lzcutter

Mike, I agree with you about "Yellow Sky". As for the critics, it always fascinates me that Raoul Walsh and Bill Wellman are rarely written about. Yet, their contributions to the art of filmmaking helped get us through that rough silent to sound transition and then some. They deserve to be as well-known and thought of as the other directors of their generation.

Kyle, If memory serves (not that I was there in the audience or anything) from my days of devouring film biographies and books, Paul Muni played Henry Drummond and Ed Begley (!) played William Harrison Brady. I would have bet good silver that it would have been the other way around but as you often say, google is my friend: http://tinyurl.com/3dwnkd

Kyle, I agree, it is a moot point but one that pops up from time because of the release that says Paramount and mentions Butch. I am almost 99.5% sure (owning the DVD, soundtrack album and it being the film that pushed me towards a career in film) that it is a Fox film. Though the one Fox film they seem to show the most on TCM. Perhaps TCMProgrammr can help me out here!

The problem with all of this is, as always, who decides what films are classic? The AFI, Ebert and Roeper, Molly Haskell, Kenneth Turan? I can hear the groans now. A classic film is any film that touched your heart and that you carry with you regardless of era, decade, star, etc. Kyle is right, this is the 31 Days of Oscar and we are being treated to some of Oscar's winners and nominees. But the bottom line is that each one of has a list of what we consider to be classic films. And that list is as different as each one of us. TCM recognizes that fact and tries to show as many and varied films as possible, knowing that each film it shows is someone's classic. How many films have you watched on TCM in the last 90 days that you had never seen before and now that film is on your classic list? Had it not been for TCM showing that film you might never have been exposed to it. None of us have seen every film ever made and none of us have seen every great film ever made and not all of us have seen the films that inevitably make up the top 100 classic films of all time as defined by the AFI or the critics. If TCM only showed those top 100 classic films we would be done watching them in about two weeks (giving time to Cartoon Alley, etc). Do we really want to spend the next 50 weeks watching the same 100 films over and over?

Kyle, Hopefully by January 2008 they will realize that Butch Cassidy is a Fox film. Sorry TCM, that typo keeps getting repeated around here about it being a Paramount film.

Rusty, So glad you enjoyed "Cinema Paradiso". It may be the only instance that I am glad that TCM shows the shorter version. The longer version goes into more depth about his romance with the young girl and adds almost an hour to the running time. But the shorter version to me packs much more of an emotional wallop. The ending is both sad and rewarding. All those film clips. A treasure indeed.

UUUUUUUUh, This is the only channel I get on my Television... >> !!!!! Relax, Sorry that you didn't enjoy "The High and the Mighty, The Professionals, Detective Story, The Killers, She Wore a Yellow Ribbon, Farewell to Arms, Shane, The Third Man, Arrowsmith, Judgement at Nurembourg, Cover Girl, Funny Face, Black Narcissus, To Catch a Thief, Speedy, The African Queen, Garden of Allah, Queen Bee, Cinema Paradiso, Algiers, Champion, Sunset Blvd, The Black Stallion, Maltese Falcon, A Thousand Clowns, Come and Get It, Treasure of the Sierra Madre, The Westerner, Stagecoach, The Big Country and Last Picture Show. I've actually been enjoying this year's Oscar month much more than in the past.

Movieman, Gunsmoke, but especially The Virginian, had a number of classic era stars such as Bette Davis, Sheree North and others in guest roles throughout the mid-1960s. Lee J Cobb started out as the patriarchal owner of Shiloh and when he left was replaced with Charles Bickford. The show also had a number of actors such as Lee Marvin, pre-Cat Ballou, Robert Redford, pre-Butch Cassidy and others who would go on to acclaimed careers. It's 90 minute format and stories must have been appealing.

Hollis, If we are talking simply from a cinematography point of view (the beauty of the way the film was shot): Black and White: Grapes of Wrath (seen on the big screen in all its black and white glory, it is a beauty) Runner Up: The Killers (Film Noir was made for black and white) Color: She Wore a Yellow Ribbon (Remington come to life) Runner Up: The Wizard of Oz (A properly restored print of this film is manna from heaven) Modern Day: Color: The Godfather (the burnished golden hues of memory abound in this film and set the tone for the structure of Godfather 2.) Black and White: Manhattan (New York never looked so beautiful) The last time I watched LOA I was struck by how much David Lean was influenced by John Ford. The long vista shots and establishing shots are very reminiscent of Ford in Monument Valley.

bobhopefan, I'm with you, makes no difference to me what their sexual orientation was. But if a biographer will try to make a story out of lies and innuendo about that, what else will they try to fabricate out of whole cloth?

