- Sutherland, Horne and Alexander, Bonynge - Squilla il bronzo del Dio! ... Guerra, guerra!
- Claude Lombard - Les Choeurs d'enfants - J'ai Du Bon Tabac
- David Bowie - A Better Future
- Junior Senior - Shake Your Coconuts
- The Clash - The Card Cheat
- Allen Ginsberg - Do the Meditation Rock
- B52's - Rock Lobster
- Wham! - Bad Boys
- David Bowie - Golden Years
- Aloha - All the Wars
9.09.2005
Top Ten
Here is my first attempt at the random top list.
7.22.2005
Grand Theft Auto
I am really mixed over this.
On the one hand I agree that this is not the kind of thing you want in a video game that kids are buying, but, as has been pointed out, much worse is available to them much more easily.
I had something more substantial to say about this recently, but can't remember now.
On the one hand I agree that this is not the kind of thing you want in a video game that kids are buying, but, as has been pointed out, much worse is available to them much more easily.
I had something more substantial to say about this recently, but can't remember now.
7.17.2005
Madagascar and Nemo
Having seen Madagascar yesterday with my son, I was struck by a few things throughout the film, especially in regards to its relationship with Finding Nemo, the films immediate predecessor. So, here are some notes about the two.
First, Madagascar is an inferior film. Nemo had a much more engaging story, more original characters, and, as a result of its setting, felt fresher - jungle animal films are somewhat played out. Another way that its inferiority was marked for me was through the targeted audience of the film. I remember having numerous discussions regarding Nemo with colleagues and students. One of the things that kept coming up was how Nemo was able to engage adult and child audiences. Madagascar and many other films try to do this as well, but fail in that they approach the audiences in a radically different way. Nemo engaged both audiences through the story. It is about both a child and an adult dealing with loss and tragedy; a compelling story in the immediate post 9/11 world. The trials of both bring in the audiences and give them a character to attach to.
Madagascar, however, seeks to engage audiences through dialogue and reference. While the story is ostensibly directed at children, it is about zoo animals and has dancing, singing, and a share of "foul" language, the dialogue and cinematics go for the adults. I was struck by this early in the film when the lion character describes the penguins as "psychotic." The language felt too old for the audience - use crazy and kids will get it, use psychotic and many lose the moment. Beyond this minor moment though, the film was littered with references to other films that children really will not get. A reference to The Planet of the Apes was the most obvious but also the one that fell, to my mind, the most flat as they had to "clean it up" for kids. This marks the feeling I had throughout the film of the filmakers wanting to make references and jokes, but at the expense of what else was happening in the film.
The more interesting comparison for me between the two films, though, is the question of eating other animals. The brief moments in Nemo with Bruce are wonderful for their playfulness in remaking the top predator of the undersea world into a recovering addict. It fits well with the overall theme of the film and the other characters who are working to overcome flaws like a little fin or deepseated fears.
Madagascar does something similar with Alex the lion. He has been raised in the zoo eating steaks, and when they find themselves in Madagascar he has to deal with his role as a top predator and desire to eat his best friend Marty the zebra. In this film, though, this becomes a much bigger issue taking up much of the last part of the film. Somehow, Alex overcomes his desires and rescues his friends; then he is seen to become a sushi loving lion. For Alex, fish are food.
This character trait throws into relief some things about Bruce that are left unanswered and bring up some larger questions. At the end of Nemo, Bruce is friends with Nemo and his father, but it is not clear what he will now eat. What does he put in place of fish for his food?
More interestingly, though, the two bring up the issue of how the films are refiguring this position of the top predator into one that is unthreatening or at least more palatable. It is at once a recognition of the dangerousness that lurks behind these characters and their need to be recuperated for children to enjoy. (I am reminded of watching an animal show about lions recently with my son and how he was shocked to see a group of lions take down and eat, quite graphically, a baby elephant. It didn't traumatize him, but it certainly changed his understanding of lions.)
Some on the web, I will not link, have complained that this is an example of some sort of pollyannaishness - making predators into nice animals. But I think that is too simple as we have long done that without recognizing the things that predators do - especially for lions. I wonder, though, what more is going on here. Again, Nemo seems to make the questions more interesting as there are more obvious issues of gender running though there, but Madagascar makes that as well. Overlaid on that in Madagascar is also the question of race. Alex is white while Marty is black. I would want to think more about this, but I wonder if both films are working with reconfiguring dominant masculinity is a way that makes it less threatening to others, but without really taking way the threat.
First, Madagascar is an inferior film. Nemo had a much more engaging story, more original characters, and, as a result of its setting, felt fresher - jungle animal films are somewhat played out. Another way that its inferiority was marked for me was through the targeted audience of the film. I remember having numerous discussions regarding Nemo with colleagues and students. One of the things that kept coming up was how Nemo was able to engage adult and child audiences. Madagascar and many other films try to do this as well, but fail in that they approach the audiences in a radically different way. Nemo engaged both audiences through the story. It is about both a child and an adult dealing with loss and tragedy; a compelling story in the immediate post 9/11 world. The trials of both bring in the audiences and give them a character to attach to.
Madagascar, however, seeks to engage audiences through dialogue and reference. While the story is ostensibly directed at children, it is about zoo animals and has dancing, singing, and a share of "foul" language, the dialogue and cinematics go for the adults. I was struck by this early in the film when the lion character describes the penguins as "psychotic." The language felt too old for the audience - use crazy and kids will get it, use psychotic and many lose the moment. Beyond this minor moment though, the film was littered with references to other films that children really will not get. A reference to The Planet of the Apes was the most obvious but also the one that fell, to my mind, the most flat as they had to "clean it up" for kids. This marks the feeling I had throughout the film of the filmakers wanting to make references and jokes, but at the expense of what else was happening in the film.
The more interesting comparison for me between the two films, though, is the question of eating other animals. The brief moments in Nemo with Bruce are wonderful for their playfulness in remaking the top predator of the undersea world into a recovering addict. It fits well with the overall theme of the film and the other characters who are working to overcome flaws like a little fin or deepseated fears.
Madagascar does something similar with Alex the lion. He has been raised in the zoo eating steaks, and when they find themselves in Madagascar he has to deal with his role as a top predator and desire to eat his best friend Marty the zebra. In this film, though, this becomes a much bigger issue taking up much of the last part of the film. Somehow, Alex overcomes his desires and rescues his friends; then he is seen to become a sushi loving lion. For Alex, fish are food.
This character trait throws into relief some things about Bruce that are left unanswered and bring up some larger questions. At the end of Nemo, Bruce is friends with Nemo and his father, but it is not clear what he will now eat. What does he put in place of fish for his food?
More interestingly, though, the two bring up the issue of how the films are refiguring this position of the top predator into one that is unthreatening or at least more palatable. It is at once a recognition of the dangerousness that lurks behind these characters and their need to be recuperated for children to enjoy. (I am reminded of watching an animal show about lions recently with my son and how he was shocked to see a group of lions take down and eat, quite graphically, a baby elephant. It didn't traumatize him, but it certainly changed his understanding of lions.)
Some on the web, I will not link, have complained that this is an example of some sort of pollyannaishness - making predators into nice animals. But I think that is too simple as we have long done that without recognizing the things that predators do - especially for lions. I wonder, though, what more is going on here. Again, Nemo seems to make the questions more interesting as there are more obvious issues of gender running though there, but Madagascar makes that as well. Overlaid on that in Madagascar is also the question of race. Alex is white while Marty is black. I would want to think more about this, but I wonder if both films are working with reconfiguring dominant masculinity is a way that makes it less threatening to others, but without really taking way the threat.
7.14.2005
Where I've Lived (Part III)
After living in Tulsa for a time, we moved to Lubbock which, from this picture, is surprisingly brown.
This is the city I have my first real memories from - our red car, some friends, being sick with the chicken pox, playing with Evel Knievel toys and, finally, my first Big Wheel.
We were only there for about a year or so if I remember correctly.
This is the city I have my first real memories from - our red car, some friends, being sick with the chicken pox, playing with Evel Knievel toys and, finally, my first Big Wheel.
We were only there for about a year or so if I remember correctly.
6.28.2005
Liking Drew Again
If this is in fact accurate, then it is all the more reason to love Drew Barrymore again. I lost a geat deal of respect for her after the Charlies Angels films and surroundign publicity. It's good to she she does take her celebrity status seriously.
Back
Finally checking back in after a long absence. I hope to get back to regular posting some time soon.
6.27.2005
Where I've Lived (Part II)
This is another example of somewhere I lived but do not remember. After being born, my family briefly lived in Tulsa, OK. My father is from here and we had, and still have, family in the area.
I am be wrong on the timetable here, but I think this was where we moved first after I was born.
To Friend
Today I had to take Friend to the vet and have her put to sleep. She was diagnosed with diabetes and a hyperthyroid and had lost half of her body weight in the past four months despite eating five times as much food.
She was with me for 13 years, keeping me company through much.
A beautiful cat, a more beautiful companion.
5.20.2005
Where I've Lived
I have liked Google maps since I first saw them, and so thought I would start an occasional series of posts on places I've lived.
Let me begin with where I was born: San Antonio, TX. I don't know more specifics than this, I need to find my birth certificate to get the name of the hospital.
Let me begin with where I was born: San Antonio, TX. I don't know more specifics than this, I need to find my birth certificate to get the name of the hospital.
5.16.2005
Valley Forge
Being a beautiful day, we took a quick trip to Valley Forge this morning and saw some deer and some of the cabins, we then took a walk along the stream. It was a great morning.
TCM for the week
Haven't done this in a while, but thought I would get back to recommending things from TCM for the week.
Monday would be Henry Fonda's 100th birthday, and so TCM is celebrating with a 12 movie salute. I don't have to remind you which one is my favorite, with Jezebel (1938) running a close second.
Tuesday morning sees some Maureen O'Sullivan films from the 1930s for her birthday. Not familiar with many of them apart from Tarzan: I will try and see Hide-Out (1934) with Robert Montgomery, directed by W. S. VanDyke. I love Montgomery and VanDyke is one of the more interesting directors of the period. In the evening is Howard Hawks' Tiger Shark (1932) which I have not seen but could be good.
I'll check in on the rest of the week later.
Monday would be Henry Fonda's 100th birthday, and so TCM is celebrating with a 12 movie salute. I don't have to remind you which one is my favorite, with Jezebel (1938) running a close second.
Tuesday morning sees some Maureen O'Sullivan films from the 1930s for her birthday. Not familiar with many of them apart from Tarzan: I will try and see Hide-Out (1934) with Robert Montgomery, directed by W. S. VanDyke. I love Montgomery and VanDyke is one of the more interesting directors of the period. In the evening is Howard Hawks' Tiger Shark (1932) which I have not seen but could be good.
I'll check in on the rest of the week later.
5.13.2005
Written on the Wind
As noted last weekend, I went to see Sirk's Written on the Wind at The Colonial Theater last Sunday. Overall a wonderful experience.
This was my first visit to The Colonial and, though the interior is a bit run-down, it does still hold the charm that is missing from most modern megaplex cinemas. I like the openness of the theater and the decorations that go into these kinds of buildings. Being in the middle of a city makes it so much more attractive as well - there is nothing like coming out of a good film in the middle of the day onto a busy street with pedestrian and vehicle traffic - as opposed to a gigantic parking lot.
As for the film itself, as you can tell from the title of my blog, I must have enjoyed it. I had never seen the film on this size screen - only on TV and in projection in classrooms. The print, while not as good as the Criterion DVD enhanced print, was quite good with no noticeable splices or even scratches and the color, though not "popping," was sharp.
Here, then, are a few things about the film that caught my eye this time around.
This was my first visit to The Colonial and, though the interior is a bit run-down, it does still hold the charm that is missing from most modern megaplex cinemas. I like the openness of the theater and the decorations that go into these kinds of buildings. Being in the middle of a city makes it so much more attractive as well - there is nothing like coming out of a good film in the middle of the day onto a busy street with pedestrian and vehicle traffic - as opposed to a gigantic parking lot.
As for the film itself, as you can tell from the title of my blog, I must have enjoyed it. I had never seen the film on this size screen - only on TV and in projection in classrooms. The print, while not as good as the Criterion DVD enhanced print, was quite good with no noticeable splices or even scratches and the color, though not "popping," was sharp.
Here, then, are a few things about the film that caught my eye this time around.
- The credits - I had noticed them before and I think someone has written about them (need to look that up), but on the big screen the juxtaposition of the actor names with the characters was clearly inspired. So much is told about the characters through those brief moments - Kyle with the bottle, Mitch at the window, Lucy helpless in bed, and Mary Lee in the dark at the window. Great melodrama.
