Twilight Time Discussion Thread

[The Great Owl]

I figured that a good way to pay my respects would be to take a Twilight Time title out of my unwatched stack this evening.



After leaving his wife of 24 years and turning his back on his two grown children, Dr. Bock, played by George C. Scott, is an emotionally drained and guilt-ridded man who drowns his sorrows in vodka and daydreams about committing suicide because he has lost his passion to live a meaningful existence. As the Chief of Medicine at a reputable teaching hospital in Manhattan, he senses control slipping through his fingers every day as his facility is plagued by bureaucracy, malpractice, dismissive avarice, and bewildering incompetence. As the hospital administrators finalize plans to annex a condemned apartment building next door, protestors and dispossessed tenants gather in the street to voice their anger.

The doctor's resigned cynicism is challenged by an abrupt affair with an unconventional ex-nurse, played by Diana Rigg (On Her Majesty's Secret Service), who has brought her father from a mountain reservation to seek treatment. Meanwhile, doctors and nurses are dying mysterious deaths due to seemingly happenstance incidents of mistaken identity and wrongful procedure.

The 1971 film, The Hospital, which was directed by Arthur Hiller (Love Story, Silver Streak) and written with meticulous attention to sizzlingly urgent dialogue by Paddy Chayefsky (Network, Marty), combines drama, murder mystery, and caustic satire to fantastic effect, thanks to a series of uncomfortably tense interactions by the lead players and by an unforgettable ensemble of supporting actors, including Frances Sternhagen (Misery), Richard Dysart (The Thing), Robert Walden (All the President's Men), Nancy Marchand (The Sopranos), Stephen Elliot (Beverly Hills Cop), and Roberts Blossom (Escape from Alcatraz). I was wondering where I had seen Barnard Hughes, who plays the father of Rigg's character, until I realized that he played the grandfather who steals the show with the final line of dialogue in The Lost Boys. Attentive viewers will also spot split-second appearances by Stockard Channing (Grease) and several others who have since achieved greater fame.

The dramatic highlight of The Hospital, a seethingly bitter monologue by Scott, makes for one of the most beautifully incendiary moments that I have seen in cinema. Rigg, whose character does not back down, almost matches him step for step with her deliberate and frank style of conversation. Chayefsky's screenwriting is the true miracle here, though, and his touch infuses an electric flow to the proceedings, despite the fact that many characters use uncommonly obscure words to accentuate their emotions.

This film has an especially unsettling edge for me, since I spent six days in a hospital room in March of 2018 for a ruptured appendix and resultant infection. That feeling of being dependent on rotating shifts of doctors and nurses, who often had conflicting opinions on certain treatments, really threw me for a tailspin. This taut story hits home as such, and the fact that the Twilight Time Blu-ray was gifted to me while I was in recovery puts a smile on my face all the more.

I am giving this one five stars simply because we do not see this sort of sharp dialogue often in this day and age.

This Blu-ray wheels in the goods with a transfer that looks wonderfully detailed, despite the presence of a few dirt specks. The isolated score/isolated effects track is almost as bracing as the main feature, which, strangely, despite the amazing dialogue, could function almost like a silent film.

[Page14]

Originally Posted by The Great Owl

I figured that a good way to pay my respects would be to take a Twilight Time title out of my unwatched stack this evening.

[Show spoiler]

After leaving his wife of 24 years and turning his back on his two grown children, Dr. Bock, played by George C. Scott, is an emotionally drained and guilt-ridded man who drowns his sorrows in vodka and daydreams about committing suicide because he has lost his passion to live a meaningful existence. As the Chief of Medicine at a reputable teaching hospital in Manhattan, he senses control slipping through his fingers every day as his facility is plagued by bureaucracy, malpractice, dismissive avarice, and bewildering incompetence. As the hospital administrators finalize plans to annex a condemned apartment building next door, protestors and dispossessed tenants gather in the street to voice their anger.

The doctor's resigned cynicism is challenged by an abrupt affair with an unconventional ex-nurse, played by Diana Rigg (On Her Majesty's Secret Service), who has brought her father from a mountain reservation to seek treatment. Meanwhile, doctors and nurses are dying mysterious deaths due to seemingly happenstance incidents of mistaken identity and wrongful procedure.

