HDTenEightyP/NetNews huggingface dataset:
From: Ellen.Edgerton@SUADMIN.BITNET
Newsgroups: bit.listserv.cinema-l
Subject: what's this Canadian movie???
Date: 29 Sep 92 16:26:04 GMT
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JOURNEY INTO DARKNESS: THE BRUCE CURTIS STORY was a Canadian >TV-movie< made
in 1991 (I think) and aired on NBC in 1992.  It won some Canadian TV awards,
the equivalent of their Emmies, I think.  (It aired here under the name
DEADLY BETRAYAL).

A >good< movie.  About the Bruce Curtis case, where a Canadian student
was involved in a New Jersey double murder.  The young actor playing the
lead, Simon Reynolds, was excellent.

Ellen Edgerton
ebedgert@suadmin.syr.edu
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Date:         Mon, 28 Sep 1992 08:33:00 EDT
From:         Peter.Giordano@WILLIAMS.EDU
Subject:      Brazilian deli

I saw DELICATESSEN and BRAZIL as a double feature this Saturday night
and I was up until 5AM because of the overstimulation - A very interesting
combination of movies - I guess the linking theme is being covered from
head to toe in newspapers
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From: MKERBEL@YaleVM.YCC.Yale.Edu (Michael)
Subject: Re: Coloriz. isn't defilement or evil
Organization: Yale University
Date: Mon, 28 Sep 92 13:52:36 EDT

In article <CINEMA-L%92092520182268@AUVM.AMERICAN.EDU>
Rick Francis <C47805NF@WUVMD.BITNET> writes:
 
A bunch of convoluted arguments in favor of colorization.
 
The fact is: colorization is defilement and is evil.  Colorization is not the
only evil defilement.  I would add the following:
 
1. Panning and scanning of widescreen films.  Which only proves that seeing
half of the frame is NOT better than seeing nothing.
 
2. Adding more "up-to-date" music and even new voices to cartoons -- a
practice I had not noticed until recently.  You can see it with Casper
the Friendly Ghost and other cartoons from that studio.
 
3. Insertion of footage to drag films out to two nights and therefore more
commercials -- a practice that used to be very common on network TV, but maybe
they have abandoned it.  Notice: I am not talking about restored footage that
directors originally wanted in the film.  I am talking about OUTTAKES that
nobody wanted.
 
4. Insertion of scenes especially shot for TV.  Another practice that I think
has been abandoned.  Example: EARTHQUAKE, the TV version of which has some
characters not even in the original film.  And this version is still shown on
local channels.
 
5. Showing silent films at sound speed.  Also, showing silent films with sound
effects.  I know that someone out there will call me a purist, and/or claim
that silent films should be relegated to ancient artifact museums, and/or that
silent films were accompanied by sound effects originally.  But when you watch
a Chaplin comedy with assorted grunts, squeals and pig noises, you will know
the meaning of defilement.
 
6. Speeding up film to fit into time slots (they call it "time compression")
and/or to get in additional commercials.
 
Where will it all end?  I am sure that everyone has seen Paula Abdul's video in
which she appears with Cary Grant, James Cagney (both colorized no less) and
Gene Kelly (in the original color, I believe).  I can just imagine future
video producers and entrepreneurs deciding to alter older films by inserting
new stars, etc. so THE MALTESE FALCON would be shown a) colorized;  b) with
some new music, maybe by Tone Loc;  c) with Bogart's voice dubbed in by, say,
Tom Cruise; d) with Mary Astor removed completely and Madonna in her  place;
d) all "old-fashioned" dialogue removed &  some new jargon put in its place
(Sam Spade: "Why'd she dis me? I'm clueless."); e) all "corny" scenes removed;
f) with the film sped up so it could fit into a 90 minute time slot,  etc etc.
                                       --M. Kerbel
 
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Date:         Tue, 6 Oct 1992 07:56:54 CST
From:         C47805NF@WUVMD.WUSTL.EDU

The Alan Parker film "Fame" . . . is that the one in which an Irish
teenager becomes enamored of the blonde American singer-performer, and
his female friend, er, becomes involved with the zoo's lion-tamer?

Just trying to get this one straight.  If that isn't "Fame", does any-
one recognize it?  Thanks.


