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Brrrcold

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  1. I cut the cable cord about a year ago, having hesitated for a year or more because I liked TCM. But the OP is right: TCM is not a classic movies channel any longer, and while I miss what it once was I no longer wanted to watch what it had become. I notice that no one truly wants to address OP's charges - but rather to justify the ditching of classic films, and more frequently to trash the OP's character based on some personal or character qualities that are presumed about her (or him.) That's enough for me. Since I cut the cord I have read the boards and occasionally commented whe
  2. Wondering... will the many critics and social commentators who have excoriated the Hollywood Production Code and the Breen Office will come forth now to observe this new regulation is in substance the same type of artistic censorship?
  3. It is a good choice - but I'd have preferred to see A DOUBLE LIFE (1947) and other films from early in her career than the shock/schlock that followed A PATCH OF BLUE.
  4. THE MISFITS (1961) was the last film for Clark Gable and Marilyn Monroe. Gable died about two weeks after the filming was complete, and Monroe died about two years later not having completed another film. One film Monroe started was "Something's Got to Give", which was never completed and later revamped as MOVE OVER, DARLING (1963) - and that film featured Thelma Ritter, who is part of the overall exceptional cast in THE MISFITS. In addition to Gable, Monroe, and Ritter, there is Montgomery Clift, Eli Wallach, Estelle Winwood, and (in my opinion) the always under-appreciated Kevin McCar
  5. I've seen it. It's based on Anton Chekov's novel The Shooting Party, from the late 1880s. The screenplay is reframed to set the plot in post-Revolutionary Russia - but it's a class-system melodrama, not a noir.
  6. He was the brother of Robert Mulligan, the director of To Kill a Mockingbird (1962), among other films of some merit.
  7. 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 t
  8. 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
  9. 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.
  10. Just positing that the unreported Wednesday evening schedules could be waiting the unveiling of a new summer film course.
  11. 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 L
  12. 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.
  13. 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)
  14. 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'
  15. 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.
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