Bogie56
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Posts posted by Bogie56
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"He gave us a talk on Dr. Sweitzer and Dr. Zhivago."
- Shelley Winters as Charlotte Haze to James Mason as Humbert Humbert in Lolita (1962) describing a lecture she attended given by (the phoney intellectual) Clare Quilty.
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I suppose his portrayals of people bring controversy who are used to the decades-old depictions of people of color where the stereotypes are affirmed because the people who made the film only see people of color in stereotype and not reality. Spike Lee has made amazing films that aren't afraid to speak to the reality of African-American life in America and not afraid to combat the daily racism he has experienced and the industry racism he has experienced.
The Academy may be recognizing him for multiple reasons, he is an excellent filmmaker for one, and one of the last few really brave filmmakers at that. But, the Academy could also be awarding him as means of trying to shut him up by giving him what they think he wants. It probably won't shut him up any time soon so long as there are still racial injustices in the country and in the world today.
My only concern is that the Academy is giving the Honoraries to filmmakers of color at the Governor's Awards to relieve the guilt they will probably feel when its another white out nomination year for the Academy Awards next year.
My point was in He Got Game he is portraying people yet again as caricatures. I think as a result of dog-awful filmmaking more than anything else. So, my comment didn't really have much to do with your rebuttal - I think.
But, yes he is a filmmaker who pushes the envelope and has made a few really good films years ago.
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Thanks, AndyM for posting all of that.
Personally, I would love to see TCM replace SUTS with something else. Many others have already posted suggestions on how SUTS could be changed. Almost anything would be better in my books.
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I was saying it was a mystery to me why Liv Ullmann hasnt received one by now....
Add Max von Sydow to that list! Here is a guy who for 60 years has worked with the very best directors all over the world.
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I caught Terminal Station (1953) aka Indiscretion of an American Wife at a Vittorio De Sica retrospective here in Toronto yesterday. Terminal Station as the print was titled was almost 90 minutes long, whereas American Wife as was shown on TCM is about 65 minutes.
Apparently, producer David O. Selznick deleted masses of footage after Terminal Station tested poorly. Shades of Magnificent Ambersons, but fortunately in this case the former, director's cut has survived.
It has been a while since I have seen American Wife to compare but no doubt Selznick cut out scads of the 'neo-realist' textures in the film that had become trade marks of De Sica's films. You wonder why he bothered to hire the filmmaker who had recently wowed people with Shoeshine (1946); Bicycle Thieves (1948); Miracle in Milan (1951); and Umberto D. (1952) if he was to become so untrusting of his vision.
And with the excised material so went the crux of De Sica's theme in this film which is namely the inability or difficulty people have communicating with one another. Lots of the extraneous detail in the film is about just that. And of course our two leads are constantly trying to find a place and a moment for a private conversation.
Ilsa Lund's love-triangle confusion is nothing compared to that of Jennifer Jones' Mary Forbes. I think she changes her mind every five minutes as to whether to return to her husband in Philadelphia or to stay in Italy with her lover, Montgomery Clift.
What probably unnerved audiences is that Terminal Station is like stepping into the last reel of Casablanca or a Douglas Sirk soaper. It is over-wrought right from the get-go. We haven't had the benefit of a back-story. It starts with the painful goodbye at the train station and (in the De Sica version at least) plays out in real time before Jennifer's train is set to depart. A construct like High Noon that is again ruined by the deletion of scenes in the American version.
I have to say I like the film a lot. It was one of those that stays with you and seems even better the next day. So, try to catch the longer version called Terminal Station.
Oh, and it has a very young Richard Beymer playing Jennifer Jones' nephew in it.
The only thing that bothered me is that Jennifer Jones' dubbing, or ADR in the first reel was uncut so the sync is rather sloppy. The Italians don't bother to adjust the sync in their pictures.
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Well, I also think Robertson's aggressive PR Blitzkrieg and non-stop campaigning had something to do with the Best Actor win also...
But Bloom is good in the film (technically, so is Robertson, just not better than O'Toole in LION IN WINTER)
PS- CHARLY is a MESS of a movie!
Hands down, O'Toole was robbed.
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"Excuse the soiled sock"
- Shelley Winters as Charlotte Haze in Lolita (1962) foreshadowing Humbert's encounter with the teenage nymphet. Also exposing Charlotte's faux sophistication.
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I'm very sorry to hear this. I've read several of his books and thought they were very good.
He also appeared on Charlie Rose's Brain Series for those that may wish to check that out.
It was a terrific series and available online at Charlie Rose's web site the last time I checked.
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Monday, August 31
"Hum Baby" It's that Haze Woman ... Shelley Winters!
8:15 a.m. The Chapman Report (1962) with Jane Fonda!
10 p.m. Lolita (1961) with career best performances by Shelley Winters and James Mason.
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With domestic violence such a hot button issue in 2015, I'm not sure that Scott deserves a day.
