|
|
Post by sewhite2000 on Jan 3, 2023 4:08:51 GMT
Primetime January 26 Night Four of the Monthly Theme of the Jewish Experience. One slot is unscheduled
Teyva (Maurice Schwartz, Miriam Riselle) (Maymon Film, Inc., 1939)
Portnoy's Complaint (Richard Benjamin, Karen Black) (Warner Bros., 1972)
The Last Metro (Catherine Deneuve, Gerard Depardieu) (Dist. in the US by United Artists, 1981)
|
|
|
|
Post by topbilled on Jan 3, 2023 14:53:22 GMT
Primetime January 26 Night Four of the Monthly Theme of the Jewish Experience. One slot is unscheduled Teyva (Maurice Schwartz, Miriam Riselle) (Maymon Film, Inc., 1939) Portnoy's Complaint (Richard Benjamin, Karen Black) (Warner Bros., 1972) The Last Metro (Catherine Deneuve, Gerard Depardieu) (Dist. in the US by United Artists, 1981) |
|
|
|
Post by sewhite2000 on Jan 8, 2023 3:24:51 GMT
Daytime January 27 Ralph Richardson
The Return of Bulldog Drummond (Ralph Richardson, Ann Todd) (Dist. in the US by Mundus Distributing Corp., 1935)
Things to Come (Raymond Massey, Ralph Richardson) (Dist. in the US by United Artists, 1936)
The Man Who Could Work Miracles (Roland Young, Ralph Richardson) (Dist. in the US by United Artists, 1937)
The Citadel (Robert Donat, Rosalind Russell) (Dist. in the US by MGM, 1938)
The Divorce of Lady X (Merle Oberon, Laurence Olivier) (Dist. in the US by United Artists, 1938)
The Four Feathers (John Clements, Ralph Richardson) (Dist. in the US by United Artists, 1939)
The Lion Has Wings (Merle Oberon, Ralph Richardson) (Dist. in the US by United Artists, 1939)
Oscar Wilde (Robert Morley, Phyllis Calvert) (Dist. in the US by Four City, 1960)
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 3:47:03 GMT
Primetime January 27 David Janssen
Hell to Eternity (Jeffrey Hunter, David Janssen) (Allied Artists, 1960)
Ring of Fire (David Janssen, Joyce Taylor) (MGM, 1961)
Twenty Plus Two (David Janssen, Jeanne Crain) (Allied Artists, 1961)
TCM Underground The theme is cross-dressing, I guess
Funeral Parade of Roses (Pita, Osamu Ogasawara) (Dist. in the US by New Yorker Films, 1970)
Performance (James Fox, Mick Jagger) (Dist. in the US by Warner Bros., 1970)
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 4:22:13 GMT
Morning January 28 Saturday Matinee I have only recently become dimly aware of the existence of the weekly Saturday Musical Matinee hosted by Dave Karger thanks to repeated promos on TCM. Scrolling up the list of January at a Glance, I see that it's been designated a unique feature of the network like Noir Alley or Silent Sunday Nights or anything else, but it just didn't click in my brain. I will try to single it out when discussing daytime Saturday morning programming from now on.
