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Yeah Ram, that's where i recorded it.
Just for the record, thats Uk tcm and we dont get same line-up as Usa tcm. 
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Correct re talking pictures. Hud had a few bbc showings in 70s , i watched it on a sunday night i think.
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You should bump it jim.
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Posted: |
Oct 13, 2020 - 4:27 PM
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By: |
Bob DiMucci
(Member)
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ANTONIA’S LINE (1995) – 8/10
Shortly after World War II, the widowed “Antonia” (Willeke van Ammelrooy) returns to the small Dutch farming village of her birth to bury her mother. In tow is her teenage daughter “Danielle” (Els Dottermans). The pair take over the family farm and slowly integrate themselves into the community, which is populated with eccentrics like the “Mad Madonna” (Catherine ten Bruggencate), and dominated by a patriarchy headed by the village priest (Leo Hogenboom), his curate (Flip Filz) and various farmers (Jan Decleir and Reinout Bussemaker).
After two hours and two generations, when we take leave of Antonia, the village has been transformed into a matriarchy, where men play a peripheral role at best. Particularly for Antonia and her offspring, men serve as occasional lovers and child-givers, but not husbands or fathers. The most stable marriage seen during the course of the film is between the two village half-wits.
Marleen Gorris wrote and directed this paean to feminism, which is somewhat anachronistic given the time period in which the film is set. Still, this is a refreshing look at a community where women are not defined by men, but make their own way in the world as workers, artists, scientists, as well as mothers. Motherhood is celebrated in this film, but sometimes still not at the expense of a woman’s career.
The large cast of characters is well-drawn by Gorris, and narration is effectively used to move this multi-generational story along at a fast clip. The film is well-photographed in the beautiful countryside of Belgium, standing in for Holland. The film has a lush and lyrical score by British composer Ilona Sekacz, which was released by Silva Screen. This period piece won the Oscar for Best Foreign Language Film, and is consistently engaging, even if it sports some very modern attitudes.
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Hud
1963
Dir Martin Ritt (who also did Hombre, Great white hope and Molly Maguires)
Paul Newman superbly detestable as Hud, arrogant, obnoxious and hateful, but a movie stolen by the bristling performance from Melvyn Douglas as Hud's disappointed father.
Some great lines in it - at one point, Newman confesses that his father has hated him since he caused the death of his brother in a car accident.
"No, boy..." says Douglas, emphatically with a long pause. "I was sick of you a long time before that..."
Powerful stuff.
8.5 out of 10.
Ps and where's that Hud thread jim?
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Posted: |
Oct 15, 2020 - 1:45 AM
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By: |
MusicMad
(Member)
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Bloodline (1979) ... 1/10 ... but ...
... maybe this is unfair as I bailed out at the 50 minute mark (just after Gert Fröbe/Inspector Max Hornung confirms that Audrey Hepburn's/Elizabeth Roffe's father had been murdered) so, maybe the second half of the film was much better ...
Atrocious waste of acting talent, wonderful stars, et al. Not just the story which, at that point, had not been properly developed, but in the cheap, simplistic and amateurish manner of film-making.
As much as I enjoy Thunderball (1985) - my favourite JB007 movie - and his earlier films have much to be credited to him, director Terence Young has a large number of failures within his list of works (I've seen a few) and this one must rank high on that list.
And, sorry, to say, Maestro Morricone's score did not help. Whether this was a film he scored from the script or his music was plastered on during a number of re-cuts/edits, none of it works beyond the title music. A melodic theme for the brief climbing scene prior to the fall (sting!), some cheesy music during the factory tour, more thickly-layered melodic music as Audrey Hepburn/Elizabeth Roffe opens up her Sardinian villa ...
Perhaps another day.
Mitch
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The Boss(1973) 8/10. With Henry Silva, Richard Conte and Gianni Garko. Quite enjoyable and rough ( in places) mafia turf war story. Henry is Conte's hitman who's good at his job (aren't they always) shivers shit on from above but turns the tables. Gianni is a bent copper ( nice to see him without an horse). Music by Bacalov wasn't bad. There was a theme that sounded like a pop/jazz version of the dies irae on piano and drums.quite groovy when it appears.
