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hlywdkjk

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Posts posted by hlywdkjk

    Top 10 Movies You Most Want to See

    in Films and Filmmakers

    Posted

    I was going to post this in the "FrankGrimes' Torture" thread but without any Lang or Murnau titles, I doubt that it would be more than a mild "irritant" to him. And what fun would that be?

     

    From the LATimes 01May2008

    http://www.latimes.com/entertainment/la-et-unburied1-2008may01,0,3265443.story

     

    h5. UCLA Archive Unearths Gems in 'Unburied Treasures'

    A monthlong series from the UCLA Film & Television Archive offers many delights.

    By Kenneth Turan

     

    *The UCLA Film & Television Archive is no small place.* The Library of Congress aside, it's the biggest collection in the country, with film holdings alone numbering a staggering 85,000 titles. Wouldn't you like to take a peek at the rarities hidden in the dark corners of the archive's massive vaults? Now you can.

     

    Starting Saturday night and running for the rest of May, the Billy Wilder Theater at the Hammer Museum in Westwood will be showing "Unburied Treasures," classic films preserved by the archive. *None of these films is available on DVD* and all of them figure among the most unusual works in anyone's collection. Expect the unexpected: You won't be disappointed.

     

    You also won't be lacking in entertainment value, because some of these films are so diverting, it's surprising they're not better known.

     

    *Chief among these is 1930's "The Royal Family of Broadway,"* based on a play by Edna Ferber and George S. Kaufman. Only the third film to be directed by George Cukor, it was already bristling with delightful screwball comedy energy and a wonderful off-the-cuff feeling.

     

    A charming valentine to life on the stage based loosely on the celebrated Barrymore family, "Royal Family" stars Ina Claire as an actress who wonders if she can give up acting for the love of one of the world's wealthiest men. But the film is clearly stolen by the irresistible Fredric March, who got a best actor Oscar nomination for playing the movie star in this theatrical group, "a madman in a family of maniacs."

     

    *Playing on the same May 18 bill* is 1934's *"Murder at the Vanities,"* a wacky musical celebrated for one of its production numbers, "(Sweet) Marijuana," complete with a chorus dressed as cactus buds and lines like "you alone can bring my lover back to me / even though I know its only a fantasy." Not surprisingly, the Hays Office ordered the scene removed from all release prints, but UCLA managed to procure an untouched copy.

     

    *The series opens on Saturday night* with two atypical films by *director Josef von Sternberg*, including 1929's early sound *"Thunderbolt,"* starring Fay Wray as Ritzi, "the most decent kid in the rackets," and George Bancroft as the gangster who loves her.

     

    Even more unusual is the rarely seen 1931 *"An American Tragedy,"* Von Sternberg's early version of the Theodore Dreiser novel that later became a huge success for director George Stevens and actors Montgomery Clift and Elizabeth Taylor in 1951's "A Place in the Sun."

     

    While Stevens' work was magisterial, Von Sternberg's is so lively it was banned in England, South Africa and Italy and caused Dreiser to sue Paramount for misrepresenting his novel. (He lost.) Notable is the film's sympathy for the wronged girlfriend, played here by Sylvia Sidney and later by Shelley Winters.

     

    *If that all sounds too grim*, there's the May 28 program, which has Ava Gardner at her loveliest in *"One Touch of Venus"* and Irene Dunne starring in the 1937 *"High, Wide, and Handsome,"* featuring a score by Jerome Kern and Oscar Hammerstein II. With Randolph Scott costarring as a man obsessed with drilling for oil in 1859 Pennsylvania, you might think of this as a kindler, gentler version of "There Will Be Blood."

     

    *Perhaps the most compelling program* of the series is the May 22 double bill of Ernst Lubitsch's *"The Man I Killed"* and the Noel Coward-starring *"The Scoundrel,"* as unexpected a pair of films as anyone could want.

     

    UCLA is billing 1932's *"The Man I Killed"* (sometimes known as "Broken Lullaby") as Lubitsch's only dramatic film of the sound era, and that is putting it mildly.

