I've never seen No Way Out but with a scene like 0:36- 0:60 from the trailer I'm all in. That diaolouge is fire, and I love Linda Darnell's cold dead look which compliments her beautiful flowing dark hair and dark eyes.
The review for French Noir, Poison Ivy (1953) is up. It’s described as a “ one long and very sexy noir commercial “ That’s enough of a description to purchase it. It’s region free for those who are interested.
The review for French Noir, Poison Ivy (1953) is up. It’s described as a “ one long and very sexy noir commercial “ That’s enough of a description to purchase it. It’s region free for those who are interested.
Sounds good to me too. Will add it to my wishlist.
The review for French Noir, Poison Ivy (1953) is up. It’s described as a “ one long and very sexy noir commercial “ That’s enough of a description to purchase it. It’s region free for those who are interested.
Thanks for the heads up on this. From the screencaps and the review this looks to be a day one purchase.
The review for French Noir, Poison Ivy (1953) is up. It’s described as a “ one long and very sexy noir commercial “ That’s enough of a description to purchase it. It’s region free for those who are interested.
I just pulled the trigger after reading Pro-B's review. Thanks!
The review for French Noir, Poison Ivy (1953) is up. It’s described as a “ one long and very sexy noir commercial “ That’s enough of a description to purchase it. It’s region free for those who are interested.
Hi, since this thread has always been the unofficial home for all TCM online courses, figured I'd post this. They recently unveiled their latest genre study.
Quote:
Join TCM, Ball State University and fellow film fans for this online class exploring the history of Hollywood musicals from June 3-30 and enjoy addictive course materials including:
Interviews with:
Academy Award-winning Sound Designer Gary Rydstrom discussing sound in the Hollywood Musical
Distinguished Ball State Professor Wes Gehring looking at musicals and comedy
Film Scholar Richard Edwards examining the connection between musicals and melodrama.
Daily course messages with movie clips
Fun and challenging online games against fellow fans
Ongoing conversation with fellow fans on TCM message boards and #TCMusicals
And this year, we are pleased to announce Dr. Vanessa Theme Ament—former Actor's Equity performer, successful Hollywood artist (Die Hard,Edward Scissorhands) and Endowed Chair of Telecommunications at Ball State University—will lead you on this unforgettable journey through the history of the Hollywood musical.
COURSE SYLLABUS (COURSE DATES: JUN 3 - JUN 30, 2018)
WEEK 1: Introduction / Musicals of the 1920s & 1930s
The beginnings of sound technology and the first film musicals in the 1920s and 1930s: The Great Ziegfeld, Top Hat, Broadway Melody, and other films
Important musicals that set the standard for the decade: The Great Depression
The transition from Broadway to Hollywood
New stars in musicals, directors, editors, and other creatives that influenced the decade: Ernst Lubitsch, Fred Astaire and Ginger Rogers, and others
Key song numbers that typify the movie musical in the 1930s
WEEK 2: Musicals of the 1940s
The changing terrain of the 1940s movie musical surrounding WWII: Yankee Doodle Dandy, On the Town, Meet Me in St. Louis, and other films
Performers who developed during the 1940s, choreographers who direct and musicians who produce: Busby Berkeley, Ester Williams, Red Skelton, Judy Garland and others
Studios, stars, and stories for wartime America: the transition to nationalism
Pre-recording, post-sound, and location scenes
The emerging films of diversity: Cabin in the Sky, Showboat, and other films
WEEK 3: Musicals of the 1950s
The high times of the 1950s and the Blacklist: The Bandwagon, An American in Paris, High Society, and other films
The development of camera, sound, and exhibition
Glamour and the expanded role of design
The broadening of the composer, producer, and editor
Key figures who expand their scope: Gene Kelly, Vincente Minnelli, Elvis Presley, and others
WEEK 4: Conclusion / Musicals of the 1960s and 1970s
The disruption of the studios: independent film influences
Turbulence in the country and cultural challenges: Tommy, Cabaret and other films
Changing musical tastes, youth, and historical films: Funny Girl, 1776, My Fair Lady, and other films
The British Invasion: The Beatles and A Hard Day’s Night
Directors, stars, and producers who transitioned into the 1960s
Someone on reddit posted a few pics of these Brazilian noir box sets. Some excellent titles in this set. I'm thinking they might be bootlegs, but not sure. They look cool anyways.
Someone on reddit posted a few pics of these Brazilian noir box sets. Some excellent titles in this set. I'm thinking they might be bootlegs, but not sure. They look cool anyways.
I do not think they are bootlegs. Versatil is a very well known and prestigious company in Brazil, famous for its quality releases of classic films on home video.
