Coming Up on TCM
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JackFavell
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Re: Coming Up on TCM
Oh, baby! You can keep your pedal pushers, I want that yellow roadster - married OR NOT! 
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JackFavell
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- Joined: April 20th, 2009, 9:56 am
Re: Coming Up on TCM
Did anyone at all get a copy of the 1933 State Fair? I'm so stupid, I wasn't paying attention to the time, and missed the one movie I really wanted to see this month.
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movieman1957
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Re: Coming Up on TCM
You're not stupid. You have a life.
No, I didn't get it but I wasn't looking for it either.
No, I didn't get it but I wasn't looking for it either.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
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movieman1957
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Re: Coming Up on TCM
"The Cruel Sea" is showing again next month.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
Re: Coming Up on TCM
Okay Jack. I'll race your little yellow roadster with that fire engine red hot hot rod of Malone's!!
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JackFavell
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Sue Sue Applegate
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Re: Coming Up on TCM
Is it time for Jack and Coke again? That's one of my favorite things out on the back porch...
Blog: http://suesueapplegate.wordpress.com/
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Thelma Ritter: Hollywood's Favorite New Yorker, University Press of Mississippi-2023
Avatar: Ginger Rogers, The Major and The Minor
Twitter:@suesueapplegate
TCM Message Boards: http://forums.tcm.com/index.php?/topic/ ... ue-sue-ii/
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Thelma Ritter: Hollywood's Favorite New Yorker, University Press of Mississippi-2023
Avatar: Ginger Rogers, The Major and The Minor
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JackFavell
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- Joined: April 20th, 2009, 9:56 am
Re: Coming Up on TCM
Have you ever had Jim Beam syrup on your pancakes, Sue Sue? It's quite the pick me up in the morning.
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JackFavell
- Posts: 11926
- Joined: April 20th, 2009, 9:56 am
Re: Coming Up on TCM
I echo that sentiment, kingrat...This year has really been Litvak's on TCM - I find him to be a very fine director, one of my favorites now, fascinating, especially with European subjects.
This is the first movie of Oskar Werner's where I really liked him, unabashedly. As an actor, yes, I think him very good, but his characters...oh good lord! Generally, he disturbs me, sometimes he is too good at portraying weak men or those who are in such a quandary that they are unable to move. I find his style off-putting - as if he were daring you to like or feel sorry for him. Even if he is playing a nice character he is going to find all the blemishes of that character's soul anyway and spread them before you like a banquet, then throw them in your face as if to say, "I'm just as flawed as the villain, so don't pin your hopes on me to be your hero".
In this film he was so expressive of the overall turmoil and angst of the country at that time, and I think this is Litvak's vision, to explore the variations of thought at that time. So many odd emotions showed in his face as well as the fear and then the guilt, which somehow was unexpected. Some things in his face were too complex for me to actually name, but this time I really felt for him - the suspense of it was too much in some parts of the film, I wanted to help him, you know? I guess what I'm saying is that this time, in this movie I was able to really empathize with him fully for the first time.
This is the first movie of Oskar Werner's where I really liked him, unabashedly. As an actor, yes, I think him very good, but his characters...oh good lord! Generally, he disturbs me, sometimes he is too good at portraying weak men or those who are in such a quandary that they are unable to move. I find his style off-putting - as if he were daring you to like or feel sorry for him. Even if he is playing a nice character he is going to find all the blemishes of that character's soul anyway and spread them before you like a banquet, then throw them in your face as if to say, "I'm just as flawed as the villain, so don't pin your hopes on me to be your hero".
In this film he was so expressive of the overall turmoil and angst of the country at that time, and I think this is Litvak's vision, to explore the variations of thought at that time. So many odd emotions showed in his face as well as the fear and then the guilt, which somehow was unexpected. Some things in his face were too complex for me to actually name, but this time I really felt for him - the suspense of it was too much in some parts of the film, I wanted to help him, you know? I guess what I'm saying is that this time, in this movie I was able to really empathize with him fully for the first time.