     

    Here the director, known for his exceptional comedies, takes on the poignant, potent story of a French World War I veteran (Phillips Holmes), haunted by a man he killed in battle, who goes to Germany to connect with the devastated family. Lionel Barrymore is excellent as the dead soldier's bitter father and Nancy Carroll is affecting as the bereaved fianc?. But the real star is Lubitsch, who had the daring to make a surprisingly strong antiwar film from deep within the Hollywood system.

     

    *"The Scoundrel,"* written, directed and produced by the team of Ben Hecht and Charles MacArthur in 1935, has the feeling of a literate, sophisticated independent film half a century before Sundance. Coward stars as a big-deal New York publisher with a caddish heart of ice and steel who is fated to walk the earth undead unless he can find a friend to cry for him after his plane crashes -- as strange as it sounds.

     

    *When the Los Angeles Herald Express* reviewed *"Ramrod"* back in 1947, the headline read "Western Goes Psycho," which is not a half-bad description for this brooding vehicle starring Joel McCrea as a man with a past and Veronica Lake, tiny but fierce in Edith Head gowns and cascading hair, as a would-be cattle baroness.

     

    On the same double bill Sunday is the full-length 124-minute version of Budd Boetticher's 1951 Mexican epic, *"Bullfighter and the Lady."* Originally released at 87 minutes, it stars Robert Stack as a callow American who thinks he wants to be one of "the men who play with death" and Gilbert Roland as the Mexican torero who is the real deal.

     

    *Unusual as it is to see any of these films* on the big screen, it is almost unheard of to see the two German silents that will be screened on May 11, complete with subtitles and live musical accompaniment. Melodramatic, obsessive, stunningly photographed, the Pola Negri-starring *"Sappho"* and William Dieterle's *"The Saint and Her Fool"* are so rare that the second film has been totally lost in its home country.

     

    When UCLA talks about "Unburied Treasures," it's not fooling around.

     

    -------------

    Details from the UCLA Film and Television Archives site -

    http://www.cinema.ucla.edu/screenings/screenings.html

     

    h5. Series Details -

     

    _Saturday May 3 2008_

    *AN AMERICAN TRAGEDY*

    (1931) Directed by Josef von Sternberg

    Theodore Dreiser's 1925 novel is most familiar to movie audiences today as the basis for George Stevens's ultra-romantic 1951 film version, A Place In The Sun. Though dismissed by its director and vilified by Dreiser, who sued Paramount for misrepresenting his work, Josef von Sternberg's early talkie version under the original title provides its own rewards if viewed with an unprejudiced eye. Sylvia Sidney is both innocently sweet and uncompromisingly tough in her role as the doomed lover. Our sympathies lie with her and not with socialite Frances Dee, in contrast to Elizabeth Taylor's breathtaking interpretation of the Dee role in A Place In The Sun.

    Based on the novel by Theodore Dresier. Screenplay: Samuel Hoffenstein. Cinematographer: Lee Garmes. Cast: Phillips Holmes, Sylvia Sidney, Frances Dee, Irving Pichel. 35mm, 95 min.

     

    *THUNDERBOLT*

    1929) Directed by Josef von Sternberg

    When sound arrived in Hollywood, Josef von Sternberg like every other silent director was forced to think about how he would confront the new medium. He concluded that "Sound had to counterpoint or compensate the image, add to it—not subtract from it." Thunderbolt, his first talkie, starred George Bancroft as a brutal racketeer who reaches out from his cell on death row to frame the honest young man (Richard Arlen) who has stolen the love of his moll (Fay Wray). The film was a hit, but Sternberg was chagrined that no one appreciated his experiments with contrapuntal sound.

    Producer: B.P. Fineman. Screenplay: Jules Furthman, Herman J. Mankiewicz. Cinematographer: Henry Gerrard. Editor: Helen Lewis. Cast: George Bancroft, Fay Wray, Richard Arlen. 35mm, 91 min.

