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December 30, 2017 at 9:30 am #1202451901
2)Jan 1rst @ 8:30 AM Holiday Inn
3)Jan 1rst @ 4:30 AM The Happy Thieves
Two of my grandfathers favs and one of my all time favs in the movie theater itself. Thanks TCM 🙂December 30, 2017 at 11:34 am #1202451970
After all this time, I still haven’t watched “Rebel Without a Cause.” There’s no reason for that really with TCM playing it all the time. It’s one of those films I know I should watch, but it never maintains my interest. Why is it your favorite film, vinny?December 31, 2017 at 8:11 am #1202452349
After all this time, I still haven’t watched “Rebel Without a Cause.” There’s no reason for that really with TCM playing it all the time. It’s one of those films I know I should watch, but it never maintains my interest. Why is it your favorite film, vinny?
Forgive me if this comes across as too fan boy-esque. First, I love that there is a movie that pretty much got what the teenage years were like for me. Jim is Jim. Makes no attempt to fit in really because he just wants to find out how the world works and where he fits into it. Saying that, I was a good kid and didn’t have Jim’s record with the law. Some people go on that self discovery journey differently than they did in the 50s guess?. His parents kinda get it…mostly don’t. Sidenote, my parents were not like Jim’s parents at all. They loved that I was an adult in a teenage body. Plato is the other half of my what my personality is like (nerdy and smart and equally as an outcast as Jim). The movie really shines after the incident with Buzz that quickly spirals into the nail-bitter of a conclusion. Kinda still feel bad for Jim though since he basically matured quickly playing shrink to Plato and his breakdown. Mineo and Wood are amazing in this too. So that covers the plot and characters. But the most lasting effect: This movie started me on the whole “Wait, I am going to watch every movie with a different way and pay attention to the camera work, music, acting, directing, etc. Also I love the jacket and own one and the hair is the best (still do my hair like that every day)February 17, 2018 at 12:27 am #1202495391
“31 Days of Oscar” is in full swing, and I completely dropped the ball. Apologies. Better late than never, I guess. Theme is Oscar winners and nominees. Not their most inventive of themes, but here’s the full schedule link:
Set your DVRs!February 23, 2018 at 10:24 am #1202499542
I’ve been trying to watch one film a night or at least every other night, via TCM On Demand. Last night was East of Eden, which has held up reasonably well (Van Fleet especially), though I actually think Dean is largely out-acted by the rest of the cast.
For the finest in film reviews and awards analysis (and my annual Oscar predictions contest), please visit me at The Awards Connection!February 25, 2018 at 9:51 pm #1202500905
“The Little Foxes” (1941): This is a rich and absorbing adaptation of Lillian Hellman’s play. I couldn’t take my eyes off of it, and a major reason for that is its compelling writing. My journey through Bette Davis’s oeuvre continues. This isn’t a new revelation or anything, but it continues to amaze me the depth of Davis’s catalogue, and also noting that her two Academy Awards were for some of her weakest performances. When I think about the roles she lost out for, it’s staggering really. Regina Giddens is just beyond. I barely have the words to properly describe her or the gravity of her work. Loved the supporting ensemble here as well. Herbert Marshall was robbed of an Oscar nomination, point blank. Horace Giddens was the moral center of this work that the action centered around. I also liked Charles Dingle’s sly “confirmed bachelor” Ben Giddens. Teresa Wright made a strong first impression in her debut role. I’d never encountered or heard of Patricia Collinge before, but I’m so glad that I did! She was both sympathetic and devastating as Birdie Hubbard. I was genuinely curious about Birdie and Regina, respectively, since Laura Linney and Cynthia Nixon took on both roles in repertory style in the recent Broadway revival. Birdie is only in a handful of scenes, sadly, and is pretty much gone in the second hour. Nixon must have really made her impression felt in the opening hour for the Tony win, or she was getting a collective vote based on both performances and a place for voters to show their affection for the play somewhere. I will ding this adaptation for its highly problematic characterizations of slaves. It’s certainly a product of its time and not a novel concern. I shouldn’t view this through modern-day lenses, but art is subjective and has no time filter, so there’s nothing to be done there. I’d recommend seeing the film regardless, especially for Bette Davis completionists. Another standout 1941 entry.February 27, 2018 at 12:23 pm #1202502139
