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hlywdkjk

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Posts posted by hlywdkjk

    TCM on this year's "31 Days Of Oscar"

    in General Discussions

    Posted

    "The TCM Promo for 31 Days Of Oscar (2008) has 4 running times - 15, 30, 120 and 240 seconds. I think the editor did an astounding job. I especially like the North By Northwest transition." - yanceycravat

     

    I think I have seen the two shortest versions - one including clips of Stand By Me and another with Hannibal Lecter saying "People will say we're in love."

     

    And you are right - the editting of the clips is wonderful. The inter-relationships of seemingly disparate clips is really well done - like the clips in "100 Years At The Movies". I wonder if the same folks were involved?

     

    Kyle In Hollywood

    Three Convicts Meet Their Match

    in Information, Please!

    Posted

    FierceGeek -

     

    The more little details you provide, the more it does sound like The Ladykillers.

     

    In The Ladykillers the little old lady carries an umbrella and forgets it at a very important point in the movie. She also often goes to the police to report suspicious activity - including a martian invasion that was actually just a drama she overheard on the radio.

     

    If The Ladykillers isn't the film you are looking for I recommend you check it out anyway. It is a wonderful film.

     

    Kyle In Hollywood

    "You cannot accuse TCM of underestimating the intelligence..."

    in General Discussions

    Posted

    Sorry for posting another thread of nothing but a news article about the programming on TCM but the first line of this one made it particularly special.

     

    ==============

    http://www.latimes.com/entertainment/la-et-lewton114jan14,1,5477595.story

     

    From the Los Angeles Times

    TELEVISION REVIEW

     

    The frightening talent of Val Lewton

    A documentary on the producer, who broke ground with films based on psychological terror, settles in as a solid tale on TCM.

    By Mary McNamara Los Angeles Times Staff Writer

     

    January 14, 2008

     

    You cannot accuse TCM of underestimating the intelligence, or at least film geekiness, of its viewers. "The Man in the Shadows" dispenses with the usual niceties of introducing its subject, producer Val Lewton, up front. We get no clearly marked montage of his films, nor even an explanation of the relationship between him and the film's narrator, Martin Scorsese.

     

    Instead, we are plunged headfirst into the hijacking of Orson Welles' "The Magnificent Ambersons" by meddling studio executives at RKO who had decided, we are told, to place pageantry over genius.

     

    If the connection between that lead and the subject seems vague, you don't have enough film buffs among your acquaintance. Because that decision, my friends, sparked RKO's decision to create a new unit devoted to horror and lift the publicly modest Val Lewton from servitude as editorial assistant under David O. Selznick to run it.

     

    There, and I will tell you now because it takes a while for "Shadows" to get around to it, Lewton produced such classics as "Cat People," "I Walked With a Zombie," "Isle of the Dead," and "Curse of the Cat People." Scorsese, who also produced "Shadows," must believe scenes from these films are as instantly recognizable as the bike flying bit in "E.T." because slews of them whiz by unidentified during the first 10 minutes of the film.

     

    It's sweet of him in a way, this assumption that we are all so cinematically literate, and I suppose one could argue that those of us incapable of reciting "Cat People" chapter and verse have no business watching a doc on Lewton, but please don't. Because once "Shadows" settles into a more standard narrative of Lewton's life and career, it explores most effectively not only the man and his legacy, but also the history of Hollywood, the language of film and the exquisite tension between vision and fear one finds in so many creative people.

     

    Lewton was a Russian immigrant whose mother and aunt found success in early Hollywood. He wrote a series of pulp novels and then became editorial assistant to Selznick, providing services as diverse as rewriting scripts to standing outside a men's room during early screenings of "Gone With the Wind" to figure out when the intermission should be.

     

    When RKO asked him to head a new unit dedicated to horror, Lewton was less worried about his tiny budget than whether he could use it to make art.

     

    "Cat People," which chronicles the plight of a woman who believes that she turns into a murderous panther whenever she feels a sexual urge, was at first derided by RKO for its seeming lack of horror -- no monsters! But audiences loved it, and Lewton became the B-film golden boy.

