lzcutter

I think the rumors regained traction and became part of the old Hollywood mythology when Kenneth Anger wrote "Hollywood Babylon". This book while a fun read is filled with inaccuracies, falsehoods and misinformation. Yet, because it got published and was a best seller people believe it. It was published in the early to mid-1970s, and most of the scandals he writes about were during the golden age of the studios when studio heads and publicists controlled the news of their stars. Readers were more than willing back then to believe their beloved stars had feet of clay and were just as capable of bad judgement as the rest of us. Unfortunately, Anger blurred the line between truth and fiction just enough to ensure a best seller and stay out of court.

Special Announcement The Classic Cinema College is proud to announce our upcoming Spring Frolic that begins next week. We are still putting the final touches on the programming and events we will be offering. If there is an event that you would like to suggest or host, please don't be shy. We need all the help we can find to make this another memorable triple C event. A date and time for our annual Picnic will be announced shortly. As always, the Spring Frolic will include the famous (or maybe that should be infamous) Good Friday Chariot Race featuring alumni Charlton Heston and anyone crazy enough to challenge him. A sign up sheet is posted in the Athletic Department so mosey on over and add your name. We in Film Restoration will be having a Film Festival and Preservation Seminar as well. Our student teacher, Filmlover, has been challenging many of his students to try their hand at scheduling for our twice weekly CCC Night at the Movies. We are hoping that he will schedule some of those highlight. Our Musical Heritage Restoration Specialist, JackBurley, is rumored to have an idea or two for Variety Show featuring some of the best singing and dancing the campus has to offer. We hear that the boys in the Motor Pool, finally having cried into their towels long enough, are planning a baseball game. Interested parties should sign up with Robert Armstrong. James "Call Me Jimmy" Stewart and his wonderful pooka pal, Harvey are working with our Staff Mixologist, Hollywood Kyle as well as Professors Powell and Loy on the bar. Stay tuned for further developments!

Moira, The shot of Randolph Scott (cue chorus) on his horse looks as if it was shot up near Lone Pine, California. About twice a month I get as far as Mojave (just down the road from Lone Pine) so those mountains look very familiar to me. One of these days, I will get to Lone Pine and check out the Alabama Hills. One of these days.

Here's the link to a new article by Kevin Brownlow on his favorite subject, Silent Films: http://tinyurl.com/2rdj8v

Charles Chaplin: The Goldrush John Wayne: She Wore a Yellow Ribbon Marilyn Monroe: Some Like It Hot Ingrid Bergman: Casablanca James Stewart: Harvey Cary Grant: North by Northwest Henry Fonda: Once Upon a Time in the West Greta Garbo: Queen Christina Errol Flynn: Robin Hood Ginger Rogers: Swing Time Audrey Hepburn: Breakfast at Tiffany's James Cagney: Public Enemy Sidney Poitier: In the Heat of the Night James Dean: Giant Gary Cooper: The Winning of Barbara Worth Sean Connery: The Man Who Would Be King Rita Hayworth: The Lady from Shanghi Humphrey Bogart: Tp Have and Have Not Peter Sellers: The Pink Panther Robert Donat: Good-Bye Mr Chips George Raft: They Drive by Night Peter Lorre: Harvey Marlon Brando: The Godfather Gene Kelly: Singing in the Rain Robert Redford: The Sting Olivia de Havilland: The Heiress Joan Crawford: Mildred Pierce Robert DeNiro: Bang the Drum Slowly Orson Welles: Magnificent Ambersons Tyrone Power: The Mark of Zorro Paul Muni: The Life of Emile Zola Fred Astaire: Swing Time Clint Eastwood: Dirty Harry Spencer Tracy: Tortilla Flat Gregory Peck: To Kill a Mockingbird Laurence Olivier: That Hamilton Woman Doris Day: Calamity Jane Elizabeth Taylor: Who's Afraid of Virginia Woolf Barbara Stanwyck: Ball of Fire Jack Lemmon: Mr. Roberts Katherine Hepburn: Adam's Rib Bette Davis: The Petrified Forest Kirk Douglas: Spartacus Boris Karloff: Targets William Holden: Sunset Blvd Marx Brothers: Duck Soup Walt Disney: Pinocchio Buster Keaton: Steamboat Bill, Jr Vivien Leigh: Gone with the Wind Judy Garland: A Star is Born Robert Mitchum: Night of the Hunter Alfred Hitchcock: Foreign Correspondent Frank Capra: It's a Wonderful Life Alan Ladd: Shane