Every since Charles Higham and the Errol Flynn debate back in the late 1970s, I have been much more particular about checking out the author's credentials and reading some reviews before reading recent biographies. When I was younger, I used to devour them. Many of them, however, were filled with lots of dubious sources. In this new age of media when the more provocative and scandalous you can make your subject out to be the more buzz it will generate seems to be the bottom line for many authors and publishers, I try very hard to spend my time (and money) wisely.

There are a number of them vying for number one in my opinion: (mostly from the silent era): Colleen Moore, Billie Dove Bessie Love Pola Negri Mae Marsh George O'Brien Harry Carey, Sr

My guess is they won't look very good.>> If someone took the time and care to transfer them properly, they should look sensational.

Bobby, I don't think it can be from London After Midnight as that film and elements were lost in one of the big vault fires at MGM almost forty years ago. I believe there was a remake of Midnight and that may have been the clip that was used.

Well, I finally watched my recording of it, since there was finally nothing of interest to me on TCM>> Brad, You missed Cinema Paradiso ? It is a wonderful movie!

Not being a big sports fan, I opted for Cinema Paradiso this evening. This film is so magical. I had completely forgotten the old trick we used to do of smacking the film to figure out which side the emulsion was on. I haven't seen a carbon arc projector since my days in college. (They may have a set in the projection booth at the Avalon on Catalina Island. Mr Cutter and I got a tour of the booth years ago, but I don't feel safe saying for sure it was all these years later.) We had a pair of carbon arc projectors in Bovard Auditorium and we had a projectionist that could run them. The booth in Bovard had the shields that would drop over the portals from back in the nitrate days. Our projectionist even kept his dinner warm the same way Alfredo did. The fire in the booth had me on the edge of my seat. Very realistic at least from accounts that I have heard and read. Love the score (can't believe that Ennio has never won an Oscar-at least the Academy is giving him an honorary one this year), love the story, love the movie. Great kissing montage at the end. Was that a quick glimpse of Ginger Rogers almost in the buff that I saw? Sure looked like her. Thanks TCM for the last four nights of great films!

Jack, We'll keep you posted on upcoming films. Who knows, we might get lucky and you can visit us down here!

Cinemafan, Irving Pichel is credited as the narrator: http://www.imdb.com/name/nm0681635/ Hope this helps!

Memo to: Professor Klondike, School of History From: Lzcutter, Interim Dean (and not liking it one bit) Dear Professor Klondike. I had a wonderful time conversing with you at your welcome to the College party at the pub earlier this week. I am writing to you concerning two things, The first, please see attached memo regarding staffer Mr. Tourneur and Professor Jack Burley in our Film Restoration Department. These zombie like creatures simply cannot be charged with Film Restoration. The scratches from their walking through sugar cane fields on the negatives, films and sound elements would be unacceptable by any standard. Also, I am starting to hear rumors of a run-in between Wrestling Coach Victor McLaglen and Guinn "Big Boy" Williams. Please be advised that we can not have anymore adverse publicity or stories in the press regarding the College in light of our Holiday party. Anything you can suggest, especially in conjunction with Prof. Burley's problem gratefully accepted. By the way, Dean Finnie (aka Buffalo Gal to you) sends her love. Regards, Interim Dean Lzcutter, School of Film Restoration (looking for a vacation)

