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If you were a guest on TCM name the ONE movie you'd show your audience...


JeanneCrain
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For me, it's LOCK, STOCK and TWO SMOKING BARRELS 1998 - - a well done comedy from beginning to end that leaves you "hanging"

 

And I don't believe TCM has ever aired this, dare I say "classic"

 

 

The EXORCIST would present an awkward follow-up discussion for me   :huh:

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I couldn't just pick one. Since most guest programmers get four selections, I would pick four. They would be four that I feel I could say a lot about, exploring the various meanings (propaganda?) in each:

 

1. VICTIM (1961)...LGBT concerns

 

2. SWING SHIFT MAISIE (1943)...feminist concerns

 

3. FOOLS' PARADE (1971)...working class concerns

 

4. THE MIRACLE OF THE BELLS (1948)...religious concerns and superstition

 

And if one of these was not available, I would pick

 

A LION IS IN THE STREETS (1953)...to examine a single performance (in this case, Cagney's over-the-top impersonation of Louisiana governor Huey Long).

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If I could only pick 1 movie it would be this one:

 

    P.J. (1968) Starring George Peppard, Gayle Hunnicutt, Raymond Burr.

 

Since TCM has aired other '60s 'Private-Eye' flicks like HARPER (1966) and MARLOWE (1969) in the recent past then I, as the 'Guest Programmer' would mosey on over to Universal myself if need be and raise Holy Hell until they funneled me the original theatrical version of "P.J." for an airing.  I don't know what good letting the movie sit around and rot in their vaults is doing Universal, but I'd dig that mutha out myself if I had to.  > Having seen the Tv version prepared by Universal (with all its edits and scenes out of order), I want to see the REAL movie now.  Universal had a habit  of preparing 'alternate' (read:  watered down) versions of certain among their theatrical releases for television in the late 1960s, including P.J., EYE OF THE CAT, THREE INTO TWO WON'T GO and SECRET CEREMONY among others. 

 

     If I could select four movies like most 'Guest Programmers' do then I'd pick these 3 to go along with "P.J.":

 

     MAGDALENA, vom Teufel besessen (1974-W. German) (aka:  "Magdalena, Possessed by the Devil"; "The Devil's Female").  Directed by Walter Boos.  Starring Dagmar Hedrich, Werner Bruhns, Michael Hinz.  ► I like this el sleazo EXORCIST rip-off and want others to see it, too.  Funniest line involves where the demonized Magdalena wants her local priest to put the Communion wafer.

 

     RING OF DARKNESS (1977-Italian)  Has an all-star cast in small parts.  Lots of tacky fun and some really COOL music by Stelvio Cipriani.  There's an opening dance sequence that I really enjoy watching and the 'Moral Of The Story' is:  Think twice before bargaining with Old Scratch!

 

     GAS (1981-Canadian)  I ♥ this movie, although no one else I know does.  However, since I'm MR. GUEST PROGRAMMER it WILL be aired.  It's about a phony gas shortage in your 'average' American city (despite the fact it was filmed in Canada).  This movie has lots of noisy car chases and wrecks everywhere.  Full of stereotyped characters, too.  DIG IT.    

 

     Any other guest programmer can offer you good movies that deserve to be seen, but that would not be my aim.  Besides "P.J.", my goal is to offend and appall (if I can) with my other choices.  I like those last 3 movies quite a bit despite their base-ness so I wanna share!   

 

     I suppose it's highly unlikely I'd ever be a guest programmer even if I was a famous entertainment personality. 

 

    

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I'd do a Nineties Neo Noir night picking four out of these:

 

Romeo Is Bleeding (1993) a Leone-esque New York based Noir. The narrated flashback revolves around the decent of NYPD Sergeant Jack "Romeo" Gramaldi into Noirsville

 

True Romance (1993) a noir love story, a rare female voice over (Raw Deal) relates the Tarantino penned screenplay in the vein of somewhere between They live By Night and Gun Crazy

 

The Last Seduction (1994) a willowy NYC con artist/femme fatale  Bridget Gregory outmaneuvers everyone to a jazzy score.  

 

Mulholland Falls (1996) An LA/Desert/Western "B" style Neo Noir. The Wild West circa 1950s

 
Hit Me (1996) a slightly shady Tacoma hotel bellhop is connived by French Canadian femme fatale into Noirsville 
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A number of people are counting beyond ONE.

