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Nitrate and Old Favorites: A Recap of the 2. TCM Classic Film Festival . Advertisement. For many festivalgoers, however, the biggest attraction this year was the chance to view four rarely screened nitrate prints: Alfred Hitchcock’s “The Man Who Knew Too Much” (1. Otto Preminger’s “Laura” (1. Michael Powell/Emeric Pressburger’s “Black Narcissus” (1. Mitchell Leisen’s “Lady in the Dark” (1. All were shown at the newly renovated Egyptian Theatre, built in 1.
Hollywood impresario Sid Grauman. The renovation included a retrofitting of the theater’s projection booth to allow the screening of highly flammable nitrate film.“We’ve wanted to do nitrate projection from Day 1 of the festival, but we’re now just getting the opportunity,” said Genevieve Mc. Gillicuddy, vice president for brand activations/partnerships at TCM and the festival’s director. In addition to a special session titled “Remembering Robert” (see related story), many festival guests shared memories of Osborne or requested moments of silence ahead of the films they introduced.
Along with the chance to watch classics on the big screen, “as they were meant to be seen,” festivalgoers soaked up the presence of Hollywood royalty. Among the filmmakers and actors appearing for special tributes were Peter Bogdanovich, Michael Douglas, Lee Grant, and Carl and Rob Reiner. Carrie Fisher and Debbie Reynolds, who died within hours of each other in December, received a posthumous salute. But there was much more.
Appearing to introduce films were James L. Brooks, Mel Brooks, Beau Bridges, Dick Cavett, Illeana Douglas, Keir Dullea, Buck Henry, Norman Jewison, Quincy Jones, John Landis, Walter Mirisch, Sidney Poitier, Martin Sheen, Alex Trebek, Fred Willard, and the ZAZ team of Jim Abrahams and David & Jerry Zucker. Advertisement. Martin Scorsese, arguably America’s most preeminent living director, made a last- minute appearance to introduce the first nitrate film at TCMFF, “The Man Who Knew Too Much.” Entering to a prolonged standing ovation, he reminded the sold- out audience at the Egyptian that nitrate was phased out in the early ’5.
When safety film was introduced, nitrate stock fell out of use. With the move to digital projection, few U. S. The project was funded by TCM, the Hollywood Foreign Press Association, the American Cinematheque (the non- profit that operates the Egyptian), the Academy Film Archive and Scorsese’s own Film Foundation.
Prized for its high silver content, nitrate film dates to the earliest days of cinema. With its rich black and gray tones, “nitrate has a kind of luminosity that other film stocks can’t duplicate,” he said. It’s one of my all- time favorite films.”Rediscoveries: This year’s cache of underappreciated or rarely screened films included Ernst Lubitsch’s silent “So This Is Paris” (1. Code “Red- Headed Woman” (1.
Douglas Sirk’s “Lured” (1. Cy Endfield’s noir “The Underworld Story” (1. Larry Peerce’s “The Incident” (1. While introducing “The Underworld Story,” Eddie Muller, “The Czar of Noir” (and host of TCM’s recently launched weekly showcase “Noir Alley”), made a case for preservation on film. In part because we don’t know the life expectancy of digital media—how are those floppy discs working out for you?”Advertisement. Calling “The Underworld Story” a neglected classic, Muller lamented “it doesn’t get the level of love” that the similarly themed “Ace in the Hole” (which it predates by a year) does.
Bruce Goldstein, founder and president of Rialto Pictures, who moderated the session, described “The Incident” as “the quintessential New York movie—and one of the best subway movies ever” (which must be a class of three, consisting of it and the two theatrical versions of “The Taking of Pelham 1. Tackling the issue of urban violence, “The Incident” follows two young thugs (Sheen and Tony Musante, also in his film debut) as they terrorize a subway car populated by a cross- section of middle America: two young lovers, an elderly Jewish couple, a closeted homosexual, two soldiers on leave (one of which is Beau Bridges) and a nuclear family headed by Ed Mc. Mahon (in a rare dramatic role; Peerce noted that “he’s really good in the movie”). Kennedy, Sheen added, “. It reeks of New York.” Since New York transit authorities would not allow Peerce and his crew to shoot on an actual subway car, they built a replica and filmed the movie at the historic Biograph/Gold Medal Studios in the Bronx. To capture scenes on subway platforms, Peerce and cinematographer Gerald Hirschfeld managed to sneak in cameras concealed in bags.
Before the film rolled, Bridges thanked TCM for “the attention that you give to films like ours. With this kind of exposure, it becomes a classic. Otherwise, it would have been hidden away forever.”Advertisement. Michael Douglas, “Live from TCM Film Festival”: Oscar- winning actor and producer Michael Douglas sat for the festival’s keystone event, a live taping that will appear on TCM next year. Buen Dia Ramon (2015) Movie Full Hd.
Interviewed by Ben Mankiewicz at the Montalb. In 1. 98. 6, “Tough Guys” seemed to be the last stand for these two cinema giants. With a move to character parts (including the upcoming sequel “Ant- Man and the Wasp”), Douglas and other actors of his generation exemplify how much the perception of age has changed in 3. Another change: the status of television. After he left the hit TV series “The Streets of San Francisco” in 1.
Douglas found himself virtually unemployable as an actor. With the rise of streaming channels and cable powerhouses such as HBO, “television is now the place to be,” he said. I had a couple of little pictures I really liked—.
But with cable and streaming, you have a built- in audience of anywhere from 4 million to 2. Lee Grant in “Detective Story” (1.
The Landlord” (1. These two films bookend a crucial portion of actress/director Lee Grant’s career.
She received Best Supporting Actress Oscar nominations for both, and found herself blacklisted in between. Oh, I guess ignorance on my part,” she said. In the late ’6. 0s, she edged her way back into movies, appearing in the blockbuster “In the Heat of the Night” (1. During location work (much of it in southern Illinois), she bonded with Hal Ashby, who, as the movie’s editor, “designed the look of this film.” When he went on to make his directorial debut with “The Landlord,” Grant lobbied for the part of the snobby society matron Mrs. She was blacklisted because she was a liberal lady.
After she was a ’4. That’s one of the reasons I salute her, because she’s a true woman of courage.” During the pre- screening interview, emcee Eddie Muller reminded Grant that she achieved the impossible: “You steal the movie from Kirk Douglas.” Then he teased her “you had sex with Warren Beatty—that’s how you finally won your Oscar” (on her third nomination) for “Shampoo” (1. So I went to the AFI ! Getting a chance to put my opinions out there has meant a lot to me.”Next Article: Stars, Music, Movies and Compassion Converge: Ebertfest 2. Preview. Previous Article: An Air of Authenticity: The TCM Classic Film Festival Celebrates Robert Osborne. Reveal Commentscomments powered by.
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