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DebraDancer

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Everything posted by DebraDancer

  1. December programming is singularly uninspiring. Too many repeats. Lots of repeats in November as well.
  2. I just watched some of their interaction on On Demand. Kingman appeared to me to be drunk or on some kind of drug. Maybe she took something to calm nerves but took too much?
  3. I have gone online and signed up for this newletter THREE times over the past few months and STILL have not gotten the email. I follow Illeana Douglass on twitter and she tweeted out a link to the newsletter so I was able to get it from there. This is so ANNOYING. TCM should just post the d*mn newsletter on the website and call it a day. That said, I just signed up for it AGAIN. It is ridiculous for TCM to be so inept at something as simple as properly managing an email list for a newsletter.
  4. This is fantastic. I had downloaded the monthly schedule to use over the holiday weekend and was really missing the theme info. Beyond that I always like to scope out the Silent Sunday Nights and Imports for the month so I was really missing that. And the PREMIERES!!! Yea!! Always try to scope those out to see the movies I haven't seen before. Thank you so much you kind, wonderful, helpful person!
  5. Like everyone who has posted here I signed up for the big email Now Playing Guide and what a joke it has turned out to be. Who's running things there now? Guess they're focused on the people who pay for fan club or something. I like to get the Guide Ahead so I can scope anything that I do not want to miss -- particularly premieres. So much on this from TCM -- so little follow through.
  6. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Similarities: Emphasis on faces of people and reactions that the people are having to the visual stimuli in the scenes. Quick cuts that move the scene along. High energy approach – this is not leisurely story-telling. Differences: Stories have different focus: pleasure in The Pleasure Garden versus fear in The Lodger. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? Emphasis on faces of people and reactions that the people are having to the visual stimuli in the scenes. Quick cuts that move the scene along. 3. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? Tight close-up; Dutch angle. Used in Psycho if I’m not mistaken.
  7. Went back and looked at the clip again and have an updated response. So, you've got the Hitchcock "blonde" here. Wouldn't say this one is a "cool blonde" but she’s a blonde nonetheless. BUT the curl that's a hairpiece -- this foreshadows many of the blondes in Hitchcock's later films -- in the sense that these blondes appear to be one kind of person and then they turn out to be another kind of person completely. Madeleine Elster in Vertigo; Eve Kendall in North by Northwest, etc. When this chorus girl tamps down the man’s interest in the curl by pulling it and giving it to him. It’s the reveal that she’s not what he thought. The object of his interest – or in later films-- his “obsession” isn’t what it appears to be. So, there’s that I think.
  8. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Sorry. I don't see it. Maybe after I get further along in the course, I can review this clip and get it. What I see is that Hitch might have given Busby Berkley some inspiration when it comes to the close-ups of the gentlemen (except that Berkley does his close-ups on the girls in chorus); as well as the leg shots which Berkley also does. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Again, sorry, but I'm not seeing it. 3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue? Absolutely not. Every concept is communicated beautifully without spoken dialogue.
  9. I was really happy that TCM decided to honor character actors as this month's SOTM. I must say that I am disappointed in the movies that they have chosen as representative of the actors' work. In just about every instance, I can think a of film that gives the actors more screen time and a better script than the films that have been chosen. It's like the person who programmed this went out their way to pick what I consider to be the "wrong" movies. You want to see these actors in movies where they SHINE. I say this as someone who is not an expert but who has been watching TCM for a number of years. I know all these character actors and I know the movies that made me love them. And I do love them. Hope TCM will do this again next year with a better line-up of movies.
  10. Just wanted to add my thoughts to all of the other thoughts that have been so beautifully expressed. I came to classic movies late in life. I had been going through an unhappy time – not the worst time of my life but certainly not all that great. I was laying on my couch channel surfing when I came across The Grapes of Wrath (1940) on TCM. The film had just begun and I was drawn into it. I was bawling like a baby at the end of the movie but not so much that I didn’t cling to every word that Robert Osborne had to say. On that particular night, he focused on Jane Darwell’s Academy Award-winning performance. Next thing I knew I was Googling Jane Darwell and the rest is (film) history. I began then and there giving myself an education in classic film courtesy of the Master -- Robert Osborne. I have never in my life seen a TV personality so warm, wise and charming. I couldn’t wait to get home after work, get the chores done, and make myself something to eat just in time to sit down with my teacher and friend, Robert, for “film class”. As I developed more knowledge about the actors, directors, editors, composer, etc. I started reading books about them. And the quest for learning as much as I can about classic film continues. Robert Osborne is responsible for making me a student of the cinematic art form. And, for that, I will always be grateful.