________________________________________________________________________
Rick Francis  C47805NF@WUVMD      |  *  Pat Robertson, in opposing
Dep't of Comparative Literature,  |  *  Iowa's proposed Equal Rights
Box 1107                          |  *  Amendment, says feminism
Washington University             |  *  "encourages women to leave their
St. Louis, MO  63130              |  *  husbands, kill their children,
                                  |  *  practice witchcraft, destroy
                                  |  *  capitalism, and become lesbians."
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Date:         Fri, 2 Oct 1992 16:11:35 PDT
From:         FRANK@125LAW1.LAW.UCLA.EDU
Subject:      Re: Parodies in toonville

> Did anybody see last night's Simpsons (10/1/92)?
> They did two incredibly humerous take offs on moives.
> First there was the Maggie/Great Escape/ ala Steve McQueen thing.
> Then there was Alfred Hitcock and the Birds take off.


    There was also Homer playing with his play program ala Joseph
Cotton in "Citizen Kane."   And one other that I can't remember off
the top of my head.

    Frank
From: huddle@VTTCF.CC.VT.EDU
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Subject: Re: Bell, Book, and Candle
Date: 6 Oct 92 17:26:45 GMT
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>I just saw this oldie for the first time over the weekend and thought it
>was excellent -- Jimmie Stewart and Kim Novak.

Related, the movie that Jimmy (sic) Stewart and Kim Novak had done just
previously was ... _Vertigo_, where a woman is not all that she appears.
(Lots of other neat similarities, too.)

--
-scott
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Organization: State University of New York - College at Fredonia
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Date:         Tue, 29 Sep 1992 10:33:07 -0400
From:         "Michael P. Gilly" <GILL7935@FREDONIA.BITNET>
Subject:      Re: Movie music and worst films

As far as movie music goes (or TV music), IMHO no one can top the haunting,
yet beautifully interesting compositions of Angelo Badalamenti (David Lynch
works).

And my nominations for the worst films I've ever seen:  "Top Gun"- good
music but sh**ty acting and no real plot, "Another You"- another reject,
and "The Harrod Experiment"(?)- stars "Joanie" from "Eight is Enough" and
is about college students being told to cohabitate for scientific purposes.

Mike
SUNY Fredonia
From: Peter.Giordano@WILLIAMS.EDU
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Subject: Re: Shirley MacLaine
Date: 29 Sep 92 16:32:00 GMT
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Jennifer has said what is exactly true about Shirly MacLaine - She turned
in some interesting performacnces early in her career but has become
dangerous since then - Of course every once in awhile she will be well
cast in a role that suits her overbearing persona (POSTCARDS FROM THE
EDGE for instance)
From: MKERBEL@YaleVM.YCC.Yale.Edu (Michael)
Newsgroups: bit.listserv.cinema-l
Subject: Re: 1987 -- THE LAST EMPEROR
Date: 30 Sep 92 15:56:31 GMT
Organization: Yale University

In article <9209301052.AA11665@eeiud>
"(Patrick Walsh)" <eeipwah@EEIUD.ERICSSON.SE> writes:
 
>Michael writes :
>> 1987 -- THE LAST EMPEROR (What is this about?)
>
>  Surely you knew what it was about. Does anybody have any information
>how accurate this film was? I am sure that the bit about the cricket
>(or whatever insect) surviving under the Throne for all those years wasn't,
>but on information was the film based and is it anyway exact?
>                                                         Regards,
>                                                             Patrick Walsh.
I apologize for my flippant remark.  Actually, out of all the Oscar winners
about which I made flippant remarks, THE LAST EMPEROR was most deserving of a
little better treatment.  By "what is this about?" I meant that the film
seemed completely unfocused, as to its point of view.  I know that Bertolucci
is a major director, and I think that many of his earlier films -- BEFORE THE
REVOLUTION, THE SPIDER'S STRATAGEM, THE CONFORMIST, etc -- are excellent.
THE LAST EMPEROR, as beautifully filmed (Storaro) and designed as it was,
seemed (to me, anyway), pointless.  Still, it is many notches above TERMS OF
ENDEARMENT, ORDINARY PEOPLE, and countless other films whose points are
painfully clear. -- M Kerbel
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Date:         Tue, 29 Sep 1992 14:15:01 -0500
From:         FAC_JCLARK@JMUVAX.BITNET
Subject:      Re: Oscars