     

    _Sunday May 4 2008_

    *RAMROD*

    (1947) Directed by Andre de Toth

    In contrast to the wholesome Westerns of prewar Saturday matin?es, with their clear-cut distinctions between right and wrong, Ramrod typifies the cynical, psychologically complex, and morally ambiguous Westerns that began to appear after World War II. (It has, in fact, been called a "noir Western.") Joel McCrea plays a washed-up cowpoke and drunk who becomes involved in a range war between a strong-willed woman (Veronica Lake, director Andre De Toth's then wife) and her cattle baron father. The good guys fight as dirty as their foes, and Lake is portrayed as a classic femme fatale: "soft and warm and deadlier than steel."

    Based on the novel by Luke Short. Producer: Harry Sherman. Screenplay: Jack Moffitt, Graham Baker, Cecile Kramer. Cinematographer: Russell Harlan. Editor: Sherman A. Rose. Cast: Joel McCrea, Veronica Lake, Don DeFore, Donald Crisp, Preston Foster. 35mm, 94 min.

     

    *BULLFIGHTER AND THE LADY*

    (1951) Directed by Budd Boetticher

    American-born Oscar "Budd" Boetticher Jr., who had apprenticed as a matador in Mexico, was brought to Hollywood to work as a technical advisor on Rouben Mamoulian's Blood and Sand (1941). Boetticher served a second apprenticeship in the ‘40s as a studio messenger and B-movie director before he was given a chance to direct his dream project, the story of an American tourist (Robert Stack) who learns the art of bullfighting from a distinguished Mexican matador (Gilbert Roland). Boetticher wanted to call the film Torero, but his studio, Republic, and producer, cowboy star John Wayne, changed the title to Bullfighter and The Lady, and Wayne's friend and mentor John Ford shortened the film by 30 minutes, eliminating some of Boetticher's favorite scenes. It was not until the early ‘80s that UCLA Preservation Officer Robert Gitt, in cooperation with Boetticher and Stack, who had kept his own 16mm print of the full-length version, restored Bullfighter and The Lady to its original 124-minute length. Warning: the bullfight sequences graphically depict cruelty to animals, including the killing of a bull.

    Based on a story by B. Boetticher and Ray Nazzaro. Producer: John Wayne. Screenplay: James Edward Grant. Cinematographer: Jack Draper. Editor: Richard L. Van Enger. Cast: Robert Stack, Joy Page, Gilbert Roland, Virginia Grey, John Hubbard. 35mm, 124 min.

     

    _Sunday May 11 2008_

    *SAPPHO*

    (1921, Germany) Directed by Dimitri Buchowetski

    In a scant six reels, Sappho breezes through a delirious plot involving a Continental vamp whose infidelity drives her lover insane, leading his brother to seek revenge—and that's only the prelude to an escalating series of seductions, betrayals, chases, and murders. Though it was released in Europe in 1921, U.S. audiences did not see Sappho until 1923, following star Pola Negri's arrival in Hollywood. UCLA's preservation elements were copied from an elaborately tinted and toned nitrate print with English inter-titles. This print retained the original German title, even though the film was rechristened Mad Love for American release (possibly out of fear audiences would assume Negri's character was a lesbian?).

    Cinematographer: Arpad Viragh. Cast: Pola Negri, Johannes Riemann, Alfred Abel. 35mm, silent, w/ English intertitles, approx. 60 min.

     

    *THE SAINT AND HER FOOL*

    *(DIE HEILIGE UND IHR NARR)*

    (1928, Germany) Directed by Wilhelm Dieterle

    William Dieterle's long Hollywood career included such well-regarded films as The Story of Louis Pasteur (1936), The Hunchback Of Notre Dame (1940), The Devil And Daniel Webster (1941), and A Portrait of Jennie (1948). But few know—or have ever seen—the nine features that Wilhelm Dieterle directed in Germany prior to 1930. Der Heilige Und Ihr Narr was his fourth feature, a romantic melodrama about the young daughter of a haughty count and a neighboring penniless aristocrat and painter (played by Dieterle) who falls in love with her, causing the girl's stepmother to fly into a jealous rage. The film did not survive in Germany, but it has been preserved from a nitrate print with English intertitles that was discovered in Jack Warner's personal vault and turned over to the UCLA Film & Television Archive. A planned U.S. release may have been cancelled due to the Warner Bros.-First National merger and the unfortunate fact that the silent film era was nearly over.