- The moment that has been growing on me in my last few screenings of the film and came out again this time is when Kyle learns from the Doctor in the soda shop that he has a "weakness." As he walks out, the kid riding the electric horse is wonderful Freudian camp. The look on Kyle's face is stupendous.
- Seeing the film on the large screen really heightened Mary Lee's "dance of death" and her father's fall down the stairs. I am always astounded by the camera work in that shot and on the big screen it looks even better.
- I felt that Mary Lee's "Down by the river" scene played better on the large screen. On TV or in a small screening room, it plays more like TV soap opera and thus a little more campy. On the large screen, the emoting of her face is more visible and the scene itself feels more cinematic - it shakes some of the conventions of the TV soap. Still over-the-top, but not quite as much so.
- Rock Hudson looks so much better on the big screen - helps me to see even more clearly why he was such a big star. The square jaw and good looks are much more impressionable in this format. Heck, they all looked better. That is really one thing that I think gets lost with older films now. The actors were chosen for how they looked, acted, and generally came across on the large screen - we see them now primarily on TV and wonder what the fuss is about.
Scrabble Points
Pholph's Scrabble Generator
My Scrabble© Score is: 28.
What is your score? Get it here.
5.07.2005
Coming Up
Tomorrow at 2pm, The Colonial Theatre in Phoenixville will be screening Douglas Sirk's Written on the Wind (1956). This is one of my all-time favorites films (certainly in my top 5) and one that first got me interested in studying film. It stars Rock Hudson, Lauren Bacall, Robert Stack, and Dorothy Malone and is a tour de force of high 50s melodrama. If you like day or nighttime soaps or enjoy camp entertainment, then this is the film for you. It's got an impotent alcoholic, two friends in love with the same woman, guns under pillows, a crazed nymphomaniac (that phrase is going to bring lots of disappointed people to this site), and phallic symbols galore. All that is presented in lush technicolor which (if it is a good print) will knock your socks off.
Beyond tomorrow, The Colonial is screening Douglas Sirk films on Sundays all through May. Written on the Wind is classic Sirk who, at the time, was considered to be only a standard studio director turning out lush adult melodramas that would never last. His work was revived in the 1970s by film theorists who began to see his films as careful critiques of 1950s American life. Most recently, Todd Haynes' Far From Heaven (2002) was a feature homage to Sirk following on his use of cinematography, color, plot, and themes.
Anyway, if you have time tomorrow, check it out.
Beyond tomorrow, The Colonial is screening Douglas Sirk films on Sundays all through May. Written on the Wind is classic Sirk who, at the time, was considered to be only a standard studio director turning out lush adult melodramas that would never last. His work was revived in the 1970s by film theorists who began to see his films as careful critiques of 1950s American life. Most recently, Todd Haynes' Far From Heaven (2002) was a feature homage to Sirk following on his use of cinematography, color, plot, and themes.
Anyway, if you have time tomorrow, check it out.
4.13.2005
Dogville
[Still in editing stage]
Much as his 2000 film Dancer in the Dark used the intersection of the American film musical and maternal melodrama film genres to form a commentary on working America, so Dogville mixes a variety of styles, genres, and references to again comment on America and, this time, its relationship to poverty and the poor.
One of the most obvious references of this film, made through the minimalist sets, is to Thornton Wilder's play "Our Town." What this brings to the film is the sense that it is operating as a counter to that play's portrayal of the quintissential American town - Dogville opposed to Grover's Corners. Whereas "Our Town," through Emily, works to reveal the need to appreciate life as it happens since life will not last, Dogville reveals, through Grace, that the mere enjoyment of life has its limits. While Emily comes to realize after her death that the living do not get life, Grace comes to realize that the realities of life often overcome it's appreciation. Throughout the film, Grace submits to the charms of Dogville and its residents out of, first, an enjoyment of the experience of living that life in the mountains. When it all comes apart - after the initial rape and the smashing of her figurines - she continues to submit to Dogville out of a feeling of obligation to the kindness they once showed her. She remains willing to forgive them for everything out of an understanding of the risk they think they are taking.
The second reference that struck me through the film was its connections to the "Runaway Bride" version of screwball comedy from the 1930s typified by It Happened One Night. In terms of a general plot, Dogville and Happened share a number of similarities. They both concern a wealthy woman running away from the responsibilites and obligations of her class - marriage or ascencion to power. In both films the women meets with and is taken in by a man who is out of work, poor, and at odds with those who are his immediate superiors - an editor or the town. Both men see the woman as a way back into the graces of those above him, a way of showing his talent and, by extension, his necessity to those above him. Ultimately, in each, the woman learns something from the man about the American spirit and he learns from her about love.
In the specifics, however, Dogville rewrites the uplifting Capra film into a scathing critique of or perhaps revelation about American poverty. Here, Von Trier uses to scaffolding of the screwball comedy to write an exceedingly dark film that reveals the lengths of exploitation that individuals will go to when they occupy power. While Happened toys with the idea, and dismisses it, through the "Walls of Jericho" and threats to the travelling salesman, Dogville plays them out and pulls the walls down and makes good on the threats. The implication here being that this is what "real" people would be more inclined to do.
Much as his 2000 film Dancer in the Dark used the intersection of the American film musical and maternal melodrama film genres to form a commentary on working America, so Dogville mixes a variety of styles, genres, and references to again comment on America and, this time, its relationship to poverty and the poor.
One of the most obvious references of this film, made through the minimalist sets, is to Thornton Wilder's play "Our Town." What this brings to the film is the sense that it is operating as a counter to that play's portrayal of the quintissential American town - Dogville opposed to Grover's Corners. Whereas "Our Town," through Emily, works to reveal the need to appreciate life as it happens since life will not last, Dogville reveals, through Grace, that the mere enjoyment of life has its limits. While Emily comes to realize after her death that the living do not get life, Grace comes to realize that the realities of life often overcome it's appreciation. Throughout the film, Grace submits to the charms of Dogville and its residents out of, first, an enjoyment of the experience of living that life in the mountains. When it all comes apart - after the initial rape and the smashing of her figurines - she continues to submit to Dogville out of a feeling of obligation to the kindness they once showed her. She remains willing to forgive them for everything out of an understanding of the risk they think they are taking.
The second reference that struck me through the film was its connections to the "Runaway Bride" version of screwball comedy from the 1930s typified by It Happened One Night. In terms of a general plot, Dogville and Happened share a number of similarities. They both concern a wealthy woman running away from the responsibilites and obligations of her class - marriage or ascencion to power. In both films the women meets with and is taken in by a man who is out of work, poor, and at odds with those who are his immediate superiors - an editor or the town. Both men see the woman as a way back into the graces of those above him, a way of showing his talent and, by extension, his necessity to those above him. Ultimately, in each, the woman learns something from the man about the American spirit and he learns from her about love.
In the specifics, however, Dogville rewrites the uplifting Capra film into a scathing critique of or perhaps revelation about American poverty. Here, Von Trier uses to scaffolding of the screwball comedy to write an exceedingly dark film that reveals the lengths of exploitation that individuals will go to when they occupy power. While Happened toys with the idea, and dismisses it, through the "Walls of Jericho" and threats to the travelling salesman, Dogville plays them out and pulls the walls down and makes good on the threats. The implication here being that this is what "real" people would be more inclined to do.
4.09.2005
TCM this week
Let's see what is coming up this week on TCM.
Today, Monday 4/11, continues April Fools with Charlie Chaplin all day. I haven't really watched enough to say too much, but I have to admit that I have never been a huge fan of his. There is something about the comedy style that I don't like - I am tempted to say that it is too aggressive for my taste, but I need to see more to clarify that.
Tuesday night continues the Errol Flynn tribute. I watched more of The Adventures of Robin Hood last week than I had seen in quite some time, but still found it lacking some of his other films. I certainly see his charm, though. He may not have been the most talented actor, but the camera sure does love him and his voice is superb. Anyway, tomorrow night there are no films of his I have seen, but The Charge of the Light Brigade (1936), Escape Me Never (1947), and Dodge City (1939) sound the most promising to me. I take that back, though. I did see Virginia City (1940) last month and found it about typical for a Flynn vehicle - good action with some romance with Flynn sving the day all around. Bogart makes a good villain here.
Wednesday continues April Fools with "Classic Stage to Screen Comedies." All look great, but I highly recommend The Front Page (1931), Dinner at Eight (1933), and The Women (1939).
Thursday morning is a brief tribute to Lee Tracy who, frankly, I have never noticed or heard of. I'm trying to put a face to the name. TCM will screen five films that morning from 1932 to 1937. I will try and see a couple to see who this is. To top it off, some of the titles sound interesting.
Friday's April Fools features Brown & Carney in the morning and Abbott & Costello at night. I haven't seen any A&C since I was a kid, so I'm not sure how I will feel about them now. I may try and see some with my son to see if there is a similar reaction as there was to Laurel and Hardy. I am going to suspect not as the medium will have changed between the early 1930s and the 1940s. I suspect that the humor of A & C is much more narrative driven and thus might not be as accessible to a four year old.
Enjoy the week!
Today, Monday 4/11, continues April Fools with Charlie Chaplin all day. I haven't really watched enough to say too much, but I have to admit that I have never been a huge fan of his. There is something about the comedy style that I don't like - I am tempted to say that it is too aggressive for my taste, but I need to see more to clarify that.
Tuesday night continues the Errol Flynn tribute. I watched more of The Adventures of Robin Hood last week than I had seen in quite some time, but still found it lacking some of his other films. I certainly see his charm, though. He may not have been the most talented actor, but the camera sure does love him and his voice is superb. Anyway, tomorrow night there are no films of his I have seen, but The Charge of the Light Brigade (1936), Escape Me Never (1947), and Dodge City (1939) sound the most promising to me. I take that back, though. I did see Virginia City (1940) last month and found it about typical for a Flynn vehicle - good action with some romance with Flynn sving the day all around. Bogart makes a good villain here.
Wednesday continues April Fools with "Classic Stage to Screen Comedies." All look great, but I highly recommend The Front Page (1931), Dinner at Eight (1933), and The Women (1939).
Thursday morning is a brief tribute to Lee Tracy who, frankly, I have never noticed or heard of. I'm trying to put a face to the name. TCM will screen five films that morning from 1932 to 1937. I will try and see a couple to see who this is. To top it off, some of the titles sound interesting.
Friday's April Fools features Brown & Carney in the morning and Abbott & Costello at night. I haven't seen any A&C since I was a kid, so I'm not sure how I will feel about them now. I may try and see some with my son to see if there is a similar reaction as there was to Laurel and Hardy. I am going to suspect not as the medium will have changed between the early 1930s and the 1940s. I suspect that the humor of A & C is much more narrative driven and thus might not be as accessible to a four year old.
Enjoy the week!
4.03.2005
TCM catching up
Wow, has it been that long? Needless to say, things have been very busy, but I'm glad to be able to get back into things.
April on TCM looks good. The April Fools selections look great and, as I mentioned earlier, I am finding myself to be a fan of Errol Flynn, so I am looking forward to seeing more of his films.
Let's get into things.
First, for the past week, on Firday I caught some of the day long Laurel and Hardy, and it was great. My son (4) and I watched The Music Box and loved it. He keeps asking for it. I also taped Blotto and hope to watch it with him this week.
Let's see what's coming up this week.
All day tomorrow, Monday, is a spotlight on Charley Chase featuring silents of his the whole day. I hope to be able to watch at least a few of them.
Tuesday must be a dream day for me - Bette Davis all morning and then Errol Flynn all night. I wish I could watch all day. I recommend all the Davis films, but especially Of Human Bondage (1934) and All This and Heaven Too (1940) which I, surprisingly, saw first only two months ago. Outstanding.
As for the Flynn, TCM is featuring a new documentary on him at 8:00 and 11:30 which should be interesting. Sandwiched between is The Adventures of Robin Hood (1938), which I am not too fond of, but the later showing of the documentary is followed by Captain Blood (1935) and They Died With their Boots On (1941). The latter is a film that would consistently make my top ten list should I construct one. (Maybe I will.) Every time it is on, I must watch it even though I find it at times a horrible film.
Wednesday sees another Davis film, It's Love I'm After (1937) with Leslie Howard and Olivia DeHaviland. That evening is a three film tribute to Preston Sturges, with Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). Of the three, Eve is by far my favorite and, as I mentioned last month, one of my all time favorite films. (Two in two nights!).
