YTMN Presents a Remake Rematch Thread

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Thu Jan 26, 2012 3:44 am

dreiser wrote:
Pre-codes are sexier usually than other versions.
Not only that, they are not into a great deal of subtlety when it comes to being sexy. No outright nudity, but cleavage not entirely covered by soap foam. And a strong indication (not hint, indication) that Spade and Wonderly have spent the night together and made whoopie.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by Hank » Thu Jan 26, 2012 10:22 pm

I love making whoopie pies. They're delicious. I'd make whoopie every night if it wasn't so messy.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Fri Jan 27, 2012 2:33 am

Hank wrote:I love making whoopie pies. They're delicious. I'd make whoopie every night if it wasn't so messy.
My favorite was always Instant Whoopie. But, then, I don't like to take up a lot of time with cooking.

(I know that joke sounds like a sexual disorder plagued me when I was married, but that isn't true.)
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 6:47 am

A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)
Helen Benson and her Boy
Image

In the two eras represented by these two films the US has certainly changed. But whether the change has been all on film or not, is the question. As a kid I marveled at how so many of the mothers and fathers on TV and in films were divorced or widowed (mostly widowed back in the day, divorced as time went on). Yet I knew of only four divorced couples (three in my extended family), and one widowed mom during my secondary school years. In both 1951 and in 2008 Helen Benson of The Day the Earth Stood Still is a war widow. But in 1951 the mother is raising her own child by herself, whereas the 2008 mom is raising her stepson by herself. The 1951 son is named Bobby. The 2008 son is named Jacob. And the respective actors were Billy Gray and Jaden Smith.

It seems to me that the happy little nuclear family depicted in so many early television series and the films that ran alongside them was an aspirational target for real Americans. "Try to be like these people," was the unspoken message, if my suspicion is correct. The entire culture seemed to be more geared toward aspiration in those decades than our modern culture is. The modern screen family is supposed to represent the reality of life in modern America. But there is one thing that parallels the 1950s in the double-oughts: the woman's role in this film is aspirational...but toward self-expressive careers, not toward motherhood. "You can't rise above this, and ain't it awful, but if you're a woman you should aspire to something more important than being a parent." That's just the way it is for people today. The 2008 script makes a right call when it implies that Americans, perhaps all humans, have lost their way in later times. But the proposed corrective measure is certainly too Draconian. And that's the theme of the remake. The Bensons are prime movers in both stories, of course.

A major difference between the two films is reflected in a difference between the characters of Helen Benson and her son or stepson. The 1951 story is rather straightforward, while the 2008 story morphs into a convoluted web of story arcs. Consequently, as befitted working women of the time, the 1951 Helen Benson is a secretary at a government office in D.C. Naturally, since most women nowadays are Ph.D. University Professors, 2008 Helen Benson once again reflects the status quo of working mothers in this day and age, being just that: a Princeton Professor with an expertise in alien life forms.
Image
Oddly, the secretary in 1951 does just as good a job as her educated successor in saving the world. Nor is she a weaker woman than her 2008 counterpart. Not only does the professor's story become one of flight and fighting, the tale is complicated by her relationship with the boy.

Bobby is never directly threatened by Klaatu in 1951. In fact, the world is never directly threatened by that Klaatu. But Jacob is nearly eaten alive by the nanites that spawn from the GORT (Gargantuan Overdesigned Retro Thingie). Bobby doesn't threaten to run away, he just does it, and then goes back home. Jacob threatens to run away, and then gets separated from his stepmom when she is picked up by the military, but is shepherded back to her by the alien life form, Klaatu. Bobby '51 betrays Klaatu's identity to his mother, who tells Tom (her ill-matched main squeeze), who informs the Military in order to be some big hero. In 2008, Jacob, who is a spoiled brat has it in for Klaatu and directly lets the Authorities know where the alien is for apparent revenge.

Helen Benson, the secretary, is on the sidelines, as most ordinary people are when stories occur in the news. She is drawn into the story. Helen Benson the Princeton Professor is part of the story from the first mustering of vast government forces. The ordinariness of the people involved in the 1951 movie seems to me to trump the movers and shakers plodding their way through the gooey web of the 2008 movie. That's maybe just me.

The differences in the mother-son relationships in the two films are the result of different perceptions about what that relationship is, and should be, during two periods 57 years apart in American history. There have been massive changes in real life, but even more massive changes in how families are depicted for our entertainment. Families were possibly more like Helen and Bobby Benson than they were like the Cleavers in "Leave it to Beaver," but no one screen family represented the panoply of realities that were 1950s American Families. In the same way, the Helen and Jacob Benson of 2008 are no closer to reality on the ground. This doesn't keep them from being a central point of interest in the 2008 story.
Image
I guess the sweet, bright kid of 1951 wouldn't have played with modern audiences who are used to self-centered bratty types in movies. And the struggling mother of 1951 (who is flirting with marrying a less-than-acceptable man just in order to have a stepfather for her child) wouldn't be as interesting to the audiences of the 21st century as a mother whose professional life is exemplary, and who has trouble connecting with her somewhat neglected step-offspring (but needs no man to help her raise the boy). That's more interesting in a dramatic sense. Straightforward and ordinary is so boring that you can't have it in movies in this century. When is the last time you've seen a modern film with a kid living with his/her own parent(s), who are competent and not necessarily major players in their field, who really care for the children...that is not set in past times?



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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 7:03 pm

I have quotes from four of the current Rematches prepared, and I'm ready to post them. Planet of the Apes, The Day the Earth Stood Still, The Picture of Dorian Gray, and Nosferatu are done.

The Maltese Falcon will take a little longer. There are three films, of course, but there are some parallel quotes that I'd like to copy down if no one has posted them online for me to copy, paste and format.

And there's one I'd like to go fetch from the end of the 1968 Planet of the Apes, but I might not get that one put in today. Also, I may pull some quotes on my own from the two versions of Nosferatu. I literally frame-grabbed every intertitle from the Murnau, but I failed to memorize every bit of dialogue from Herzog's two versions! So, come back and look once in a while to see if I've added anything new.

So, here goes. I wonder which one I'll select first. Probably Nosferatu, because it's the shortest.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 7:05 pm

A Comparison of Nosferatu (1922) & Nosferatu (1979)

Image A memorable quote or two from the 1922 version of Nosferatu

Ellen Hutter, seine Frau: (to Hutter) Why did you kill all of those flowers?


Prof. Bulwer: (as Hutter is on his way to Knock's real estate office) Wait, young man. You cannot escape destiny by running away!

Knock, ein häusermakler: It will cost you sweat and tears, and perhaps... a little blood.


Graf Orlok: Is this your wife? What a lovely throat.


Image A memorable quote or two from the 1979 version of Nosferatu

Warden: The patient that came in yesterday is having a fit.
Van Helsing: Which one?
Warden: The one that bit the cow.



Count Dracula: (Hearing howling) Listen...
(More howling)
Count Dracula: Listen. The children of the night make their music.



Count Dracula: Time is an abyss... profound as a thousand nights... Centuries come and go... To be unable to grow old is terrible... Death is not the worst... Can you imagine enduring centuries, experiencing each day the same futilities...

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Gort/YTMN left the forum due to trolling on August 25, 2018.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 7:07 pm

A Comparison of The Picture of Dorian Gray (1945) & Dorian Gray (2009)

Image A memorable quote or two from the 1945 film of The Picture of Dorian Gray

Lord Henry Wotton: I apologize for the intelligence of my remarks, Sir Thomas, I'd forgotten that you were a member of Parliament.

