list http://www.spout.com/ Recent community activity around His Girl Friday on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/His_Girl_Friday/15449/default.aspx Title: His Girl Friday
Year: 1940
Director: Howard Hawks
Plot: The second screen version of the Ben Hecht/Charles MacArthur play The Front Page, His Girl Friday changed hard-driving newspaper reporter Hildy Johnson from a man to a woman, transforming the story into a scintillating battle of the sexes. Rosalind Russell plays Hildy, about to foresake journalism for marriage to cloddish Bruce Baldwin (Ralph Bellamy). Cary Grant plays Walter Burns, Hildy's editor and ex-husband, who feigns happiness about her impending marriage as a ploy to win her back. The ace up Walter's sleeve is a late-breaking news story concerning the impending execution of anarchist Earl Williams (John Qualen), a blatant example of political chicanery that Hildy can't pass up. The story gets hotter when Williams escapes and is hidden from the cops by Hildy and Walter--right in the prison pressroom. His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. And if you listen closely, you'll hear a couple of "in" jokes, one concerning Cary Grant's real name (Archie Leach), and another poking fun at Ralph Bellamy's patented "poor sap" screen image. Subsequent versions of The Front Page included Billy Wilder's 1974 adaptation, which restored Hildy Johnson's manhood in the form of Jack Lemmon, and 1988's Switching Channels, which cast Burt Reynolds in the Walter Burns role and Kathleen Turner as the Hildy Johnson counterpart. ~ Hal Erickson, All Movie Guide
Times Tagged: 10
Number of Lists: 38
Number of blog posts: 7
Number of discussion threads: 3
SpoutRating: 3
]]>Fri, 24 Jul 2009 17:49:44 GMTHis Girl Friday1940Howard HawksThe second screen version of the <a href="/players/P____93876/default.aspx" style='text-decoration:underline'>Ben Hecht</a>/<a href="/players/P___100518/default.aspx" style='text-decoration:underline'>Charles MacArthur</a> play The Front Page, His Girl Friday changed hard-driving newspaper reporter Hildy Johnson from a man to a woman, transforming the story into a scintillating battle of the sexes. <a href="/players/P____62246/default.aspx" style='text-decoration:underline'>Rosalind Russell</a> plays Hildy, about to foresake journalism for marriage to cloddish Bruce Baldwin (<a href="/players/P_____5165/default.aspx" style='text-decoration:underline'>Ralph Bellamy</a>). <a href="/players/P____28204/default.aspx" style='text-decoration:underline'>Cary Grant</a> plays Walter Burns, Hildy's editor and ex-husband, who feigns happiness about her impending marriage as a ploy to win her back. The ace up Walter's sleeve is a late-breaking news story concerning the impending execution of anarchist Earl Williams (<a href="/players/P____58164/default.aspx" style='text-decoration:underline'>John Qualen</a>), a blatant example of political chicanery that Hildy can't pass up. The story gets hotter when Williams escapes and is hidden from the cops by Hildy and Walter--right in the prison pressroom. His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. And if you listen closely, you'll hear a couple of "in" jokes, one concerning <a href="/players/P____28204/default.aspx" style='text-decoration:underline'>Cary Grant</a>'s real name (Archie Leach), and another poking fun at Ralph Bellamy's patented "poor sap" screen image. Subsequent versions of <a href=/films/12662/default.aspx style='text-decoration:underline'>The Front Page</a> included <a href="/players/P___116768/default.aspx" style='text-decoration:underline'>Billy Wilder</a>'s 1974 adaptation, which restored Hildy Johnson's manhood in the form of <a href="/players/P____99306/default.aspx" style='text-decoration:underline'>Jack Lemmon</a>, and 1988's <a href=/films/33866/default.aspx style='text-decoration:underline'>Switching Channels</a>, which cast <a href="/players/P___108069/default.aspx" style='text-decoration:underline'>Burt Reynolds</a> in the Walter Burns role and <a href="/players/P____72173/default.aspx" style='text-decoration:underline'>Kathleen Turner</a> as the Hildy Johnson counterpart. ~ Hal Erickson, All Movie Guide10Taggedy Taggged (6-10)38733http://www.spout.com/ProductImages/t65148hb840.jpghttp://www.spout.com/films/His_Girl_Friday/15449/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/2/4/40232.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/4/2009 10:00:51 AM
Body: Publisher Quirk Books and author Seth Grahame-Smith have come up with the best way to make a literary work more accessible since the creation of Classics Illustrated comic books: they’ve added “all-new scenes of bone crunching zombie action” to Jane Austen’s 19th century novel Pride and Prejudice. This new version, out in stores this May, is titled Pride and Prejudice and Zombies: The Classic Regency Romance – Now With Ultraviolent Mayhem! And if you didn’t think it was a masterpiece before, chances are you will now. Could we do the same thing to classic films? Well, the technology to add extraneous enhancements to movies exists. Just check out The Curious Case of Benjamin Button for proof. But like Pride and Prejudice, we’d need to “enhance” films in the public domain if we wanted to get away with it. Fortunately, there are hundreds of such titles (see a list at Wikipedia), some of which actually already have zombies (Night of the Living Dead, White Zombie, Revolt of the Zombies, and in a way the “scientific” film Experiments in the Revival of Organisms). Avoiding the majority of public domain movies already consisting of horror and science fiction elements, we’ve