If given just one film I think I might choose THE SOCIAL NETWORK.  Mainly for its labyrinth like multi themed Shakespearian script that is as reflective of our times as Citizen Kane was in 1941.

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I like the idea of showing The Last Seduction.  It's "noirish" and really good - well acted and well directed and I don't think it's been on TV in several years.  If allowed a second choice, I might go with early Dave Cronenberg:  They Came From Within (aka Shivers) which totally blew me away the first time a saw it and I don't think it's ever been on TV.  I would also consider Let Me In, the American version of Let the Right One In and a superior recent horror flick.

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ChristineHoard:  There have been 2 versions of 'SHIVERS' / 'THEY CAME FROM WITHIN' released on video.  I don't know if the movie was ever shown on American television in an edited form, but it seems there was a 77-minute version prepared for Canadian television.  (The theatrical run time was 87 minutes, btw).   

 

      I bought a Vestron Video under the "THEY CAME FROM WITHIN" title many moons ago and watched it several times.  It's the 87-minute theatrical version. ►  I think the movie was re-released on video in the U.S. by Anchor Bay in the late 1990s under the 'SHIVERS' title, but I don't know what version that was as I didn't buy it.  I saw it for sale, however, in the video store I used to frequent at that time.

 

     Several years after I snagged the Vestron Video I ran across a Canadian VHS release on Astral Video under the 'SHIVERS' title -- I reckon that's the original title of the movie.  Found it on Amazon, no less.  I watched it.  To my surprise, Astral had released a shortened edition; it was the 77-minute Tv version they put out.  I don't know if that was a mistake, but that's what they did.  Astral's "master" was definitely a straight transfer of the Tv print.  There's no longer any toplessness, Lynn Lowery's "Everything Is Sexual" speech in shortened, the gore is minimized (Paul Hampton shoots Alan Magicovsky only 1 time in the Tv version as opposed to 3 times in theatrical release, for instance, and the murder of the girl Annabelle Brown is seriously shortened).  I did not detect any cutting-room floor footage added to the Tv version to pad out the running time at all.  There were just  c/u/t/s  to make the movie more palatable for Tv.  Given the 77-minute run time I'm guessing that would have fit one of those 90-minute time slots that don't seem to exist in modern television. 

 

     So that's my 'SHIVERS'/'THEY CAME FROM WITHIN' homevideo story.  I still have both the Vestron and Astral tapes upstairs.   

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I haven't a clue as to most of the movies above, but mine would always be Casablanca.  Superb beyond superlatives with an introduction about the supporting characters which I read about in a neat book titled Strangers in Paradise.  When I read the captivating book on the making of Casablanca by Aljean Harmetz.

 

Strangers in Paradise offered a perspective to the moves that I had not had before and now I always scan the "with" list following the main actors to peruse who is either a long term character actor or one of the "Strangers in Paradise".

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I would request the best documentary ever made, TRIUMPH OF THE WILL, and I would also like to have half an hour to explain to Mr. Osborne why the film is so important and what brilliant filming innovations Leni Riefenstahl invented, such as using cameras mounted high on ladders on Nuremberg fire trucks to obtain high dolly shots of the big parade, with the fire trucks moving inside and along with the parade itself. 1934 American documentaries didn’t contain such creative shots. These scenes are similar to the high crane shot in GONE WITH THE WIND in 1939 when Scarlett is walking across the railroad tracks at the hospital.

 

Leni also managed to conceal all of her 26 or so cameras and cameramen at the Nuremberg Rally, while American newsreels often showed cameras on tripods and cameramen cluttering up the scene and distracting the audience. Where did Leni hide all those cameras and men?

 

And hey, what about her elevator that rose and fell by one of the tall Nazi banners at the Nuremberg Rally?

 

1934%20Leni%20Riefenstahl%20operates%20a

 

1934%20Leni%20Riefenstahl%20operates%20a

 

triumph%20des%20willens%2002_cropped.jpe

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I would request the best documentary ever made, TRIUMPH OF THE WILL, and I would also like to have half an hour to explain to Mr. Osborne why the film is so important and what brilliant filming innovations Leni Riefenstahl invented, such as using cameras mounted high on ladders on Nuremberg fire trucks to obtain high dolly shots of the big parade, with the fire trucks moving inside and along with the parade itself. 1934 American documentaries didn’t contain such creative shots. These scenes are similar to the high crane shot in GONE WITH THE WIND in 1939 when Scarlett is walking across the railroad tracks at the hospital.