To: Dean Finnie, Blair General Hospital From Interim Dean Lzcutter, School of Film Restoration Dear Dean Finnie, I have talked at length with Dr. Gillespie and he assures me that the bumps and bruises you received while touring the Great White North should heal just fine given the proper time. By the way, Dr Gillespie sounds very knowledgeable and his assistant, one Dr. Kildare, referred to by many here as Dr. McDreamy, has much of the staff simply swooning. You are in such good hands the rest of the staff is positively green with envy. Even Chancellor Stone has relented since talking with Dr. Gillespie, and has authorized that you take as much time in recovering as you need. (Lucky you!) In the meantime, I have been appointed the interim dean (imagine my surprise and delight). I am cc:ing you on this memo from Jack Burley regarding the terrible help he is being sent by the HR department, especially one staffer, Mr. Tourneur: "My initial project was to reunite Cole Porter's "Voodoo" number with the Minnelli footage of his wife. Ethel Griffies told me that some deranged woman kept a cannister of the footage in Orson Welles' attic (this we will be investigating), thus saving it from the MGM fire. Mr. Tourneur over in HR keeps sending me these assistants that he thinks are appropriate for the job. But they're useless. They're constantly stumbling about and behaving as if they're in a trance. They're filthy too, as if they spent their nights wandering through thickets of sugar cane. At this rate, I'll never complete my first goal." As you know sugar cane and nitrate and safety film just don't mix well together. Sugar cane is entirely too abrasive to be in contact with film, negative and sound elements. I have decided to consult Prof. Klondike on how best to deal with the problem of these zombie like creatures and Mr. Tourneur. Please be advised that we will take all steps necessary to keep the good name of the college out of the paper. Our Chief Information Officer, Kyle in Hollywood, will draft all of our press releases dealing with this problem. Regards, Lzcutter, Interim Dean (in need of a vacation)

We watched this movie on TCM this evening. Mr Cutter had not seen it since we have been together. He loved it a great deal so here's hoping we make it to Monument Valley this fall. That said, I LOVE this film. No great surprise there for those here that know me. I think this is one of John Ford's best. Monument Valley never looked better. Kudos to the guys with the smoke pots and wind machines. They had the breeze down just right. Kudos to the camera crew out there in Monument Valley, making it all look like a Remington painting. Shooting in Technicolor out there probably was not easy. Even the studio shots look like Remington. Love the storm scene. I know Ford berated the cinematographer forever more but poor Winton Hoch was probably scared to death if the scene didn't expose right Ford would hold him responsible forever more. Damned if he did, damned if didn't perhaps? The script and director. A great melding of the two with a cast that could pull it off. Subtle Things that stand out: Ben Johnson ROCKS! Always has since I saw him in this role early on. A rodeo rider and stuntman whom Ford discovered if I remember the story correctly. Brittles has not had a drink since his wife died. He was probably Quincannon's drinking buddy up till then. He and Quincannon have been together since the early days of the Civil War. Tyree and the other Southerners, especially Trooper Smith, probably fought against Brittles and Quincannon at some point during the Civil War. Yet, out here on the Western frontier, past differences are laid to rest. Nathan Brittles cares enough about Quincannon to get him sent to the brig rather than be put in harms way. When anyone asks why did Wayne win the Oscar for True Grit? Tell them to watch this film, The Searchers and Liberty Valance. A true melding of a director, cast, script and location. ------Lest We Forget

lzcutter is a film editor so she also has a vast technical knowledge as well.>> Chris, I don't know that I would call it vast but it has served me well over the years. Thank you for the compliment. Other very knowledgeable folks about the industry are Cinesage, Jr, Markfp2, JonParker, CoffeeDan and Path40a. Kyle in Hollywood can tell you where to find most anything you are looking for on this website.

Dirk, It's okay, it's the annual TCM salute: 31 Days of Oscar (goes from now until the first few days of March). During this time you will see both classic films and films from the last few years. TCM is not becoming AMC, it is just saluting Oscar nominated and Oscar winning films, actors and craftspeople.

Dan, It may be that the older CBS/Fox vhs was made from a print that contained all the scenes. The new version may have been from a print that had that scene cut out at one time. Back in the day, when prints used to circulate around networks, they would cut the print to make the film fit the running time that the network had alloted. Many networks and stations had a set running time for showing older films Many of the films in the RKO film library had the negatives re-cut so that prints fitting the standard running time (allowing for commercials because every show had commercials in those days) could be made and shipped around the country. Has Marty been restored recently? Does anyone know?

Hollis, Thanks for the compliment. I am one of the regulars around here so I hope we will be chatting often. Welcome and glad to have you on board!