come up with ten great classic films that would be even greater with the addition of zombies. Battleship Potemkin (Sergei Eisenstin, 1925) New title: Mutinous Zombies of the Battleship Potemkin Synopsis: A Soviet cinema masterpiece, Eisenstein’s film depicts the 1905 uprising of zombies on the titular vessel against the oppressive officers of the Tsarist regime. It begins when soldiers aboard the Potemkin are forced to eat rotten, maggot-infested meat, which turns the men into mutinous zombies. Later, the city of Odessa becomes overwhelmed with undead citizens and the Tsarist military is sent in to massacre them. In the end, though, even the soldiers are converted. Other Eisenstein films, particularly October, may also appropriately receive similar special zombie editions. The General (Clyde Bruckman and Buster Keaton, 1927) New title: The General and the Zombies Synopsis: Buster Keaton’s greatest silent blockbuster is kind of like the Shaun of the Dead of its time. The film begins with Keaton’s character losing his girlfriend due to his inability to prove he’s not a coward and a bum, but then by happenstance he ends up a hero and, most importantly, salvages his relationship in the process. In this special edition, Johnnie Gray still has to rescue his train (and his girlfriend) from the Union army, but now those Northern spies are zombies. Like the title character in Shaun of the Dead, Johnnie must in one new scene impersonate a zombie in order to fool them. The stone-faced Keaton is a natural for this masquerade, but of course then soldiers on his side mistake him for being a Union zombie, with hilarious consequences. Abraham Lincoln (D.W. Griffith, 1930) New title: Abraham Lincoln vs. Zombies Synopsis: Griffith’s biopic about the 16th President of the United States was filled with historical inaccuracies when first released almost 80 years ago. The main complaint? Griffith left out Lincoln’s triumphant one-man battle against a Confederate brigade made up completely of zombie soldiers (yep, the South had them, too). Now, in a special edition release timed to coincide with Honest Abe’s 200th birthday, scenes depicting that battle, as well as a new ending, in which Lincoln recommends the enslavement of zombies, because they are not technically men and therefore are not guaranteed Constitutional freedom, are included. Also, on the DVD: a bonus behind-the-scenes supplement featuring a still-undead Lincoln zombie overseeing the restoration; an exclusive look at Lincoln’s famous stovepipe hat, which he wore to keep zombies from getting at his brains. (The above image of Abe Lincoln, Zombie Hunter is from this t-shirt.) At the Circus (Edward Buzzell, 1939) New title: At the Zombie Circus Synopsis: The Marx Brothers’ films were crazy enough without the addition of zombies, but this late episode from Groucho, Harpo and Chico just wasn’t anarchic enough for their fans. So, now the plot involving the stolen money has been eliminated and the film consists of the three Marx boys trying to stay alive inside a circus tent filled with zombies. There’s a strong man zombie, a dwarf zombie, and then there’s Margaret Dumont, who is so dull Groucho thinks she’s a zombie. Or maybe he just stabs her in the brain for fun? His Girl Friday (Howard Hawks, 1940) New title: His Girl Zombie Synopsis: Despite the new title, Rosalind Russell is never turned into a zombie. Rather, the zombies are merely in the background, causing even more fast-paced hysterics (yes, they’re the quick sort of zombies that are all the “rage” these days). Actually, at one point Ralph Bellamy’s character is thought to be a zombie, but then it’s realized that as much as he appears to be the walking dead, he’s just too slow to be one of the zombies running around outside the courthouse. Again, His Girl Zombie has something in common with Shaun of the Dead (not to mention Twister), in that it’s another story in which a couple attempts to separate but is thrust back together during a chaotic event. Angel and the Badman (James Edward Grant, 1947) New title: Angel and the Badman and the Zombies Synopsis: In this early precursor to the ‘80s Harrison Ford classic Witness Zombies, John Wayne plays a shootist and womanizer who is wounded near a Quaker family home. Brought in and nursed back to health, he attempts to tame himself after falling for a young Quaker woman. But his desire to become a pacifist is made difficult when brain-hungry zombies attack the house, and he must choose to either commit himself to the Quaker ways and “die” with his new religious society of friends, or go out and kick some zombie ass. D.O.A. (Rudolph Mate, 1950) New title: Z.O.A. Synopsis: The film begins with Frank Bigelow, filmed from behind, entering a police station to report that he’s been murdered. The reason he is able to do this is not because he’s not yet died from the poison; it’s because he is a zombie, which we finally discover when the camera finally shows us his face. The film then goes to flashback and details the events that lead to Bigelow’s zombification. After the back-story is complete, the film returns to the scene in the police station, where cops proceed to shoot Bigelow in the head. His file is then marked “Z.O.A.,” meaning “zombie on arrival.” Royal Wedding (Stanley Donen, 1951) New title: Zombie Wedding Synopsis: Fred Astaire and Jane Powell star as a brother and sister song and dance duo in this musical classic, which features two of Astaire’s most famous scenes. “Zombie Jumps” has him dancing first with a coat rack, then with a corpse, Weekend at Bernie’s-style. The latter of these objects ends up