 

Leni also managed to conceal all of her 26 or so cameras and cameramen at the Nuremberg Rally, while American newsreels often showed cameras on tripods and cameramen cluttering up the scene and distracting the audience. Where did Leni hide all those cameras and men?

 

And hey, what about her elevator that rose and fell by one of the tall Nazi banners at the Nuremberg Rally?

 

1934%20Leni%20Riefenstahl%20operates%20a

 

1934%20Leni%20Riefenstahl%20operates%20a

 

triumph%20des%20willens%2002_cropped.jpe

Yes, I agree it is the best documentary ever made.  Amazing to behold.  Leni R. was a genius making it.  Too bad it was about such an evil philosophy and evil political party but the true nature of Hitler and his minions had yet to be discovered explicitly by an entire world.

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I haven't a clue as to most of the movies above, but mine would always be Casablanca.  Superb beyond superlatives with an introduction about the supporting characters which I read about in a neat book titled Strangers in Paradise.  When I read the captivating book on the making of Casablanca by Aljean Harmetz.

 

Strangers in Paradise offered a perspective to the moves that I had not had before and now I always scan the "with" list following the main actors to peruse who is either a long term character actor or one of the "Strangers in Paradise".

 

Casablanca is the one movie that I would show also. For no reason other than it being my favorite movie.

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Yes, I agree it is the best documentary ever made.  Amazing to behold.  Leni R. was a genius making it.  Too bad it was about such an evil philosophy and evil political party but the true nature of Hitler and his minions had yet to be discovered explicitly by an entire world.

 

 

In the late 1980s I just happened to see a rare interview with her on NBC’s TODAY show. Jane Pauley was rude to her and kept wanting to talk only about Hitler and the Nazis, and Leni got mad because she wanted to talk about her documentary, which was made in 1934, long before anyone knew much about Hitler and the Nazis.

 

She said the film had been actively suppressed and blacklisted in this country and she was trying to find an American distributor for it.

 

When asked why she made a film about the Nazis, she said she had been born and raised in Germany and made a film about a political rally in her country. She said she would have done the same thing if she had been born and raised in the United States, China, Russia, England, or any other country. She said that in 1934 she didn’t know what the Nazis would become by 1939.

 

Also, remember, that the US, France, England, and many other countries sent athletes to the 1936 Berlin Olympics just as if it were an ordinary Olympics in an ordinary city.

 

 

Here is Marlene Dietrich, Anna May Wong, and Leni, at a party in 1928:

 

Image2384b.jpg

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Angel and the Badman

 

I am enamoured of Gail Russell, and the film as a whole. I view this as a transformation of Quirt Evans specifically, and others around him - mainly Frederick Carson, the grumpy rancher/neighbor with the boil on his neck.

 

I know a lot of people believe Wayne can't act - never could. Whether he's acting here or not, I see what I believe to be genuine felling and emotion in his interpretation of his character, especially as he relates to Ms. Penelope Worth.

 

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When asked why she made a film about the Nazis, she said she had been born and raised in Germany and made a film about a political rally in her country. She said she would have done the same thing if she had been born and raised in the United States, China, Russia, England, or any other country. She said that in 1934 she didn’t know what the Nazis would become by 1939.

Sorry but I don't buy that. Most filmmakers, especially ones of her intelligence, know the power of film media and the meanings that images can convey. She used her skill, her art and the materials available to her to make a film about a political party that even by 1934 was considered extremist.

 

Sounds like Pauley didn't believe her and wanted to press Leni to admit she was wrong. She should have owned up and admitted she made a mistake, a terrible error in judgment, then went on to discuss and play up her technical achievements. If she never denounced the Nazis, then in her heart she may have still been a Nazi when Pauley interviewed her.

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Sorry but I don't buy that.

 

I do. The 30's were hard, hard times and Germany was undergoing some of the hardest anywhere. Neither filmmakers nor anyone else in the general populace had a crystal ball working for them, and they clutched hope where they could find it.

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