#irene fredric

[peterlorrefanpage]

Peter Lorre Skit: Mr. Moto + Other Detectives [RADIO]

What would happen if all the great detectives of fiction worked together on one case?

Peter Lorre appears as Mr. Moto in my stitched-together clip from the comedy-variety show, Texaco Star Theater, October 4, 1939.

This one took me quite awhile to track down. It was listed as "Tomorrow and Tomorrow," but it turns out that Peter is only in the first part of this show, piped in from Hollywood.

The second half of the show (not included here) is piped in from New York and contains the drama "Tomorrow and Tomorrow," with Fredric March.

I love Fredric March (see him in the surreal "Death Takes a Holiday"!) but sorry, Freddy, not today.

All the players, some of whom are with Peter: Irene Ryan, Kenny Baker, David Broekman and His Orchestra, Peter Lorre, Philip Barry (author), Jimmy Wallington (announcer), Fredric March, Florence Eldridge, Larry Elliott (commercial spokesman), Lehman Engel (composer, conductor), Burns Mantle (New York host), Ken Murray (Hollywood host), Frances Langford.

[lanaturnerhascollapsed]

Picture Play, April 1934

[newmanspaul]

OLD HOLLYWOOD STARS & THEIR ZODIAC SIGNS

Aries: Gregory Peck, Spencer Tracy, Bette Davis, Joan Crawford, William Holden, Doris Day, Anthony Perkins, Debbie Reynolds, Ann Miller, Billie Holiday, Karl Malden, Warren Beatty, Marlon Brando, Charlie Chaplin, Mary Pickford, Lon Chaney, Steve McQueen, Ed Begley, Melvyn Douglas, Alec Guinness, Leslie Howard, Jayne Mansfield

Taurus: Jimmy Stewart, Fred Astaire, Bing Crosby, Audrey Hepburn, Katharine Hepburn, Don Rickles, Orson Welles, Tyrone Power, Rudolph Valentino, Gary Cooper, Henry Fonda, Shirley MacLaine, Shirley Temple, Anthony Quinn, James Mason, Ella Fitzgerald, Lionel Barrymore, Phil Silvers, Jack Klugman, Harold Lloyd, Mary Astor, Simone Simon, Margaret Sullavan, Eve Arden

Gemini: Judy Garland, Bob Hope, Dean Martin, Errol Flynn, Laurence Olivier, Marilyn Monroe, John Wayne, Tony Curtis, Rosemary Clooney, Douglas Fairbanks, Burl Ives, Al Jolson, Stan Laurel, Vincent Price, Basil Rathbone, Rosalind Russell, Hattie McDaniel, Priscilla Lane, Josephine Baker, Jeanette MacDonald, Peggy Lee

Cancer: Ginger Rogers, Eva Marie Saint, Natalie Wood, Olivia de Havilland, Barbara Stanwyck, Lena Horne, Jimmy Cagney, Milton Berle, Yul Brynner, Peter Lorre, Red Skelton, Jane Russell, Gina Lollobrigida, Leslie Caron, Farley Granger

Leo: William Powell, Myrna Loy, Mae West, Clara Bow, Norma Shearer, Esther Williams, Walter Brennan, Robert Mitchum, Louis Armstrong, Peter O’Toole, Jack Haley, Bert Lahr, Alfred Hitchcock, Maureen O’Hara, Lucille Ball, Shelley Winters, Dolores del Rio

Virgo: Lauren Bacall, Gene Kelly, Sophia Loren, Claudette Colbert, Greta Garbo, Donald O’Connor, Ingrid Bergman, Peter Lawford, Fredric March, James Coburn, Fred MacMurray, Peter Sellers, Raquel Welch, George Chakiris, Vera Miles

Libra: Jean Arthur, Carole Lombard, Montgomery Clift, Rita Hayworth, Deborah Kerr, Charlton Heston, Mickey Rooney, Lillian Gish, Groucho Marx, Buster Keaton, Bela Lugosi, George C. Scott, Lenny Bruce, Walter Pidgeon, Greer Garson, Joan Fontaine, Brigitte Bardot, June Allyson, Julie London

Scorpio: Richard Burton, Rock Hudson, Vivien Leigh, Burt Lancaster, Gene Tierney, Grace Kelly, Claude Rains, Joel McCrea, Johnny Carson, Burgess Meredith, Hedy Lamarr, Eleanor Powell, Veronica Lake

Sagittarius: Frank Sinatra, Kirk Douglas, Sammy Davis Jr, Edward G. Robinson, Rita Moreno, Lee Remick, Boris Karloff, Lee J. Cobb, Ricardo Montalban, Irene Dunne, Agnes Moorehead, Gloria Grahame, Betty Grable, Julie Harris

Capricorn: Cary Grant, Humphrey Bogart, Ava Gardner, Marlene Dietrich, Loretta Young, Ethel Merman, Eartha Kitt, Janet Leigh, Lew Ayres, Ray Bolger, Sal Mineo, Danny Kaye, Oliver Hardy, Oscar Levant, Ray Milland, Elvis Presley, Jane Wyman, Kay Francis, Barbara Rush

Aquarius: Kathryn Grayson, James Dean, Paul Newman, Clark Gable, Jimmy Durante, Jack Benny, Lana Turner, Kim Novak, Ronald Colman, Ernest Borgnine, Randolph Scott, Vera-Ellen, Donna Reed, Jack Lemmon, John Barrymore, George Burns, Arthur Kennedy, Cesar Romero, Jean Simmons, Zsa Zsa Gabor

Pisces: Jerry Lewis, Elizabeth Taylor, Jean Harlow, Nat King Cole, Sidney Poitier, Cyd Charisse, Lee Marvin, Jackie Gleason, Edward Everett Horton, David Niven

[korayaker]

SİYASET-FELSEFE

Lenin Sol komünizm Lenin Nisan tezleri Lenin Proleter devrim dönek  kautsky Lenin devlet ve devrim Lenin Emperyalizm Lenin Burjuva demokrasisi ve proleterya diktatörlüğü Lenin Ne yapmalı Lenin Materyalizm ve Ampiryokritisizm Lenin Bir Adim Ileri Iki Adim Geri Lenin Din Üzerine Lenin Sosyalizm ve Savaş Marx Engels Komünist manifesto Yahudi Sorunu Alman İdeolojisi Ekonomi Politiğin Eleştirisine Katkı Ücretli Emek ve Sermaye Ailenin ve özel mülkiyetin kökeni Mao Zedong Çelişki Üzerine Uzatmalı Savaş Üzerine Seçme Eserler -ı-ıı-ııı Kızıl Kitap Josef Stalin Diyalektik Materyalizm ve Tarihsel Materyalizm Marksizm, Ulusal Sorun Leninizmin İlkeleri Anarşizmi mi Sosyalizm mi Bolşevik parti Tarihi Muhalefet Üzerine  Georgi Dimitrov Faşizme Karşı Birleşik Cephe Leo huberman Sosyalizmin alfabesi Politzer Felsefenin başlangıç ilkeleri Politzer Felsefenin Temel İlkeleri Nikitin Ekonomi politik Maksim Gorki Küçük burjuva ideolojisinin eleştirisi Kalinin Devrimci Eğitim Devrimci Ahlak Che Guevara Ekonomi ce sosyalist ahlak Paul lafargue Tembellik hakkı A.Şnurov Türkiye proleteryası John Reed Dünyayı Sarsan On Gün Ellen Meiksins Wood Sınıftan Kaçış İbrahim kaypakkaya Seçme eserler Mahir çayan Bütün Yazıları Hikmet kıvılcımlı Türkiyede kapitalizmin gelişimi Emrah cilasun - Mustafa suphi ve yoldaşlarını kim öldürdü Kapitalizm, Arzu ve Kölelik, Frederic Lordon Yeryüzünün Lanetlileri - Frantz Fanon Terry Eagleton Marx Neden Haklıydı Jhon Zerzan Gelecekteki ilkel Paulo Freire Ezilenlerin Pedagojisi Kropotkin- Ekmeğin Fethi Ivan Illich'in Okulsuz Toplum Hüseyin Can Sovyetler ve Kürtler A.Kollontai Komünizm ve Aile N. kruspkaya Halk eğitimi Platon Socratesin Savunması

