TopBilled
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Posts posted by TopBilled
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>I always thought that What Happening was kind of a black version of Happy Days.
Good comment. I would agree. Slightly different characters but the premise was similar.
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Interesting post, Valentine. TCM aired WATERMELON MAN not long ago.
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Thanks...I was thinking about some of the remakes Eddie Murphy did. He took Rex Harrison's role for an updated DR. DOLITTLE and Jerry Lewis' role in THE NUTTY PROFESSOR.
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Sounds interesting, Fred. I will have to look for it.
Here's one I haven't seen yet, but I think it does look interesting:
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It's Black history month, Whitney's in the news, and I don't remember seeing a thread on here that addresses white characters that turn black in American motion pictures.
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Yes, I was surprised she didn't see your earlier thread before she started this one.
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*THE GANG'S ALL HERE (1943)*
From Agee on December 18, 1943:
THE GANG'S ALL HERE highlights Alice Faye singing 'No Love, No Nothing.' It is as torturing a piece of torching as the war has evolved. But it is mainly made up of Busby Berkeley's production numbers which amuse me a good deal. There is one routine with giant papier-mache bananas, cutting to thighs, then feet, then rows of toes. It deserves to survive in every case book of blatant film surreptition for the next century. But then, for anthropological reasons, so does 'No Love, No Nothing.'
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*JAMES COCO*
TELL ME THAT YOU LOVE ME, JUNIE MOON (1970) with Liza Minnelli & Ken Howard
SUCH GOOD FRIENDS (1971) with Dyan Cannon, Jennifer O'Neill & Ken Howard
MAN OF LA MANCHA (1972) with Peter O'Toole & Sophia Loren
THE WILD PARTY (1975) with Raquel Welch
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There's nothing wrong with doing a bit of homework.
To comment on just two or three out of 46 films and then assign a value to a director seems, quite frankly, irresponsible in my opinion.
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This thread is leading into a greater issue which I have been wanting to address for a long time. I think events schedulers are looking at classic film fans who have disposable incomes and trying to find ways to re-sell classic film across a platform of lifestyle areas. DVDs, books, a cruise, and now a trip to a site where not one millimeter of celluloid was filmed for the making of CITIZEN KANE.
They should really be making a pilgrimmage to RKO's old stomping grounds and building a shrine to commemorate Orson's Great Achievement of The Ages.
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I can see a lot of people attacking and downgrading the points being earnestly made because someone is not looking at the whole picture.
If one really cared about Hawks' portrayals of women, then it is the responsibility of the poster to look at all possible examples.
Otherwise the thread needs to be retitled Hawks' women in RED RIVER and RIO BRAVO. And again, that is a very narrow survey and subject to vast criticism.
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I think it's irrelevant that the Hearst family is interested in a screening of CITIZEN KANE.
The important point is that Hearst himself never watched the film. Several of his closest friends have attested to this. I would bet that if he was 200 years old and still alive, he still would not watch it.
This is just some publicity event cooked up by someone with nothing better to do.
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I thought I saw it mentioned somewhere else on these boards. My question is has anyone born after 1980 heard about CITIZEN KANE? They've certainly all heard about THE WIZARD OF OZ.
I think a lot of people would prefer going to the Emerald City as opposed to San Simeon.
What's next? A special film junket to Korea in observance of the anniversary of THE BRIDGES OF TOKO-RI...?
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This is intended to be a thread where we can relate literature directly to classic films.
It doesn't always mean books. Instead, it means:
1. Nonfiction about classic Hollywood filmmaking-- including (auto)biographies, interviews. and movie reviews (I am very partial to Pauline Kael and James Agee).
2. Fiction-- this falls into two subcategories-- stories that serve as the inspiration for adapted screenplays; and stories that are based on original screenplays (you know, where the published material comes out after the movie).
3. Other-- including magazine articles and poems that relate directly to classic movies. Also, excerpts from actual scripts can be examined.
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I will agree with you a bit on this, Andy. And I am sure others are thinking the same thing.
One thing that seemed odd to me is Drew would pick CLOSE ENCOUNTERS and not E.T., if she was to select a Spielberg title.