Thursday slows down a little for me, but features films by Bogart in the evening. To Have and Have Not (1944) remains a must see even though it is often overshadowed by Casablanca (1942) and The Big Sleep (1946). Not to take anything from those films, but Have remains special.
Friday returns to April Fools with some Marx Bros. films in the day and evening. I am only now seeing more of these, so I am not sure what to recommend at the moment. I'll get back to this one.
I'm going to stop here for the moment and will continue later.
April on TCM looks good. The April Fools selections look great and, as I mentioned earlier, I am finding myself to be a fan of Errol Flynn, so I am looking forward to seeing more of his films.
Let's get into things.
First, for the past week, on Firday I caught some of the day long Laurel and Hardy, and it was great. My son (4) and I watched The Music Box and loved it. He keeps asking for it. I also taped Blotto and hope to watch it with him this week.
Let's see what's coming up this week.
All day tomorrow, Monday, is a spotlight on Charley Chase featuring silents of his the whole day. I hope to be able to watch at least a few of them.
Tuesday must be a dream day for me - Bette Davis all morning and then Errol Flynn all night. I wish I could watch all day. I recommend all the Davis films, but especially Of Human Bondage (1934) and All This and Heaven Too (1940) which I, surprisingly, saw first only two months ago. Outstanding.
As for the Flynn, TCM is featuring a new documentary on him at 8:00 and 11:30 which should be interesting. Sandwiched between is The Adventures of Robin Hood (1938), which I am not too fond of, but the later showing of the documentary is followed by Captain Blood (1935) and They Died With their Boots On (1941). The latter is a film that would consistently make my top ten list should I construct one. (Maybe I will.) Every time it is on, I must watch it even though I find it at times a horrible film.
Wednesday sees another Davis film, It's Love I'm After (1937) with Leslie Howard and Olivia DeHaviland. That evening is a three film tribute to Preston Sturges, with Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). Of the three, Eve is by far my favorite and, as I mentioned last month, one of my all time favorite films. (Two in two nights!).
Thursday slows down a little for me, but features films by Bogart in the evening. To Have and Have Not (1944) remains a must see even though it is often overshadowed by Casablanca (1942) and The Big Sleep (1946). Not to take anything from those films, but Have remains special.
Friday returns to April Fools with some Marx Bros. films in the day and evening. I am only now seeing more of these, so I am not sure what to recommend at the moment. I'll get back to this one.
I'm going to stop here for the moment and will continue later.
3.20.2005
TCM for 3/20 - 3/27
A couple of good days this week, Monday and Wednesday, and then a smattering of other things throughout the week.
Tonight (Sunday) at midnight the Silent Sunday feature is Ben-Hur (1925), one of the first successes Thalberg had in coming to MGM. A great film - as great as the remake if not better.
Tomorrow morning, starting at six, begins a string of films directed by W.S. VanDyke II, who I think was one of the better studio directors at MGM during the 1930s. Some of my favorites of his are Tarzan the Ape Man (1932), Manhattan Melodrama (1934), The Thin Man (1934), Forsaking All Others (1934), San Francisco (1936), Love on the Run (1936), and Marie Antionette (1938). As you can see from this list, he directed a number of films for Clark Gable and, in my opinion, constructed some interesting takes on depression era masculinity in these and other films. Manhattan Melodrama and Forsaking All Others remain two of my three favorite Gable films for just that reason: the way they juxtapose Gable against William Powell and Robert Montgomery respectively to highlight his gendered performance.
Tomorrow, TCM will be running some of Van Dyke's lesser known films, which I am grateful for and will be taping. When I get around to watching them I will post more about them.
Then, tomorrow night the Claudette Colbert tribute continues. Among the films being shown is Since You Went Away (1944) which I happened to see last month on TCM. A great tear-jerker and document of the realignment of social roles during World War II.
Wednesday would be Joan Crawford's 101st birthday (most likely), and so there are a number of her films on during the day. Unfortunately, not many of my favorites. But I would recommend Grand Hotel (1932) and Mildred Pierce (1945) (speaking of realigning social roles during World War II).
Nothing leaps out at me right now for the rest of the week - though there certainly are other great films. When I see them I will let you know.
Tonight (Sunday) at midnight the Silent Sunday feature is Ben-Hur (1925), one of the first successes Thalberg had in coming to MGM. A great film - as great as the remake if not better.
Tomorrow morning, starting at six, begins a string of films directed by W.S. VanDyke II, who I think was one of the better studio directors at MGM during the 1930s. Some of my favorites of his are Tarzan the Ape Man (1932), Manhattan Melodrama (1934), The Thin Man (1934), Forsaking All Others (1934), San Francisco (1936), Love on the Run (1936), and Marie Antionette (1938). As you can see from this list, he directed a number of films for Clark Gable and, in my opinion, constructed some interesting takes on depression era masculinity in these and other films. Manhattan Melodrama and Forsaking All Others remain two of my three favorite Gable films for just that reason: the way they juxtapose Gable against William Powell and Robert Montgomery respectively to highlight his gendered performance.
Tomorrow, TCM will be running some of Van Dyke's lesser known films, which I am grateful for and will be taping. When I get around to watching them I will post more about them.
Then, tomorrow night the Claudette Colbert tribute continues. Among the films being shown is Since You Went Away (1944) which I happened to see last month on TCM. A great tear-jerker and document of the realignment of social roles during World War II.
Wednesday would be Joan Crawford's 101st birthday (most likely), and so there are a number of her films on during the day. Unfortunately, not many of my favorites. But I would recommend Grand Hotel (1932) and Mildred Pierce (1945) (speaking of realigning social roles during World War II).
Nothing leaps out at me right now for the rest of the week - though there certainly are other great films. When I see them I will let you know.
3.18.2005
'Star Wars' a Titanic Tearjerker
I worry when George Lucas says something like this: I describe it as a 'Titanic' in space.
The last two films had generally been faulty not because they were lacking visual pleasure, but because the characters were just horribly rendered and relationships and emotions were flat and uninteresting.
And now he thinks he has written a tearjerker? I can only hope he didn't write it or else my tears will be of a different kind.
The last two films had generally been faulty not because they were lacking visual pleasure, but because the characters were just horribly rendered and relationships and emotions were flat and uninteresting.
And now he thinks he has written a tearjerker? I can only hope he didn't write it or else my tears will be of a different kind.
3.16.2005
This Our Brent
I truly enjoyed the birthday tribute to George Brent yesterday. As I mentioned on Sunday, I think to audiences today his popularity is quite hard to understand, but his film work is truly wonderful in a certain way.
That was driven home for me when watching This Our Life with him, Bette Davis, and Olivia de Havilland yeterday. He provides such a flat, empty vessel for the two women to work off of that he is quite remarkable. Even de havilland, who is much more subdued than Davis, emotes around Brent in ways that make him seem dead. When she meets him on the park bench, he so well fits the role. But he seems the same way even later when they are supposed to be happy.
I need to run now, but will write more on this later.
That was driven home for me when watching This Our Life with him, Bette Davis, and Olivia de Havilland yeterday. He provides such a flat, empty vessel for the two women to work off of that he is quite remarkable. Even de havilland, who is much more subdued than Davis, emotes around Brent in ways that make him seem dead. When she meets him on the park bench, he so well fits the role. But he seems the same way even later when they are supposed to be happy.
I need to run now, but will write more on this later.
3.13.2005
TCM for the week of 3/13 to 3/19
Here are some of the highlights coming up tonight and for the rest of the week.
Tonight, after midnight, four Paul Robeson features are running. They include Body and Soul (1925), The Emperor Jones (1933), Jericho (1937), and Song of Freedom (1936). I've seen Body and Soul and parts of Emperor and Song. All are excellent if for nothing more than Robeson who has an amazing screen presence even in mediocre films. I will be taping (no TiVo yet) and recommend you do so as well.
Monday night continues the Claudette Colbert feature with Tovarich (1937), It's a Wonderful World (1939), Midnight (1939) and Boom Town (1940). The only one of these I have seen is Boom Town with Gable and Spencer Tracy and again I recommend it. I am less of a fan of later Tracy (1940s and 50s), but can see the energy and excitement of him in his early work. It is on display here with Gable.
Tuesday during the day features one of my favorite of the unremembered yet everywhere stars of the 1930s and 40s, George Brent, in celebration of his birthday. I will see as many as I can - some I have yet to tape and see so this is going to be good for me. Among those I have that I recommend are: The Keyhole from 1933 opposite Kay Francis, Front Page Woman (1935) with Bette Davis, and In This Our Life (1942) also with Bette Davis and Olivia de Havilland. Brent is, I think, to modern audiences quite the enigma as he seems so bland and emotionless to us today - hard to believe he was initially promoted as Warners' answer to Clark Gable!
Thursday morning at 6:00am King Vidor's Not So Dumb from 1930 with Marion Davies is playing. I will be taping this one to check out as I am interested in the films of the year.
On Saturday, be sure and check out In A Lonely Place (1950) with Humphrey Bogart and he evening on George Cukor including the 2002 documentary on him. All of the films being shown around are recommended.
Enjoy.
Tonight, after midnight, four Paul Robeson features are running. They include Body and Soul (1925), The Emperor Jones (1933), Jericho (1937), and Song of Freedom (1936). I've seen Body and Soul and parts of Emperor and Song. All are excellent if for nothing more than Robeson who has an amazing screen presence even in mediocre films. I will be taping (no TiVo yet) and recommend you do so as well.
Monday night continues the Claudette Colbert feature with Tovarich (1937), It's a Wonderful World (1939), Midnight (1939) and Boom Town (1940). The only one of these I have seen is Boom Town with Gable and Spencer Tracy and again I recommend it. I am less of a fan of later Tracy (1940s and 50s), but can see the energy and excitement of him in his early work. It is on display here with Gable.
Tuesday during the day features one of my favorite of the unremembered yet everywhere stars of the 1930s and 40s, George Brent, in celebration of his birthday. I will see as many as I can - some I have yet to tape and see so this is going to be good for me. Among those I have that I recommend are: The Keyhole from 1933 opposite Kay Francis, Front Page Woman (1935) with Bette Davis, and In This Our Life (1942) also with Bette Davis and Olivia de Havilland. Brent is, I think, to modern audiences quite the enigma as he seems so bland and emotionless to us today - hard to believe he was initially promoted as Warners' answer to Clark Gable!
Thursday morning at 6:00am King Vidor's Not So Dumb from 1930 with Marion Davies is playing. I will be taping this one to check out as I am interested in the films of the year.
On Saturday, be sure and check out In A Lonely Place (1950) with Humphrey Bogart and he evening on George Cukor including the 2002 documentary on him. All of the films being shown around are recommended.
Enjoy.
3.10.2005
Sign of the Cross
As mentioned, one of the Claudette Colbert films I wanted to see was The Sign of the Cross as I had heard much about it. It was, on the whole, about what I expected from DeMille and a good film. I was a bit surprised by the relative lack of screen time for Colbert though. She is billed as one of the stars, but is in the film less than several of the other players.
Another side note, I was struck by a scene in which Marcus Superbus (yes, that is his name) has brought the chaste Christain Mercia he is in love with back to his palace for a party (orgy). She resists being one of his playthings and, eventually, he has Ancaria, the "most talented" woman in all of Rome, attempt to seduce her by singing and dancing for here.
The scene that ensues is amazingly like the scene in Blue Velvet at Ben's place when Ben is singing "In Dreams" while Frank sings along and Jeffrey watches. In Sign of the Cross, Ancaria sings a song that has similar lyrics - "In my dreams," "I come to you," "I walk with you," and others that are similar, and the whole feel of the moment is like that of Blue Velvet, with the innocent protagonist being both shocked and somewhat seduced by the intriging decadence he/she finds around him/her.
I could write more, but was wondering if anyone knew if this moment was an influence on this moment. I have looked through some of my stuff on Blue Velvet but can't find any connection.
Another side note, I was struck by a scene in which Marcus Superbus (yes, that is his name) has brought the chaste Christain Mercia he is in love with back to his palace for a party (orgy). She resists being one of his playthings and, eventually, he has Ancaria, the "most talented" woman in all of Rome, attempt to seduce her by singing and dancing for here.
The scene that ensues is amazingly like the scene in Blue Velvet at Ben's place when Ben is singing "In Dreams" while Frank sings along and Jeffrey watches. In Sign of the Cross, Ancaria sings a song that has similar lyrics - "In my dreams," "I come to you," "I walk with you," and others that are similar, and the whole feel of the moment is like that of Blue Velvet, with the innocent protagonist being both shocked and somewhat seduced by the intriging decadence he/she finds around him/her.
