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About tflight9

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  1. I loved THE HUMAN COMEDY--but one thing that always surprises me when I watch it is why ROBERT MITCHUM, who had a fairly interesting small role as a soldier, is not even given any screen credit at all. He was wonderful in his scenes with Donna Reed and Barry Nelson. Strange are the ways of billing. I recall now that ELIZABETH TAYLOR got no screen credit at all for her very moving performance in JANE EYRE as Jane's childhood friend, Helen, who dies of pneumonia. As for SINCE YOU WENT AWAY, still like it but feel that Selznick harmed it by giving too much footage to the Jennifer Jones ch
  2. Keith--You're right. "Fans of the musical should walk away satisfied." That's exactly what's happening. I've seen it twice at my local multiplex and the audience was packed even at an early showing. A very attentive audience and obviously relishing the whole concept of the transition to film of a Broadway musical. If you check out the viewer comments at IMDb on this one, you'll see what I mean by all of the favorable reviews under User Comments. What hurts is knowing that the audience for PHANTOM is much smaller than that for MEET THE FOCKERS--an example, perhaps, of just how far good
  3. I can't get over the bias that is evident today in people's attitude toward film musicals. They used to be such a wonderful part of the film-going experience (think of the MGM days) but today it is considered gauche or bad taste for anyone to have to listen to too much music in films like PHANTOM which, after all, is the screen version of one of the most successful Broadway musicals of all time!! Get over it! It's a musical, a gothic musical done in extremely good taste and style with cinematography that is to die for and using a time honored storyline based on one of the most famous horro
  4. You have me curious to see what a colorization of HEIDI looks like, because that's the Temple film that cried out for technicolor. With quite a bit of outdoor scenery, it ought to be one of the better colorized films.
  5. I'm against colorization too, but I have to admit that occasionally I've seen one that I've been favorably impressed by. I saw a TV broadcast of THE BELLS OF ST. MARY'S that wasn't bad at all--and I saw a colorized version of two lesser known Temple films, MISS ANNIE ROONEY and YOUNG PEOPLE, that made the otherwise drab B&W features look a little more lively. In fact, the job on ROONEY was better than most. But I have yet to see one that totally convinces me the film was photographed in the rich beauty of technicolor.
  6. I merely meant that the only two women who could tell a few things about Howard Hughes (aside from Jane Russell) are Olivia de Havilland and Joan Fontaine who are both very much alive. I don't think Hepburn was chosen because she's well known but simply because it was easier to show his romance with one actress rather than a whole flock of them. Also, you seem to be inferring that Olivia de Havilland and her sister are not well known--which I hope is a faulty premise because I just finished an article on OLIVIA de HAVILLAND and I'm sure she still has enough recognition to be remembered as
  7. I've only seen two recent movies: THE AVIATOR and THE PHANTOM OF THE OPERA and I enjoyed both of them very much, for different reasons. I think whatever dramatic licenses were taken with THE AVIATOR were the norm for these kind of bios and only someone who insists that the movie be a documentary would be unsatisfied with the result. It's highly entertaining and DiCaprio does an outstanding job. Biggest disappointment for me was Jude Law as Errol Flynn. No way. They skirted over the other female stars Hughes were associated with but I can understand why. Olivia de Havilland and Joan Fontain
  8. At least Cary Elwes in Mel Brooks' ROBIN HOOD: MEN IN TIGHTS ('93) bore a striking physical resemblance to Flynn, which overcomes the first hurdle in playing the actor. Jude Law doesn't even get the man's accent or overall demeanor accurately, let alone his appearance. But, of course, as you say, how many actors in Hollywood look like Errol Flynn??? I find casting problems with other Hollywood segments in films like L.A. CONFIDENTIAL where the Lana Turner lookalike didn't look like her at all!! Just goes to show that these classic stars were originals.
  9. Of all the celebs featured in THE AVIATOR's Hollywood segment, only Jude Law (as Errol Flynn) and Gwen Stefani (as Jean Harlow) failed to convince me they had any right to be cast in those roles. Putting a mustache on Jude Law doesn't turn him into Errol Flynn. I thought the picture was very interesting, vastly entertaining...although a bit superficial in getting at the heart of Howard Hughes and his eccentricities. Loved Cate Blanchett as Kate Hepburn and Kate Beckinsale as Ava Gardner--two very fine performances. Thought Leonardo DiCaprio (who had to carry the film) was excellent. Never
  10. I think Universal did try to salvage Deanna's career by putting her in her first and only technicolored big budget musical CAN'T HELP SINGING ('44). It had a great score by Jerome Kern (including the title song) and yet it somehow failed to be the kind of box-office success of her earlier films. The kind of musicals Durbin did were going out of style by the time she retired. Unfortunately so, because her voice had become richer and more mature when she reached her twenties.
  11. orson4ever, your discussion of the film is right on target. How Michael Crawford may have transferred his stage role to the screen will never be known--but, as you point out, the demands of stage and screen are so different. Butler does have the necessary stage presence to carry the role--and, in my opinion, his voice--with its darker tones--is even more in keeping with the concept of a bitter and disillusioned Phantom. Last night I watched a tape of MICHAEL CRAWFORD IN CONCERT where he does three songs from the ALW musical. He had his own distinct style in delivering the songs in an effec
  12. Well, I knew people either "loved or hated" the music of ALW, and these posts demonstrate exactly that. Personally, I find the songs "haunting" in tone--appropriately so for the type of story being told--and the film is certainly richly atmospheric with all the gothic ambience one would expect from any version of "The Phantom". The songs that particularly impress me are "The Music of the Night", "All I Ask of You", "Wishing You Were Somehow Here Again" (very beautifully done in this version), "The Point of No Return" and "Masquerade". In other words, most of the score!! All very poign
  13. The music is almost operatic in concept. I think the music, more than anything else, is what I love about this version. Of course, the story too has always fascinated me--it's another variation on the "Beauty and the Beast" theme. And I'm sure it's going to be done again and again in the future. While I'm not that fond of other Andrew Lloyd Webber musicals, this one, in my opinion, deserves all the recognition it has received over the years. Some day soon I expect to see the stage version because I've heard so much talk about the "amazing staging". In the meantime, I'm going to want to see
  14. After reading so many negative reviews of the new PHANTOM, I went to see the film simply because I happen to love the ALW score. Anyone who appreciates this kind of music and the operatic concept of the film will love it! Also the gothic ambience and superb photography (detailed B&W and color) will find it absorbing and entertaining. I know Michael Crawford fans are disappointed that he didn't get to play the role but Gerard Butler has been unfairly criticized for his singing and acting--not up to Crawford, perhaps, but his performing is strong and tender when required--and his voice h
  15. Correct, bansi4! Margaret Mitchell wrote her entire manuscript with Pansy O'Hara as the heroine's name--and Fontenay Hall became Tara. I believe Melanie too had a different name originally. Anyway, interesting that Ken Jennings with all his trivia knowledge, missed this particular one.
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