TOPLUMSAL CİNSİYET

Friedrich EngelsAilenin, Özel Mülkiyetin ve Devletin Kökeni Clara Zetkin Kadın Sorunun Üzerine – Clara Zetkin Lenin'in Bütün Dünya Kadınlarına Vasiyetleri Auguste Bebel Kadın ve Sosyalizm Alexandra Kollontai Marksizm ve Cinsel Devrim Alexandra Kollontai Komünizm ve Aile Alexandra Kollontai Bir çok hayat yaşadım Sibel Özbudun Marksizm ve Kadın Emek, Aşk, Aile Sibel Özbudun Küreselleşme , Kadın ve Yeni - Ataerki Ricardo Coler Kadın Krallığı Elisabeth Badinter Biri Ötekidir Shulamith Firestone Cinselliğin Diyalektiği Diana Gittins Aile Sorgulanıyor Simon de beauvoir ikinci cins Valeri solanes -Erkek doğrama cemiyeti Judith Butler- Cinsiyet Belası İnsan Sonrası - Rosi Braidotti | Aşk paradoksu pascal bruckner

PSİKOLOJİ

Sigmund Freud Totem ve tabu Sigmund Freud uygarlığın huzursuzluğu Sigmund Freud Düşlerin Yorumu Joel Kovel Tarih ve Tin Michel Foucault Deliliğin Tarihi Jean Twenge Ben nesli Rollo May Kendini Arayan İnsan Pascale Chapaux-Morelli İkili İlişkilerde Duygusal Manipülasyon Erich Fromm Sevme Sanatı Eric Fromm- Özgürlükten Kaçış Sahip Olmak ya da Olmak, Erich Fromm Caren Horney Çağın Nevrotik kişiliği Ben ve Biz - Postmodern İnsanın Psikanalizi, Rainer Funk ..

   POSTMODERN FELSEFE

john zerzan- Gelecekteki ilkel Terry Eagleton Postmodernizmin Yanılsamaları Fredric Jameson, Postmodernizm ya da Geç Kapitalizmin Kültürel Mantığı Jean Baudrillard Simülakrlar ve Simülasyon Jean Baudrillard Tüketim Toplumu Jean Baudrillard Kötülüğün Şeffaflığı Jean Baudrillard baştan çıkarma üzerine Rainer Funk Ben ve Biz Postmodern İnsanın Psikanalizi - Zygmunt Bauman Akışkan Aşk / İnsan İlişkilerinin Kırılganlığına Dair Zygmunt Bauman  Akışkan Modernite Yaşam Sanatı, Zygmunt Bauman Jean François Lyotard Postmodern Durum Michel Foucault Özne ve İktidar / Seçme Yazılar Michel Foucault Cinselliğin Tarihi Karakter Aşınması - Richard Sennett Kamusal insanın Çöküşü Richart Sennet Guy Debort- Gösteri toplumu

 VAROLUŞÇU FELSEFE

Arthur Schopenhauer Cinsel Aşkın Metafiziği Arthur Schopenhauer ,Hayatın Anlamı Arthur Schopenhauer İsteme ve Tasarım Olarak Dünya Emil Michel Cioran Çürümenin Kitabı Terry Eagleton Hayatın anlamı Fernando Pessoa Huzursuzluğun Kitabı Ferdinand celine gecenin sonuna yolculuk Jean Paul Sartre Bunaltı Cesare Pavese Yaşama Uğraşı Franz Kafka Dönüşüm Samuel Beckett Godot'yu Beklerken Hermann Hesse Siddhartha Dostoyevski Yeraltından Notlar Dostoyevski Suç Ve ceza Nietzsche Böyle Buyurdu Zerdüşt Nietzsche Ecce homo Nietzsche Decal Candide - Voltaire Albert CamusYabancı Jhon fante toza zor Terry Eagleton Kötülük Üzerine Bir Deneme

 ROMAN VE KLASİKLER

Maksim Gorki Ana Maksim Gorki Benim üniversitelerim Dimitrov  Dimov Tütün Kropotkin Ekmeğin Fethi Jack London’ Demir ökçe John Steinbeck Fareler ve İnsanlar Harper Lee Bülbülü Öldürmek Victor Hugo Sefiller Goethe Genç Werther'in Acıları Balzac vadideki zambak Dostoyevski Suç ve Ceza Dostoyevski Kumarbaz Dostoyevski Budala Dostoyevski Ev sahibem Dostoyevski Yeraltından notlar Stefan Zweig Satranç Stefan Zweig Bilinmeyen Bir Kadının Mektubu Irvin D. Yalom Nietzsche Ağladığında Lev Tolstoy Anna Karenina Vladimir Bartol Fedailerin Kalesi Alamut Amin Maalouf Doğunun Limanları Harper Lee Bülbülü Öldürmek George Orwel Hayvan Çiftliği Jhon Steinbeck Fareler ve İnsanlar Bir Çöküşün ��yküsü, Stefan Zweig

TÜRK EDEBİYATI

Sabahattin Ali Kürk Mantolu Madonna Sabahattin Ali Kuyucaklı yusuf Sabahattin Ali İçimizdeki Şeytan Ahmet Hamdi Tanpınar Huzur Ahmet Hamdi Tanpınar Saatleri ayarlama enstitüsü Yaşar kemal İnce memed Recaizade Mahmut Ekrem Araba Sevdası Mehmet Rauf Eylül Peyami Safa Yanlızız Peyami Safa Fatih-Harbiye Peyami Safa Dokuzuncu Hariciye koğuşu Peyami Safa Bir teredüdün Romanı Namık Kemal İntibah Orhan Pamuk kırmızı saçlı kadın Yusuf atılgan Aylak adam Ahmet Ümit İstanbul Hatırası  Sodom ve Gomore, Yakup Kadri Karaosmanoğlu Kiralık Konak Kadri Karaosmanoğlu Alemdağda var bir yılan, Sait Faik Abasıyanık Kemal Tahir- Körduman Yakup Kadri Karaosmanoğlu Yaban

 Distopya-Ütopya

Aldous Huxley Cesur Yeni Dünya 1984 - George Orwell Hayvan çitfliği  George Orwell Ursula K. Le Guin Mülksüzler Damızlık Kızın Öyküsü - Margaret Atwood

 Din Tarih ve Antropoloji

Tanrı'nın Tarihi - Karen Armstrong Ludwig Feuerbach-Hristiyanlığın Özü Marx Engels- Ailenin ve özel mülkiyetin kökeni Lewis Henry Morgan-Eski toplum Wilhelm Reich- Cinsel ahlakın boy göstermesi Freud totem ve tabu Claude Levi – Strauss  Yapısal Antropoloji Samuel NoahbKramer Tarih Sümerlerle Başlar Samuel noah Kramer Sümer mitolojisi M. İlin-İnsan Nasıl İnsan Oldu Darwin Türlerin kökeni Turan Dursun Din bu Dine Karşı Din - Ali Şerati Ataların Hikayesi Richard Dawkins Sibel özbudun -Antropoloji: Kuramlar, Kuramcilar Lenin Din Üzerine Karl -Marx Yahudilik Üzerine Hayvanlardan Tanrılara - Sapiens , Yuval Noah Harari Deccal - Friedrich Nietzsche Ahlakın Soykütüğü- Friedrich Nietzsche Peter Hopkirk İstanbulun Doğusunda Bitmeyen oyun  Hans Lukaks kieser- Iskalanmış Barış İsa'nın Çarmıhtaki Yedi Sözü, İhsan Özbek Martin Van Bruinessen Kürtlük Türklük Alevilik

Nuri Dersimi Kürdistan Tarihinde Dersim

Erdoğan Çınar Kayıp Bir Alevi efsanesi

Erdoğan Çınar Aleviliğin Kayıp Bin yılı

Ahmet Taşağıgil Gök Tengrinin Çocukları

Jena Paul Roux. Türklerin Tarihi

Tori Bir Kürt Düşüncesi Yezidilik

İrene Melikoff Uyur idik uyardılar

Hamza Aksüt Aleviler

Jenet Hamilton Aanadoluda Heretik Hareketler

Faik Bulut Dersim Raporları

Mehmet Bayrak Dersim Koçgiri

Mehmet Bayrak Alevilik Kürdoloji Türkoloji Belge.

Sean Martin Katharlar

[tcm]

Image Is Everything: How Cary Grant Took Control by Jill Blake

During studio-era classic Hollywood, the lives of stars, both in private and public, were almost always on display for peering eyes. Studios controlled nearly every aspect of their contract stars’ lives, closely guarding their public images and fabricating intriguing backstories filled with fictional details worthy of their own movie. Contract stars were a valuable commodity for a studio, and the more of them you had at your disposal meant more chances at successful movies, which then meant more recognition and most importantly, higher profits. Bringing a star under contract was a huge financial cost for a studio, but like any property (and that’s exactly what these actors and actresses were), the only way to make money is to invest it. While countless stars found themselves locked in unforgiving multi-year studio contracts that stifled their creativity and presented lackluster projects, a small handful, through smart business decisions and careful strategy, were able to break free of the traditional studio contract (well, as much as they could at that time) and carve out a more varied and creatively satisfying career. One of the actors who successfully broke out was the legendary Cary Grant.