“The Great Lie” (1941): It’s funny how I just commented on the richness of 1941’s film entries, which is still true, but there has to be some stinkers in the batch too, right? This was truly some of the most melodramatic nonsense I’ve seen in a long while, and not even Bette Davis’s regal presence elevated it. I’d say then that the sole reason for watching this is for Mary Astor’s Oscar-winning role as the film’s sole nominee (both notable and bizarre). I’ll reference myself again (cuz that’s how I roll, bitches!) from my “Hush, Hush … Sweet Charlotte” review from a few months ago that Mary Astor had a key role in that film’s story (Davis personally asked her old friend to play this vital role; she retired from acting after this to pursue writing), and gathering cues from her overall stature as a former Oscar winner, she really must have stolen her scenes from everyone involved there. And in fact, she absolutely did that. Collinge and Wright are very vivid in my mind right now in “The Little Foxes.” I’d have to refresh myself with “How Green Was My Valley” and “Sergeant York” for those nominees, respectively. Collinge would easily get my vote despite the shorter screentime. Astor’s melodrama was indeed memorable, but she overacted in key stretches. I couldn’t buy Sandra as a famed concert pianist whatsoever, but her catty scenes opposite Davis were electric. George Brent was a complete dud. No reason at all that two formidable women like Maggie and Sandra would not only fight over someone like Peter but orchestrate such an elaborate scheme in light of his character’s “disappearance.” I said that I would refrain from using my modern-day lenses to judge classic art, but I winced everytime Hattie McDaniel and co. were onscreen with their incessant carrying on, inexplicable singing, and broken English. As true to life as that all probably was, it could have been more tastefully done and better directed. Unless you’re an extreme Bette Davis enthusiast, Oscars completionist, or generalized masochist, I’d stay away from this abysmal mess like the plague.March 10, 2018 at 7:21 pm #1202511284
Given her competition, I say Davis deserved one Oscar – for Now, Voyager.
For the finest in film reviews and awards analysis (and my annual Oscar predictions contest), please visit me at The Awards Connection!
Do you mean she only deserved to win that year and not the ones where she did? I haven’t seen Mrs. Miniver in a long time, but going but I remember Davis was better in Now,Voyager.
BTW I went on one of those TCM Cruises and saw Now, Voyager on the cruise on the top deck of the ship under open skies. A memorable movie going experience indeed!May 8, 2018 at 1:48 am #1202543245
Claude Rains was a celebrated character actor of the Golden Age of Cinema who never won an Oscar. Despite deserving efforts in both Casablanca and Notorious, Rains just missed his chance.
At the end of his long career, Rains was cast in Twilight of Honor as Art Hopper, a revered but infirmed defense attorney. Hopper has arranged for his star pupil David Mitchell (a lifeless Richard Chamberlain) to defend a brash young man Ben Brown (Nick Adams) who is accused of murdering the small town’s beloved civic leader Cole Clinton.
The role of colorful invalid Art Hopper was real Oscar bait. The aging, ailing attorney has been forced by his doctor and devoted daughter to abstain from his beloved strong alcohol. He savors the smell of other men drinking heavily. This allows Rains to play a prolonged moment of joy and regret with a hint of desperation. Otherwise, the barrister is no nonsense and badgers Mitchell to be the best defense attorney when he stands for an accused man who has already confessed to the crime.
