lzcutter

Given the high costs of start-up on a new channel, I don't know that it would be economically possible right now for Time Warner to have two separate classic film channels. While the Warner Library has over 6,000 titles, many of those are not yet available on a digital format that TCM can show. Each year, more titles are transfered to digital but even the crew at Warners says it is going to take many more years before they have the library transferred. Sony has only recently seen the light in their vault and is now undertaking the transfer to digital of many of the Columbia titles but, while not as big as the Warners library, it will take time. Each transfer costs money and Home Video at each studio likely has a yearly budget to transfer x number of films. At studios like Warners, they try to get the maximum number of films transferred each year that the budget will allow. While Paramount, chooses to concentrate on their recent films and television shows instead. So, I don't know that we would have more films to see with two channels. I think the costs of starting up a new channel (new logos, personnel, wrap arounds, sets, etc) would ultimately hinder both channels. TCM has spent over ten years building its audience. Splitting the viewership would split its profits until the second channel got its sea legs which could cause the Accounting Dept to think that commercials are a great way to stop the flow of red ink.

Respect, This is one of those rare films that you carry with you always. Some of us can remember where we were when we first saw it. Others can quote dialogue. It is one of those movies that lives in our collective memory and grows fonder with each viewing. Over the years since it's release we have learned that Dill was based on Harper Lee's childhood friend, Truman Capote and for me and others, finding that out 30+ years ago before Capote slipped into the madness that would overtake him, was special because it wasn't widely known. Harper Lee, upon meeting Gregory Peck, told him that he had a paunch (stomach) just like her daddy. Lee would give Peck her daddy's watch and chain that he carried with him until it was stolen years later. Horton Foote, who adapted the book for the screen, had seen an unknown actor on the stage in New York and remembered him when they had a hard time finding the right actor to play Boo. His name: Robert Duvall. Duvall and Foote would become life long friends. Foote would write Tender Mercies for Duvall and Duvall would win a Best Actor Oscar for that lead role. But those bits pale in comparision when placed beside the film. It was one of those quirks of fate that brings the right group of film makers and talent together. No one knows it is destined to be a classic while making the film but the experience is special enough that all those who worked on it carry that memory with them from that point on. The story hits us in a primal way; the overt racism that was still very palatable and on the Evening News when the film was released in 1962. While the story and film are set in during the Depression, the story has that timeless feel that connected with audiences in the midst of the Civil Rights movement. Since that era, we connect it to because of the injustice and society, in the film, turning a blind eye to that injustice. Though the sad truth is, it would be another thirty years from the story's era before African Americans overcame the Jim Crow laws and bigotry. The children, Jem and Scout, are growing up motherless and trying to cope with families around them that have both parents. They, like Tom Robinson, are alienated despite the best efforts of Atticus and Miss Maudie. Dill, poor child, is all but abandoned (despite his bravado and claims to the opposite) by his parents and shuttled between well meaning relatives. Boo, himself , is the ultimate outcast. Growing up in a family that hid their secrets behind closed doors, Boo is sentenced to a life of solitary confinement down in the basement, inside the house of secrets that all the townsfolk seem to know. He becomes the unseen bogeyman of every child's nightmare and the mockingbird of the title. All of us of a certain age, grew up with a scary, deserted house that held dark secrets. The book is much more detailed about that long summer (in fact, if I remember correctly, it takes Boo more than one year and a half to come out and there is much more back story and disagreement between Atticus and his late wife's family) but Horton Foote found the elements in the story that mattered most and worked his screen writing magic on it. We all want to be Jem and Scout in the upper balcony of the courtroom. We all want to have a father who others will stand up and honor. We all want Boo to save us when our childhood demons become too real. We all want to be able able to diffuse an ugly crowd by talking about Cecil Jacobs and shaming the crowd instead. We all want a sheriff as wise as Heck Tate. In many ways, it is a story that could only happen in a book or in the movies but its impact on us as moviegoers, if we embrace the story, makes us better people for having seen the film and embraced its message. "And thus began our longest journey together". "Why there he is, Mr. Tate. He can tell you his name... Hey, Boo". "Miss Jean Louis, Mr. Arthur Radley. I believe he already knows you." "Neighbors bring food with death, and flowers with sickness, and little things in between. Boo was our neighbor. He gave us two soap dolls, a broken watch and chain, a knife, and our lives." " One time Atticus said you never really knew a man until you stood in his shoes and walked around in them; just standin' on the Radley porch was enough. The summer that had begun so long ago had ended, and another summer had taken its place, and a fall, and Boo Radley had come out". "I was to think of these days many times. Of Jem, and Dill, and Boo Radley, and Tom Robinson, and Atticus. He would be in Jem's room all night, and he would be there when Jem waked up in the morning." Message was edited by: lzcutter for clarification

