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kevshrop

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About kevshrop

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  1. I first saw THE BISHOP'S WIFE in the late 1980's on the Disney Channel. I was sick at home, and the rest of the family had gone out to a Christmas party. Well, that movie really picked up my spirits and made me feel much better. A major component of this movie's magic is the score by Hugo Friedhofer. THE BISHOP'S WIFE just wouldn't be the same without that wonderful music. It's now a holiday favorite.
  2. Perhaps it was just the print that was used on TCM, but I didn't notice a VistaVision credit for THE ADMIRABLE CHRICHTON when it was shown recently. It wasn't listed in the credits at the beginning, nor anywhere at the end. Technicolor was listed, though. Anyone know what could have happened to the VistaVision credit? Was it a Paramount release and listed in the opening Paramount mountain logo?
  3. I remember how during the colorized version of Yankee Doodle Dandy, there was a black maid character. But the colorization people didn't bother to colorize her. They left her in black and white. We just laughed and laughed at that. Perhaps they've fixed that since the 1980's.
  4. Some weeks back, TCM showed BOY, DID I GET THE WRONG NUMBER! I was half watching it and doing something else. I was about to switch the channel when I had recognized parts of the music score. I found myself shouting at the TV, "That music's from TV's LOST IN SPACE and BATMAN." I thought for sure this must be a 20th Century-Fox movie, but at the end it stated that it was released by United Artists. Did the studios rent out their scores to other film companies? Is it possible that this film was originally slated to be released by FOX, but for whatever reason (financial) was unloaded onto United Artists? Of course, I had to watch the rest of the movie to see, and hear, what else I could find. Not much. It was really a bad movie. But I did like Phyllis Diller, but I felt her talent was wasted. What do you think? Any input about the borrowed music part of this entry?
  5. While THE COURT JESTER is what I consider one of Danny Kaye's best movies, it still has a lot of that silly stuff that he does when performing that just isn't funny to me, such as in the song the Maladjusted Jester. You know, those noises and facial contortions he does. Just not my thing. I always skip over those parts in his movies. He doesn't seem to do that too much in Hans Christian Andersen. Tonight on the Essentials, Jr. with Bill Hader, his opening remarks said Danny Kaye had years of experience on vaudeville and on Broadway. On vaudeville? I thought vaudeville was all over and not in just one place. All those circuits, etc. I thought his script would have said "in" vaudeville. Was what he said incorrect? Or am I being too picky? Yes to both questions?
  6. I have about 400 LD's, and several working players. I've been prioritizing those titles that are most likely not to be put to DVD, or otherwise have extras on them that no DVD version has. One of my prized possessions is the Pioneer Special Edition of 1776 with interesting commentaries by Peter Hunt, before he went and did his own restoration with Joe Capps. It's not a perfect version, but I like it much more than that newer version they have out now.
  7. Thanks AndyM108. "I done seen 'bout everything, when I sees an elephant fly." I wonder why Disney doesn't withdraw DUMBO from its library. And after seeing Pecos Bill's cigarette removed digitally and from the song in MELODY TIME, I thought that was taking things too far. Imposing today's standards on older movies is a dangerous thing. It's too bad we can't have these treasures preserved for our home use.
  8. In the Walt Disney movie SONG OF THE SOUTH, was Uncle Remus actually a slave? I thought I remembered a part of the movie where Uncle Remus was told he couldn't tell the stories anymore, and that he just packed up and left. It wasn't an escape scene in the movie. I kind of got the idea that setting of the movie SONG OF THE SOUTH was after the Civil War. I'm not sure what the time setting was for the Uncle Remus books.
