LawrenceA

TCM Makes History With New ‘Silent Sunday Nights’ Host University of Chicago professor Jacqueline Stewart has been announced as host of “Silent Sunday Nights,” the 25-year-old Turner Classic Movies (TCM) block that offers iconic movies from the silent era as well as forgotten gems and international classics. Stewart is a professor in the Department of Cinema and Media Studies, specializing in the history of African American cinema from the silent era to the present. She is also a three-term appointee to the National Film Preservation Board (NFPB), which advises the Librarian of Congress on policy, and is the Chair of the NFPB Diversity Task Force working to ensure the films chosen for the National Film Registry reflect diversity and inclusion. For Stewart, hosting TCM’s “Silent Sunday Nights” is an opportunity that meshes harmoniously with the kind of work she’s been doing throughout her career. “It’s an incredible alignment of my expertise as a scholar across my career, which has included trying to reach beyond academia and enter the mainstream,” said Stewart, whose relationship with TCM began three years ago, when she was invited to present films that are featured on a groundbreaking compilation she co-curated, titled “Pioneers of African American Cinema.” It was a monumental collection of historically vital films by the earliest African American filmmakers, digitally mastered in HD using archival elements. A Chicago native, Stewart curates a local film series called “Cinema 53,” which spotlights women and people of color. She also shepherds the archival South Side Home Movie Project which accumulates, digitizes and screens amateur films shot by people who live in the infamous south side of Chicago. “I have this incredible life of living where I grew up and teaching at a very prestigious institution, and it’s important to me to bring those intellectual resources and those economic resources that the university has, to people outside of the walls of the campus,” said Stewart. “So this is just like taking that desire and that commitment to a new level. I did not expect to be doing work like this but I think that it’s exactly the right kind of move for me to make.” That she is an African American woman, and the first black host of a TCM programming staple, is certainly appreciated by Stewart, who fully expects her identity will be of influence on the framing of the franchise going forward. “I think it’s extremely significant, and I feel honored, while also feeling appropriately pressured,” she said. “I never feel like I walk into any space as just myself. I carry with me specific histories and strengths. And so I think that for so many of us who operate in predominantly white spaces, which is not new to me as an academic, we can choose to accept quite a bit of responsibility for speaking for our people.” The pressure she speaks of includes channeling the anxieties of the communities she proudly represents, especially during a period of robust conversations around issues of diversity, equity and inclusion. And she’s well aware of how ephemeral moments like this can be, which only amplifies the urgency to seize them. “It is incredibly important to use this platform as effectively as I can while I have it, and so being impactful, using my voice to point out things about these films, and help select films that we show that really teach us something new about the diversity of film history, is definitely something I plan to do, and that TCM has been completely supportive of,” said Stewart who is confident that, under her watch, the full range of cinematic experiences during the silent period will be represented. And as an archivist, she also plans to introduce conversations around the preservation of these aged films that viewers will find educational. Some of her favorites of the period include Carl Theodore Dryer’s “The Passion of Joan of Arc,” which she describes as a extraordinary work of art. “It demonstrates the power of the sheer visual image, and is a film that is always spellbinding to me.” She’s also a huge fan of Oscar Micheaux, calling the pioneer an “especially singular cinematic voice,” whose work will be included in her programming of “Silent Sunday Nights.” Included will be “The Symbol of the Unconquered” and “Within our Gates,” which were both audacious responses to D. W. Griffith’s incendiary “The Birth of a Nation,” which is also on the docket. And Stewart will not shy away from the problematic dimensions of these films, with a goal being to critically examine them in their full complexity. “I think this is part of the invitation that TCM has given to me, to come and really talk about the challenging racial and gender questions that come up with some of these early films,” she said. “And even if I’m not talking them, I think my sheer presence as a black woman hosting this series will automatically raise the kind of inquiries that otherwise may not come to the surface.” “Jacqueline is sharp, lively, and has an illuminating depth of information,” said Pola Changnon, senior vice president of marketing, studio production and talent for TCM. “Her knowledge of the silent era and the way she weaves a beautiful narrative about this genre of film will surely entertain viewers while also allowing them a front seat to their own personal film class with her as their teacher.” Stewart will begin hosting “Silent Sunday Nights” on September 15, 2019. https://www.indiewire.com/2019/09/jacqueline-stewart-tcm-host-silent-sunday-nights-1202171378/

I wanted to say Bill Irwin hosted some sort of silent film programming a long time ago, but I can't find anything to back that up. It may have just been a between-programs short, or maybe something on AMC back in the old days.

