMETABLE (1956) with Felicia Farr
GUNSIGHT RIDGE (1957) with Joel McCrea & Joan Weldon
GUNSMOKE IN TUCSON (1958) with Forrest Tucker & Gale Robbins
GUN FEVER (1958) with John Lupton & Jana Davi
SEPTEMBER STORM (1960) with Joanne Dru
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*FURIA (1947)*
From Agee on February 14, 1948:
An Italian farmer's wife (Isa Pola) plays around with a Cornel Wilde-ish groom (Rossano Brazzi). This is filmed with a carnal and psychological frankness I am happy to see, and the censors should be thanked for saving a good deal of it. The picture is essentially sincere rather than pornographic. It is also rather childish in conception and inept as art. Good work by the two most prominent actors in the cast.
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I do not think blacks were entirely denied opportunities in the 30s and 40s.
Darryl Zanuck at Fox seems most progressive in this regard. Look at BANJO ON MY KNEE, STORMY WEATHER and PINKY. All of them were hugely budgeted films that offered excellent opportunities to black performers and were cross-cultural crowd pleasers. Of course, there wasn't enough of this back then, because other studios were not as receptive to telling stories with blacks in pivotal roles. Or if they did, the roles were drenched in stereotypes.
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It's rather interesting to look at the yearly selections. Carrie Fisher's list seems most eclectic and is by far the best in my opinion. It seems like she covered a theme of mental illness on film...at least on a semi-regular basis.
Pollack went with a few 70s classics in season two, so that gets kudos from me.
The others are a bit of a let-down. With the exception of GRAND ILLUSION, Bogdanovich seemed to have played it safe. I would've expected a few more foreign titles from him.
I still haven't decided if I enjoyed Alec Baldwin's rather lengthy run.
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This film does not warrant the constant re-airings on TCM. It is two and a half stars at most. At least THE HEIRESS is four stars.
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I think you guys are taking this thread in another direction. And that is okay. But if we go with some of these arguments, then it is like saying that a studio should not put up as much money for a Denzel Washington movie as it does for a Tom Cruise movie, because films with white actors make more money.
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Completely disagree. That would only make sense if she did not like her films or if she had not starred in a classic. E.T. is definitely a classic and I am sure she would be proud to screen it on TCM and talk about it.
Alec Baldwin did not exactly appear in any classics of that magnitude. If we have these actors doing Essentials, then shouldn't we have them at least present one of their films? Shirley Jones screened and discussed ELMER GANTRY two years ago when she was a guest programmer.
As for Drew, I also find it odd that none of the other films feature John Barrymore or Ethel Barrymore. I really think 20TH CENTURY should be part of this series and Drew should introduce Barrymore and Lombard's great screwball classic. This makes particular sense, especially since Drew herself became known as a screwball comedienne in many of her own films in recent years.
In my opinion, they are really missing the mark by having her discuss LOLITA and THE BAND WAGON. Anyone can discuss those.
This would be like having Steve Martin on discussing THE DIARY OF ANNE FRANK. We would be much more interested in hearing him talk about THE JERK or some classic comedian like Buster Keaton or Jerry Lewis.
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That's such a great example. And I thought they did a fine job presenting a black Cinderella. It is definitely a classic.
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Then, maybe it's Monroe. We shall see.
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>I figured it worth of inclusion as it is an attempt to rip off a theme associated with whites and fashion it for a black audience.
That is how I would define the trend, too. These are remakes geared for a niche market, in this case the African American population.
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Another one:
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*WERA ENGELS*
THE GREAT JASPER (1933) with Richard Dix & Edna May Oliver
TOGETHER WE LIVE (1935) with Willard Mack & Ben Lyon
THE GREAT IMPERSONATION (1935) with Edmund Lowe & Valerie Hobson
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*THE WOMAN IN WHITE (1948)*
From Agee on June 19, 1948:
The Wilkie Collins novel, given the studious stolid treatment ordinarily reserved for the ritual assassination of a Great Classic. This is not intended as a recommendation.
One of Hollywoods great beauties Gene Tierney
in General Discussions
Posted
They call Julia Roberts the pretty woman of Hollywood.
But I think there were only two real pretty women in Hollywood.
*Gene Tierney* is definitely one of them.
And *Anna Sten* who never photographed badly (ever) (even in her later years) was the other one.