  9. Our local Cinemark (Century Theaters) showed WEST SIDE STORY yesterday as part of their ongoing Classic Film Series. I've had my issues with Cinemark in the past concerning technical problems, but I admit they've been very responsive to my comments, complaints and suggestions. When WEST SIDE STORY was shown at this particular theater complex some time back as a TCM Fathom Event, I was generally pleased with the picture and the projection. I still find that left and right thirds of the screen are dark, making the image look uneven, but this is with all the screens there at that complex. Is this the way images are supposed to look for digital presentations? But my main gripe with the version of WEST SIDE STORY that was shown during the TCM Fathom Event, and also with yesterday's Cinemark Classic Film Series version was the sound mix the movie's distributor submitted to Cinemark. They told me it was shown in 5.1. Well, I could count on one hand how many times I heard the surround sound used. The opening JETS whistle emminated from the right rear channel. And there were some sirens heard in the surround during the rumble scene. That's it. The music only came out from the front set of speakers. Yes, it was in stereo. But the fidelity was terrible, with the audio sounding slightly muffled and really reserved. And there were hardly any highs in the audio range. It was like I was listening to sound from an old tv monitor speaker with very limited range. The presentation of THE SOUND OF MUSIC was just like this. Both Robert Wise productions. Hmmm? I heard him say in the commentary for THE DAY THE EARTH STOOD STILL that he found surround sound distracting, and didn't employ it in his movies. But a musical really needs great sounding music. It's not that I really craved a super surround mix. But I wish that there was a fuller range of orchestral sound like I've heard from other movies presented in this series. MARY POPPINS had a beautiful expanded stereo sound mix, incorporating the front surround speakers. And the TCM Fathom Event presentation of LAWRENCE OF ARABIA also sounded fantastic, like I was in the recording studio. The music was crystal clear and full of body and wide range. I can play WEST SIDE STORY at home, listening to the sound through my old JBL speakers, and I feel like the orchestra track was recorded yesterday. Why does it sound so bad in the theater? The mix, the theater, both? I'd like to hear input from those who would like to comment. - Kevin
  10. Yes, the same thing was done when Gone With The Wind was listed the other day, with Part 2 being shown first. It wasn't shown in that order, of course. Oh well.
  11. It's gotta be Karloff's Frankenstein monster for me. That characterization is so real. I can watch him over and over again.
  12. Saw the Frankenstein double feature last night and enjoyed the interviews with Lugosi Jr, Karloff's daughter, and Rick Baker. Still, a lot of spoiler issues for those in attendance who never saw the movies before and sitting watching the movie clips shown during interviews. Super grainy is a ctiticism I've heard about this new HD (BluRay) version. I don't know. The contrast was off it seemed. I'm usually someone who hates the "true blacks" results of restoration, but I found myself wanting them. The prints just seemed a little washed out. But as far as grainy, I feel that black and white movies get away with so much technical imperfections of film grain and process special effects. Older classic COLOR movies hardly ever do. But the preview for the Monsters Collection on BluRay showed some beautiful Technicolor shots of the Claud Rains version of Phantom of the Opera. Where was the grain in that I'd like to know. It looked like it was filmed yesterday. At the screening itself, there were about 35 people. And a lot of talking and inappropriate laughing. And I really don't think it was nervous laughter either. A bunch of silly women couldn't stop laughing during the Ave Maria Blind Hermit scene in BRIDE OF FRANKENSTEIN. I thought that was a really touching scene. But they were so loud and disrespectful of that scene, it made me mad. But I did notice edge loss of the movie was gone. I saw things I had never noticed before. Greater detail, and of course, the crucifix was clearly visible in this version. Thanks, Universal. After the movie ended, there was a Fathom Events graphic with exit music consisting of a marimba instrumental version of "This Can't Be Love". Very funny. Edited by: kevshrop on Oct 25, 2012 10:04 AM
  13. Hmmm, I wouldn't be surprised. Stothart was so much of the MGM "sound". With experience in composing for dramatic and musical features.
  14. I agree with you Dothery. This is one special movie. I can really get lost, in a pleasant way, in the mood, the surroundings, the time, the manners of this movie. But another special part of it consists of the music by Herbert Stothart, which really helps to keep me in the movie. The soundtrack is available by the way via Screen Archives Entertainment. The CD also includes the music from THE YEARLING, also by Stothart. It's one of my favorite discs.
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