AddisonDeWitless

> {quote:title=finance wrote:}{quote}Too many showings of GASLIGHT, but I think Ingrid's performance is one of the 5 greatest female performances in film. She's great in Gaslight, but she's better in Notorious because her character is more relateable, sympathetic, and easier to understand. It's also a more subtle and intelligent, performance and wears on the nerves a bit less than her work in Gaslight and while Gaslight ostensibly could be seen as an attack on the sexist attitudes and suppression of women in Victorian society, I think it falls short somewhat in giving us a believable and strong heroine, enough that it deseves some criticism from viewers today. Notorious on the other hand makes a great statement about the role of women in the postwar world and how their actions are viewed by men. Odd that both films suffer from anti-cimactic endings (at least to me.)

> {quote:title=dpompper wrote:}{quote}That's one of the variables that inhibited my ability to appreciate "Saratoga Trunk." . . . in addition to representations of the little person for comic relief. There was a lot wrong with Saratoga Trunk, but yes (ironically) the little person was a big problem. At least Flora seemed really **** off to even be doing this in every scene of Trunk. Am I right?

> {quote:title=JonasEB wrote:}{quote} > > {quote:title=AddisonDeWitless wrote:}{quote}...Stromboli...total misfire...Europa '51...look pretty bad... > Not...Even...Close. Ow, the ellipses take out my comfort-padding and expose the harshness of the statements, whilst preserving the gyst....oh...my... It was wrong of me to mouth off about Europa 51 when I had not seen it...I'm just going to throw out the fact that Maltin gave it a star-and-a-half in the accompanying review... God, I'm defending myself using a Maltin review....the shame. No, I don't care for Stromboli, but to back-track and recant some, it was actually one of the choices I was okay with. It was the three-film cinderblock of Under Capricorn on top of Saratoga Trunk on top of A Rage in Heaven which, when followed by Stromboli, was then given sufficient weight to crush the viewer's sternum and/or appreciation of Ingrid Bergman.This, when followed by Gaslight ahem, yet again which was followed by the tedious Tracy version of Jekyll and Hyde in which she has a supporting role... Well, the parts just did not add up to make a fitting tribute, nothing some tinkering couldn't have helped. Edited by: AddisonDeWitless on Aug 30, 2012 9:51 AM

It occurred to me out of nowhere this morning that Flora Robson was also also the "spirited Indian domestic" in Black Narcissus - that's at least three ethnicities in three films within a two-year span (after "surly Creole domestic" in Saratoga Trunk and "murderous Egyptian domestic" in Caesar and Cleopatra. ) At this point, I'm surprised she wasn't the lead in Pinky.

> {quote:title=finance wrote:}{quote}The fact that many have not seen UNDER CAPRICORN cannot overcome the fact that it is a plodding, boring, very un-Hitchcockean film. I'd rather see NOTORIOUS for the tenth time. Total agreement here. It kind of seems like they forgot to have things happen in Under Capricorn doesn't it? And the whole thing has a kind of ViewMaster quality.

I don't think it's too "out there" to assume that there is a schedule that is a perfect mix of being a good retrospective for said star whilst having titles that are wisely chosen with regards to their rarity and level of inn-terest (they don't all have to be perfect.) When TCM does these days throughout the year that are a tribute to an actor, actress, screenwriter- whatever, they have to realize that they create a biographical story arc for that person with what films they choose and how they arrange them on the schedule. A lot of us are very reverential towards these films and people, and while it's great that we have this glorious outlet known as TCM, sadly, just being able to seeing classic titles and stars isn't enough. We want to think some consideration and thought goes in to how their work is displayed, just as you wouldn't want to go to a museum where the lesser works and sketches of artists were just thrown all higgledy-piggledy over the walls....and that's even considering the budget crunch that I know hasn't made things easy. So, the story being told about Bergman today is not being told the way I think it would be best to tell it, the way it should be told. The only story I see in this schedule is: "Bergman day, again? All right, let's see what we got...Two hours here, two hours there. Oh, we got this thing laying around, it's two-and-a-half, let's show it. Anything Public Domain? Great. All righty, Gaslight at six, "Casablanca" at ten; and presto, we're done. Who's tomorrow and can it be someone we can use "Zhivago" for?"

