marcar
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Posts posted by marcar
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A Clockwork Orange
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The Green Mile
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The Confession (1979)
Next: The Conversation (1974)
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Lauren Bacall
Next: H.F.
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Sally Hawkins
NEXT: P.V.
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The Seven Percent Solution
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8 1/2
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One Flew Over the Cuckoo's Nest
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Couldn't find a pic on previous post. Here it is from 1972.
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Elizabeth Patterson was in Intruder in the Dust with Lela Bliss.
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Maurice Chevalier
Next: H.F.
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DEALING or THE BERKELEY-TO-BOSTON FORTY BRICK LOST-BAG BLUES
THE PHILADELPHIA STORY
NEW YORK, NEW YORK
VIRGINIA CITY
TWO SISTERS FROM BOSTON
NEW YORK CONFIDENTIAL
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Sandra Dee
Next: I.H.
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Ida Moore was in The Egg and I with Esther Dale.
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Just had to post this for fun. Hope it's ok, Top Billed
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SO PROUDLY WE HAIL Claudette Colbert, Paulette Goddard and Veronica Lake 1943
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PRIVATE BENJAMIN Goldie Hawn and Eileen Brennan (and the rest of the female cast) 1980
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FROM HERE TO ETERNITY (Deborah Kerr)
I WAS A MALE WAR BRIDE (Ann Sheridan, Cary Grant in drag?)
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That "infomercial" had me waiting to hear new TCM music intros for several different features, or just when they put up the schedule for the next 3 movies coming up. But, LHF you are RIGHT. I have never heard any of those themes used and they seemed like pretty good music since the Sugarland guys explain their classic movie inspiration--King Kong, film noir,...etc.
It is odd to promote these musical cues and then not run them. I'm glad you posted about it coz I feel the same way...maybe this thread will get read and we'll find out what happened in the "Case of the Mysterious Vanishing Music."
(And I remember that Sugarland incident, but why would TCM keep running the promo if they want to distance themselves? I just saw it a few days ago..)
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Make an appointment with the opthamologist for Miriam Hopkins to get rid of those "GOOGLY" eyes. (And maybe an acting coach to teach her how to do that...
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Something's been nagging me on this subject and I just remembered. Bernardo Bertolucci uses several Francis Bacon paintings in the opening titles of "Last Tango in Paris" (1972). And some of them are reinforced in the costumes and lighting throughout the movie. It was one of the most startling opening credits of any movie I had seen
up til then because I was not familiar with Bacon. Since then I have become a huge fan and have read a lot and visited museums with his paintings.
Here are two self-portraits compared with Brando in the film (sorry they came out above)
sorry they came out above.
These two sets of images mirror each other in the original paintings by Bacon from the opening credits and in the costumes and poses of Brando and Maria Schneider.
This is one of my favorite uses of ART in the movies.
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6 minutes ago, EricJ said:
In the words of Dogberry, let it be set down and remembered that he is an ****.
Is this an example of a "dogberryism"?
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This is my favorite line from the aforementioned NYTimes article about "There Once Was a Record of Smut":
"The cylinders were packed away in a box with a handwritten tag attached: ''Not for mixed company.''
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I still haven't received my digital NPG and I've bugged TCM with e-mails and re-signed up for it. It seems like a lost cause. Everyone else is getting it but me...I thought I would be patient when everyone was saying it didn't arrive for the last two months...but now I'm in the same boat : You all have received it, but I still haven't.
Just needed to vent...
Are There Different Versions or Running Times of Cinema Paradiso?
in General Discussions
Posted
Although I love Cinema Paradiso I was very disappointed that TCM showed the shortest U.S. version. The scenes with Toto and Elena are necessary to wrap up the entire three-stages-of-life set up. It also concludes the Elena/Salvatore storyline. And, finally it is the complete version of director Giuseppe Tornatore's vision for this movie.
Shame on TCM for not showing the original director's cut. It's the same argument I made on another thread for not using dubbed versions of foreign films. When in doubt, go with the original (that's the 155-minute or the director's cut (173-minute. I prefer the latter and I've seen them all.