coming to life, a metaphor for Astaire’s famous ability to animate the inanimate. In “You’re All Zombies to Me,” Astaire playfully escapes from the zombie he’s created by dancing on the walls and ceiling of a room. Beat the Devil (John Huston, 1953) New title: Beat the Devil and the Zombies Synopsis: It’s been called the first camp movie, but unfortunately it wasn’t the first camp zombie movie. That all changes now with newly added scenes in which Humphrey Bogart and a great ensemble of character actors, including Peter Lorre, must fight off zombies while killing time at an Italian port. It’s very likely that Huston and co-screenwriter Truman Capote would have no problem with this additional subplot. Anyone familiar with the background of the film knows its makers didn’t take it seriously in the least. Actually, let’s just go ahead and add zombies into every section of the film. Zombies on the boat, zombies in Africa, zombies everywhere. Heck, make Bogie a zombie due to a lack of money. After all, as his character sets it up with the line, “I’ve got to have money. Doctor’s orders are that I must have a lot of money, otherwise I become dull, listless and have trouble with my complexion.” It’s a Wonderful Life (Frank Capra, 1946) New title: It’s a Zombie Life Synopsis: On Christmas Eve, George Bailey wishes he were a zombie. But before he can find another zombie to bite him, an angel comes down from Heaven and shows him what his life would be like if he were undead. Zombie George infects the whole town of Bedford Falls, all except the wealthy Mr. Potter, who manages to take over the town by enslaving and exploiting the zombified citizens. In the end, George realizes that he’s better off simply shooting himself in the head so that he can’t possibly become a zombie. (Note: It’s a Wonderful Life is actually no longer in the public domain, but we just couldn’t not include it). Originally posted on:SpoutBlog
]]>Wed, 04 Feb 2009 15:00:51 GMTSpoutBlogSpoutBlog on spout.com2/4/2009 10:00:51 AMPublisher Quirk Books and author Seth Grahame-Smith have come up with the best way to make a literary work more accessible since the creation of Classics Illustrated comic books: they’ve added “all-new scenes of bone crunching zombie action” to Jane Austen’s 19th century novel Pride and Prejudice. This new version, out in stores this May, is titled Pride and Prejudice and Zombies: The Classic Regency Romance – Now With Ultraviolent Mayhem! And if you didn’t think it was a masterpiece before, chances are you will now. Could we do the same thing to classic films? Well, the technology to add extraneous enhancements to movies exists. Just check out The Curious Case of Benjamin Button for proof. But like Pride and Prejudice, we’d need to “enhance” films in the public domain if we wanted to get away with it. Fortunately, there are hundreds of such titles (see a list at Wikipedia), some of which actually already have zombies (Night of the Living Dead, White Zombie, Revolt of the Zombies, and in a way the “scientific” film Experiments in the Revival of Organisms). Avoiding the majority of public domain movies already consisting of horror and science fiction elements, we’ve come up with ten great classic films that would be even greater with the addition of zombies. Battleship Potemkin (Sergei Eisenstin, 1925) New title: Mutinous Zombies of the Battleship Potemkin Synopsis: A Soviet cinema masterpiece, Eisenstein’s film depicts the 1905 uprising of zombies on the titular vessel against the oppressive officers of the Tsarist regime. It begins when soldiers aboard the Potemkin are forced to eat rotten, maggot-infested meat, which turns the men into mutinous zombies. Later, the city of Odessa becomes overwhelmed with undead citizens and the Tsarist military is sent in to massacre them. In the end, though, even the soldiers are converted. Other Eisenstein films, particularly October, may also appropriately receive similar special zombie editions. The General (Clyde Bruckman and Buster Keaton, 1927) New title: The General and the Zombies Synopsis: Buster Keaton’s greatest silent blockbuster is kind of like the Shaun of the Dead of its time. The film begins with Keaton’s character losing his girlfriend due to his inability to prove he’s not a coward and a bum, but then by happenstance he ends up a hero and, most importantly, salvages his relationship in the process. In this special edition, Johnnie Gray still has to rescue his train (and his girlfriend) from the Union army, but now those Northern spies are zombies. Like the title character in Shaun of the Dead, Johnnie must in one new scene impersonate a zombie in order to fool them. The stone-faced Keaton is a natural for this masquerade, but of course then soldiers on his side mistake him for being a Union zombie, with hilarious consequences. Abraham Lincoln (D.W. Griffith, 1930) New title: Abraham Lincoln vs. Zombies Synopsis: Griffith’s biopic about the 16th President of the United States was filled with historical inaccuracies when first released almost 80 years ago. The main complaint? Griffith left out Lincoln’s triumphant one-man battle against a Confederate brigade made up completely of zombie soldiers (yep, the South had them, too). Now, in a special edition release timed to coincide with Honest Abe’s 200th birthday, scenes depicting that battle, as well as a new ending, in which Lincoln recommends the enslavement of zombies, because they are not technically men and therefore are not guaranteed Constitutional freedom, are included. Also, on the DVD: a bonus behind-the-scenes supplement featuring a still-undead Lincoln zombie