HDTenEightyP/NetNews huggingface dataset:
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Date:         Wed, 30 Sep 1992 16:59:21 EDT
From:         "Patrick Ricciardi" <CX935C@GWUVM.BITNET>
Subject:      Re: Good [BAD] Movies-self-correction
              30 Sep 1992 15:34:59 EDT from <MKERBEL@YALEVM.YCC.YALE.EDU>

 All of this talk about how one score is a rip-off of another score is
ridiculous. All of the famous film score composers say when they compose a
score they take little bits and pieces of other scores that they have done and
been happy with. If they are ripping off someone else's work its not great, but
if its their own work its just a continued improvement.

              Patrick
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Date:         Mon, 28 Sep 1992 10:38:00 EST
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From:         ELGFROEHRER@PSUCES.BITNET
Subject:      Colorization ad nauseum

                  I N T E R O F F I C E   M E M O R A N D U M

                                        Date:     28-Sep-1992 10:32am DST
                                        From:     Ellen L. Gfroehrer
                                                  ELGFROEHRER
                                        Dept:     Independent Learning
                                        Tel No:   (814) 865-5403

TO:  Remote Network Mail User             ( _IN%CINEMA-L@AUVM.BITNET )


Subject: Colorization ad nauseum

There is a difference between colorization and translation.  Translation is
remaking Casablanca with Harrison Ford.  Colorization is some weinie sitting
around with his/her crayolas deciding if Donna Reeds' hair is orange-red or red
orange (if they put even that much thought into it).  Art?  Oh please.
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Date:         Thu, 1 Oct 1992 21:18:40 -0400
From:         FISHERKJ@SNYONEVA.BITNET
Subject:      Re: GOOD [bad] MOVIES

Dick Clawson sees in BLACK ROBE a far different movie than I did.
This may suggest, if anything, that it was an even better movie
than we suspected.

>The young Jesuit is painted as being an insensitive clod whose only
>concern is baptizing pagans.

The fellow in the movie I saw was an earnest (if a bit logy) young
man struggling to maintain his faith and come to an understanding
of an alien world and its peculiar values and rituals. The *actor*
struck me as dull -- either a mistake or a masterstroke, I'm not
sure. Maybe they were making a sly statement about pious young
missionaries -- but I doubt it.

>The movie made it seem that the Missioners
>were happiest if the pagans remained blissfully ignorant

This may have been true of the Church bureaucrats in town, but
the troops in the field, like the dying priest upriver, are
portrayed sympathetically, though without sentimentality. The movie
was careful about showing you the admirable as well as the
deplorable sides of each culture. Not too common these days.

>although this was supposedly a
>positive story about a missionary, the only religious affirmation
>given was for the Indian's faith

First, I see BLACK ROBE as neither positive nor negative, but
discursive and skeptical -- about everybody, New World and Old.
It didn't seem interested in affirming anyone's faith. I thought
of it as a view of a lab experiment -- a pinch of the Church
Militant, a pinch of woodsy paganism, and let's watch the swirls
and eddies. No easy judgements here.

Sorry to go on. But BLACK ROBE kind of sticks with you.

kjf-
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Date:         Mon, 28 Sep 1992 08:49:53 -0400
From:         Ellen.Edgerton@SUADMIN.BITNET
Subject:      Re: Movie music?

I also am a big fan of Robbins' HOWARDS END score.  I would like to
hear the other ones.

HOWARDS END is a score that I heard before I saw the movie.  I have this
weird tendency to listen to a film's music before I actually see it.
(Usually because the movie isn't playing in my hick burg at the same time
it's playing elsewhere...)  Patrick Doyle's HENRY V score was another
one.  I spent about a month with it before I got up the courage to see
the actual movie.  I was afraid that I wouldn't like the movie as much as
I loved the music.  (Happily, that wasn't the case.)

I know that's not the way film music was "meant" to be heard, but I find
it sometimes provides an interesting "back door" into my appreciation of
a movie.

Ellen
ebedgert@suadmin.syr.edu
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Date:         Sat, 26 Sep 1992 16:42:17 EDT
From:         Gayle Gleason <ST402486@BROWNVM.BITNET>
Subject:      Re: Earth Girls

>
>Of course EARTH GIRLS ARE EASY is dumb, but that doesn't mean
>it isn't good.  You have to have lived in the LA area to
>appreciate it.

