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Caseytdog

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About Caseytdog

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  1. Thank you. That's the beauty of opinions - there's no "right or wrong," simply "I agree or disagree." Life's calmer that way! One of the reasons I hope to be coming over here a bit more now is to get a more broad view of film, a better understanding of what makes a "great" film so I can appreciate those I now avoid for fear of being bored to death. This may not be possible. Maybe it is simply a matter of I have my tastes, what I enjoy, what I dislike and it's not necessarily going to change if I'm a better "educated" film viewer. I react more to the emotional elements in a fil
  2. I LOVE musicals! All of them, and there are many forms and disguises they take on, as they have grown up through the years. It's been a thrill for me to see a resurgence of musicals, thanks to "Chicago." But the musicals today do not fit the early musical mold, which tended to be that of pure entertainment. Today's musicals have a message, which you can think about, toss around, or simply ignore and enjoy the singing and dancing and marvel at the talent. The "classic" musical really caters purely to a goal of entertaining the audience. And they came in wildly varying formats.
  3. During this special 31-day Oscar feature, TCM is running programming that is not necessarily considered "classic." And, in fact, I'm not sure exactly what constitutes a "classic" film over, say, an "old" film? When is a film too "new" to fall into that category? "American Beauty" will someday be a "classic" film, but it's probably too new to qualify now (note: Opinions are my own and not necessarily wise or carefully considered....) What *I* like in the "classic" films is how many of them respect their audience and expect them to use a certain degree of intelligence and creativity.
  4. Hillary, did you happen to catch Barb Stanwyck's "Sugarpuss" by any chance? The one where her father began managing her career at a very tender age, a career choice most fathers would prefer their daughters avoid: a prostitute and daddy dear was her pimp. Was it at age 12? Ever see "Lolita?" I'm pretty sure it's been on TCM (many times, in fact). Haven't seen Dakota's film, but it sounds as though every precaution was taken to protect the young actress and to present an horrific crime that happens far too often in this society as humanely as such a thing is possible for her sake.
  5. What I thought made it a challenge to score was the absence of any action (other than the flying iguana....). I think the composer wrote a fine score for something, but maybe not so much for this particular film. I've seen the promos where Mr. Rabby is discussing his entry, which apparently suited the 1920's style of the film, and how, having won, he didn't feel a '20's theme moved him - he wanted to write a modern score for the film. Which he did. Question: When he won, based on a particular offering of a particular style, should he not have been required to follow through? I'm
  6. "Freaks" is coming on, so I will be quick. Wanted to get something down before I forgot, however, after having just seen the new scoring for "The Show." And what a challenge it had to be for the poor guy, Darryl Raby. There was so little other than simmering/simpering melodrama to attempt to create an atmospheric melodic thread through, it had me wondering: What if you went towards the comedic? Not what they're after, I suppose. But when you have iguanas flying through the air, wiping out people left and right with their deadly and almost instant deadly bite, it fit more a Three St
  7. This is a great short and certainly deserves more than a "filler" designation. If it comes on I drop everything to watch - in such a succinct and tight piece, the editing is perfect, you've got a perfect compilation of the first 100 years of movie making in the U.S. Has there ever been any talk of doing a "compilation" DVD of this and other noteworthy shorts TCM has used as fillers? There are some great little films there well worth having and not on the "hit-or-miss" basis of having TCM on and one happens to be shown. That Rocky at the Nursing Home is hysterical - and, yeah, even mo
  8. He was the stuff of legends, that which is found only in the world of the horse. Why they touch us, as they do, wringing our hearts dry of tears in the hope of a miracle because they do happen to these creatures and Barbaro had been a living miracle in this fight. For he was all that you could ever hope for in a thoroughbred - speed, endurance, intelligence and that unmeasurable quality that separates the great from the merely good, that giant heart. He fought to live with the same courage he fought to win and it was his people who turned him from the gate and to the pasture, to a peace
  9. Thank you so much for that comprehensive list of old-time radio show availability. I'm an old-time television kid, myself, and missed out on the creative challenge radio programs required. We sort of had everything spoon-fed to us, didn't we?
  10. So often film critics seem to purposely set out to get an angry rise out of their audience and Molly doesn't appear to have this as her mission, though she can certainly draw the occasional ire. It was a surprising admission to having not viewed "Gunga Din" prior to the "Essentials" requirement, for instance. She seems to find Osborne's interest in the personal lives of the actors and actresses humorous, wherein she tends to stick to the performances at hand. This makes her presentation a bit dry by comparison, but there's room for both - though I do like Osborne's wry touches and observ
  11. Brando's singing certainly was on par with that of Clint Eastwood in "Paint Your Wagon." Anyone who recalls that experience knows this is not exactly one of the greatest compliments an attempting-to-be-vocalist could ever receive. It's probably me, but I prefer the actor/actress's own singing to that of a voice-over, which has the capability of bringing down an entire movie. For example, there's the disgrace that happens every time Audrey Hepburn opens her mouth to sing in "My Fair Lady" and the dub tramps all over her delicate tones. Bad enough they didn't use Julie Andrews, but the
  12. Cinemalover: Where's your "Robin Hood: Men in Tights?" Cary Elwes is so proud of his ability to do the "Best English Accent" it deserves a showing. Then there's Costner's Robin Hood, which is memorable for nothing, really, but if we're doing Robin, might as well get his in there, too. I would love to see a "Silent Movie Marathon" on TCM. Any of the silents will be fine with or without musical accompaniment. I guess that's what's got many of them packed in the dusty vaults, the fact there's no musical score to accompany the drama. Most unfortunate to keep these from the world f
  13. Dumb Question: Is this Jimmy Piersall the baseball announcer (was it for the Cubs?) ? So much for my great store of baseball AND film knowledge!... I like Carrie Fisher a lot and am pleased to see her nail a stint on TCM. Of course, "Essential" is a personal opinion, and it will be explained why "Fear..." is on the list. Actually, the choices are disappointing. I would love to see them take more risks on this segment, introduce the audience to films we are more likely NOT to have seen than rehashing the same ones over and over and over. Of course, "Classic" films means there
  14. Sirk could have saved a lot of time and trouble if he skipped the mirror/fruit business and just distributed a couple of fruitcakes.... I suppose like anything else, you could find "deeper meaning" in this film. But there's nothing wrong with a melodrama being simply that - a story about some people who are all pretty miserable and we leave the theater feeling a lot better because we're not them. I will say this, these films that treat the alcoholic as a blight upon society who should simply straighten up, stop drinking and get on with it, are sad statements of the time and don't hold
  15. I'm not sure how these stars who were children when picked up and polished, tossed into that studio system, were able to survive with any sanity remaining intact. Most of them didn't, did they? Judy was probably the poster girl for "Studio Abuse" with what they put her through. She was once asked if there was anything she'd missed, growing up a star as she had. Her response: "Food!" Though I think she was hugely talented, her voice, and the way she used her instrument, did not appeal to me and it really failed quickly, as the off-screen madness of her life showed up in her throat -
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