I could write more, but was wondering if anyone knew if this moment was an influence on this moment. I have looked through some of my stuff on Blue Velvet but can't find any connection.
3.04.2005
TCM for the week of 3/5 - 3/12
I thought I might try doing this on a weekly basis and just giving my highlights for that time frame rather than trying to keep up daily.
I may do daily updates from time to time, but this way will probably work the best.
So, coming up this week:
Sunday during the day, at noon, be sure and catch Picnic (1955) with William Holden and Kim Novak. Great 50s male melodrama and Bill looks so good without his shirt on.
Sunday evening the theme is William Faulkner, and so The Tarnished Angels (1957) with Robert Stack, Rock Hudson, and Dorothy Malone is running. This is an unusual Sirk melodrama - being black and white foremost - but, as the title of the blog indicates, I can't pass up Sirk.
Lorna Doone (1922) is the silent Sunday night feature at midnight. I haven't seen it, but try and watch these when I can - so give it a look if you are free.
Monday begins the month long salute to Claudette Colbert, an actress I am not too fond of but do like when I sit down and watch her films.
At 8 I will certainly see The Sign of the Cross (1932) a film I have been wanting to see for a long time. I'll let you know how it is.
this is followed by Cleopatra (1934) at 10:15, which I think is a mostly middling picture. I can never get too excited by it, though it does have some delightful scenes to watch.
The 1934 Imitation of Life comes up at midnight and then It Happened One Night at 2 am. No more to say about the latter, if you haven't seen it make it a point to do so. As for Imitation, it lacks the gut wrenching power of Sirk's version (theme!) but is still a powerful film. 1934 was a busy year for Colbert.
Tuesday's theme is "computer problems" and the only film that jumps out for me is War Games (1983) with Matthew Broderick and Ally Sheedy. I just remember loving this film as a kid and so try to see it when it is on. Unfortunately, that is usually on regular TV with commercials, so seeing it here will be nice.
Wednesday's theme is Lauren Bacall and so, really, all I will say is start watching at 8 and plan on being up all night.
Thursday morning features some films from 31, 32, and 33 all by director Gregory LaCava. I do not know them or really him, but will try and catch some and report back.
On Friday, They Gave Him a Gun (1937) is screening at 7:30. I don't know the film, but it sounds intriguing and I like Tracy, Tone, and director Van Dyke so it should probably at least be interesting in terms of how it deals with masculinity.
I may try and report back during the week on what I see.
Enjoy!!
I may do daily updates from time to time, but this way will probably work the best.
So, coming up this week:
Sunday during the day, at noon, be sure and catch Picnic (1955) with William Holden and Kim Novak. Great 50s male melodrama and Bill looks so good without his shirt on.
Sunday evening the theme is William Faulkner, and so The Tarnished Angels (1957) with Robert Stack, Rock Hudson, and Dorothy Malone is running. This is an unusual Sirk melodrama - being black and white foremost - but, as the title of the blog indicates, I can't pass up Sirk.
Lorna Doone (1922) is the silent Sunday night feature at midnight. I haven't seen it, but try and watch these when I can - so give it a look if you are free.
Monday begins the month long salute to Claudette Colbert, an actress I am not too fond of but do like when I sit down and watch her films.
At 8 I will certainly see The Sign of the Cross (1932) a film I have been wanting to see for a long time. I'll let you know how it is.
this is followed by Cleopatra (1934) at 10:15, which I think is a mostly middling picture. I can never get too excited by it, though it does have some delightful scenes to watch.
The 1934 Imitation of Life comes up at midnight and then It Happened One Night at 2 am. No more to say about the latter, if you haven't seen it make it a point to do so. As for Imitation, it lacks the gut wrenching power of Sirk's version (theme!) but is still a powerful film. 1934 was a busy year for Colbert.
Tuesday's theme is "computer problems" and the only film that jumps out for me is War Games (1983) with Matthew Broderick and Ally Sheedy. I just remember loving this film as a kid and so try to see it when it is on. Unfortunately, that is usually on regular TV with commercials, so seeing it here will be nice.
Wednesday's theme is Lauren Bacall and so, really, all I will say is start watching at 8 and plan on being up all night.
Thursday morning features some films from 31, 32, and 33 all by director Gregory LaCava. I do not know them or really him, but will try and catch some and report back.
On Friday, They Gave Him a Gun (1937) is screening at 7:30. I don't know the film, but it sounds intriguing and I like Tracy, Tone, and director Van Dyke so it should probably at least be interesting in terms of how it deals with masculinity.
I may try and report back during the week on what I see.
Enjoy!!
3.02.2005
Reevaluation
I'm trying to think of the bext way for me to get back into this once things slow down a bit.
3.01.2005
2.23.2005
TCM for Wednesday 2/23
Keeping up with Best Picture. Continuing with a spate of films I have not seen.
Recommended:
Cat On A Hot Tin Roof (1958) - More for the play itself than for the performances or the film.
Ben-Hur (1959) - See it, but watch The Celluloid Closet first and it will be so much better.
On The Waterfront (1954) - Despite the politics of the film I really love this melodrama. Brando at, I think, his out and out best. Another of those films that I have to watch when it is on.
An American in Paris (1951) - I prefer Singin in the Rain to this film as far as Kelly films go, but a must see none the less.
Highly Recommended:
I have to go with Brando. Amazing performance and amazing film.
Haven't Seen, But Want To:
Gigi (1958) - Another I shouldn't admit I haven't seen, but . . .
Really Not Interested:
Seven Brides For Seven Brothers (1954) - I have tried to watch this several times and just can't get into it.
The Rest:
King Solomon's Mines (1950)
Ivanhoe (1952)
Julius Caesar (1953)
The Rose Tattoo (1955)
Separate Tables (1958)
Recommended:
Cat On A Hot Tin Roof (1958) - More for the play itself than for the performances or the film.
Ben-Hur (1959) - See it, but watch The Celluloid Closet first and it will be so much better.
On The Waterfront (1954) - Despite the politics of the film I really love this melodrama. Brando at, I think, his out and out best. Another of those films that I have to watch when it is on.
An American in Paris (1951) - I prefer Singin in the Rain to this film as far as Kelly films go, but a must see none the less.
Highly Recommended:
I have to go with Brando. Amazing performance and amazing film.
Haven't Seen, But Want To:
Gigi (1958) - Another I shouldn't admit I haven't seen, but . . .
Really Not Interested:
Seven Brides For Seven Brothers (1954) - I have tried to watch this several times and just can't get into it.
The Rest:
King Solomon's Mines (1950)
Ivanhoe (1952)
Julius Caesar (1953)
The Rose Tattoo (1955)
Separate Tables (1958)
2.21.2005
TCM for Tuesday 2/22
Continuing with the parade of Best Picture nominees and winners. Slowly moving out of my favorite decade, so the ones I've seen, and that I want to see, will be getting less and less. I really do need to see more films from this period.
Recommended:
Double Indemnity (1944) - Two of my favorites, Stanwyck and MacMurry (with whom I share a birthday). Just a delicious film.
The Best Years Of Our Lives (1946) - An excellent film doing interesting work around the reintegration of military men back into the homefront.
Rebecca (1940) - Classic Hitchcock.
The Lost Weekend (1945) - I saw this while researching alcoholic films and, though not the kind of film I usually like, it was worth watching.
Highly Recommended:
Double Indemnity - I never pass up a chance to recommend Stanwyck again.
Haven't Seen, But Want To:
The Magnificent Ambersons (1942) - I'm ashamed to admit I haven't seen this. I think it is that I find Welles somewhat pretentious and so avoid his films. I shouldn't though.
Really Not Interested:
Kings Row (1942) - Not with you know who as the star.
The Rest:
Hold Back the Dawn (1941)
49th Parallel (1941)
Johnny Belinda (1948)
The Heiress (1949)
Going My Way (1944)
Recommended:
Double Indemnity (1944) - Two of my favorites, Stanwyck and MacMurry (with whom I share a birthday). Just a delicious film.
The Best Years Of Our Lives (1946) - An excellent film doing interesting work around the reintegration of military men back into the homefront.
Rebecca (1940) - Classic Hitchcock.
The Lost Weekend (1945) - I saw this while researching alcoholic films and, though not the kind of film I usually like, it was worth watching.
Highly Recommended:
Double Indemnity - I never pass up a chance to recommend Stanwyck again.
Haven't Seen, But Want To:
The Magnificent Ambersons (1942) - I'm ashamed to admit I haven't seen this. I think it is that I find Welles somewhat pretentious and so avoid his films. I shouldn't though.
Really Not Interested:
Kings Row (1942) - Not with you know who as the star.
The Rest:
Hold Back the Dawn (1941)
49th Parallel (1941)
Johnny Belinda (1948)
The Heiress (1949)
Going My Way (1944)
2.20.2005
TCM for Monday 2/21/05
Here we go - moving in to the final week of the month and starting off a week of Best Picture nominees and winners. Should make for an interesting week of contrasts between winners and should have been winners. Today is really going to put my bias for the 1930s on glorious display.
Recommended:
42nd Street (1933) - One of the best of the early Warners musicals. Not as over the top as some of the other Busby Berkeley films, but still sensational.
Wuthering Heights (1939) - Could have been the cream of the crop in '39, though I am not quite as fond of it as others are.
Gone With the Wind (1939) - A superb film, though, I have to admit, it was not until I saw it on the big screen that I fully appreciated it. It is a BIG film and I can't watch it on TV anymore.
It Happened One Night (1934) - Outstanding. I like Gable better in other films, but he works so well in this one with Colbert.
Highly Recommended:
Any and all of the above - if you only get to see one, though, make it It Happened One Night. Unless you have a cinema size screen, then screen Gone With the Wind.
Haven't Seen, But Want To:
Disraeli (1929)
The Champ (1931)
Trader Horn (1931)
The Life Of Emile Zola (1937)
Really Not Interested:
The Rest:
Lady For A Day (1933)
The Lives Of A Bengal Lancer (1935)
Libeled Lady (1936)
You Can't Take It With You (1938)
Recommended:
42nd Street (1933) - One of the best of the early Warners musicals. Not as over the top as some of the other Busby Berkeley films, but still sensational.
Wuthering Heights (1939) - Could have been the cream of the crop in '39, though I am not quite as fond of it as others are.
Gone With the Wind (1939) - A superb film, though, I have to admit, it was not until I saw it on the big screen that I fully appreciated it. It is a BIG film and I can't watch it on TV anymore.
It Happened One Night (1934) - Outstanding. I like Gable better in other films, but he works so well in this one with Colbert.
Highly Recommended:
Any and all of the above - if you only get to see one, though, make it It Happened One Night. Unless you have a cinema size screen, then screen Gone With the Wind.
Haven't Seen, But Want To:
Disraeli (1929)
The Champ (1931)
Trader Horn (1931)
The Life Of Emile Zola (1937)
Really Not Interested:
The Rest:
Lady For A Day (1933)
The Lives Of A Bengal Lancer (1935)
Libeled Lady (1936)
You Can't Take It With You (1938)
TCM for Sunday 2/20
Tomorrow's theme is Best Director. Things should be interesting.
Recommended:
Psycho (1960) - This is another of those films for me that, between viewings, I think is over rated. But every time I see it, it knocks my socks off.
Rear Window (1954) - Another of H.'s best. I think this is my favorite though not as "sock knocking off" as Psycho or the others.
Close Encounters Of The Third Kind (1977) - I have fond memories of this film though I haven't seen it for some time.
The Treasure of the Sierra Madre (1948) - Quite an outstanding film that I end up getting sucked into every time I see it on.
Mr. Deeds Goes to Town (1936) - One of the better Capra's n my opinion. Copper is magnificent.
Highly Recommended:
I'm going to have to go with my old favorite - Rear Window. I remember seeing it when I was younger and it is one of my favorite Stewart films as well.
Haven't Seen, But Want To:
Viva Villa! (1934)
Really Not Interested:
Reds (1981)
The Rest:
David and Lisa (1962)
War and Peace (1956)
The Professionals (1966)
Recommended:
Psycho (1960) - This is another of those films for me that, between viewings, I think is over rated. But every time I see it, it knocks my socks off.
Rear Window (1954) - Another of H.'s best. I think this is my favorite though not as "sock knocking off" as Psycho or the others.
Close Encounters Of The Third Kind (1977) - I have fond memories of this film though I haven't seen it for some time.
The Treasure of the Sierra Madre (1948) - Quite an outstanding film that I end up getting sucked into every time I see it on.
