FredCDobbs
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Posts posted by FredCDobbs
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Nice job! It's your thread again.
I can't think of any that aren't either too difficult or too easy. Why don't you do some more?
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This is a great print.
I don't recall ever seeing it on TCM before.
Is a new film for TCM??
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The obvious reason some French people love some Jerry Lewis films is because they remind them of the style of some Jacques Tati films.
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, who talks about Arabesque in either Gregory Peck's, or Sophia Loren's filmographies? .
Boring.
Tries to imitate early James Bond films.
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Let's face it, Ayres was never going to be mistaken for John Wayne. Ever.
TCM is airing a whole morning of Lew Ayres films today.
What do people think about it?
He's kinda "wimpy" as a film "hero", but I like him ok. I think he served in a medical corps during the war. I think he was probably influenced by ALL QUIET ON THE WESTERN FRONT, which he was in. The problem with wars is that you don't get to shoot the guys who really need shooting, which are the guys at the top who start the wars. They are so protected and insulated, nobody can get to them.
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Gloria Swanson as Norma Desmond, in SUNSET BOULEVARD. One of the best performances of the 20th Century.
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I'd have to take another look at the film to make an assessment of that statement.
De Carlo is certainly the most ambiguous character in the film, and that ambiguity keeps the audience guessing about her.
In the film's final's scene, as she is about to run out on Lancaster, there are indications of a few pangs of guilt in her performance. If she loves him, it's not as great as her fear for her life. Lancaster is so smitten with her that he is pretty well ready to die with her. She feels no such "foolish" romantic notions about him.
Actually, both Lancaster and De Carlo do flip-flops about their feelings toward one another. I think this is a synthetic plot ploy to try to make the movie seem "interesting", but to me it makes the plot seem unrealistic.
And didn't Lancaster offer to pay the gunman to take him to her hiding place? If it was her hiding place, how would the gunman know where it was? And if the gunman was more trustworthy than her, why wasn't he hiding in that little house with all the money, instead of her?
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Yvonne de Carlo's character here truly does keep us guessing. She's harder to read even than "Out of the Past" 's Cathy, who, once you see her true colours, at least sticks to them. (more or less.)
To me, her flip-flops seemed artificial, the work of a screen writer trying to make the plot more complex. She doesn't seem realistic.
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And how did the crook at the end know where she was hiding out? Why wasn't she guarded by a member of the gang.
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I just can't decide about this film.
I always get drawn into it, and I always think it reminds me of THE KILLERS.
And then I notice that many parts of the film don't make much sense and aren't realistic, and I get all mixed up trying to figure out what is a flashback and what is a current event.
If Burt came back home for the girl, and if she greets him saying she loves him and wants to be with him again, then why don't they just go off together and be together? Why go through all that gangster stuff and all that turnon/turnoff/turnon/turnoff bickering? Just take the dame and Burt in the first 10 minutes of the film and have them leave town together?
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Characters who were sentenced to Devil's Island
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Ok.
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More, More! Please!
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This one is easy.
What were most of the main actors sent to and what did they escape from?
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I bought a device from radio shack that switches back and forth with a remote just for that reason.
My Directv tuner has an "antenna" input for my outdoor antenna, and I can switch to it by turning off my tuner. Then the signal going to my TV is from my antenna and I change local channels with my TV's remote control.
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Ok, thanks.
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There are bars in both photos. Will that help any??
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THE ASPHALT JUNGLE and EACH DAWN I DIE = ??
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about the library-- does it exist, does it not exist-- almost plays like an Oliver Stone conspiracy theory. Obviously, they have access to a bunch of films.
I think it is probably somewhat complicated. The way big companies are today, there are several companies with "Time" "Warner" and "Turner" in their names.
If I understand it correctly, there is a film (now video) library in Atlanta.... i.e. a room filled with films that are in the right electronic format and ready to grab and show. You walk down the hallway, open a door, and there is the TURNER FILM LIBRARY. Although Turner might have to pay a "rental" fee to some other branch of the "Time" or "Warner" or "Turner" conglomerate group of sister/brother companies.
And also, I'll bet that TCM has -- on file -- copies of films owned by other companies that they can store in their library but that are owned by those other companies, yet tied to TCM by contracts that let TCM decide if and when they want or need to show the films, such as when some famous actor dies.
There was a Turner lawyer who was on the air as a guest programmer a few years ago, and he said he was actually employed by Time-Warner (or one of the other TCM-related companies), but as such, he was able to also be a lawyer for TCM. Doh?
And also, some on-air people at TCM might call ALL the films they have, rent, use, buy, borrow, etc as an overall "vast" film library "cloud", with the physical location of the films being some in Atlanta, some in New York, some in Hollywood, and some in a Salt Mine storage facility in Kansas.
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A few years ago one of the librarians of the local Atlanta TCM film library was a guest programmer, and he said that the reason they can so quickly put together a "salute" to a star who recently died is because they can use films they have in Atlanta in their own TCM film library. They might have to pay for their use, but there is an Atlanta TCM film library, plus all the other sources outside of Atlanta, such as other film libraries and distributors that TCM obtains films from.
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Yes, there are, isn't it amazing?!
Yes it is! Several of these are NEW films to me. I've never seen them before. I love Bonita Granville movies!
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Hmm....
BILLY THE KID and THE ADVENTURES OF SIR GALAHAD
They both have a peeved and irritated expression on their faces.
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Hey, there are actually some old classic movies on TCM this morning!
DID JERRY LEWIS PAY OFF FRENCH FILM CRITICS TO LIKE HIS DUMB FILMS?
in General Discussions
Posted
I mentioned Jacques Tati because Jerry Lewis' THE BELLBOY reminds me a lot of Tati's style, since both Tati and Jerry do a lot of mime and silent sequences containing only sight-gags. It's as if they are making old-fashioned silent films. I saw THE BELLBOY in the theater years ago and when I saw my first Tati film on TCM a few years ago, I immediately recognized the similarity in styles.
I don't like any of Jerry's films in which he is a loud-mouth goofball. Any fool can do that kind of stuff.