I'm rather ambivalent on the issue. I don't normally care too much about the hosts, but I appreciate the kind of attention and detail Eddie Muller brings to Noir Alley, and wouldn't necessarily mind that with other recurring programs. I'm happy for Jacqueline Stewart, I suppose, and she seems to have the credentials (she's a film studies professor from the University of Chicago), but from what I've read in some articles, she will also be discussing aspects of the films that are no longer politically correct or socially acceptable: "[...] And as an archivist, she also plans to introduce conversations around the preservation of these aged films that viewers will find educational. Some of her favorites of the period include Carl Theodore Dryer’s “The Passion of Joan of Arc,” which she describes as a extraordinary work of art. “It demonstrates the power of the sheer visual image, and is a film that is always spellbinding to me.” She’s also a huge fan of Oscar Micheaux, calling the pioneer an “especially singular cinematic voice,” whose work will be included in her programming of “Silent Sunday Nights.” Included will be “The Symbol of the Unconquered” and “Within our Gates,” which were both audacious responses to D. W. Griffith’s incendiary “The Birth of a Nation,” which is also on the docket. And Stewart will not shy away from the problematic dimensions of these films, with a goal being to critically examine them in their full complexity. “I think this is part of the invitation that TCM has given to me, to come and really talk about the challenging racial and gender questions that come up with some of these early films,” she said. “And even if I’m not talking them, I think my sheer presence as a black woman hosting this series will automatically raise the kind of inquiries that otherwise may not come to the surface.” https://www.indiewire.com/2019/09/jacqueline-stewart-tcm-host-silent-sunday-nights-1202171378/ This could lead to resentment on the part of some viewers who regularly bristle at this kind of contextualization.

1950 Les Enfants Terribles, Jean-Pierre Melville, France El hombre sin rostro, Juan Bustillo Oro, Mexico

No, the moderator set it up for you.

Nice avatar, spence!

Test

Yeah, I really don't mean my comments to come across as insulting, although I can see where the one you quoted may be seen that way. I really am surprised when people can't do things that I have no trouble with, given my numerous shortcomings. I assumed for a while that people may be using different types of computers (Apple vs PC), or a different operating system, or a different browser, or something that would explain it (I'm using a Windows laptop and Chrome browser, which seems to horrify most techies). I know you're a sharp person, sewhite, based on your past posts, so when I seem surprised that you can't post an avatar, it's based on all of the above.

I recall when that came out on video, some video stores refused to carry it because of the title. So the distributor put out another version with this altered title and cover-box: I've never watched it, but it has a good cast.

It looks like Steven Spielberg is the only other director with noms in each of the past few decades, and his include the 70's. Woody Allen missed it by one decade - none in the 2000's.

It's not for acting, but Martin Scorsese has done it via Best Director nominations.

I recall that when I used a tablet to access this site, any posts that had embedded YouTube videos or those formatted Twitter tweets really bogged down the site, causing threads to load very slowly. With my laptop I don't have those issues, but I still don't like the tweets.

I finally got around to watching this movie. I found a used Blu-ray of it, and bought it because I've heard about it for years, and because I was interested in seeing all of William Friedkin's films. I've heard mixed things about the movie, so was uncertain how I would like it. I ended up being impressed with it on the whole. It's an invaluable snapshot of a time, with the prevalent attitudes, as well as the fashions and decor. The acting is superb all around, even the more outrageous camp turns by Gorman and Frey. I can see why Gorman in particular puts off a lot of people, but I've met many guys who acted just like him, and to ignore them would have been disingenuous. Kenneth Nelson was very good, and I agree with whomever said that he deserved an Oscar nod, at least. I can understand why some people are put off by the film's negativity, with all of the fighting and cattiness and self-loathing. But it all feels genuine, too, and life does have rough patches, regardless of orientation. This film was one very bad night in the lives of these men. It exposed deep wounds in their inner selves, but don't we all have hang-ups and things in our pasts that we have to deal with, either on occasion or on a daily basis? To depict these characters as all sunshine and laughs and happiness would be a disservice, and obviously not what the writer was going for. Friedkin's direction was simple, largely unobtrusive, and excellent at enlivening what could have been stagy and claustrophobic. Finally, it was frankly devastating to read how many in the cast died of AIDS. I knew that's how Leonard Frey passed, but as I was unaware of the other actors before watching this, I didn't learn of their fates until reading up on the film after watching. I see that Kenneth Nelson appeared in a couple of Clive Barker's films before dying. I've seen those (Hellraiser and Nightbreed) many times, and never realized that such an accomplished actor was the guy playing such minor roles in those films.