The Terror of Tiny Town (Billy Curtis, Yvonne Moray) (Universal, 1938)
The Falcon and the Co-Eds (Tom Conway, Jean Brooks) (RKO, 1943)
Young Man with a Horn (Kirk Douglas, Doris Day) (Warner Bros., 1950)
Musical Matinee
Flower Drum Song (Nancy Kwan, James Shigeta) (Universal, 1961)
Afternoon Random Programming
Larceny, Inc. (Edward G. Robinson, Jane Wyman) (Warner Bros., 1942)
The Fastest Gun Alive (Glenn Ford, Jeanne Crain) (MGM, 1956)
The Three Musketeers (Michael York, Raquel Welch) (Dist. in the US by 20th Century Fox, 1974)
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 4:44:37 GMT
Primetime January 28 Tyrone Power Certainly a welcome surprise to me, though they did limit this Fox showcase to two films
The Black Swan (Tyrone Power, Maureen O'Hara) (20th Century Fox, 1942)
The Black Rose (Tyrone Power, Orson Welles) (20th Century Fox, 1950)
Noir Alley
Highway 301 (William Lane, Jr., John Battle) (Warner Bros., 1950)
Late Night A later career Antonioni double-feature
Blow-Up (David Hemmings, Vanessa Redgrave) (Dist. in the US by Pemiere Productions, 1967)
Zabriske Point (Mark Frechette, Daria Halprin) (MGM, 1970)
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 5:11:33 GMT
Daytime January 29 Random Programming
Elmer the Great (Joe E. Brown, Patricia Ellis) (Warner Bros., 1933)
The Spirit of St. Louis (James Stewart, Murray Hamilton) (Warner Bros., 1957)
After the Noir Alley repeat
Woman of the Year (Spencer Tracy, Katharine Hepburn) (MGM, 1942)
The Last Time I Saw Paris (Van Johnson, Elizabeth Taylor) (MGM, 1954)
The Unsinkable Molly Brown (Debbie Reynolds, Harve Presnell) (MGM, 1964)
One on One (Robby Benson, Annette O'Toole) (Warner Bros., 1977)
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 5:28:26 GMT
Scrolling back up January at a Glance, I see one of the missing car chase slots has been filled in with the TCM premiere of The Blues Brothers. One of my favorite big dumb early '80s movies from my adolescence. "Lotta space in this mall". "It's dark outside, and we're wearing sunglasses. "Hit it!" And the scene where they're confronted by a machine-gun toting Carrie Fisher, I'm laughing just thinking about it!
|
|
|
|
Post by sewhite2000 on Jan 8, 2023 5:45:30 GMT
Primetime January 29 Bette Vs. Joan Not showing the film I would have automatically expected after reading the theme. Instead, it's a chance to compare a Best Actress-winning performance from each.
Dangerous (Bette Davis, Franchot Tone) (Warner Bros., 1935)
Mildred Pierce (Joan Crawford, Bruce Bennett) (Warner Bros., 1945)
Silent Sunday Nights One more chance to watch some Marion Davies, as a couple of her silents get shuffled over to this slot. Both of these film already aired on January 3, meaning, as far as I can remember, they're the only films outside of the Noir Alley features to air twice all month.
Beauty's Worth (Marion Davies, Forrest Stanley) (Paramount, 1922)
Beverly of Graustark (Marion Davies, Antonio Moreno) (MGM, 1926)
TCM Imports Mizoguchi
The Story of the Last Chrysanthemum (Shotaro Hanayagi, Kokichi Takada) (Dist. in the US by Films, Inc., 1979)
|
|
|
|
Post by Fading Fast on Jan 8, 2023 9:04:59 GMT
Primetime January 29 Bette Vs. Joan Not showing the film I would have automatically expected after reading the theme. Instead, it's a chance to compare a Best Actress-winning performance from each. Dangerous (Bette Davis, Franchot Tone) (Warner Bros., 1935) Mildred Pierce (Joan Crawford, Bruce Bennett) (Warner Bros., 1945) Silent Sunday Nights One more chance to watch some Marion Davies, as a couple of her silents get shuffled over to this slot. Both of these film already aired on January 3, meaning, as far as I can remember, they're the only films outside of the Noir Alley features to air twice all month. Beauty's Worth (Marion Davies, Forrest Stanley) (Paramount, 1922) Beverly of Graustark (Marion Davies, Antonio Moreno) (MGM, 1926) TCM Imports Mizoguchi The Story of the Last Chrysanthemum (Shotaro Hanayagi, Kokichi Takada) (Dist. in the US by Films, Inc., 1979)
Also, I wanted to note that "Dangerous" is one of my favorite not-well-known Bette Davis movies that is also an early "addiction" (alcoholism) movie. It's well worth the watch. |
|
|
|
Post by topbilled on Jan 8, 2023 15:13:40 GMT
Primetime January 28 Tyrone Power Certainly a welcome surprise to me, though they did limit this Fox showcase to two films The Black Swan (Tyrone Power, Maureen O'Hara) (20th Century Fox, 1942) The Black Rose (Tyrone Power, Orson Welles) (20th Century Fox, 1950) Noir Alley Highway 301 (William Lane, Jr., John Battle) (Warner Bros., 1950) Late Night A later career Antonioni double-feature Blow-Up (David Hemmings, Vanessa Redgrave) (Dist. in the US by Pemiere Productions, 1967) Zabriske Point (Mark Frechette, Daria Halprin) (MGM, 1970)
|
|
|
|
Post by Swithin on Jan 8, 2023 16:09:38 GMT
I'm curious to see Zabriskie Point (1970). I was in college when it came out and was interested in seeing it, but the reviews were simply awful. I'm wondering whether this is the kind of film that time may have been kind to (or not). The two leads seem to have led unusual lives, after the film. Daria Halprin became a "somatic-expressive arts therapist;" (?); Mark Frechette died in prison at the age of 27.
