hlywdkjk
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Posts posted by hlywdkjk
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*"great hayworth poster kyle..... love the way this artist draws rita."* - marcco44
Here ya go. Same artist, slightly different pose.
(Click through for full size)
Kyle In Hollywood
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*"What a lovely way to start the day... "* - FrankGrimes
You're just one big Pavlovian experiment subject, arn't ya? Post a picture of a vixen (preferably with gun) and the uncontrollable drooling starts. Of course, Freud might say it was all about the gun...
Kyle In Hollywood
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Thursday May 29^th^
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OK. Just wondering...
Did everyone agree that Frank Sinatra wasn't a "draft dodger"? Everyone besides the OP - who has mysteriously - but unsurprisingly - disappeared.
Kyle In Hollywood
who believes that Ronald Reagan was the greatest actor to ever have lived in the White House.
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Hi "SSOS" -
In case you really are wondering, *The Electric Horseman* has been on TCM at least three times. Unfortunately, I can't place any specificity to when these showings occurred. I think the presentations happened at least two years ago.
The film was shown during a salute to Robert Redford -
http://www.tcm.com/thismonth/article/?cid=25811
Also during an evening of films "Directed By Sydney Pollack"
http://www.tcm.com/thismonth/article/?cid=25807
(Besides *Horseman*, this tribute included *The Way We Were*, *Absence Of Malice* and *The Scalphunters*.)
and during a past "31 Days of Oscar" event when *The Electric Horseman* was included in an evening devoted to "Best Sound Nominees"
http://www.tcm.com/thismonth/article/?cid=67244
And color me surprised that TCM didn't have access to *Out Of Africa* (or chose not to include it) in this coming Monday's event.) The film has popped up on TCM at least twice a year for the last five years. Or so it seens. On the one occasion that it would be a truly welcome presentation, it isn't being shown.
Personally, I still would have enjoyed a day full of replays of his Essentials selections. I know there had to be at least six or seven titles from those seasons that TCM has access to on such a short notice. ( *Wuthering Heights*, *Rear Window*, *Singing In The Rain*, *Casablanca*, *Citizen Kane* ) He even introduced *Tootsie* as an "Essential" during his second season as host.
Now, if TCM has Robert Osborne introduce Sydney Pollack's "Essential" presentation of *Tootsie* on Monday night, _that_ waould be a really special event.
Kyle In Hollywood
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Just announced change to the schedule to remember the passing of TCM's friend and colleague Sydney Pollack.
http://www.tcm.com/movienews/index/?cid=202472
TCM will revise its primetime schedule on Monday, June 2nd in order to honor the late director Sydney Pollack (Out of Africa, They Shoot Horses, Don't They?):
Here is the new lineup for Monday, June 2 (All times EDT)
8:00 PM *The Slender Thread* (’65) (his directorial debut)
10:00 PM *Three Days of the Condor* (’75)
12:00 AM *Tootsie* (’82)
2:00 AM *Jeremiah Johnson* (’72)
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Wednesday May 28^th^
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*"Does anybody have any links to film blogs I can read up on for pleasure?"* - Ben-Hur1860
Well, you can always find a good read at the TCM blog - "MovieMorlocks". Just click on the icon in the banner at the top of this page.
Over there I recommend the writings of 'moirafinnie' and "High Hurdler" highly.
Very highly.
Kyle In Hollywood
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*"now if I could only pull off that Rita Hayworth vibe.... "* - Minya
It's all in the hair.
kjk
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Last year TCM relegated their Memorial Day tribute to a single day - the Monday holiday. In a month full of multi-day tributes (Brando, Hepburn, Wayne, Olivier), I understood their rational for such a decision. But I don't think many people appreciated the shrinking of Memorial Day to just 24 hours.
So I wasn't surprised to see the expanded line-up return this year - even if it had a break in the middle for Sinatra and Kelly. But I am surprised that people could still find fault with that. Well, no. That's not true. I don't think I can be surprised with the complaints people have anymore.
Kyle In Hollywood
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I am sure the folks at TCM are brainstorming this morning on how to best acknowledge the passing of their friend Sydney Pollack. And when to do it.