    Based on the novel by Agnes Gunther. Screenplay: Kurt J. Brown, Charlotte Hagenbruch. Cinematographer: Fredrick Fugland. Cast: Wilhelm Dieterle, Lien Deyers, Gina Man?s. 35mm, silent, w/ English intertitles, approx. 90 min.

     

    _Sunday May 18 2008_

    *THE ROYAL FAMILY OF BROADWAY*

    (1930) Directed by George Cukor and Cyril Gardner

    When Edna Ferber and George S. Kaufman's comedy opened on Broadway in 1927, it was called, simply, "The Royal Family." The authors knew that to theatergoers of that time there was only one royal family that mattered—the flamboyant, quarrelsome, hugely talented Barrymore dynasty. Paramount's clumsy elongation of the title is the only unsubtle note in this early talking production. George Cukor, co-directing his third feature, had already found the vein of urbane humor that he mined delightfully in such later films as Holiday (1938), The Philadelphia Story (1941), and the Tracy-Hepburn comedies. He was helped by superb performances by Ina Claire, who managed to be giddy, exasperating, and utterly charming all at the same time in the role based on Ethel Barrymore, and Fredric March, who exploited his physical resemblance to John Barrymore to good effect as Claire's movie star brother.

    Based on the play by Edna Ferber and George S. Kaufman. Screenplay: Herman Mankiewicz, Gertrude Purcell. Cinematographer: George Folsey. Cast: Ina Claire, Fredric March. 35mm, 82 min.

     

    *MURDER AT THE VANITIES*

    (1934) Directed by Mitchell Leisen

    Broadway in the ‘20s was home to three lavish semi-annual revues: Florenz Ziegfeld's "Follies," George White's "Scandals," and Earl Carroll's "Vanities." All three were subsequently exploited for their name value by the Hollywood studios. Murder At The Vanities was based on an unorthodox edition of Carroll's revue in which the traditional sketches between numbers were replaced by a backstage murder mystery. The distinctly pre-Code film version starred Danish-born Carl Brisson and New York actress and singer Kitty Carlisle in their Hollywood debuts. The film's strongest scenes, however, built on the rapport between hardboiled and lecherous police inspector Bill Murdock, played by Victor McLaglen, and Carroll's wisecracking publicist Jack Ellery, played by Jack Oakie. The musical numbers include the hummable "Cocktails for Two," the desert island fantasy "Live and Love Tonight," and "The Rape of the Rhapsody," with Duke Ellington and his orchestra. Another number extolled the soothing properties of "(Sweet) Marihuana," but Paramount reluctantly deferred to the Hays Office and ordered this sequence deleted from all prints. It was also supposed to have been deleted from the original negative, but fortunately it survived in the elements copied for UCLA's preservation.

    Based on the musical play by Earl Carroll and Rufus King. Screenplay: Carey Wilson, Joseph Gollomb, Sam Hellman. Cinematographer: Leo Tover. Cast: Carl Brisson, Victor McLaglen, Jack Oakie, Kitty Carlisle, Duke Ellington. 35mm, 95 min.

     

    _Thursday May 22 2008_

    *THE MAN I KILLED*

    *(BROKEN LULLABY)*

    (1932) Directed by Ernst Lubitsch

    Although Ernst Lubtisch was known for his skill directing sophisticated comedies, in films like Lady Windermere's Fan (1925), Angel (1937), and The Shop Around The Corner (1940) he imbued potentially farcical situations with genuine sentiment and even pathos. The Man I Killed (re-titled Broken Lullaby by Paramount) was his only attempt at a straight dramatic film during the sound era. Phillips Holmes stars as a French World War I veteran who is haunted by the memory of a young German soldier he killed in the trenches. After the war, he makes his way to the German's home village where, without revealing his responsibility for their son's death, he wins over the boy's grieving parents (Lionel Barrymore and Louise Carter) and falls in love with his fianc? (Nancy Carroll). The famed Lubitsch touch is evident in scenes such as a passing Armistice Day parade framed by the crutches and surviving leg of a wounded veteran, and a tracking shot of Holmes and Carroll walking to the off-screen accompaniment of ringing shop door bells as the whole village rushes to gawk at them.

