Casablanca100views
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Posts posted by Casablanca100views
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Her pose doesn't help either. Gene's role in Sidewalk is to be her moving up from the lower classes.
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I just finished up disc 3 of the Poldark (1975) series, and waiting for the last 4 episodes from Netflix.
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Who says Oleg Cassini can't dress a woman like a trollop? Gene Tierney's looking like someone spent a bit money to look cheap in Where the Sidewalk Ends. That's the postwar 40s for you.
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Gene Tierney's always seemed to be looking absolutely perfect in her roles. Leave Her to Heaven has her looking so sweet on the outside, but inside she's horrible.
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Joan Fontaine's acting, in my opinion, is amazingly "real."
In THE CONSTANT NYMPH and REBECCA she has such a natural, spontaneous-seeming delivery in stark contrast the patterned deliveries that were typically found in movies in that era.
I love her too. She's a delight in The Women as well, and she's my choice for best Jane Eyre. Even when she's "acting" -like in Darling, How Could You. -she does it effectively.
I searched through Raymond Massey's and Gary Cooper's days in SUTS for The Fountainhead. but it appears we're going to miss this amusing disaster. (darn, not this time)
But Cooper's It's a Big Country isn't seen too often and I like it. Check it out if you can.
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Nice cover of AC/DC's Thunderstruck - by Steve'n'Seagulls
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But that doesn't prove anything. Scientists could write all the books they like about love being a trap of nature. I remember reading that, it's biology and the chemistry inside that fools them. But all the scientists are going to convince other scientists, not women in love. I don't say Joe is the greatest thing that ever lived. Probably wouldn't love him if he was, I'd just want to look at him. But you see, I'm not the greatest girl in the world either. Two people look at each other and they see something way deep inside that nobody else can, and that's it.
The Devil and Miss Jones (1941)
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Clara: ... Do you remember the night I came to your apartment to wrestle--and remained to type? Do you remember my saying to you, 'I'm really looking at you for the first time?'
Stanley Crown: Yes.
Clara: Well, that's what happening now. You're really looking at me, for the first time... Only it's too late now. The timing is all wrong. Two people have to look at each other for the first time, at the same time-- or it's no good.
Forever Female (1953)
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Here are Jimmy Webb's words about the song, as quoted in Wikipedia. (I love that songs have their own Wiki pages.):
Everything in the song was visible. There's nothing in it that's fabricated. The old men playing checkers by the trees, the cake that was left out in the rain, all of the things that are talked about in the song are things I actually saw. And so it's a kind of musical collage of this whole love affair that kind of went down in MacArthur Park. ... Back then, I was kind of like an emotional machine, like whatever was going on inside me would bubble out of the piano and onto paper.
Read the Wiki pages. Wow! Loved reading the back story and what was going on in Webb's life at the time.
In 1965, Webb was working at an Insurance company. Multi-tasking artist, like him already. The song had muti-movements, like classical. I knew nothing of the connection of The Association. Liked the story about meeting Richard Harris. Thank you for telling me about it.
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I love your story, John. How special a memory of that show.
I am so glad someone mentioned The Clock. Judy is absolutely believable in it, I totally buy her character. It is a a very difficult story to sell. She and Robert Walker work the chemistry beautifully, and James Gleason's role is such a sweet ensemble bit of work.
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For those who love Jimmy Webb's MacArthur Park, this is a must:
That was awesome.
I have seen MacArthur Park (LosAngeles) and, well, I hope it may see better days. I too am wondering why about MacArthur Park.
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Could it be a picture setting?
In general there is a framing setting on all HD TVs with these options:
as-is (off),
automatic (your guess is as good as mine),
frame on outer or largest dimension (letterbox or pillarbox),
frame on inner or smaller dimension (crop, no bars), or
stretch to fit (vertically or horizontally distort the picture),
and maybe some others.
If unexplained it could be that it might be a result of your HD TV being on the auto setting, or to a lesser extent it may have been set to the "crop" setting. The vertical black bars are so small in this case that you may not have even noticed anything missing, if it were cropping the picture for you.
It could be the case.
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The aforementioned and In The Good Old Summertime.
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Joe Cocker, one of greats.