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JackFavell
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- Joined: April 20th, 2009, 9:56 am
Re: Coming Up on TCM
I really love the way they presented Oscar month this time. The idea of traveling around the world through Oscar nominated/winning movies really works for me.
It seems kind of funny, but my favorite movies seem to be ones set in Vienna.
It seems kind of funny, but my favorite movies seem to be ones set in Vienna.
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moira finnie
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Re: Coming Up on TCM
A few exceptional films set in Asia are on tap for early Friday, Feb. 24th on TCM.
Later tonight at 1:00 AM (ET) Peter Weir's remarkably atmospheric The Year of Living Dangerously (1982) takes us to Indonesia in the '60s during a revolution that the Western characters barely comprehend, despite what was at stake for the people who lived there. Weir chose to convey the attitudes and presumptions of the Westerners rather than delve into the detailed mechanics of Indonesian politics, but I think he accurately captured some of the arrogance and ignorance that had led to such tragedies as the Vietnam War that had ended a few years prior to the film as the outsiders are largely insulated from the native population and only begin to see the chaos near the end of the movie. The central characters of a very young, ambitious reporter (Mel Gibson) and a minor diplomat (Signourney Weaver) are striking in their sensuality and naivete, but it is the powerful if diminutive Linda Hunt, whose shape-shifting performance as a man, a Eurasian reporter named Billy Kwan, steals the show and deservedly won the Oscar (along with many other major awards worldwide). As with most of Weir's films (Picnic at Hanging Rock, Gallipoli, The Last Wave, Witness), the film is visually dazzling thanks to Weir's acute eye, the cinematography of Russell Boyd and art direction of Herbert Pinter, as well as aurally memorable sound and hauntingly evocative music. Maurice Jarre's score is punctuated with great pop music of the period, incorporating songs such as "Long Tall Sally," as well as captivating music by electro-pop composer Vangelis and Richard Strauss' "Four Last Songs" (sung with celestial grace by Kiri Te Kanawa) along with with a blend of Indonesian music.
At 3AM ET, one of director Raoul Walsh's toughest films, Objective, Burma (1945) with Errol Flynn leading troops into the Japanese-held territory will be aired. Nominated for Academy Awards for Best Editing by George Amy, Best Score by Franz Waxman and Best Screenplay by Ranald MacDougall and Lester Cole (from a story by Alvah Bessie), it should have received more recognition for its star as well, who gave an excellent performance supported by good actors such as Henry Hull, Anthony Caruso, Richard Erdman (who is still working today!), and the indispensable George Tobias. Controversial now for its brutal depiction of real wartime attitudes toward the enemy (who are depicted as subhuman at best), it also was hammered by the British press, who understandably felt offended by the lack of recognition of the vital role of British and Commonwealth forces in the Burmese theater of war. Despite this, with still potent combat scenes alternating with moments when soldiers are shown in their enormous vulnerability, it still carries us to war in a way that few movies can do. Some critics have named this one of the most powerful war films made in the studio era. You be the judge.
At 5:30 AM ET, The Hasty Heart (1950), directed by Vincent Sherman, is a stage-bound vehicle that contains an achingly fine performance by the understated Richard Todd, who played the testy young Scot convalescing among other recovering Allied troops in a makeshift hospital as the war winds down. The film touches on so many themes, including life's random & profound unfairness at times, along with loneliness, anger, sorrow, the healing power of humor and friendship, that you soon forget the fact that the movie was filmed on a soundstage on a rather paltry budget. While Sherman never seemed entirely satisfied with the film, he drew good performances from his whole cast, including Ronald Reagan, whose hearty American refuses to take too much guff from Todd's "Lachie" McLachlan. Reagan and his genial cohorts are soon enlightened about their annoying ward-mate by Nurse Patricia Neal. Neal's performance suggests an briskly compassionate character who eventually finds herself a bit overwhelmed by the emotional needs of her patient. Having seen this movie several times, it never fails to move me--especially when Orland Martins as the great-hearted African soldier called "Blossom" expresses his desire to connect with his difficult companion--even when what he has to offer is simple as a set of beads given in friendship. Todd fans should enjoy this greatly.