Mr. Pollack has had quite a presence on the channel over the years - not only as host of "The Essentials" for two years but also as a commentator on some of the promos for the channel. ( "Seeing *Ben-Hur* panned and scanned isn't seeing *Ben-Hur*. You're watching a home movie". )
*Editted Addition* - Sydney Pollack is also a featured guest in the upcoming Elvis Mitchell series "Under The Influence" beginning in July.
So I was scanning through the upcoming days of the schedule to try to guess what day or evening might be prempted to present a Pollack tribute and noticed that there are some films on the schedule over the next few days that were also featured during his tenure as host of "The Essentials".
It occurred to me that re-broadcasting some of his "Essentials" offerings - with his introductions - would be a great addition to a tribute besides just showing some of his films. (I think TCM has access to *Tootsie*, *Out Of Africa* and *The Slender Thread* right now - besides *Three Days Of The Condor* which is showing tonight.)
I don't know if it is possible to show these "Essentials" presentaions again but it would certainly make the tribute extra-special. A day of classic films with his commentary followed by an evening of films he directed would befit a man who seems to have had an extra-special relationship with TCM.
Kyle In Hollywood
Message was edited by: hlywdkjk
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To those of you truly curious about Sydney Pollack's tenure as host of "The Essentials", most (all?) of his introductions are available for viewing at the TCM Media Room.
http://www.tcm.com/mediaroom/index/
Just type in "Sydney Pollack" in the search box on the right side of the page and the results will appear in the field below.
These are some of the titles which he inrtoduced -
*Dr. Strangelove*
*To Kill A Mockingbird*
*Casablanca*
*Bonnie And Clyde*
*Rear Window*
*It Happened One Night*
*Force Of Evil*
*High Noon*
and even one of his own
*Tootsie*
Kyle In Hollywood
Message was edited by: hlywdkjk to add the link to the TCM Media Room. Oops!
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Tuesday May 27^th^
*Affair In Trinidad* (Thanks to "BackAlleyNoir")
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An essay by Virginia Heffernan in the NYTimes Magazine March 2^nd^ 2008
http://www.nytimes.com/2008/03/02/magazine/02wwln-medium-t.html?_r=1&oref=slogin&pagewanted=print
*Speak, ‘Tootsie’*
By VIRGINIA HEFFERNAN
*“Tootsie” came out in 1982*, when most Americans assumed that if you didn’t catch a movie while it was playing in theaters, you might never see it. Moviegoers were largely ignoring the climactic developments in home-entertainment technology — including the so-called format war between Betamax and VHS — that would, in the coming decades, transform not just movie watching but also home design and romantic relationships. The best format for audiovisual data storage was still considered to be the human memory.
And so we memorized movies. I don’t mean the big oversold lines from the trailers — those make-my-day catchphrases became deafening only later — but rather as much of a screenplay as we could possibly stuff into our heads during a showing.
"I begged you to get some therapy." That was by far my favorite “Tootsie” line. Sydney Pollack as George hisses it to Dustin Hoffman playing Michael-as-Dorothy at the Russian Tea Room. George, a talent agent, assumes that Michael, his client, must have identity issues to dress as a woman. (In fact, Michael dresses as Dorothy to get a well-paid part on a soap opera.) Was George, though, really hissing? Or was he whispering in worry? My brother and I discussed this and tried the words a dozen ways, as Pollack’s original line-reading faded from memory.
Other kids preferred the Bill Murray character’s clenched deadpan, "That is one nutty hospital" and "You ****!" If you dared, and if you had had any luck doing Princess Leia ( Obi-Wan Kenobi, you’re my only hope ), you might even hazard Jessica Lange’s tearful vanilla-rose breathiness: "I really love you, Dorothy, but I can’t love you." Or her character Julie’s magical self-description: "I’m a born defroster."
How we all honed our impersonations. It’s only today, however, having just studied the 25th-anniversary DVD of “Tootsie,” that I finally have the definitive rendition of the Pollack line. Anyone want to hear it?
*Actually, what’s clear* from this sparkly new edition of the film is that “Tootsie” was conceived, consciously or not, to be re-enacted. Watch it just once, and you’ll find it eminently memorizable, quotable, performable. A large part of the enjoyment of “Tootsie” is the happy anticipation of trying out the material on your own stage. And that’s what makes it great. However little we like to admit it, mnemonic power and artistic endurance — verse by Shakespeare, verse by the Beatles — are closely linked.