     

    With its sexual undertones and seductive use of shadow and light, "Cat People" essentially created a new genre -- one based in psychological terror rather than actual horror. Lewton used tension almost as a character, playing with the emotional vulnerabilities of both the people in the film and those watching it. Without his work, it is hard to imagine a "Sixth Sense" or "The Others" or even "Pan's Labyrinth."

     

    So the path Lewton's life followed becomes even more poignant. After a string of successes, he moved from studio to studio, never finding the chance to take his talent to the next level. There was no fateful rupture or event, no blacklisting or breakdown. Lewton's career simply followed a pattern sadly familiar in this town: After a few years in the sun, he just disappeared into the maw of "in development." Still, considering what Lewton was able to accomplish, it is a shock to learn, at the end of "Shadows," that he was only 46 when he died. And we think Hollywood is ageist today.

     

    Of course, the debut of "Shadows" is followed by a marathon of Lewton's films, which is a darn good thing. Because whether you can recite his work scene by scene or if you only vaguely remember watching "Cat People" when you were a kid, Scorsese's documentary leaves you longing to see all of Lewton's films, one after another. So isn't it great that you can?

     

    ================

    Well done Tom Brown and 'tcmprogrammr'. And Mr. Scorese too.

     

    Kyle (prefering intelligence over "geekiness") In Hollywood

     

    Message was edited by: hlywdkjk to fix a typo

    Bravo!

    in General Discussions

    Posted

    Hi SandyKaypax -

     

    Cool. I have something to look forward to between movies. (I know what little I caught last night was definitely no longer than 20 or 30 seconds.) I loved how the screen splits apart and the pieces float off screen.

     

    Kyle In Hollywood

     

    ps - I got the full-length "Broadway: The Golden Age" from Netflix last week. Did you ever get a chance to see this documentary after I reommended it last year? (And I have Damn Yankees still to watch - for the very first time too.) kjk

    Let's confront this issue-reverse ageism on this board

    in General Discussions

    Posted

    "... can some one please explain to me how TCM's Guest Programmer Contest was "dumbed down" for younger folks because some of those interviewed were young??" - Nicki82

     

    I hope I am not out of bounds trying to speak for MGMMayer but what the heck. I am already in this topic pretty deep.

     

    MGMMayer wrote that the promo for the Guest Programmer Contest last spring/summer was "annoying" and "MTV-like". And many people would agree with that description. (I believe he is speaking of the promo announcing the contest. And that is what I refer to myself.) It was loud, hyper-edited and populated with young faces - along with what some described as an awkward looking Robert Osborne, though I don't think that was the case myself.

     

    Then there was the method of participation that some felt was skewed toward younger, more computer savvy viewers. One couldn't just send in a video tape - I don't think so anyway - and had to convert the recording to a digital format (a DVD disc) and then send it in or, as was recommended, upload it to a special AOL site. Many folks thought that was "less than fair" and gave an advantage to younger participants. And it left many "older" viewers feeling like TCM wasn't interested in their participation.

     

    But I do take exception to the assertion that many of the Guest Programmers - this past November or otherwise - are recruited because they are young and attractive - unless one thinks anyone under the age for AARP is "young". I will accept the description of Rose McGowan as "young". She is definitely younger than myself. But I can't name another Guest Programmer last November of her age or distinctly younger than me. And that includes the eventual winner of the Guest Programmer Contest, Paul Aguirre. He and I are probably very close in age.

     

    But I can name Gore Vidal, Jack Klugman and Jerry Stiller as Guest Programmers last November that are definitely older than I. (I am too chivalrous to guess about the age of some of November's women Guest Programmers.) So, as a whole, the event was not full of young faces. And that goes for all the Guest Programmers seen throughout the year. David Mamet, Chevy Chase and Elaine Strich aren't representative of "Young Holywood".

     

    As for other TCM promos, people of all ages were taken with the monthly promos that TCM featured in 2006. And I have only seen the new "31 Days..." promo once but I was really impressed with the style and presentation. It shouln't be off-putting to any viewer of a certain age. I hope it's not anyway.

     

    That's my take on one of the observations made earlier.

     

    Kyle In Hollywood

    If the Oscars are cancelled....any chance TCM will cancel 31 days of Oscar?

    in General Discussions

    Posted

    I guess it may be possible that the Academy Awards ceremony could be cancelled but it isn't likely. There are many differences between the two television productions and their relationships with the WGA.