overseeing the restoration; an exclusive look at Lincoln’s famous stovepipe hat, which he wore to keep zombies from getting at his brains. (The above image of Abe Lincoln, Zombie Hunter is from this t-shirt.) At the Circus (Edward Buzzell, 1939) New title: At the Zombie Circus Synopsis: The Marx Brothers’ films were crazy enough without the addition of zombies, but this late episode from Groucho, Harpo and Chico just wasn’t anarchic enough for their fans. So, now the plot involving the stolen money has been eliminated and the film consists of the three Marx boys trying to stay alive inside a circus tent filled with zombies. There’s a strong man zombie, a dwarf zombie, and then there’s Margaret Dumont, who is so dull Groucho thinks she’s a zombie. Or maybe he just stabs her in the brain for fun? His Girl Friday (Howard Hawks, 1940) New title: His Girl Zombie Synopsis: Despite the new title, Rosalind Russell is never turned into a zombie. Rather, the zombies are merely in the background, causing even more fast-paced hysterics (yes, they’re the quick sort of zombies that are all the “rage” these days). Actually, at one point Ralph Bellamy’s character is thought to be a zombie, but then it’s realized that as much as he appears to be the walking dead, he’s just too slow to be one of the zombies running around outside the courthouse. Again, His Girl Zombie has something in common with Shaun of the Dead (not to mention Twister), in that it’s another story in which a couple attempts to separate but is thrust back together during a chaotic event. Angel and the Badman (James Edward Grant, 1947) New title: Angel and the Badman and the Zombies Synopsis: In this early precursor to the ‘80s Harrison Ford classic Witness Zombies, John Wayne plays a shootist and womanizer who is wounded near a Quaker family home. Brought in and nursed back to health, he attempts to tame himself after falling for a young Quaker woman. But his desire to become a pacifist is made difficult when brain-hungry zombies attack the house, and he must choose to either commit himself to the Quaker ways and “die” with his new religious society of friends, or go out and kick some zombie ass. D.O.A. (Rudolph Mate, 1950) New title: Z.O.A. Synopsis: The film begins with Frank Bigelow, filmed from behind, entering a police station to report that he’s been murdered. The reason he is able to do this is not because he’s not yet died from the poison; it’s because he is a zombie, which we finally discover when the camera finally shows us his face. The film then goes to flashback and details the events that lead to Bigelow’s zombification. After the back-story is complete, the film returns to the scene in the police station, where cops proceed to shoot Bigelow in the head. His file is then marked “Z.O.A.,” meaning “zombie on arrival.” Royal Wedding (Stanley Donen, 1951) New title: Zombie Wedding Synopsis: Fred Astaire and Jane Powell star as a brother and sister song and dance duo in this musical classic, which features two of Astaire’s most famous scenes. “Zombie Jumps” has him dancing first with a coat rack, then with a corpse, Weekend at Bernie’s-style. The latter of these objects ends up coming to life, a metaphor for Astaire’s famous ability to animate the inanimate. In “You’re All Zombies to Me,” Astaire playfully escapes from the zombie he’s created by dancing on the walls and ceiling of a room. Beat the Devil (John Huston, 1953) New title: Beat the Devil and the Zombies Synopsis: It’s been called the first camp movie, but unfortunately it wasn’t the first camp zombie movie. That all changes now with newly added scenes in which Humphrey Bogart and a great ensemble of character actors, including Peter Lorre, must fight off zombies while killing time at an Italian port. It’s very likely that Huston and co-screenwriter Truman Capote would have no problem with this additional subplot. Anyone familiar with the background of the film knows its makers didn’t take it seriously in the least. Actually, let’s just go ahead and add zombies into every section of the film. Zombies on the boat, zombies in Africa, zombies everywhere. Heck, make Bogie a zombie due to a lack of money. After all, as his character sets it up with the line, “I’ve got to have money. Doctor’s orders are that I must have a lot of money, otherwise I become dull, listless and have trouble with my complexion.” It’s a Wonderful Life (Frank Capra, 1946) New title: It’s a Zombie Life Synopsis: On Christmas Eve, George Bailey wishes he were a zombie. But before he can find another zombie to bite him, an angel comes down from Heaven and shows him what his life would be like if he were undead. Zombie George infects the whole town of Bedford Falls, all except the wealthy Mr. Potter, who manages to take over the town by enslaving and exploiting the zombified citizens. In the end, George realizes that he’s better off simply shooting himself in the head so that he can’t possibly become a zombie. (Note: It’s a Wonderful Life is actually no longer in the public domain, but we just couldn’t not include it). Originally posted on:SpoutBlog http://www.spout.com/blogs/lmstanley/archive/2009/1/15/39563.aspx Post By: lmstanley
Post To: lmstanley Blog
Post Date: 1/15/2009 1:52:23 PM
Body: It was fun to watch a Cary Grant movie. This movie is a fast paced in story and dialog...maybe a bit too fast for me. I was exhausted by the end just trying to keep up with what they were saying. It was a pretty entertaining,although a bit schmaltzy at the end. Perhaps that is too be expected with a Cary Grant movie. To sum it up...it was fairly fun and I'm glad I watched it.