 I don't think that that is true...I know a few people who are not
 Valley Girls who liked the movie (myself included).  I think that
 you just have to be culturally aware!

--Gayle Gleason  (Oh my gawd!  He's black!)
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Date:         Tue, 29 Sep 1992 13:57:00 CDT
From:         Ray Hamel <RHAMEL@MACC.WISC.EDU>
Subject:      Re: The Name of the Rose

        I enjoyed the film NAME OF THE ROSE very much, and particularly
enjoyed the acting of Sean Connery, F. Murray Abraham and William Hickey.
Connery, especially, was magnificent as the Holmesian monk solving
a murder mystery linked to an ancient text.
        I haven't looked at the novel, though I'm told it's quite a
challenge to weave through Umberto Eco's collection of various
languages.  Someday, I hope to find the time because I enjoyed the plot of the
film very much.

Ray Hamel
University of Wisconsin
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Date:         Tue, 6 Oct 1992 11:38:00 EDT
From:         SCHIBERG@MOREKYPR.BITNET
Subject:      Re: Fame vs. American singer-performer film

If it's the one I'm thinking of, it is called "The Miracle."

Susan
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Date:         Sun, 4 Oct 1992 16:04:00 CDT
From:         Ray Hamel <RHAMEL@MACC.WISC.EDU>
Subject:      Parodies of Movies

        Other films featuring parodies include YOU'RE MY EVERYTHING
(1949) which features a mild parody of Shirley Temple's THE LITTLEST REBEL;
UNDER THE RAINBOW, spoofing THE WIZARD OF OZ; KENTUCKY FRIED MOVIE
spoofing kung fu films and THE WIZARD OF OZ; and my personal favorite
of parodies, MOVIE MOVIE, which does a great job on any boxing film
and the musical 42ND STREET.

Ray Hamel
University of Wisconsin
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Date:         Tue, 6 Oct 1992 20:15:47 +0100
From:         smmat@UKC.AC.UK
Subject:      Re: Bad Timing

>Does anyone know if BAD TIMING; A SENSUAL OBSESSION by Nicholas Roeg
>is available on video?  I know that Cinemax has played it in the
>past, but I haven't seen it around for awhile.  Thanks for
>any help on this!
>
>Susan

Yes, It is there somewhere. I saw this movie for the first time on video
about 3 yrs ago. Also I know a friend who has got a copy of it on video too,
so I know it exists (at least here in UK).

BTW Bad Timing will be shown on tv on Friday 9th October (I think on Channel 4).

Sami.
--
| Sami M AL-Taher                |                                 |
| Electronic Engineering Labs.   |                                 |
| University of Kent,            | E-mail: smmat@ukc.ac.uk         |
| Canterbury, Kent, UK.          | Tel: + 44 227 769303            |
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Date:         Wed, 30 Sep 1992 09:09:39 EDT
From:         "Orlanda Thompson --- Rm M1310 Bldg. 100 --- Ext. 3005"
              <THOMPSON_O@RSO.DNET.GE.COM>
Subject:      Not Receiving any Mail

Hello,

I'm going through withdrawal; haven't received "Cinema-L" for at least 16 hrs.
Have I been disconnected again or there hasn't been any msgs. on the board?

Orlanda
Internet:  thompson_o@rso.dnet.ge.com
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Date:         Tue, 29 Sep 1992 09:48:36 -0500
From:         "(Currie Thompson)" <cthompso@CC.GETTYSBURG.EDU>
Subject:      RE:UNFORGIVEN

In Message Tue, 29 Sep 1992 13:33:52 BST,
  "John Smyth" <eeijsh@EEIUC.ERICSSON.SE> writes:

>SPOILER......................
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>

>I still loved the movie. However, the person with whom I saw the movie didn't
> enjoy
>the movie quite so much because he felt that there was no 'good' characters,
> just
>varying degrees of evil. What do y`all think ?
      I failed to comment on your friend's reaction in my last post and will
do so now.  I think one of the film's strengths was that it transcended the
usual stereotypical division of characters into good and bad and presented
characters who combined good and evil traits.  A couple of characters--
English Bob/Jim (I can't recall which--Is he a historic personage?)--and
the first of the two cowboys seemed to approach total evil.  But most
of the characters were--like the prostitute--scarred (marked by evil) but
still retained a degree of beauty or goodness.
     I thought this type of chracterization was a strength because I believe
it is realistic.  Isn't that they way life is--the way we ourselves are?
Currie Thompson
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Date:         Mon, 28 Sep 1992 15:56:22 -0400
From:         Ellen.Edgerton@SUADMIN.BITNET
Subject:      Re: Danny Elfman