Dorian Gray: If only it was the picture who was to grow old, and I remain young. There's nothing in the world I wouldn't give for that. Yes, I would give even my soul for it.

Lord Henry Wotton: There's only one way to get rid of temptation, and that's to yield to it.

Lord Henry Wotton: What is it that has really happened? Someone has killed herself who loved you. I wish I had had such an experience. The women who have admired me, and there have been some, have always insisted on living long after I've ceased to care for them or them for me.

Basil Hallward: (having seen Dorian's corrupted portrait) But this is monstrous. It's beyond nature, beyond reason. What does it mean?
Dorian Gray: On the day you finished this painting, I made a wish. Perhaps you would call it a prayer. My wish was granted.
Basil Hallward: But you told me you had destroyed my painting.
Dorian Gray: I was wrong. It has destroyed me.
Basil Hallward: It has the eyes of the Devil!
Dorian Gray: Each of us has heaven and hell in him.
Basil Hallward: If this is true... if this is what you've done with your life, it is far worse than anything that's being said of you. Do you know how to pray, Dorian?


Sir Thomas: You must admit that women give men the very gold of their lives.
Lord Henry Wotton: But they invariably want it back in such small change. Women, as a witty Frenchman put it, inspire us with the desire to do masterpieces and always prevent us from carrying them out.


Image A memorable quote or two from the 2009 film of Dorian Gray

Dorian Gray: (trying to decline women and drink at a brothel) Well, perhaps I have a stronger conscience.
Lord Henry Wotton: (dismissively) 'Conscience.' It's just a polite word for 'cowardice.' No civilized man regrets a pleasure.


Dorian Gray: (On a girl he saw, who just departed with a man) That was probably her husband.
Lord Henry Wotton: Yes, very sensible... People die of common sense, Dorian, one lost moment at a time. Life is a moment. There is no hereafter. So make it burn always with the hardest flame.


Basil Hallward: Don't believe what Henry says. He doesn't.

Emily Wotton: I hope I'm not interrupting your reminiscence?
Lord Henry Wotton: One charm of the past, is that it's the past.
Emily Wotton: Hmm... I hope you're not also a dreary old cynic?
Dorian Gray: What is there to believe in?
Emily Wotton: Our developments.
Dorian Gray: All I see is decay.
Emily Wotton: For the religion.
Dorian Gray: Fashionable substitute for belief.
Emily Wotton: Art.
Dorian Gray: Formality.
Emily Wotton: Love.
Dorian Gray: An Illusion.
Lord Henry Wotton: Bravo!
Emily Wotton: Wow... you both cut the world to pieces, don't you? Thank you for the cigarette!
Dorian Gray: Unusual woman.
Lord Henry Wotton: She ought to be... she's my daughter.


(last lines)
Lord Henry Wotton: Poor boy. Who can bear to look at you now?


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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 7:09 pm

A Comparison of Planet of the Apes (1968) and Planet of the Apes (2001)

Image A memorable quote or two from the 1968 version of Planet of the Apes

George Taylor: If this is the best they've got around here, in six months we'll be running this planet.

Cornelius: (reading from the sacred scrolls of the apes) Beware the beast Man, for he is the Devil's spawn. Alone among God's primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him; drive him back into his jungle lair, for he is the harbinger of death.

George Taylor: A planet where apes evolved from men? There's got to be an answer.
Dr. Zaius: Don't look for it, Taylor. You may not like what you find.


George Taylor: Doctor, I'd like to kiss you goodbye.
Dr. Zira: All right, but you're so damned ugly.


Dr. Zira: What will he find out there, doctor?
Dr. Zaius: His destiny.


(the first words ever spoken by a human to the apes)
George Taylor: Take your stinking paws off me, you damned dirty ape!


Image A memorable quote or two from the 2001 version of Planet of the Apes

Attar: (to Captain Leo Davidson, who is on the ground) Get your stinking hands off me, you damn dirty human!

Captain Leo Davidson: Our apes couldn't talk.
Ari: Maybe they chose not to... given the way you treated them.


Limbo: The young ones make great pets. Just make sure you get rid of them before they mature. Believe me, the last thing you want is a human teenager running around your house.

Senator Nado: (to Ari about humans) Next you'll be telling us that these beasts have a soul.

General Thade: (Prying open Leo's mouth) Is there a soul in there?

Birn:
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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 7:11 pm

A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)

Image A memorable quote or two from the 1951 version of
The Day the Earth Stood Still


Reporter: I suppose you are just as scared as the rest of us.
Klaatu: In a different way, perhaps. I am fearful when I see people substituting fear for reason.
(The Reporter quickly moves to another person in the crowd.)


Helen: Now, you didn't really see a spaceship, but you thought you did.
Bobby Benson: I'd never call you a liar.


Helen: What about the rest of the world?
Tom: I don't care about the rest of the world!
(Seeing her shocked expression)
Tom: You'll feel different when you read about me in the papers.
Helen: I feel different now.


(Klaatu is revived by Gort after being fatally shot)
Helen: I - I thought you were...
Klaatu: I was.
Helen: You mean... he has the power of life and death?
Klaatu: No. That power is reserved to the Almighty Spirit. This technique, in some cases, can restore life for a limited period.
Helen: But... how long?
Klaatu: You mean how long will I live? That no one can tell.


(last lines)
Klaatu: I am leaving soon, and you will forgive me if I speak bluntly. The universe grows smaller every day, and the threat of aggression by any group, anywhere, can no longer be tolerated. There must be security for all, or no one is secure. Now, this does not mean giving up any freedom, except the freedom to act irresponsibly. Your ancestors knew this when they made laws to govern themselves and hired policemen to enforce them. We, of the other planets, have long accepted this principle. We have an organization for the mutual protection of all planets and for the complete elimination of aggression. The test of any such higher authority is, of course, the police force that supports it. For our policemen, we created a race of robots. Their function is to patrol the planets in spaceships like this one and preserve the peace. In matters of aggression, we have given them absolute power over us. This power cannot be revoked. At the first sign of violence, they act automatically against the aggressor. The penalty for provoking their action is too terrible to risk. The result is, we live in peace, without arms or armies, secure in the knowledge that we are free from aggression and war. Free to pursue more... profitable enterprises. Now, we do not pretend to have achieved perfection, but we do have a system, and it works. I came here to give you these facts. It is no concern of ours how you run your own planet, but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple: join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you.

Image A memorable quote or two from the 2008 version of
The Day the Earth Stood Still


There are good lines in this movie. The trouble is that they get lost in the attempt of the producers to be "impressive."

Regina Jackson: What is your purpose in coming here?
Klaatu: There is a gathering of world leaders not far from here; I will explain my purpose to them.
Regina Jackson: I'm afraid that's not possible. Perhaps you should explain yourself to me instead.
Klaatu: Do you speak for the entire human race?
Regina Jackson: I speak for the President of the United States. Now, please; tell me why have you come to our planet?
Klaatu: Your planet.
Regina Jackson: Yes; this is our planet.
Klaatu: No, it is not.


John Driscoll: So is it a machine or a living thing?
Flash Chamber Colonel: Both. Or neither.
John Driscoll: What do you mean 'neither'?
Flash Chamber Colonel: It seems to be some sort of silicone-based hybrid. We're calling it GORT: Genetically-Organized Robotic Technology.
John Driscoll: The military and their acronyms...


