HDTenEightyP/NetNews huggingface dataset:
From: daly@strawber.princeton.edu (John Daly)
Subject: Re: Films with no females
Originator: news@nimaster
Organization: Mechanical and Aerospace Engineering (CFD)
Date: Fri, 11 Sep 1992 17:49:12 GMT

In article <1992Sep9.134543.6232@citib.com>, ken@agassi (Ken Nodini) writes:
|> stame@emunix.emich.edu (Stewart Tame) writes:
|> 
|> What about :
|> 
|> 	"One A.M." with Charlie Chaplin (1916)
|> 	"Towed in a Hole" with Laurel and Hardy (1932)
|> 	"Busy Bodies" with Laurel and Hardy (1933)
|> 	"Twice Two" with Laurel and Hardy (1933)
|> 	"Dirty Work" with Laurel and Hardy (1933)
|> 	"Midnight Patrol" with Laurel and Hardy (1933)
|> 	"Sleuth" with Michael Caine and Sir Laurence Olivier (1972)

Add to that...

        "Silent Running" with Bruce Dern (1972?)

Xref: sparky rec.arts.movies:27772 rec.arts.sf.movies:7078 alt.cult-movies:7920
From: mst@vexpert.dbai.tuwien.ac.at (Markus Stumptner)
Newsgroups: rec.arts.movies,rec.arts.sf.movies,alt.cult-movies
Subject: Re: Holden's Eyes (was Re: Blade Runner...(SPOILERS))
Date: 14 Sep 92 22:22:30 GMT
Followup-To: rec.arts.sf.movies,alt.cult-movies
Organization: DB and ES Subdivision, TU Vienna

From article <BuL4I5.4qs@me.utoronto.ca>, by steinman@me.utoronto.ca (David Steinman):
> crunch@camelot.bradley.edu (Randy Bloom) writes:
>>  The eye-glowing thing is only a film device
>>to let the audience "know" who was or wasn't a replicant, and isn't
>>necessarily an accurate measure. 
 
> Wha??  Not an accurate measure?  If I saw anyone's eyes glow, I'd think
> something was up (or they got into the spice :-)  

Exactly, you should think.  Do you think people in the film are really
that dumb that they wouldn't realize it if it were so?  No
Voigt-Kampff test. Immediate recognition of all replicants.  There
goes the plot.  This is for the viewer's sake, and is not visible
inside the film.

> I have doubts about your
> interpretation; having replicants' eyes glow for the audience but not for
> the film's characters is lame.

But having their eyes glow so everybody who looks at them isn't?
Jeeze.  Sorry to say, but your doubts are unjustified.  It *is* a
device.  An old one, btw.  A similar effect was used in Westworld
(1972).

> You might as well have a subtitle which
> says "This is Holden; he is a replicant".

And you might as well have somebody sit on screen and read the script
to you.  Sorry, but this is a visual medium, and visual clues are
usually much more subtle and unobtrusive.
-- 
Markus Stumptner                                mst@vexpert.dbai.tuwien.ac.at
University of Technology Vienna                 vexpert!mst@relay.eu.net
Paniglg. 16, A-1040 Vienna, Austria             ...mcsun!vexpert!mst
From: hist1261@waikato.ac.nz
Newsgroups: rec.arts.movies
Subject: Madonna & DaFoe
Date: 9 Sep 92 08:28:50 +1200
Organization: University of Waikato, Hamilton, New Zealand

The censorship problem has struck us here in New Zealand again.
If there is any merit in the Madonna/William DeFoe threads could someone
who believes in freedom please e-mail me as some prudish moralists have
denied us access...

Thanks.

Richard.


