September 2011 Schedule w/ The Story of Temple Drake

[Lzcutter]

The Story of Temple Drake is coming to TCM this September!


The schedule is still being worked on but someone at TCM City jumped the gun and published the link:

http://www.tcm.com/schedule/monthly.htm ... 2011-09-01

Color me happy to see The Vanishing American back on the schedule as it disappeared from my tivo when it got too full.

Now if they would only bring back the silent version of Last of the Mohicans and Will Penny which also disappeared and I'd be a happy camper!

[srowley75]

The Constant Nymph is also on tap for late Sept. , and that bowls me over. I guess the rights issues are no longer a problem.

[Lzcutter]

Srowley,

Robert O announced during the screening at the Film Festival this year that the rights had been cleared up for both The Constant Nymph and Night Flight.

Last year they were working to clear Temple Drake.

With that one cleared, can Letty Lynton be in our future?

[feaito]

Hope so Lynn, it would be great to see Crawford looking as ravishing as she does in Letty Lynton on a clear, crisp print

[markfp]

[quote="kingrat"]When TCM showed The Story of Temple Drake at the 2010 festival, it was only 90% restored, according to the expert who presented it, and you could tell the difference. Let's hope that by now there's a fully restored version.

When we ran it this past March at Cinefest here in Syracuse,we assumed it was the same 35mm print that TCM ran at their Festival last year, but I don't recall noticing any footage that obviously hadn't yet been restored. Perhaps, it was a different print made from the fully restored film. If the TCM's quality is as good as that print, I think everyone will be pleased.

[ChiO]

ChiO, they are showing Barbara Loden's Wanda as part of a Telluride tribute. I knew you'd be pleased to hear that.

Boy, that should start a fire over at the TCM Board! If just one person who has never seen it becomes a proponent, then I will be eternally grateful.

[charliechaplinfan]

I watched Temple Drake on youtube, I'm glad it's getting a showing, it's worth watching. The Constant Nymph too, you are too lucky.

[moira finnie]

The TCM schedule for the month of September seems to be coming and going on the site. Before it disappears again for further additions and tinkering, here are a few movies that I noticed on the schedule, (which are all subject to change, of course).

Sept. 4th The Miracle (1959) the bad movie that almost no one else has seen, is on TCM!

Truffaut's The Wild Child is on overnight on Sept 5th. Haven't seen this one since the '70s. Hope it is as good as I remember.

A Letter to Three Wives comes to TCM on Sept. 7th!!

Allelujah! Danny Thomas night on Sept. 9th.

I'll See You in My Dreams (1951) with Danny as Gus Kahn and Doris Day as his wife and manager. Best of all--Mary Wickes as a housekeeper who won't goo away. This one is pretty decent, with good songs and Doris before she was a virgin.

The Jazz Singer (1953) is on deck too with Danny in the Al Jolson role. I'm sure it's a schmaltz-fest, but can't resist looking, especially since Michael Curtiz is directing.

Big City (1948) with Margaret O'Brien, ROBERT PRESTON and Danny is up too. George Murphy is in this one, but that's okay since he is paired with Betty Garrett

Great pre-code Union Depot (1932) is on Sept 12th with Douglas Fairbanks, Jr. and Joan Blondell. Nimbly directed by Alfred E. Green. On the same day, A Man's Castle (1933) is being shown as well.

I also noticed that Moss Hart's autobiographical Act One (1963), about his apprenticeship in the theater and working with George S. Kaufman (Jason Robards) is on deck. Hart is played by George Hamilton, which may be okay...or embarrassing.

One of the first films that garnered Preston Sturges real respect from Hollywood, The Power and the Glory (1933) with Spencer Tracy and one of the few sound films featuring Colleen Moore is on the schedule too. The daffy and frantic elements he became associated with in his later directorial efforts are no where to be seen as Depression era audiences were invited to view the rise and fall of a tycoon. Tracy thought this was one of his best, according to Garson Kanin. You be the judge.

[moira finnie]

Pauline Kael was the critic who pointed out the similarities between The Power and the Glory (1933-William K. Howard) and Citizen Kane (1941). While it is very similar in structure to Citizen Kane, and was based on C.W. Post's life to some extent, the Sturges script lacked the subtlety and humor of Herman Mankiewicz's script that eventually became Welles' cinematic milestone. When The Power and the Glory was first released,it was marketed to theater owners as revolutionary in its documentary style drama, though I think it may have come along at a time when there were almost too many films critical of capitalism's effect on the individual, family, and community being released, among them the following: Skyscraper Souls (1932), The Conquerors (1932), The Match King (1932), A Modern Hero (1933), I Loved a Woman (1933), Sweepings (1933), Looking Forward (1933), among others.

Living through the Depression sounds bad enough without reliving it vicariously on screen when you're trying to escape your troubles in the worst years of the downturn--even though some of the acting in P and G was superior to most of the other films. I doubt if it helped The Power and the Glory that it was being distributed by Fox when they were trying desperately to reshuffle their finances to survive, leading eventually to 20th Century Fox.

[ChiO]

moirafinnie wrote:
...the Sturges script lacked the subtlety and humor of Herman Mankiewicz's script that eventually became Welles' cinematic milestone.

Oh, there you go again, believing Pauline Kael. It's the Herman Mankiewicz and Orson Welles script that eventually became one of Welles' many cinematic milestones.

[moira finnie]

moirafinnie wrote:
...the Sturges script lacked the subtlety and humor of Herman Mankiewicz's script that eventually became Welles' cinematic milestone.

Oh, there you go again, believing Pauline Kael. It's the Herman Mankiewicz and Orson Welles script that eventually became one of Welles' many cinematic milestones.

Excuse me, ChiO. I did not credit Manikiewicz more than Welles and believe that the script was brought to life because of Welles' abilities and vision, along with the innovative work of many others. I am sorry if my comment was open to negative interpretation. That was not my intention.

[ChiO]

Just joshin' with ya, Moira. Whether the "joshin'" comes from HM or OW is open to debate.

[Lzcutter]

Whether the "joshin'" comes from HM or OW is open to debate.

And all this time, I thought "josh" came from Frank Mankewicz. HAR!!! HAR!!!!!!