> {quote:title=RMeingast wrote:}{quote} See my more positive thread... Have no idea how and why TCM chooses films to run...some are good and some are bad. Some people think the "bad" ones are actually not so bad...Everybody has a different opinion... Believe it or not, it's my respect and admiration for Miss Bergman that led me to launch this critical thread- an act which, believe it or not, I try not to do too often, but every now and then, something on the schedule just piques me. Whenever there is a salute to a STAR on the network, I always think to myself "what would (said STAR) say if they saw these titles lined up?" I have a sneaking suspicion that Ingrid herself, when faced with the line-up of Rage in Heaven, Saratoga Trunk, Under Capricorn, Jekyll and Hyde and Joan of Arc would have a momentary loss for words before uttering a polite "oh well, where shall we lunch today?" to change the subject. I think Heaven, Trunk, Arc and Capricorn aired on the same day are no tribute to Bergman because, while it's not her fault they're dogs, she clearly knows they're dogs, and she's working so hard to pick up the slack she knows is there that she herself becomes a bit tiresome in each. Anyone who would watch all four fo those films would get a whole different idea of who Bergman was and what kind of a career arc she had. I'm fine with the Rosselini films airing and Trunk or Capricorn airing, but they needed to balance the ratio of good-to-bad today by throwing in The Inn of the Sixth Happiness, Intermezzo, Notorious, Indiscreet, For Whom the Bell Tolls (my choice for the prime-time slot) Cactus Flower and/or Murder on the Orient Express.

> {quote:title=Hibi wrote:}{quote} > Flora gets around. She was on playing a Chinese empress last night. She's a veritable International House of Pancakes. Isn't she also Vivien Leigh's wild-eyed Egyptian maidservant Titicaca (or whatever) in Caesar and Cleopatra (1946)?

> {quote:title=TomJH wrote:}{quote}Saratoga Trunk, ultimately, seems a bit of a misfire Um, yes- a bit. And the Titanic was slightly delayed on her first trip across the pond. Five minutes ago, Bergman was trying not to get hit in the nose with a peach floating in her champagne while the guffawing midget was doing his Curley routine, spinning donuts on the floor. All the while, Flora Robson stood by scowling, bearing more than a passing resemblance to the guy who played Punjab in the Annie movie. Maybe if she'd known she was gonna score a nomination for being in this pile of horse hockey she could've managed a smile. Am I not supposed to say "midget"? Oh well.

Under Capricorn, A Rage in Heaven, Stromboli. Saratoga Trunk, Jekyll and Hyde (in which she is good, but it is such a bore!) and (later tonight) Joan of Arc. Well, I think they covered it: pretty much every total misfire the woman was ever in. Never thought Gaslight could be the highlight of a schedule. ps- never seen Europa 51 or Elena and her Men, but they look pretty bad too. Edited by: AddisonDeWitless on Aug 29, 2012 9:46 AM

> {quote:title=Hibi wrote:}{quote}Horst was hot. Too bad he never really made it stateside....... I'm telling you, it was the name. If he had been Rainer DeWolfe or Werner Storm or even Bob Johnson he'd've gone over gangbusters stateside.

Sest possible. Sest possible, in fact, that they got all sorts of ideas from Love in the Afternoon. It's a confounding film. I loved it the first time I saw it circa age 12. Recently, I rewatched it after 20 years and found it not so charming. The first half is sharp as hell, the second sputters, although the ending is timeless and Chevalier is not loathsome at all in it (a feat he nearly managed again in Gigi ). But Cooper...Sigh...*that's the problem.* It's a rare 50/50 film from Wilder, made during a brief stumble (I think this was right before or after The Spirit of St. Louis ) Like all Germans, he rallied and recovered, coming back with a vengeance in the following years. Love in the Afternoon is a film you want to take and tinker with, re-work, and re-do, even within a year, and the failure of the film at the box office might have inspired Minelli to crib some ideas with the inent to polish, certainly Chevalier's roles are pretty similar. In the end, I still like Afternoon better than Gigi, if only Louis Jordan had been in both something really special might've happened. ps- or Horst Burkholtz (sic?) but we gotta do something about that name. Edited by: AddisonDeWitless on Aug 27, 2012 10:34 AM