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Ma Joad: Rich fellas come up an' they die, an' their kids ain't no good an' they die out. But we keep a'comin'. We're the people that live. They can't wipe us out; they can't lick us. We'll go on forever, Pa, 'cause we're the people.
The Grapes of Wrath (1940)
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I finished up first two seasons of the Poldark (1975) series, but I have to steam the floor this weekend, so it will be my 50s chick movie extravaganza.
Speaking of 1950's culture icons-
Have any of you seen the Prize Winner of Defiance, Ohio? I liked it.
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RIP Patrick McNee, who played the Young Marley:
Richard Addinsell's very charming English score for
A Christmas Carol
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I'm not sure who Charlotte is, but elswhere in these forums, in similar threads, I've posted a few of my favorite movie scores are:
David Holms score for the 2001 version of OCEAN'S ELEVEN...
The work done by T-Bone Burnett and others for O BROTHER, WHERE ART THOU?...
Then there's all the cleverly "era correct" music written by a list that includes...
TOM HANKS
ADAM SCHLESINGER
RICH ELIAS
SCOTT ROGERS
MIKE PICARILLO
GARY GOETZMAN
and
HOWARD SHORE
for 1996's THAT THING YOU DO
And I'll include any and just about all of that very early jazz music that often winds up as background score in many WOODY ALLEN films.
JERRY GOLDSMITH'S score for PAPILLON(1973)
And, whenever I discuss a movie "score", I usually mean ALL the music, NOT just any popular songs that might have come out of it. Which is WHY I always also include ALL the music heard in THE WIZARD OF OZ, by HAROLD ARLEN...YIP HARBURG...and...HERB STOTHART. Don't know for sure WHO wrote WHICH parts, I just sit back, listen and enjoy.
Sepiatone
Youtube is slowly getting easier to locate an entire score for a movie. I tend with the 30s-40s more myself, so to each his own. John Williams seems to have recieved all the glory concerning scores in the last few decades, and I am glad just to be able to post some personal favorites and recognition for composers of their day. I had no idea there was a second thread. Good, you have a spot for your favorites too.
Here's some more Franz Waxman.
The score for Taras Bulba, much later in 1962:
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James Horner
One of my all time favorites.
The Place Where Dreams Come True:
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RIP, James Horner
End Credits to Apollo 13:
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James Horner died in a plane crash in CA yesterday:
RIP, and thank you for the music..
http://variety.com/2015/film/news/james-horner-dead-1201525804/
For those who don't like links, the article is here:
JUNE 22, 2015 | 09:08PM PTComposer James Horner, who won two Oscars for the music of “Titanic” and scored such other blockbusters as “Avatar,” “Braveheart,” “Apollo 13″ and “A Beautiful Mind,” died Monday in a plane crash in Ventura County, Variety has confirmed. He was 61.
The two-seater single-engine S312 Tucano crashed north of Santa Barbara about 9:30 Monday morning and sparked a brush fire that was extinguished by country fire crews. Horner, a trained pilot, was alone in the plane, which was completely destroyed.
Horner was one of the most popular film composers of the last 30 years, and his “Titanic” soundtrack – with its hit Celine Dion song, “My Heart Will Go On,” written with Will Jennings – became the biggest-selling movie-score album of all time, selling an estimated 30 million units worldwide.
He scored more than 100 films in all and was often in demand for big popcorn movies. Most recent were “The Amazing Spider-Man” and “The Karate Kid” remake, but he also scored “How the Grinch Stole Christmas,” “The Perfect Storm,” “Clear and Present Danger,” “Honey I Shrunk the Kids” and “Aliens.”
He was born Aug. 14, 1953 in Los Angeles, the son of production designer Harry Horner. He spent his formative years in London, attending the Royal College of Music, but he returned to L.A. and earned his bachelor’s degree in music at the USC and did post-graduate work at UCLA.
Horner began his career with AFI shorts and low-budget Roger Corman films including “The Lady in Red” and “Battle Beyond the Stars,” quickly graduating to major studio films including “Star Trek II: The Wrath of Khan” and “Star Trek III: The Search for Spock.” His 1980s output demonstrated his versatility, including scores for “48 Hrs.,” “Cocoon,” “Willow” and “Field of Dreams.”