Someone on reddit posted a few pics of these Brazilian noir box sets. Some excellent titles in this set. I'm thinking they might be bootlegs, but not sure. They look cool anyways.
nice artworks, but most of the movies included in these dvd sets are already out on blu-ray. they look like a legit company to me, if anyone wants to check their website out: http://www.dvdversatil.com.br/
most of the following sets by Vertice (Spain), on the other hand, have only warner archives dvd-r releases as alternatives.
these are actually pressed discs and do look legit as well.
+ some other interesting sets like Joan Fontaine, Irene Dunne, RKO Pre-Code, Val Lewton, Nicholas Ray,....
spanish subs are forced on some of them when played on my blu-ray player, but easily removable when played in a dvd software like vlc media player (with which i watch most of my dvd's anyway).
i wouldn't buy them now though, i got them for 11€ ($13) each last november, so they can be had cheaper than they are now.
Rewatched Wild Things tonight. Still a well cast piece of entertaining trash. Since everyone is releasing everything all over again in 4K, it would be nice if they would give this one a remaster with both cuts and the extras from the dvd.
The Academy Film Archive and the Film Foundation Present
New 4k Restoration of Edgar G. Ulmer’s Detour (1945)
Restoration to Premiere April 26, 2018 at the Tcm Classic Film Festival
Janus Films to Release Theatrically in Fall 2018
New York, NY. (April 25, 2018) – The Academy Film Archive and The Film Foundation, in collaboration with Cinémathèque Royale de Belgique, The Museum of Modern Art, and Cinémathèque Française, with funding from the George Lucas Family Foundation, have completed a new 4K digital restoration of Edgar G. Ulmer’s DETOUR (1945) that will premiere Thursday, April 26 at 7:45pm at the TCM Classic Film Festival in Hollywood. Audiences across the US will also be able to enjoy this seminal film noir when it is released theatrically by Janus Films in the fall.
Added to the National Film Registry in 1992, DETOUR is a quintessential example of distinctive filmmaking on a low-budget. Now the Academy Film Archive has carefully restored the film with sources from three different countries and an innovative use of 4K digital technology.
The film noir recounts events in the life of musician Al Roberts’ (Tom Neal) through an extended flashback. On his way to join his girlfriend Sue (Claudia Drake), in Los Angeles, he hitches a ride with con man Charles Haskell (Edmund MacDonald). When Haskell mysteriously dies, Al assumes his identity, believing he will be blamed for the death if he goes to the police. Al runs into a new set of troubles when he picks up a hitchhiker, Vera (Ann Savage), who discovers the truth and uses his lies against him.
“DETOUR, shot in 14 days by Edgar G. Ulmer for $100,000, is now an acknowledged milestone in American cinema. It’s a picture about bad luck, about being down and out, about thinking you’ve hit bottom and then realizing that it’s a longer way down than you thought. The style of the picture reflects the desperate situation of the characters,” said Martin Scorsese. “For many years, it was possible to see DETOUR only in copies mastered from extremely degraded 16mm prints. Which was okay, it seemed, because it was in keeping with the spirit of the picture. Then, in the late 90s, there was a photo-chemical restoration made from far better elements, though it was still a bit rough. With this new restoration, to be able to see so much detail in the frame, in the settings and in the faces of the actors, is truly startling, and it makes for a far richer and deeper experience. In fact, watching this new restoration of DETOUR might make you feel like you’re back there in 1945, seeing the picture on opening night.”
“We’ve been looking forward to restoring DETOUR for years,” said Michael Pogorzelski, Director of the Academy Film Archive and co-supervisor of the restoration. “It’s wonderful that The Film Foundation and four archives from around the world have collaborated to make this restoration as complete and perfect as possible.”
“I’m not sure anybody has ever seen DETOUR looking so good,” said Janus Films President Peter Becker, “and it’s still one of the most revered and beloved B-movie noir classics of all time. We’ve been hoping for years that this day would come and now thanks to The Film Foundation and the Academy Film Archive we can see Edgar Ulmer’s work clearly for the first time – and it’s a revelation.”
The restoration team began by examining potential sources, including: a 35mm dupe negative from The Museum of Modern Art, which was incomplete and riddled with jump cuts; a 35mm safety composite print from the Cinémathèque Française; and a 35mm nitrate print from the Cinémathèque Royale de Belgique. That print, thought to have been made from the original camera negative, was clearly the best element in terms of image clarity, contrast, and density, but had never been considered as a source for preservation because it contained burned-in French and Flemish subtitles.
This obstacle was overcome by scanning all of the print elements to 4K, then compositing frames from the MoMA print over the matching subtitled frames from the Belgian print. Where frames from the MoMA print were missing, and in shots that contained significant movement within the frame, the subtitles were removed by dedicated and talented digital artists using digital painting techniques.
On Sunday, April 29, the TCM Classic Film Festival will also feature TUNES OF GLORY (1960, d. Ronald Neame), another film restored through the collaborative efforts of the Academy Film Archive, The Film Foundation, MoMA and Janus Films, with generous support from the George Lucas Family Foundation.
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