]]>Thu, 15 Jan 2009 18:52:23 GMTlmstanleylmstanley Blog1/15/2009 1:52:23 PMIt was fun to watch a Cary Grant movie. This movie is a fast paced in story and dialog...maybe a bit too fast for me. I was exhausted by the end just trying to keep up with what they were saying. It was a pretty entertaining,although a bit schmaltzy at the end. Perhaps that is too be expected with a Cary Grant movie. To sum it up...it was fairly fun and I'm glad I watched it. http://www.spout.com/blogs/pairadocs/archive/2009/1/15/39562.aspx Post By: pairadocs
Post To: pairadocs Blog
Post Date: 1/15/2009 1:51:47 PM
Body: I've been struggling trying to come up with cohesive thoughts about how I truly felt about this movie... but I can only come up with concepts and adjectives... in a flurry, much like how this movie seems to flow. Tedious. Over-acted. Cheesy. Fast-paced. Over-dramatic. Goofy. I have to second JayMo... it was tiring. I'm not a huge fan of this genre, so I'm a hard sell anyhow. I kind of felt like I was watching a really bad theatre play where the actors were more concentrated on delivering the lines and timing off each other than actually conveying real dialogue. Blecch.
]]>Thu, 15 Jan 2009 18:51:47 GMTpairadocspairadocs Blog1/15/2009 1:51:47 PMI've been struggling trying to come up with cohesive thoughts about how I truly felt about this movie... but I can only come up with concepts and adjectives... in a flurry, much like how this movie seems to flow. Tedious. Over-acted. Cheesy. Fast-paced. Over-dramatic. Goofy. I have to second JayMo... it was tiring. I'm not a huge fan of this genre, so I'm a hard sell anyhow. I kind of felt like I was watching a really bad theatre play where the actors were more concentrated on delivering the lines and timing off each other than actually conveying real dialogue. Blecch. http://www.spout.com/blogs/jaymo/archive/2009/1/15/39561.aspx Post By: JayMo
Post To: JayMo Blog
Post Date: 1/15/2009 1:41:28 PM
Body: Well...it was good...but LOUD! And the dialog was so fast and furious, it was literally a little tiring. Still...I thought it was worth watching.
]]>Thu, 15 Jan 2009 18:41:28 GMTJayMoJayMo Blog1/15/2009 1:41:28 PMWell...it was good...but LOUD! And the dialog was so fast and furious, it was literally a little tiring. Still...I thought it was worth watching. http://www.spout.com/blogs/spoutblog/archive/2008/11/5/37002.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/5/2008 4:01:02 PM
Body: Michael Crichton died unexpectedly of cancer yesterday at the age of 66. In his honor, I thought about posting a montage of clips from movies he wrote and/or directed and/or which were adapted from his novels. But the one I found, despite making some of the lesser adaptations (Congo; Timeline) seem better than they actually are, wasn’t quite as long or in depth as I’d hoped. And I couldn’t merely include a scene or trailer for a single film, because it’s impossible to choose one work that best exemplifies his career. No, not even Jurassic Park is worthy. So, I’m going a little indirect and showcasing this recut trailer for Twister, a movie Crichton scripted with his then wife, Anne-Marie Martin. Not only do I think Twister is underrated, but I think this is one of the better recut trailers around, mainly because the voiceover sounds more legit than most amateur efforts. The fact that Crichton had penned the screenplay to Twister was immediately a surprise to anyone watching the movie, which hardly even seemed to have a foundation of story or dialogue prior to being shot. It had seemed that director Jan De Bont went into a wide expanse of Midwest farmland with a loose synopsis to His Girl Friday and a lot of ideas for spectacular CG tornado effects to be added in during post. It doesn’t matter if Crichton had simply written the movie for an easy paycheck, though. If you’ve ever read any of his science fiction novels, you know he’s an intelligent guy with impeccable storytelling skills. Sometimes his narratives are so fluid that it seems he’s writing with the expectation of the book being later made into a movie. Actually, for The Lost World, that’s clearly what he’s doing. But then there are books like Congo, which when adapted reveal some basic truths for why certain stories are better suited to literature and aren’t so easily translated to film language. I had a love and hate relationship with Crichton’s work throughout