In the 1990s he added “The Rocketeer,” “Sneakers,” “Patriot Games,” “Legends of the Fall” and “Ransom” to his resume before hitting the jackpot, both financially and awards-wise, with “Titanic.” In addition to his two Oscars, he won song and score Golden Globes for the James Cameron film.
He received eight other Oscar nominations, including seven for the scores of “Aliens,” “Field of Dreams,” “Apollo 13,” “Braveheart,” “A Beautiful Mind,” “House of Sand and Fog” and “Avatar.”
As a songwriter, he earned an Oscar nomination and two 1987 Grammys including Song of the Year for “Somewhere Out There,” written with Barry Mann and Cynthia Weil for the animated film “An American Tail.” He did the “American Tail” sequel “Fievel Goes West” and musically launched another popular animated-film franchise with “The Land Before Time.”
He earned four more Grammys including one for instrumental composition for 1989’s “Glory” and three for “Titanic” including Record of the Year and Song of the Year.
He also scored Michael Jackson’s “Captain EO” theme-park attraction at Disneyland in 1986 and composed music for a handful of TV movies including “A Piano for Mrs. Cimino,” “Extreme Close-Up” and “Freedom Song.”
Horner dabbled in other realms of music-making, including composing new music for Katie Couric’s stint at the “CBS Evening News” in 2006 and, in recent years, classical commissions. In November 2014 he premiered a double concerto for violin and cello in Liverpool, England, and March 2015 saw the premiere of his concerto for four horns in London.
Horner also scored music for an airshow by the Horsemen in 2010.
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Hey, I met Ben Mankiewicz ! Does that count?
He was in Toronto with that TCM travelling film feature event (forget what exactly it was called.)
I'd gone to Toronto specifically to attend this event, and to meet him. They were showing "The Last Picture Show" at the Bell Lightbox Theatre.
I really wanted to meet Ben. At the time, there was some Ben-bashing thread on the boards here (how unusual !), and, not that he needed it, I wanted to tell him I was a big fan.
There didn't seem to be much opportunity to meet him, though. Wasn't any "meet and greet" time before the scheduled event, or anything like that.
I took a seat next to the outside aisle in case Ben came walking that way. And then - he did ! It was just minutes before he was to take the stage along with the other speaker, to introduce the film. He was standing in a sort of alcove, away from the aisle seats. I can't even remember how I knew exactly he was there, but I think I was sort of lying in wait for him.
The ushers or security staff, or whoever they were (young girls by the look of it) kept trying to lead me away. I remember saying, "I just want to meet Ben Mankiewicz, dont' worry, I'm not some nutter or anything."
Anyway, all of a sudden, there was the Mankman, along with a few assistants or something. I remember he was extremely gracious, we shook hands, he took a minute or two to talk to me, I even told him I was a regular poster on these boards ! He signed a "Now Playing" TCM guide for me.
Ben was very gracious and friendly, and I'm glad I went out of my way to meet him. My friend I attended the screening with was a little embarrassed, she thought I'd "made a fuss" to meet him.
And I did ! But it was totally worth it. No one else there had made an effort to meet him, and no one else did. ( so far as I could tell.)
Oh, and the screening was really good. I'd forgotten what a good movie "The Last Picture Show " is.
ps: I realize I'm making a big deal out of meeting someone not nearly as famous and "Old Hollywood" as many stars mentioned here. But, hey, I'm afraid I haven't met any movie stars, so my encounter with Ben Mankiewicz was as good as it gets for my "brush with greatness".
I think that's a great story.
Was this a summer or two ago? I remember you and I standing up for Mank on these threads at the time. My attempt to meet Mank wasn't as successful, but it was a great TCM Screening Event (I don't remember the exact title either) experience to travel to Miami for the evening, enjoy the discussion he had with Shirley Jones before the screening, and see Elmer Gantry on the big screen. Good times.
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I just put a hold on Rouben Mamoulian's The Gay Desperado dvd at my library. It is listed online as being in the gay and lesbian section.
facepalm
Who's that librarian? What's her name?
Costume Design: Period and Timeless
in General Discussions
Posted
Where the Sidewalk Ends is a much better film than I expected when I first saw it. Gene is a b-story line here, and her character intro throws the viewer off, which makes it a good crime drama.