The 1971 film, The Hospital, which was directed by Arthur Hiller (Love Story, Silver Streak) and written with meticulous attention to sizzlingly urgent dialogue by Paddy Chayefsky (Network, Marty), combines drama, murder mystery, and caustic satire to fantastic effect, thanks to a series of uncomfortably tense interactions by the lead players and by an unforgettable ensemble of supporting actors, including Frances Sternhagen (Misery), Richard Dysart (The Thing), Robert Walden (All the President's Men), Nancy Marchand (The Sopranos), Stephen Elliot (Beverly Hills Cop), and Roberts Blossom (Escape from Alcatraz). I was wondering where I had seen Barnard Hughes, who plays the father of Rigg's character, until I realized that he played the grandfather who steals the show with the final line of dialogue in The Lost Boys. Attentive viewers will also spot split-second appearances by Stockard Channing (Grease) and several others who have since achieved greater fame.

The dramatic highlight of The Hospital, a seethingly bitter monologue by Scott, makes for one of the most beautifully incendiary moments that I have seen in cinema. Rigg, whose character does not back down, almost matches him step for step with her deliberate and frank style of conversation. Chayefsky's screenwriting is the true miracle here, though, and his touch infuses an electric flow to the proceedings, despite the fact that many characters use uncommonly obscure words to accentuate their emotions.

This film has an especially unsettling edge for me, since I spent six days in a hospital room in March of 2018 for a ruptured appendix and resultant infection. That feeling of being dependent on rotating shifts of doctors and nurses, who often had conflicting opinions on certain treatments, really threw me for a tailspin. This taut story hits home as such, and the fact that the Twilight Time Blu-ray was gifted to me while I was in recovery puts a smile on my face all the more.

This Blu-ray wheels in the goods with a transfer that looks wonderfully detailed, despite the presence of a few dirt specks. The isolated score/isolated effects track is almost as bracing as the main feature, which, strangely, despite the amazing dialogue, could function almost like a silent film.

I had similar thoughts, although I opted for The Wild Bunch (and the Nick Redman documentary special feature included on the disc) as a memory tribute.

[Richard--W]

This is sad news. I don't know what to say. I was in a round-robin email exchange with
Nick about Peckinpah and other matters, but mostly Peckinpah. He had my admiration
and respect. He's left a legacy of impeccable work. He will be sorely missed.

[nitin]

Originally Posted by The Great Owl

I figured that a good way to pay my respects would be to take a Twilight Time title out of my unwatched stack this evening.



After leaving his wife of 24 years and turning his back on his two grown children, Dr. Bock, played by George C. Scott, is an emotionally drained and guilt-ridded man who drowns his sorrows in vodka and daydreams about committing suicide because he has lost his passion to live a meaningful existence. As the Chief of Medicine at a reputable teaching hospital in Manhattan, he senses control slipping through his fingers every day as his facility is plagued by bureaucracy, malpractice, dismissive avarice, and bewildering incompetence. As the hospital administrators finalize plans to annex a condemned apartment building next door, protestors and dispossessed tenants gather in the street to voice their anger.

The doctor's resigned cynicism is challenged by an abrupt affair with an unconventional ex-nurse, played by Diana Rigg (On Her Majesty's Secret Service), who has brought her father from a mountain reservation to seek treatment. Meanwhile, doctors and nurses are dying mysterious deaths due to seemingly happenstance incidents of mistaken identity and wrongful procedure.

The 1971 film, The Hospital, which was directed by Arthur Hiller (Love Story, Silver Streak) and written with meticulous attention to sizzlingly urgent dialogue by Paddy Chayefsky (Network, Marty), combines drama, murder mystery, and caustic satire to fantastic effect, thanks to a series of uncomfortably tense interactions by the lead players and by an unforgettable ensemble of supporting actors, including Frances Sternhagen (Misery), Richard Dysart (The Thing), Robert Walden (All the President's Men), Nancy Marchand (The Sopranos), Stephen Elliot (Beverly Hills Cop), and Roberts Blossom (Escape from Alcatraz). I was wondering where I had seen Barnard Hughes, who plays the father of Rigg's character, until I realized that he played the grandfather who steals the show with the final line of dialogue in The Lost Boys. Attentive viewers will also spot split-second appearances by Stockard Channing (Grease) and several others who have since achieved greater fame.