Sci-fi film composer Herman Stein has died. He composed the music for This Planet Earth, Creature From the Black Lagoon, It Came From Outer Space and many more. http://tinyurl.com/2wqz7f

It doesn't cost any more to dub a 1933 film to digital than it does to dub a 1995 film to digital.>> But they will make more money faster with the 1995 film in rentals and sales of DVDs. Anyway, most of the best of the old films are already on digitial. >> Yes, because the well known classic films such as Gone With the Wind, Wizard of Oz and Casablanca are beloved films that cut across the generations. The lesser known, more obscure films, however, are a harder sell and typically don't have the sales numbers that modern films, boxed sets of modern television, classic tv showsor the beloved classics have. So, there is not the push by the studios to convert them to digital quickly.

Any film already available on a 35 mm or 16 mm print or on any kind of video tape can be converted to "digital" with one standard dub of the film. >> Yes Fred, But it costs money to dub them to digital tape. They don't just grab the old analog tape and dub it across. Very often they will go back to the fine grain masters, do any repair or restoration work and transfer from that. All that costs money both in tape, machine time, work time and labor. As I said, it is not a top priority for any studio. Home Entertainment Divisions, like Warners, understand that these films need to be restored and preserved. As you and I have talked about before, not every studio understands that. Digital technology has been a revolution in technology and it is evolving much quicker than when analog tape was the standard bearer.

The size of the Warners Library (all RKO, all pre-1986 MGM and all Warner Bros films) makes it one of the largest Film Libraries. George Feltenstein even said during the recent HTF chat that it will still take years to get that library completely converted to digital. As I said, it is costly and can be very labor intensive because the elements are not always in the best of shape. As for TCM running more films from the Warners Library, this forum is filled with threads of people complaining about there not being enough variety in the schedule of classic films. There is one thread dedicated to the rerunning of Bringing Up Baby and many others. As TCM Programmr has pointed out, they have been working hard to get more films from other studios so that we can enjoy the films we have been clamoring to see. The films in the WBros library are great but a steady diet of them and only them tends to leave us hungry for the other studios films. TCM has a viewership of over 60 million and the majority of those viewers don't post on this message board. They are trying to keep us all happy.

Ronald, In 1937- 20th Century-Fox (NJ)- Negatives for most of , if not all, pre-1935 Fox films destroyed. Big problem was that original negatives and fine grain masters were stored in the same vault. ?Cleopatra? starring Theda Bara is lost, so is "Way Down East" as well as films starring William Farnum, Harry Carey and Tom Mix are lost. Also companies such as Educational Pictures, World-Wide that Fox sub-distributed for are lost. So, it is possible that the film is lost.

The movie is such a thing of beauty to me that I am unable to watch it without tears in my eyes>> Ben, I start tearing up as soon as I hear the first notes of the music over the opening credits.

CONFIDENTIAL Prof. E. G. Robinson Professor, I wanted to let you know that I am trying to locate Lancaster. He is on campus but is being rather reclusive at the moment. I suspect he is enjoying a long lunch with one of his many female admirers. He does have a way with the women. That smile and "Hello Baby" line of his melts heart all across the campus. Heston says that he will be able to join us for the meeting. He is almost done with the Chariot Race Track so that he can begin practicing for Good Friday's race. Also, my brother, Judge Priest, says to let you know that he can be of help if we need it. See you this afternoon. Please destroy this message.