Klaatu: There are some things I can't do.
Jacob Benson: But you have powers.
Klaatu: I'm sorry.
Jacob Benson: Please. Please!
Klaatu: Jacob, nothing ever truly dies. The universe wastes nothing. Everything is simply... transformed.
Jacob Benson: Just leave me alone.


Regina Jackson: History has lessons to teach us about first encounters between civilizations. As a rule the less advanced civilization is either exterminated or enslaved. I'm thinking of Pizarro and the Incans, Columbus and the Native Americans, and the list goes on. Unfortunately in this case, the less advanced civilization is us.
Michael Granier: This is the representative of an extra-terrestrial civilization. This is the most important discovery in the history of Mankind!
Regina Jackson: It may well be the last discovery in the history of Mankind.


Jacob Benson: I told Helen we should kill you.
Klaatu: Yes, I heard that.
Jacob Benson: I didn't mean it though.
Klaatu: You didn't?
Jacob Benson: Well, not anymore. So what's going to happen to us?
Klaatu: I was just wondering the same thing.


Helen Benson: National security? Well that just means whatever you want it to mean.
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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Jan 28, 2012 10:38 pm

A Comparison of The Maltese Falcon (1931), Satan Met a Lady (1936) & The Maltese Falcon (1941)

Image A memorable quote or two from the 1931 version of The Maltese Falcon

Ruth Wonderly: Mr. Spade, I have a terrible confession to make. That story I told you yesterday, wasn't true.
Sam Spade: We didn't believe you. But we believed your 200 dollars. You know, darling, for that amount of money I'd let you tell me a lie every day.

Image
Ruth Wonderly: I know I haven't any right to ask you to help me blindly. But I do ask it. Oh, be generous, Mr. Spade.
Sam Spade: You won't need much of anybody's help. You're pretty good. As a matter of fact, you're very good. It's chiefly your eyes, I think, and the throb that you get in your voice when you say, "Oh, be generous, Mr. Spade."


Ruth Wonderly: You won't go to the police will you?
Sam Spade: Go to them? Why, all I have to do is stand still and they'll be swarming all over me like a bunch of bees.


Image A memorable quote or two from the 1936 film Satan Met a Lady

Ted Shane: That story you told us yesterday wasn't quite true.
Valerie Purvis: Then you didn't believe it?
Ted Shane: You gave us more money than you would have if it had been true. But enough to make it all right.
Valerie Purvis: Mr. Shane, I...
Ted Shane: Now tell us, without any phonus bolognus, why you wanted Farrow shadowed.


Anthony Travers: Then you have the trumpet?
Ted Shayne: No.
Anthony Travers: But you know where it is?
Ted Shayne: Nope.
Anthony Travers: What? You've just inveigled me into telling you what it is. I say that's a pretty rotten trick, old boy. That's not cricket!


Train Employee: (Stepping down from train car.) Hey, man! Let me have them bracelets. And give me my $10,000.
(Valerie Purvis follows woman off train car.)
Valerie Purvis: You'll miss that reward, won't you, Shane?
Ted Shane: Now, I'll miss the $10,000 all right, but I'll miss you, too, honey.
Valerie Purvis: I thought you cared about me.
Ted Shane: I do, Valerie. But I won't play the sap for you. You gave the works to the Englishman, the Spaniard, Farrow and Ames. The last three fell for you and they're dead. I'm crazy about you, sweetheart, but I just won't be the fourth guy to die for you.


Image A memorable quote or two from the 1941 version of The Maltese Falcon

Spade: We didn't exactly believe your story, Miss O'Shaughnessy. We believed your 200 dollars. I mean, you paid us more than if you had been telling us the truth, and enough more to make it all right.

Brigid O'Shaughnessy: Help me.
Sam Spade: You won't need much of anybody's help. You're good. Chiefly your eyes, I think, and that throb you get in your voice when you say things like 'Be generous, Mr. Spade.'
Brigid O'Shaughnessy: I deserve that. But the lie was in the way I said it, not at all in what I said. It's my own fault if you can't believe me now.
Sam Spade: Ah, now you are dangerous.

Image
Bryan: Who killed Thursby?
Sam Spade: I don't know.
Bryan: Perhaps you don't, but you could make an excellent guess.
Sam Spade: My guess might be excellent or it might be crummy, but Mrs. Spade didn't raise any children dippy enough to make guesses in front of a district attorney, and an assistant district attorney and a stenographer.
Bryan: Why shouldn't you, if you have nothing to conceal?
Sam Spade: Everybody has something to conceal.
Bryan: I'm a sworn officer of the law, 24 hours a day, and neither formality nor informality justifies you withholding evidence of crime from me. Except, of course, on constitutional grounds.
Sam Spade: (ranting) Now, both you and the police have as much as accused me of being mixed up in the other night's murders. Well, I've had trouble with both of you before. And as far as I can see my best chance of clearing myself of the trouble you're trying to make for me, is by bringing in the murderers all tied up. And the only chance I've got of catching them, and tying them up, and bringing them in, is by staying as far away as possible from you and the police, because you'd only gum up the works.
(turns to stenographer)
Sam Spade: You getting this all right, son, or am I goin' too fast for ya?
Stenographer: No, sir, I'm getting it all right.
Sam Spade: Good work.


Sam Spade: (after disarming Wilmer) This'll put you in solid with your boss.
(they enter Gutman's hotel suite)
Sam Spade: Here. (hands Gutman Wilmer's guns) You shouldn't let him go around with these on him, he might get himself hurt.
Kasper Gutman: Well, well, what's this?
Sam Spade: A crippled newsie took 'em away from him. I made him give 'em back.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by JediMoonShyne » Sun Jan 29, 2012 8:18 am

I want to be called O'Shaughnessy.
“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Feb 06, 2012 2:28 am

JediMoonShyne wrote:I want to be called O'Shaughnessy.
JediO'Shaughnessy.

Has a ring to it.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Feb 06, 2012 2:28 am

A Comparison of The Picture of Dorian Gray (1945) and Dorian Gray (2009)
A Dramatic Symbol
Image

In the 1945 film of Oscar Wilde's novel, an Egyptian figurine of a cat serves as the medium for the transfer of Dorian Gray's soul from his living body to the pigments of a life-size painting of the boy, completed by artist Basil Hallward. There is no such symbol in the novel. In fact, there is no indication that any swapping takes place at the moment.

The Deal is made in 1898
The title character mouths the famous wish in chapter 2 of the novel:
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but nothing else beyond this heretofore uncharacteristic wish for a trade is said by the boy, or the author. Thus, the fact of Dorian's eternal youth dawns only slowly on the reader. The basis for it becomes known even more slowly.