Mr. Deeds Goes to Town (1936) - One of the better Capra's n my opinion. Copper is magnificent.
Highly Recommended:
I'm going to have to go with my old favorite - Rear Window. I remember seeing it when I was younger and it is one of my favorite Stewart films as well.
Haven't Seen, But Want To:
Viva Villa! (1934)
Really Not Interested:
Reds (1981)
The Rest:
David and Lisa (1962)
War and Peace (1956)
The Professionals (1966)
2.18.2005
Decisions
I'm trying to decide how and if I want to continue the TCM thing beyond February - even though I know no one is reading it. If I do, should I spin it off as its own blog or, since I rarely write about anything else here anyway, should I just keep it the primary focus here? I need to think about this.
If I do continue, and I think I will, I will, however, pare down what I bring in - I think I will make it a highlight's only instead of listing every film. That is getting tedious.
If I do continue, and I think I will, I will, however, pare down what I bring in - I think I will make it a highlight's only instead of listing every film. That is getting tedious.
TCM for Saturday 2/19
Moving right along we get to Best Editing. A little uptick for me, but it continues an area where there are many films I haven't seen and many of them I don't really want to.
Recommended:
The Letter (1940) - What can I say. I think it probably is becoming clear that this will be one of my favorites. And it is.
Mutiny on the Bounty (1962) - Not as good as the Gable version, but since I grew up in the Tampa Bay area and visited the ship several times, I have to include it.
Objective, Burma! (1945) - Actually saw this for the first time last month and really enjoyed it. I never realized it, but I think I am a big Errol Flynn fan.
Red River (1948) - "Ever had a good - Swiss watch?"
The Great Escape (1963) - A classic even if a bit over rated.
Highly Recommended:
I think you know where this is going to go - The Letter. Far and away one of Davis' best films an done that nicely embodies her move from the 1930s to the 1940s.
Haven't Seen, But Want To:
The Day Of The Jackal (1973) - Just have heard great things about this.
Really Not Interested:
Grand Prix (1966) - James Garner and car racing. 'nuff said.
The Rest:
The Window (1949)
Bullitt (1968)
David Copperfield (1935)
Recommended:
The Letter (1940) - What can I say. I think it probably is becoming clear that this will be one of my favorites. And it is.
Mutiny on the Bounty (1962) - Not as good as the Gable version, but since I grew up in the Tampa Bay area and visited the ship several times, I have to include it.
Objective, Burma! (1945) - Actually saw this for the first time last month and really enjoyed it. I never realized it, but I think I am a big Errol Flynn fan.
Red River (1948) - "Ever had a good - Swiss watch?"
The Great Escape (1963) - A classic even if a bit over rated.
Highly Recommended:
I think you know where this is going to go - The Letter. Far and away one of Davis' best films an done that nicely embodies her move from the 1930s to the 1940s.
Haven't Seen, But Want To:
The Day Of The Jackal (1973) - Just have heard great things about this.
Really Not Interested:
Grand Prix (1966) - James Garner and car racing. 'nuff said.
The Rest:
The Window (1949)
Bullitt (1968)
David Copperfield (1935)
TCM for Friday 2/18/05
Today's theme is best art direction. Night of the very good one word title films. Beyond that, though, the month is getting to where I thought it would - fairly depressing.
Recommended:
Marie Antoinette (1938)
Vertigo (1958)
Batman (1989)
Aliens (1986)
Highly Recommended:
Vertigo
Haven't Seen, But Want To:
Is Paris Burning? (1966)
Really Not Interested:
The Shootist (1976)
The Rest:
Brigadoon (1954)
Sweet Charity (1969)
Blood on the Sun (1945)
The Shoes of the Fisherman (1968)
Recommended:
Marie Antoinette (1938)
Vertigo (1958)
Batman (1989)
Aliens (1986)
Highly Recommended:
Vertigo
Haven't Seen, But Want To:
Is Paris Burning? (1966)
Really Not Interested:
The Shootist (1976)
The Rest:
Brigadoon (1954)
Sweet Charity (1969)
Blood on the Sun (1945)
The Shoes of the Fisherman (1968)
2.16.2005
TCM for Thursday 2/17
Getting ahead again. Tomorrow's theme is Best Sound and it gets back to a few more films that I truly enjoy. I go behind lately, and I think it was in part due to the fact that there were few films that rank high on my list.
Recommended:
Gold Diggers Of 1933 (1933) - Busby Berkeley at, really, his best. The numbers are outstanding and the story is wonderful. Great film.
Hollywood Canteen (1944) - This film is just quite a bit of fun. A treat.
Cleopatra (1934) - Good version of this story. I am not a huge Colbert fan, but enjoy this film.
Imitation Of Life (1934) - Speaking of Colbert, this is my favorite of hers. I think I prefer the Sirk version, but this one has many merits and is stronger in terms of acting if not as stylish or campy.
The Dirty Dozen (1967) - Not a favorite of mine, but one to see.
Highly Recommended:
This is a hard choice, but I have to go with Gold Diggers. This is really one film you need to see to understand the film musical in the 1930s.
Haven't Seen, But Want To:
Hangmen Also Die (1943) - A Fritz Lang film I haven't seen. Sounds good.
Really Not Interested:
Oklahoma! (1955) - Sorry, I've tried to watch this many times but have never been able to get through it.
The Rest:
General Spanky (1936)
So This Is Washington (1943)
That Girl From Paris (1936)
Bright Victory (1951)
The Bells Of St. Mary's (1945)
Recommended:
Gold Diggers Of 1933 (1933) - Busby Berkeley at, really, his best. The numbers are outstanding and the story is wonderful. Great film.
Hollywood Canteen (1944) - This film is just quite a bit of fun. A treat.
Cleopatra (1934) - Good version of this story. I am not a huge Colbert fan, but enjoy this film.
Imitation Of Life (1934) - Speaking of Colbert, this is my favorite of hers. I think I prefer the Sirk version, but this one has many merits and is stronger in terms of acting if not as stylish or campy.
The Dirty Dozen (1967) - Not a favorite of mine, but one to see.
Highly Recommended:
This is a hard choice, but I have to go with Gold Diggers. This is really one film you need to see to understand the film musical in the 1930s.
Haven't Seen, But Want To:
Hangmen Also Die (1943) - A Fritz Lang film I haven't seen. Sounds good.
Really Not Interested:
Oklahoma! (1955) - Sorry, I've tried to watch this many times but have never been able to get through it.
The Rest:
General Spanky (1936)
So This Is Washington (1943)
That Girl From Paris (1936)
Bright Victory (1951)
The Bells Of St. Mary's (1945)
TCM for Wednesday 2/16
The theme for today was Best Visual Effects.
Recommended:
Spellbound (1945)
Forbidden Planet (1956)
The Birds (1963)
Highly Recommended:
The Birds
Haven't Seen, But Want To:
Stand By for Action (1943)
Really Not Interested:
Torpedo Run (1958)
The Rest:
Air Force (1943)
So Proudly We Hail (1943)
Flight Command (1940)
Mighty Joe Young (1949)
The Time Machine (1960)
The Last Voyage (1960)
Only Angels Have Wings (1939)
Recommended:
Spellbound (1945)
Forbidden Planet (1956)
The Birds (1963)
Highly Recommended:
The Birds
Haven't Seen, But Want To:
Stand By for Action (1943)
Really Not Interested:
Torpedo Run (1958)
The Rest:
Air Force (1943)
So Proudly We Hail (1943)
Flight Command (1940)
Mighty Joe Young (1949)
The Time Machine (1960)
The Last Voyage (1960)
Only Angels Have Wings (1939)
TCM for Tuesday 2/15
Not sure what the theme was.
Recommended:
It Should Happen To You (1954)
Guys And Dolls (1955)
Doctor Zhivago (1965)
Highly Recommended:
Seven Samurai (1954)
Haven't Seen, But Want To:
Raintree County (1957)
Really Not Interested:
Gambit (1966)
The Rest:
Gate of Hell (1953)
Midnight Lace (1960)
Hawaii (1966)
Recommended:
It Should Happen To You (1954)
Guys And Dolls (1955)
Doctor Zhivago (1965)
Highly Recommended:
Seven Samurai (1954)
Haven't Seen, But Want To:
Raintree County (1957)
Really Not Interested:
Gambit (1966)
The Rest:
Gate of Hell (1953)
Midnight Lace (1960)
Hawaii (1966)
2.13.2005
TCM for Monday 2/14/04
Moving right along. The theme for Monday is Best Original Screenplay. Not too many films here I have seen, and a couple of those were, for me, quite unmemorable. Let's have a look.
Recommended:
The Lady Eve (1941) - I'll give it away now - do not miss this film.
Lover Come Back (1961) - Pillow Talk remains the best of this cycle, but this one is worth seeing as well.
Diner (1982) - Another film that I haven't seen in quite a long time, but I do have fond memories of.
Highly Recommended:
Hands down, The Lady Eve. This film would be in my top three of all time, I love this film. When I was an undergrad I first saw this film in the middle of the night on local TV, but missed the first 10 minutes so did not know what it was or who the star was. This was in the pre-internet days, so I could not look up the film or find out what it was, so I went for days thinking about this film and being in love with Stanwcyk without even knowing who she was. It wasn't until a few years later that I happened to see the film and find out what and who it was. I am convinced, though, that this was the moment that got me interested in film.
Haven't Seen, But Want To:
Vitelloni, I (1953) - This is one of the few Fellini I have not seen. I have since gotten out of my Fellini phase, but I would still like to see it.
Really Not Interested:
Green Card (1990) - I hope I don't have to explain too much.
The Rest:
What Next, Corporal Hargrove? (1945)
The Court-Martial of Billy Mitchell (1955)
The Ladykillers (1955)
The Road to Utopia (1946)
The Miracle of Morgan's Creek (1944)
The Bachelor And The Bobby-Soxer (1947)
Crocodile Dundee (1986)
...And Justice for All (1979)
Recommended:
The Lady Eve (1941) - I'll give it away now - do not miss this film.
Lover Come Back (1961) - Pillow Talk remains the best of this cycle, but this one is worth seeing as well.
Diner (1982) - Another film that I haven't seen in quite a long time, but I do have fond memories of.
Highly Recommended:
Hands down, The Lady Eve. This film would be in my top three of all time, I love this film. When I was an undergrad I first saw this film in the middle of the night on local TV, but missed the first 10 minutes so did not know what it was or who the star was. This was in the pre-internet days, so I could not look up the film or find out what it was, so I went for days thinking about this film and being in love with Stanwcyk without even knowing who she was. It wasn't until a few years later that I happened to see the film and find out what and who it was. I am convinced, though, that this was the moment that got me interested in film.
Haven't Seen, But Want To:
Vitelloni, I (1953) - This is one of the few Fellini I have not seen. I have since gotten out of my Fellini phase, but I would still like to see it.
Really Not Interested:
Green Card (1990) - I hope I don't have to explain too much.
The Rest:
What Next, Corporal Hargrove? (1945)
The Court-Martial of Billy Mitchell (1955)
The Ladykillers (1955)
The Road to Utopia (1946)
The Miracle of Morgan's Creek (1944)
The Bachelor And The Bobby-Soxer (1947)
Crocodile Dundee (1986)
...And Justice for All (1979)
2.12.2005
TCM for Sunday 2/13
Well, as much as I was lost today, I am going to be close tomorrow with Best Song nominees.
Recommended:
The Gay Divorcee (1934) - You can never go wrong with Astaire and Rogers. The number "Night and Day" is marvelous.
Buck Privates (1941) - One of the few Abbott and Costello to make it on TCM this month, and well worth it.
The Man Who Knew Too Much (1956) - A good Hitchcock film. Still not the best, but good.
Holiday Inn (1942) - One of the few Crosby films I have seen, and one that I often enjoy.
What's New, Pussycat? (1965) - I mentioned yesterday about better Sellers films - this is one of them.
Highly Recommended:
This is really a tough one as all of the films above are very good, but none of them is one that stands out for me as one to recommend above the other. So I think I will go out on a limb and suggest Buck Privates since, as I mentioned, it is probably one of the few, if not only, Abbott and Costello films to hit TCM this month. It's also one of their best.
Haven't Seen, But Want To:
The Harvey Girls (1946) - One of the few Garland films that I haven't seen yet.
Really Not Interested:
The Way We Were (1973) - Sorry, just not a big fan.
