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About Mac_the_Nice

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  1. Fully concur about Raging Bull being richly enhanced by that operatic score but since, by my lights, RB is far better than just OK, well, then, hmmmm . . . Within strict guidelines of this challenge, not much comes to mind! Well . . . maybe Arthur Penn's, some might say, unfairly abused Mickey One? The jazz score composed by a former arranger/pianist for the Goodman Band, Eddie Sauter with Stan Getz on tenor--whoa. That music is so supreme that I'm sure it must benevolently short-circuit my head so that I can detect nothing at all from the "pretentiousness" others seem to find in the film it
  2. Whoops almost didn't give the details. It's TONIGHT. "I Married a Woman". 12:15 EDT. Title just sort of leaves you sitting there wondering what the heck happened to the ". . . from Outer Space" part? Uh-Huh. Okay. But NOT so strange in this day since about 7 or 8 years ago when we can veritably expect to see some handsome Jon Hamm looking leading man standing under such a title as this: "I Married my Porche Mechanic." Nobody would bat an eye.
  3. Omigod. Had I known about *that* marriage back in the mid-1950s, I would have gone all mystical thinking like, nothing is impossible. We will soon be visited by Men from Mars for sure! Okay, okay, Mickey Rooney and Ava Gardner, but . . . Make no mistake, George Gobel was a big favorite in our neighborhood such a funny fellow as he was, so subtle in his deadpan humor, but he was such a wee little guy, certainly no Wally Cox/Mr. Peepers, but . . . Diana Dors! Really? The U.K's 100 megaton bombshell version of Mamie Van Doren? Yes. and she is (or was) really brushing her long, lovely pl
  4. :-) Have you decided which film, this or the Hollywood version seems to you the best? Hard for me to judge since I haven't read the novel. But so far as including enough of the kind of detail necessary to an understanding of plot and character, I guess I'm still tending toward the Hollywood version.
  5. Purple Noon, from 1960, the French adaption to the screen of Patricia Highsmith's The Talented Mr. Ripley--always worth seeing again for the fans of Highsmith, Alain Delon and director, René Clément. Comes on at 10:30 a.m. CDT. Been awhile since I saw this but my recollection is of a feeling that I liked the Hollywood version better. That's not at all usual for me, since mostly I despise the remake of just about anything--so maybe a martini or two too many that night had gotten in the way of my better critical judgment. Now I get to find out, as I sit down to watch with nothing more than or
  6. Yes, I'm sure even a fabulous talent, wit and secret rebel like Katie Hepburn could be plagued by the same vanity most the rest of us suffer, so . . . I think you've put your finger on it.
  7. Yes, and all too often, they have a tendency in that bumptiousness (if it be of the idolizing sort) to morph into fanfic. So it's rather refreshing to see what it's like to find a fair amount of objectivity at work in the work, such as it is with this one . . . But for anyone so pathetically enthralled with the music of the Strauss family as I am, this series can do nothing to deplete that admiration, even if it does deliver shockingly short shrift when it comes to the operas, offering only these sort of pastiches of merely instrumental mock-ups of Fledermaus et al. And this serie
  8. The Rimsky-Korsakov opera, itself, in case there are any ex-CIA or KGB spooks here who know their Russian . . .
  9. Or if the theme was too obscured by symbolism in the Tennessee Williams play, how could anyone not get, or forget Vincente Minnelli's Tea & Sympathy--the way my mother went about with her beatnik friends raving about it in 1956?
  10. But what would you make of the 1959 Gore Vidal script for T. Williams' Suddenly, Last Summer?
  11. Omigod. Who knew? Some of you did, of course, and here all this time you've been keeping this fabulous gem of literary and musical knowledge all to yourselves. So naughty, some of you! Well, the jig's up, because here it is, originally composed as a drama in verse circa 1830, by Pushkin and then taken up in the late 1890s to the operatic stage by Rimsky-Korsakov. Fabulous to see how closely Peter Shaffer's script has kept to the original intellectual conflicts, the moral dilemmas invented by Pushkin for his drama. Ever since seeing Amadeus, I've always thought this to be such a brilliant i
  12. Well sure! Any other topics you'd care to leave outside the door with the galoshes, the wet umbrella? How about any discussion of the "Uncle Scrooge" figure in Donald Duck cartoons, along with the faintly disguised extreme right-wing figures of Elmer Fudd and Yosemite Sam? Should we not regard introduction of any such subjects to be extremely harmful to an atmosphere and ambiance here of peaceful coexistence? And why should only political subjects be pooh-poohed? Or i.e., why should only they be deigned pooh-poohable? What about those terribly annoying posts when somebody wants to talk abo
  13. The Barbarian Invasions . . . http://www.rottentomatoes.com/m/barbarian_invasions/?search=barbarian%20invasions A French/Canadian director, Denys Arcand The style: stratospherically intellectual. The content: in the days surrounding 9/11, the grand patriarch of a family is dying of cancer: I find that this director has a former film of equally high rating from RT . . . http://www.rottentomatoes.com/m/le-declin-de-lempire-americain/?search=The%20Decline%20of%20the%20American%20Empire What do you think? Am I reading a hidden content into it that's not there, or do you
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