Here's an excerpt from Vincent Canby's review in The New York Times. He called the film, which was Antonioni's first American film, "stunningly superficial."
"I'm not especially offended by what Antonioni has to say, about the state of this country, and I really don't think his primary interest is condemning an affluent, materialistic society that offers no positive choices to its young people. Rather, he is trying to say this is the way it looks and the way it feels to be here now. However, I am offended by the quite ordinary images he uses—of Death Valley, and of poor, old, maligned Los Angeles with its used‐car lots, its absurd billboards and its glass-and‐steel monoliths poking their heads above the smog so beloved by Bob Hope. Even more offensive are two peculiar fantasies he sticks into the movie as projections of his own state of mind.
The first occurs when Mark and Daria make love on a sand dune and Death Valley suddenly erupts with life and love. Bodies (members of Joe Chaikin's Open Theater), mostly in discreet undress (although there are a couple of quick glimpses of genitalia), writhe in various combinations of couplings while the screen goes deep tan, as if everything were being seen in a sand storm. After the climax, when Antonioni has returned the sky over Death Valley to its natural, crystalline state, Mark says with the sort of satisfaction with which he might have enjoyed his first Orange Julius: “I somehow always knew it would be like that.”
The second fantasy — Darla's hallucination of the destruction of the Western world (in the form of Taylor's desert home, a Frank Lloyd Wright structure as it might be imitated by a housing project architect) — is a triumph by the special effects man. Nothing that has been shown in the film supports such an hallucination, but it's nice to see what can be done by a director with a big budget.
The house explodes no less than a dozen times, in increasing close‐up, followed by odd, slow‐motion studies of books disintegrating, the poolside terrace, the clothes closets, a television set, and even the larder. I especially liked the latter, in which the screen suddenly becomes filled with food, including a box of Kellog's K, a can of Campbell's soup, a loaf of Wonder bread, bits and pieces of lettuce, and, downscreen right, one scrawny chicken. They hang suspended, as if in some marvelous, blue emulsion. Definitely passed is the era in filmmaking, especially in avant‐garde filmmaking, when a director could make do by using that tired old stock‐shot of the Bikini atoll H‐bomb blast."
In 1970, as a working college student, with less time to squander, that review would have put me off; today, it makes me want to see the film!
|
|
|
|
Post by sewhite2000 on Jan 9, 2023 6:25:28 GMT
Daytime January 30 Adaptations of Novels by "Lost Generation" Authors
Flesh (Wallace Beery, Ricardo Cortez) (MGM, 1932)
Three Comrades (Robert Taylor, Margaret Sullavan) (MGM, 1938)
The Maltese Falcon (Humphrey Bogart, Mary Astor) (Warner Bros., 1941)
Tortilla Flat (Spencer Tracy, Hedy Lamarr) (MGM, 1942)
To Have and Have Not (Humphrey Bogart, Lauren Bacall) (Warner Bros., 1944)
East of Eden (James Dean, Julie Harris) (Warner Bros., 1955)
The Old Man and the Sea (Spencer Tracy, Felipe Pazos) (Warner Bros., 1958)
|
|
|
|
Post by sewhite2000 on Jan 9, 2023 6:28:49 GMT
I'm curious to see Zabriskie Point (1970). I was in college when it came out and was interested in seeing it, but the reviews were simply awful. I'm wondering whether this is the kind of film that time may have been kind to (or not). The two leads seem to have led unusual lives, after the film. Daria Halprin became a "somatic-expressive arts therapist;" (?); Mark Frechette died in prison at the age of 27.