The Rest:
San Antonio (1945)
Georgy Girl (1966)
The Pink Panther Strikes Again (1976)
Foul Play (1978)
Born Free (1966)
Recommended:
The Gay Divorcee (1934) - You can never go wrong with Astaire and Rogers. The number "Night and Day" is marvelous.
Buck Privates (1941) - One of the few Abbott and Costello to make it on TCM this month, and well worth it.
The Man Who Knew Too Much (1956) - A good Hitchcock film. Still not the best, but good.
Holiday Inn (1942) - One of the few Crosby films I have seen, and one that I often enjoy.
What's New, Pussycat? (1965) - I mentioned yesterday about better Sellers films - this is one of them.
Highly Recommended:
This is really a tough one as all of the films above are very good, but none of them is one that stands out for me as one to recommend above the other. So I think I will go out on a limb and suggest Buck Privates since, as I mentioned, it is probably one of the few, if not only, Abbott and Costello films to hit TCM this month. It's also one of their best.
Haven't Seen, But Want To:
The Harvey Girls (1946) - One of the few Garland films that I haven't seen yet.
Really Not Interested:
The Way We Were (1973) - Sorry, just not a big fan.
The Rest:
San Antonio (1945)
Georgy Girl (1966)
The Pink Panther Strikes Again (1976)
Foul Play (1978)
Born Free (1966)
TCM for Saturday 2/12
The theme has moved on to Best Score winners and nominees and, I must admit, I am a bit lost amongst this group. There are several I have seen, but none really are films that I would generally include in my favorites. So, with that in mind, here we go.
Recommended:
To Kill A Mockingbird (1962) - Quite the classic so it must go here. In all honesty, it is a wonderful film, so do see it.
The Magnificent Seven (1960) - Though I recommend it, I have never been able to sit through it again since the first time I saw it. It just doesn't keep my interest anymore.
Jaws (1975) - A very fun and entertaining film.
Papillon (1973) - Another that I recommend having only seen once, but remember it more fondly than Magnificent Seven.
The Pink Panther (1964) - I loved these films when I was younger, but am ambivalent about them now because I know that there are so man better Peter Sellers films out there.
Festival of Shorts #3 (1998) - Not even sure what is in this package, but the shorts will usually have at least one in the group that I am glad I saw.
Highly Recommended:
This is hard to say, but I think I need to go with Mockingbird. Of the films listed for today it is one of the few that I can go back and watch again from beginning to end without losing interest.
Haven't Seen, But Want To:
The Lost Patrol (1934) - It's from the 1930s and directed by John Ford. Of course I want to see it.
Really Not Interested:
The Fall of the Roman Empire (1964) - Sorry, no Romans.
The Rest:
The Bridge Of San Luis Rey (1944)
The Big Country (1958)
Superman: The Movie (1978)
Recommended:
To Kill A Mockingbird (1962) - Quite the classic so it must go here. In all honesty, it is a wonderful film, so do see it.
The Magnificent Seven (1960) - Though I recommend it, I have never been able to sit through it again since the first time I saw it. It just doesn't keep my interest anymore.
Jaws (1975) - A very fun and entertaining film.
Papillon (1973) - Another that I recommend having only seen once, but remember it more fondly than Magnificent Seven.
The Pink Panther (1964) - I loved these films when I was younger, but am ambivalent about them now because I know that there are so man better Peter Sellers films out there.
Festival of Shorts #3 (1998) - Not even sure what is in this package, but the shorts will usually have at least one in the group that I am glad I saw.
Highly Recommended:
This is hard to say, but I think I need to go with Mockingbird. Of the films listed for today it is one of the few that I can go back and watch again from beginning to end without losing interest.
Haven't Seen, But Want To:
The Lost Patrol (1934) - It's from the 1930s and directed by John Ford. Of course I want to see it.
Really Not Interested:
The Fall of the Roman Empire (1964) - Sorry, no Romans.
The Rest:
The Bridge Of San Luis Rey (1944)
The Big Country (1958)
Superman: The Movie (1978)
2.11.2005
TCM for Friday 2/11
TCM continues with its focus on best actor. These last two days make me realize I am more of an actress aficionado than for actors. Haven't seen as many of these nor do I have as much interest in them.
Recommended:
The Front Page (1931) - Honestly, saw it quite some time ago but remember it to be quite good. Being from '31 doesn't hurt it in getting a recommendation.
Goodbye Mr. Chips (1939) - Not, for me, the best of the '39 films, but it is a must see.
Father Of The Bride (1950) - I enjoyed this film when I saw it several years ago and watch it when it comes on. Engaging and funny.
Network (1976) - Another must see that I haven't seen myself for some time.
Raging Bull (1980) - Quite the amazing film from all perspectives. Could almost make me like boxing films.
Highly Recommended:
I think it has to be Raging Bull because it is the clear classic of the bunch that helped set the terms for much film of the 1980s.
Haven't Seen, but want to:
Yankee Doodle Dandy (1942) - I keep meaning to watch this as I love Cagney. Maybe I will tomorrow.
Really Not Interested:
The Yearling (1946) - Sorry, but no deer.
The Rest:
The Human Comedy (1943)
The Sunshine Boys (1975)
The Lavender Hill Mob (1951)
Tootsie (1982)
The Buddy Holly Story (1978)
Recommended:
The Front Page (1931) - Honestly, saw it quite some time ago but remember it to be quite good. Being from '31 doesn't hurt it in getting a recommendation.
Goodbye Mr. Chips (1939) - Not, for me, the best of the '39 films, but it is a must see.
Father Of The Bride (1950) - I enjoyed this film when I saw it several years ago and watch it when it comes on. Engaging and funny.
Network (1976) - Another must see that I haven't seen myself for some time.
Raging Bull (1980) - Quite the amazing film from all perspectives. Could almost make me like boxing films.
Highly Recommended:
I think it has to be Raging Bull because it is the clear classic of the bunch that helped set the terms for much film of the 1980s.
Haven't Seen, but want to:
Yankee Doodle Dandy (1942) - I keep meaning to watch this as I love Cagney. Maybe I will tomorrow.
Really Not Interested:
The Yearling (1946) - Sorry, but no deer.
The Rest:
The Human Comedy (1943)
The Sunshine Boys (1975)
The Lavender Hill Mob (1951)
Tootsie (1982)
The Buddy Holly Story (1978)
2.09.2005
TCM for Thursday 2/10
Okay, I think I'm getting back on track.
Today the theme moves on to best actor.
Recommended:
The Big House (1930) - This is an excellent early talkie prison film. Montgomery, Morris, and Beery all give superb performances.
A Free Soul (1931) - Another excellent Shearer film - she out-sexes Gable, leaves Leslie Howard in her dust, and plays well alongside Lionel Barrymore.
Citizen Kane (1941) - Kind of have to include it here. Despite saying that, this truly is an excellent film.
The Search (1948) - I saw this about a year ago, maybe during the same month, and quite enjoyed it.
Bad Day At Black Rock (1955) - Another film that I stumbled across and very much enjoyed. The visuals are well done and Tracy stands out.
Highly Recommended:
This is a tough one again. I'm torn between The Big House and A Free Soul, but am going, this time, to give it to The Big House. It's a film that doesn't get too much play (I Know, A Free Soul doesn't either) and really is quite good.
Haven't Seen, but want to:
Lust For Life (1956) - One of the Minnelli I haven't seen and feel like I should. Biopics generally turn me off which has kept me away.
Mourning Becomes Electra (1947) - Sounds like the kind of film I might enjoy. I know little about it other than the TCM blurb.
Really Not Interested:
I Never Sang for My Father (1970) -Again, I know little other than the TCM blurb, but this one does nothing for me.
The Rest:
Gaslight (1944)
Random Harvest (1942)
Philadelphia (1993)
The China Syndrome (1979)
Today the theme moves on to best actor.
Recommended:
The Big House (1930) - This is an excellent early talkie prison film. Montgomery, Morris, and Beery all give superb performances.
A Free Soul (1931) - Another excellent Shearer film - she out-sexes Gable, leaves Leslie Howard in her dust, and plays well alongside Lionel Barrymore.
Citizen Kane (1941) - Kind of have to include it here. Despite saying that, this truly is an excellent film.
The Search (1948) - I saw this about a year ago, maybe during the same month, and quite enjoyed it.
Bad Day At Black Rock (1955) - Another film that I stumbled across and very much enjoyed. The visuals are well done and Tracy stands out.
Highly Recommended:
This is a tough one again. I'm torn between The Big House and A Free Soul, but am going, this time, to give it to The Big House. It's a film that doesn't get too much play (I Know, A Free Soul doesn't either) and really is quite good.
Haven't Seen, but want to:
Lust For Life (1956) - One of the Minnelli I haven't seen and feel like I should. Biopics generally turn me off which has kept me away.
Mourning Becomes Electra (1947) - Sounds like the kind of film I might enjoy. I know little about it other than the TCM blurb.
Really Not Interested:
I Never Sang for My Father (1970) -Again, I know little other than the TCM blurb, but this one does nothing for me.
The Rest:
Gaslight (1944)
Random Harvest (1942)
Philadelphia (1993)
The China Syndrome (1979)
TCM for Wednesday 2/9
It's amazing how time can get away from you. Sorry this is so late. Today continued the theme of best actress.
Recommended:
Dangerous (1935) - Though it is often discussed as a "make-up" award for Davis not being nominated the year before for Of Human Bondage, this is, I think, one of her finest performances. The early scenes when she is seducing Tone in the barn are magnificent.
Suspicion (1941) - Not one of my favorite Hitchcock films, but one to see nonetheless.
Magnificent Obsession (1954) - Ah, the first Sirk melodrama I saw, and still one of my favorites (it is on right now).
Anna Christie (1930) - Garbo talks! Dressler ain't half bad either.
Their Own Desire (1929) - Early Shearer/Montgomery and one of their better pairings I think. Not quite as good as The Divorcee, but one of the first of their pairings that caught my interest.
Highly Recommended:
In this group, hands down it is Dangerous. Ask me to go off on this film more sometime.
Haven't Seen, But Want To:
Butterfield 8 (1960) - I am slowly beginning to realize that I want to see more of Elizabeth Taylor. I happened to see her mini-profile of Montgomery Clift the other day and it sparked an interest that had not been there before.
Really Not Interested:
The Unsinkable Molly Brown (1964) - This came on this afternoon and I began to watch it, but quit after 15 minutes. Not my cup of tea.
The Rest:
Lili (1953)
Madame Curie (1943)
Sunrise At Campobello (1960)
Coal Miner's Daughter (1980)
Long Day's Journey into Night (1962)
Recommended:
Dangerous (1935) - Though it is often discussed as a "make-up" award for Davis not being nominated the year before for Of Human Bondage, this is, I think, one of her finest performances. The early scenes when she is seducing Tone in the barn are magnificent.
Suspicion (1941) - Not one of my favorite Hitchcock films, but one to see nonetheless.
Magnificent Obsession (1954) - Ah, the first Sirk melodrama I saw, and still one of my favorites (it is on right now).
Anna Christie (1930) - Garbo talks! Dressler ain't half bad either.
Their Own Desire (1929) - Early Shearer/Montgomery and one of their better pairings I think. Not quite as good as The Divorcee, but one of the first of their pairings that caught my interest.
Highly Recommended:
In this group, hands down it is Dangerous. Ask me to go off on this film more sometime.
Haven't Seen, But Want To:
Butterfield 8 (1960) - I am slowly beginning to realize that I want to see more of Elizabeth Taylor. I happened to see her mini-profile of Montgomery Clift the other day and it sparked an interest that had not been there before.
Really Not Interested:
The Unsinkable Molly Brown (1964) - This came on this afternoon and I began to watch it, but quit after 15 minutes. Not my cup of tea.
The Rest:
Lili (1953)
Madame Curie (1943)
Sunrise At Campobello (1960)
Coal Miner's Daughter (1980)
Long Day's Journey into Night (1962)
2.08.2005
TCM for Tuesday 2/8
A category I love - best actress.
Recommended:
Another day with quite a few.
Dark Victory (1939) - One of my favorite all-time Bette Davis films, even with the unfortunate role for Bogey. Prognosis Negative!!
Possessed (1947) - Not one of my favorite Crawford films, though others love it. Still very good though.
Splendor In The Grass (1961) - One of the first Kazan films I saw and one that first got me interested in Hollywood film before 1970.
Kitty Foyle (1940) - A wonderful classic.
Now, Voyager (1942) - My other all-time favorite Bette Davis film. It would have to be on the same day.
The Divorcee (1930) - Yet another dilemma. My favorite Shearer film and one of my all-time favorite films. The next category is going to be very difficult.