But how did he do it? How did he break free of the system that made him, while also using it to his benefit? Throughout his life, including long before he ever stepped foot on a Hollywood sound stage and even after his retirement in 1966, Grant maintained tight control on his carefully crafted public persona and image, in the same way a Hollywood star today guards the details of their private life. And while Grant guarded his private life, too, he knew that his most valuable asset was being Cary Grant. At times, the public and private Cary Grant were one in the same; his name, his look and his voice were not only his livelihood, but his reputation, his legacy. 

So many other things were out of his control: abandonment by his mother at the age of nine when she was institutionalized for mental illness (at the time he had been told that she left on holiday and eventually died; he didn’t discover the truth of her disappearance until he was in his early 30s, when he reunited with her); his father’s philandering; his difficulties in his personal and romantic relationships, including marriages to five women with all but one ending in divorce; and his desperate need to be liked by the general public. With all of those things bearing down on him, Grant made sure he had complete control of everything he possibly could. While his tenacious drive and dedication to create and maintain control of his image, regardless of the insecurities prompting it, proved to be worthwhile for Grant both personally and professionally, it was also groundbreaking for those in Hollywood who would follow him and his example, as he unintentionally set the template for career independence.

At a young age, Cary Grant (born Archibald Alexander Leach) was already showing the early signs of the great actor and performer he would later become. He naturally took to dance and the piano and was absolutely transfixed by live vaudeville shows and the one-reel comedies he saw in the movie theater. Grant wasn’t a great student in school, preferring to flaunt his acrobatic skills around his classmates and spend his free time hanging around backstage at the vaudeville theaters in his hometown of Bristol, England. After being expelled from school, Grant joined the famous Pender Troupe where he honed his acrobatic skills and learned about the importance of timing, particularly when working within an ensemble. Later, Grant’s ability to gauge how to use timing in his screwball comedies would prove to be an invaluable and unique skill, setting him apart from his fellow comedic actors. In 1920, when Grant was only 16, he left England to tour with the Pender Troupe in America. He soon realized that he longed for much more than a traveling acrobatic troupe could offer him, so he made the first of many shrewd career decisions that would pay off many times over.

When the Pender Troupe’s engagement at the New York Hippodrome came to an end, prompting their return to England, Grant elected to leave the troupe and remain in New York. For the next several years, he worked in vaudeville, touring all over the country and doing everything from singing and dancing to stand-up comedy. When he wasn’t on the stage, Grant was a street performer, including stilt-walking and juggling. And when he found himself short on work, he and friend Orry George Kelly (who would later become known as Orry-Kelly, famous in his own right for being one of Hollywood’s greatest costume designers) would set up on the sidewalks of New York City to sell neckties that Kelly had hand painted.

After a relatively successful and critically-praised performance in the Broadway play Nikki, Grant was invited to give a screen test with Paramount Studios. In his first on-screen appearance in the short film Singapore Sue (‘32), Grant was unremarkable. Sure, he was handsome, but he didn’t have that effortless style and ease that would later become synonymous with his name. Despite a rather lackluster start, Paramount signed him to a five-year contract, groomed and renamed him and cast him as tuxedo-clad arm candy for their top leading ladies, including Sylvia Sidney, Marlene Dietrich, Nancy Carroll and Mae West. However, Grant was deeply unsatisfied with the roles offered to him, most of them being the cast-offs of the studio’s more popular stars, like Gary Cooper and Fredric March.

Things changed for Grant when he was loaned out to the much smaller RKO Pictures for a chance to work with director George Cukor and star alongside Katharine Hepburn. The film was SYLVIA SCARLETT (‘35) and it finally gave Grant the opportunity to demonstrate his depth as a performer and his impeccable timing. At the end of his Paramount contract in 1936, Grant refused to sign another long-term studio contract, going freelance and opting for limited picture deals that would give him choice in his projects and the flexibility to work for several different studios. At the time, going freelance was practically unheard of and was considered career suicide. For many stars, not being tethered to a major studio contract would have certainly been the end of their careers. But Grant’s need to perform and share his unique talents would never be adequately fulfilled by a sweeping multi-year studio contract. Acting wasn’t just a job for Grant—his very life depended on it. So, in reality, this kind of risky move was really Grant’s only choice.

Grant’s instincts proved to be right, carrying him through an on-screen career that lasted over 34 years, with an image and legacy that has only endured and grown since his death in 1986. During his three decades in Hollywood, Grant worked with some of Hollywood’s best filmmakers, including multiple collaborations with key directors who would help shape the “Cary Grant persona”: Alfred Hitchcock, George Stevens, George Cukor, Howard Hawks, Leo McCarey and Stanley Donen. Grant, who was both a successful comedic and romantic leading man (as well as a fine dramatic actor, when given the chance), worked alongside incredible leading ladies, including Irene Dunne, Myrna Loy, Deborah Kerr, Grace Kelly and Ingrid Bergman. Unlike other popular romantic leading couples—such as Fred Astaire and Ginger Rogers, Myrna Loy and William Powell, and Katharine Hepburn and Spencer Tracy—Grant was never attached to one specific actress. While he made multiple films with some, he was never typecast as the “other half” in an on-screen partnership. Those decisions, coupled with his move to retire in 1966, while he was still in demand and before he lost his romantic leading man status by growing old on screen, undoubtedly contributed to his broad appeal with audiences and his enduring legacy.

The persona of Cary Grant was most certainly a product of the Hollywood star machine. But thankfully, Grant figured out early on how to make the machine work to his advantage, allowing all of us to bask in his beautiful masculinity, his charm and charisma, his hilarious comedic timing and even his caddish, dark side. In all of his years cultivating and safeguarding his image, to the extent that some even criticized his methods, Grant ensured that he would be forever remembered, perfectly preserved in celluloid. And for that, we should all be eternally grateful.

[timeless-hollywood-classics]

Susan and God (1940)

Susan (Joan Crawford), a flighty society matron, returns from Europe earlier than expected waxing enthusiastic about a new religious movement. She is estranged from her intelligent and sensitive husband Barrie (Fredric March), who has been driven to drink by his wife's insensitivity, and she has neglected her introverted and maladjusted daughter Blossom (Rita Quigley). Barrie tries to meet her boat as it arrives in New York City, but she avoids him and absconds to the country home of her friend Irene Burroughs (Rose Hobart).

While at the house, her fervor and sermons alienate friends "Hutchie" and Leonora (Nigel Bruce and Rita Hayworth) by insisting Leonora leave her elderly husband and return to the stage. Susan also insults Irene by telling her that she's unsuited for her lover Mike (Bruce Cabot). While they all blow off Susan's musings, it sticks with them, and Barrie comes to the house to beg for forgiveness. He asks her to give him another chance for the sake of their daughter Blossom, and offers to finally grant Susan the divorce she seeks if he takes another drink. Susan consents and agrees to spend the summer with the family, thus making Blossom very happy. At first, Barrie is taken in by Susan's new passion, believing it is a sign of maturity, but he suffers disappointment when he realizes it is simply another manifestation of her shallowness. Gradually, Susan begins to understand the pain she has caused her family and determines to put her own house in order before meddling in the lives of others.

[citizenscreen]

You’ve probably heard that the schedule for the Turner Classic Movies Film Festival (TCMFF) 2019  was published earlier this week. TCMFF is scheduled for April 11-14 and this year’s theme is Follow Your Heart: Love at the Movies. As you can imagine, such a broad theme allows for all sorts of relationships in movies and in that sense the offerings don’t disappoint. There’s something for everyone – from traditional romance to bromance to love in pure evil form. What’s important is that for the 10th consecutive year, classic movie fans will have a love affair with movies in Hollywood.

As has become tradition on this blog I’ve put together my planned schedule for discussion sake. I tried to go a bit beyond my comfort level this year choosing new-to-me fare in more slots than ever before with a dear coming home at the end the festival. This will be my seventh year in Hollywood for this event and the excitement has not waned. There’s simply a lot to look forward to.

Also exciting is the fact that I will be playing a dual role at TCMFF 2019. I’ve mentioned my media credentials to cover TCMFF in the past and that is true again this year. In addition, I will also be one of about 30 Brand Ambassadors. I don’t know many details of this post yet, but follow me on social media and we’ll learn together.