Gagman, Wanted to let you know that this restoration was done by David Shepard's Film Preservation Associates. Shepard has said that it will be released by Image Entertainment this fall, probably in November. There will be extras on the disc.

Movies, as a whole, began maturing in Post-war America because the country was maturing. Having lived through the war and rationing for all those years, many films were of the kick up your heels, let's go to the movies for fun variety. However, there were those directors who had been touched personally by the war and the films they made after the war have a different feeling and style. Film Noir was very popular in post war America especially those with an anti-hero at the heart. As the 1950s grew closer, thanks to the Cold War, there was a sense of dread and uneasiness starting to be felt around the country. As Anne pointed out, westerns went through the maturation process as well. In some ways it was more evident because westerns as a genre were so successful. Everybody made westerns in large numbers from the big studios to poverty row. It wasn't unusual to have two or more new Westerns released each month so to many people, the first real sense that they had that movies were maturing were in the Westerns. Westerns rode a popularity wave for almost thirty five years from the beginning of the thirties until the middle of the sixties. There were more western shows on television during the late 1950s, than any other genre. So, films began maturing in post-War America and one of the genres it was most evident in was the Western.

I have 3 people wanting to pump my brains about another Pola Negri book and one on Lana Turner and one on Martha Raye. Too bad bozo's, but no way......>> Larry, I would love to read those books if you contributed stories to them.

I have asked my cousin (the computer nerd) to help me post some pictures of Nell and me and some of her husbands. I have a couple of my 65th birthday last month. So, you can peruse the ruin I've become. Also, I may revive the Russia thread and post pictures of the people and places I was in. If anyone's interested that is....>> Raising my hand! Count me as very interested!

I am not disputing what the NYTimes reviewer said regarding the original elements. Here is a copy of my post about the DVD from the General Discussion forum a few weeks ago: Here's my post: According to a film archivists group that I belong to the situation is not quite as dire as the story paints. There was a CRI (color reversal interneg) that was made in the 1970s from the original nitrate elements. Most everyone is in agreement that the CRI is badly faded. However, four IB prints were made during this same time. Two are in private hands. Of these two, one is in better shape than the other. The one in better shape, as I understand it, has been screened at the Egyptian in Hollywood and at the Film Forum in NYC. Fox decided not to use this IB print (though it was offered) when they authored the DVD for "Gang". This print is legitimately in private hands because in the 1970s, this gentleman legally licensed the film back in the 1970s for reissue. The other privately held print was a mint, unprojected print that was finally screened. When it was finally screened, it was damaged. I would hope that someone would have noticed the damage being done and hopefully it was limited to only one reel (and hopefully not the entire reel). Of the other two prints, both belong to Fox. One is thought to have been junked and the other is what was used for the DVD. The better of the two prints in private hands was offered to Fox for the box set but Fox declined. Many of the archivists have viewed the screen captures on the dvd beaver site and some are of the opinion that perhaps the problem was that colorist went for a more 'modern' look instead of the saturated technicolor look and that is why the color seems off in the film. Either way, the good news is that a good IB print of the film in all its saturated color does exist. Fox just chose, for unknown reasons at this point, not to use it. There is no need for the reviewer to post a correction because no one is disputing the facts about the loss of the original elements.