Here's an excerpt from Vincent Canby's review in The New York Times. He called the film, which was Antonioni's first American film, "stunningly superficial.""I'm not especially offended by what Antonioni has to say, about the state of this country, and I really don't think his primary interest is condemning an affluent, materialistic society that offers no positive choices to its young people. Rather, he is trying to say this is the way it looks and the way it feels to be here now. However, I am offended by the quite ordinary images he uses—of Death Valley, and of poor, old, maligned Los Angeles with its used‐car lots, its absurd billboards and its glass-and‐steel monoliths poking their heads above the smog so beloved by Bob Hope. Even more offensive are two peculiar fantasies he sticks into the movie as projections of his own state of mind.The first occurs when Mark and Daria make love on a sand dune and Death Valley suddenly erupts with life and love. Bodies (members of Joe Chaikin's Open Theater), mostly in discreet undress (although there are a couple of quick glimpses of genitalia), writhe in various combinations of couplings while the screen goes deep tan, as if everything were being seen in a sand storm. After the climax, when Antonioni has returned the sky over Death Valley to its natural, crystalline state, Mark says with the sort of satisfaction with which he might have enjoyed his first Orange Julius: “I somehow always knew it would be like that.”The second fantasy — Darla's hallucination of the destruction of the Western world (in the form of Taylor's desert home, a Frank Lloyd Wright structure as it might be imitated by a housing project architect) — is a triumph by the special effects man. Nothing that has been shown in the film supports such an hallucination, but it's nice to see what can be done by a director with a big budget.The house explodes no less than a dozen times, in increasing close‐up, followed by odd, slow‐motion studies of books disintegrating, the poolside terrace, the clothes closets, a television set, and even the larder. I especially liked the latter, in which the screen suddenly becomes filled with food, including a box of Kellog's K, a can of Campbell's soup, a loaf of Wonder bread, bits and pieces of lettuce, and, downscreen right, one scrawny chicken. They hang suspended, as if in some marvelous, blue emulsion. Definitely passed is the era in filmmaking, especially in avant‐garde filmmaking, when a director could make do by using that tired old stock‐shot of the Bikini atoll H‐bomb blast."
In 1970, as a working college student, with less time to squander, that review would have put me off; today, it makes me want to see the film! I rented it on VHS when I was college, probably about 1990 or so, but i remember very little about it. I had mostly prurient reasons for doing so, and I was satisfied with a lot of female nudity ... eventually ... but i've forgotten the other 95 per cent. I remember being struck while watching the opening credits that Sam Shepard was one of the credited screenwriters, and there is a scene where a lot of contemporary matters are discussed that I figured was his or mostly his. |
|
|
|
Post by Fading Fast on Jan 9, 2023 9:19:41 GMT
Daytime January 30 Adaptations of Novels by "Lost Generation" Authors Flesh (Wallace Beery, Ricardo Cortez) (MGM, 1932) Three Comrades (Robert Taylor, Margaret Sullavan) (MGM, 1938) The Maltese Falcon (Humphrey Bogart, Mary Astor) (Warner Bros., 1941) Tortilla Flat (Spencer Tracy, Hedy Lamarr) (MGM, 1942) To Have and Have Not (Humphrey Bogart, Lauren Bacall) (Warner Bros., 1944) East of Eden (James Dean, Julie Harris) (Warner Bros., 1955) The Old Man and the Sea (Spencer Tracy, Felipe Pazos) (Warner Bros., 1958) |
|