Maybe he appeared in too many Carousel shows? Bad joke, but I could hardly believe the back-story of that one!
"Is it possible dear for someone to hit you hard and for it not to hurt you at all"
- Shirley Jones to her daughter in Carousel (1956) explaining why she loves her wife-beating husband, Gordon MacRae
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I could empathize fully with how confused Ilsa was. WWII raging, dead husband turns up in the middle of a new torrid affair. On the run again. Then bammo ... right into a love triangle with the Nazis hot on her heels.
What a script!
No wonder she wanted Rick to do the thinking for all of them.
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Sunday, August 30/31
"Yup" it's Gary Cooper day.
3 a.m. Dallas (1950) This is the only Cooper film that I haven’t seen.
4:45 a.m. Gary Cooper doc. Once again TCM isn’t opting to buy the rights to broadcast new programs in Canada.
And 'Nope' there's no High Noon, The Westerner, or The Virginian
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Actually, the original term "soundtrack" meant the music and/or songs from a movie or even TV shows eventually. This was in the days of LP vinyl as someone mentioned. May have been a misnomer, but that's what they were called. Still have lots of LP 'soundtracks," as well as CD's.
In the professional film sound business itself, the 'soundtrack' was a three track recording: music, dialogue and effects.
People used the same term for slightly different things.
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Has TCM ever aired TEOREMA, perhaps as a TCM import?
I caught Teorema at the BFI in London two years ago. Just okay. Didn't knock my socks off.
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I finally caught up with Michael Curtiz' Flamingo Road (1949). What a soaper. I never did catch the tv series based on the same source material.
Frankly, the film didn't work for me at all. Even the quick dolly into close up shots that work so effectively in Casablanca seem outrageously hokey here.
I had heard that Joan was good in this one. Maltin has high praise for her performance. But she just seemed horribly miscast in that she was way too old for the part.
She's 44 at the time and looks every day of it. She's supposed to be a carnival dancer and someone so pretty that Zachary Scott contemplates dumping his much younger society babe for her. He becomes a hopeless alcoholic and commits suicide all because of his lost love of Joan with the frumpy hairdo.
And Joan plays the part as a misunderstood nice little gal. Might have been more interesting if she had just settled in and played a tart all the way ala, Rain.
And the cat house converted to tame drinks club house run by a madame is just ridiculous. What no sex? That's production code for you. But even so, Joan's part should have gone to a 24 year-old knock out.
Now I could see all the men falling over this carnival dancer if she had been played by Lauren Bacall.
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But in the sense of a "soundtrack album" for a movie the term refers to songs used in the movie.
Yes, you are absolutely right. I thought about that afterward.
That comes from the old lp sections that were labeled 'Movie Soundtracks.' And in the vinyl days the movie soundtrack album usually referred to the score of the film. I still have a few kicking around.
So, I guess the answer is that a movie soundtrack is all of those things. The complete soundtrack: dialogue, music and sound effects; or the movie's score; or the movie's songs.
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Saturday, August 29
“You owe me money!”
6 a.m. Not With My Wife You Don’t (1966)
8:15 a.m. The Bank Shot (1974) … I haven’t seen either of these.
10:30 p.m. Rage (1972) with Scott, Richard Basehart and Martin Sheen. I’m really curious to see this one.
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I think Knox gives one of the great performances in Wilson. I like Sister Kenny, tho I remember the old days, when it was on local television, the NY Times blurb always said, "We prefer Sister Mame."
(And of course with a name like Knox, one would assume Scotland, tho there are lots of Scots in Canada, hence the name of his town: Strathroy.)
Alexander Knox. Raymond Massey. Walter Huston. Bruce Greenwood. Gordon Pinsent. William Shatner.
What do these Canadians have in common?
They all played American Presidents.
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Technically, the term soundtrack is Dialogue, Music and Effects.
But most people think of the music track when asked about the 'soundtrack.'
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I don't know how Spike himself would react to that, but it's likely a matter of balance. He has more than one black character in his films. So for every "caricature," there are many more African-American characters who aren't.
Have you seen He Got Game?
I wasn't saying this about all of his films. But in that one ALL of the characters are stereotypes IMHO.
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Maybe it's just me but in some of his films I find Spike Lee's depiction of African Americans to be caricatures if not stereotypes. He's gets away with it because he is African American himself.
He Got Game (1998) and Miracle at St. Anna (2008) were just dreadful.
Malcolm X (1992), Do the Right Thing (1989) and 4 Little Girls (1997) were all very good though.
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"And your little dog too"
- Margaret Hamilton in The Wizard of Oz (1939)
I know the quote is longer but I like this part the best as you can add it to the end of lots of statements.
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De Niro steals Mean Streets
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It's odd that Ingrid Bergman who was born AND died on August 29 is being celebrated by TCM on August 28. The 29th would have been her 100th birthday.
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November Schedule -- Norma Shearer as SotM!
in General Discussions
Posted
The November schedule for Canada is finally up!