filmlover

It more than likely has to do with rights issues. What can be played in one country may not be allowed in another. For example, Universal may own the broadcasting rights here in the U.S. for a film, while in Canada it could be controlled by Alliance, and that would be a whole new set of contracts. Edited by: filmlover on Sep 17, 2011 2:27 PM

A friend of mine in England recently wrote me, "I always look at your TCM scheduling with envy. Our TV film scheduling is dire when it comes to old films."

This is a very interesting topic. So, when someone says, "Brother, can you spare a dime?' that would be $1.35 today,

Since you do appear to be in Canada, this is the schedule you should be following. (Notice that on the schedule drop down, there is one for Canada there.) http://www.tcm.com/schedule/canada/

Mike, what country are you in? If Canada, by any chance, their schedule can differ from that of the U.S., which did run all 4 of the Carry On films last night. EDIT: I just checked and you saw the Canadian schedule. Edited by: filmlover on Sep 17, 2011 2:12 PM

It is attractive.

But do we need multiple threads on the same subject from the same poster?

Thanks for the kind words. Yes, Hickson (correct spelling) was wonderful in Constable.

Cobolt, How many threads are you going to start about Hot Spell? You have had several under this name and more under a previous screenname. Enough.

Friday, Sept. 15, 1939

How pathetic a person would be saying to his family and friends Did you see me in the movie, I'm there in the back holding a broom. I'll freeze frame it and zoom in. Uh...ummm...

Thurs., Sept. 14th, 1939

Wed., Sept. 13th, 1939 GAD!!! I was so bust writing today's post for the Rule, Britannia thread that this almost slipped my mind. It may be Sept. 14th on the East Coast right now, but it is still the 13th here in L.A, so I am still in time. Sorry about the condition of the left side of the following but that is the way it was,

Well, yes, I suppose I should have been studio-specific, but I thought by referring to the U.S. production of Gaslight, as opposed to the British version, that people would instictively know I was talking about the studio, not the country.

Tying into the Blu-ray release tomorrow. Quite a few pictures I have never seen before. http://www.blu-ray.com/news/?id=7303

Fred...are you sure you meant to list Gone With the Wind? Certainly it would qualify for one of your "30 minutes and nothing has happened yet" threads. War doesn't even break out until after time spent at Tara and at Ashley's party.

+ 1

Tuesday, Sept. 12th, 1939

I've come to believe that the best blogging requires -- good bloggers! A good blogger in my book is one who approaches it with the attitude of sharing, not ranting! (Either one wants to give to others, or one wants to dump on them!) Sharing historic materials and research that can enhance the readers knowledge of vintage films represents a great purpose and endeavor. I've enjoyed the contributions of many here and have been enriched by their knowledge! ThelmaTodd, thank you very much for your nice words. One can only do what one can, and hope others like it. Thanks again. p.s. -- The one I am doing for today won't be up until very late tonight.

Hi, Rey, My last word (I hope) on the subject, in reply to your post, I am not so sure that the original poster didn't intend it to take a political turn, being as he/she focused specifically on the last three years. Now we return to our regularly scheduled movie. "Hey, Marty, been following that "Rule, Britannia" thread?" "Yeah, Angie, as good as his 1939 thread." "Boy, that filmlover sure can write."

Here you go, Fred, a film made just for you. "All The Young Men" is on right now and you have cannons going off in the first seconds.

The British Cinema: 1946-1950 It was the best of times, it was the worst of times. Movie attendance by the end of the war in 1945 had reached an all-time high of 30 million per week on average. 1946 outdid that, averaging nearly 31.5 million per week. But that was not indicative of what was to come. Yet come the change did, and quickly. There was an attempt to keep British content dominant in theaters, continuing to restrict American films from overpowering that of Great Britain (America had a lot of films they wanted to get into this lucrative marketplace). And many film producers were nervous by the constant acquirement of studios by a fellow countryman named J. Arthur Rank, whom we will discuss in greaterv detail in a few days. Plus they were now facing a problem film producers in the United States were having to deal with...television. The government also needed money for their depleted reserves after the war. They saw that American films playing in the UK in 1947 earned approximately £18 million. And Britain wanted a share of that. American film producers offered a compromise of keeping a portion of the money earned in England there for future productions. Instead, Great Britain made a very big mistake. They introduced a tax on all American films that amounted to 75% of earnings...and not of what theatres actually took in but what the government guessed ahead of time a film was likely to make before it opened! American producers fought back immediately, announcing that no new films would be sent to Great Britain. England was cut off. One of the producers hardest hit was Rank, who also owned a chain of theaters in addition to his film studios, for he now not only would be without new films to fill up his many picture houses, he was now cut off from showing his films in America. The government called upon him to increase film production output in the UK to make up the lost fims from America, but the government wasn't paying for it. Rank organized a merger between several companies and put into work a plan to greatly increase the number of films. However, Rank and other producers knew there wasn't enough income from just UK audiences to survive, and America was greatly limiting their films from playing in the States. So, in 1948, a deal was signed by the UK's Harold Wilson, President of the Board of Trade, and Eric Johnston, representing the Motion Pictures Association of America. The tax was repealed. America immediately started shipping over all of their product to UK distributors that they could, much more than England's film producers had thought. The increase in home production by Rank and other producers would now have to compete with a greatly-increased flow of American films. In addition, England film producers were getting taxed enormously by their own government through the "Entertainments Tax." From box-office receipts of £70 million (net), after taxes the producers got £7.5 million. But their production costs had been £14 million. Could things get worse? Yes, people were not going to the movies as much as before. 1946 had been great but since then attendance had fallen off 200 million tickets per year. A number of studios closed. Will there always be an England? More about these events soon, but at the beginning of this post I quoted Charles Dickens in saying it was the best of times and the worst of times. Certainly, you have seen how for film producers it was the worst of times...but now look at the fifteen films below that they made during this five-year period, pictures of a quality to equal our own great 1939 period.

Mon., Sept. 11th, 1939

As one poster on this board wisely made mention to me, we should steer clear of politics here on this message board. Edited by: filmlover on Sep 11, 2011 6:17 PM

*Sir Michael Redgrave* I just came across an excellent article about Sir Michael Redgrave right here on TCM as part of tonight's Redgrave festival. http://www.tcm.com/this-month/article/430519%7C430611/Michael-Redgrave-Profile.html So instead of putting in my profile of Redgrave, I will devote more space in this post to pictures and posters from his films. 2 photos from The Lady Vanishes Mourning Becomes Electra The Browning Version The Importance of Being Earnest Mr. Arkadin The Quiet American