Xref: sparky rec.arts.movies:26907 alt.tv.twin-peaks:2590
From: sally@anableps.berkeley.edu (S. A. Wilson)
Newsgroups: rec.arts.movies,alt.tv.twin-peaks
Subject: Creamed Corn...
Date: 5 Sep 1992 00:12:42 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: anableps.berkeley.edu



Ciao,




I wonder if the fact that it is "creamed" corn has some significance.
"Creamed" being some sort of preversion of the corn, ie. symbol of
life, the essence of life.  Then again I enjoy how Lynch takes
mundane things and somehow shows it in a weird light. How he takes
simple and innocent things and turns the tables on it. Like the song
"Blue Velvet, which is such a stupid, innocent little song, yet in
context of the movie it represents sado-masochism, darkness, and evil.

Sally--
-- 
And I'll see you//And you'll see me          ||    Sally  A.  Wilson
And I'll see you in the branches that blow   ||    Spud   Peel
In the breeze,//I'll see you in the trees    ||    sally@mica.berkeley.edu
Under the sycamore trees       (_Sycamore_Trees_  Lynch/Badalamenti)
From: jgp@raid.Rational.COM (Jim Pellmann)
Newsgroups: rec.arts.movies
Subject: Re: Prospero's Books (was Re: Most <pejorative adjective> Movie)
Date: 10 Sep 92 19:36:29 GMT

mstede@cs.toronto.edu (Manfred Stede) writes:

>nichols@math.umn.edu (Preston Nichols) writes:

>>Another question: Can anyone identify (or discuss!) any art-historical  
>>influences or references (or jokes) in Prospero's Books or any other Greenaway  
>>stuff?

>Specifically, I always wondered about the huge paintings that decorate the
>restaurant in "Cook, Thief, Wife, Lover" -- what are they, what do they
>signify? 

For the best discussion of CTWL, see the essay in the Winter 1990-91
issue of Film Quarterly (Vol. 44, No. 2) by William F. Van Wert,
which discusses just some of the aspects of this fascinating film.
He talks about the names of the characters, the camera work, voyeurism,
the paintings, the language, the color coding, and the sound.

But to give a short answer: many of the images in the film are homages
to classical paintings (from Greenaway's training as a painter), and
continue his cinematic translation of Dutch table paintings.

The large Franz Hals painting ("The Banquet of the Officers of the
St. George Civic Company", 1614) "represents the burgeoning bourgeoisie
as a class, and Albert, for all his money and prententions to 'class,'
cannot escape his bourgeous bloodlines and habits."

Hope this helps.

-- Jim

--
-------------------------------------------------------------------------------
"I lived in my head mostly."                | Jim Pellmann (jgp@rational.com)
"That's not a bad neighborhood."            | RATIONAL
"There were some pretty strange neighbors." | Santa Clara, California
Newsgroups: rec.arts.movies
From: jrs@netcom.com (John Switzer)
Subject: Re: 007 Quiz-Answers...
Date: Thu, 10 Sep 92 21:55:44 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <24853@oasys.dt.navy.mil> dlee@oasys.dt.navy.mil (David Lee) writes:
>Here are the answers to yesterday's 007 quiz.. I'm pretty sure that
>all the answers are correct.. If there are mistakes, e-mail me with
>your reference and corrected answer..
>
>	 *****************************************************
>
>		   Answers...
>
>6. SMERSH is the Soviet Secret Service;,headed by Gen. Gogol then Gen. Pushkin

Actually Smersh is short for "Smert Spionam" (spelling?) which translates to 
Death for Spies. It was the assassination branch of the predecessor to the 
KGB in the 50s; it never was the entire Soviet Secret Service, either in 
reality or in the books.
-- 
John Switzer               | 50 years from now, nobody will
                           | remember Candice Bergen or Murphy
74076.1250@Compuserve.com  | Brown, but every school kid will
jrs@netcom.com             | be taught about President Quayle.
Newsgroups: rec.arts.movies
From: hopkins@agora.rain.com (Scott Hopkins)
Subject: Re: sex in movies
Organization: Open Communications Forum
Date: Thu, 10 Sep 1992 07:39:10 GMT

In article <1992Sep9.202905.11094@sq.sq.com> msb@sq.sq.com (Mark Brader) writes:
>In an article earlier in this thread, already expired here, someone
>was talking about how sex scenes interrupted their suspension of
>disbelief, because they realized that the actors were real people
>doing that.  It was then pointed out that filming a sex scene is,
>for most actors, anything but erotic.
>
>Well, in this connection, I can't resist quoting the following remark.
>A well-known actor (possibly John Gielgud, I don't remember) apparently
>said it to his co-star just before they began filming a sex scene:
>
>  Please forgive me if I get an erection, and also if I don't.

