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lux0786

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  1. Despite his mistakes and the general controversy regarding CK, Welles career would have gone “downhill” anyway. He was obviously not a cut out for Hollywood. He wanted to make his own movies the way he wanted them. Making movies is ghastly expensive and I don’t think it’s particularly degrading that he had to take roles he didn’t want, etc., in order to fund them. Even if he had been the proverbial great guy and burned no bridges does not mean that he would have had rich friends to give him money everytime he wanted to make a film. I think there is a great deal of success in Welles career in
  2. I seem to remember Welles a little more contrite than that, a bit more humble (if humility and Welles can survive in the same sentence). There is a long and fascinating interview done two or three years before his death during which, I believe, he made his comments. But maybe I ought to see the interview again. (Anybody else remember this?) No comparison, however, can be made between what he said about CK and Marion and what he said about WOTW. None but the most gullible could think him even remotely in earnest when asked about the latter the morning after. Though he mouthed words of apology a
  3. ... I don't think it's fair to demonize Welles for Davies' own unethical choices that led to her own fall from grace. Obviously Welles was not solely responsible, but it's nevertheless interesting that he actually expressed regret (and quite genuinely in my view) for treating her the way he did in Citizen Kane. Quite rare for Orson to have made an admission of this sort.
  4. "I want everyone to tell me the truth, even if it costs them their jobs." ---Samuel Goldwyn
  5. There are at least two documentaries on Marion that have been shown on TCM. It's not possible to come away from either of them without knowing that Marion had a genuine feeling for Hearst and quite a strong one at that. It wasn't the money. In time, Marion had quite a lot of money of her own and ended up bailing Hearst out at a time when he was in financial straits. And it's nearly always false IMO to say that such and such a person could "have anyone they want" due to good looks. It doesn't always work that way. In fact, the reality is probably just the opposite---the one truely desired
  6. Ang: Somewhat of a coincidence. I was on the phone with someone the other day bragging about TCM. I named those same movies and ended up with, "Now, where else can you get four in a row like that!"
  7. For heaven's sake, you remember all that but you don't remember what the husband's reaction was? Oh well, he probably forgave her ... Hollywood, you know.
  8. Was Jacques Tati really that "big"? Your list comprises those who were really stout or rotund. I don't remember Jacques quite like that. Rather tall, yes, but not really that huge. Or am I wrong?
  9. You should be able to find something by googling either or both of the composer's names. You can use the below link as a starting point. I found this by simply googling both their names together. If this yelds nothing, you can try something else, using the word cleopatra perhaps. I'm sure you should be able to find something. I was going to offer to record a cassette from the soundtrack for you but I don't think I should if these are contempory composers (are they?) and are selling their stuff online. Or you might contact the following (shown at the end of the movie) Courtesy of Sony Mus
  10. Johnnyweekes, I see now that you had alerted us that these Shakespeare films were coming up on TCM. I had missed that and so the appearance of Bertini in these films were a complete surprise to me. Note to myself, it pays to read more carefully.
  11. Did anyone watch "Silent Shakespeare"? If so, you saw Francesca Bertini as Cordelia in King Lear from 1910. Francesca playing the faithfull daughter. Also, she is Jessica in The Merchant of Venice, also from 1910, which was also shown. I really liked the color, probably very painstakingly done, I imagine by hand. Enjoyed generally seeing these very realistic scenes from the plays of the Bard. Message was edited by: lux0786 Message was edited by: lux0786
  12. More on Ruby Keeler: http://forums.turnerclassicmovies.com/jive/tcm/thread.jspa?threadID=65622&start=0#6358163
  13. ML, After listening again, I will concede that the two versions are not “note for note,” so you are right about that. In the first phrase, Dvorak takes three notes and Rota takes five to represent the same melody line, Dvorak simply extends the notes. In the second phrase there are some slight rhythmic differences. But these differences are superficial because the melody is essentially the same. None of these differences are strong enough to allow either version to have a marked musical identity of its own apart from the other IMO. I doubt that Rota would have survived a court ch
  14. I hope that Rota's music is "original." It's amazing to me that the music that we know as the main theme to La Strada was actually composed note for note in a composition by Antonin Dvorak (1841-1904). If you listen to the beginning of the fourth movement of Serenade for Strings (1875), you will hear this famous La Strada theme. I can't believe that Rota would knowingly plaigarize, especially from a composition as popular as the Serenade, but it's hard to measure the coincidence of having the same music composed by two different composers. The original theme was probably fair game since the
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