Cinemascope, I understand your disappointment with the DVD and I am not defending Fox's choice of using the lesser elements. However, you posted: Curse you, Fox Video, for ruining this great Busby > Berkeley musical!>> Which, I was afraid, some might construe as Fox ruined the film for good. I know that was not your intent but many people are not as industry savvy as you. Preservation work is hard enough on the best of days. I would hate for posters to think that the film was ruined for good. but your post sure sounds like you want to defend Fox. You don't happen to have any conflict of interest there, do you? All I know is you work in the industry.... >> I'm not trying to defend Fox but at least trying to make sure that the facts behind this DVD are known to posters on this board. And for the record, I am not on Fox's payroll. But thanks for asking. How about you? Any conflicts of interest?

Except for Birth of a Nation. That only served to further the "cause" of racism>> It's hard for us in the 21st Century to realize how groundbreaking Birth of a Nation was when it was initially released. People stood in line for hours to see the film. Birth of a Nation was one of the first groundbreaking films in that it was long form storytelling with effects to show the passage of time and the intercutting of more than one story line. The intercutting also was used to heighten the tension of the audience The majority of silent films up to then were one or two reelers. Birth of a Nation was epic film making. Many credit it with creating the language of film that film makers. It altered the way silent films were made and marketed and its technical influences are still being used today.

No, it was more than empty claims. He was lauded in the press and by the Preservation community for his efforts to restore Ben Hur and Greed. This was back in the early 1990s, but you might be able to find articles regarding it if you use the Wayback Machine.

Well, at any rate, if they merchandise colorized versions of their movies, that's their privilege. But I think many of us would still greatly prefer that TCM show only the original, unaltered versions of classic movies.>> The point I was making was when Turner owned the then MGM library. As has been stated here repeatedly, Turner no longer owns that library and WBros is not actively promoting colorized versions of their library. I am not advocating that TCM run colorized versions of the film. I was just pointing out that the money Ted Turner made from colorizing films, he put back into film preservation and restoration.

I agree with you, completely! I'm sure even the laserdisc must look better than this hideous DVD!!! Curse you, Fox Video, for ruining this great Busby Berkeley musical!>> While the transfer may not be up to par, they have not ruined the film. As stated in this thread and others, there is are better elements available. Fox, for whatever reason, chose not to use them. I would hate to have posters here thinking that Fox ruined the existing elements to make this transfer.

Hello, I'm looking for ideas on how silent films attributed to the maturation of our nation and its population>> Collegestudent, Silent films were accessible not only to the rich but to the poor and middle class as well. They could all sit in the darkened theater and share the experience. With silent film you didn't have to be able to read to follow the story, though it likely helped and helped a largely immigrant population to learn to read. It was one of the truly democratic art forms. No longer was art reserved only for those who could afford to buy it or view it in a museum. This was art for the people of all ages, of all nationalities, of all income brackets. Silent films made great works of literature accessible. Stories such as The Phantom of the Opera, The Hunchback of Notre Dame, The Black Pirate, Robin Hood, The Three Musketeers. They also tackled social problems of the era and didn't shirk from shining a kleig light or three on unwanted pregnancy, racism, bigotry, violence against women, poverty and many more. Silent films continued the idea of America as a great melting pot, your dream could come true if you were willing to work hard enough. Silent films became an art form and over the ensuing years, the talent in Hollywood and in New York tended to overshadow the films made outside of America. When talkies finally came along, it spurred the creation of one very American art form: the Musical and continued the making of another: the Western.

One of the things we should probably keep in mind though the majority of us don't like colorization films is when Turner owned the then MGM library (pre-1986 MGM films, pre-1949 WBros and all RKO films) the money he made from colorizing films bankrolled the silent and studio era films he began to restore. Turner was the one who restored the silent Ben-Hur as well as Greed thanks to the profits from the films he offered as colorized.

It is subpar; just viewed it.>> Bronxgirl, Have you seen the previous versions? Because this one looked much better than the ones I have seen in the past. Also, looked like there was new footage found?