    Based on a play by Maurice Rostand. Screenplay: Samson Raphaelson, Ernest Vajda. Cinematographer: Victor Milner. Cast: Lionel Barrymore, Nancy Carroll, Phillips Holmes, Louise Carter, ZaSu Pitts. 35mm, 77 min.

     

    *THE SCOUNDREL*

    (1935) Directed by Ben Hecht and Charles MacArthur

    In 1934, proclaiming their intention to make films for the "intelligent minority" that did not usually go to movies, playwrights Ben Hecht and Charles MacArthur set up their own production company with backing from Paramount in Paramount's East Coast studio in Astoria, Long Island. The four films they wrote, produced, and directed in Astoria during their two year tenure—Crime Without Passion (1934), Once In A Blue Moon (1935), The Scoundrel, and Soak The Rich (1936)—are almost defiantly anti-box office in their desire to achieve more than the usual Hollywood "product." The Scoundrel is a mordant fantasy about a philandering publisher, Anthony Mallare, played to acid perfection by Noel Coward in his talking picture debut. After Mallare is killed in a plane crash off Bermuda, he is denied permission to enter heaven unless he can find one person out of the thousands he has known and betrayed to weep at his passing. There is a strong flavor of New York in the ‘20s and the Algonquin Round Table in the film's witty dialogue, aided by the presence of an authentic Round Table veteran, Alexander Woollcott, in a supporting role.

    Producer: Ben Hecht, Charles MacArthur. Screenwriter: Ben Hecht, Charles MacArthur. Cast: Noel Coward, Julie Haydon. 35mm, 78 min.

     

    _Wednesday May 28 2008_

    *HIGH, WIDE AND HANDSOME*

    (1937) Directed by Rouben Mamoulian

    There will be music. The birth of the American oil industry with the drilling of the first successful well in Pennsylvania in 1859 is the unlikely subject of this boisterous slice of Americana with music by Jerome Kern and screenplay and lyrics by Oscar Hammerstein II. Irene Dunne stars as a medicine show girl who is stranded with her father in a small Pennsylvania town when their wagon burns down. They are taken in by a sympathetic farmwoman whose grandson, played by Randolph Scott, is obsessed with finding a practical method for drilling for oil. Naturally, Dunne and Scott fall in love, but Hammerstein took care to throw many obstacles in their path on his way to a rousing conclusion. In addition to livelier numbers, the score includes two romantic ballads that have become standards, "Can I Forget You?" and "The Folks Who Live on the Hill."

    Producer: Arthur Hornblow, Jr.. Screenplay: Oscar Hammerstein II, George O'Neil. Cinematographer: Victor Milner, Theodor Sparkuhl. Editor: Archie Marshek. Cast: Irene Dunne, Randolph Scott, Dorothy Lamour, Charles Bickford. 35mm, 112 min.

     

    *ONE TOUCH OF VENUS*

    (1948) Directed by William A. Seiter

    Though critics have decried the wholesale changes made to the hit 1943 stage musical in the course of transferring it to the screen, the film version of One Touch Of Venus is a charming bit of whimsical romantic fantasy. Since stars Robert Walker and Ava Gardner were not experienced musical performers, the filmmakers (who originally included Mary Pickford) decided to emphasize comedy over music in the story about a timid department store window dresser whose kiss brings a statue of Venus to life. The role of Venus became a showcase for Gardner's newly discovered comedic talents, while her beauty and unabashed sensuality caused Variety to declare that Gardner "fills the New Look with the perfection that Venus fills a toga." Three of the original songs by Kurt Weill and Ogden Nash were retained for the film, although Nash's occasionally risqu? lyrics were reworked by Ann Ronell: "It's Him," "Don't Look Now But My Heart Is Showing," and the haunting, hypnotic "Speak Low."