The dramatic highlight of The Hospital, a seethingly bitter monologue by Scott, makes for one of the most beautifully incendiary moments that I have seen in cinema. Rigg, whose character does not back down, almost matches him step for step with her deliberate and frank style of conversation. Chayefsky's screenwriting is the true miracle here, though, and his touch infuses an electric flow to the proceedings, despite the fact that many characters use uncommonly obscure words to accentuate their emotions.

This film has an especially unsettling edge for me, since I spent six days in a hospital room in March of 2018 for a ruptured appendix and resultant infection. That feeling of being dependent on rotating shifts of doctors and nurses, who often had conflicting opinions on certain treatments, really threw me for a tailspin. This taut story hits home as such, and the fact that the Twilight Time Blu-ray was gifted to me while I was in recovery puts a smile on my face all the more.

I am giving this one five stars simply because we do not see this sort of sharp dialogue often in this day and age.

This Blu-ray wheels in the goods with a transfer that looks wonderfully detailed, despite the presence of a few dirt specks. The isolated score/isolated effects track is almost as bracing as the main feature, which, strangely, despite the amazing dialogue, could function almost like a silent film.

Not sure I agree re 5 stars but it’s definitely a very good film with terrific performances and a sharp script. But Chayefsky ultimately bettered the same script later in Network IMHO.

[Yuchira]

Shocking. Rest in peace, Nick. His contributions to my hobby will be sorely missed.

[rdodolak]

Here's another tribute article on Nick:

Media Play News: Twilight Time’s Nick Redman Dies

[MifuneFan]

May he rest in peace

[LaserKen]

Originally Posted by MifuneFan

May he rest in peace

So sad to see this. Thanks, Nick, for all you did to preserve and showcase film and music. Your contributions will continue to reverberate.

[jayembee]

The Twilight Time website front page has a link to the Variety obit.

[DavidRoylance]

Although I never met him, Nick and I conversed over FB a few times in the last couple of years. He was immensely kind & when I was looking for an OOP TT title, he helped me find a pristine copy.

He was a kind gentleman. I wish I had known him better and mourn that he no longer with us to talk to.

[oildude]

I am normally not one to experience a loss of words, but upon reading the news yesterday of Nick's passing, I needed time to digest what I knew in my heart was inevitable but was shocked that the final act came so suddenly.

While the news is heartbreaking to his loved ones and casual internet friends like me, I believe Nick is in a better place now. Given his hopeful outlook on life, he is no doubt enriching the heavens as I type this.

Nick reached out to me with PMs of thanks on multiple occasions for maintaining this thread. We exchanged PMs and emails semi-regularly, mostly about things unrelated to Twilight Time. I will always remember when my Astros played his Dodgers in the 2017 World Series.....we had a pleasant round of emails over our enjoyment of baseball, and when the end result was an Astros victory, he was disappointed but appreciative of an incredible World Series.

Over the course of the past several years, he was gracious to me in unexpected ways. An email or PM out of the blue to just say hello and chat. Another time he asked for my address for his records and I gave it, then one day a month or so later a special signed copy of To Sir, With Love autographed to me personally by Judy Geeson showed up. He was proud of what he had accomplished in his profession and in his personal life. His admiration and love for Julie Kirgo and his daughter were boundless and complete.

I know he appreciated many of our members here, and expressed his gratitude that, after a rocky period five years ago, this thread settled down into a pleasant place to visit.

As for his illness, he would tell me about it and provide updates if I asked him, but was not someone to make it front and center in any conversation. At one point in March of 2018, he wrote this to me:

I'm 63 next month - and everybody gets something - this is my burden to bear at the moment. I don't know what the future holds or how long we'll keep going, but we'll do the best we can. Thanks for asking.