I've never seen his celebrated turn in The Last Picture Show. I'd better rent that one day. >> MissG, Run, do not walk, to Netflix and put this in your queue. Make it your next rental. You won't be disappointed. The black and white photography, the dying town, the young men who want to escape it and Sam the Lion who sees all that it has been both in his personal and his public life. Special thanks goes to Bogdanovich's then wife, Polly Platt, for finding the story and the locations. The only other performance that came close that year to Johnson's was Richard Jaeckel's in Sometimes a Great Notion. Two actors from the same era in two very different films with a similar ending for their characters. Truth be told, I remember Jaeckel's spoiler scene more than Johnson's. But, I would not have wanted to be a Academy member having to choose between the two.

Ben, It's my favorite too. I saw it at the old Guild Theater in Las Vegas when I was but five years old (would have been 1962). My bio-dad took me to see it, Then afterwards took me to the Coronet (or maybe Woolworth's) Five and Dime (they were both downtown on Fremont Street within spitting distance of the Guild). Seeing the movie at the Guild Theater was one of the last things I did with my bio-dad But it wouldn't be until a few years later when I was watching the late night movie on KLAS, Channel 8 that I would see the movie again and sat entranced from 11:30 on. When I saw Scout in the ham costume the memories came flooding back. Can't tell you how glad I am that Howard Hughes didn't wake up that night and demand they cut to commercial and begin showing Ice Station Zebra. There is a God.

Moira, The AFI Salutes: I totally agree on your point that TCM should show the early years of the AFI Tributes to film makers such as John Ford, Orson Welles, Alfred Hitchcock and the other early winners. These specials were less about the Q rating of those involved and more about the person being honored. Directed by John Ford, the Bogdanovich documentary, was originally commissioned for the AFI salute to John Ford, its first honoree. From your keyboard to TCM's ear via the AFI rights department, those would be worthy of being shown on TCM because they are about classic studio era films, stars and film makers. Made for TV Movies: Before tv movies became the women in peril staples, they were the format where you could address the social issues of the day. QBVII was one of my favorite tv movies from back in the day. Others include: Brian's Song That Certain Summer The Glass House Go Tell Alice Attica The Neon Ceiling The Autobiography of Miss Jane Pittman The Execution of Private Slovick The Night Stalker Duel Police Story (before it became a series) Toma Kojack (from which the series came) The Waltons' Thanksgiving Story A Case of Rape The Count of Monte Cristo The Three Musketeers A Man Without a Country Great Expectations David Cooperfield Wonderful miniseries include: Centennial Holocaust Shogun Rich Man, Poor Man The Winds of War Roots Lonesome Dove and numerous Hallmark Hall of Fame broadcasts, many of which have been lovingly restored by UCLA Film and Television. But the Made for TV Movies, Miniseries and Hallmark Hall of Fames should be shown on another channel dedicated to the history of television, not TCM. Now, those early AFI tributes, that's different. Message was edited by: lzcutter for clarification

Not sure how controversial they were in their day, hopefully they'll just seem a bit dated now>> It may be hard to imagine in today's culture but they were plenty controversial in their day. The films that Kyle wrote about were very different from the other films with gay characters that are being shown during the month. Alot of it has to do with the death of the Hayes/Breen code and some of has to do with the maturing of American cinema and movie goers. But as one who came of age during that era and being into films as much as I was (and still am), I remember them being very controversial. I'm sure there are others who can back me up on that. Staircase with Rex Harrison and Richard Burton as bickering London hairstylists. They were two of the most heterosexual men on the planet back in the 1960s and here they were playing two gay men. No one raised much of an eyebrow when Heath Ledger and Jake Gyllenhaal did Brokeback Mountain but thirty five years ago this was eyebrow raising material. The Boys in the Band was a Broadway play that kept critics and talk show hosts alike talking for months. There are some dated stereotypes in that film and some of them may be offensive to viewers if not placed in a historical context. The Fox with Sandy Dennis and Anne Hayward as lesbian lovers that Keir Dullea comes between. Trust me, there weren't many lesbian themed films thirty five years ago and people's reaction to this film and the others such as The Killing of Sister George was very loud and very vocal. Yes, they will appear a bit dated when seen through the eyes of today's culture and as I said, they will likely contain some offensive stereotypes. Which is why I think Kyle was thinking that a gay spokesperson taking the Donald Bogel role with Robert Osborne might help to put these films in their proper context.