The Deal is Made in 1945
Probably everyone who sees an adaptation of Dorian Gray's story these days knows about the portrait in advance. Still, in cinema there must be some visual and perhaps auditory indication that something is happening. The cat figurine is actually used as an in-painting prop by Basil Hallward, so whenever we see the portrait we are reminded of the cat, thus of the boy's wish. In the '45 movie the wish scene plays out more or less like this: Dorian says aloud that he wishes he could retain his youth, (after Lord Henry suggests it). Immediately he receives a rare caution from Henry:
Lord Wotton: You oughtn't to express such a wish in the presence of that cat, Dorian.
It's one of the 73 great gods of Egypt, and is quite capable of granting your wish.
Henry suggests that Basil send along the Egyptian cat when he sends the portrait to Dorian. "I don't think the god and the picture should be separated." Basil agrees to send it. Dorian says, "If only the picture could change, and I could be always what I am now. For that I would give everything. Yes, there's nothing in the whole world I would not give. I would give my soul for that." Then as the music swells, the camera dollies toward the painting, reframing it in a tighter shot. The screen fades to black. There is no certain indication that anything has happened, but the cat has been used to dramatically suggest that Dorian will get his wish.

How the Cat Functions in the Early Scenes of The Portrait of Dorian Gray
Before Lord Wotton meets the boy, he and Basil go outside for a chat on the veranda, while Basil works on a sketch of the cat figurine...
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The next series of stills roughly represents the visual flow of the curse scene in the 1945 film. The last three stills represent a dolly push to the portrait after Dorian says his fateful phrase.
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The Cat in other Scenes
At one time during my filmmaking and film-watching careers, I'd have hated the idea of a physical symbol to represent the curse that shifts Dorian Gray's soul from his body into his portrait. Not anymore. In fact, I think it's one aspect that functions really well in the 1945 version of the story. Furthermore, Albert Lewin never verbally points out the cat except during the scene when it makes its first appearance, and the scene where Sibyl Vane visits Dorian's home. Its later on-screen presence is plain, but reduced; rarely a close-up. Yet, you are reminded that Dorian is not normal anymore. Whenever a scene takes place in the library off the entry hall, the cat is kept in the frame most of the time, if only at the periphery.

In the scene with Sibyl at Dorian's estate, while Dorian stands next to the tale with the figurine, he reads a poem by Oscar Wilde about a cat. Obviously, this is not in the novel. As the second triad of stills show, the cat is often in the shot, but these stills draw much more attention to the figurine than the motion images do.
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Eventually, Dorian secrets the painting away in his old school room at the top of the house, lest a servant or friend inadvertently discover his terrible secret. We might recall Lord Wotton's suggestion that the cat and painting not be separated. Once they are, Dorian's evil grows even deeper.

The Deal is Made in 2009
There is nothing similar to the cat figurine in the 2009 remake. Dorian simply expresses his wish. Wotton says, "Dorian wouldn't really barter his soul. Would you Dorian?" The boy doesn't answer, so Wotton repeats his question, "Would you?" Dorian answers at last. A swish sound effect is heard as the camera shot rolls focus from a close shot of Dorian's lips as he says, "Yes," to the painting in the near background. True, the 2009 film panders to the devil's deal no more than the novel does, but there is nothing other than the subsequent scenes of Dorian's debauchery to remind the viewer of the deal.
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I suppose the lack of explicit evil (other than Basil's murder) in the Lewin film requires the use of a dramatic icon to stand for the bargain, whereas the 2009 style of storytelling doesn't. In the essay on "Propriety vs. Explicit Revelation," I'll write more about that.


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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Feb 06, 2012 2:37 am

Man, that previous essay post took me from 2:45 pm local time until just a few minutes ago to get ready.

I hope you like the photo essay segments. :D

Today is the First Anniversary of starting this thread. Not done, as I had expected to be, either! The Eighty-eight Takes thread started after mine, and finished before it!
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"The wealthy and powerful always remind us that cream rises to the top.
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If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 11, 2012 7:42 pm

A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)

Image The Producers

Julian Blaustein says in the background documentary that appears on the 2003 DVD release of the classic 1951 film, that he wanted to make a film to say, "Peace is a five-letter word, and not a dirty word." He despaired of finding any script that would carry the idea without becoming a tract. But he thought of science fiction. The Fox story department eventually found a short story by Harry Bates. "Farewell to the Master." Blaustein didn't like a lot about the story, but what he did like got his mental gears churning. He took a lot of elements from the story and created something totally new, according to Joe Dante. Blaustein and Edmund North developed the first draft of the script. His other credits include Broken Arrow (1950), The Outcasts of Poker Flat (1952), Bell Book and Candle (1958), and Khartoum (1966).

The 2008 film has four credited producers: Paul Harris Boardman, producer; Gregory Goodman, producer; Erwin Stoff, producer; Marvin Towns Jr., line producer: second unit, Detroit. Just as with the director, Scott Derrickson, most of the producer team's background is in horror films. Boardman has the scantest resumé, with only one title prior to The Day the Earth Stood Still. Stoff had prior production experience on 22 titles including The Matrix, A Scanner Darkly, and I Am Legend.


A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)

Image Distribution

The film industry was still mostly studio-based in 1950 when production of The Day the Earth Stood Still began. Twentieth Century Fox Film Corporation was the sole production company involved. Original distribution was through Twentieth Century Fox Film Corporation worldwide, except in Germany where their subsidiary, Centfox handled distribution.

Five production companies shared the expense of the 2008 film. Distribution most places was through 20th Century Fox, or subsidiaries. It looks as if other companies controlled distribution in some Scandanavian and South American countries.


Image Release Dates

The original film was released on 18 September 1951, in New York City. Worldwide release dates range from 28 Feb 1952 through 14 May 1953. Again, wide release was not practiced back then, so the film was in release in the US for months to years, initially.

The 2008 film's release took place for the most part between 10 Dec 2008 and 12 Dec 2008. But five countries waited as late as 16 Jan 2009 to see the movie.
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"The wealthy and powerful always remind us that cream rises to the top.
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If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Thu Feb 23, 2012 6:27 pm

A Comparison of The Maltese Falcon (1931), Satan Met a Lady (1936) & The Maltese Falcon (1941)

Image The Producers

The original 1931 screen adaptation of The Maltese Falcon was produced by someone, no doubt, but that person is not credited on the film. IMDb lists not even one name in that capacity. So I had to dig a bit deeper with search engines. Still, not even the illustrious TCM website shows any name associated with production. So, I struck out.

Sata Met a Lady looked like it was going to strike out, but when I resorted to Goggle instead of IMDb, I found a website that has a listing of crew members, including "Henry Blanke" as the producer. Look at that name. Doesn't look entirely plausible, does it? Well, it is a real name, a German name, so you say the 'e' at the end as if it were a short 'a'. He produced 94 titles, according to IMDb. But if you look at that list, you will find that he is "Associate producer" on the 1941 film of the Hammett novel, but because he was uncredited on Satan Met a Lady, he doesn't show up.

Which brings us to the Huston film. Henry Blanke and Hal B. Wallis are credited as associate producers on this film. Remember that Blanke had produced dozens of films by 1941, including at least one Oscar winner, and other rather popular movies. Huston hadn't yet directed The Treasure of the Sierra Madre on which Blanke would receive full producer credit. So, it was a gamble for Blanke to be associated with this young, untested director. Hal B. Wallis, on the other hand, had produced hundreds of titles by 1941. It seems reasonable to imagine that Wallis had some say in who would direct the 1941 remake of The Maltese Falcon, although I can't find any corroboration of the idea. Wallis has many important films in his filmography, but you've probably heard of this one. Interestingly, he and Blanke had worked together previously on a number of titles for Warner Brothers.

