HoldenIsHere
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Posts
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Posts posted by HoldenIsHere
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Paul Frees dubbing his own voice!
Priceless
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It would figure they'd schedule it when most people are asleep...............
Yeah, but I didn't realize that Helen Mirren was in the cast so now I really want to see it.
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I believe they were part of the cast..
They?
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or THE GREATEST, in which you can see Muhammed Ali do his rope-a-dope
Ah, a boxing reference . ..
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Memory loss. Wo is me. I just remembered that I worked with Margot Kidder a long time ago. She was/is a wonderful lady.
And she's also a very talented actor.
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Let's Get Lost with Margot Kidder
She performed in a play in Chicago and actually did get lost on the way to the theater (or so I was told by someone who worked at the theater).
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Do you think he'd be a good replacement when RO retires?
Swithin, I wanted to "like" your post because of the humor (I genuinely laughed out loud) . . . but I didn't want TCM to interpret my like as being for this replacement idea.
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Where is Max Bialystock when we need him?
I was waiting for Psycho: The Musical, anyway.
Never say never about musical adaptations.
SUNSET BOULEVARD is one of Andrew Lloyd Webber's best musicals and is probably my favorite Lloyd Webber musical.
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Fri., 5-15
8:00 pm ETB/W116 min
TV-PG
comedyChimes at Midnight (1967)An aging knight uses his wits to survive in war and peace.
Dir: Orson Welles Cast: Orson Welles , Jeanne Moreau , Margaret Rutherford .
"Welles had previously produced a Broadway stage adaptation of nine Shakespeare plays called Five Kings in 1939. In 1960, he revived this project in Ireland as Chimes at Midnight, which was his final on-stage performance. Neither of these plays were successful, but Welles considered portraying Falstaff to be his life's ambition and turned the project into a film. Throughout its production, Welles struggled to find financing and at one point, to get money, he lied to producer Emiliano Piedra about intending to make a version of Treasure Island. Welles shot Chimes at Midnight throughout Spain between 1964 and 1965, and premiered it at the 1966 Cannes Film Festival, where it won two awards.
Initially dismissed by most film critics, Chimes at Midnight is now regarded as one of Welles' greatest achievements, and Welles himself called it his best work. Welles felt a strong connection to the character of Falstaff and called him "Shakespeare's greatest creation". Some film scholars and Welles's collaborators have made comparisons between Falstaff and Welles, while others see a resemblance between Falstaff and Welles's father."
I've been wanting to see this movie for a long time now.
Thank you, TCM, for showing this.
I hope the print shown doesn't have any sound sync issues.
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Tonight's TCM 8 pm feature (at least for us folks back east) is IN OLD CHICAGO from 1938. Its not so much one moment but the whole special effects spectacle of seeing the great Chicago fire that has lasted with me. As a young boy I often sat up late at night watching movies with my dad, I know I was quite young when I saw this film and that scene really impressed (scared?) me. It's one I have never forgotten even though it may have been years since seeing the film again. Its a great 30's big budget major studio film, I recommend it to anyone to record/view.
Great movie with Tyrone Power, Don Ameche and Tom Brown as the O'Leary brothers.
I'm not sure who played the cow.
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I wonder if any of these star actresses with big feet ever had stand ins for a close up of the feet? And how would we ever know?
Well, some movie stars today have stand-ins/body doubles for their nude scenes . . .
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I have to include another James Stewart moment, it's one I have mentioned on other threads. In the final minutes of REAR WINDOW when Stewart excitedly answers the telephone, and thinking its his buddy the detective, Stewart starts blabbing about what he knows about the killer. There is just dead silence on the other end and then a hang up. At that moment Stewart realizes that he has just revealed himself to the killer, the emotional impact is like going 100 mph into a brick wall. Stewart knows (and so do we) that the killer is now coming and there is nothing to stop him. Jimmy, great actor that he is, shows that sudden panic and fear so well. I first saw REAR WINDOW in a theatre on the big screen so that moment has always stuck with me.
Did REAR WINDOW air on TCM during the Sunday With Hitch Spotlight?
I've never seen that movie but then again I only saw PSYCHO last year.
Hitchcock was the master at getting around the code.
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Check out the news today about Johnny Depp visiting Australia in the company of his two dogs. Seems he didn't declare them which prompted the Australian Agricultural Minister to say in interview that Depp, even though he may have been voted sexiest man-alive twice, had a choice: to have his dogs put down or to bug ger off back to the United States!