my life, having been first introduced to him through my father’s favorite film, The Andromeda Strain, as a little kid. I’ve been afraid of science ever since, though it didn’t stop me from becoming obsessed with Jurassic Park as a teenager. I later experienced my first real disappointment with a film adaptation when Spielberg’s movie arrived (”where was the river ride? and the pterosaurs?” I cried), yet I ultimately realized how great that movie actually is after reading and then watching Congo. And then another year later, I was flabbergasted with how simple Twister is. And like a number of others, the disappointment with the script initially disrupted the enjoyment of how entertaining the movie is, as a simple disaster pic. Anyway, Crichton also gave us great films like Westworld, Coma, The Great Train Robbery, and in some ways, we can kind of thank him for George Clooney’s stardom. via TV’s ER. He will be missed. Originally posted on:SpoutBlog
]]>Wed, 05 Nov 2008 21:01:02 GMTSpoutBlogSpoutBlog on spout.com11/5/2008 4:01:02 PM Michael Crichton died unexpectedly of cancer yesterday at the age of 66. In his honor, I thought about posting a montage of clips from movies he wrote and/or directed and/or which were adapted from his novels. But the one I found, despite making some of the lesser adaptations (Congo; Timeline) seem better than they actually are, wasn’t quite as long or in depth as I’d hoped. And I couldn’t merely include a scene or trailer for a single film, because it’s impossible to choose one work that best exemplifies his career. No, not even Jurassic Park is worthy. So, I’m going a little indirect and showcasing this recut trailer for Twister, a movie Crichton scripted with his then wife, Anne-Marie Martin. Not only do I think Twister is underrated, but I think this is one of the better recut trailers around, mainly because the voiceover sounds more legit than most amateur efforts. The fact that Crichton had penned the screenplay to Twister was immediately a surprise to anyone watching the movie, which hardly even seemed to have a foundation of story or dialogue prior to being shot. It had seemed that director Jan De Bont went into a wide expanse of Midwest farmland with a loose synopsis to His Girl Friday and a lot of ideas for spectacular CG tornado effects to be added in during post. It doesn’t matter if Crichton had simply written the movie for an easy paycheck, though. If you’ve ever read any of his science fiction novels, you know he’s an intelligent guy with impeccable storytelling skills. Sometimes his narratives are so fluid that it seems he’s writing with the expectation of the book being later made into a movie. Actually, for The Lost World, that’s clearly what he’s doing. But then there are books like Congo, which when adapted reveal some basic truths for why certain stories are better suited to literature and aren’t so easily translated to film language. I had a love and hate relationship with Crichton’s work throughout my life, having been first introduced to him through my father’s favorite film, The Andromeda Strain, as a little kid. I’ve been afraid of science ever since, though it didn’t stop me from becoming obsessed with Jurassic Park as a teenager. I later experienced my first real disappointment with a film adaptation when Spielberg’s movie arrived (”where was the river ride? and the pterosaurs?” I cried), yet I ultimately realized how great that movie actually is after reading and then watching Congo. And then another year later, I was flabbergasted with how simple Twister is. And like a number of others, the disappointment with the script initially disrupted the enjoyment of how entertaining the movie is, as a simple disaster pic. Anyway, Crichton also gave us great films like Westworld, Coma, The Great Train Robbery, and in some ways, we can kind of thank him for George Clooney’s stardom. via TV’s ER. He will be missed. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_1_Work_Sucks/625/35375/1/ShowPost.aspx Post By: unclefestering
Post To: Weekly Theme
Post Date: 9/22/2008 11:13:34 AM
Body: I know this is a very late addition, but I was talking to friends of mine about His Girl Friday and realized that this would have benn a great addition to the list. Cary Grant is great as the super manipulative boos/editor and Rosilind Russell has never been equaled as the employee who talks back.