	Michael Douglas to Sharon Stone during the making of Basic Instinct.

		
		-Casey
hopkins@agora.rain.com


Newsgroups: rec.arts.movies
From: tdbear@tandon.com (Tom Barrett)
Subject: Re: Colorization- How? (was Re: Why I Like Colorization)
Organization: Tandon Corporation, Moorpark, CA
Distribution: usa
Date: Tue, 8 Sep 1992 17:49:31 GMT

In article <1992Sep2.172827.22285@jarvis.csri.toronto.edu> yonatan@turing.toronto.edu (Jonathan Hanna) writes:
>I would be surprised if there is any serious automation competing with
>the artist sweatshops, it seems like too tough an AI problem, even
>tracing aides like edge detectors may be fooled too often.

Actually, I think that the computer *does* do most of the
work.  The artists are there to get the coloring off to a good
start by painting a frame, but then the computer takes over to
do most of the work.  The artists is still there and can
examine the computer colored frame to do touch-ups.  You can
usually spot the loss of color in some action shots (I guess
the colorization technician was asleep).  That and the
weirdness of the color is what *really* bothers me... I spend
too much time spotting the errors and wrong colors.  If Ted
Baby wanted to really do something positive about an old
classic, he would simply use the same technique to remove
scratches and blotches from the print!  Also, redoing the
soundtrack would be a far greater improvement... adding
stereo, removing static, and reconstructing the actor's voices
(using proper digital signal processing).  Are you listening
Ted?  [sigh]

Colorization should only be used for cartoons! With the proper
enhancements to simulate cell-depth, it would greatly speed
animated movies... in fact, didn't Disney use colorization to
help color a large percentage of the frames from Beauty and
the Beast?  Did they use a flat model or did they actually
simulate the cell depth? Anyone know?

-- 
Tom Barrett (TDBear)    tdbear@tandon.com          voice: 805-378-6207
Tandon Corporation      609 Science Drive          Moorpark, CA  93021 
Sr. HW Design Engineer  "War is Peace, No is Yes, And We're All Free!" 
-=>NOTE:  The feed to tdbear@tandon.com may be interrupted in Sept.<=-
From: wood@siemens.com. (Jim Wood)
Newsgroups: rec.arts.movies
Subject: Re: ENCHANTED APRIL
Date: 9 Sep 92 13:42:49 GMT

fod@elroy.jpl.nasa.gov (Frank O'Donnell) writes:
>frankm@microsoft.com (Frank R.A.J. Maloney) writes:

>>ENCHANTED APRIL, despite it thinness, its incredibility, is
>>both magical and very funny. The actors are superb ...

>I was trying to remember what else I might've seen Michael
>Kitchen in (the musician who owns the villa).  Any jogged 
>memories?

Michael Kitchen played Berkeley Kohl, the friend of both Denys
Finch-Hatten (Robert Redford) and Karen Von Blixen (Meryl Streep)
who dies of black water fever, in "Out of Africa" (1985).

--
Jim Wood [jwood@siemens.siemens.com] (609) 734-3643
"Rise up on the wings of eagles, and two step among the stars.
 You are not forgotten.  Your smile will echo forever."
   -- Ryerson Schwark, to our friend Rob Bernardo.
Newsgroups: rec.arts.movies
From: jordan@cs.tulane.edu (Misti Jordan)
Subject: Re: What movies do to cities...
Nntp-Posting-Host-[nntpd-499]: sparta
Organization: Computer Science Dept., Tulane Univ., New Orleans, LA
Date: Fri, 11 Sep 1992 19:00:05 GMT

In article <18qc91INNr1r@usenet.INS.CWRU.Edu> cb366@cleveland.Freenet.Edu (Mark B. Bendiksen) writes:
>
>Speaking of continuity errors in location filming.......
>

Well, I have another one...