    Based on the musical play by S.J. Perelman and Ogden Nash. Producer: Lester Cowan. Screenplay: Harry Kurnitz, Frank Tashlin. Cinematographer: Frank Planer, Otto Ludwig. Cast: Robert Walker, Ava Gardner, Dick Haymes, Eve Arden, Olga San Juan. 35mm, 82 min.

     

    ------------

     

    I don't think ANY of these films are mentioned on anyone's list of "10 Movies You Most Want To See" - but maybe they will be after reading this.

     

    (Hope I didn't torture anyone.)

     

    Kyle In Hollywood

    The Comprimised Essentials

    in Hot Topics

    Posted

    I hope everyone can agree that Rose McGowan is quite literate about the films being shown - so far. She has seen them all - some many times - and she has incorporated her "history" with a particular title in each of the introductions that I have seen. I think that is the primary role she has been asked to play as a co-host to Robert Osborne.

     

    Face it. Robert Osborne doesn't _need_ a "co-host" to impart the historical or cultural importance of any film. He is a historian extraordinaire and comes to the program filling that role. I think expecting the co-host to undertake a similar role would be redundant and unnecessary. (I also think that is why Molly Haskell was a less successful co-host. She was a competing historian / critic and too similar to Robert Osborne.) Plus, It would almost be unfair to ask someone to compete on that level while sitting next to Robert Osborne.

     

    If the factual analysis is to be the purview of Robert Osborne, then the chosen co-host should bring something "different" to the discussion. Rose McGowan does that by being a woman, being half the age of Robert Osborne and by being a working actress.

     

    But she also had the good fortune of seeing many of these films at an early age and developed a fondness for them that had nothing to do with it being "career-related". *Now, Voyager* didn't become a favorite because, as an actress, she was "studying" Bette Davis films. I assume it became a favorite for her in the way it becomes a favorite for any other person in the audience. She saw it once and wanted to see it again. And again. And again. So, as the co-host, what she is going to share with the audience is why she wanted to see it multiple times. And why the viewer should see it at least once.

     

    This quality that will allow many "new-comers" to these films to identify with her and her perspective. And that is much more "attractive" to a viewer than if there was an author reciting bullet points from a "Cahiers du Cinema" article on the "mise en scene and the semiotics" found in the film. (I exaggerate.) Remember, we are talking about _introductions_ here - not dissertations. But, if one wants to learn more about a particular Essential offering, one can go to the "Essentials" website which is full of cultural, historical and trivial information on each particular title.

     

    I think Rose McGowan is very "apprioachable" and therefore she also makes the films approachable for a new viewer. And that is all one should expect from Robert Osborne's co-host.

     

    Kyle In Hollywood

    TCM Internship

    in Information, Please!

    Posted

    Hi Bette_Davis_Wannabe -

     

    In the new "Support" site for the Website, there is an answer for your question.

    *How do I apply for a job or internship at TCM?*

     

    http://support.tcm.com/ics/support/default.asp?deptID=5481

     

    If you have been to the support site and have already followed the links found on that page, there is probably little additional help anyone here can offer. But I wish all the luck in the world in your pursuit of a position with TCM.

     

    Kyle In Hollywood

    Top 10 Movies You Most Want to See

    in Films and Filmmakers

    Posted

    Along with 'molo14', I also can put *Easy Living* on the "finally seen" list. It was also nice to cross off *Atlantic City* in February thanks to TCM.

     

    I don't actively pursue films that I haven't seen. But there are some that I haven't seen (for varying reasons) that I would make time for _if_ they happen to show up on TCM someday.

     

    *Pygmalion* (1938)

    *Letter From An Unknown Woman* (1948)

    *Who's Afraid Of Virginia Woolf?* (1966)

    *Brother, Can You Spare A Dime?* (1975)

    *What Price Hollywood?* (1932)

    *Heaven's Gate* (1981)

    *Klute* (1971)

    *Death Of A Salesman* (1952) w/ Fredric March (I thought this was unavailable but it is on DVD!)

     

    Kyle In Hollywood

    ?Khartoum? ? talk, talk, talk, "Zulu" - very good!!

    in General Discussions

    Posted

    Hi 'nightwalker' -

     

    Thanks for the recommendation. Maybe TCM can do a double feature one day. (But should the films be shown in order of release or in historical / factual order?)