]]>Mon, 22 Sep 2008 15:13:34 GMTunclefesteringWeekly Theme9/22/2008 11:13:34 AMI know this is a very late addition, but I was talking to friends of mine about His Girl Friday and realized that this would have benn a great addition to the list. Cary Grant is great as the super manipulative boos/editor and Rosilind Russell has never been equaled as the employee who talks back. http://www.spout.com/blogs/spoutblog/archive/2008/6/9/31014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/9/2008 5:01:53 PM
Body: It took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog
]]>Mon, 09 Jun 2008 21:01:53 GMTSpoutBlogSpoutBlog on spout.com6/9/2008 5:01:53 PMIt took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/6/2/30349.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/2/2008 5:00:44 PM
Body: Even before Annaliese Griffin at the Vulture blog detailed why Sex and the City is the female equivalent of superhero movies, a genre mostly appealing to men, a female friend of mine noted the same. It’s apparently an obvious parallel, despite the fact that earlier this summer the supposed gender battle between Iron Man and Made of Honor resulted in the awareness that many women are in fact fond of some superheroes. Nevertheless, Griffin’s post made me think of the conversation in Sleepless in Seattle in which real-wife married couple Tom Hanks and Rita Wilson discover the connection between An Affair to Remember and The Dirty Dozen. Of course, Hanks’ character was probably joking about crying at the end of the latter film, but he still had a point. There are certain equivalents between specifically female film genres and specifically male film genres, as you can see from the following list: Melodrama (female) = War Film (male) - Already touched on with the aforementioned Sleepless in Seattle scene, there is a correspondence between tearjerking melodramas and gutwrenching war films. Maybe it’s because of the similar focus on death and/or other crippling tragedy. Maybe it’s because the female spectator weeps for her ego ideal, who is often the terminally ill or wronged woman character, and the male character weeps for his ego ideal, who is often the hero that lives yet suffers the experience of viewing the demise of his brothers in arms. Dance Film (female) = Martial Arts Film (male) - Much has been written about the connections between dance and martial arts, and it’s an obvious enough equivalence that I don’t need to point to examples. The fact that choreography is a word associated with both should sum it up nicely. Plus, a number of martial artists, such as Jackie Chan, had training in ballet. Just don’t tell any macho guys about all the scholarship written on the homoerotic subtexts of Kung Fu films. Romantic Comedy (female) = Buddy Films (male) - Another parallel that might suggest too much homoerotic subtext. I guess the genre preferences are because women are more interested in finding a mate, while men are more interested in finding a mate (as in Australian for buddy). Just notice how in the 1980s the screwball comedy convention of two people who initially hate each other who eventually fall in love became the structure for male-male buddy cop films. Or just watch His Girl Friday and Wilder’s remake of The Front Page back to back. Musicals (female) = Science Fiction (male) - This one is less obvious and even less valid, but I notice parallels, beginning with the idea that musicals may be associated with opera and a number of science fiction films are called space operas. On top of that, we have the idea of spectacle. For women, it’s the costumes and the set design and the dance numbers. For men, it’s also the costumes (as in alien costumes rather than dresses and such) and special effects. Crime Thrillers (female) = Slasher Films (male) - What may seem too similar to be compared as equivalents, there is a distinct difference that makes one a more female-geared genre and the other a more male-geared genre. Both of them typically feature a female protagonist (at least of late — the thriller genre seemed to become synonymous with Ashley Judd in the ’90s), but thrillers are often centered on her as the main character, while slasher films are more concentrated on the male antagonist (aka the killer or monster). Women are more likely to find enjoyment in the empowerment of the female protagonist in thrillers, while men are more likely to find enjoyment in the sado-masochistic idea of punishing the whore figure while being punished by the virgin figure. Originally posted on:SpoutBlog
]]>Mon, 02 Jun 2008 21:00:44 GMTSpoutBlogSpoutBlog on spout.com6/2/2008 5:00:44 PM Even before Annaliese Griffin at the Vulture blog detailed why Sex and the City is the female equivalent of superhero movies, a genre mostly appealing to men, a female friend of mine noted the same. It’s apparently an obvious parallel, despite the fact that earlier this summer the supposed gender battle between Iron Man and Made of Honor resulted in the awareness that many women are in fact fond of some superheroes. Nevertheless, Griffin’s post made me think of the conversation in Sleepless in Seattle in which real-wife married couple Tom Hanks and Rita Wilson discover the connection between An Affair to Remember and The Dirty Dozen. Of course, Hanks’ character was probably joking about crying at the end of the latter film, but he still had a point. There are certain equivalents between specifically female film genres and specifically male film genres, as you can see from the following list: Melodrama (female) = War Film (male) - Already touched on with the aforementioned Sleepless in Seattle scene, there is a correspondence between tearjerking melodramas and gutwrenching war films. Maybe it’s because of the similar focus on death and/or other crippling tragedy. Maybe it’s because the female spectator weeps for her ego ideal, who is often the terminally ill or wronged woman character, and the male character weeps for his ego ideal, who is often the hero that lives yet suffers the