hlywdkjk

*"Now this is interesting. For the third year in a row, I believe no John Wayne films have appeared on The Essentials. Is this correct?"* - fxreyman Look a bit closer. This year Robert Osborne and Alec Baldwin have jointly chosen *The Man Who Shot Liberty Valance* as one of The Essentials. But you are correct about John Wayne not being part of the two previous seasons - though I wouldn't attribute that to any personal bias on Alec Baldwin's part. Kyle In Hollywood

*"I note a few films ("The Misfits," "Bringing Up Baby") will be shown twice. Is this a new policy for "The Essentials," or has this occurred before?"* - VP19 Yes, it is commonplace for many of the titles to be repeated later in the year. In the earlier years, all the episodes were repeated at least once. But during the Baldwin years, the number of different films in the season has expanded to such a number that only about half of the selections are repeated. Last year there were close to 30 different titles presented - including Double Features with "late night" Essentials presentations of R-Rated films like *Serpico* and *Saturday Night Fever*. This year there are 30 titles exactly with one Double Feature/"Late Night" presentation of *Kiss Of The Spider Woman* (jointly selected by Osborne and Baldwin.) Kyle In Hollywood

Saturday, February 5th *Father Of The Bride* (1950) Denmark

Alec Baldwin Returns! And the line-up is special too. TCM has announced the 30 selections for the next season of The Essentials which begins March 5th with *Cool Hand Luke*. And this year, TCM has even let us know who chose which films for inclusion in series. The titles below are some of the films "co-selected" by Osborne and Baldwin - *Cool Hand Luke* *Hannah and Her Sisters* *Mildred Pierce* *Ball Of Fire* *Gunga Din* *The Bicycle Thief* *Stage Door* Alec Baldwin's selections include - *The Loneliness Of The Long Distance Runner* *Splendor In The Grass* *Thirty Seconds Over Tokyo* *City Lights* *The Misfits* Robert Osborne selections include - *Love Me Tonight* *Dodsworth* *Cat People* *Bringing Up Baby* *All Quiet On The Western Front* Additionally, there will be an Essentials screening of *An American In Paris* on April 30th to coincide with the screening at the 2011 TCM Classic Film Fetival. And on December 24th, The Essentials will bring *Miracle On 34th Street* (1947) into our homes for Christmas Eve. There's a complete list of films/dates and who chose which films here - http://www.tcm.com/movienews/index/?cid=375680 Kyle In Hollywood

Friday, February 4th

*"And to go into a lengthy diatribe defending TCM is not only time-consuming but comical."* - MMF Diatribe? Now THAT is comical. C'mon! Do you even know the meaning of the word? My post wasn't written to you. So go harangue someone else. Kyle In Hollywood

Thursday, February 3rd

Not surprised that *Shall We Dance?* is included as part of the Gershwin salute. But I was really hoping *A Damsel In Distress* would be selected only because it is so less well known. I guess Burns & Allen can't compete with Edward Everett Horton and Eric Blore. But a very nice line-up announcement overall. Anyone wanna ask Jeffrey if he likes this new score for *The Merry Widow* (if he has heard it)? Kyle In Hollywood

Congratulations 'cinecrazydc' for getting your suggestion into the 2011 TCM Classic Film Festival. It was an inspired thought on your part. Kyle In Hollywood

*"Great research, but i most specifically came to TCM this month looking for Black films to view with my grandchildren because i really thought they would focus on them for February, and i can't believe that i'm the only one who thought this."* - aretha There aren't many "absolutes" in TCM programming but there are a few. TCM devotes each day in August to different "star" and their careers. Memorial Day Weekend is turned over to 72 hours of mililtary/veterans films. December brings holiday films to the schedule. And TCM will turn over the _complete_ schedule (all 24 hours every day) to celebrate the Academy Awards in whatever month the ceremony takes place. This is a TCM tradition since 1995. And for the past five or six years, that month has been February. I don't think anyone discounts your request for TCM to acknowledge "Black History Month". But it isn't possible to do so as long as the Academy Awards are presented in February. As I noted before, TCM is not shy about spotlighting the contributions to film history by Black filmmakers and actors/actresses. They make a very concerted effort to bring the works of these talented people to the TCM audience. It just happens at various times throughout the year rather than being packaged into a single month. Dorothy Dandridge and Sidney Poitier have each been "Star Of The Month". Charles Burnett's films premiered in January and were repeated at other times in the subsequent 18 months. I believe Elvis Mitchell's interview series debuted in June. And I dare say, evenings of films that are representative of the African-American experience are likely the most often programmed groups of minority-focused films to appear on the channel. TCM doesn't celebrate "Gay Pride Month" every June or "Hispanic Heritage Month" every Fall. Nor is "Asian/Pacific Islander Heritage Month" singled out for special programming every May. But TCM incorporates events that honor persons of all of those groups - including African-Americans - when the schedule allows regardless of what month it is. Your disappointment is understandable but the absence of "Black FIlms" shouldn't be considered an intentional oversight on the part of TCM. TCM knows that a significant segment of the audience is made up of people of color. It is very aware there are minorities in their audience that look for films with which those persons may have a particular interest. After all, TCM is based in Atlanta where the African-American culture is everpresent 365 days a year. TCM approaches programming with the idea that any day of the year is a perfect day to showcase the film works from minorities. (Just not in Februay, August or Memorial Day weekend.) Kyle In Hollywood