SPOILERS FOR THE MOVIE _SPACECAMP_...




First of all, let me state that I know this is a very unrealistic
movie in the first place. I mean, first of all, no kids would
*actually* be blasted into space even accidentally. Secondly,
having been to SpaceCamp twice...
There's absolutely no way that they would
have put up with the bullshit that the character Kevin seemed to hand
out. Anyway, that part aside... I like the way they just *conveniently*
combine Houston, Texas,  Huntsville, Alabama, and Titusville/ Cape
Canaveral, Florida. Granted, there is now a Camp in Titusville, but
at the time the movie was made, there was only one in Huntsville.
So, we have this group of kids
attending SpaceCamp in Huntsville Alabama... two of them decide to
break curfew and drive to see the shuttle on the launch pad-- which
is at the Cape. (But, according to Jinx, they can reach the beach
in 2 min 46 seconds... I wanna see that one!). Then, once the shuttle
is accidentally launched, the kids in Mission Control watch the
take off, and all this other stuff happens within sight of the launch
pad-- although Mission Control is in Houston after the first
minute or so of the launch. I know most people wouldn't even consider
thinking twice about it, but it bothered me since I want to be an
astronaut, and they made everything look so convenient in the movie.
Just for the record, though, I did like the movie. I just get
tickled at people anytime they ask of my SpaceCamp experiences
"So, was it like the movie?" AAAARRRRGGGHHHH! :)

Meow...
Misti
-- 
			   ||  "Some of it's magic...Some of it's tragic...
Misti D. Jordan            ||   but I had a good life all the way..."
jordan@cs.tulane.edu       ||                   -- Jimmy Buffett
    "I want to be good... but being bad is so rewarding!" -- Morgana Duck
Newsgroups: rec.arts.movies
From: moriarty@tc.fluke.COM (Jeff Meyer)
Subject: Re: Montreal Film Festival
Reply-To: moriarty@tc.fluke.COM (Jeff Meyer)
Organization: The John Fluke Mfg. Co.  /a.k.a. The Gizmonics Institute/
Date: Mon, 14 Sep 1992 07:31:35 GMT

In <1992Sep10.214231.25142@infonode.ingr.com> gary@.ingr.com (Gary Girzon) writes:
>For those interested in world cinema, Montreal is a great film festival!

I've never been to it, but from all indications (particularly previous lists
of films playing at it), I would certainly agree.

BTW, could someone in the know list what films won awards at this year's
Montreal festival?

                           "Sex is no substitute for peace of mind."

                                           -- Klo, THE BALTIC SEA
---
                                        Moriarty, aka Jeff Meyer
INTERNET:     moriarty@tc.fluke.COM
Manual UUCP:  {uunet, uw-beaver, sun, microsoft}!fluke!moriarty
CREDO:        You gotta be Cruel to be Kind...
                 **>> Keep circulating the tapes <<**
From: dianetti@acsu.buffalo.edu (Donald J. Dianetti)
Newsgroups: rec.arts.movies
Subject: Re: Pet Sematary 2
Summary: Not based on King
Date: 8 Sep 92 21:40:30 GMT
Organization: UB

In article <1992Sep8.151323.444@altair.selu.edu> slib1602@selu.edu writes:
>Is Pet Semetary 2 actually based on anything Steven King has ever written
>or is it some producer's ideas?

The only thing about this movie you could attribute to King directly is
the setting (Ludlow, Maine) and the driving plot device (magical cemetery).
Any characters or events are the creation of Hollywood writers/producers.
-- 
Don Dianetti  --  SUNY at Buffalo  --  dianetti@acsu.buffalo.edu
----------------------------------------------------------------
"Spock, where the hell is that power you promised me?!"
"One damn minute, Admiral"
From: bole@hmivax.humgen.upenn.edu (Greg Bole)
Newsgroups: rec.arts.movies
Subject: <None>
Date: 14 Sep 92 20:43:54 GMT
Organization: HHMI/Human Genetics, Univ of Pa.