A Comparison of The Maltese Falcon (1931), Satan Met a Lady (1936) & The Maltese Falcon (1941)

Image Distribution

Obviously, the production/distribution company for all three versions is Warner Brothers Pictures.
Image

A Comparison of The Maltese Falcon (1931), Satan Met a Lady (1936) & The Maltese Falcon (1941)

Image Release Dates

The 1931 version: this film has two USA release dates, 28 May 1931 (New York City, New York), and 13 June 1931, which was the general release date. Remember that the film would not have been released with hundreds of prints all across the US on that date, but the prints would have kept circulating as long as Warner Brothers could get BIS response in smaller and smaller markets.

The 1936 film: USA on 22 July 1936.

The 1941 remake: 3 October 1941 (New York City, New York) (premiere), and 18 October 1941 for general USA release. In addition, IMDb lists release dates for overseas exhibition up to 1951 for post-war Japan. There are also TV and video release dates in that list.
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If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 25, 2012 1:55 am

A Comparison of Nosferatu (1922) and Nosferatu (1979)
Swift vs. Ponderous
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Breakneck Editing for horror
Murnau's film whips by in a series of cuts sometimes so brief that I couldn't press shift-S fast enough to grab a still of what I wanted. Meanwhile, Herzog's pacing is often so leisurely that you wonder if he's telling the same story. In part, Herzog has the additional availability of color with which to set mood, and sound with which to communicate his story. Part of the breakneck pace of the Murnau may have come from subsequent editors, rather than the uncredited original editor of the 1922 version. But it may have been the original speed with which Murnau wanted the story to unfold.
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Fast as Eerie?
Murnau's Orlok sometimes moves swiftly. Herzog's vampire seems to have all the time in the world. It is with slow, certain menace that Herzog's Dracula backs Harker across the floor from the dinner table to an area with chairs. Murnau's equivalent scene is played with a quicker pace. One difference that I have pondered is whether there was a change in the way audiences perceived a slow pace to be more intense over time. One commentary I have listened to, explains that Murnau used undercranked footage to impart what he saw as "eerie speed" to the character of the vampire (according to a British Channel 4 documentary by Christopher Frayling that I watched). Oddly, the same effect in the Keystone Kops films was thought to be funny, at least by American audiences, and in the same historical time frame. Later, made with sound, the 1931 American Dracula movie used a ponderous velocity to its spooky advantage.
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Comparing the Beginning to the Center of the Trend
I have to admit that Orlok's fleet carriage doesn't move in a way that comes across as comedic. And Herzog's pace is sometimes so slow that he seems to be padding the shots (not his intention). Between the Murnau and Herzog versions of this tale, 57 years drifted past, each with innovations in editing and style. The horror genre found its own firm footing and developed traditions. Murnau was at the beginning of that continuum, struggling to develop horror tropes that were ingrained by the time Herzog rolled film on his vampire story.


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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 25, 2012 5:16 pm

Although I had a hankering to spread the work around to some of the other Rematches this weekend, I awoke this morning with a strong desire to complete and post another Nosferatu essay. So, here it is:
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 25, 2012 5:16 pm

A Comparison of Nosferatu (1922) and Nosferatu (1979)
Another Costume Drama
Image

An Interesting Parallel
Nosferatu (either version) is set in the period before either film was made. This creates a costume drama. As I set out to write this essay I realized that, of all the titles chosen so far for Remake Rematches, only The Maltese Falcon features primarily contemporary attire without the need for unusual costumes. The Day the Earth Stood Still, Romeo and Juliet, Lord of the Flies, The Time Machine, Planet of the Apes, the Dorian Gray films, and the 1922 and 1979 versions of Nosferatu require extraordinary dress for some or all of their characters. For some reason that seems like an interesting parallel. I doubt that costume dramas are more likely to be remade. Instead, it is probably the less frequent situation when a film doesn't require any unusual costumes for any character.

Four of the 17 films are made recently enough to have CGI available for use to create non-human characters. All four of those are period films, or require alien costumes, medical costumes, or other unusual styles of character attire.
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How Authentic are the Costumes?
The Nosferatu story in Murnau's film is set in 1838 in Wisborg, Germany during what the fictional locals believed to be an outbreak of bubonic plague. It is, in fact, an outbreak of having a vampire for a neighbor. You would be just as frustrated in locating Wisborg, Germany as you would be in trying to find a vampire. So, the costumes may be equally fanciful. When I Googled "costumes nosferatu" to see if I could learn something about the authenticity of the attire, I soon realized the error in my thinking. Albin Grau was responsible for the "look" of the 1922 Murnau film. I found "Nosferatu, a Film Archeology," a while back, so I turned to it for information abuot Grau's choice of costumes. Nothing. This looked interesting, but you have to pay. Which I wasn't about to do. From Wikipedia I learned that the film is set during the the Biedermeier era. That, obviously, controlled the choice of decor and costumes, probably for both versions of the film. The Wiki article features a group painting and a portrait showing dress of the time. The costuming in the films closely resembles this style.

I can only surmise that the costuming is period "correct," certainly to the degree that a modern eye could discern. When watching either movie, it is easy to get a sense that the vehicles, architecture and costumes are authentic enough; they evoke the sense of being in the early 1800s. There is a coherence to the 1922 costuming that isn't always represented in the German Impressionist films that I have seen (admittedly, a small percentage of those available). The Cabinet of Dr. Caligari doesn't seem to strive to have everyone costumed authentically, but the sets are painted and stagey which means that a dream-like, unrealistic quality is sought by the designers.

Murnau shot much on location for Nosferatu, as did Herzog in 1979. The building that Grau selected to be Orlok's Wisborg house still existed in 1979 when Herzog shot his film. It is apparently less difficult to find representative locations for 1838 in Europe than it would be in the USA. Clearly, as much effort went into costuming as was put into set selection.

The Count Doesn't Really Look Like That
But the main "costume" of interest is that of Count Orlok/Dracula in these films. Murnau set out to make Orlok the thing from your nightmares. And, with Albin Grau's help, he succeeded! When re-creating the film and using the same title, Herzog had little choice but to simulate Max Shreck's original appearance for his star, Klaus Kinski. Someone named Tristan Harris wrote on his blog entry about Nosferatu's ground-breaking use of costuming:
Tristan Harris, in his blog, wrote:The physical appearance of actor Max Shreck, who plays the vampire, is disturbing. The costume designers altered his nose to make it extra long and bent. His fingers are long claws. He has pointier ears. Bulging eyes (when used in longshots of the vampire). A warped ratlike mouth and teeth. And he’s a thin, stodgy creature whose shoulders placement don’t match a normal human body.

These tweaked facial features remind me of Stephen Jay Gould’s study of how Walt Disney evolved the character of Mickey Mouse to gradually look more cute over time by making the face rounder, with bigger cheeks, bigger eyes, smaller foreheads, and big ears to gradually match the way we evolutionarily perceive animals with these characteristics as “cute.” Mernau is almost using the opposite effect to make us detest Count Orlok’s appearance.
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Whereas a film made nine years later would set the look of vampires as suave, rakish Eastern European men, Murnau's aim was to make you hate the Count. He used much the same visual distractions as those used to characterize the Judaeo-Christian character of Satan as a hideous, spike-tailed, behorned red creature.

