LizzieMaine
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And the "Columbia Favorites," even though they were probably nobody's favorite.
...This practice is the reason movie credit titles usually listed copyright dates in Roman numerals -- the studios wanted to obscure the fact that not all the product they were releasing each year was up to date.....
....Poverty Row studios would reissue their stuff on the states-rights market ad infinitum to squeeze every possible dollar out of it.....
...The Breen Office often required recertification even if a film had already gotten a certificate on its original release.
@Edward, the wife and I went to see TLJ on Dec 23rd.
I agree with everything that you wrote about Luke; he's never had so much to say, nor an opinion of his own before. Isolation seems to have made him a regular chatterbox!
I also agree that the 3 'prequels' would give anyone the impression that Luke was severely mislead by Obi Wan and Yoda as to the exact nature of The Force (there's some parasite thing in your blood, what? No one told Luke that!).
I didn't notice the gender thing (perhaps because gender roles seem so 'forced' in the new films to me- possibly due to the old Family Guy criticism about the original films that Leia was 'the only woman in the galaxy' in the original trilogy), but I think that's true.
I couldn't help but watch Laura Dern's final sacrifice and think, 'Gee, given the dozens of fighter pilots that died attacking that Star Destroyer at the start, why haven't the rebellion been using this tactic all along?', since it's clear by the end of the film that staffing levels in the Rebellion are pretty low.
I have to admit that I liked Rogue One much more. I felt that it was more grown up and darker. It made those points about terrorism/freeedom fighters much better. After all (as the old joke goes), when everyone cheers when the Death Star gets blown up, no one thinks about the cleaning guy on minimum wage, or the ladies in the cafeteria who just got blown up with it. RO was a much more nuanced film IMHO.
States-rights was the way most Poverty Row/independent films were distributed in the Era. Rather than working thru a national network of film exchanges which they controlled, as the Big Studios did, or thru an operation like United Artists, as the major independent producers of the Era did, a states-rights producer would sell the rights to a film or a package of films on a territorial basis, usually state-by-state, to a regional exchange operator who would then book the film, usually into neighborhood-type independent theatres. Those rights would be valid for a certain period of time, but in practice a lot of these pictures were produced by fly-by-night companies that ended up abandoning the prints, leaving the local exchange operator to do with them as he pleased.
In the silent era a lot of quality films were distributed states-rights, but by the consolidation of studio power that came with the talkie age, most sound-era states rights films tended to be low-budget westerns, cheap melodramas, and various types of exploitation films. A disproportionate number of public-domain sound features were originally distributed on the states-rights market, and became the overwhelming majority of films shown on television before 1955. All those cut-up pieces of Grade Z westerns dropped randomly into episodes of "Captain Video" were 1930s states-rights pictures enduring one final indignity before vanishing into oblivion.
...And, I'd guess, a new fee for the Breen Office (I assume movies paid to have their movies certified)?
Indirectly, you could say that. The producers financed the MPPDA as sort of a "self regulatory" organization, and had to pay a thousand-dollar-a-yar membership fee for the privilege of submitting their films for certification, but it wasn't an individual-per-film fee.
Brother Breen wasn't so much in it for the money -- he was paid well, but not Louis B. Mayer well -- as he was for ideological reasons. He was closely connected to Catholic ecclesiastical authorites, whose connections in turn went directly to Rome. For as much as the crypto-Fascists of 1930s America complained that "the Jews control the movies," in fact, what Americans were allowed to see on screen during the Era was dictated by the Vatican.
Brother Breen wasn't so much in it for the money -- he was paid well, but not Louis B. Mayer well -- as he was for ideological reasons. He was closely connected to Catholic ecclesiastical authorites, whose connections in turn went directly to Rome. For as much as the crypto-Fascists of 1930s America complained that "the Jews control the movies," in fact, what Americans were allowed to see on screen during the Era was dictated by the Vatican.
The Tender Trap with Frank Sinatra, Debbie Reynolds and Celeste Holm.
Favorite part, of course, was when Frank was singing the song, "The Tender Trap" at the piano while Debbie Reynolds looked on. Man, he had a voice. Which is why they called him The Voice, I suppose.
The Tender Trap with Frank Sinatra, Debbie Reynolds and Celeste Holm.
Favorite part, of course, was when Frank was singing... Man, he had a voice. Which is why they called him The Voice, I suppose.