“Tootsie,” which the American Film Institute voted the country’s second-funniest film of all time (after another quotable drag show, “Some Like It Hot”), fairly begged the viewer to learn it by heart. Some of this was the movie’s sustained visibility. (It remained in theaters for more than 20 weeks.) But “Tootsie” is also a movie about repetition, learning lines and performing. Hoffman first appears in a montage of floodlighted stages, clutching audition scripts and fielding unwanted direction. As the movie goes on, we watch scenes played one, two, even three times, and in every other one, it seems, someone is seducing, lying or outright acting — delivering lines that have been thought through, often word for word, in advance.
Even the straight exchanges derive humor from repetition, including echoes of Abbott and Costello. “You rewrote the necktie scene, right?” begins a late-night chat between Michael and Bill Murray’s Jeff. “With the necktie.” “With the necktie?” “Yeah, with the necktie.” “With the necktie!” And a few beats later: “I am Michael Dorsey. . . . I am Michael Dorsey. I am Michael Dorsey.” Like a good ad jingle, “Tootsie” dialogue works itself into you.
*The “Tootsie” screenplay* is often cited in film schools, where it is revered, as a rare example of successful composition by committee. (Larry Gelbart and Murray Schisgal are credited, while the script doctors Barry Levinson, Elaine May and several others are not.) The script is said to have undergone some 20 rewrites. Whether this communal writing process should be credited for the film’s elegance isn’t clear, but something in the script’s obsessive reworking seems to have supplied the actors with dozens of pretexts for repeating themselves. We get self-affirmation, double takes, misunderstandings and stoned speechifying — all occasions for people to be redundant.
As a trigger for repetition, recording technology in the movie, including video cameras and answering machines, is also pressed into service. When Dorothy is working on the set of “Southwest General” (the soap opera at the center of the film), her voice and image are picked up on monitors and in earpieces. And when Teri Garr’s wonderful and whiny character, Sandy, chastises Michael for failing to respond to her repeated phone messages, he scapegoats his answering machine.
Repetition and rehearsal are close cousins of artifice and deception. Yet the specter looming throughout the film is not the fear of fakery and surveillance but rather its opposite: a more contemporary, YouTube-era fear of not acting, of being forced to improvise without rehearsal, live before a studio audience. Of being seen as you are. Honesty and directness are grim business in “Tootsie.” Disguise and performance, in front of recording devices, even, are the only way that characters in “Tootsie” can learn to be good. No wonder the film is so appealing to people who like movies; it’s a performance that celebrates performance at the expense of reality. Thus we get Michael’s moral of the story, spoken to Julie:
- “I was a better man with you, as a woman, than I ever was with a woman, as a man.”
In one of the anniversary DVD’s interesting extras, Hoffman admits in hindsight that getting the line straight was difficult. That’s not surprising. It’s a tricky idea — that acting is the royal road to moral responsibility. But I suspect the line wouldn’t be so hard for actors today. It is, after all, the same conviction that drives the stars of YouTube and reality television, the people who at even their lowest, rawest, ugliest moments still manage to look the camera in the eye. These young actors often say that the process of making themselves camera-ready, along with the scrutiny of an audience, serves as a kind of spiritual audit without which they could never be honest or even learn to live at all.
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*"Is there really no better movie for Washington than "Sleepless in Seattle?"* - skimpole
I was just waiting to see if others would throw in with these -
*Tugboat Annie* (1933) w/ Marie Dressler and Wallace Beery
http://www.tcm.com/tcmdb/title.jsp?stid=1511
"Annie Brennan, known in Secoma (WA) as one of the best skippers in the Pacific Northwest, finds her boat Narcissus frequently outmaneuvred by rival Red Severn."
*Ruggles Of Red Gap* (1935) w/ Charles Laughton, Mary Boland and Charlie Ruggles
http://www.tcm.com/tcmdb/title.jsp?stid=88738
"In Paris in the spring of 1908, the Earl of Burnstead regretfully informs his manservant, Marmaduke Ruggles, that he has lost Ruggles in a poker game to the genial, but roughhewn millionaire Egbert "Sourdough" Floud, who, on the insistence of his dominating, society-conscious wife Effie, intends to take Ruggles to their home in Red Gap, Washington."