> {quote:title=finance wrote:}{quote}So what's a better introduction to Irene Dunne than THE AWFUL TRUTH? I don't think there's a better one, but I don't think it's too "out there" to say that Show Boat, Anna and the King of Siam, The Age of Innocence, and Love Affair are titles that would ring familiar enough to modern film buffs that they'd want to check out the original and they're pretty good introes to the work of Miss Dunne. Also also, Penny Serenade, which is in the public domain even and is available in a colorized version (clutch the pearls, I know) is one of her *very best* performances and is a *great intro to the work of Cary Grant.* Also also also, if they wanted to toss us film freaks a bone, I'd love to be able to see Irene's final film It Grows on Trees, a fantasy from 1952. I don't think it's aired on TCM...um, ever? They're following The Awful Truth, which I'll probably watch for the 36th time (I own it on DVD too) because it is a damn watchable movie. However, they're following it with A Guy Named Joe, which just isn't that great and shows up on the schedule more than I like to see. But, *this thread is s'posed to be about Irene,* and it's my fault it's taken a sharp left towards Kvetchtown. I suggest we take up this topic in the SUTS Actor/Actress Frequency thread started by Mr. Blandings, should anyone be inn-terested in doing so. All apologies to Miss Dunne.

{quote:title=RMeingast wrote:}{quote}Friday is Irene Dunne Day on TCM...not too happy to see "Show Boat" scheduled for 2:15 a.m. Saturday!... Oy!! Ditto on the "oy", and another "Amen" for you. I know I've beaten the dead horse about this, but here's one more thwack! for the heck of it: many of the prime time (8-10pm) selections for this and many past SUTS's have been bad. I don't want to presume (although you'll note that doesn't stop me), but it seems like there's not a lot of thought going into it; either that or they're trying to encourage us to invest in DVRS. (To that last bit, I say: "c'mon you guys, you cater to a niche of people who pride themselves on being old-fashioned. Some of us are practically Luddites when it comes to technology, and the rest of us can barely afford the cable bill.") And that's not to say there weren't some good choices along the way, Bus Stop on MM's night was good, Night Flight on Barrymore night was a treat *although it should've aired at 8:00 instead of You Can't Take it With You for the kajillionth effin' time.* The choices on Kay Francis's night were good too. Elvis on Tour was the only watchable moment of that day. But really, I know we're living in a world where the communal experience of everyone in the country sitting down at 8:00pm to watch something is on the wane, if not altogether dead, but I still think the hours of eight to eleven are important. I've spent waaaaaaaaaaaay too long on this and I am worried I am going to derail the thread, so I'm just going to stop. Edited by: AddisonDeWitless on Aug 24, 2012 3:04 PM to also include the fact that, THE PROGRAMMING HAS IMPROVED SO MUCH IN THE PAST EIGHTEEN MONTHS. Don't think I'm not grateful as all get-out for it. Edited by: AddisonDeWitless on Aug 24, 2012 3:07 PM (and typos)

> {quote:title=Hibi wrote:}{quote} > Yeah, right (LOL). Shirley in a brothel............. She did an absolutely *filthy* version of On the Good Ship Lollipop. Sadly, the scene was cut in the U.S. and the negative was destroyed under orders from the Reagan administration.

You forget Mrs. Anthony in Strangers on a Train. Hoo-boy is she a dilly! (and the best character in the movie, IMO)

> {quote:title=dpompper wrote:}{quote}nooooooooo! I like "Goodbye, Again." Still trying to find a good quality DVD that's not an arm and a leg. Hey man, it's a free country. For the record, I own Jaws 3-D on DVD, have seen it over 100 times, watch it at least once a year and was seriously bummed when a Blu-Ray release turned out to be a rumor. (IMO) the ending to Goodbye Again is such a big, fat middle finger to the filmgoer. They should've called it Up Yours: The Movie.