In article <BuKroI.636@immd4.informatik.uni-erlangen.de>, 
uhschreg@cip.informatik.uni-erlangen.de (Ulrich Schreglmann) writes:

> You talking about Basic Instinct? If you're American, I can see why you
> don't like it, because they censored the sex scenes. If you didn't like
> it although you have seen the uncensored version, then you probably es-
> caped from a cloister somewhere.

Nope, there wasn't much "censoring" of the sex scenes.  One oral sex scene
was removed to garner an R rating, instead of an NC-17.

It was still plenty hot.

Greg Bole                                         "Well ya killed the hell 
bole@hmivax.humgen.upenn.edu                       outa that fellow today."
                                                Clint Eastwood in _Unforgiven
Newsgroups: rec.arts.movies
From: frankm@microsoft.com (Frank R.A.J. Maloney)
Subject: ENCHANTED APRIL
Date: 06 Sep 92 22:43:50 GMT
Organization: Microsoft Windows/DOS Users Ed Group

ENCHANTED APRIL is a film by Mike Newell, from a script by
Peter Barnes. It stars Josie Lawrence, Miranda Richardson,
Joan Plowright, and Polly Walker, with Alfred Molina,
Michael Kitchen, and Jim Broadbent. Photographed by Rex
Maidment. Based on a novel by Elizabeth Von Armin. Rated PG,
due to subject matter.

ENCHANTED APRIL is another entry in the ongoing series of
costume pictures based on British novels of the 1920s,
especially the ones where the Britons go to Italy to thaw
out emotionally and elsewise. Unlike ROOM WITH A VIEW or WHERE
ANGELS FEAR TO TREAD, the source material here is not E.M.
Forester, but Elizabeth Von Armin, a writer with
considerably less reputation amongst today's readers. By all
reports, Peter Barnes, who wrote THE RULING CLASS, has
trimmed much deadwood from the novel, the clumsy humor and
several subplots, to concentrate on the recuperative magic
of a special place. In this case, the special place is a
small Italian castle overlooking the sea and surrounded by
gardens and woods of the most exquisite beauty. The film was
shot sequentially in the same place that Von Armin wrote her
novel, St. George's Fortress (now called Castello Brown),
near Portofino. It may that the actors were as affected by
the place as were their characters, for the change that
comes over everyone is remarkably visible in their faces and
body language.

The story is slight, even hard to believe due to its sunny
outlook, its familiarity, even its magic. But it provides a
framework for some lovely ensemble acting by four of
Britain's best. Joan Plowright, the vinegary old survivor of
the Victorian literary set, who want to sit in the shade and
remember better times, takes over any scene she's in, which
is as it should be. Polly Walker plays the beautiful,
aristocratic leader of London's smart set, who is tired of
being the center of attention, of the empty life. Josie
Lawrence is a rather fanciful, intuitive London housewife
who is bullied by her tightwad husband (Alfred Molina). And
Miranda Richardson goes against type and plays a dowdy
suburban housewife, who does not approve of her
novelist-husband's books. He's played by Jim Broadbent. The
third man in the story is the owner of the castle, Michael
Kitchen, who drops in on the group after they're well
ensconced in Italy.

ENCHANTED APRIL, despite it thinness, its incredibility, is
both magical and very funny. The actors are superb. The
photography fills you longing to get on the next plane for
Portofino. The transformation the place effects is not quite
made accessible to us, we are reduced to taking it on face,
but it is good to believe in something so rejuvenating, so
recuperative.

I can recommend ENCHANTED APRIL to anyone in need of little
uplift.