In that day of the future when one has the opportunity to go to a list of every film ever made and pick one for a night's viewing,>> Filmlover, Will that day of every film still in existence (thanks coffedan for pointing out that not every film ever made still exists) being available for download be a reality in our lifetime? Given how much the Home Entertainment Divisions of studios like Warners Bros and Fox have to fight to keep their classic film restoration/preservation/transfer budgets intact or increased, I wonder how quickly that scenario will be come reality. I have no doubt that the day will come but I don't know that it will happen in my lifetime and I still have a lot of years left to enjoy classic films.

No hornet's nest. Maybe it was: David Frost (though like Cavett, not likely), Merv Griffin, Mike Douglas or Joey Bishop? Or it could have been an actor or celebrity that was guest hosting. Burt Reynolds used to guest host a great deal on talk shows.

What's wrong with an evening of movies with gay and lesbian characters? It's hard enough to find classic movies that deal with this openly, which is a shame, really.>> Cscope, Did you read what Kyle posted? He's not saying there is anything wrong with TCM showing gay films. He is saying that given that three of the films being shown that evening were very controversial in their day, that having someone who is the equivalent to Donald Bogle (from last May's Race in Film month) to put the films in their historical context might be helpful.

I'm pretty sure that it was Johnny Carson. I thought he was pretty creepy, and then later all the stories of his power in Hollywood came to light. As I recall, it seems like she was going to discuss her volunteer work, and he just wanted to dish the dirt.>> Knitter, I don't think it was Carson. He was the consumate old school late night host and asking a question like that does not sound like Carson. Sounds more like something Joan Rivers would have asked either as the guest host of The Tonight Show or on her own late night talk show.

After reading the book,I thought Jem really began to mature and understand life's cruelty after Mrs.Dubose's death. Her character had a very important role in the book. Would the movie have had more of an impact if Mrs.Dubose been incorporated?>> Respect, The book, as I recall (and its been years since I read it) focused on the growing up of both Jem and Scout. As you noted, Mrs. Dubose's death has a big influence on Jem. The movie, however, is subtly weighted towards Scout's growing up and the impact that year and a half has on her. The life lessons she learns often include Jem and Dill but we experience the movie through her eyes more than any other character.

Chris, I think the westerns on television helped a number of film makers such as Sam Peckinpah, writers such as Walon Green and actors like Warren Oates, Ben Johnson,Strother Martin and LQ Jones all find their voices. Television westerns gave them a chance to flesh out morality plays in either 30 or 60 or 90 (The Virginian) minutes (time out for commercials, not withstanding). A television season back then was much longer than it is today. Today, a season lasts 22-24 weeks. Back when we were young, a television season lasted over 30 weeks. The Virginian may have been so popular with classic era stars because of its longer format. Gave them more time to develop their characters and many of the roles were very, very good. As I recall, even tv westerns back when we were young were still very adult. On Gunsmoke in its very early black and white years, Miss Kitty has more than just a hotel upstairs and my folks remember that vividly. I remember when Gunsmoke was on Saturday nights at 10:00 and Matt Dillion shot the guy in the credits. The Virginian, especially, billed itself as an adult western. Bonanza and The Big Valley often dealt with adult themes. The Rifleman, in some ways reminiscent of To Kill a Mockingbird, uses a widower and his son to tell a larger story but never forgets that at the center of the show is the love between father and son. Actors today who could be western stars if the genre was still going strong; Scott Glenn, Robert Duvall (who even James Woods says was robbed of the Emmy for Lonesome Dove. Woods won that year for My Name is Bill W ), Tommy Lee Jones, Kevin Costner: much more believable in westerns than modern day or Robin Hood movies. Amy Madigan: that face was meant for westerns. Gene Hackman: if he was still making movies, and speaking of Hackman where has he gone? , Dennis Quaid: heart breakingly wonderful in Wyatt Earp, Sam Elliott (who would have been a major star had the western genre not faded away in the 1970s). He is great in the Louis L'Armour stories that TNT adapted back in the early 1990s. Tom Selleck: a modern day actor who is home on the range. Morgan Freeman Kurt Russell The cast of Deadwood Powers Booth Ian McShane: wonderful as Al Swearingen Timothy Olyphant: great as Seth Bullock Gerald McRainey: see him as George Hearst (Willy Randolph Hearst's father) the last season of Deadwood. He is magnificent. Emmy winning performance if there is a God. Robin Weigert Dayton Callie Jim Beaver Earl Brown Molly Parker Paula Malcomson Anna Gunn Great lived in faces and some of the best dialogue David Milch has ever written. Once you get past all the swearing. Let's you realize what a good actor Brad Dourif can be when not being the voice of Chucky, the killer doll.