Apocalypse Now Taxi Driver The Godfather/The Godfather Part II

PLEASE! DO IT, AND DO IT NOW!!!! SPENCE MAY NEVER SEE THIS POST, SO JUST GO AHEAD AND DO IT!

From the 1940's 1942 Les Visiteurs du Soir, Marcel Carne, France 1947 Quai des Orfevres, Henri-Georges Clouzot, France - 8/10 1949 Bitter Rice, Giuseppe De Santis, Italy - 8/10 Le Silence de la Mer, Jean-Pierre Melville, France - 8/10 Jour de Fete, Jacques Tati, France

Did that play at the Venice Film Festival? I thought I'd read that it wouldn't premiere until the NY Film Festival, which doesn't begin until Sept. 27.

They seem to have scheduled it to not only run all night, but into the next day (8PM ET on the 17th until 12PM ET on the 18th). The people chosen are: Julie Adams - Creature from the Black Lagoon David Hedison - The Fly Carol Channing - Thoroughly Modern Millie Tim Conway - McHale's Navy Rutger Hauer - Eureka D.A. Pennebaker - Monterey Pop Bibi Andersson - Wild Strawberries Franco Zeffirelli - The Taming of the Shrew

Yes, that was scheduled a few months ago, so it's a bizarre coincidence.

Bunny Lake Is Missing is the movie I think of when I hear Lynley's name. I had forgotten about her being in The Poseidon Adventure, but I wasn't too impressed with that movie, either. I watched Blue Denim in the last year or two. It's worth seeing for being a time capsule of the time, but it's not very memorable, and of course not nearly as scandalous as the hype at the time implied. Other movies with Lynley that I've seen include The Last Sunet, Under the Yum Yum Tree, The Cardinal, Shock Treatment, The Pleasure Seekers, The Shuttered Room, Shadow on the Land (TV movie), Once You Kiss a Stranger, The Night Stalker (TV movie), Beware! The Blob, The Elevator (TV movie), The Four Deuces, Flood! (TV movie), The Shape of Things to Come, Vigilante, and Howling VI: The Freaks. Not much to celebrate, but some choice B-movie stuff later on. BTW, I don't know who it is that mentions how awful Lois Chiles was in Death On the Nile, but I finally watched that movie a couple of days ago, and I have to agree.

Sometimes I wish that could take over some of your accounts, as it would take me less than 30 seconds to search for an image, copy'n'paste the URL, and then hit save. I've been reading some of you complaining for years that you can't figure this avatar thing out. If I can do it, anyone can, as I'm an idiot in general and especially so in tech matters.

Here's a long list: https://en.wikipedia.org/wiki/List_of_television_shows_filmed_in_New_York_City

Just among the new ones. Redes is interesting, a neo-realist movie before the Italians popularized the style. Plus it's a look at a world not often seen in film (poor Mexican Gulf-coast fishermen). I saw it on the Criterion Channel. It's part of the first set of films released under the World Cinema Project banner, which seeks to locate and restore neglected films from around the world. Criterion has released two box-sets of films so far, as well as a few as solo discs.

I have seen a lot since the last time we posted additional titles, so I'm going to spread them out over the next few weeks. I'll separate them by year, and post the titles in preferential order. Anything that I list in numeric order, I have given a 6/10 or higher rating. If I gave a movie an 8/10 or higher, I will make a note of it. Anything that I gave a 5/10 or lower, I'll list in the "I've also seen" section, listed from highest rated to lowest. I've only seen a few additional titles from the 30's and 40's. From the 1930's 1936 Redes, Emilio Gomez Muriel & Fred Zinnemann, Mexico Intermezzo, Gustaf Molander, Sweden 1938 A Woman's Face, Gustaf Molander, Sweden Dollar, Gustaf Molander, Sweden 1939 Only One Night, Gustaf Molander, Sweden

Yes, he was being pushed hard for stardom during the late 90's. James Marsden and Josh Lucas are two more who were supposed to be the "next big male star", but it never happened. Julia Ormond and Gretchen Mol were two actresses of the 90's touted as stars that didn't quite catch on.