This tells me that since CLOSE ENCOUNTERS has been in heavy rotation the past few months, that TCM has leased it for the year, and that someone else (higher up) suggested including that one in this year's Essentials program. I do not think Robert and Drew pick all the films. They just host them (and probably pick a high percentage of them, but not all of them). Drew would definitely have chosen E.T. for obvious reasons.
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With RAIDERS and CRYSTAL SKULL, we did have a few titles in between. There is definitely a gap between LAST CRUSADE and CRYSTAL SKULL (19 years).
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Thanks. RIO BRAVO is the one I was thinking about. Monty would've been a good choice.
I think Monty would've worked in the Rock Hudson role for MAN'S FAVORITE SPORT, though comedy was not his strong area. He and Liz would've been perfect for it.
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August SUTS honorees: it probably is Joe E. Brown, since SOME LIKE IT HOT would air in the evening, and we would see all his earlier films throughout the day. LOLITA might mean James Mason, though Shelley WInters would be good. Freddie Bartholomew seems just as possible as Lionel Barrymore. And I think Tyrone Power is right, because we have had Gene Tierney. The other candidate would be Clifton Webb, but with virtually all his film resume at Fox, I think that would be a bit unlikely. At least Power did the occasional freelance assignment and they do not need to rely completely on Fox if honoring him. We would get the films he did at the very end for Columbia and it would certainly be a treat if Universal's MISSISSIPPI GAMBLER showed up.
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I am waiting for someone to talk about Hawks' men. Man, I love John Wayne and Monty Clift in RED RIVER. I wish they had done more films together, and I certainly wish Monty had worked more with Hawks.
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I continue to dislike the '33 version of STATE FAIR. I find the 1945 version to be quite nearly perfect. Vivian Blaine's musical performances really take the project to a whole new level. It's probably my favorite musical of the 1940s.
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*FRANCES FARMER*
BORDER FLIGHT (1936) with John Howard & Robert Cummings
TOO MANY PARENTS (1936) with Lester Matthews
RHYTHM ON THE RANGE (1936) with Bing Crosby, Bob Burns & Martha Raye
EBB TIDE (1937) with Oscar Homolka, Ray Milland, Lloyd Nolan & Barry Fitzgerald
EXCLUSIVE (1937) with Fred MacMurray & Charlie Ruggles
RIDE A CROOKED MILE (1938) with Akim Tamiroff & Leif Erickson
SOUTH OF PAGO PAGO (1940) with Victor McLaglen, Jon Hall & Olympe Bradna
BADLANDS OF DAKOTA (1941) with Robert Stack, Ann Rutherford, Richard Dix & Broderick Crawford
WORLD PREMIERE (1941) with John Barrymore, Eugene Pallette & Ricardo Cortez
AMONG THE LIVING (1941) with Albert Dekker, Susan Hayward & Harry Carey
SON OF FURY (1942) with Tyrone Power, Gene Tierney & George Sanders
THE PARTY CRASHERS (1958) with Connie Stevens & Bobby Driscoll
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*GIRL NUMBER 217 (1945)*
From Agee on October 13, 1945:
This is a Russian story of a German family and its wartime slave. It insists, infuriatingly, that these are average Germans, implying and finally even stating, that all Germans are equally **** and guilty. They are not average anything, but they are intelligent, powerful caricatures of the worst that can be expected of the petty bourgeoisie anywhere, even in Russia. However, the film is passionately acted and in general well conceived and well done. It is a little like Flaubert rewritten with hammer and sickle.
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What about Howard Hawks' men? He definitely likes men and understands them.
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I understand where you are coming from, and I am glad you provided such a good example of your experience with rare Fox films. However, I do not think everyone is going to share your point of view about it.
Why? Well, not every Fox precode is a classic and worth all the fuss. And second, some people would prefer to see precodes from another studio, like Paramount.
I appreciate the chance of being able to see STATE FAIR (1933) as I had long been curious about it. But I felt it was inferior to the 1945 version, and this is one of those instances where I feel a remake was well beyond justified. This said, I do not think the 1962 version, which I find okay, needed to be made. I do not see where there was any new technology or technical improvement made like we see in '45 with the story getting the chance to be told in rich Technicolor and with such great music.
White-black movies
in General Discussions
Posted
Fred,
Denzel also took a previously white role in the remake of THE MANCHURIAN CANDIDATE: