Palmerin
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Posts posted by Palmerin
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Don't think these 2 canceled each other out, it was a couple of factors. *"DANCES" is thee epitome-(though I think it's great too)
of the typical coffee table book BP winner they have always just adored to vote "THE BIGGIE" Just a couple examples of this are>*"GANDHI" *"AMADEUS" *"OUT OF AFRICA" *"LAST EMPEROR" *"ENGLISH PATIENT" & though I still like most of these, especially *"AFRICA" these type of winners have long also been dubbed "Geriatric" winners & safe,etc
NO MATTER, WHAT CAN BEAT THAT SCORE BY *JOHN BARRY FROM *"AFRICA"
& again agree with you on 6 time sweeper *"GUMP" (***1/2) ($330m.) I always liked it, but those 2 others from 1994 are all-time level & in particular "Shawshank" which only grossed $26m upon first release & has been climbing with film historians ever since, even talking 1st place over *"THE GODFATHER" in (imdb.com's) poll
Personally I voted "GoodFellas" runner-up best of the decade-(l990's) of course after *"SCHINDLER"
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.
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Go easy on Palmerin. I think we know what he is trying to say. He is just picking one year where, IMHO, the Oscar choice was not the best choice. We've had this general "Oscar blew it" discussion before on this board in many forms. The Academy often hands out awards like they are driving down the street in a car looking in the rearview mirror instead of ahead. e.g. 1952's "Greatest Show on Earth" being named Best Picture in a year when The Quiet Man and High Noon were also nominated, and Singin in The Rain wasn't even nominated for Best Picture. They probably thought this was their last chance to give an Oscar to DeMille. James Stewart for sure deserved a Best Actor academy award at some point in his career, but he was really a supporting actor in "Philadelphia Story" when he won. It's likely the academy felt he had been passed over unfairly in 1939 for "Mr. Smith Goes To Washigton''.
As for who determines the real classics, I think time determines that.
Was Stewart ever nominated for the work he did for Mann and Hitchcock?
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There has always been a lot of comments made about the choice of the Academy voters in 1990.
One has to remember that not only was Goodfellas nominated for Best Picture in 1990 but also The Godfather, Part III was nominated as well. That could explain why the "epic" Dances With Wolves won the Best Picture Oscar. The two gangster pictures cancelled one another out and Costner's masterpiece won. I say masterpiece simply because it was IMHO. A western had not won the Best Picture category since 1931 when Cimarron, a pre-code western had won.
As far as a controversy, I would say that what happened in 1994 was even worse when Forrest Gump beat out the fan favorite Shawshank Redemption and Pulp Fiction.
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.
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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.
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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?
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By law, at that age you're STILL considered a "child".
And I see the point of not referring to them as homosexuals. It's long been proven statistically that most molesters of young to "little" boys are heterosexual.
And as it does seem (here at least) that you managed to get past it and turned out (to our impression) OK, I still feel bad you had to endure such things. I do hope all involved PAID for it somehow.
Sepiatone
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.
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Of course Grace Metalious set her story squarely in the historical context of the times with Betty Anderson being molested by her own father yet having it be a deep dark family secret. Good call!
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.
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Landau-friend of the channel.
Moore? Not.
Favoritism???!!!
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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.
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... and not Moore?
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(John Cleese: "Definitely NOT."
Marty Feldman: "What about Knicker-less Nickleby, also by Edmund Wells?")
Since You Did Ask:
As someone who paid no attention to Dickens in high school, became hooked on BBC Dickens serials and promptly ate up the rest on audiobook, it helps to consider that Dickens might not necessarily have been talking about the French Revolution--
Dickens was a most sarcastic social critic and when he talked about history (like when Barnaby Rudge Forrest-Gumped his way into Lord Gordon's Catholic riots), it was meant to be literature, not textbook, and generally had some nudge-nudge criticism about the harsh Victorian/Industrial England he lived in, with his mix of social-conscience and gleefully passive-hostile snark.
In Tale's case, the idea that the guillotine was supposed to be a "deterrent" in the new Free France, only to become taken for granted in every blood-soaked town square as one more inevitable/fatalistic bit of gallows humor for the rich and poor to joke about how cheap their lives were and let things continue on as badly as they had been, and achieved exactly the opposite of trying to create social order. Sort of like the same way the rich gentle-class and starving/thieving alley folk were doing in Dickens' London at the time, and not too far behind its readers' time, either.
That's how the "Historical context" thing works back into the thread.
(And besides, wasn't Jayne Mansfield's studio career the one that was referred to as "The Sale of Two T****es"?)
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.
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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.
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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!
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Will never happen. GWTW after all, ISN'T a "pro confederacy" movie. It neither celebrates Conferderate generals or Confederate "heritage".
Sepiatone
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?
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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?
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(John Cleese: "Definitely NOT."
Marty Feldman: "What about Knicker-less Nickleby, also by Edmund Wells?")
Since You Did Ask:
As someone who paid no attention to Dickens in high school, became hooked on BBC Dickens serials and promptly ate up the rest on audiobook, it helps to consider that Dickens might not necessarily have been talking about the French Revolution--
Dickens was a most sarcastic social critic and when he talked about history (like when Barnaby Rudge Forrest-Gumped his way into Lord Gordon's Catholic riots), it was meant to be literature, not textbook, and generally had some nudge-nudge criticism about the harsh Victorian/Industrial England he lived in, with his mix of social-conscience and gleefully passive-hostile snark.