experience of viewing the demise of his brothers in arms. Dance Film (female) = Martial Arts Film (male) - Much has been written about the connections between dance and martial arts, and it’s an obvious enough equivalence that I don’t need to point to examples. The fact that choreography is a word associated with both should sum it up nicely. Plus, a number of martial artists, such as Jackie Chan, had training in ballet. Just don’t tell any macho guys about all the scholarship written on the homoerotic subtexts of Kung Fu films. Romantic Comedy (female) = Buddy Films (male) - Another parallel that might suggest too much homoerotic subtext. I guess the genre preferences are because women are more interested in finding a mate, while men are more interested in finding a mate (as in Australian for buddy). Just notice how in the 1980s the screwball comedy convention of two people who initially hate each other who eventually fall in love became the structure for male-male buddy cop films. Or just watch His Girl Friday and Wilder’s remake of The Front Page back to back. Musicals (female) = Science Fiction (male) - This one is less obvious and even less valid, but I notice parallels, beginning with the idea that musicals may be associated with opera and a number of science fiction films are called space operas. On top of that, we have the idea of spectacle. For women, it’s the costumes and the set design and the dance numbers. For men, it’s also the costumes (as in alien costumes rather than dresses and such) and special effects. Crime Thrillers (female) = Slasher Films (male) - What may seem too similar to be compared as equivalents, there is a distinct difference that makes one a more female-geared genre and the other a more male-geared genre. Both of them typically feature a female protagonist (at least of late — the thriller genre seemed to become synonymous with Ashley Judd in the ’90s), but thrillers are often centered on her as the main character, while slasher films are more concentrated on the male antagonist (aka the killer or monster). Women are more likely to find enjoyment in the empowerment of the female protagonist in thrillers, while men are more likely to find enjoyment in the sado-masochistic idea of punishing the whore figure while being punished by the virgin figure. Originally posted on:SpoutBlog http://www.spout.com/groups/webs_movie_club/Re_movies_on_the_net/538/24263/1/ShowPost.aspx Post By: webs
Post To: webs movie club
Post Date: 1/23/2008 3:43:53 PM
Body: [quote user="Mully"] hi, through my research i have come accross this movie site; www.start2enjoy.com all the movies are divx format, but good quality, have a look,; william Here's a great source for legally downloading public domain films for free : http://www.archive.org/details/movies You can find popular classic films such as His Girl Friday, King Solomon's Mines, The Mark of Zorro or Night of the Living Dead, curiosities such as Georges Méliès' Voyage dans la lune, Salvador Dali's Un Chien Andalou or Frank Capra's Why We Fight documentary series, silent classics like The Golem, The Cabinet of Dr. Caligari or D.W. Griffith's Abraham Lincoln and silent comedy such as Buster Keaton's Steamboat Bill, Jr.. Most movies can be downloaded in different file formats and the quality ranges from truly awful to more than decent. Enjoy ![/quote]
]]>Wed, 23 Jan 2008 20:43:53 GMTwebswebs movie club1/23/2008 3:43:53 PM[quote user="Mully"] hi, through my research i have come accross this movie site; www.start2enjoy.com all the movies are divx format, but good quality, have a look,; william Here&#39;s a great source for legally downloading public domain films for free : http://www.archive.org/details/movies You can find popular classic films such as His Girl Friday, King Solomon&#39;s Mines, The Mark of Zorro or Night of the Living Dead, curiosities such as Georges M&eacute;li&egrave;s&#39; Voyage dans la lune, Salvador Dali&#39;s Un Chien Andalou or Frank Capra&#39;s Why We Fight documentary series, silent classics like The Golem, The Cabinet of Dr. Caligari or D.W. Griffith&#39;s Abraham Lincoln and silent comedy such as Buster Keaton&#39;s Steamboat Bill, Jr.. Most movies can be downloaded in different file formats and the quality ranges from truly awful to more than decent. Enjoy ![/quote] http://www.spout.com/groups/webs_movie_club/Re_movies_on_the_net/538/24256/1/ShowPost.aspx Post By: Mully
Post To: webs movie club
Post Date: 1/23/2008 1:51:45 PM
Body: Here's a great source for legally downloading public domain films for free : http://www.archive.org/details/movies You can find popular classic films such as His Girl Friday, King Solomon's Mines, The Mark of Zorro or Night of the Living Dead, curiosities such as Georges Méliès' Voyage dans la lune, Salvador Dali's Un Chien Andalou or Frank Capra's Why We Fight documentary series, silent classics like The Golem, The Cabinet of Dr. Caligari or D.W. Griffith's Abraham Lincoln and silent comedy such as Buster Keaton's Steamboat Bill, Jr.. Most movies can be downloaded in different file formats and the quality ranges from truly awful to more than decent. Enjoy !
]]>Wed, 23 Jan 2008 18:51:45 GMTMullywebs movie club1/23/2008 1:51:45 PMHere&#39;s a great source for legally downloading public domain films for free : http://www.archive.org/details/movies You can find popular classic films such as His Girl Friday, King Solomon&#39;s Mines, The Mark of Zorro or Night of the Living Dead, curiosities such as Georges M&eacute;li&egrave;s&#39; Voyage dans la lune, Salvador Dali&#39;s Un Chien Andalou or Frank Capra&#39;s Why We Fight documentary series, silent classics like The Golem, The Cabinet of Dr. Caligari or D.W. Griffith&#39;s Abraham Lincoln and silent comedy such as Buster Keaton&#39;s Steamboat Bill, Jr.. Most movies can be downloaded in different file formats and the quality ranges from truly awful to more than decent. Enjoy ! http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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