> {quote:title=Hibi wrote:}{quote}Yes, I love Mandalay too. I wish it had been a bit longer. Some details never get explained. Like why did Kay have to hide out on Cortez's yacht in the first place? What was she on the run from? Seems like scenes were cut..........Despite all the talk about Shirley Temple being in it, I've yet to spot her........ In answer to your two questions: Maguffin and Maguffin. All those pre-codes have such a truncated feel. As much as I loved The House on 56th Street, it was like it was edited by someone with a severe case of ADD...Parts even reminded me of the Thelma Todd/Groucho/Zeppo/etc. bedroom farce sce(CUT) in (CUT) Horse Fea (CUT) ers. Shirley Temple played "third **** on the right" in the scene where Kay descends the staircase in that gorgeous sparklng gold sequin number.

well, i said *might.* All I've seen Magnani in are The Rose Tattoo and The Fugitive Kind, and I also know about Wild is the Wind (which doesn't seem to pop up on TCM much, didn't even air on Anthony Quinn day) and Open City. For the record: *j'adore* her in both Tattoo (she *totally deserved* that Oscar) and Fugitive, and my recollection of her having a scant filmography came as a result of my imdbing and wikipediaing her after seeing both films two(ish) years ago. I remembered that she died young in the 1970's and I recalled on seeing the list "wow, she was not in a lot of stuff." In fact, I included Magnani as an example of an actor who completely deserved the Oscar over more established competition on the merit of the performance alone and in spite of not having a ton of HOLLYWOOD follow-ups in any number of threads (see also: Robert Donat in Goodbye Mr Chips ) I just re-imdb'd her and yes, there are dozens of titles...although I have zero knowledge of any films outside of those four I mentioned earlier (The Golden Coach sounds familiar though)...some of her appearances in said films might be rather brief (not that that's ever stopped them from airing something on SUTS in tribute to a star where they were in it for a nanosecond, see also: the prime time airing of A Face in the Crowd on Lee Remick day and Citizen Kane on Alan Ladd day) It happens, I'm old(er than I used to be.) I forget things, files get switched in the increasingly dusty catacombs of my mind. I also like Signoret, much more in Ship of Fools than for her somewhat glorified supporting turn in the definitely overrated Room at The Top, and again, I remembered her as not having a lot of titles, although she had more than Magnani. Edited by: AddisonDeWitless on Aug 23, 2012 9:36 AM

Even a line-up of the most run-of-the-mill, badly edited and somewhat truncated pre-codes is worth watching (not just Francis's films, I'm speaking generally here.) Some people'll sit and watch 12 hours straight of B-westerns, B-musicals, B-horrors...not me. But line-up a day's worth of 70 minute pre-code B's, and seven times out of ten, my butt'll be parked 'til the end. They may not be great, but they're (usually) inn-teresting and watchable.

Jesse Royce Landis did at least play mother to someone where the math works out: she's Anthony Perkins' overbearing, and utterly fabulous, mother in the otherwise tepid and depressing Goodbye, Again with Yves Montand and Bergman. It shows about nine times a year on TCM, you can't miss it (although you should) Edited by: AddisonDeWitless on Aug 22, 2012 9:54 PM

You make *excellent* points about Poitier-Day. I'd add To Sir, With Love to the moratorium list- not just for SUTS, but in general. Has anyone noticed *how often* it plays on weekend afternoons throughout the year? Also noteworthy, not just from the TCM perspective, but from a critical one- Poitier's blandest titles are the ones that get the airplay and notice (and awards) but it's his later, rougher-edged and frankly more inn-teresting "don't take no s*** from no one" work that was (and is) ignored....something made all the more odd by the fact that TCM often shows the bumper tribute to Poitier featuring Donald Vogel and other black screenwriter/critics/historians who observe how strong his 70's work was...you know, the stuff they *never show* on TCM. This time around, they put the Oprah tribute to him into heavy rotation before Poitier day. You know, the one that causes uncontrollable vomiting, as does everything with Oprah attached. ...although those daughters of his they show at the end are smoking hot. ps- Really: how hard a gig was it for Poitier to be the Ambassador to Japan from The Bahamas? I mean, I guess there's a lot of eating pickled eel and managing not to gag as you smile and ask for the recipe, but aside from that, it's probably a sweet deal, all sorts of free electronics and complementary shiatsu massages....

> {quote:title=sweetsmellofsuccess wrote:}{quote}Magnani, Signoret, or Madeleine Carroll, SUTS would certainly be a good way for me (and, of course, everyone) to see more their work. Magnani and Signoret might not have substantial enough filmographies to get SUTS days; and if they do, those pesky rights issues might come into play. I'd love a Judy Holli-Day, but with only seven or eight films to her credit, ain't gonna happen.

Oh shoot. All apologies. If it means anything I am from North Carolina, so I'm down with all sorts of hickery.

Oh my God, that is horrible....not the least of which is that it happened in Columbus, Ohio.