  11. "Noirish" Thank you for this word. I plan to add it to my vocabulary immediately. I'm FINALLY being able to explain myself to my co-workers. Now, maybe they'll leave me alone. Oh, and I'm just revving my motor until they show Born to Kill and my crush-for-life, Lawrence Tierney. (Wish they had a more noirish emjoi for a love-crush.)
  12. The clips of the man in a black hat and coat who appears to be floating around -shown only from the back. What movie is this?
  13. How could I have missed this most excellent piece of trivia? I knew who Charo was but had NO IDEA that she was married to Cugie. MAN, I would totally invite that couple to my fantasy dinner party, along with Clint Eastwood, Busby Berkley, Deborah Kerr and Buster Keaton.
  14. I'm looking forward to seeing Antonio Gaudi (1984). I accidentally ran across this documentary one Saturday morning a couple of years ago on a PBS station. As I recall there is no narration just frame after frame of Gaudi's buildings set to interesting music. I know. It sounds boring but I was MESMERIZED. I couldn't stop thinking about it for days afterwards. Now I get to see the whole film from start to finish. Cannot recommend this one enough, folks.
  15. Thanks Mr. 6666. Thought for awhile there it was a young Donald Trump.????
  16. in the October 2016 promo shouting "GIVE ME THE POWER!!!"? Thanks in advance!
  17. I heartily second your shout-out for a class on Pre-Code movies! My first exposure to Pre-Code movies was on TCM and I LOVE them. Can't get enough actually. I love to really dig deep on the topic -- like the Noir class last summer.
  18. I agree with MrDougLong that Charley Chase could have influenced Will but I also see a little of the Chaplin pathos in Anchorman: Ron's relationship with his dog; how he's immediately smitten with Christina Applegate. . . etc. It would be interesting to know if Will has commented in interviews about folks who have influenced his work. . . I'm guessing he'd probably pick more recent artists but I'm guessing that he wouldn't take offense if someone said that they can see some Chaplin references in his work.
  19. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Fast and furious, baby, fast and furious. Throw in everything but the kitchen sink. 2. How is ZAZ's approach to spoofing similar to or different from Mel Brook and Gene Wilder's approach? In a nutshell, "loving homage" (Brooks/Wilder) versus "pointed satire" (ZAZ). 3. In the context of slapstick comedy, compare Peter Sellers' Inspector Clouseau with Leslie Nielsen's Frank Drebin. Seller's Clouseau isn't in on the joke whereas Nielsen's Drebin is. Not that one approach is better than the other, mind you. Although I'll always have a soft spot in my heart for Clouseau. If I ever ran across Clouseau, I'd want to try to help him out but if I came face-to-face with Drebin, I'd just sit back, let him do his thing and laugh.
  20. I enjoyed Roger Corman's visit very much. He just seems like the kind of the person that would be easy to talk with -- unlike some of the directors who benefitted from his tutelage. Don't get me wrong, I totally respect Scorsese and all of the other graduates of the "Roger Corman Film School" but, with the possible exception of Ron Howard, I can't see myself having a laid-back, pleasant conversation with any of them. Not that I would ever get that chance to chat with any of these people . . . but, you know, one can't help but daydream about how fun it would be to meet Mr. Corman and ask him lots more questions about his movies! Maybe if I paid the fee for that backstage thing that might happen? Yeah, I don't think so.
  21. Thanks for your input everyone! It's interesting to get your thoughts! It's not just the looks thing for me when it comes to Mr. Ewell. As Arturo points out, other guys like Bogart and Robinson weren't handsome but they had something that draws me in everytime. Danger? (A bad boy is like a magnet for me.) I'm sure Mr. Ewell was swell on Broadway but I just don't get how post-WWII disillusionment gave us Ewell as a leading man for the likes of Marilyn and Jayne. I could totally see Edmond O'Brien as the lead rather than in the gangster role. Or even David Wayne in the lead role. I get the appeal of having a less-than-sexy dude in these kinds of roles but, for me, I need it to be someone else. . . like Jim Backus? Yeah, I could have been happy with Jim Backus opposite Ms. Mansfield.
  22. How did this guy ever make it into a movie? Would I be wrong if I said that the whole 60s cultural revolution was in direct response to the inclusion of Tom Ewell in the movies? Cary Grant he is not.
  23. So, the comcast guide for tonight's programming is showing a listing for The Killers -1964. I think this is an incorrect listing but I was intrigued to learn that there was a remake of the 1946 film with Ronald Reagan as the villain... his last film role. Do they ever show the 1964 film on TCM?
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