Well, Ellen, if you don't buy the film director as god, you're obviously not
thinking politically correctly.  (Yes, my tongue is in my cheek: I can stand
disagreement just so long as the disagree-ee recognizes s/he won't likely
change *my* mind....) I was of course going on the reasonable assumption that,
however committee-compromised a film may prove to be, there has to be someone
at the helm--and that person is usually the director (unless it's a strong
hands-on producer such as Speilberg--by which I don't mean he's always hands-
on).  No, the director doesn't write the words (though often alters or has the
writer alter) them; nor score the music--but the director does usually (almost
certainly or always in the case of films that make it into the Oscar sweeps?)
have a say in the shaping of these and other production elements.  Even in
cases where the director might only be a "conductor" and not as much a "composer
   " of other production elements, it's still gotta amount to a good (we want
great) "performance."  And the director's the most likely candidate for that,
even if you don't subscribe to the auteur theory.  Jeff Clark
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Date:         Sat, 26 Sep 1992 14:31:24 -0500
From:         JACKSOSM@VUCTRVAX.BITNET
Subject:      Re: Malcolm X

Subj:   RE: Malcolm X

Wow!  Don't hold back, Karen.  Tell us how you really feel.  I think
you've got a bad case of white backlash.  Lighten up.  I don't think
Spike Lee is God's gift to the film industry, but he does make
interesting films that are creative and thought provoking.  Sure, he's
made mistakes and plenty of them (not the least of which is his tendency
to speak his mind in public without mincing words).  I totally disagree
with your assessment of his writing.  I think it reflects a perspective
on the world which, by and large, the white middle class of America has
no experience or understanding of, and therefore no sympathy for.
His bad manners in public should not detract from our response to his
work.  I don't recall Spike ever claiming to speak for "all black
people."  I can't imagine any black person, regardless of his celebrity,
being that presumptuous.  The sad thing is, Spike brings a lot of this
heat upon himself.  He's in the uncomfortable position of being a
successful black filmmaker in a business and market dominated by whites.
 He wants to be a spokesman for black views, but his very success, in
some respects, removes him from the environment with which those views
are associated.  I agree his voice is strident and often unpleasant, but
he probably feels the need to raise his voice in order to get the kind
of recognition that too often is lavished on less deserving films by
people on the "inside" of Hollywood.  Yes, there's too much hype
surrounding Spike Lee.  That's not entirely his fault.  My feeling is
that if Spike Lee were completely unknown to the public, his films would
probably be viewed in a less contentious state of mind.  Perhaps you
don't agree, but I see him as a kind of black response to John Sayles.
In both cases, I think their best work lies in front of them.

j-man

    <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
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Date:         Tue, 29 Sep 1992 21:02:06 EDT
From:         Jason Rankinen <AA23@NMUMUS.BITNET>
Subject:      MOVIE MUSIC

Greetings,

      One film composer I can always pick out in a film is James Horner.
I first heard his work in "Star Trek II: the Wrath of Khan".  Although
I'm biased since I am a trekkie(i know. some people don't like that but
it doesn't bother me) I thought his score for that film was the best
space opera theme since Williams "Star Wars".  After seeing the movie I
went right out and bought the album and could relive the film just by
listening on the stereo.

         Jason Rankinen Northen Mich. Univ.
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Date:         Wed, 30 Sep 1992 10:30:04 -0500
From:         Gary Graffagnino <ACCGSG@HOFSTRA.BITNET>
Subject:      Re: Bob Roberts

>From: Gayle Gleason <ST402486@BROWNVM.BITNET>
>
> I saw Tim Robbins' _Bob Roberts_ last weekend.  It's so funny it's
> almost scary!  If you liked (okay, loved) _The Player_ because of its
> satire, then GO SEE _Bob Roberts_.   As one reviewer put it: " it's the
> revenge of the cultural ellite."