Moira, --Had a built-in, loyal audience at that time, much of it outside of urban areas and on the fringes of American culture, and were usually profitable because of this.>> One of the things we tend to forget because it seems so long ago (though it's really not), is that it wasn't until after the Depression and in some respects, after WW2 that America began the turn away from a rural society to an urban majority. Would you like to suggest some of those Westerns that you thought succeeded or failed in achieving more complexity?>> Great question! I don't know that Ford would have made The Searchers had it not been for WW2 and the maturing of films and film goers in the years after the war.. The film certainly could not have been made in the 1930s or 1940s Hollywood. Ethan is a very different character than the ones usually found in Ford westerns. The final shot of Wayne in the doorway and the family inside that he can not be a part of suggests, I think, that Ford himself saw some things during the war that stayed with him for years afterwards. The Searchers is, in many ways, his darkest western. Liberty Valance on the other hand, is a film that on first glance could have been made had America and the film industry not been interrupted by WW2. Ford explores the theme of myth and truth in Fort Apache and brings it full circle twenty years later with Liberty. But, in truth, Liberty Valance was a product of Ford's maturing as well. Tom Donaphin is one of Ford's and Wayne's most complex characters. A man, who in the beginning, is content with his life and where it is going. All that changes when Ranse Stoddard comes to town. Donaphin ends up sacrificing all he cares about for the woman he loves without saying a word, knowing that it will change her life and his forever. There the usual story of westward expansion and the settling of the frontier that is a part of all of Ford's westerns. But this one is much darker at its center than Ford's pre War westerns. While Donaphin is not as dark a character as Ethan Edwards, they are, in many flawed ways, from the same family tree. Also on the family tree would be Tom Dunson from Hawks'Red River. Hawks had served in WW1. I don't know that George Stevens could have directed Shane with as much nuance had it not been for his WW2 service. There is a distinct difference in the material that Stevens chose to direct before going off to war and those films he directed after he returned to Hollywood. As for the Oxbow Incident, its message still rings true and we see instantances of mob behavior everywhere from a media feeding frenzy to one of the threads on this board last summer. Its message is universal and timeless and should not be forgotten. Wild Bill Wellman, WW1 vet, rocks!

But, in theory, it is possible that there would be a scenario where the cost would be more than made up by keeping the lion's share of the classic movie market on cable channels, and the ability to cross-market DVD releases. >> But isn't that what TCM already is doing?

There was a new poster here a few weeks ago that purposed a Classic Sci-Fi Film Channel and Cinesage Jr posted to that thread about the costs of start up for such a venture. While original programming would cost more because of the labor and talent involved. It is not cheap to start a new channel in today's world. TCM is the only channel that shows films uncut, uninterrupted and most importantly, for the channels you mentioned, in their original aspect ratio. Encore Westerns will sometimes show a film in letterbox but it is few and far between.