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About Vince

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  1. > ... Joan Crawford ... "Mildred Pierce" ... and I think that in Mildred Pierce it's the daughter of Joan Crawford's character that's the femme fatale, while Joan Crawford plays the victim, whose actions are driven by the love to her daughter.
  2. for another silent: "The Cabinet of Dr. Caligari", which is perhaps a prototype for the horror movie with a twist at the end.
  3. what? no mention of City Lights (1931) yet? Regarding The New World, imho it's a beautiful film, I doubt it matters whether you know the ending/story or not; it's a movie that divides the audience however; where I saw it, some people walked out because they were bored, while others had to step out briefly towards the ending because they couldn't stop crying... --Vince ************ spoiler warning for city lights *************** The Tramp: Can you see now? A Blind Girl: Yes, I can see now.
  4. Does "available light" also apply to shots during daylight if the sun is the only light source. I guess that's what the Italian filmmaker of the 40's did. It's interesting how different people saw different aspects of films noir, and the genre wasn't officially defined and the term "film noir" wasn't widely known until classic films noir were no longer produced. It's as if you couldn't make a film noir if you knew you're making a film noir.
  5. I'll add my thanks and admiration to whoever did the March montage, and all the other "This month on TCM" promos; they've been consistently impressive since I started watching TCM. It would be great if they're archived on their web site. Unfortunately, I have no idea from where they took the clip of the masked dancers, and I'm very curious about it too. It looks like it's a late 50's or early 60's film, but I could be wrong. There's another thread about it under the "Information. Please!" forum, hopefully someone somewhere will solve this mystery.
  6. The March 2006 promo is really something; off tempo music, uninterrupted violence on inanimate objects, yet strangely addictive. and, yes, the Rocky promo is a classic.
  7. I took a look at "Film Noir: An Encyclopedic Reference to the American Style" and in the introduction there's the following paragraph; after explaining that film noir is an American style: "This is not to claim that film noir is without antecedents of any sort. To begin with, it may seem strange for a group of films indigenously American to be identified by a French term. This is simply because French critics were the first to discern particular aspects in a number of American productions initially released in France after World War II. They also noticed a thematic resemblance between thes
  8. actually they're there and complete; there's a small problem with your links; here's the correct ones. http://turnerclassicmovies.com/schedule/month/?cid=&oid=4/1/2006&timezone=PST http://turnerclassicmovies.com/schedule/month/?cid=&oid=5/1/2006&timezone=PST --Vince.
  9. 1 small bug: timezone=PST isn't passed to the next month and the month after links.
  10. "The Maltese Falcon" is usually seen as the first classic noir where all the elements of film-noir finally came together; some people may include some of the early gangster films of the 1930's like "Scarface" and "Public Enemy", but I doubt that "The Petrified Forest" would be considered as a noir, a lot of the plot elements are there but the visual style doesn't look very noirish. Another good Bette Davies film that's almost a film-noir (well, if not completely a film-noir, the definition for film-noir isn't that precise) is "The Letter". I haven't seen "The Shanghai Express" but I've see
  11. French Poetic Realism films of the 30's, like "Le Quai des brumes", "Le Jour se leve", "Pepe le Moko", "La Bete humauine", have obvious similarities with classic Film Noir (the sense of inevitability, the inability of the main characters to control their destiny and achieve their simple goal of living a happy life, an overall atmosphere of doom, gloom and darkness), and together with German Expressionism, French Poetic Realism is seen as one of the main influences of Film Noir. Anyone knows the details of the link between Poetic Realism and Film Noir? Were French films popular in the US before
  12. Vince


    of course, Walter Huston's performance makes the movie, but I liked all the three main actors; you can tell early on from certain things that Ruth Chatterton does how much Fran was ashamed of her husband and that in her mind their marriage was practically over. Anyone who read the novel/play noticed any major differences in the plots that may be attributed to the code? I wonder, did Fran have other affairs before Sam retired? If I remember correctly there were a few hints that this could have happened; I think that Fran said that Sam was incapable of jealousy, and she was always confident
  13. I guess from the date of release (1936) it's not a pre-code; any idea what this would have been like if it were a pre-code? when I see a movie like Dodsworth I feel that good filmmakers could still make excellent movies about controversial subjects even with the limitations of the code.
  14. I agree too; I also like the new "this month on TCM" promos; The one for January was edited from some Miyazaki anime, Black Narcissus, Il Conformista, some silents, etc, and I thought it was pretty well done and haunting. I think I caught the one for December only once or twice - it had a clip of Wings of Desire and was pretty good too; I'm now looking forward to catching the one for February. Any chance of seeing these on this website?
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