     

    I was hoping to watch *Glory* tonight but after seeing the final battle of *Zulu* , I don't think I can. I don't think I can take another scene of futile slaughter - especially the one upcoming in *Glory*. It will be too emotional. Thankfully TCM is showing *Glory* again in a few weeks.

     

    Kyle In Hollywood

    Looking forward to watching Ms. McGowan

    in Hot Topics

    Posted

    *"I'd like to see Tracey Ullman co-host for a while. She's a royal crack up. Did you see her on Guest Programmer month? She had RO laughing quite a bit (and me too)."* - ccbaxter

     

    I take it you liked her "commentary" before the showing of *Born Yesterday* when she referred to face-lifts and Botox injections as "the freeze and fill"? I know I did. I was howling.

     

    She is a very perceptive actress who seemed in awe of the American Film Canon that she had missed out on growing up in the UK. And she was truly thankful for having TCM to enlighten her and to keep her company while she did her knitting.

     

    Tracey Ullman was definitley one of my favorite Guest Programmers last November. It would be great if she could find a regular spot on the TCM schedule in some form or another.

     

    Kyle In Hollywood

    Kyle In Hollywood's CENSORED Poster Gallery

    in Remembering Kyle in Hollywood

    Posted

    *"I'm hoping to make a trip to Paris within the year..."* - Mlle. Minya

     

    Ooh La La! Good for you! Too bad the weak dollar will keep you from emptying all the French Poster shops of their stock of "frisky filles" posters.

     

    *"You can't see it, but I am smacking my forehead."*

     

    Now stop that. I thought posting these images was torture enough.

     

    Kyle In Hollywood

    Movies from Blighty on TCM

    in Films and Filmmakers

    Posted

    Metry Road -

     

    I am glad you started your list with *Hobson's Choice* which is showing in May. It is the film I am most looking forward to seeing next month.

     

    And just in case you didn't notice (I didn't 'til last week), the TCM premiere of *Hobson's Choice* is the choice of actor Tim Roth who is the Guest Programmer in May.

     

    Kyle In Hollywood

    Kyle In Hollywood's CENSORED Poster Gallery

    in Remembering Kyle in Hollywood

    Posted

    *(I'm off to find out what those "things" are.)* - movieman1957

    *"I was just wondering that myself."* - Minya

     

    Msr. Movieman and Mlle. Minya -

    Nothing too nefarious or disturbing about the two items I mentioned. Just two items I think every French "vampy dame" should have in her boudoir.

     

    *Gitanes* -

    http://en.wikipedia.org/wiki/Gitanes

    *Gitanes*, (French for "gypsy women"), is a popular brand of French cigarettes, sold in many varieties of strengths and packages.

    180px-Gitanes.jpg

     

    *Absinthe* -

    http://en.wikipedia.org/wiki/Absinthe

    *Absinthe* is a distilled, highly alcoholic (45%-75% ABV), anise-flavored spirit derived from herbs, including the flowers and leaves of the herb Artemisia absinthium, also called "wormwood."

    Absinthe originated in Switzerland. However, it is better known for its popularity as an alcoholic drink in late 19th- and early 20th-century France, particularly among Parisian artists and writers.

    Absinthe was portrayed as a *dangerously addictive, psychoactive drug*. The chemical thujone, present in small quantities, was blamed for its alleged harmful effects. By 1915 absinthe had been banned in most European nations and the United States.

    200px-Absinthe-glass.jpg

     

    I hope your minds didn't race with all sorts of illicit thoughts. Though coupled with today's axe murderess poster, I can understand if you did think the worst. (But hopefully not of me.)

     

    Kyle In Hollywood

    JULY LISTINGS ARE UP!

    in General Discussions

    Posted

    *"can't we still be working in more of the 30's/40's during the day too."* - markbeckhuaf

     

    I think Robert Osborne must have had you in mind when selecting his "Bob's Pick's" showing tonight. They are all from the 1930s.