I couldn't agree more.  I couldn't stop laughing after the movie when I was
telling my friends about it.
                           ______
  Gary Graffagnino         \    /   "Why would a smart guy like Nathan Detroit
  accgsg@hofstra.bitnet     \  /     fall in love with his own fiance?"
  accgsg@vaxc.hofstra.edu    \/            -Benny Southstreet (Guys and Dolls)
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Date:         Mon, 28 Sep 1992 14:43:58 CDT
From:         C444307@MIZZOU1.BITNET
Subject:      Dead Ringers

Gayle,

I had no idea it was based on a true story.
Thanks for the info.

Joe Daus   U of MO-Columbia
C444307@MIZZOU1.bitnet
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Date:         Mon, 5 Oct 1992 22:45:39 EST
From:         Jason Rankinen <AA23@NMUMUS.BITNET>
Subject:      Re: RE:UNFORGIVEN

> When I first saw the previews for _Unforgiven_, I kept mistaking Clint's
> main character, with another Western character of the name "Will Penny".
>
> It's been too long since I've seen the "Will Penny" western.  Does
> _Unforgiven_ borrow anything from that movie?
>
> Carol Doms



     Will PENNY IS A WESTERN STARRING CHARLETON HESTON.  BOTH FILMS DO
SHARE WHAT I'd call a more authentic representation of the old west.
will penny (played by heston) is an aging cowboy who's down on his
luck.when finally able to find a job it's patroling a remote section of
a ranch.  he finds a young stubborn woman and her family in cabin and is
forced to choose between letting them stay for the winter or kicking
them out which is his job.  Both films portray the west glamourlessly
and the stories are told well.  however, will penny is basically a good
man and probably has beenall his life while william muny is quite
another story.

          i thought will penny was a well done film with a good
performance by heston. I can't remember the name of the woman.  also
steve majors, (farrah fawcett's ex) makes his film debut in it.



jason rankinen northern michigan university
From: DU013@OASIS.CALPOLY.EDU
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Subject: _Empire Quiz_...
Date: 6 Oct 92 16:01:52 GMT
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              6 Oct 1992 13:16:42 BST from Kerr Avon <lcc@WIN.ICL.CO.UK>

From:  Mary Shaffer



Tim Burton (Pee Wee's Big Adventure, Beetlejuice, Batman) -- a guess

Thanks,
Mary
From: THOMPSON@UCRVMS.BITNET
Newsgroups: bit.listserv.cinema-l
Subject: Suggestions needed
Date: 28 Sep 92 16:37:00 GMT
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Original_To:  _CIN

Gayle,
  Thanks for the tip; I'll try to find it.  The only suggestions
so far are:  YOUNG MR. LINCOLN; TENNESSEE JOHNSON; and THE PRESIDENT'S
LADY.  I also add THE DEVIL AN DANIEL WEBSTER, though it's not
quite the right period.

Jim Thompson
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Date:         Tue, 29 Sep 1992 11:01:27 -0500
From:         FAC_JCLARK@JMUVAX.BITNET
Subject:      Re: Good [BAD] Movies

Ellen,
Why not get started on the oscars?  What you say about them being given to the
most banal/conventional films, I'd say in a slightly nicer(?) way: they're
usually given to banal, conventional or at best "respectable" good films. What
gets cut out are utter incompetence and supreme talent and genius.  Sometimes
I consider this in the latter case a badge of honor. I can almost consider it
satisfying that Martin Scorcese has never won anything from that den of medio-
crity. On the other hand, though, it's amazing that quite a few actors and
actresses have won under his direction, so...

At any rate, I've a longstanding argument with the dubiousness of even assign-
ing "best" accolades to pieces of contributions to what's supposed to be an
artistic whole.  The best judgments usually given by the academy under these
circumstances are judgments of craft, not art, measured by conventional
standards.  On the most simplistic level: how can you ever have a best picture
without its director being best?  A little more complex: how is a performance
the best of the year, or cinematography--all on its own?  In relation to
what?  In the case of SILENCE OF THE LAMBS, it may have been only the 4th or
5th time one film swept the major awards, but in my view this event should
be the rule--not the exception.

Enough for now, gotta go.  Jeff Clark
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Date:         Mon, 5 Oct 1992 11:10:00 CDT
Reply-To:     Sandra Ballasch <sandra-ballasch@UIOWA.EDU>
From:         Sandra Ballasch <CADSANTS@UIAMVS.BITNET>
Subject:      Re: movie music?