Later tonight at 1:00 AM (ET) Peter Weir's remarkably atmospheric The Year of Living Dangerously (1982) takes us to Indonesia in the '60s during a revolution that the Western characters barely comprehend, despite what was at stake for the people who lived there. Weir chose to convey the attitudes and presumptions of the Westerners rather than delve into the detailed mechanics of Indonesian politics, but I think he accurately captured some of the arrogance and ignorance that had led to such tragedies as the Vietnam War that had ended a few years prior to the film as the outsiders are largely insulated from the native population and only begin to see the chaos near the end of the movie. The central characters of a very young, ambitious reporter (Mel Gibson) and a minor diplomat (Signourney Weaver) are striking in their sensuality and naivete, but it is the powerful if diminutive Linda Hunt, whose shape-shifting performance as a man, a Eurasian reporter named Billy Kwan, steals the show and deservedly won the Oscar (along with many other major awards worldwide). As with most of Weir's films (Picnic at Hanging Rock, Gallipoli, The Last Wave, Witness), the film is visually dazzling thanks to Weir's acute eye, the cinematography of Russell Boyd and art direction of Herbert Pinter, as well as aurally memorable sound and hauntingly evocative music. Maurice Jarre's score is punctuated with great pop music of the period, incorporating songs such as "Long Tall Sally," as well as captivating music by electro-pop composer Vangelis and Richard Strauss' "Four Last Songs" (sung with celestial grace by Kiri Te Kanawa) along with with a blend of Indonesian music.
At 3AM ET, one of director Raoul Walsh's toughest films, Objective, Burma (1945) with Errol Flynn leading troops into the Japanese-held territory will be aired. Nominated for Academy Awards for Best Editing by George Amy, Best Score by Franz Waxman and Best Screenplay by Ranald MacDougall and Lester Cole (from a story by Alvah Bessie), it should have received more recognition for its star as well, who gave an excellent performance supported by good actors such as Henry Hull, Anthony Caruso, Richard Erdman (who is still working today!), and the indispensable George Tobias. Controversial now for its brutal depiction of real wartime attitudes toward the enemy (who are depicted as subhuman at best), it also was hammered by the British press, who understandably felt offended by the lack of recognition of the vital role of British and Commonwealth forces in the Burmese theater of war. Despite this, with still potent combat scenes alternating with moments when soldiers are shown in their enormous vulnerability, it still carries us to war in a way that few movies can do. Some critics have named this one of the most powerful war films made in the studio era. You be the judge.
At 5:30 AM ET, The Hasty Heart (1950), directed by Vincent Sherman, is a stage-bound vehicle that contains an achingly fine performance by the understated Richard Todd, who played the testy young Scot convalescing among other recovering Allied troops in a makeshift hospital as the war winds down. The film touches on so many themes, including life's random & profound unfairness at times, along with loneliness, anger, sorrow, the healing power of humor and friendship, that you soon forget the fact that the movie was filmed on a soundstage on a rather paltry budget. While Sherman never seemed entirely satisfied with the film, he drew good performances from his whole cast, including Ronald Reagan, whose hearty American refuses to take too much guff from Todd's "Lachie" McLachlan. Reagan and his genial cohorts are soon enlightened about their annoying ward-mate by Nurse Patricia Neal. Neal's performance suggests an briskly compassionate character who eventually finds herself a bit overwhelmed by the emotional needs of her patient. Having seen this movie several times, it never fails to move me--especially when Orland Martins as the great-hearted African soldier called "Blossom" expresses his desire to connect with his difficult companion--even when what he has to offer is simple as a set of beads given in friendship. Todd fans should enjoy this greatly.