To Danny Elfman admirers:  How would you define his style?  For that
matter, to John Williams admirers, I ask the same question.  I'm very
interested to hear what you think their styles are.  What do you
like, what don't you like, etc.

Ellen
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Date:         Sat, 26 Sep 1992 23:41:00 EDT
From:         Peter.Giordano@WILLIAMS.EDU
Subject:      Re: Colorization, a seeming justification, unless you look closer

The policy of requiring colorizers to deposit a perfect copy of the
Black & White film was explained to me by Ralph Oman, the Registrar of
Copyrights - I guess it cam be found in the Code of Federal Regulations -
But according to Ralph - It's required for any colorized film
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Date:         Tue, 29 Sep 1992 19:32:56 CDT
From:         C444307@MIZZOU1.BITNET
Subject:      Re: thoughts and question

>First, the question, What ever happened to the guy who played Harold in
>Harold and Maude? I haven't seen him in ages.
>THoughts:
>SPOILER...............................
>
>
>
>
>
>
>
>
>I was kind of upset when Clint killed Gene Hackman. I was hoping that he
>would be the better man and walk away. Of course, Gene would have been after
>him later, but I still had kind of hoped it would be that way.
>Unforgiven was by far the best movie of the year!
>

Yes I was upset too, especially the way he gunned down
the bar keeper skinny and anybody else who so much as flinched.
But I believe that was the whole point of the movie.
The movie (which I loved) dances with one of those eternal
questions, Can we really change who we are?
>Paul.
Joe Daus
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Date:         Tue, 29 Sep 1992 15:32:13 EDT
From:         Gayle Gleason <ST402486@BROWNVM.BITNET>
Subject:      Re: Last of the Mohicans

>
>Last of the Mohicans
>
>Is Michael Mann the director responsible for Manhunter and Miami Vice ?
>
>    John Smyth

  Yes to the Miami Vice part of that question, I don't know about Manhunter.

--Gayle Gleason
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Date:         Tue, 29 Sep 1992 09:31:37 -0500
From:         "(Currie Thompson)" <cthompso@CC.GETTYSBURG.EDU>
Subject:      RE:UNFORGIVEN

In Message Tue, 29 Sep 1992 13:33:52 BST,
  "John Smyth" <eeijsh@EEIUC.ERICSSON.SE> writes:

>SPOILER......................
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>I saw UNFORGIVEN last w/end. [ . . . ] A couple of minor quibbles though :
>1) The prostitute's face didn't seem very disfigured. I know that her injuries
>were exagerated by the time Clint & Morgan heard about the incident. However,
>when Clint wakes up (after his fever breaks), he instantly recognises that the
> woman
>standing over him is the carved-up prostitute, even though her face is hardly
> marked.
>
>2) Clint's shooting at the end of the movie (when he avenges Ned) has improved
   a
> lot
>since the start of the movie (when he couldn't hit anything with a pistol)
>
>I still loved the movie. However, the person with whom I saw the movie didn't
> enjoy
>the movie quite so much because he felt that there was no 'good' characters,
> just
>varying degrees of evil. What do y`all think ?

    Like you, I loved the movie--think it is perhaps the best US film I
have seen in the last twelve months.  And like you, I had a couple of minor
quibbles.  I was not concerned about the extent of markings on the
prostitute's face.  She was clearly scarred, and I did not find it odd
that Clint could recognize her.  For me it was not necessary that she be
made to appear hideous.  In fact, I found the degree of scars not only
realistic but symbolic--beauty and human dignity remaining despite the
horror that has scarred and marked one.
    Like you, however, I was somewhat troubled by the sudden return of
Clint's ability to shoot--and the restoration of his reflexes, which the
earlier portion of the film suggests have been damaged by age.  I found
it even less realistic that this return took place after he was wounded and
after he returned to the bottle after years of abstaining.  The film did
something to address the reflexes question with the sheriff's speech to
the reporter--doesn't matter how quick you are but how carefully you aim.
But I wasn't entirely satisfied by this--although, like you, I loved the
movie.
Currie Thompson
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Date:         Mon, 5 Oct 1992 13:01:00 EST
Reply-To:     ELGFROEHRER@PSUCES.BITNET
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From:         ELGFROEHRER@PSUCES.BITNET
Subject:      Alan Parker