-- 
Frank Richard Aloysius Jude Maloney
	"Well, I'm a little muddled." -- Glinda
Newsgroups: rec.arts.movies
From: frankm@microsoft.com (Frank R.A.J. Maloney)
Subject: TOP TEN MOVIES, as of 9 September 1992
Date: 09 Sep 92 23:02:03 GMT
Organization: Microsoft Windows/DOS Users Ed Group

Following is a list of the top-ten grossing movies in the U.S. as of 9
September 1992 (source: Seattle P-I, 9 September 1992). The first
dollar column lists the amount grossed in millions of dollars in the
previous weekend. The second dollar column lists the total gross
receipts in the U.S. through the end of the previous weekend.

1     HONEYMOON IN VEGAS                 $ 9.2 M    19.4 M

2     UNFORGIVEN                           6.4      63.6

3     SINGLE WHITE FEMALE                  5.1      35.9

4     PET SEMETARY TWO                     3.9      10.4

5     DEATH BECOMES HER                    3.2      50.6

6     A LEAGUE OF THEIR OWN                2.7     100.6

7     SISTER ACT                           2.5     129.3

8     3 NINJAS                             1.88     24.7

9     RAPID FIRE                           1.87     11.8

10    ENCHANTED APRIL                      1.6       5.3

#########################################################

Comments:

This last weekend was a three-day holiday in the U.S., so
grosses are higher generally than the weekend before.

A LEAGUE OF THEIR OWN has become a blockbuster by going over
the $100 million mark.

ENCHANTED APRIL makes an unexpected appearance on the Top
Ten list, unexpected because the film was given limited
distribution to mainly art houses.

SISTER ACT continues to show great legs under those habits.

And Disney's $2 million purchase of 3 NINJAS is looking even
smarter all the time. Word is out that a sequel is in
the works.
-- 
Frank Richard Aloysius Jude Maloney
	"Well, I'm a little muddled." -- Glinda
Newsgroups: rec.arts.movies
From: rlwilliams@gallua.gallaudet.edu
Subject: Re: great voices
Organization: Gallaudet University
Date: Fri, 11 Sep 1992 18:05:17 GMT

In article <1319@ncrclm.ClemsonSC.NCR.COM>, lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow) writes:
> Sidney Poitier!


as in the immortal line:

They call me MISTER Tibbs!

skip
From: bd@fluent@dartmouth.EDU (Brice Dowaliby)
Newsgroups: rec.arts.movies
Subject: Re: Films with no females
Date: 11 Sep 92 17:03:18 GMT
Reply-To: bd%fluent@dartmouth.EDU
Distribution: na
Organization: Fluent Inc., Lebanon NH


bole@hmivax.humgen.upenn.edu (Greg Bole) writes:

>In article <1992Sep9.134543.6232@citib.com>, ken@agassi (Ken Nodini) writes:
>
>> What about :
>> 
>> 	"One A.M." with Charlie Chaplin (1916)
>> 	"Towed in a Hole" with Laurel and Hardy (1932)
>> 	"Busy Bodies" with Laurel and Hardy (1933)
>> 	"Twice Two" with Laurel and Hardy (1933)
>> 	"Dirty Work" with Laurel and Hardy (1933)
>> 	"Midnight Patrol" with Laurel and Hardy (1933)
>> 	"Sleuth" with Michael Caine and Sir Laurence Olivier (1972)
>         ^^^^^^
>
>My god man!  That's brilliant!!!  I *never* would have thought of _Sleuth_!

Greg, I certainly understand your frustration with this thread - it has
gone on a long time, and it seems like three-quarters of the posts it only 
repeat movies already mentioned.

But, the other _one-quarter_ of the posts on this subject seem to come 
from you, posting about the repeating nature of this thread, and IMHO, 
your posts are getting as boring as all the other posts on this thread.

Why not just let it die a natural death?
-- 
   Brice Dowaliby, Fluent Inc., 10 Cavendish Court, Lebanon, NH  03766
                         bd%fluent@dartmouth.edu        
             I don't speak for them, they don't speak for me
                              DoD # 0698
Xref: sparky rec.arts.movies:27300 alt.tv.twin-peaks:2752