Palmerin

I dare TCM to refuse her a TCM REMEMBERS tribute.

RELAMIDO applies to works of art in which the original spark of inspiration has gone extinguished, and has been replaced with an excess of midnight oil. The movies you mention here are all workmanlike: done with an abundance of craftmanship and skill--but they are all uninspired. That's what is so remarkable about Scorsese: his movies also exhibit an abundance of craftmanship and skill, but the original spark of inspiration is still very much alive.

Was Stewart ever nominated for the work he did for Mann and Hitchcock?

It would be such a grand thing if poor Oscar choices could be cancelled retroactively and the prize were then awarded to the real classics.

The Scorsese opus is rugged and full of raw energy, and the same is true of De Niro, Liotta, Pesci and Sorvino. The Costner opus is so excessively RELAMIDO=POLISHED AND TASTEFUL that the result is a movie as bland as Greek yogurt. The fact that Costner is basically a failed Errol Flynn does not help matters. Your thoughts, please? Historical context note: KC says in his narration that he had become a CELEBRITY among the Indians. CELEBRITY did not have that meaning in the nineteenth century.

Addison's theme music is very catchy.

You ever notice how, through most of American movie history, the 1861-65 War was treated with kid gloves, movies like GETTYSBURG and GLORY being produced only very recently?

Thank you. I regret very much that my reaction was to keep those experiences a secret, instead of taking proper legal action as was my right.

Here's historical context with a vengeance: when I was a very girlish faced adolescent in the 1970s I was molested on three different occasions by three homosexuals, the last one of them a psychologist whose patient I was. I since kept those painful memories to myself, only revealing them on 2016 in the IMDb discussion board of LAW AND ORDER: SVU at a thread dedicated to molestation. I was immediately told I should not refer to those p--e--r--v--e--r--t--s, including the psychologist who had seriously abused his position of trust, as homosexuals, but instead as child molesters and pedophiles. Uh, uh, no: I was at HS age then; I was most emphatically NOT a child.

Favoritism???!!!

The introduction to THE LION IN WINTER is truly awe inspiring; John Barry should have developed that music into a full setting of the Requiem.

... and not Moore?

Not that it came as a surprise--I totally expected it--, but it still vexes me that BM wasted completely this priceless opportunity of the showing of the STT of Ronald Colman and Basil Rathbone to comment on the 1789 Revolution and the reasons that inspired Dickens to write that potboiler. As you say, SALE and other literature such as the adventures of the Scarlet Pimpernel are not intended to be taken as history texts, but unfortunately the average American--and that includes the average American college graduate--is so ignorant of history that all he knows about the subject is what he gleans from movie fiction. For example, all that too many people ,,know'' about Louis XIV is that he had a twin brother who hid his identity with an iron mask--a mask that was actually made of black velvet.

No film adaptation has ever done justice to Hope's original. If I had the means I would depict Ruritania as a realistic realm clearly based on Spain and the other kingdoms of our time, instead of as a costume party in which everybody wears ridiculous uniforms and gaudy decorations.

How was your introduction to Albright's PORTRAIT OF DORIAN GRAY? I first saw the Lewin movie on a very small black and white set, which means that I did not experience the intended shock effect. A photographer once took photos of the patrons of the Chicago museum where the painting is kept reacting to the latter. That canvas still has the power to shock!

I'm not so sure; this country has become increasingly intolerant of the memory of the CSA, and of everybody involved with it. The war was certainly not the fault of Lee, Jackson or Stuart, but try explaining that to the many people nowadays who cannot understand the way of thinking of the people of the past. I'm not an expert on the history of the USA, so I defer this question to those better qualified to answer it: wasn't nostalgia for the antebellum South one of the reasons for the success of Mitchell's book--a success that made a film version of that best seller a top priority for practically the entire movie world of the late 1930s?

At the rate that monuments to Lee, Jackson, Stuart and other Confederate figures keep getting overthrown, how long will it be before TCM and AMC will become too embarrassed to broadcast GONE WITH THE WIND?

Very informative reply; if Mankiewicz quotes it, it will significantly improve whatever he says about Colman's version.

Since 'tis 14 July, we might as well discuss A SALE OF TWO T--I--T--T--I--E--S. How many of you have actually read that rag? Its style is so pompous and turgid that I had to resort to an Spanish translation to be able to finish it; certainly the 'TIS A FAR, FAR BETTER THING I DO screed reminds me of Oscar Wilde's wisecrack about the death scene of Little Nell in THE OLD CURIOSITY SHOP: that one has to have a heart of stone in order not to read it without laughing. As for the context, the 1789 Revolution had impacted the entire world, and was still remembered by many contemporaries of Dickens who had witnessed it. Unfortunately CD was not an historian who knew how to do proper research, with the result that what he created is a grotesque caricature that presents the Revolution as consisting only of the dread Terror. Are we to regard the people of France as a herd of masochists who actually cherish a period of atrocity in which only a miracle could save you from getting your head chopped off???

You don't mention THE PRISONER OF ZENDA. Have you read the novel, and if so, would you agree that it deserves a version more truthful to the way Hope wrote it? The spoof--POOF!!!--that starred Peter Sellers was obviously perpetrated by ignorami who had not read the book.

Do you mean I JUST COULD NOT RESIST? THOU is the now archaic English version of TU, the way you address children and equals, whereas YOU is USTED, the address for people with authority over you.

In prison, time stops: an hour is a day, a day is a week, a week is a month, and a month is a year. Those eight months felt like eight years. and at my release I felt like Joan Crawford after she is released from the asylum in STRAIT-JACKET.

In FOREIGN CORRESPONDENT the plane with McCrea and Day is knocked down by a ship with an ordinary cannon, instead of an antiaircraft device. Isn't that like shooting mosquitos with a rifle?

All right, so that was her preference; what about the obliterated credits? The rest of the opening credits are clearly readable, so this was not a case of this particular print being defective.