                  I N T E R O F F I C E   M E M O R A N D U M

                                        Date:     05-Oct-1992 12:52pm DST
                                        From:     Ellen L. Gfroehrer
                                                  ELGFROEHRER
                                        Dept:     Independent Learning
                                        Tel No:   (814) 865-5403

TO:  Remote Network Mail User             ( _IN%CINEMA-L@AUVM.BITNET )


Subject: Alan Parker

John,

It is hard to believe that _FAME_ came from the same man who did _THE
COMMITMENTS_!  Was this film well received in Ireland?  It is also hard to
believe that Andrew Strong was only 16 when he made that movie.  He appeared
much older, sang like he had lots of life experience.  There seems to be a real
interest in Motown/Blues music in Ireland/England.  Is this actually the case?
The scene with Wilson Pickett in The Coms reminded me of _RATTLE AND HUM_ when
B. B. Kings plays with U2.  Maybe it is just a fascination with African
American Culture in general?

Ellen
From: C444307@MIZZOU1.BITNET
Newsgroups: bit.listserv.cinema-l
Subject: Re: GOOD [bad] MOVIES
Date: 3 Oct 92 22:01:22 GMT
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>Joe,
>   I am undoubtedly biased.  I suppose that I wanted a North American version
>of THE MISSION, but I still can't help feeling that BR fell short of the mark
>when compared to history.  ESPECIALLY the little tag at the end that tells how
>the peaceful Hurons were slaughtered x-many years laters by another tribe.  It
>left a distinct impression in my mind that the author wished to blame the
>influence of the missionaries on their defeat...
>RDC,SJ
>
Dick,
    While were on the subject...  A while back I heard a rumor
that there was going to be some kind of movie made in recognition
of the Jesuits 450/500 year mark.  I thought I remebered hearing
that Dustin Hoffman was looking at the part of St. Ignatius.
Did you hear anything about this?

Thanks

Joe
From: MKERBEL@YaleVM.YCC.Yale.Edu (Michael)
Newsgroups: bit.listserv.cinema-l
Subject: Re: Colorization, a seeming justification, unless you look closer
Date: 28 Sep 92 15:56:29 GMT
Organization: Yale University

In article <01GP9BDUBX5C8WW6U0@WILLIAMS>
Peter.Giordano@WILLIAMS.EDU writes:
 
>
>The policy of requiring colorizers to deposit a perfect copy of the
>Black & White film was explained to me by Ralph Oman, the Registrar of
>Copyrights - I guess it cam be found in the Code of Federal Regulations -
>But according to Ralph - It's required for any colorized film
 
I wasn't aware of this. Somehow, I still find it unbelievable.  However: even
if it's true, it doesn't apply to Public Domain films, such as countless silent
films; plus IT'S A WONDERFUL LIFE, HIS GIRL FRIDAY, PERSONA, 39 STEPS, GRAND
ILLUSION, RULES OF THE GAME (I think), and many many others.  And even if it's
true, I still say that: 1. Not everyone can hop on a plane and go to Washington
to see a film and 2. Even if one could do it, the film would not be available,
because it would be in a storage vault.
 
This weekend, I wanted to check out the "50th Anniversary Edition" of KING KONG
to see if and how it differed from the version previously released on video.  I
 went to my corner video store.  They didn't have the new edition, but they did
 have the previous one -- colorized only.  I went to another video store, and t
hey had the 50th Anniversary Edition --colorized only.  I asked if the b&w
was out, but they said no -- they hadn't purchased one.
 