Highly Recommended:
This is even harder than last night. But, in the end, I think it will come down to recommending a film that may not have been seen too much, and so it is The Divorcee. I imagine many people have seen Now, Voyager and probably Dark Victory. Both have been considered classics for some time and are available widely on video and DVD. Only recently has Shearer come back into the spotlight and this film, as with all of hers, is hard to come by. So, see it if you can.
Haven't Seen, but want to:
White Banners (1938) - I'm giving it to this film because I have no familiarity with any of the other films and this one sounds, by its description, as the one I might like the most.
Really Not Interested:
Same Time, Next Year (1978) - I have seen parts of this from time to time and it really does nothing to interest me.
The Rest:
A Patch Of Blue (1965)
Blossoms In The Dust (1941)
The Bridges of Madison County (1995)
Sister Kenny (1946)
Recommended:
Another day with quite a few.
Dark Victory (1939) - One of my favorite all-time Bette Davis films, even with the unfortunate role for Bogey. Prognosis Negative!!
Possessed (1947) - Not one of my favorite Crawford films, though others love it. Still very good though.
Splendor In The Grass (1961) - One of the first Kazan films I saw and one that first got me interested in Hollywood film before 1970.
Kitty Foyle (1940) - A wonderful classic.
Now, Voyager (1942) - My other all-time favorite Bette Davis film. It would have to be on the same day.
The Divorcee (1930) - Yet another dilemma. My favorite Shearer film and one of my all-time favorite films. The next category is going to be very difficult.
Highly Recommended:
This is even harder than last night. But, in the end, I think it will come down to recommending a film that may not have been seen too much, and so it is The Divorcee. I imagine many people have seen Now, Voyager and probably Dark Victory. Both have been considered classics for some time and are available widely on video and DVD. Only recently has Shearer come back into the spotlight and this film, as with all of hers, is hard to come by. So, see it if you can.
Haven't Seen, but want to:
White Banners (1938) - I'm giving it to this film because I have no familiarity with any of the other films and this one sounds, by its description, as the one I might like the most.
Really Not Interested:
Same Time, Next Year (1978) - I have seen parts of this from time to time and it really does nothing to interest me.
The Rest:
A Patch Of Blue (1965)
Blossoms In The Dust (1941)
The Bridges of Madison County (1995)
Sister Kenny (1946)
2.06.2005
TCM for Monday 2/7/05
The theme moves on to adapted screenplay and, after a weekend in which I found little compelling to watch, things look up again.
Recommended:
Quite a few to recommend for the day.
The Jazz Singer (1927) - Beyond the fact that it is the "first talkie," it is also great melodrama.
Dr. Jekyll And Mr. Hyde (1932) - I prefer the 1920 silent version with Barrymore, but the story itself is good.
The Thin Man (1934) - superb. Both Powell and Loy are marvelous and Asta is terribly cute.
Lolita (1962) - Overall the film has, for me, slow parts, but Sellers and Mason make up for that throughout. The opening is still one of my favorites.
Peyton Place (1957) - Great campy melodrama.
Little Caesar (1930) - Along with the original Scarface, perhaps the best of the early gangster films.
Highly Recommended:
This was a hard one for me. Ten years ago, Lolita would have won hands down. Things have changed and now it is not so clear. As indicated, Lolita is now, for me, a bit of a flawed film and my love of 30s films has taken over. But how does one choose between The Thin Man and Little Caesar? They are both excellent but very different kinds of films. I guess it comes down to something simple: over the past year, when I came across one or the other film playing on TCM, which did I sit and watch more often? The winner; Little Caesar.
Haven't Seen, but want to:
12 Angry Men (1957) - this was a bit of a weak choice, none of the remaining films were any that I have been longing to see as I had seen most of them. This one out as I am intrigued to see more of Fonda's films.
Really Not Interested:
Captain Newman, M.D. (1964) - this is another film that I have seen previews for on TCM recently and it does not at all look like anything that I would want to watch.
The Rest:
Baby Doll (1956) - Haven't seen it and do not really want to, though I could more that the one above.
Stand by Me (1986) - Saw it when it came out, who didn't, but do not have any really fond memories. In fact, the only memories were of being sick of the title song while in high school.
JFK (1991) - Have only seen parts of this, it has never really been able to keep my interest.
Recommended:
Quite a few to recommend for the day.
The Jazz Singer (1927) - Beyond the fact that it is the "first talkie," it is also great melodrama.
Dr. Jekyll And Mr. Hyde (1932) - I prefer the 1920 silent version with Barrymore, but the story itself is good.
The Thin Man (1934) - superb. Both Powell and Loy are marvelous and Asta is terribly cute.
Lolita (1962) - Overall the film has, for me, slow parts, but Sellers and Mason make up for that throughout. The opening is still one of my favorites.
Peyton Place (1957) - Great campy melodrama.
Little Caesar (1930) - Along with the original Scarface, perhaps the best of the early gangster films.
Highly Recommended:
This was a hard one for me. Ten years ago, Lolita would have won hands down. Things have changed and now it is not so clear. As indicated, Lolita is now, for me, a bit of a flawed film and my love of 30s films has taken over. But how does one choose between The Thin Man and Little Caesar? They are both excellent but very different kinds of films. I guess it comes down to something simple: over the past year, when I came across one or the other film playing on TCM, which did I sit and watch more often? The winner; Little Caesar.
Haven't Seen, but want to:
12 Angry Men (1957) - this was a bit of a weak choice, none of the remaining films were any that I have been longing to see as I had seen most of them. This one out as I am intrigued to see more of Fonda's films.
Really Not Interested:
Captain Newman, M.D. (1964) - this is another film that I have seen previews for on TCM recently and it does not at all look like anything that I would want to watch.
The Rest:
Baby Doll (1956) - Haven't seen it and do not really want to, though I could more that the one above.
Stand by Me (1986) - Saw it when it came out, who didn't, but do not have any really fond memories. In fact, the only memories were of being sick of the title song while in high school.
JFK (1991) - Have only seen parts of this, it has never really been able to keep my interest.
Saturday Out
Yesterday, Sebastian and I went to Independence Seapot Museum.
Here is a nice photo of the Ben Franlkin Bridge:
We spent some time in the museum looking at the boats.
And we visited a submarine.
Here is a nice photo of the Ben Franlkin Bridge:
We spent some time in the museum looking at the boats.
And we visited a submarine.
2.05.2005
Sunday TCM
I'm a little behind on this so, without much comment:
The theme for Sunday 2/6 is cinematography.
Recommended:
Abe Lincoln In Illinois (1940), Intermezzo: A Love Story (1939), The Picture of Dorian Gray (1945).
Highly Recommended:
Very tough as I have only seen a few of these films. Maybe Dorian Gray.
Haven't Seen, but want to:
The Sign of the Cross (1932). This is one I have long wanted to see. Will certainly tape it tonight.
Really Not Interested:
The Greatest Story Ever Told (1965). Just not interested. The rest of the lineup could go either way.
The theme for Sunday 2/6 is cinematography.
Recommended:
Abe Lincoln In Illinois (1940), Intermezzo: A Love Story (1939), The Picture of Dorian Gray (1945).
Highly Recommended:
Very tough as I have only seen a few of these films. Maybe Dorian Gray.
Haven't Seen, but want to:
The Sign of the Cross (1932). This is one I have long wanted to see. Will certainly tape it tonight.
Really Not Interested:
The Greatest Story Ever Told (1965). Just not interested. The rest of the lineup could go either way.
2.04.2005
Moving Right Along
Here's my lowdown on tomorrow's day on TCM. After a very good start to the month for me, the schedule is slowly settling into what I had expected - unfortunately. Maybe it will pick up after the weekend.
continuing the theme of Best Supporting Actor.
Recommended:
The Great Dictator, even if I find it a bit overrated and feel that it hasn't aged well it still has some truly hilarious moments.
The Alamo for personal reasons. One of the really bad films that I am a sucker for.
Quiz Show. I remember quite enjoying this when it came out and Ralph Fiennes is excellent.
Highly Recommended:
The Maltese Falcon. Really a must see for so many reasons, not the least of which are Peter Lorre and Sydney Greenstreet.
Haven't Seen, but want to:
Crossfire. I have heard much about the film and its source material, but have never taken the time to watch it. Too bad it is on at 4:45am, I probably won't get to it this time either.
Really Not Interested:
The Paper Chase. I hear great things about the film, but the previews I have seen do nothing for me.
Today I did not get a chance to see anything. I was tied up at school and then went to a lecture.
continuing the theme of Best Supporting Actor.
Recommended:
The Great Dictator, even if I find it a bit overrated and feel that it hasn't aged well it still has some truly hilarious moments.
The Alamo for personal reasons. One of the really bad films that I am a sucker for.
Quiz Show. I remember quite enjoying this when it came out and Ralph Fiennes is excellent.
Highly Recommended:
The Maltese Falcon. Really a must see for so many reasons, not the least of which are Peter Lorre and Sydney Greenstreet.
Haven't Seen, but want to:
Crossfire. I have heard much about the film and its source material, but have never taken the time to watch it. Too bad it is on at 4:45am, I probably won't get to it this time either.
Really Not Interested:
The Paper Chase. I hear great things about the film, but the previews I have seen do nothing for me.
Today I did not get a chance to see anything. I was tied up at school and then went to a lecture.
The 4th Day of Osc
Here is a preview of tomorrow's line-up. The theme has moved on to Best Supporting Actor.
Recommended: The unofficial Bette Davis theme continues with four films tomorrow to go with the three from today. They are Mr. Skeffington, The Corn is Green, Pocketful of Miracles, and Juarez. Otherwise, Picnic, The Asphalt Jungle, and Notorious are also good ones to catch.
Highly Recommended: I'm going to return to the Davis films here and recommend Juarez. None of these Davis films would make my top five list for her, but Juarez would be close because I also love Paul Muni who seems somewhat forgotten today though he was spectacular in his day.
Haven't Seen, but want to: Ride the Pink Horse leaps out at me from the list as Robert Montgomery is one of my favorites - though I generally prefer his work in the early 1930s and not the film noir 40s so much. I might try and tape this one though.
Really Not Interested: This award goes to Trial tonight. Nothing here seems to grab me about it. I have been wrong before though...
As for today, I did end up watching These Three which was good. Merle Oberon is stunning - I often forget that. I also saw All This, And Heaven Too and The Little Foxes. Both are good, though, as I said, Foxes overall is much better. I have thought about this before, but I was struck again watching both films as to how amazing Bette Davis close-ups are - I really think there are few finer in film at delivering a close-up. Shots of her face literally jar me out of my seat each and every time - either due to the beauty, innocence, and simplicity of her look in All This, the cold meanness of her look in Foxes, or, where I thought of it before, the sexual energy of her look in Dangerous. Breathtaking each and every time, even if for radically different reasons.
Recommended: The unofficial Bette Davis theme continues with four films tomorrow to go with the three from today. They are Mr. Skeffington, The Corn is Green, Pocketful of Miracles, and Juarez. Otherwise, Picnic, The Asphalt Jungle, and Notorious are also good ones to catch.
Highly Recommended: I'm going to return to the Davis films here and recommend Juarez. None of these Davis films would make my top five list for her, but Juarez would be close because I also love Paul Muni who seems somewhat forgotten today though he was spectacular in his day.
Haven't Seen, but want to: Ride the Pink Horse leaps out at me from the list as Robert Montgomery is one of my favorites - though I generally prefer his work in the early 1930s and not the film noir 40s so much. I might try and tape this one though.
Really Not Interested: This award goes to Trial tonight. Nothing here seems to grab me about it. I have been wrong before though...
As for today, I did end up watching These Three which was good. Merle Oberon is stunning - I often forget that. I also saw All This, And Heaven Too and The Little Foxes. Both are good, though, as I said, Foxes overall is much better. I have thought about this before, but I was struck again watching both films as to how amazing Bette Davis close-ups are - I really think there are few finer in film at delivering a close-up. Shots of her face literally jar me out of my seat each and every time - either due to the beauty, innocence, and simplicity of her look in All This, the cold meanness of her look in Foxes, or, where I thought of it before, the sexual energy of her look in Dangerous. Breathtaking each and every time, even if for radically different reasons.
2.02.2005
More on Today
A quick comeback to TCM today.
I ended up seeing most of Since You Went Away (1944), missing only the first 20 or 30 minutes (it's almost three hours long).
What a great film. The performances are top notch and if you love weepy melodramas this is the film for you. The film was ripping my heart out every 20 minutes or so - the ups and downs were crazy but, I imagine, very real for much of the contemporary audience. Even the hokey ending didn't bother me so much.