Films of interest on TCM this month that may appeal to anyone looking for titles with African-American subject matter - *Ali* *Glory* *Lillies Of The Field* *The Defiant Ones* *Sounder* and most notably, the premiere of *Do The Right Thing*. (Amistad was shown during "31 Days..." three or four years ago.) With "31 Days Of Oscar" falling in February for the past five or six years, TCM can't acknowledge "Black History Month" with expanded programming. But every year it consistently programs films in celebration of "Martin Luther King Day". Regardless, TCM has offered programming of interest to the African-American community (and all classic film fans) for a very long time. Oscar Micheaux and other pioneer black filmmakers were part of TCM's documentary "Moguls and Movie Stars" last fall - including a showing of "Within Our Gates". And TCM has shown other Micheaux titles over the years. *Killer Of Sheep* and other Charles Burnett titles have been given their only television exposure on TCM - with the director in studio with Robert Osborne two years ago - Critic Elvis Mitchell was given a six-episode interview series on TCM two years ago. Four years ago, author Donald Bogle co-hosted the first edition of "Race In Hollywood" (And hosted screenings of *Carmen Jones* and "Out Of Circulation" cartoons at the TCM Classic Film Festival in 2010.) "Race In Hollywood" is probably the most important programming about racial minorities to ever apear on television. TCM celebrated the career of Woody Strode during "Summer Under The Stars" last August and preempted programming to "remember" Lena Horne after her passing last year. Whoopi Goldberg, John Singleton, Kareem-Abdul Jabbar, Evander Holyfield and Tommy "Tiny" Lister have been invited to be a Guest Programmer on TCM and --two-- three African-Americans were invited to celebrate TCM's 15th Anniversary as Fan Programmers. For a channel with an emphisis on studio-era films, TCM could easily be "the whitest channel on television". But those in charge of programming have done a remarkable job to not let that happen. And if more materials were available, they would likely do even more. Kyle In Hollywood Edited by: hlywdkjk on Feb 2, 2011 9:48 AM

Wednesday, February 2nd

*"I heard a story, and I think it was Pollack who told it somewhere, that when he work on a movie he had Barry's music on as background. It finally occurred to him that he should have Barry score "Out of Africa." "* - movieman1957 That's true. I've heard the same story. I think it is in the "Moviola" program/video that Pollack says he used John Barry scores as "temp tracks" when editting many of his films. I also am not a "fan" of *Out Of Africa.* It is in the *Dr. Zhivago* column for me - an epic with talented stars but a less than interesting (all right, dull) story. I wonder if seeing it in a theater helps? Kyle In Hollywood

Tuesday, February 1st src="http://farm6.static.flickr.com/5131/5403358031_010643701d_o.jpg" width="450" height="673" alt="film_posterFeb01" />

From the liner notes for "Moviola", 1992 From the earliest days of cinema nearly a century ago, music and the movies have gone hand in hand. The most iportant advance of all was the advent of the soundtrack which permitted the moving image to be permantly "married" to a particular piece of music. As a result, we now only have to certain melodies or themes to conjure up whole scenes in our mind's eye. The evocative tracks on this album are the work of John Barry, one of the great films composers of our time. They will, I feel sure, transport those that hear them into many dfferent worlds. And I am naturally delighted that John has decided that the haunting music he created for *Chaplin* should be included in such distinguished company. John Barry is without doubt a star. He brings a touch of special inimitable magic to each and every score he writes, and his profound love of movies is evident in all his soaring themes. Richard Attenborough One of the very best parts of a John Barry score is how he is able to enhance the emotion or power of a scene with the music he writes - as in the make-up removal sequence in *Chaplin* with Chaplin (Downey Jr.) looking upon himself in the mirror. It is the poignancy of the music which creates the most memorable scene of the movie. The music expresses an intimacy which isn't found on the page of the script or in the visuals of the film. That is what a great composer can do. This was also expressed by Sidney Pollack who worked with John Barry on *Out Of Africa*. His comments are on a recording I have and I hope to transcribe them for posting later. Pollack spoke of how John Barry, his emotional intuitiveness and his score caused him to re-conceive a memorable scene in *Out Of Africa*. Kyle In Hollywood