(And I vote for *Ruggles of Red Gap*)
*"Anyway, what about West Virginia?"*
*Matewan* (1987) by John Sayles
http://www.tcm.com/tcmdb/title.jsp?stid=83092
"Historical drama about the coal miners' strike in Matewan, West Virginia in the 1920s."
Kyle In Hollywood
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*"My name is Danny... I know I haven't been on here in such a long time. I'm so happy to read some of the past posts, and to see some familiar names. I have truly missed all the people I met on this forum..."*
Hi Danny.
Happy to see you here and hope you come back around more often. I always like seeing friends from the past reappear in this place.
Maybe 'kimpunkrock' and you can get into a good Bogart discussion soon.
Kyle In Hollywood
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*"I used to have the Kid Nightngale picture as my desktop until my male coworkers protested."* - Minya
That's hilarious. Were they acting out because HR told them to put away their Sports Illustrated "Swimsuit Issue"?
Bet they wouldn't complain if you displayed your gallery of "vampy dames". Or how about the poster for *The Bait*. That'll scare them away.
Kyle In Hollywood
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I never liked the film version of *Suddenly Last Summer* but have high praise for the BBC / Great Performances version from the 90s.
http://www.tcm.com/tcmdb/title.jsp?stid=479894
Maggie Smith, Natasha Richardson and Rob Lowe star in this version which is directed by Richard Eyre ( *Notes On A Scandal*, *Country* ) and this version benefits from a more tolerant attitude toward the subject matter. .
This version is on DVD so it should be available at NetFlix.
And let me second the recommendation of *The Heiress* for _anyone_ wanting to learn more about Montgomery Clift.
Kyle In Hollywood
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Monday May 26^th^
Happy Memorial Day.
(1917) - Thanks to the Library of Congress
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Monday May 26^th^
Happy Memorial Day.
*The Longest Day*
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Sunday May 25^th^
(1917) Thanks to the Library Of Congress
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Sunday May 25^th^
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Michelleanovel -
You were right. It is a Jean Arthur film -
*The Devil And Miss Jones* (1941)
Starring Jean Arthur, Robert Cummings and Charles Coburn
http://www.tcm.com/tcmdb/title.jsp?stid=72933
"A department store owner goes undercover as an employee to thwart union activists."
Kyle In Hollywood
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*"...not only does it appear that John Payne is nobody's favorite, it looks like noone's thought of him in awhile:"* - tobitz
Well, let's make up for that ... even if I am a day late.
And I think *Garden Of The Moon* is an absolute hoot!
Kyle In Hollywood
September 2008 schedule is up
in General Discussions
Posted
Well, I guess the Programming Dept is planning a long vacation this summer. Can't remember when - or if - there ever has been five months of schedules out at the same time (May - Sept).
And a quick caveat. Bear in mind that this is TCM's "working schedule" and is subject to changes. 'tcmprogrammr' recently posted to that effect in a message found in this thread -
http://forums.tcm.com/jive/tcm/message.jspa?messageID=8094209#8094209
So I wouldn't print out this schedule until at least July.
I am so looking forward to the "Campaign/Election/Politics Films" being shown on Wednesday nights. Please make a note to record *Four Days In November* on Wednesday, Sept. 17^th^. It is a documentary covering the assasination of John Kennedy and its aftermath. Culled from television and film sources of the time, it is quite moving and very enlightening. It was my schedule highlight years back when TCM showcased documentary films over an entire month.
(And a special *Woo Hoo* for a TCM showing of *The Great McGinty* the following Wednesday!)
Kay Francis? Meh. Is she related to Connie Francis? Or Arlene Francis?
OK. I kid. If it takes a month of Kay Francis to get *Trouble In Paradise* back on the schedule (Thursday 11^th^), fine by me!
*The King And I* returns in a night of Yul Brynner films and the Jose Ferrer films pre-empted for the recent tribute to Charlton Heston have been rescheduled too.
And a huge hug for scheduling/premiering *Sophie's Choice*. Words cannot express...
But I can't believe that a new slate of Disney films have surfaced - including *Old Yeller* and *The Parent Trap* - and no one has mentioned it yet. Have we become bored with these Disney Live-Action films already?
Well done TCM Programming Staff. Hope you all enjoy your summer.
Kyle In Hollywood