Gisela Storch, the costumer for Herzog's remake, and the Dominique Colladant-led makeup department followed Albin Grau's design for the vamipre rather closely. I like their long nails for Count Dracula. They look both real and unreal...as if someone had grown out his nails for years, but they are unnaturally claw-like. The pointy incisors that Grau invented for Orlok are replicated for Kinski's Dracula, though broadened to appear more "realistic." The Count character in both films is carefully costumed and made-up to not be someone you might inadvertently invite to your soireé. He'd be someone that you would not only counsel your children to avoid, but someone who might spur you to cross the street if you saw him coming toward you. When acting style is added to costuming, both Count Orlok and Count Dracula come across as ultimately creepy guys.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 25, 2012 7:18 pm

A Comparison of Planet of the Apes (1968) and Planet of the Apes (2001)
The Music of the Ape Spheres
Image

Jerry Goldsmith's brilliant atonal score for the 1968 film made me wet my pants when I first heard it in 1968. I thought it was the best film score I had ever heard. That was primarily because I was 16 years old and open to any new idea. It was also because the score fit so well with the photography and the setting. I immediately fell in love with all Jerry Goldsmith music. To this day he is still one of my favorite composers of film music. Right up there in esteem with Ennio Morricone and Danny Elfman in my book.

The opening title music from the 2001 soundtrack composed by Danny Elfman emulates "Mars: Bringer of War" from Holst's The Planets. It is not an exact copy, or even a tonal copy. Instead, it it evokes the feeling and some of the rhythms of that piece, while remaining an independent composition. I know that there is a similarity, because when the Elfman music begins to cycle through memory, it segues effortlessly into the latter section of "Mars". The incidental music from the film is not all that gripping.

Over the years the shine has worn off the 1968 score. I believe it was brilliant for the time, very different in texture. It still fits with the visuals, providing a sort of dusty-throat feel to the proceedings. Not once, as far as I can recall, does Goldsmith go for the tootling clarinet that all too often was used in the 1960s for the comic aspects of chimps and monkeys. The apes in this film are never funny.

Elfman's 2001 score is worth putting in the CD player or the mp3 player to hear. It makes decent background music. It functions well in the film, but it isn't like the score from Naqoyqatsi, for example, that can stand on its own without pictures (which is a good thing, in the case of that film). It actually benefits from the presence of imagery and sound effects vying for attention with its musical textures, just as it benefits the film by being there. But sometimes, it becomes a bit too grandiose. I think that's unusual for Elfman. He usually keeps his proportions correct. Something must have been suggested by Tim Burton. Something along the lines of, "Make it bigger!"

Even with the negative thoughts, I still very much like both soundtracks. They serve their respective films well. And soundtracks are not often composed to stand alone. If one is able to, now and again, that's just a bonus, isn't it?

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If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Feb 25, 2012 9:06 pm

Oddly, when I checked the posted version of the NOS Costumes essay, it turned out to be the wrong one. Not sure how that happened. I must not have copied the entire revised essay...but...not sure how that could have happened. :D

'Tis fixed, now.
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If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by JediMoonShyne » Sat Feb 25, 2012 9:43 pm

I, for one, have decided to stop reading your thread as a result of said bungle.
“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sun Feb 26, 2012 12:01 am

JediMoonShyne wrote:I, for one, have decided to stop reading your thread as a result of said bungle.
Well, I certainly understand that, you being a fastidious man and all. :D
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by dreiser » Sun Feb 26, 2012 1:43 am

I think Hal B. Wallis died the wealthiest producer in Hollywood at the time of his death. Quite the film resume, that guy.
"I hate the dark, the sharks liars. And the stems of cherry..."

Like Someone in Love (Kiarostami, 2012) 4/10
Killing Them Softly (Dominik, 2012) 2/10
The Wonderful World of the Brothers Grimm (Pal/Levin, 1962) 6/10
The Dark Past (Mate', 1948) 7/10
New Rose Hotel (Ferrara, 1998) 3/10
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Re: YTMN Presents a Remake Rematch Thread

Post by Shieldmaiden » Sun Feb 26, 2012 1:50 am

YouTookMyName wrote:Oddly, when I checked the posted version of the NOS Costumes essay, it turned out to be the wrong one. Not sure how that happened. I must not have copied the entire revised essay...but...not sure how that could have happened. :D

'Tis fixed, now.
I read it again. It's better. :)
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sun Feb 26, 2012 9:02 pm

dreiser wrote:I think Hal B. Wallis died the wealthiest producer in Hollywood at the time of his death. Quite the film resume, that guy.
Yeah, it wouldn't surprise me. IMDb lists 371 producer credits for him, and you know they always miss a few.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sun Feb 26, 2012 9:02 pm

Shieldmaiden wrote:I read it again. It's better. :)
Thank you.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by Gort » Sun Feb 26, 2012 9:10 pm

YouTookMyName wrote: Thank you.
Don't get all high and mighty. I just read it and found tense errors and other grammatical atrocities. :roll:
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by dreiser » Sun Feb 26, 2012 11:25 pm

YouTookMyName wrote:IMDb lists 371 producer credits for him...
Wow.
"I hate the dark, the sharks liars. And the stems of cherry..."

Like Someone in Love (Kiarostami, 2012) 4/10
Killing Them Softly (Dominik, 2012) 2/10
The Wonderful World of the Brothers Grimm (Pal/Levin, 1962) 6/10
The Dark Past (Mate', 1948) 7/10
New Rose Hotel (Ferrara, 1998) 3/10
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Re: YTMN Presents a Remake Rematch Thread

Post by Hank » Mon Feb 27, 2012 1:16 pm

I particularly enjoyed reading your Another Costume Drama post this morning.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Feb 27, 2012 2:03 pm

Hank wrote:I particularly enjoyed reading your Another Costume Drama post this morning.
Thank you, sir.

I guess you wouldn't have been folding clothes at the time. ;)
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Feb 27, 2012 11:39 pm

A Comparison of Planet of the Apes (1968) and Planet of the Apes (2001)

Image The Directors of Photography
Image
The Director of Photography for the 1968 Franklin Schaffner production of Planet of the Apes is Leon Shamroy, who has 120 credits for Cinematography that stretch from 1926 to 1970, and range from silent features to television episodes. The Story of Alexander Graham Bell and The Adventures of Sherlock Holmes (both 1939), Tin Pan Alley (1940), Moon Over Miami (1941), Twelve O'Clock High (1949), Cheaper by the Dozen (1950), Daddy Long Legs (1955), The King and I (1956), South Pacific (1958), and Cleopatra (1963) are in the list at IMDb. He was nominated for 18 Oscars, and won four. Only three of his nominations were in the black & white category (remember, there used to be separate Oscars for B&W and for Color Cinematography). In the days between 1939 and the late 1960s, lighting was particularly different for color films.

Image
The cinematographer who committed Tim Burton's ideas to film is Philippe Rousselot, who has worked with Burton on three films to date. Until 1984, Rousselot's credits are all French productions, but in 1984 he was the DP for a fantasy film entitled Nemo which was a joint French/UK/USA production, with English as the spoken language. A year later he was the DP for the John Boorman film The Emerald Forest. His work has attracted awards committees from around the world. He won an Oscar for A River Runs Through It, after nominations for Hope and Glory, and Henry and June. Rousselot continues to work. His latest credit was the second Sherlock Homes reboot film, which makes sense, because he was the Cinematographer on the first one.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by MrCarmady » Tue Feb 28, 2012 5:30 pm

I really like your comment on the pacing in Murnau's and Herzog's versions of Nosferatu.
To me, silent films always feel slower than sound films, because in sound films there's other things besides the imagery to keep me engaged. So it's easy to forget that they frequently had faster editing, and it really does change the mood of the two films.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Wed Feb 29, 2012 4:18 pm

It would be interesting to find a study on the average shot length of a number of silents films vs. the average shot length of a number of sound films, wouldn't it? I suppose you or I could create one...if we had the time. But I'm busy doing this thread, and you're busy with your things.