Thank you for posting that. I didn't know that he had spoken of the *The Prince Of Tides* situation publically. I now can exhale and not feel guilty for "telling tales" that were passed to me in confidence. And I was being so careful not to actually name the director. (I also knew of the "comeuppance" that came from David Foster's playing the theme for her again and her suddenly new found admiration for it. But that was "a story too far" than I was willing to go.) It was wonderful to "see" John Barry again from those years that I knew him. Funny, around that time I also asked him about *Born Free* and if it is a theme he was still able to be excited about "performing" or re-recording - he mentions in the clip about that theme being accused of becoming a "cliche" - and all he said to me was "Listen to the new arrangement and then tell me what you think." Well, I listened to the "Moviola" CD arrangement of the piece and was quite impressed - and moved. He could still find new inspiration in an old war horse like that. Amazing. And I was so very happy to tell him so. Kyle In Hollywood

*"Kyle, I beleive you hit the nail on the head."* - hamradio Glad you have read it tonight as I fully expect it to be MIA in the morning. *"You got a better way with words than I do."* Thank you. But you are the master in visual commentary. Kyle In Hollywood

*"This is indeed wonderful news. The media has officially been alerted!!!"* SueSueApplegate Yes, JackBurley's visit will be popular with TMZ. His last visit to LA was overshadowed by Lindsay Lohan's booking at the Beverly Hills Police Department. Kyle (Looking forward to seeing you) In Hollywood

*"How great that you met him."* - movieman1957 Meeting was nice. Becoming a "confidant", albeit casual, was wonderful. I must have received gifts of every score on CD that he wrote during the five or six years he was a guest at the hotel where I worked. Those include *Dances With Wolves*, "Moviola" and "Moviola II" along with scores for *My Life*, *Indecent Proposal* and *The Crucible*. And he happily signed each of them for me. I also was honored to hold his Oscar for *Dancing With Wolves* the day after he won it. But even I was able to surprise him. One day, I presented him with a CD of the musical "Billy", based on the film *Billy Liar*, which he wrote some years earlier. I was hoping to ask if he would sign it to a friend who was a fan of the score. But it ended up being a "gift" to him. He didn't know that the obscure recording was available on CD. So I gave it to him for his collection instead. *"It is hard to imagine anyone refusing a Barry score."* And it was for him also. But what was more "troublesome" was the fact that the "rejection" by the director was only a nebulous "I just don't get it." without being able to offer any creative criticism that would allow him to adress their concerns or disappointment. Expressing such a musical critique to the composer was beyond the verbal capabilities of the director, at least in the retelling by John Barry. And given "the source" of that dumbed-down assessment of the theme for the film, it was all the more surprising to him. And irritating. Glad to know you are a fan also. Kyle In Hollywood