Now to my picks…I hope some of you will chime in with yours. If you’re a blogger and publish a pre-TCMFF post be sure to leave me the link in the comments so I can include it in this post. I enjoy comparing people’s picks and think others do as well. Here we go…

  Thursday, April 11

I’m betting the biggest crowd aside from Grauman’s for the official opening night feature, will be at the Egyptian for Howard Hawks’ enjoyable Gentlemen Prefer Blondes (1953) and its iconic images. Although I adore that movie, which features Marilyn Monroe in standout comedic form, I plan to attend the 35MM screening of Hobart Henley’s Night World (1932), which I’ve never seen. Sara Karloff, daughter of the legendary Boris Karloff, will do the introductory honors alongside writer Susan King. Spending some time at a Karloff speakeasy is simply too good to pass up and it’s a fantastic way to start the festival.

Next I’ll likely meet bunches of people I know at the Egyptian for the Nitrate screening of Irving Reis’ The Bachelor and the Bobbysoxer (1947) starring my love Cary Grant, the lovely Myrna Loy, and the popular Shirley Temple. This is the first of several movies featuring Cary Grant this weekend and I plan to stare at him every chance I get. Almost.

  Friday, April 12

Friday morning poses a bit of a dilemma for me. There’s the film noir staple The Postman Always Rings Twice (1946) opposite pre-code Merrily We Go to Hell (1932) opposite Judy Garland’s only drama appearance in The Clock (1945) opposite the enjoyable High Society (1956). I decided on Dorothy Arzner’s pre-code featuring Sylvia Sydney, Fredric March and a pre-stardom Cary Grant. How can I go wrong with that combination?

Following that movie I’ll have a bit of time before the Club TCM presentation of The Descendants: Growing Up in Hollywood. This presentation may be as close as I’ll ever get to the idea of “Legacies” I’ve been hoping for, which calls for a panel of children of classic stars. In attendance at The Descendants presentation will be Cary Grant’s daughter, Jennifer. This means I’ll be one degree away from the greatest Hollywood has ever seen.

The next Friday block poses another slight problem. My choice of screening is Garson Kanin’s delightful, My Favorite Wife (1940) at the Egyptian, but skipping Sunrise: A Song of Two Humans (1927) is not easy. The reason I’m going to see Cary and Irene Dunne, besides the fact they’re wonderful, is due to the next screening, which will likely be a popular one.

For the 5:30 to 8:00 PM block on Friday I plan to watch the new-to-me Vanity Street (1932) directed by Nick Grinde followed by John Reinhardt’s Open Secret (1948). I think these two films will have long lines because the others screening in the slot are much newer movies. That means die-hard “old” movie lovers have my choices as their choices as well. Robert Wise’s beloved The Sound of Music (1965) is also screening in the slot and that eases my worries a bit.

Next I go to go see Jean Negulesco’s Road House (1948) starring Ida Lupino and Richard Widmark. The other movie I seriously considered in this slot is the premiere restoration of Anthony Mann’s Winchester ’73 (1950). Watching at least one important Western at the festival has become a tradition for me. If I skip Winchester the tradition will be broken, which is tough.

This year I am making it a point to attend at least one midnight screening and it looks like Joselito Rodríguez’s Santo Contra Cerebro Del Mal (1961) is the choice. It’s exciting to watch a movie in Spanish at TCMFF and, although I am familiar with the Santo superhero character, I’ve never seen one of his films. This should be a heck of a lot of fun.

  Saturday, April 13

What hit me immediately upon perusing the Saturday morning line-up is that I might not make it into Grauman’s at all the entire festival. Can you imagine? One of the two golden age films screening at the historic theatre, Fred Zinnemann’s From Here to Eternity (1953) opens the day there, but I am going for science fiction and Rudolph Maté’s When Worlds Collide from 1951. The movie stars John Hoyt, Richard Derr, Barbara Rush, and Peter Hansen. Rush will be in attendance to introduce the film with Dennis Miller. I’ve had the pleasure of meeting Barbara Rush on a couple of occasions and she couldn’t be more down to Earth, a truly lovely person who will no doubt offer interesting tidbits about the making of When Worlds Collide. 

From possible world annihilation I will venture into the jungles for the special presentation of the 85-year old Tarzan and His Mate (1984), the only directing outing by legendary art director, Cedric Gibbons. One of the first film courses I ever took was taught by a film historian and author obsessed with the nude swim scene and its artistry. I’ve seen it, of course, several times, but never on a big screen so this one is exciting.

Before you continue down my schedule, know that the rest of Saturday is a web of sacrifices for me. Foregoing a few screenings to ensure entrance in the ones I cannot miss is the order of this day. With that I continue…

Following Tarzan I’ll be visiting with Irene Dunne and Charles Boyer in Leo McCarey’s Love Affair (1939) celebrating its 80th anniversary. This will be introduced by Dana Delaney who is a great classics fan in her own right. Although I have no reservation about enjoying this film, which I haven’t seen in quite some time, it would not be my choice if not for the rest of the day’s offerings. For instance, I think I’d enjoy the Tom Mix Double Feature immensely and would attend that if not for Rowland Brown’s Blood Money (1933) hailed as “the ultimate pre-Code film” on the TCMFF page and I’ve never seen it. Blood Money follows in the next slot and if I see Tom Mix I won’t have time to get to it. That’s the deciding factor for me. I’ll also be truly sorry to miss the Hollywood Home Movies presentation at Club TCM yet again.

The worst block of the entire 2019 TCMFF for me as far as decisions go is the Saturday evening offerings after Blood Money. My good friend Laura of Laura’s Miscellaneous Musings mentioned the rarity that will be the screening of George Marshall’s Life Begins at 40 (1935) and she should know as she takes full advantage of the numerous classic screenings available in the Los Angeles area. The problem, my dears, is that if I go to Life Begins at 40 I won’t make it to what I believe will be an unforgettable experience, Mervyn LeRoy’s The Bad Seed (1956) poolside with Patty McCormack in attendance. I’m super excited about this one as I consider McCormack’s portrayal of Rhoda one of the all-time great child performances and an impressionable evil. That said, this decision comes at a great cost because while I’ll be watching this terrific film, Cary Grant and Ingrid Bergman, two stars that mean the world to me, will be Indiscreeting in a nearby theater. This actually hurts to think about, but this will be my first ever screening by the pool at the Roosevelt and I couldn’t look forward to it more.

  Sunday, April 14

Another tough choice opens Sunday with Peter Lorre’s fantastic performance in Karl Freund’s Mad Love (1935) screening opposite George Cukor’s Holiday (1938), but in the end Cary Grant wins as does Diane Baker’s introduction. Touch one though.

My choice for this next block may change depending on the TBA. I’m hoping it’ll be Indiscreet in which case that’s where I’ll be. Barring that happening I may well forego movies and attend two Club TCM presentations in a row, which would be a first: Hollywood Love Stories and The Complicated Legacy of Gone With the Wind are both enticing and likely to be entertaining and informative.

Finally, I arrive at the end of the weekend with the two final screenings. These are no-brainer choices for me. The first is Clarence Brown’s A Woman of Affairs (1928), the third picture to team Greta Garbo and John Gilbert and their final silent film together. Present for the introduction will be Kevin Brownlow and Leonard Maltin. This screening will also be accompanied by a live orchestra performing a score composed and conducted by Carl Davis and it should be spectacular.

Now talk about thrilling. This will be a nitrate presentation of Irving Cummings’ The Dolly Sisters (1945) starring one of my idols, superstar Betty Grable and June Haver as famous vaudeville entertainers, Jenny and Rosie Dolly. This movie strays far from the real story of The Dolly Sisters who were known more for their dark beauty than for their talent, so if you’re looking for biographical drama look elsewhere. However, if enchanting entertainment, the wonderful fluff I adore that’s important enough to get a Carol Burnett parody, if what you’re after then look no further. This one means a lot to me. Remember, Betty Grable was my idea of the biggest star in the world. Oh oh…I may cry during this screening. With John Payne as Grable’s love and character greats S. Z. Sakall and Sig Ruman, The Dolly Sisters screening cannot come soon enough even though it ends my TCMFF 2019.

◊

There you have my picks and ideas on this year’s festival. It all adds up to 16 movies – a decent number for me – three Club TCM presentations, and numerous new experiences. I hope to run into you in Hollywood, but if not follow me on social media for the latest from TCMFF 2019.

Facebook:  Citizen Screen

Twitter:  @CitizenScreen

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◊

It’s always fun to compare notes with friends so I’m including links to a few other bloggers’ TCMFF picks. I love reading how everyone makes his/her decisions on such things and hope you do too.  If your blog post is not included leave the link in the comments section and I’ll be happy to add it to this list.