But that's what your comment makes me wonder. Is it only Nosferatu, or were silent films generally cut "faster" than later sound films because there was sound and dialogue to carry the later films while pace had to be built solely on the visuals in the earlier type of movie?
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Wed Feb 29, 2012 4:19 pm

A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)

Image The Directors of Photography
Image
Photography of the 1951 The Day the Earth Stood Still was under the direction of Leo Tover whose 123 DP credits extend from 1926 to the year after his demise, 1965 (Tover died in 1964). This means that he worked from the age of 24, for the rest of his life at the task of photographing directors' visions! As a boy I saw three of his films: the original The Day the Earth Stood Still, Journey to the Center of the Earth, and the last of his work released while he was still alive, Island of the Blue Dolphins. The first was TV-only for my eyes, but I was in the theater to see the other two. I liked all three films in those days. Oddly, later in life when I had a less shiny opinion of Journey to the Center of the Earth, I realized that when a film is bad the DP rarely gets the blame for it. He or she simply visualizes what the director wants in the best way manageable given the budget. There are no doubt examples, but I can't think of any where the Director of Photography could be blamed for a film's crappiness! Tover garnered two Academy nominations in 1942 and 1950.
Image
The Director of Photography for the 2008 remake of The Day the Earth Stood Still was David Tattersall who lensed all three of the Star Wars prequels, as well as The Green Mile. (Don't you hate that Variety word "lensed" when used in that way?) Tattersall provided the photographic direction for the short-lived TV series, "The Young Indiana Jones Chronicles," and has served as DP on 15 (so far) direct-to-video releases of "The Adventures of Young Indiana Jones." Until I researched the DP's for this post, I had no idea those even existed! Further research leads me to believe that this is a reboot of the TV series, but in syndication, so it's called "Video" on IMDb.

As of this writing, Tattersall's current project is the Carlo Carlei production of Romeo and Juliet, so I may have to visit that work and re-open the R&J Remake Rematch when it is released. Tattersall has worked on a number of DTV releases, one of which I watched with my sons at one time, Theodore Rex, as well as movies that I have seen only from DVD, although they were in theaters. Among these are Con Air, and Soldier. It was certainly not Tattersall's work that made the 2008 version of The Day the Earth Stood Still a failure in my mind. Tattersall has had two nominations in 1993 and 1994 for his work on the 1992 series, "The Young Indiana Jones Chronicles."
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Wed Feb 29, 2012 4:29 pm

Just wondering...does anyone still read the second post in this thread, where I write notes about what's new? I figure I'm doing that only for me. :D
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by Hank » Fri Mar 02, 2012 10:37 pm

I always just click on the jump to first unread post button.
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Fri Mar 02, 2012 11:43 pm

Hank wrote:I always just click on the jump to first unread post button.
Figures.

Oh, I bought a paper copy of Bram Stoker's Dracula today, and a copy of Dashiell Hammett's The Maltese Falcon. I've never read the Stoker, and it's in public domain so you can download copies at Project Gutenberg, but I wanted one to hold in my hands while I eat.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by dreiser » Sat Mar 03, 2012 12:33 am

I've got the Stoker book somewhere at the house. Read the first 40-50 pages and got distracted with something else. Haven't yet revisited.
"I hate the dark, the sharks liars. And the stems of cherry..."

Like Someone in Love (Kiarostami, 2012) 4/10
Killing Them Softly (Dominik, 2012) 2/10
The Wonderful World of the Brothers Grimm (Pal/Levin, 1962) 6/10
The Dark Past (Mate', 1948) 7/10
New Rose Hotel (Ferrara, 1998) 3/10
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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 2:12 am

dreiser wrote:I've got the Stoker book somewhere at the house. Read the first 40-50 pages and got distracted with something else. Haven't yet revisited.
I began reading some tonight. Seems rather less tedious to read when I can hold pages in my hands. I never got very far into the novel either, trying to read the HTML version from Project Gutenberg.

The paperback that I bought has an interesting introduction that recaps the novel's 100-year (plus, now) fame and fortune, and the writer marvels at how Hollywood discovered the novel and has never laid it aside.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 2:12 am

A Comparison of Planet of the Apes (1968) and Planet of the Apes (2001)

Image The Writers

The 1968 version has writing credits for Michael Wilson (screenplay) and Rod Serling (screenplay) and for Pierre Boulle (novel). Wilson has a slew of famous writing credits, which include A Place in the Sun, The Bridge on the River Kwai (which is from another Pierre Boulle novel), Lawrence of Arabia, and The Sandpiper. He won Oscars for A Place in the Sun and The Bridge on the River Kwai, and was nominated three other times. Because Wilson was blacklisted during the House Unamerican Activities Committee era, he did not receive screen credit for his work on Lawrence of Arabia until 1978, when his screen credit was restored by the WGA.

Rod Serling's initial screenplay (available here) was not produced, although many of his ideas appear in the Wilson shooting script. Serling was a prolific and respected writer for television and film from 1950 until his death in 1975. Because he created some properties that live beyond him, he received his latest screen credits in 2002-2003 for a revival of his famous anthology TV-series The Twilight Zone.

The author of the novel, Pierre Boulle, has received screen credits for 19 films, video games or TV series based on his works. A dozen of them are for Planet of the Apes-related materials.

The 2001 version credits William Broyles Jr. (screenplay) and Lawrence Konner (screenplay) & Mark Rosenthal (screenplay), along with a credit for Pierre Boulle (novel La Planète des Singes). The screenplay departs from both the original novel, and the 1968 movie. Broyles has a dozen credits as screenwriter, but since 1995 and Apollo 13 his credits have been for films. I have seen six of the films that drew on his screen plays, as a matter of fact. Lawrence Konner has a more varied filmography. He has written the story treatment for a Star Trek movie (The Undiscovered Country), three stories for The Sopranos, along with a few screenplays, including The Sorcerer's Apprentice, and The Beverly Hillbillies. I have seen and enjoyed the film Mercury Rising which Konner saw become a film in 1998. Mark Rosenthal has often been a writing partner with Konner. Most of their screen credits are the same.

Find scripts of the 1968 and 2001 films, plus scripts for other entries in the motion picture series, here.

For an ebook version of this novel ($7.99 US) go to Kobo. Needs the Kobo reader software, which is free.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 2:37 am

A Comparison of The Picture of Dorian Gray (1945) & Dorian Gray (2009)

Image The Writers

The 1945 version features the director, Albert Lewin, as the writer of the screenplay, and credits Oscar Wilde for his novel The Picture of Dorian Gray. Lewin actually has more credits for writing than he does for production or direction. The most famous film that he wrote is also one that he directed after he adapted it from an Oscar Wilde novel. Of the seven directorial credits Lewin received, he wrote six of the screenplays. He was fired and left uncredited for his directorial work on a film about Madame Curie that he did not write. It may be of interest that his last three films featured a triple credit for Lewin: writer, producer, director.