Followed by
Amazons of Rome (1961/2) 7/10 with Louis Jourdan, Sylvia Sims and Ettore Manni. Louis plays the leader of the barbarians during conflict between the Romans and Etruscans. Sims plays a Roman warrior who's crew is defending the city. Louis falls for her, don't blame him. Music was by Marcel Landowski (never heard of him, anyone?) was ok. The film was enjoyable and hadn't seen this one , either.
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Posted: |
Oct 17, 2020 - 12:02 AM
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By: |
Bob DiMucci
(Member)
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THE FOURTH KIND (2009) – 7/10
This film explores close encounters of the fourth kind, based upon true events. Milla Jovovich stars as psychologist Abbey Tyler, who practices in Nome Alaska. After the mysterious violent death of her husband (also a psychologist), she discovers that several of her patients are reporting experiencing the same phenomenon—a strange presence entering their rooms at night. Tyler puts some of these patients under hypnosis, which greatly exacerbates their fear and paranoia, leading to tragic results. Then, Tyler herself begins experiencing the phenomenon, which strikes at the heart of her and her children.
What’s remarkable about this film, and which keeps one from dismissing it as just bad fiction, is the fact that there are a number of video recordings that document some of the strange goings-on. These include interviews with the real Tyler herself, recordings she made of her hypnotherapy sessions, and even some police dash-cam video. The film keeps intercutting between these actual videos and their recreations in the film. All of the people portrayed in the film are real, and the mystery they present has never been resolved.
After the film was concluded, I began wondering why, with all of the video at the producers’ disposal, they just didn’t make a documentary. I suspect it’s because a documentary wouldn’t have the profit potential of a based-on-fact dramatic film. (This low-budget production made $25 million in the U.S. and nearly as much overseas). We’ve all seen plenty of television documentaries on professed alien encounters, and an even greater number of bad fiction films about them. But none that I’ve seen have the verisimilitude of this film.
OK, I admit that I was completely taken in by this film. It’s actually a BLAIR WITCH PROJECT kind of exercise—one that purports to be true but isn’t. There are no actual tapes, and the people in the supposed actual videos are all actors. Frankly, I enjoyed the film much more by not knowing this. I recall that all of the advance publicity for BLAIR WITCH spoiled my enjoyment of that film. This one, which I had never heard of, caught me unaware, and that is just fine by me. They did a great job of giving this the ring of truth, and I easily suspended disbelief. Some people, however, don’t mind spoilers. If you’re one of them, and you think you still might be interested in seeing this film, I hope you’re happy having read this.
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Bloodline (1979) ... 1/10 ... but ...
... maybe this is unfair as I bailed out at the 50 minute mark (just after Gert Fröbe/Inspector Max Hornung confirms that Audrey Hepburn's/Elizabeth Roffe's father had been murdered) so, maybe the second half of the film was much better ...
Atrocious waste of acting talent, wonderful stars, et al. Not just the story which, at that point, had not been properly developed, but in the cheap, simplistic and amateurish manner of film-making.
As much as I enjoy Thunderball (1985) - my favourite JB007 movie - and his earlier films have much to be credited to him, director Terence Young has a large number of failures within his list of works (I've seen a few) and this one must rank high on that list.
And, sorry, to say, Maestro Morricone's score did not help. Whether this was a film he scored from the script or his music was plastered on during a number of re-cuts/edits, none of it works beyond the title music. A melodic theme for the brief climbing scene prior to the fall (sting!), some cheesy music during the factory tour, more thickly-layered melodic music as Audrey Hepburn/Elizabeth Roffe opens up her Sardinian villa ...
Perhaps another day.
Mitch
No, on this occasion, it probably is fair. Maybe a 3. It really was a mess. Like somebody said cut 20 mins out of it the day before release!! Script was shocking and the mad jet-setting by the characters from country to country same day was bonkers. Ennio's edda theme was delightful but the 70s disco music during the factory tour was terrible. I expect ennio saw it, handed over a few themes...and ran!! Probably asked for his credit to be Ennio Smithee!!
The craziest part for me was the total irrelevance of the whole Bloodline strangle thing - it was like Sheldon's agent suggested tacking it on at the end as an afterthought to make a dull story more exciting.
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Both were.found on you tube with good prints and in English.
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