Check out the choices of Pre-Code.Com

    My Picks for #TCMFF 2019 You've probably heard that the schedule for the Turner Classic Movies Film Festival (TCMFF) 2019  was published earlier this week.

[bonnieblue727]

Susan And God is an American comedy drama film from 1940. It stars Joan Crawford as Susan Trexel and Fredric March as Barrie Trexel.

Plot

Susan, a flighty society matron, returns from Europe earlier than expected waxing enthusiastic about a new religious movement. She is estranged from her intelligent and sensitive husband Barrie, who has been driven to drink by his wife's insensitivity, and she has neglected her introverted and maladjusted daughter Blossom. Barrie tries to meet her boat as it arrives in New York City, but she avoids him and absconds to the country home of her friend Irene Burroughs.

Watch the movie

[film-tv101]

Tuesday, November 10, 1931|Honoring movies released from August 1, 1930 - July 31, 1931

OUTSTANDING PRODUCTION

WINNER

CIMARRON

RKO Radio

NOMINEES

EAST LYNNE

Fox

THE FRONT PAGE

The Caddo Company

SKIPPY

Paramount Publix

TRADER HORN

Metro-Goldwyn-Mayer

DIRECTING

WINNER

SKIPPY

Norman Taurog

NOMINEES

CIMARRON

Wesley Ruggles

A FREE SOUL

Clarence Brown

THE FRONT PAGE

Lewis Milestone

MOROCCO

Josef Von Sternberg

CINEMATOGRAPHY

WINNER

TABU

Floyd Crosby

NOMINEES

CIMARRON

Edward Cronjager

MOROCCO

Lee Garmes

THE RIGHT TO LOVE

Charles Lang

SVENGALI

Barney "Chick" McGill

ACTOR

WINNER

LIONEL BARRYMORE

A Free Soul

NOMINEES

JACKIE COOPER

Skippy

RICHARD DIX

Cimarron

FREDRIC MARCH

The Royal Family of Broadway

ADOLPHE MENJOU

The Front Page

ACTRESS

WINNER

MARIE DRESSLER

Min and Bill

NOMINEES

MARLENE DIETRICH

Morocco

IRENE DUNNE

Cimarron

ANN HARDING

Holiday

NORMA SHEARER

A Free Soul

ART DIRECTION

WINNER

CIMARRON

Cimarron

NOMINEES

JUST IMAGINE

Stephen Goosson, Ralph Hammeras

MOROCCO

Hans Dreier

SVENGALI

Anton Grot

WHOOPEE!

Richard Day

WRITING (ORIGINAL STORY)

WINNER

THE DAWN PATROL

John Monk Saunders

NOMINEES

THE DOORWAY TO HELL

Rowland Brown

LAUGHTER

Harry d'Abbadie d'Arrast, Douglas Doty, Donald Ogden Stewart

THE PUBLIC ENEMY

John Bright, Kubec Glasmon

SMART MONEY

Lucien Hubbard, Joseph Jackson

WRITING (ADAPTATION)

WINNER

CIMARRON

Howard Estabrook

NOMINEES

THE CRIMINAL CODE

Seton I. Miller, Fred Niblo, Jr.

HOLIDAY

Horace Jackson

LITTLE CAESAR

Francis Faragoh, Robert N. Lee

SKIPPY

Joseph L. Mankiewicz, Sam Mintz

[mfangeleeta]

Last Call for Vodka Update

I’d already been planning an update before this weekend’s Bering and Wells revival sprang up. It was my birthday on Friday so I offer a loose follow up to Chapter 32 for this year’s reminder of getting older. Thanks for reading. Check it all out here.

Got a high tolerance when your age don’t exsist

She’d managed to perfect the look of understanding over the years, even when she didn’t.  Missing the ending of her era and the 20th century altogether meant that she would never fully be versed in the new world. But she was HG Wells after all and there was no way she would not put her best effort forward.

Claudia had been an excellent tutor on many of the current technical advances.  She would never equal the mastery that her young friend had, but her skill was beyond sufficient and she now could gather information unfettered when needed.

Steve and Leena had introduced her into modern philosophies of life, death and everything in between. Buddhism had been found mostly in the Orient during her time, a region that she now wished she had visited more. (But that would have meant trips with Kipling which would have been intolerable.) Steve, with his patience and insights was a wonder.  Leena, with her old world ways mixed with the modern was the other side of the coin. She wouldn’t go so far as to call herself a Wiccan or a Druid but her beliefs coupled with her ability to read auras fell more along those lines than any modern religion.

Arthur, of all people, had been her guide in the classical arts.  He had overheard her humming one of the arias from Schumann’s Genovena one day in the office and inquired about her study of romantic artists of her time. They had taken several trips to Chicago for both the opera and the symphony since that day.  She would never forget the moment they shared in front of A Sunday Afternoon on the Island of La Grande Jatte by Seurat. For the first time in a century she cried over who and what she had lost during her time in the bronze.

Pete, with the assistance of Claudia and the supervision of Myka, had nearly overwhelmed her with modern pop culture and sports.  Movies, music, slang, social media-everything he could think of.   She tolerated the brutish sports, like American football and hockey (a favorite of Myka’s) during the fall in exchange for the art of tennis and baseball in the summer.  They had planned two trips to Wimbledon so far that had been dashed by life or death artifact retrievals. But Helena was determined to see the Williams sisters play in person before they retired.

 Yes, in many ways and in many areas she’d adapted well to the 21st century.  Helena had the support of the Warehouse team, the guidance of an excellent mental health professional and the love of Myka Bering to see her through.  And for 363 days she would be fine.

 The others had learned years ago that discretion was the better part of valor on the anniversary of Christina’s death.  They would be nearby for support but the unpredictable nature of the day was saved for Myka.  At first, Helena had attempted to avoid her love but she would have none of it.

She had tracked her down at local taverns, in the wilderness, even in Minneapolis before Helena relented to spend the day with Myka.

Myka pulled her close at the start of the day, giving her a gentle kiss to the back of her neck.

“What would you like to do today?” she asked softly.

 They had spent days in bed. They had gone on long walks. They had hopped in the car and taken impromptu trips.  Once they had even traveled to Paris to visit Christina’s grave.

 The other day that would be vexing to both herself and her family was her birthday. Current records showed that Emily Lake was just over 40. The truth was that she was in her mid 150s and despite her good looks, the mother of science fiction could feel every bit of her post sesquicentennial body creak and moan with age.

“I promise you don’t look a day over 105,” Claudia would tease at the start of September.

Pete would leave her lists of things invented in the 20th century that were younger than her.

Steve would volunteer as her inventory companion, allowing her to vent all of her joys and worries as the day of days approached.

And Myka, sweet Myka, would be there much in the same way that she was in June for Christina’s death.

 Unfortunately this year she found herself on a task for the Warehouse.  The entire team had called her to wish her a happy birthday. Myka had even promised a special Skype session once the others had gone to bed.

She sat in a bar and sipped her vodka tonic slowly. The television had changed to a sporting event, the playoffs, she’d heard one of her fellow patrons say as they talked loudly about their day.  She turned her chair slightly to look out the window over the city. Night had fallen and the metropolis was aglow with the magic and perils of modern society.  It was her birthday, a triple digit number she had never imagined celebrating.

 “Do you remember,” Irene Fredric’s voice broke the silence that surrounded her, “Wolcott’s 31st birthday?”

HG smiled. “I do. It was quite an event. I don’t think I had ever seen him so knackered.”

“I don’t’ think I’ve ever been that knackered.”

HG laughed, remembering the now Caretaker as a young woman, fresh from America experiencing her first days of endless wonder.

“You held yourself well,” HG smiled.  “I would have never known.”

She sighed. “I take it you are here to make sure that I don’t become too sullen at the thought of my age.”

“Agent Bering-Wells might have suggested it.”

“Since when do you take orders from Myka?”

“Well she is about to replace Artie as head Agent.  I supposed it would be okay to concede one small favor.”

“Indeed,” HG pointed at the small tent at the center of the table. “May I suggest the bacon cheese tater tots, they are quite delicious.”