A former "Sexiest Man Alive" shouldn't be treated that way.
Just sayin' . . .
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And spend the rest of his life on his ranch talking to his animals when dementia took hold.
Ah, so that's the backstory for Doctor Doolittle.
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Pardon, if this has been discussed to death as I am fairly new to the boards.
I mentioned yesterday in another thread that I managed to catch the recent stage version of Strangers on a Train in London. It wasn't great but Laurence Fox and Jack Huston gave pretty good performances.
I was struck by the fact that the whole gay subtext between Guy and Bruno was missing in this play. And that made it a lot less interesting. Instead of Guy having a sister as he does in the film, he is married in the play. It is then just a struggle with guilt and getting in over your head in a situation. There is no struggle with his potentially own attraction to Bruno.
Perhaps the play was tied strictly to the novel as it had no rights to the screenplay adaptation?
Afterward, I wondered if Hitchcock had injected this subtext into the film version with his screenwriters. For instance, was Guy married in the Patricia Highsmith novel like he was in the play? Did Hitchcock consciously add the subtext in his script adaptation.
Would anyone know?
It wouldn't surprise me given the weird sexual subtexts in his other films such as Psycho, Rope and Vertigo.
It was actually Hitchcock who added the lesbian overtones to Mrs. Danvers's character in REBECCA.
In the novel from which the movie was adapted Mrs. Danvers was a much older wonan who had actually been Rebecca's maid as a child and came to Manderley with Rebecca after Rebecca married Maxim de Winter.
In Hitchcock's movie, Mrs, Danvers is younger woman who she did not know Rebecca until she began working for the de Winters after Maxim's marriage to Rebecca.
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For many backers if a show flops, its a tax write off. So there wont be an original cast recording?
Sorry, Hibi, put probably not . . .
There was also no cast recording of the revival (with a new book by Peter Parnell) of ON A CLEAR DAY YOU CAN SEE FOREVER starring Harry Connick Jr. as the psychiatrist.
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He's not a classic movie actor but what about Kenny from SOUTH PARK?
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Stiil no August online schedule.
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Sometimes at work I burst into this line.
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It still amazes me that Svengoolie has a national following now.
He started on local Chicago television.
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In Breakfast at Tiffanys, Audrey Hepburn spends the entirety of the film being rather shallow and self absorbed, only caring about how she was going to marry someone with wealth. At the end of the film, after being dumped by her latest rich prospect, she announces to "Fred Baby" her intentions to follow through with her plan to go to Brazil. "Fred Baby," (I like calling him that over Paul Varjack) the only man who doesn't treat her like an object, tells her that she's nuts and tells her off for her selfish ways. Prior in that point, she had even cruelly thrown Cat out of the car, in the pouring rain, to fend for himself. When "Fred Baby" tells her off, he throws a jewelry box at her (the one containing the ring they had engraved at Tiffany's together) telling her he doesn't want it anymore. The indelible moment in the film is when she puts the ring on and realizes that she and "Fred Baby" are meant to be together and that she loves him.
In Truman Capote's novella that the movie was adapted from, Holly never finds Cat after she lets it go.
Although I typically don't like tacked-on happy endings, I do like that in the movie BREAKFAST AT TIFFANY'S Cat and Holly are reuinited.
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I must admit that I don't know who Lex Barker is.
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I dare anyone aboard to bring up HOT SPELL to either osborne and mankiewicz. ask them why such a significant Anthony Quinn film is gone from the memory of tcm.
I think someone on the cruise should ask about HOT SPELL.
I really want to see that movie now.
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I may be one of the few people around here who likes Joan Crawford in all her various incarnations and genres, all the way from The Unknown to Strait-Jacket and all points in between. It's probably because I don't remember her ever descending into those godawful biopics or costume dramas that actresses like Davis and Hepburn often found so compelling. I like the fact that she stuck with movies set in her own time. It may have been a very smart decision.
I agree, Andy.
The more Joan Crawford movies I see the more I like her.
Even in something like STRAIT-JACKET, she never gives the impression that she is "slumming" or mocking the material.
She always committed herself to her role (never seemed to phone in a performance) and was at home in different styles over the years.
HITS & MISSES: Yesterday, Today & Tomorrow on TCM
in General Discussions
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I agree, Hibi.
The ending (with Joan Bennett on the phone talking to husband) really gets me.
I also liked THE DEEP END which was adapted from the same source.