In Tale's case, the idea that the guillotine that was supposed to be a "deterrent" in the new Free France, only to became taken for granted in every blood-soaked town square as one more inevitable/fatalistic bit of gallows humor for the rich and poor to joke about how cheap their lives were and let things continue on as badly as they had been, and achieved exactly the opposite of trying to create social order. Sort of like the same way the rich gentle-class and starving/thieving alley folk were doing in Dickens' London at the time, and not too far behind its readers' time, either.
That's how the "Historical context" thing works back into the thread.
(And besides, wasn't Jayne Mansfield's studio career the one that was referred to as "The Sale of Two T****es"?)
Very informative reply; if Mankiewicz quotes it, it will significantly improve whatever he says about Colman's version.
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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???
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i'm surprised no one's taken me to task for my post in the I JUST WATCHED thread wherein I called LOST HORIZON "stupid."
guess that strong whiff of SPAm has everyone sidestepping the kitchen.
i admit again that i only watched an hour of it.
i read the JAMES HILTON novel when I was 16...I even recall it was on Christmas vacation in the Bahamas. thought it was junk...not bad junk, but junk.
On the other hand, I also read GOODBYE MR CHIPS a few years later and adored it.
i guess...can i come out with this? i respect the fact that RONALD COLMAN (sp?) is still a "thing" in 2017- albeit a niche thing- and I respect anyone who- for whatever reason- can still keep their flame burning to this day WITH A DEVOTED FANBASE (see also: BOOTH, SHIRLEY) I get that people REALLY like RANDOM HARVEST and TALK OF THE TOWN and A DOUBLE LIFE and (with all respect and reverance to Mr. Faiola whose knowledge I ALWAYS I bow to)- LOST HORIZON- but I don't.
at all.
with Colman, I get that the voice was gold and the face won't bad; but when it comes to acting?
GAH! What a STIFF!
besides that, the film is awful silly.
that scene in the crashed plane where the lady (i have minimal familiarity with all three female stars of the film) GOES on and on about how she was diagnosed with a fatal illness and she's lived past it by six months (so far so good) and then she turns into THE JOKER and starts cackling maniacally about how she's going to enjoy watching them all die?
i liked her.
i also thought the print they showed had some issues, it was very bleached out in some scenes.
what was the deal with the pilot?
i howled with laughter at the sight of the temple of Shangri-La. All it needed was Jean Harlow out front walking two solid white Great Danes on a diamond leash.
WERE THERE HONESTLY CARDS THERE FOR THEM TO PLAY BRIDGE WITH???!!!!! I called foul on this. For the record though: two person solitaire is hella fun.
the sight of Ronald Colman and Edward Everett Horton dressed like Jennifer Jones in LOVE IS A MANY SPLENDORED THING was too too much.
this film needed Mary Astor.
god what else?
oh, the knick-knacks. i called foul on the knick-knacks...
but what really got me the most was the line where the guy talks about the outside traders who come to Shangri-La every so often BECAUSE "there is a mineral in our valley...i believe you call it...(thinks for a bit)...gold" that got me to say "peace out this is just too stupid even for me."
Maximum Capra.
this has been a totally random stream of thoughts for which i can never cease apologizing.
eta: Are they showing A DOUBLE LIFE? I wouldn't be surprised if they weren't because he is REALLY BAD in it.
I DO like him on the radio...although he does a broadcast of a film he did called CHAMPAGNE FOR CAESAR that is some vile sexist garbage.
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.
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What an odd and totally irrelevant question. Especially in response to my post of the 12th.
Florida doesn't much like those that cultivate an excessive fondness for alcohol, wine in my case. Those eight months of crushing tedium persuaded me to restrict myself to dessert drinks such as schnapps and coquito, a Puerto Rican eggnog-type beverage that is more flavorful than eggnog because it has rum and coconut milk. I drink enough to enjoy the flavor, but never to the point of drunkenness.
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Well, I'll bet laffite IS at least knowledgeable enough about the subject to know that the title of those operas written by those two Italian guys isn't spelled with that there "H" in it anyway, Palmerin ol' boy!
(...sorry...thou jus' couldn't resist)
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.
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Nope. The only incident even CLOSE to that in MY case was about 35 years ago and being taken to the local jail after a traffic stop, and because I had failed to take care of a vehicle "Fix-It" ticket and it had gone into warrant. That's the time found out those handcuffs aren't exactly a comfortable fashion statement. Luckily however, I had a lot of cash on me because I was on my way to play poker at a nearby card club, and so I almost immediately bailed myself out of jail. Now, IF I would have earlier took care of that traffic ticket as I should have, I wouldn't have been out the 250 bucks it cost to bail myself out of jail. And so, from then on out, I always took care of traffic tickets on a timely basis. I guess I'm a "quick learner" that way you might say, huh.
But now back to your earlier comment here...
Now, once they released you, YOU didn't "shrivel and die", now did ya, dude?
(...and so there goes your earlier analogy right out the ol' window then, right?!)
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.
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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?
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She didn't chose her hairstyle, the studio did. When Doris' hair was really short, not Tea For Two short but shorter than that, that was after Tea For Two.I think she looked great. I also think she looked great when her hair was cut chin length in the '60's. Doris has said in her autobiography she hated her hairstyles when she first started out in films.
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.
Jeanne Moreau 1928-2017
in General Discussions
Posted
I dare TCM to refuse her a TCM REMEMBERS tribute.