Anne, The 1950s were very interesting for westerns. They started to mature. Douglas and Lancaster would start to make westerns but they were the more traditional good guy vs bad guy. The studio era stars were looking for stories with a little more teeth. In the movies Jame Stewart did with Anthony Mann you have the feeling that Stewart's characters have an anger that is always just below the surface. He has usually be wronged in some way and is seeking revenge for that wrong. Joel McCrea more often than not, found himself in predicaments because he was standing up for others and was willing to take the heat. Wayne during the 1950s made a handful of westerns. Some of them like Rio Bravo filled with the usual good guys vs bad guys with great dialogue (thank you Leigh Brackett) and more adult fare like Hondo and The Searchers. Bravo is probably the one that best captures the myth of the West and Wayne as a hero. The Searchers asks us to put aside what we know and feel about Wayne and look at him through a very dark glass. During this same era, Randolph Scott, especially in the Boetticher films, was different. He was very often a man who had suffered a great loss, dealt with it privately and never expected to find a replacement for that loss. He had his own sense of honor and a code (like the others) and he the situations he found himself in were similiar to the situations that Stewart and other Western stars found themselves in during the 1950s but with a Randolph Scott movie, it was more about living by his own code, getting the girl was never the reason but unexpected and sometimes appreciated. I think that's one reason he is so wonderful in Ride the High Country because he is playing against the heroic, stoic character that many had come to expect. In that film, that role goes to Joel McCrea. It was great casting on Peckinpah's part because I don't know if the movie would work as well as it does if the roles were reversed.

To: Dean Finnie, CCC From: Interim Dean (though only hours left) LzCutter Well, Dean, with only a few hours left before I gratefully hand over the job title and all that comes with handling the job, I thought I should mention the following: Well, saints be praised, the campus did not burn down (and our Insurance Agent Edmund O'Brien seems very happy at that disaster being averted), the slammer is not filled with faculty, staff or CCC students and all seems to be quiet here on the College front. Many thanks to Hollywood Kyle, JackBurley, Matthelm and Rusty for administering Kyle's patented hang over cure around the campus this morn. I'm sure there were many in need of a hair of the dog that bit them. Special thanks to BenWHowell for holding down the infirmary and dispensing aspirin and tender sympathies to those who were too afraid to take the cure. Most of all thank you to everyone (you know who you are) who have been so generous with their time and support while our good Dean was away. I am looking forward to returning to the Film Restoration Department in the morning and will be helping to plan the upcoming Spring Frolic which is scheduled for the week before Easter. If anyone has any idea where alumni Charlton Heston is getting the labor to build his Chariot Track, please advise the Head of Landscaping as they are looking for a few good men.

From Tyree in She Wore a Yellow Ribbon to Sam the Lion in "The Last Picture Show", he matured with the cinematic western. An Award winning rodeo rider who went on to win an Oscar, our collective memories of Westerns likely all include at least Ben Johnson character. What's your favorite.

Anne, I totally agree about Ben Johnson. As for Blazing Saddles, the only other movie I laughed harder during was Young Frankenstein. BSaddles does have some great send-ups to Westerns and cliches. As for Ben Johnson, I've been hooked on him since seeing "Yellow Ribbon" over 35 years ago. The bookends of his career from Yellow Ribbon to Last Picture Show are incredibly striking. One of these days I should watch them back to back again. He is so incredibly handsome and such a gifted rider in his John Ford days. He was a former rodeo rider that either Ford discovered or was brought to Ford's attention and usually did many of his own stunts. I think we better start a thread about Ben so that Randolph Scott (cue chorus) can have this one without fear of hijacking.