[lanaturnerhascollapsed]

The New Movie, May 1934

[korayaker]

SİYASET-FELSEFE

Lenin Sol komünizm Lenin Nisan tezleri Lenin Proleter devrim dönek  kautsky Lenin devlet ve devrim Lenin Emperyalizm Lenin Burjuva demokrasisi ve proleterya diktatörlüğü Lenin Ne yapmalı Lenin Materyalizm ve Ampiryokritisizm Lenin Bir Adim Ileri Iki Adim Geri

Lenin Din Üzerine

Lenin Sosyalizm ve Savaş

Marx Engels Komünist manifesto

Yahudi Sorunu

Alman İdeolojisi Ekonomi Politiğin Eleştirisine Katkı Ücretli Emek ve Sermaye Ailenin ve özel mülkiyetin kökeni

Mao Zedong Çelişki Üzerine Uzatmalı Savaş Üzerine Seçme Eserler -ı-ıı-ııı

Kızıl Kitap

Josef Stalin Diyalektik Materyalizm ve Tarihsel Materyalizm

Marksizm, Ulusal Sorun Leninizmin İlkeleri

Anarşizmi mi Sosyalizm mi

Bolşevik parti Tarihi

Muhalefet Üzerine

 Georgi Dimitrov Faşizme Karşı Birleşik Cephe Leo huberman Sosyalizmin alfabesi Politzer Felsefenin başlangıç ilkeleri Politzer Felsefenin Temel İlkeleri Nikitin Ekonomi politik Maksim Gorki Küçük burjuva ideolojisinin eleştirisi Kalinin Devrimci Eğitim Devrimci Ahlak Che Guevara Ekonomi ce sosyalist ahlak Paul lafargue Tembellik hakkı A.Şnurov Türkiye proleteryası John Reed Dünyayı Sarsan On Gün Ellen Meiksins Wood Sınıftan Kaçış İbrahim kaypakkaya Seçme eserler Mahir çayan Bütün Yazıları Hikmet kıvılcımlı Türkiyede kapitalizmin gelişimi Emrah cilasun - Mustafa suphi ve yoldaşlarını kim öldürdü Kapitalizm, Arzu ve Kölelik, Frederic Lordon Yeryüzünün Lanetlileri - Frantz Fanon Terry Eagleton Marx Neden Haklıydı Jhon Zerzan Gelecekteki ilkel Paulo Freire Ezilenlerin Pedagojisi Kropotkin- Ekmeğin Fethi Ivan Illich'in Okulsuz Toplum

Hüseyin Can Sovyetler ve Kürtler

A.Kollontai Komünizm ve Aile

N. kruspkaya Halk eğitimi

Platon Socratesin Savunması

TOPLUMSAL CİNSİYET

Friedrich EngelsAilenin, Özel Mülkiyetin ve Devletin Kökeni Clara Zetkin Kadın Sorunun Üzerine –

Clara Zetkin Lenin'in Bütün Dünya Kadınlarına Vasiyetleri

Auguste Bebel Kadın ve Sosyalizm Alexandra Kollontai Marksizm ve Cinsel Devrim Alexandra Kollontai Komünizm ve Aile Alexandra Kollontai Bir çok hayat yaşadım Sibel Özbudun Marksizm ve Kadın Emek, Aşk, Aile Sibel Özbudun Küreselleşme , Kadın ve Yeni - Ataerki Ricardo Coler Kadın Krallığı Elisabeth Badinter Biri Ötekidir Shulamith Firestone Cinselliğin Diyalektiği Diana Gittins Aile Sorgulanıyor Simon de beauvoir ikinci cins Valeri solanes -Erkek doğrama cemiyeti

Judith Butler- Cinsiyet Belası

 PSİKOLOJİ

Sigmund Freud Totem ve tabu Sigmund Freud uygarlığın huzursuzluğu Sigmund Freud Düşlerin Yorumu Joel Kovel Tarih ve Tin Michel Foucault Deliliğin Tarihi Jean Twenge Ben nesli Rollo May Kendini Arayan İnsan Pascale Chapaux-Morelli İkili İlişkilerde Duygusal Manipülasyon Erich Fromm Sevme Sanatı Eric Fromm- Özgürlükten Kaçış Caren Horney Çağın Nevrotik kişiliği

Ben ve Biz - Postmodern İnsanın Psikanalizi, Rainer Funk ..

  POSTMODERN FELSEFE

john zerzan- Gelecekteki ilkel Terry Eagleton Postmodernizmin Yanılsamaları Fredric Jameson, Postmodernizm ya da Geç Kapitalizmin Kültürel Mantığı Jean Baudrillard Simülakrlar ve Simülasyon Jean Baudrillard Tüketim Toplumu Jean Baudrillard Kötülüğün Şeffaflığı Jean Baudrillard baştan çıkarma üzerine Rainer Funk Ben ve Biz Postmodern İnsanın Psikanalizi - Zygmunt Bauman Akışkan Aşk / İnsan İlişkilerinin Kırılganlığına Dair Zygmunt Bauman  Akışkan Modernite Jean François Lyotard Postmodern Durum Michel Foucault Özne ve İktidar / Seçme Yazılar Michel Foucault Cinselliğin Tarihi Karakter Aşınması - Richard Sennett Kamusal insanın Çöküşü Richart Sennet Guy Debort- Gösteri toplumu

 VAROLUŞÇU FELSEFE

Arthur Schopenhauer Cinsel Aşkın Metafiziği Arthur Schopenhauer ,Hayatın Anlamı Arthur Schopenhauer İsteme ve Tasarım Olarak Dünya Emil Michel Cioran Çürümenin Kitabı Terry Eagleton Hayatın anlamı Fernando Pessoa Huzursuzluğun Kitabı Ferdinand celine gecenin sonuna yolculuk Jean Paul Sartre Bunaltı Cesare Pavese Yaşama Uğraşı Franz Kafka Dönüşüm Samuel Beckett Godot'yu Beklerken Hermann Hesse Siddhartha Dostoyevski Yeraltından Notlar Dostoyevski Suç Ve ceza Nietzsche Böyle Buyurdu Zerdüşt Nietzsche Ecce homo Nietzsche Decal Candide - Voltaire Albert CamusYabancı Jhon fante toza zor Terry Eagleton Kötülük Üzerine Bir Deneme

 ROMAN VE KLASİKLER

Maksim Gorki Ana Maksim Gorki Benim üniversitelerim Dimitrov  Dimov Tütün

Kropotkin Ekmeğin Fethi Jack London’ Demir ökçe John Steinbeck Fareler ve İnsanlar Harper Lee Bülbülü Öldürmek Victor Hugo Sefiller Goethe Genç Werther'in Acıları Balzac vadideki zambak Dostoyevski Suç ve Ceza Dostoyevski Kumarbaz Dostoyevski Budala

Dostoyevski Ev sahibem

Dostoyevski Yeraltından notlar Stefan Zweig Satranç Stefan Zweig Bilinmeyen Bir Kadının Mektubu Irvin D. Yalom Nietzsche Ağladığında Lev Tolstoy Anna Karenina Vladimir Bartol Fedailerin Kalesi Alamut Amin Maalouf Doğunun Limanları

Harper Lee Bülbülü Öldürmek

George Orwel Hayvan Çiftliği

Jhon Steinbeck Fareler ve İnsanlar

  Türk Edebiyatı Sabahattin Ali Kürk Mantolu Madonna Sabahattin Ali Kuyucaklı yusuf Sabahattin Ali İçimizdeki Şeytan Ahmet Hamdi Tanpınar Huzur Ahmet Hamdi Tanpınar Saatleri ayarlama enstitüsü Yaşar kemal İnce memed Recaizade Mahmut Ekrem Araba Sevdası Mehmet Rauf Eylül Peyami Safa Yanlızız Peyami Safa Fatih-Harbiye

Peyami Safa Dokuzuncu Hariciye koğuşu

Peyami Safa Bir teredüdün Romanı Namık Kemal İntibah Orhan Pamuk kırmızı saçlı kadın Yusuf atılgan Aylak adam

Ahmet Ümit İstanbul Hatırası

 Yakup Kadri Karaosmanoğlu Kiralık Konak

Yakup Kadri Karaosmanoğlu Yaban

 Distopya-Ütopya

Aldous Huxley Cesur Yeni Dünya 1984 - George Orwell Ursula K. Le Guin Mülksüzler Damızlık Kızın Öyküsü

 Din Tarih ve Antropoloji

Tanrı'nın Tarihi - Karen Armstrong Ludwig Feuerbach-Hristiyanlığın Özü Marx Engels- Ailenin ve özel mülkiyetin kökeni Lewis Henry Morgan-Eski toplum Wilhelm Reich- Cinsel ahlakın boy göstermesi Freud totem ve tabu Claude Levi – Strauss  Yapısal Antropoloji

Samuel NoahbKramer Tarih Sümerlerle Başlar

Samuel noah Kramer Sümer mitolojisi M. İlin-İnsan Nasıl İnsan Oldu Darwin Türlerin kökeni Turan Dursun Din bu Dine Karşı Din - Ali Şerati Ataların Hikayesi Richard Dawkins Sibel özbudun -Antropoloji: Kuramlar, Kuramcilar Lenin Din Üzerine Karl -Marx Yahudilik Üzerine Hayvanlardan Tanrılara - Sapiens , Yuval Noah Harari Deccal - Friedrich Nietzsche Ahlakın Soykütüğü- Friedrich Nietzsche

Peter Hopkirk İstanbulun Doğusunda Bitmeyen oyun

 Hans Lukaks kieser- Iskalanmış Barış

Martin Van Bruinessen Kürtlük Türklük Alevilik

Nuri Dersimi Kürdistan Tarihinde Dersim

Erdoğan Çınar Kayıp Bir Alevi efsanesi

Erdoğan Çınar Aleviliğin Kayıp Bin yılı

Ahmet Taşağıgil Gök Tengrinin Çocukları

Jena Paul Roux. Türklerin Tarihi

Tori Bir Kürt Düşüncesi Yezidilik

İrene Melikoff Uyur idik uyardılar

Hamza Aksüt Aleviler

Jenet Hamilton Aanadoluda Heretik Hareketler

Faik Bulut Dersim Raporları

Mehmet Bayrak Dersim Koçgiri

Mehmet Bayrak Alevilik Kürdoloji Türkoloji Belge.