*"That is not the point of the thread, no way do I support banning any movie on TCM. I don't want this taken out of context, it was simply to get the TCM Web Administrators attention."* - hamradio I caught the drift of your post immediately. *"Someone is spreading untrue postings (probually by abusing the "Report Abuse" function built into the website) not understanding that I simply have a sense of humor."* - hamradio And your thoughts are very intuitive. In the past, the postings that were most "verboten" were attacks of a personal nature meant to demean or intimidate members. Recently, the actions by WebAdmin has stepped far beyond that - without being able or inclined to cite "The Code Of Conduct" in support of their actions. TCM understands that topical films will illicit topical and passionate discussions. Heck, even Ben Mankiewicz draws comparisons to contemporatry culture in his introductions to many films. Good for him (and his bosses.) There is no legitimate reason to not allow such discussions here. The membership here shouldn't be constantly sanitizing their thoughts to avoid controversy. (Or having their thoughts "sanitized" for them.) If TCM can show a "Private Screenings" with Jane Fonda or set aside 8 nights in a month to explore "Gay Images In FIlm", such volatile topics and ensueing commentary should be allowed in their Message Boards. Even if it gets "messy" and pushes the boundaries of being "civil." Provocative films (and film series) elicit provocative discussions. But there are "hall monitors" here who are looking for "violations" to report or act upon - that includes members and the outside company responsible for moderating these Forums. What is most distressing is that these very same folks are likely only casual viewers of TCM - if they watch at all. They are not attuned to the programming selections, the hisorical significance of certain films or the context in which TCM presents these films. Nor are they familiar with the quirks and personality traits of the members here and the context in which they operate here. There have been too many instances of moderator "abuse" recently. So much so that a pattern is becoming evident. What I've seen is that posts (or entire threads) challenging "conservative" thought or criticism are removed while the original conservative criticism is allowed to remain. Referencing Sarah Palin as a sign of the apocalypse is a personal attack to no one but Sarah Palin. And, to no one's surprise, she doesn't hang out here! But "Poof!", that reference is gone. If someone wrote a similar sentiment about Michael Moore, would it also be gone? I truly doubt it as that idea likely comports with the bias demonstrated by the moderators. Somebody with some influence better get in touch with the moderating staff. With upcoming screenings of *Ali* (that Muslim turncoat!) and the month of April devoted to the Civil War (Slavery! Reconstruction!), there will likely be "spirited" discussions in these Forums. It would be a shame if, out of a concern about being "offensive" to those that may be sensitive to contray opinions, we can't discuss the issues that arise from viewing these films. And I think TCM would find it shameful too. Kyle In Hollywood

Film composer (and former acquaintance of mine when I worked at a Beverly Hills hotel,) has died at age 77. Barry, the winner of five Oscars, was at one time, the Briton most honored by the Academy. He won two Oscars for *Born Free* and Best Motion Score statuettes for *The Lion In Winter*, *Out Of Africa* and *Dances With Wolves*. Other nominated scores include *Mary, Queen Of Scots* and *Chaplin*. He is likely best known for his work on the James Bond films, having worked on a dozen of the films, starting with an uncredited role with *Dr. No.* But he is also responsible for other very iconic film scores like *Zulu*, *Midnight Cowboy* and *Somewhere In Time.* He was a remarkablly talented man who was very thoughtful and generous with this hotel staffer. Our private conversation about his "audition" to work on *The Prince Of TIdes* is a particularly special memory. His work was rejected by the director but was retitled "Moviola" becoming the closing piece to a wonderful compilation CD of new renditions of his most famous works. http://www.amazon.com/Barry-Moviola-Score-Re-recording-Compilation/dp/B0000028SD Take a moment to seek out some John Barry on YouTube today. "Moviola" seems to be a favorite of of slideshow enthusiasts there. Kyle In Hollywood

January 31st

*"I thought the same thing to but the run-time is much longer than I remember the presentation being but perhaps they have added to the presentation?"* - lzcutter The Classic Film Festival presentation last year was listed as running 90 minutes. I didn't see it so I don't know if that presentation length was only the total time for the film materials or also included the commentary /introductions provided by the film archivists. I am sure Robert Osborne could fill an additional fifteen to twenty minutes talking about the "fragments" that are shown - if that is what this upcoming program contains. I guess we'll find out more in April. Kyle In Hollywood

On Sunday, the 3rd, there are two compilation programs. One is *Unseen Cinema* which is a collection of early "Avant-Garde" films. The other is titled "Fragments". There was something familiar in that title when I read it. Today I remembered. Last year's TCM Classic Film Festival had a program titled "Fragments" that included the extant footage and trailers from a group of early silents considered "lost." Perhaps this is that same presentation? I don't know for sure. But if it is, it will be a really special night. Kyle In Hollywood ps - Robert Osborne announced at the end of last night's "Essential" that Alec Baldwin _is_ returning as co-host for 2011. Edited by: hlywdkjk on Jan 30, 2011 9:26 PM

Well now... This is a fun survey thread. *1) Favorite Astaire/Rogers Dance number?* "Pick Yourself Up" - Swing Time *2) Best Kelly Dance Partner?* Donald O'Connor - "Moses Supposes" (Honorable Mention to the newspaper in "Summer Stock") *3) Favorite Marx Brothers Number?* Hmmm. That's hard. I'm not a big Marx-ist. How about "Hooray For Captain Spaulding"? *4) Favorite Non-Musical Singing Number?* "The Man On The Flying Trapeze" - It Happened One Night *5) Favorite Non-Musical Dancing Moment?* Learning "The Big Apple" - "You Can't Take It With You" Kyle In Hollywood