    Hope you are enjoying them.

     

    Kyle In Hollywood

    50 States 50 Great Movies?

    in General Discussions

    Posted

    *"How about "Pittsburgh"?"* - scsu1975

     

    Do you mean the film *Pittsburgh* (1942) with Marlene Dietrich and Randolph Scott

    http://www.tcm.com/tcmdb/title.jsp?stid=86761

    "Charles 'Pittsburgh' Markham rides roughshod over his friends, his lovers, and his ideals in his trek toward financial success in the Pittsburgh steel industry, only to find himself deserted and lonely at the top."

     

    Or films set in Pittsburgh? Like

    *I Was A Communist For The F.B.I.* (1951)

    http://www.tcm.com/tcmdb/title.jsp?stid=78894

    "Agents of the Federal Bureau of Investigation alert the local FBI chief, Ken Crowley, that a top Communist agent, Gerhardt Eisler, is coming to Pittsburgh."

     

    *The Valley Of Decision* (1945) with Greer Garson and Gregory Peck

    http://www.tcm.com/tcmdb/title.jsp?stid=1188

    "An Irish housemaid's romance with the boss's son is complicated by labor disputes in the Pittsburgh mills."

     

    *Angels In The Outfield* (1951) with Janet Leigh and Paul Douglas

    http://www.tcm.com/tcmdb/title.jsp?stid=16

    "The short-tempered manager of the Pittsburgh Pirates mends his ways in return for a little divine assistance."

    (And the Pirates should be looking for an orphan that sees angels this year too.)

     

    Kyle In Hollywood

    50 States 50 Great Movies?

    in General Discussions

    Posted

    Wow. Everyone is getting impaitient in here today.

     

    Seeing as how "Oregon" was closed out earlier, let me quickly add the two titles that I think are the definitive films for the state -

     

    *Sometimes A Great Notion* (1971) with Paul Newman and Henry Fonda

    http://www.tcm.com/tcmdb/title.jsp?stid=21816

    "The logging town of Wakonda, Oregon has been thrown in economic despair because of the local union's strike against a large lumber combine. When the Stamper family, who own an independent logging business, refuse to join the strikers, they are considered traitors by the locals."

     

    and *THE Oregon* (territory) movie -

    *Seven Brides For Seven Brothers*

    http://www.tcm.com/tcmdb/title.jsp?stid=16147

    "In the Oregon territory in 1850, farmer Adam Pontipee comes into town to trade and announces to the shopkeepers that he is in the market for a wife ..."

     

     

    As for *Pennsylvania* , I nominate -

    *Friendly Persuasion* (1956) with Gary Cooper and Dorothy McGuire

    http://www.tcm.com/tcmdb/title.jsp?stid=16760

    "The Birdwells, a prosperous Pennsylvania Quaker family, try to remain detached from the Civil War that is raging to the south."

     

    *The Molly Maguires* (1970) with Richard Harris and Sean Connery

    http://www.tcm.com/tcmdb/title.jsp?stid=83819

    "Life is rough in the coal mines of 1876 Pennsylvania. A secret group of Irish emigrant miners, known as the Molly Maguires, fights against the cruelty of the mining company with sabotage and murder."

     

    and one final suggestion

    --*George Washington Slept Here* (1942) with Jack Benny and Ann Sheridan--

    --http://www.tcm.com/tcmdb/title.jsp?stid=168--

    --"A pair of New Yorkers face culture shock when they buy a dilapidated (Pennsylvania) country house."--

    (Oops. Molo got there first. Sorry!)

     

    Kyle In Hollywood

     

    Message was edited by: hlywdkjk

    JULY LISTINGS ARE UP!

    in General Discussions

    Posted

    *"and yeah, it does seem like my world is topsy-turvy..."* - markbeckhuaf

     

    But I have faith you'll be "groovin' on the ceiling" come July.

     

    *"Still think we need to check the water supply in the programmers lunchroom."*

     

    Maybe that's the problem. I hear there's a drought in Atlanta. With water restrictions maybe they're hitting the Red Bull a bit too hard.

     

    Kyle In Hollywood

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