Sean Martin Katharlar

[mrmichaelchadler]

The Best Current Source for Streaming Classic Movies is ... Amazon Prime?

What is the classic movie fan to do in the era of Netflix? For a few glorious years FilmStruck was our salvation, offering a rich, well-curated collection of films from the silent era through the 1970s, something Netflix gave up on years ago. 

So with FilmStruck dead, where can the fan of classic movies—let's say, just for the sake of argument, anything older than 40 years—get their fix without resorting to renting each and every title on iTunes or Fandango?

The answer might surprise you. The meatiest streaming source for world cinema classics is Kanopy, a free service offered through most (though not all) public and college library systems. But there's a limit of five streams per month and while they carry hundreds of titles from the Criterion Collection from such directors as Akira Kurosawa and Ingmar Bergman, the collection of classic American cinema is relatively small.

That's where Amazon Prime Video enters the picture. Netflix has maybe a dozen Hollywood feature films from the years between 1940 and 1980, along with a collection of war documentaries and rarities from pioneering women filmmakers and African-American directors. Interesting, yes, even admirable, but awfully limited in scope and selection.

Prime Video offers a rich, rapidly-churning catalog of sixties and seventies cinema: "Chinatown" and "All the President's Men," "A Clockwork Orange" and "Raging Bull," "The Great Escape" and "Mickey One." And back it goes through Billy Wilder's "Some Like it Hot" and "The Apartment," John Huston's "Moby Dick," Howard Hawks' "Red River," "Born Yesterday" with Judy Holliday and William Holden, "Platinum Blonde" with Jean Harlow, and holiday perennial "It's a Wonderful Life" just to name just a few. 

Dig a little deeper and you can find the deliriously baroque western "Johnny Guitar" with Joan Crawford, end-of-the-world drama "Five" from radio drama pioneer Arch Oboler, "Dead Reckoning" with Humphrey Bogart, "The 7th Voyage of Sinbad" with Ray Harryhausen effects, and Ben Gazzara in "The Strange One," the first film from "Private Property" director and Actor's Studio legend Jack Garfein. There are silent films, crime pictures, westerns, and musicals, plus gialli, spaghetti westerns and Italian crime thrillers, Japanese gangster pictures, cult oddities like Slava Tsukerman's "Liquid Sky" and Teruo Ishii's "Horrors of Malformed Men," and even a few international classics.

So why isn't Prime Video getting more attention?

Amazon's catalog of Hollywood and international classics is admittedly on the shallow side compared to the height of FilmStruck, which married two amazing catalogues with a deep collection of film history. But it's an eclectic collection and it's always churning out new titles. In 2018, Amazon Prime members could stream "Mean Streets," "One Flew Over the Cuckoo's Nest," "The Man Who Would Be King," "Barry Lyndon," "Bullitt," "Performance," "Point Blank," "Bonnie and Clyde," "Gone With the Wind," and "The Wizard of Oz." 

Still, there's a major problem: finding the films in Amazon's catalog. FilmStruck was curated, and told subscribers what was new and it provided spotlights on directors, actors, and various themes to encourage exploration. The classics of Prime Video are buried amongst scores of B-movies, old and new.

There are others problems: Amazon offers both a Prime Video service of streaming movies with a subscription along with its huge selection of Amazon rentals. Recommendation galleries and search results often bring up a mix of both. Even some individual films—"Red River," for example—are offered from multiple sources, only one of which is included in the Prime subscription. The search results don't always favor the free version, which is usually indistinguishable in quality. The only difference is that one will cost you a few dollars to rent. It may simply be a flaw in the system but a more cynical take might see this as a sneaky way to grab a few extra bucks. Whatever the reason, it's doesn’t help the Amazon Prime subscriber make the most of their service.

While the majority of films are presented in fine editions, indifferent quality control means that there are scores of poor copies of public domain titles (as well as some more recent films) that don't look or sound much better than the bargain bin videotapes you could find 20 years ago. That's an instant turn-off in an age where studios routinely remaster their catalog for the HD era. 

Browsing by genre on Amazon Prime is like wading through the donations bin of a library sale and counting on Amazon's own recommendations isn't much better. For a company that built its success on targeting consumers based on their buying patterns, the metrics of Amazon's search function fail to sort the wheat from the chaff of its streaming library. 

And there's a lot of chaff in their vast collection. For example, when I log in to my account and click my way to "Movies" and "included with Prime," I get plenty of recent releases front-loaded on the page. There are even a few genuine classics in my "Top Rated Movies" feed: "A Clockwork Orange," "The Big Country," "The Great Escape." But when I scroll down to "Classic Movies" the pickings are, shall we say, a little less promising. 1983 "Animal House" knock-off "Screwballs," "Lone Wolf McQuade" with Chuck Norris, and the vile "The Evil That Men Do" with Charles Bronson are all offered up before "All the President's Men" and "The Apartment" appear. Definitions of the term "classic" aside, what in my search history churns up these suggestions?

With FilmStruck gone and no real alternative filling the void at present, Amazon is in a prime position to grab up fans of classic movies. But why isn't there some kind of mailing promoting those older classics cycling through the catalog every month? And why aren't Amazon's Facebook and Twitter feeds alerting movie buffs of what's new beyond "Mrs. Maisel" and "You Were Never Really Here" and other Prime Originals? For a marketing powerhouse like Amazon, they can't seem to find my sweet spot, and I'm a guy who is constantly clicking on classic titles to spotlight in my newspaper columns and website.

There's a great selection of films for film buffs, classics fans, and adventurous viewers. All they need is a little help finding them. So here's a sampling of just a few titles from across the spectrum that you can stream now with a Prime subscription, a little something for all tastes: 

Bonafide Classics:

Alan J. Pakula's "All the President’s Men" (1976) with Robert Redford and Dustin Hoffman.

Roman Polanski's "Chinatown" (1974) with Jack Nicholson and Faye Dunaway.

World War II adventure "The Great Escape" (1963) with Steve McQueen leading a grand cast of escapees.

Stanley Kubrick's anti-war classic "Paths of Glory" (1958) with Kirk Douglas.

George Cukor's "Born Yesterday" (1950), which earned an Oscar for Judy Holliday.

Howard Hawks' epic western "Red River" (1948) with John Wayne and Montgomery Clift.

George Stevens' "The Talk of the Town" (1942) with Jean Arthur, Cary Grant, and Ronald Colman.

Leo McCarey's "The Awful Truth" (1937) with Cary Grant and Irene Dunne.

Gregory La Cava's screwball masterpiece "My Man Godfrey" (1936) with William Powell and Carole Lombard. There are plenty of bad editions out there; this is from an excellent source.

"Gumshoe"

A Deeper Dive:

"Images" (1972, R) – Susannah York won the Best Actress award at Cannes for her performance as a deeply schizophrenic author in Robert Altman’s richly textured psychological thriller.

"Gumshoe" (1972) – The feature debut of director Stephen Frears is a playful tribute to American crime movies starring the late Albert Finney as a small time Liverpool entertainer playing private detective.

"Age of Consent" (1969) – James Mason is an artist who flees England for Australia to go Gauguin on a tropical island and a young Helen Mirren is his muse in Michael Powell's final feature film.

"Mickey One" (1965) – Warren Beatty is a nightclub comic who goes on the run when the mob tries to kill him in the offbeat psychodrama from director Arthur Penn.