     

    The biggest difference is that the AMPAS ("The Academy") actually owns and produces the ceremony for the Oscars. It is then "sold" to ABC. The Golden Globes telecast are "produced" by Dick Clark Productions for the program owner NBC. And Dick Clark Productions are a production company being "struck" by the WGA - as is NBC.

     

    The AMPAS could easily enter into an agreement with the WGA in regard to the pertinent issues for the WGA in much the same way David Letterman has come to terms with the WGA. David Letterman's program is owned and produced by his own company which is then "sold" to CBS. As a product of it's own "production company", "The Late Show" with David Letterman was capable of agreeing to whatever demands the WGA had. AMPAS can do the same - and likely will as the awards date approaches.

     

    There could also be a "truce" where the WGA promises not to picket the ceremony. That is the sticking point keeping Actors/Directors, etc. from attending other ceremonies as other guild members are refusing to cross picket lines of striking writers - and not necessarily refusing to participate in any television programs while the Writer's Strike is ongoing.

     

    If I got any of the "facts" wrong in this description, I hope someone will correct me. And the few writers that I know hang out around here might know better than me too.

     

    Kyle In Hollywood

    Let's confront this issue-reverse ageism on this board

    in General Discussions

    Posted

    "I'm curious as to what prompted this topic." - Erebus

     

    I used the term "reverse ageism" recently to describe the disappointment some members expressed upon learning that Rose McGowan was named as the new co-host of "The Essentials" series. Most of the negative comments were of the knee-jerk variety using her age as the sole reason for their dissatisfaction in the choice.

     

    Kyle In Hollywood

    Let's confront this issue-reverse ageism on this board

    in General Discussions

    Posted

    I suddenly feel like Ludie negotiating a truce between Mother Watts and Jessie Mae in the film I just finished watching.

     

    I hate to think that the youth and their elders on these Boards can't get along around here but I fear that may be happening. I am not going to try to tell anyone how to comport themselves but I will say this -

     

    - if you engage in "adolescent" humor in these Forums understanding that most posters use TCM and these Forums as a refuge from such types of entertainemnt, then you were asking to be called out on it.

     

    - if you make disparaging remarks about a Board Member's youth, text-style typing or - in that rare case - appearance, then you asked to be called out on it.

     

    - if you extrapolate anyone's post to be repesentative of their age group, you are asking to be called out on it.

     

    - if you take personal offense to a member's comments about your age group when you weren't personally mentioned, then you are asking to be called out on it.

     

    - if you wouldn't make certain comments in front of your children, your parents or your grandparents then it might not be appropriate for discussion here and you are asking to be called out on it.

     

    - it is likely there are members here that have fogotten more about the movies than you probably know today.

     

    - it is likely there are members here because their peers "don't get it" while the other members here do.

     

    Age is only a number. It is silly to dismiss all movies that were created after the Studio era and it is just as silly to "dismiss" board members created after that era too.

     

    I nvever thought a generational divide would develop on these Forums but I guess it has happened. Hopefully it won't erode into a chasm as wide as the Grand Canyon - because while the Grand Canyon is a beautiful sight, I fear this could get ugly.

     

    A word to the wise - TCM won't tolerate personal attacks against anyone. Choose your words wisely.

     

    Kyle In Hollywood

     

    Message was edited by: hlywdkjk

    Bravo!

    in General Discussions

    Posted

    Just had to say that I love the new "31 Days..." soundstage promo. It's quite nice.

     

    I am hoping there is a longer version. (The version I caught lasted about 20 seconds.)

     

    Kyle In Hollywood

    TCM on this year's "31 Days Of Oscar"

    in General Discussions

    Posted

    Hi Frank Grimes -

     

    My "thangs" are doing fine, thanks.

     

    If you saw Apocalypse, Now on cable late one night it wasn't on TCM. That film is one of the movies referenced in the press release as being a TCM premiere next month. I know Showtime (and sometime Starz) show films letterboxed so it might have been on there. And now that I think about it, even Encore has shown certain films in the letterbox format. ((The Good, The Bad and The Ugly for example)

     

    I remembered that some folks were excited about the upcoming showing of Love With The Proper Stranger but I wasn't sure in what month that showing was first occurring. Thanks for setting the record straight. The list has been adjusted to reflect the info.

