The VCR / DVR / Streaming Alert Thread

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dws1982
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Postby dws1982 » Sun Aug 16, 2009 4:03 pm

Tomorrow on TCM at 6:00 PM, Love Letters shows. This isn't on DVD, and hasn't aired in a couple of years. Damien is a big fan. This has value for Oscar-completists, as well: Nominated for Actress (Jennifer Jones), Black and White Art Direction, Song, and Score.

I believe everything else they show (it's Jennifer Jones day), is available on DVD, although I only glanced over the list, and may have missed something.

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Postby dws1982 » Sat Jul 18, 2009 8:40 pm

Nora Prentiss shows on TCM overnight at 4 AM. I know Damien is a fan, and other than the Warners Archive, this isn't available on DVD.

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Postby Big Magilla » Tue May 19, 2009 12:08 pm

Reza wrote:

Have you ordered from this site? And what is the quality like?

Depends on the film. They do tell you if a film is in bad quality.

I haven't ordered a lot from them, but I did get an excellent copy of Siodmak's The Suspect from them replacing a horrid copy I got from somewhere else. They do carry a few titles you can't find anywhere else.

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Postby Mister Tee » Tue May 19, 2009 9:18 am

The Original BJ wrote:

Tee, I think you mean The Patriot, the fifth Best Picture nominee that year.

Yep -- realized it overnight, and came on just now to correct myself. Should have known someone would realize it ahead of me. I remember when memory was my ally.

In my defense, The Patriot/The Valiant is relatively easy to confuse. (Seeing I've never run across either)

And of course, my expectation that The Patriot would be the most watchable of the nominees is based entirely on Lubitsch.

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Postby Reza » Tue May 19, 2009 8:38 am


Have you ordered from this site? And what is the quality like?

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Postby Big Magilla » Tue May 19, 2009 1:19 am

Duh! I thought he was referring to the five best actor nominees, but since one of them was Lewis Stone in the "lost" Patriot that wouldn't make sense.

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Postby The Original BJ » Tue May 19, 2009 12:03 am


Tee, I think you mean The Patriot, the fifth Best Picture nominee that year.

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Postby Big Magilla » Mon May 18, 2009 10:10 pm


Mister Tee
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Postby Mister Tee » Mon May 18, 2009 9:00 pm

Big Magilla wrote:Nope, The Valiant is not lost. Creaky, but not lost.

You've seen it? Where did you find it?

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Postby Big Magilla » Mon May 18, 2009 8:23 pm

Nope, The Valiant is not lost. Creaky, but not lost.

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Postby Mister Tee » Mon May 18, 2009 11:28 am

The only way I got through Hollywood Revue was in 20-30 minute segments. There were some freakish moments of interest -- like seeing a prehistoric Jack Benny -- but also much that was torturous. (Norma Shearer doing Shakespeare? Kill me now) Maybe the most amusing thing was the variation on James Whitcomb Riley, "Lon Chaney's going to get you if you don't watch out". It struck me recently you could echo that today by substituting "Dick Cheney".

I realize I misspoke by saying I'd seen "four other" nominees -- I meant four including In Old Arizona, as The Valiant is apparently a lost film (sadly, as it'd likely be the most watchable).

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Postby Big Magilla » Mon May 18, 2009 1:29 am

Blackmail would have been Oscar eligible in 1929/30.

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Postby The Original BJ » Sun May 17, 2009 10:35 pm

Mister Tee wrote:To be fair, none of the four others I've seen have struck me as any good, either.

The Broadway Melody and (the even worse) The Hollywood Revue are two of the most unbearable things I have ever sat through.

1929, in addition to the silents Mister Tee mentioned, also featured the U.S. release of The Passion of Joan of Arc. Talk about being a different medium than stuff like Hollywood Revue, which barely even qualifies as a movie.

That year did, however, feature Blackmail, one of the few early sound movies which (like M two years later) really seemed to expand the storytelling possibilities of this new aspect of film.

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Postby Big Magilla » Sun May 17, 2009 10:09 pm

I think the award in 1928/29 was for the director, not the direction, as it was originally in 1927/28 and is today. Also, there were no official nominees. They announced the winners and the runners-up in each category.

It's unlikely that they would have intentionally snubbed Raoul Walsh. He was one of the six original members of the Directors Branch along with Cecil B. DeMille, Henry King, Frank Lloyd, Fred Niblo and John M. Stahl.

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Postby Mister Tee » Sun May 17, 2009 9:30 pm

To follow up: I got around to watching In Old Arizona. I went in viewing it as "for completeness purposes only", and still found it a chore. What was shocking was how lackadaisical the plotting was...scenes went on and on, some with only tangential meaning to the story. And this was not only an acting winner: it was one of the five best picture nominees. To be fair, none of the four others I've seen have struck me as any good, either. The silents of '29 -- notably Steamboat Bill Jr. and The Wind -- seem to be part of a different medium.

As for winner Warner Baxter -- it's hard for me to really judge any of the acting in those first talkies; most people are so consistently bad it was clear Hollywood just hadn't figured out the right pitch, yet (Bessie Love in Broadway Melody maybe a minor exception). But say this for Baxter: his scenes are not completely insufferable, the way those featuring Edmund Lowe and the female lead (name expunged from memory) are. I prayed for cuts away from them. And Baxter's Cisco Kid is occasionally better-written, and features in the more interesting action, so I can see why he won.

Another interesting element: Raoul Walsh retains a co-directing credit, despite having been relieved of directing and Cisco Kid-playing duties after an accident. Who made the decision he would have his name on the print but be excluded from the best director Oscar nod?


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