Danny Elfman's pop music is very good also.  His scores are the only
good things about the Batman movies. I also think that his band (which
I can't think of the name right now) contributed some songs to the
Rodney Dangerfield movie Back to School.


>         Another composer I like very much is Danny Elfman.  His upbeat scores
> PEE-WEE'S BIG ADVENTURE and BEETLEJUICE helped to enhance the bizarre
> atmosphere that director Tim Burton was trying to create.  Similarly,
> his Gothic scores for BATMAN and EDWARD SCISSORHANDS are worth listening
> to solely on their own merit.  His tv themes for THE SIMPSONS and THE FLASH
> are also very catchy.
>
> Ray Hamel
> University of Wisconsin
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Date:         Tue, 6 Oct 1992 08:02:35 -0400
From:         FISHERKJ@SNYONEVA.BITNET
Subject:      Best line I've heard recently in a movie.

In the HBO movie about teamster prez Jackie Presser, a couple
of The Boys are putting the fear of god into Presser. One of
the wiseguys says, in his best Steuben, Ohio rasp:

        "You remember what happened to Hoffa? And we *liked* Hoffa."

kjf-
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Date:         Mon, 28 Sep 1992 08:06:00 CDT
From:         Ray Hamel <RHAMEL@MACC.WISC.EDU>
Subject:      Re: movie music?

        Another composer I like very much is Danny Elfman.  His upbeat scores in
PEE-WEE'S BIG ADVENTURE and BEETLEJUICE helped to enhance the bizarre
atmosphere that director Tim Burton was trying to create.  Similarly,
his Gothic scores for BATMAN and EDWARD SCISSORHANDS are worth listening
to solely on their own merit.  His tv themes for THE SIMPSONS and THE FLASH
are also very catchy.

Ray Hamel
University of Wisconsin
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Date:         Wed, 30 Sep 1992 09:54:00 EDT
From:         Peter.Giordano@WILLIAMS.EDU
Subject:      Re: Husbands and Wives

My wife had the same reaction to HUSBANDS AND WIVES and we were sitting quite
close to the screen (My prefered seats; actually, we were the only two people
in the audience which was fun) - I thought the camera work was very effective
and challenging and although my dear wife was dizzy and nauseated she agrees -
That one of the reasons I would not watch this film on a VCR - You just won't
get one of the most important features of the film (it'd be like watching
VERTIGO without the soundtrack) - Also the details in the costume and set
design demand the big screen
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Date:         Thu, 1 Oct 1992 04:20:49 EST
From:         "(Steve X. Portigal)" <stevep@SNOWHITE.CIS.UOGUELPH.CA>
Subject:      automatic removal?

 I just got a message telling me that I have been removed from the
cinema-l list today. It did not say it was per my request. It was
NOT per my request.

 Is this related to the hiccup in the list yesterday? Is anyone
else getting this?

OBFilm: I rented Bullitt tonight. I agree with what everyone says, the
chase sequence through San Francisco (where I spent the summer!) is
really amazing. No music, only sound effects. Steve McQueen drives his
character's car, he does his own stunts. A brooding, sometimes slow
film, where Steve is amazingly cool, and there is not one smile, chuckle
grin or light moment. Steve McQueen, Robert Vaughn, Jacqueline Bisset,
Robert Duvall, Norman Fell, Vic Tayback (who I couldn't find)...

Really dated, and also really cool for how well it suits that time that it
is from (at least that's how it looks from here)

Steve
--
/*************************************************************\
|  Steve Portigal  University of Guelph  Guelph, Ontario      |
|  stevep@snowhite.cis.uoguelph.ca (519) 824-4120 x 3580      |
\*************************************************************/
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Date:         Tue, 29 Sep 1992 09:14:08 -0400
From:         Ellen.Edgerton@SUADMIN.BITNET
Subject:      Re: Good [BAD] Movies

RE "Silence of the Lambs" -

>>But all the major Oscars?  Give me a break!

I haven't yet seen the movie, but as far as bringing Oscars into this
argument...I mean, what the heck, they usually give Oscars to the most
conventional and/or banal films they can, why not break up the
monotony and give some to a horror film?

Don't get me started on the Oscars, though...ugh.

Ellen
ebedgert@suadmin.syr.edu
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