     

    Kyle In Hollywood

    TCM Announces The New Host of The Essentials for 2008

    in General Discussions

    Posted

    "But would Audrey Totter have anything valid - let alone interesting - to say about a film like The Apartment? I bet she could reminisce on her own films quite well but doubt that she has the breadth of knowledge to speak on Essential films not from her era - let alone her genre{s}."

     

    "Still, it's amazing to presume someone couldn't imagine a Totter-esque professional might not have anything credible to say personally about these Essentials. Wow. What a plunge!"

     

    It wasn't meant as a slam against you, your opinion or Audrey Totter as a person of interest to film fans. I only wanted to express that Ms. Totter - or a person of her era - would not be the most capable or appealing person to host the TCM series "The Essentials". It would not serve the purpose of the series well. And I think you agree.

     

    And I think I mis-spoke when I wrote that Robert Osborne compared her complimentarily to Audrey Totter during her Guest Programmer stint. I now believe that he compared her to Jane Greer. If someone checks out the Out Of The Past intros/outros in the Media Room they could verify that one way or another. And I apologize for the error if that is so.

     

    Kyle In Hollywood

    TCM on this year's "31 Days Of Oscar"

    in General Discussions

    Posted

    Thanks to 'scsu1975', 'skimpole' and 'Fedya' for helping whittle down the list of "potential" premieres next month.

     

    Has anyone been to the special webpage for the "31 Days..." event and downloaded the PDF file and looked that over? I would but my PC is too old for the newest versions of Macromedia's Flash technology.

     

    And "Fedya", TCM has shown Joe and Ethel Terp... in the past. I included the film in my very first Programming Challenge Schedule as part of a group of films based on Damon Runyon Stories and remember it popped up once during the following year. But I never got the chance to see it so I would like it if it ran again soon. I am curious if it is at all entertaining.

     

    Kyle In Hollywood

    Is This Actually True?

    in Information, Please!

    Posted

    Padiwan2 -

     

    This link is for the webpage/entry for The High And The Mighty.

    http://www.tcm.com/tcmdb/title.jsp?stid=77963

     

    The only info on the music is that the score was composed by Dimitri Tiomkin and that the "song" was composed by Tiomkin and lyricist Ned Washington. But there is no other information about the specific song. And the below may help explain why.

     

    From the AFI notes section at the above link -

     

    "Dimitri Tiomkin's The High and the Mighty theme song, which was whistled by Wayne in the film, contained lyrics arranged for chorus by Ned Washington, which were cut prior to the film's initial showings, according to a December 1954 Hollywood Reporter news item. However, as described by a December 1954 Los Angeles Mirror-News article, the sequence containing the lyrics was restored to the film after the song achieved "Hit Parade" popularity through recordings and sheet music. The song's restoration to the film made it eligible for an Academy Award nomination. Although the song lost to Jule Styne and Sammy Cahn's "Three Coins in the Fountain" from the film of the same title, Tiomkin won an Academy Award for Best Scoring of a Dramatic/Comedy film for The High and the Mighty.

    A December 1958 Hollywood Reporter news item reported that Leon Navara sued Tiomkin, Washington, Warner Bros., Witmark Music and Wayne-Fellows Productions for one million dollars each, claiming that The High and the Mighty theme song was a plagiarism of one of his tunes. According to a January 1959 Newsweek article, much of Navara's case rested on the placement and use of a B flat, which occurred in both the film's theme and Navara's 1949 work, "Enchanted Cello." Witnesses for the defense were composers Deems Taylor and Sigmund Spaeth. After fifteen days of arguments and eight of jury deliberation, the New York Supreme Court ruled in favor of Tiomkin. The haunting tune became an often played, and often parodied, Hollywood film theme that developed into its own entity, symbolizing the type of strong, but troubled character played by Wayne."

     

    I would bet the choir assembled to sing the film's song was a pick-up group of session singers. I would doubt that it was a group like the Norman Luboff Choir or The Ray Coniff Singers. But I could be wrong. A Google search on "choir" and the title may yield an definitive answer.

     

    And if you are still looking for the lyrics, I would also do a Google Search using the title and the term "lyrics" or using "Ned Washington".

     

    Kyle In Hollywood

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