I guess that KING KONG in black and white is already relegated to artifacts of
the past, like Mesopotamian sculpture.  I have to run now -- I'm going to catch
a flight to D.C. to see if someone at the Library of Congress will pull out the
brand new perfect black and white print of KING KONG and run it for me.
                                 --M Kerbel
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Date:         Mon, 28 Sep 1992 14:16:09 SET
From:         Maroy Akos <JZK2115@HUSZEG11.BITNET>
Subject:      Movie music

HI ::-)

I've been reading this discussion about music in movies. I find it very
interesting, that everyone was talking (sorry, writing) about such slimey
pop songs, like 'Whenewer I die, I die it for you', or what the hell by
Brian I_dont't_know_who in Robin Hood the Prince of A**holes.

Don't any of you think, that the term 'music' should describe something
like the score of The Chariots of Fire, by Vangelis Papathanossiou, or
the score of Witness by Maurice Jarre? Anyone can put popsongs in any movie,
and it may be OK for a given scene, but the music all through the movie is
something else. (Like how would you like a rap theme all through the Taxi
Driver, for instace?)

For cult movies, it's off course different. It's very obvius, that the movie
Easy Rider wouldn't be the same without Steppenwolf's Born to be Wild, for
example. But making a movie the way, that something happenes, than you hear
a popsong, than samething happenes again, than you hear another song and so
on does not make any sense. (I mean as a movie it doesn't make sense, but
when you're a fan of the music you hear all the way, then it's fun to watch
it just for the music. But then again, you are NOT watching a movie, you are
listening to music with some pictures between and during the songs.)

On the other hand, if the these songs have lyrics, and they are good, and they
fit the movie (e.g. they are written for the particular scene) then I admit,
the scene wouldn't be the same (hopefully it would be worse). This is the case
in Apocalypse now, in the end, where The End by Doors is played, though it
wasn't written for the movie, off course. But in the case of Top Gun or Robin
Hood, the songs are very far from the movie or scene itself, it feels like
they were just put in so that there is no silence during the film.

Musicals are a whole different story, off course. Anyway, I usually do not
like them, so I don't write about them. (I very appriciate HAIR, for example,
but nothing else is my taste here.. ::-) )


Akos Maroy                    jzk2115 at huszeg11
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Date:         Mon, 28 Sep 1992 11:12:23 BST
From:         Kerr Avon <lcc@WIN.ICL.CO.UK>
Subject:      Re: Good [BAD] Movies

>From: CDOMS <CDOMS@UMKCVAX1.BITNET>
>
>We have had comments on the worst, z-grade, b movies on this list.  Howe
>about movies that made it big, oscar winners or critically aclaimed, that
>you thought were over-rated or hated?
>
>Other takers in the suppose to be Great Movie category?

Ooh.  Ooh.  _Silence of the Lambs_.  _Silence of the Lambs_!

				Liam.
				====-

     KERR AVON    |   Work: ICL,   *"I assume that your use of the
 aka Liam Cairney |Reading, England* word `magic' means that I am
  All e-mail to:- | Home: Glasgow, * incomprehensible to you?"
lcc@win.icl.co.uk |    Scotland    *         -- Orac (Blake's 7)
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Date:         Wed, 30 Sep 1992 14:34:33 EST
From:         "Katherine" <KRYNER@UVMVM.BITNET>
Subject:      David Strathairn

Thanks to all who responded to my "what has he been in" question.  I've
gotten all the info together and made a (hopefully) complete list.
Any errors or additions, please let me know...

Movies:

The return of the Secaucus Seven (1980 - mechanic)
Lovesick (1983 - Marvin Zuckerman)
The brother from another planet (1984 - alien)
Iceman (1984 - Dr. Singe)
At close range (1986 - Tony Pine)
Matewan (1987 - Sid)
Eight men out (1988 - Eddie Cicotte)
Dominick and Eugene (1988 - Martin Chernak)
The feud (1989 - stranger)
Memphis Belle (1990 - commander)
City of hope (1991 - Asteroid)
A league of their own (1992 - Ira Lowenstein)
Sneakers (1992 - Whistler)
Passion fish (1992 - Rennie)

TV:

Days and nights of Molly Dodd (1987-91 - Moss Goodman)
Broken vows (1987 - Stuart Chase)
Day one (1989 - J. Robert Oppenheimer)
Judgement (1990 - Father Aubert)
Heat wave (1990 - Bill)
Son of the Morning Star (1991)
One man's bullet : the James Brady story (1992)
O Pioneers! (1992 - Carl Lindstrum)
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