"Zulu" (1964) – Stanley Baker, Jack Hawkins, and Michael Caine are hopelessly outnumbered in Cy Enfield's end-of-the-empire military epic set in a colonial 19th century African outpost.

"Underworld U.S.A." (1961) – Organized crime is merely another form of big business in Sam Fuller's punchy, pulpy revenge drama with Cliff Robertson, one of the director's best.

"The Big Country" (1958) – William Wellman's sweeping cattle country epic stars Gregory Peck, Charlton Heston, Burl Ives, and a gloriously epic score.

"The Barefoot Contessa" (1954) – Ava Gardner is the title character in the Joseph L. Mankiewicz drama, but Humphrey Bogart took top billing and supporting actor Edmund O'Brien took home the Oscar.

"Johnny Guitar" (1954) – Scarlett businesswoman Joan Crawford takes on repressed Mercedes McCambridge in a psychological western with political reverberations from Nicholas Ray.

"Merrily We Go To Hell" (1932) – Dorothy Arzner, a rare career woman director in the Hollywood’s early sound era, directs this sassy pre-code drama of society decadence and excess with Fredric March and Sylvia Sidney.

"Cockfighter"

Cult Movies:

"Cockfighter" (1974) – Warren Oates is an obsessive cockfighting trainer who takes a vow of silence after his hubris costs him the championship in the offbeat adaptation of Charles Willeford's novel directed by Monte Hellman.

"Wake in Fright" (1971) – The brutal, blackly funny thriller of an urban schoolteacher (Gary Bond) stranded in a grimy mining town in the sun-blasted Australian Outback anticipates the New Australian Cinema. Donald Pleasance co-stars.

"Death Laid an Egg" (Italy, 1968) – Italian murder mystery intertwines with surreal satire in Giulio Questi's "film blanc" starring Jean-Louis Trintignant as a gentleman poultry farmer who unwinds from a hard day by murdering prostitutes. Gina Lollobrigida and Ewa Aulin co-star.

"Homicidal" (1961) – If William Castle is the B-movie Hitchcock, then this devious little gem is his "Psycho," an inspired twist with a shocker of a first-act murder, a third-act psychologist’s explanation, and Castle's own invention: the "Fright Break."

"The Golden Coach"

Foreign Affairs: 

"Perceval" (France, 1978) – Eric Rohmer’s most unique feature, a strange, sophisticated mix of theater, medieval literature, story-song, and cinema, is a glorious odyssey into the very nature of stories and storytelling.

"The Firemen's Ball" (Czechoslovakia, 1967) – A satirical edges of Milos Forman's dark comedy of a small town fire brigade's annual fund raising party unraveling in chaos was not lost on the Soviet government, which tried to ban the film.

"The Golden Coach" (France, 1952) – Anna Magnani is the earthy, vivacious diva of a traveling troupe of Italian commedia dell'arte players in a Peruvian backwater in Jean Renoir's loving tribute to the theater of love and the power of art. Amazon offers the English language version, which Renoir acknowledged as the definitive version.

"Zero for Conduct" (France, 1933) – Jean Vigo's anarchic gem celebrates the rebellious spirit of adolescent boys in the first masterpiece of pre-pubescent self-actualization, a strange and wonderful film full of unbridled imagination, flights of fantasy, and delirious images.

from All Content http://bit.ly/2GCnDMa

[dimartblog]

Κινούμενη άμμος 21.10.2018

—με τον Γιώργο Πήττα—

Ένα κλασικό short story του αρχιμάστορα στο είδος Fredric Brown (1906-1972) και βεβαίως μουσικές, πολλές μουσικές.

Bedtime stories ��ια πολλά όνειρα — όχι απαραιτήτως γλυκά!

Playlist:

1. Irene Skylakaki – It’s Getting Darker 2. M83 – I’m Sending You Away (From Oblivion soundtrack) 3. Hans Zimmer – Day One (Interstellar) 4. Louis Viallet – Beautiful Horizon 5. Gustav Holst –…

[hyaenagallery]

Scott Hastings "Scotty" Beckett (1929 – 1968) was an American actor. Born in Oakland, California, Beckett got his start in show business at age three when the family moved to Los Angeles and a casting director heard him singing by chance. Beckett was at Cedars of Lebanon Hospital visiting his father, who was recovering from an illness, and was entertaining him by singing songs in Pig Latin. Nurses heard him singing and carried him from room to room on every visit to sing for other patients. A studio casting director noticed the child and told his parents he had movie potential. Beckett auditioned, and landed a part in Gallant Lady (1933), alongside Dickie Moore. The same year, his father died. In 1934, Beckett joined Our Gang, in which Moore had appeared from 1932 to 1933. Beckett appeared as a regular in the Our Gang short subjects series from 1934 to 1935. In the gang, Beckett played George "Spanky" McFarland's best friend and partner in mischief. His trademark look was a crooked baseball cap and an oversized sweater exposing one shoulder. His role was taken over by Carl "Alfalfa" Switzer in 1935, and Beckett left the series for features after that year. In 1939, he returned to Our Gang briefly as Alfalfa's cousin Wilbur in Cousin Wilbur and Dog Daze. After his Our Gang days were over, Beckett won increasingly prominent roles in major Hollywood films, usually playing the star's son or the hero as a boy. Among his major credits are Dante's Inferno with Spencer Tracy, Anthony Adverse with Fredric March, The Charge of the Light Brigade with Errol Flynn, Conquest with Greta Garbo, Marie Antoinette with Norma Shearer; Ali Baba and the Forty Thieves, in which he played Jon Hall's character as a child, and Kings Row, in which he played Robert Cummings's character as a child. In 1940, he played Tim in My Favorite Wife, starring Cary Grant and Irene Dunne. He appeared as one of the unborn children in Shirley Temple's The Blue Bird (1940). He also had a central role in the wartime propaganda film The Boy from Stalingrad (1943). #destroytheday

[cluboftigerghost]

Bingomation is an online community project aimed at showcasing work by brilliant animators and motion designers. 90 animators each chose a bingo number and were tasked with creating a 5 second, looping GIF visualization of the bingo call associated with their number. To see the full project go to http://ift.tt/2tnjNgi Founded by Hayley Akins, Tom Kilburn and Chris Egglestone Curated by Hayley Akins Edit by Janka Troeber Music by Wesley Slover (Sono Sanctus) Sound by Howard Sinden Contributors- 1 Adam Wells 2 Andy Williams 3 Brent Clouse 4 James Taylor 5 Alexandra Davy 6 Austin Saylor 7 David Stanfield 8 Justin Carrington 9 Oscar Martinez 10 Anton Karmanov 11 Tom Kilburn 12 Charlie Minnion 13 Jason Symson 14 Sua Gape 15 Irene Feleo 16 Laura Nash 17 Emma Hrling 18 Judd Hertler 19 Anna Balanca 20 Fredric Furstenbach 21 Qais Sarhan 22 Hayley Akins 23 Jez Pennington 24 Justin Carrington 25 Chris Meadmore 26 Lorna Wilson 27 Daire O Suilleabhain 28 Ewan Warburton 29 Karolina Czabaj 30 Traci Brinling 31 Matt Jameson 32 Rafael Marques 33 Paul Conigliaro 34 Jez Pennington 35 Dan Kelly 36 Stephen Minty 37 Christian Secaira 38 Simon Testro 39 Gareth Wells 40 Tenan Esteban 41 Marta Azana 42 Kristjan Part 43 Emily Knight 44 Sonya Robine 45 Dan Chernett 46 Dave Weinstock 47 Rohit Iyer 48 Jeremy Rech 49 Heather Crank 50 James Millington 51 Felippe Silveira 52 James McGuirk 53 James Ward 54 James Armstrong 55 Lizzie Lay 56 Kyle Martinez 57 Mike Brookes 58 Steve Kirby 59 Robert Lomas 60 Jon Massey 61 Samantha Jackson 62 Niall Mccormack 63 Margaret Elizabeth 64 Alex Stanlake 65 Leon Nikoosimaitak 66 Gabi Fang 67 Matt Wilson 68 Melvin Le Riboter 69 Daniel Lto 70 Ricardo Mendes 71 Ninalou Giachetti 72 Jason Jantzen 73 Jeri Bailer 74 Zih Rong-Lu 75 Tom Winnicki 76 Molly T 77 Al Boardman 78 Jez Pennington 79 Matt Gilligan 80 John Flores 81 Alex Neild 82 Drew Jackson 83 Silvia Carrus 84 Zach Christy 85 Will Adams 86 Kam Cheng 87 Becky Gilby 88 Oliver Sin 89 Kevin Snyder 90 Karl Dodds