If you get a chance to catch this one, please do try.
I ended up seeing most of Since You Went Away (1944), missing only the first 20 or 30 minutes (it's almost three hours long).
What a great film. The performances are top notch and if you love weepy melodramas this is the film for you. The film was ripping my heart out every 20 minutes or so - the ups and downs were crazy but, I imagine, very real for much of the contemporary audience. Even the hokey ending didn't bother me so much.
If you get a chance to catch this one, please do try.
Getting Ahead
I though I would get ahead a little in the 31 Days of Oscar, so here is my take on tomorrow.
Continuing the "Supporting Actress" theme, but Bette Davis plays a large part in it.
Three of her films will be airing tomorrow: All This, And Heaven Too (1940) at 7:30,
The Little Foxes (1941) at 1:30, and The Great Lie (1941) at 3:15am. Of these, The Little Foxes and The Great Lie would be the ones to catch with, for me, The Great Lie being the must-see. Too bad it is the one on so late.
Some other usual must sees are also on tomorrow including Singin' In the Rain (1952), Duel in the Sun (1946), and Seargant York (1941). Though I don't normally go for war films, York is one that I remember liking when I saw it some time ago and found Copper to be quite good in.
Among the rest of the films, which I haven't seen, Nixon (1995) is the one that I would be most interested in seeing, narrowly beating out These Three (1936). Since I won't be home tomorrow night, but will be here during the day, I will probably end up watching These Three.
Continuing the "Supporting Actress" theme, but Bette Davis plays a large part in it.
Three of her films will be airing tomorrow: All This, And Heaven Too (1940) at 7:30,
The Little Foxes (1941) at 1:30, and The Great Lie (1941) at 3:15am. Of these, The Little Foxes and The Great Lie would be the ones to catch with, for me, The Great Lie being the must-see. Too bad it is the one on so late.
Some other usual must sees are also on tomorrow including Singin' In the Rain (1952), Duel in the Sun (1946), and Seargant York (1941). Though I don't normally go for war films, York is one that I remember liking when I saw it some time ago and found Copper to be quite good in.
Among the rest of the films, which I haven't seen, Nixon (1995) is the one that I would be most interested in seeing, narrowly beating out These Three (1936). Since I won't be home tomorrow night, but will be here during the day, I will probably end up watching These Three.
Day 2
Well, yesterday turned out to be as great as I thought. I was able to catch Barretts and most of Merry Widow, then had to leave for school and watched Mutiny and the Thalberg documentary when I got home. All in all a nice day.
I though the Thalberg documentary was good, but did not catch anything new on the initial screening. I felt that if you had read the biographies of him there was not really that much new added to the mix. Some new clips and, for me, the first time hearing him speak, but that was all.
As a Shearer fan, I was also a little disappointed in the way they presented her, especially in regards to her as a mother. I concede that she may not have wanted children nor was overly affectionate towards them, but the way it was presented was as if she were a cold, uncaring mother and I don't know if that extreme was the case.
As for today and tonight, my recommendations would be Jezebel (just ending), The Spiral Staircase (starting in a moment), Stella Dallas at 3:30, Imitation of Life (1959) at 8, and L.A. Confidential tonight at 2:30. Of these, Stella has to be my favorite - in fact I will be doing some writing about it later in the month so maybe I will share some of that.
I though the Thalberg documentary was good, but did not catch anything new on the initial screening. I felt that if you had read the biographies of him there was not really that much new added to the mix. Some new clips and, for me, the first time hearing him speak, but that was all.
As a Shearer fan, I was also a little disappointed in the way they presented her, especially in regards to her as a mother. I concede that she may not have wanted children nor was overly affectionate towards them, but the way it was presented was as if she were a cold, uncaring mother and I don't know if that extreme was the case.
As for today and tonight, my recommendations would be Jezebel (just ending), The Spiral Staircase (starting in a moment), Stella Dallas at 3:30, Imitation of Life (1959) at 8, and L.A. Confidential tonight at 2:30. Of these, Stella has to be my favorite - in fact I will be doing some writing about it later in the month so maybe I will share some of that.
2.01.2005
31 Days of Oscar
Today begins Turner Classic Movies' yearly month long tribute to the Academy Awards - 31 Days of Oscar.
I am going to try and keep a running catalog of some of the days - the ones I get to look at anyway. I don't know that I will write about all of the days, but will try about many.
Today is easily going to turn out to be one of my favorite days. It's too bad I have too much work to do, otherwise I would probably spend the whole day sitting in front of the television.
Already this morning I caught, again, Smilin' Through, soon to be followed up by The Barretts of Wimpole Street, The Merry Widow, Camille, and The Good Earth. This is, of course, leading up to the premiere tonight of Irving Thalberg: Prince of Hollywood. I am really looking forward to seeing this as I am a huge fan of Thalberg and would like to see if there is any new information in there about him. After that, tonight, they are showing Mutiny on the Bounty and Grand Hotel.
What a night!!! I recommend each and every one of these films to everyone. I wish this program could be put together as a screening for one day. So many of these I would love to see on the big screen.
I am going to try and keep a running catalog of some of the days - the ones I get to look at anyway. I don't know that I will write about all of the days, but will try about many.
Today is easily going to turn out to be one of my favorite days. It's too bad I have too much work to do, otherwise I would probably spend the whole day sitting in front of the television.
Already this morning I caught, again, Smilin' Through, soon to be followed up by The Barretts of Wimpole Street, The Merry Widow, Camille, and The Good Earth. This is, of course, leading up to the premiere tonight of Irving Thalberg: Prince of Hollywood. I am really looking forward to seeing this as I am a huge fan of Thalberg and would like to see if there is any new information in there about him. After that, tonight, they are showing Mutiny on the Bounty and Grand Hotel.
What a night!!! I recommend each and every one of these films to everyone. I wish this program could be put together as a screening for one day. So many of these I would love to see on the big screen.
1.31.2005
SEPTA
Had my first really bad experience with SEPTA today. I say this as I have been taking the train three days a week for much of the past six months without any real problem. I usually get the 7:16 train and am able to walk into class just before 8:00.
This morning, however, I arrived at the station at about 7:10 and got in line to buy my tickets. As I was waiting, at about 7:13, a train pulled up - but it was too early for the 7:16 and looked like the express which usually goes right by. I tried to get through the line as quickly as possible, but missed the train. I didn't think this would be a problem as the regular train should have been coming. Shortly after the train left, however, an announcement was made that the 7:16 was cancelled and that the express would be making all local stops.
There are two things that bothered me here. One is that they could have announced BEFORE the express arrived and left that it was the train to get on. Second, they easily could have held up the train a few minutes to put it on time with the regular 7:16 for this and all subsequent stations.
I guess, however, they felt it was going to be fine as the next announcement also told us that the 7:25 express would stop at my station and two others on the way in to town. Good, so instead of having to wait until 7:45 I could get on the train about 10 minutes late. I could live with that.
However, the express didn't stop. Many of us were quite dismayed as the express came down the tracks but did not slow down and sped right past the station. Either the driver forgot or someone forgot to tell him/her to stop. Needles to say we were not happy but could do nothing.
And of course there was no other announcement.
The upshot was that I was 30 minutes late for my class - I had to effectively cancel my class. I now will try and go for the early train just in case. (This was not exactly an isolated moment - the 7:16 has been late three times before this in the last week.)
This morning, however, I arrived at the station at about 7:10 and got in line to buy my tickets. As I was waiting, at about 7:13, a train pulled up - but it was too early for the 7:16 and looked like the express which usually goes right by. I tried to get through the line as quickly as possible, but missed the train. I didn't think this would be a problem as the regular train should have been coming. Shortly after the train left, however, an announcement was made that the 7:16 was cancelled and that the express would be making all local stops.
There are two things that bothered me here. One is that they could have announced BEFORE the express arrived and left that it was the train to get on. Second, they easily could have held up the train a few minutes to put it on time with the regular 7:16 for this and all subsequent stations.
I guess, however, they felt it was going to be fine as the next announcement also told us that the 7:25 express would stop at my station and two others on the way in to town. Good, so instead of having to wait until 7:45 I could get on the train about 10 minutes late. I could live with that.
However, the express didn't stop. Many of us were quite dismayed as the express came down the tracks but did not slow down and sped right past the station. Either the driver forgot or someone forgot to tell him/her to stop. Needles to say we were not happy but could do nothing.
And of course there was no other announcement.
The upshot was that I was 30 minutes late for my class - I had to effectively cancel my class. I now will try and go for the early train just in case. (This was not exactly an isolated moment - the 7:16 has been late three times before this in the last week.)
1.29.2005
Punditry
The other night, The Daily Show had on what was its best "Great Moments in Punditry as Read by Children" that I have seen.
For those of you unfamiliar with the show, this skit usually lasts about 30 seconds or so and involves children reading transcripts from talk-shows of pundits saying usually ridiculous things. As it goes, these are often quite funny and reveal the idiocy of the comments by decontextualizing them from the talk-show format which serves to mask what is being said.
For this skit, there were four children reading a section from "Hannity and Colmes" on some date from, I think, last summer. They were discussing the "scandal" of the Democrat who illegally removed documents from some library (I can't remember right now exactly who it was or the circumstances). For the skit, there was a young man reading Hannity, another reading a democratic commentator, a young girl reading Ann Coulter, and another young girl reading Colmes. The main thrust of the selection begins with "Ann Coulter" making a statement about the theft of documents and the "democrat" stepping in to correct what did turn out to be an exaggeration.
"Hannity" then jumps on the "democrat" for interrupting and the two go back and forth as "Hannity" suggests that the "democrat" needs to get in line or he will cut off his mic and throw him off the show. The two argue over this for some time, with "Coulter" jumping in from time to time to try and add something.
What makes this so wonderful to now is that it is going on for longer than usual. As I mentioned, these segments usually last about 30 seconds at most. This one goes on for at least a minute. And what you begin to notice after a while is that throughout it all, "Colmes" is sitting on the side doing nothing. I began to wonder after a while of watching the young girl "Colmes" fidget and squirm while the others argue if she was ever going to say anything. Then, suddenly, the other three pause and then look over at "Colmes" who says "We'll be right back." She then begins to laugh and says "I wasn't paying attention."
Whether this was scripted or not, what made this so great was how it reveals so completely the function of Colmes on this show - he is nothing but a prop on the set. During the usual viewing of the show, the edits and cuts mask the fact that Colems is often doing little more than sitting there waiting to cut to commercial while Hannity makes points. The staging of this as well as the final "acting" of the young girl playing "Colmes" reveal perfectly the charade that is this show.
Great work.
For those of you unfamiliar with the show, this skit usually lasts about 30 seconds or so and involves children reading transcripts from talk-shows of pundits saying usually ridiculous things. As it goes, these are often quite funny and reveal the idiocy of the comments by decontextualizing them from the talk-show format which serves to mask what is being said.
For this skit, there were four children reading a section from "Hannity and Colmes" on some date from, I think, last summer. They were discussing the "scandal" of the Democrat who illegally removed documents from some library (I can't remember right now exactly who it was or the circumstances). For the skit, there was a young man reading Hannity, another reading a democratic commentator, a young girl reading Ann Coulter, and another young girl reading Colmes. The main thrust of the selection begins with "Ann Coulter" making a statement about the theft of documents and the "democrat" stepping in to correct what did turn out to be an exaggeration.
"Hannity" then jumps on the "democrat" for interrupting and the two go back and forth as "Hannity" suggests that the "democrat" needs to get in line or he will cut off his mic and throw him off the show. The two argue over this for some time, with "Coulter" jumping in from time to time to try and add something.
What makes this so wonderful to now is that it is going on for longer than usual. As I mentioned, these segments usually last about 30 seconds at most. This one goes on for at least a minute. And what you begin to notice after a while is that throughout it all, "Colmes" is sitting on the side doing nothing. I began to wonder after a while of watching the young girl "Colmes" fidget and squirm while the others argue if she was ever going to say anything. Then, suddenly, the other three pause and then look over at "Colmes" who says "We'll be right back." She then begins to laugh and says "I wasn't paying attention."
Whether this was scripted or not, what made this so great was how it reveals so completely the function of Colmes on this show - he is nothing but a prop on the set. During the usual viewing of the show, the edits and cuts mask the fact that Colems is often doing little more than sitting there waiting to cut to commercial while Hannity makes points. The staging of this as well as the final "acting" of the young girl playing "Colmes" reveal perfectly the charade that is this show.
Great work.
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