My condolences and sincere prayers of healing go out to Julie, Rebecca, Brian, the staff at Twilight Time, and all those who had Nick in their lives on a regular basis. I wish I had the opportunity to know him longer and know him better. But from the small amount of interactions between our computer screens, I can take away a lifelong memory of having been acquainted with someone who was generous, kind, knowledgeable about the world of movies we both loved, and always willing to help others if he was able to do so.

And to that I will add my impression that he was one tough bastard. He did indeed Beat the Devil, and having that title released as his swan song somehow seems appropriate.

RIP Nick. The angels are now blessed to have you among them.

[balthazar_bee]

What terrible news. Heartfelt condolences to his family and friends.

Originally Posted by GG Pan

A master moderator, IMO. He knew how to get his subjects talking just enough; Avoiding the traps of dead air or unfocused rambling. Commentators, interviewers should study this guy to improve their communications kills.

Oh, this is so true. It always chafed me when co-commentators would interrupt or talk over him; he seemed a real gentleman, and his contributions were usually fascinating. Most impressive is the way he handled being in a room with other Peckinpah scholars -- not to knock them, but Paul Seydor sometimes...yeah, you know.

[rvlution]

What's everyone's favorite commentaries? I'm new to TT but am already impressed after listening to one (of three!) of the tracks on Bring Me the Head of Alfredo Garcia. I've also just noticed that Nick shows up on non TT Peckinpah commentaries and I already own a few of those.

[McCrutchy]

Somehow, this news escaped me yesterday, so I'm quite shocked now.

Rest in peace, Nick.

[jayembee]

Originally Posted by oildude

And to that I will add my impression that he was one tough bastard. He did indeed Beat the Devil, and having that title released as his swan song somehow seems appropriate.

A heartfelt eulogy. Thanks, oildude.

Speaking of Beat the Devil, I received my January titles today, and I noted that Nick (along with Julie and Lem) did the commentary. It'll be a bittersweet listen. I also see that he contributed one for Yanks as well (which I did not order at the time). I wonder how many others he's done -- if any -- for titles not yet released.

[English Patient]

Originally Posted by rvlution

What's everyone's favorite commentaries? I'm new to TT but am already impressed after listening to one (of three!) of the tracks on Bring Me the Head of Alfredo Garcia. I've also just noticed that Nick shows up on non TT Peckinpah commentaries and I already own a few of those.

I only have a few Twilight Time titles, but I really enjoyed the Nick Redman/Julie Kirgo commentary on American Buffalo. He and Julie Kirgo demonstrated an excellent breadth of knowledge about David Mamet and the film business in general. It was one of those wonderful commentaries that's like sitting down with good friends and listening to an engrossing conversation - full of good humor and lots of fascinating anecdotes and history.

He will be greatly missed.

[Keyser Soze.]

Crushing news. If there’s any silver lining to this, it has to be that he’s in a better place, and no longer in pain. I’ve watched cancer eat away at loved ones and the battle they fight is unimaginable.

Take care Nick, and thanks for all the gifts you left us.

[AgentOrange]

Terrible news. He posted here too, didn't he? Probably under the Twilight Time handle but I believe i saw him post here using his name.

Will Twilight Time itself live on?

[MassiveMovieBuff]

Originally Posted by rvlution

What's everyone's favorite commentaries? I'm new to TT but am already impressed after listening to one (of three!) of the tracks on Bring Me the Head of Alfredo Garcia. I've also just noticed that Nick shows up on non TT Peckinpah commentaries and I already own a few of those.

I love the one he did with director James Foley for At Close Range and I can't thank Nick enough for including the extremely rare isolated score track. One of my all time favorite scores and films.

[Dex Robinson]

I just read this news.

In 2012, I was diagnosed with prostate cancer* and I semi-jokingly posted in this forum that I wanted to order a back-up copy of BYE BYE BIRDIE but, in light of my condition, I probably wouldn't need back-ups of anything.

I soon received a private message from Mr Redman asking for my address. He took it upon himself to send me a complimentary copy of BYE BYE BIRDIE and a copy of the Bing Crosby movie HIGH TIME.

In my years in the home video hobby, that was the classiest, most generous gesture I've experienced.


*Two years later, I would have surgery which successfully treated the disease.