*************Late night, post-St. Patrick's Gala************** To: Dean (It gives me such pleasure to say that) Finnie6 From: Interim Dean, LzCutter Re: Wrestling Coach Vic McLaglen DeanFinnie, Well today was one to beat the band. What a grand day!!! From the entrance of the Pipers and the Thin Blue Line to the numerous hijinks of Faculty, Staff and Students (which I am sure we will be re-hashing in the days ahead), never have we had a St. Patrick's Celebration as successful as this one. Kudos for planning this from your hospital room at Blair General. I cannot tell you how much I am looking forward to relinquishing my Interim status on Monday morning and allowing you to reclaim your rightful title. That said, it would be remiss of me not to nominate (if not for sainthood) the following Faculty and Staff for their efforts to keep Wrestling Coach Vic McLaglen from going on a tear and leaving a swath of destruction in his wake. (As we have seen on numerous occasions). I strongly believe that Commendations are in order for the following (and would recommend that all receive them in a public ceremony): Athletic Coach John Wayne, Assistant Head Coach Ward Bond (Lord that man can bellow when he wants), Defensive Coach Ben Johnson (who prefers to be called Tyree for some unknown reason), Special Teams Coach Harry Carey, Jr, Uniform coach John Agar, and Watergirl ('Tis herself), Miss Maureen O'Hara Never have so many done so much to keep one man under control and out of the slammer. Should we need help with the authorities, we can call on my brother, the Honorable Judge Priest. My thanks to all and to all a good-night. May your hang-overs in the morn be few and far between.

Anne, When this first premiered on TCM in November 2005 (Kyle will correct me if I am wrong), TCM also showed a great documentary on director Bud Boetticher. Boetticher worked a number of times with Randolph Scott (pause for chorus effect from Blazing Saddles) and I think you would enjoy it a lot. Am still trying to find the documentary on Ben Johnson Third Cowboy from the Left.

JackBurley, Great minds think alike. I have seen footage of Borrah and the Harmonica Rascals goofing on the stage in the Copa Room with Danny Thomas circa 1954. They are dressed in furry chaps with guns and holsters and wearing cowboy hats. Thomas is dressed in a dark suit. Has to be seen to be believed in a way.

Memo to the Staff Regarding the commotion in the quad with the landscaping:: It has been brought to my attention by a rather overbearing man wearing wild headgear that makes him resemble the FTD florist logo, that due to the close proximity in dates between our current Erin Go Bragh! celebration and the upcoming Spring Frolic which is set to begin in two weeks, that alumni Charlton Heston is foregoing his Greatest Show on Earth spectacle this year. Instead, he is preparing a race track for his usual Chariot Race which is scheduled for Good Friday. He has agreed to not begin construction until Monday morning so as not to interfere with today's events and tomorrow's anticipated hang-overs. It is suggested that those wishing tickets to the Chariot Races should get them as soon as they go on sale as a large and boisterious crowd is expected.

******************Via Hand Delivery************ To: Judge William "Billy" Priest From: Interim Dean, LzCutter Classic Cinema College Dear Billy, I wanted to send this little missive to say thank you for taking care of our young Student Teacher, Filmlover, in court today. After the previous judge and our Attorney Edward Arnold got into a shouting match and Arnold told the judge to throw the book at him, we all feared that Filmlover would be doing time on a chain gang rather than here at the College helping prepare for the upcoming festivities. I wish I could have been there to hear you say "Hear! Hear! Court's called to order!". I know ma would have loved to have been there too. sigh* Anyways, as always, appreciate the lengths that you go to for the College and am so very glad that you dispense your own brand of wisdom and judgement from the bench. From the sounds of things, some of those young whippersnappers working for you could use some lessons. Your loving sister, LzCutter

Message for MrsL (proprietor), to be delivered by Teaching Assistant Filmlover in the morning. From Interim Dean LzCutter, Classic Cinema College MrsL, Many thanks for moving so quickly to accomodate our many guests this weekend. We, here at the College, truly appreciate your hard work. It always warms our hearts when alumni are so helpful. Please let us know should Wrestling Coach Vic McLaglen wander on to your premises. He will likely be looking for a scuffle. We would appreciate if you would keep a list of all items that may be inadvertently broken over the weekend. At the end of the weekend, please send the list to the Dean's office and as one of my last official duties I will be sure that our Insurance Agent Edmund O'Brien contacts you immediately so that you may file your claims and be properly reimbursed post haste. Again, we thank you for your generousity and look forward to celebrating the Holiday with ye. Regards, LzCutter, Interim Dean (but not much longer, saints be praised)