As the story progresses, Mitchell realizes that the confession was coerced and that Brown’s wife, Laura Lee, has a questionable alibi. Joey Heatherton gained notoriety in the role of the sluttish spouse. As events unfold, we learn that Cole Clinton (played in flashbacks by noted character actor Pat Buttram) was caught nude in bed with Laura Lee by Buck. Buck killed him.
In New Mexico, it was legal for a husband to kill a man who is engaged in carnal knowledge of his wife. All this leads to some rather sordid moments for a 1963 production that seem rather tame by today’s standards. Directed by Boris Sagal (father of Married with Children star Katey Sagal), the film opens with an energetic credit sequence. The film immediately slows to a crawl and never really recovers.
And what about Claude Rains and his end of career Oscar nomination? It never occurred. Following the lead of Chill Wills (The Alamo) who two years earlier engaged in self-promotion to win a supporting Oscar nomination, Hollywood TV performer Adams invested $8,000 of his own money in an advertising campaign. On the day of the announcement of the 36th Oscar nominations, Adams’s name was a surprise when read as a Best Supporting Actor nominee for Twilight of Honor instead of the four time previous Oscar nominee Claude Rains. Rains’s absence left the race wide open for an easy career win for the veteran star of the 1930s and ’40s Melvyn Douglas for Hud.
Rains never did receive a fifth nomination nor an honorary Oscar. He died four years after the film’s release at age 77.
Nick Adams died five years after the film’s release from a drug overdose at the age of 37.May 8, 2018 at 7:10 am #1202543366
I say Rains deserved to triumph for both Mr. Smith Goes to Washington and Casablanca.
THE OSCAR 100 (#80-76): Dustin Hoffman, Bette Davis, Meryl Streep, Fredric March and Elizabeth TaylorMay 8, 2018 at 2:53 pm #1202543602
I’m most familiar with Claude Rains through his Bette Davis films (“Mr. Skeffington,” “Now, Voyager”). I’ve never heard of “Twilght of Honor” before, so this review is quite interesting. Sad that he died Oscarless after four nominations.May 22, 2018 at 10:59 pm #1202552289
In 1939, The Wizard of Oz was nominated for Best Picture. Surprisingly, not one of the iconic performances received an acting nomination. The Board of Governors did vote Judy Garland an honorary Oscar for juvenile performance, a fairly standard practice at that time for the exemplary film work of children who failed to earn a nomination in the typical fashion.
While Garland did win two nominations during her legendary career, that was not the outcome for the majority of her Oz costars. Margaret Hamilton (Wicked Witch) nor Bert Lahr (Cowardly Lion) nor Jack Haley (Scarecrow) nor Ray Bolger (Tin Man) never received an Oscar nomination. Only Frank Morgan (the Wizard) and Billie Burke (Glenda) earned such acclaim.
Burke, the first wife of noted showman Florenz Ziegfeld, netted her sole Oscar nomination the year prior to her portrayal of the Good Witch of Oz. Burke was recognized for her supporting work in the rather tame screwball comedy Merrily We Live.
Burke plays Mrs. Kilbourne, a wealthy but ditzy social matron who finds purpose in welcoming tramps into her mansion to work as servants. Her husband and children are not pleased with this recurring situation. One day a noted writer Wade Rawlins is mistaken for a tramp and assigned to replace the chauffeur who has stolen the family’s silver. Both Kilbourne daughters, a precocious teen and a level headed young woman, fall for the dashing man.
I had often thought that Glinda’s high pitched voice in Oz was an affectation. Apparently not, she speaks in the same range in Merrily We Live. Burke’s Oscar moment occurs in an empty dining room where she attempts to train Rawlins to serve for an upcoming elegant meal. It’s not very funny. The moment is badly scripted, and Burke is unable to rise above the weak material. I found it difficult to discern why Burke was nominated.
The film culminates with a mistaken belief that Rawlins has been killed. When he subsequently reenters the home, a handful of characters faint (or pretend to) causing upheaval that is meant to be humorous.
The film is a great disappointment.
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