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Brrrcold

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  1. He was the brother of Robert Mulligan, the director of To Kill a Mockingbird (1962), among other films of some merit.
  2. Incidentally, I'm glad you mentioned THE LIFE AND DEATH OF COLONEL BLIMP - the most unfortunately overlooked work of Powell & Pressburger. It's full of clever details and great performances - especially by Roger Livesey and the great Anton Walbrook. THIS HAPPY BREED is also worthy of rewatching, with a very young John Mills and the always impressive Celia Johnson. The use of color is quite evocative of the nostalgia Coward is tracking in this movie - which must be recognized as a parallel telling of his musical play/film CAVALCADE, this time for a middle class British family rather than an upper class clan and their servants, from the end of WW1 through WW2.
  3. Very solid review/s. Thanks for selecting HEAVEN CAN WAIT. I think Technicolor adds quite a lot of fun to this movie, which would perhaps seem stagy and tentative without the vividness of the production design. The prospect of eternal damnation needs a little boost to be received as comedy. I don't know if this is the movie that started the 1940s trend of films dealing with life after death, or the parallel lives of spirits, but it is a reasonable example of that trend - and one of the best to handle it in a comedic vein. (It didn't really start in the 40s, of course: think of DEATH TAKES A HOLIDAY or THE GHOST GOES WEST... but obviously WW2 made the theme more relevant to audiences.) You mentioned A MATTER OF LIFE AND DEATH, but there are a dozen or more that could be named, including dramas (THE ENCHANTED COTTAGE, IT'S A WONDERFUL LIFE), comedies (THE CANTERVILLE GHOST, I MARRIED A WITCH, HERE COMES MR. JORDAN, THE BISHOP'S WIFE), musicals (DOWN TO EARTH)... It could be TCM feature, when I start to think about it.
  4. We have one voice against Westerns - and we know that Musicals, Comedies, Film Noir, and SciFi genres have been handled in the recent past. I'd add that the Gladiator/Sword-Sandal genre also had extensive coverage in January 2019. So what's the next genre deserving of attention? It probably will not be War movies, as those are generally covered on Memorial Day tributes. Also, it would have to be something that can be presented in roughly 50 programming hours. ... Historical epics might be suitable for July. Novels to screen? I'm just guessing, but I'm intrigued.
  5. Just positing that the unreported Wednesday evening schedules could be waiting the unveiling of a new summer film course.
  6. I think it's necessary to understand that To Be or Not to Be was developed and produced before the the world at large knew how diabolical the Nazi regime was, so the comic tone and structure is more understandable than present-day viewers believe it should be. It also builds upon the movie styles of the time, and possibly Lubitsch was trying to put the truth into a cinematic package that audiences would recognize. I don't think Lubitsch was in doubt about the truth of Nazism - and so he seems to set up two parallel tones: What happens in and around the theater is closer to the customary Lubitsch style - a controlled pace, well defined characters (lovers, fools, petty villains) playing roles and coming to unexpected realizations. In this movie, Lubitsch is running parallel to Hitchcock's frequent use of theatrical settings, and he (intentionally or not) duplicates the shot of the pursued man being trapped on a stage with the pursuers and the spotlight closing in (first seen from AH in The 39 Steps and later in Stage Fright). The second tone Lubitsch uses is for things outside the theater: the pace is less controlled, the characters are more desperate and unpredictable, the individuals' masks/disguises are constantly in danger of falling away, the outcome is less certain, the stakes are more deadly. As you noted, at times this is Marx Brothers-style mayhem, but it's also Hitchcock-style intrigue.
  7. As TCM customarily plans a SUTS day for a foreign film star, I'd give one to Yves Montand. Great selection of dramas (esp. 'Z' and 'The Confession', both directed by Costa-Gavras), comedies and musicals, as well as some good titles filmed in English that would please some less patient viewers.
  8. Great selection. Looking forward to this. My list: Best Silent Lubitsch: Lady Windermere's Fan (1925) Best Sound Lubitsch: Trouble in Paradise (1932) Most Underrated Lubitsch: One Hour with You (1932) Most Overlooked Lubitsch: Heaven Can Wait (1943) Favorite Lubitsch: To Be or Not to Be (1942)
  9. This is a good review. However, I've never felt that DELIVERANCE is much of an exploration of characters; none of them is well enough drawn for viewers to grasp what is motivating them, or how/why they are changed. I think the movie is about the inevitability of nature reclaiming its predominance, on the earth and in its creatures. The river is flowing out of control and is about to rise and overtake the land. Bodies are lost and unidentifiable, etc. The men become animals without any inhibitions to kill, etc. Undoubtedly, there is some drama with the characters as this happens, but the 'what' and 'why' are not really examined. To me, it's similar to LORD OF THE FLIES (1963), and in a way to director John Boorman's THE EMERALD FOREST (1985). ps: The character of Drew is played by Ronny Cox, not Wally Cox.
  10. Dean Stockwell should get some consideration for SUTS. I know child stars can be a very qualified taste, but he appeared in many different types of movies so there is a range of roles to consider. And his career is/was very long - mostly in TV during his adulthood.
  11. Adams Rib, The Asphalt Jungle, Singin' in the Rain, Carbine Williams, The Big Knife, The Shaggy Dog, Sunrise at Campobello, Panic in Year Zero ... Jean Hagen deserves a SUTS day.
  12. Don't be confused. It's a list. Perhaps this will help: 1. Three John Ford films ... 2. Fourteen Hours ... 3. A Kiss Before Dying ... 4. The True Story of Jesse James. King of Kings probably should be included, if a SUTS day is scheduled, because JH is the star. I like The Longest Day, but those two films together would fill about 25% of a day's schedule.
  13. I've been thinking this for a while. Jeffrey Hunter deserves a SUTS day. King of Kings and/or The Longest Day would probably be included, crowding out other things, but the three John Ford films, Fourteen Hours, A Kiss Before Dying, and Jesse James, make a compelling schedule.
  14. I'm a fan of MOVIES; being of a certain age the commercial interruptions do not strike me as strange. And I like the bare-bones programming style, though I think intro/outro commentary would help me appreciate several films I've watched there. But a nagging question to me is this: why do they keep scheduling DAISY KENYON (1947) in the Noir blocks? It's got Joan Crawford and Dana Andrews, and it's directed by Otto Preminger. But it's not noir.
  15. Sad... he was a good character actor, of which we have too few. I hope Cher will attend his funeral in a red dress.
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