Oscar Wilde's work is quite popular with filmmakers. He has 194 screen credits, all of which he earned posthumously. They begin in 1908 with Salomé and continue through 2011 (so far). In fact, Wilde's second screen credit as writer is for a Danish film Dorian Grays Portræt (1910). Dorian Gray appeared on screen again in 1915, 1917, 1945, 1961 (TV, twice), 1973, 1976 (BBC), 1977, 1983, 2004, 2005, 2007, and 2009.

The 2009 version of the Dorian Gray story has screen credits for Toby Finlay 'written by' and Oscar Wilde 'novel The Picture of Dorian Gray'. This is Toby Finlay's first, and only writer credit to date.

The Picture of Dorian Gray by Oscar Wilde at Project Gutenberg. Free downloads of various formats.

The Project Gutenberg eBook of The Picture of Dorian Gray, by Oscar Wilde. Direct link to the eBook.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 3:29 pm

I'm going to continue the tech posts for a while so that all I'll have left to create are the essays.

Of course, doing the remaining 22 tech posts will keep me from working on essays. *sigh*
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 3:29 pm

A Comparison of The Day the Earth Stood Still (1951) and The Day the Earth Stood Still (2008)

Image The Players of 1951

The 1951 cast includes Michael Rennie, then new to American audiences, as the original Klaatu; Patricia Neal as the über-cool Helen Benson; Hugh Marlowe as Helen's boyfriend, Tom Stevens; Sam Jaffee as the Einsteinian Professor Jacob Barnhardt; Billy Gray as Bobby Benson; Lock Martin as Gort, and Frank Conroy as Mr. Harley, advisor to the President, and the man who tells Klaatu that his meeting with world leaders will be impossible. Francis Bavier (who would later play Opey's Great-Aunt Bea) is Mrs. Barley, the Communist-fearing woman at the boarding house. Full Cast and Crew

Image The 2008 Cast

The 2008 players are Keanu Reeves reprising the Klaatu role; Jennifer Connelly as the significantly-updated Dr. Helen Benson; Kathy Bates as Regina Jackson, Secretary of Defense; Jaden Smith as lovable little Jacob Benson, Helen's stepson; John Cleese as Professor Barnhardt, and James Hong as Mr. Wu, the old alien who has fallen in love with humanity. Full Cast and Crew
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 4:05 pm

A Comparison of The Maltese Falcon (1931), Satan Met a Lady (1936) & The Maltese Falcon (1941)

Image The Players of 1931

The 1931 cast includes Bebe Daniels as Ruth Wonderly, getting credit above the man who playes Sam Spade, Ricardo Cortez. Dudley Digges does a turn as Casper Gutman. Una Merkel creates the first on-screen Effie Perrine. Detective Lt. Dundy and Det. Sgt. Tom Polhouse are played by Robert Elliott and J. Farrell MacDonald. Otto Mathieson originates the Levantine character of Dr. Joel Cairo. Dwight Frye who is Renfield in Tod Browning's Dracula, released the same year, plays Wilmer Cook. Morgan Wallace is the uncredited actor playing the District Attorney. Full Cast and Crew

Image The 1936 Cast

The 1936 players include Bette Davis as Valerie Purvis; Warren William as Ted Shane; Alison Skipworth as Madame Barabbas (the Gutman replacement for this first remake). Arthur Treacher does a turn as Anthony Travers, a detective who is trying to determine the whereabouts of the Horn of Roland, and I think his character replaces the Cairo character. Marie Wilson is Miss Murgatroyd, Ted Shane's crazy-like-a-fox secretary. The cops are Olin Howland as Detective Dunhill, and Charles C. Wilson as Detective Pollock (an anti-Polish ethnic slur is built into his name, for those of you lucky enough to be too young to see it). William B. Davidson is the Spokesman for the City Fathers Committee, so he replaces the District Attorney. Maynard Holmes plays Kenneth, Barabbas's Young Gunman. Billy Bletcher, who voiced the Big Bad Wolf in three Disney Three Little Pigs shorts, plays an uncredited cameo as the father of sextuplets. Full Cast and Crew

Image The 1941 Stars

The 1941 film features those who would be stars, and some who already were. Humphrey Bogart creates the Samuel Spade who we most often remember. Mary Astor is Brigid O'Shaunessy/Ruth Wonderly. Peter Lorre totally remakes the role of Mr. Joel Cairo, although he clearly respects Otto Mathieson's take on the character, because he borrows some nuances for the character that aren't in the book. Barton MacLane and Ward Bond play Lt. of Detectives Dundy and Detective Tom Polhaus. Elisha Cook Jr. is Wilmer Cook, patsy for Sydney Greenstreet as the actor who signifies Kasper Gutman to three generations. The director's father, Walter Huston has the uncredited role of Captain Jacoby, who delivers the Falcon to Spade. Perry White, I mean John Hamilton, plays Bryant, the District Attorney, while Creighton Hale gets the plum bit-part of the Stenographer who tells Spade that he's "getting it all." Full Cast and Crew
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Sat Mar 03, 2012 5:54 pm

A Comparison of Nosferatu (1922) & Nosferatu (1979)

Image The Producers
The 1922 version was produced by a short-lived company called Prana-Film GmbH. In fact, Prana-Film created only this movie, although Albin Grau had ideas for future productions. Another production company associated with the title is Jofa-Atelier Berlin-Johannisthal. But they produced only one film in 1922, and released only two others (in 1930). The men credited in the film are Enrico Dieckmann producer, and Albin Grau producer. Grau was also the Artistic Director and Costume Designer by screen credit, but selected locations and performed many other tasks in getting Nosferatu to the screen. Grau has only one screen credit for producer at IMDb. Enrico Dieckmann has only two. This film seems to have been fated to suffer from its beginning.

The 1979 version was produced by Werner Herzog producer, Walter Saxer executive producer, Michael Gruskoff producer (uncredited), and Daniel Toscan du Plantier producer (uncredited). Herzog has a long career as a film producer, since 1962. Most of the films we know him by were films that he raised the money to create. Most of Herzog's output has been in the form of documentaries, a fact that managed to escape me until very recently. Herzog's awards page on IMDb is rather impressive. The other credited producer on Nosferatu, Walter Saxer, seems to have a career linked to Werner Herzog in terms of titles. Michael Gruskoff has been producer on 14 titles, among them Silent Running, Young Frankenstein, and Quest for Fire. His assistance with Nosferatu is uncredited. Although also uncredited on this film, Daniel Toscan du Plantier has credits altogether for 50 titles, beginning with Cousin cousine in 1975. City of Women, Fanny and Alexander, Nostalghia, and a continuing march of TV and theatrical films kept him busy right up until his death in 2003.

Image Distribution
The 1922 version was produced by Prana-Film GmbH, and released through various channels in Europe. The release of the film was delayed until 1929 in the USA. Due to the lawsuit brought by Mrs. Bram Stoker, the film received only a limited release. The film was not released in the USA until 3 June 1929, when it was distributed by Film Arts Guild.

The 1979 version was produced simultaneously in English and German (not dubbed) by Werner Herzog Filmproduktion (as Werner Herzog Filmproduktion, München), Gaumont (as Gaumont S.A., Paris), and the German version was produced by Zweites Deutsches Fernsehen (ZDF). The dual-version film was released through Werner Herzog Filmproduktion everywhere except West Germany, where 20th Century Fox of Germany distributed the film.

Image Release Dates
According to IMDb, the 1922 version was released for exhibition on 4 March 1922 in Berlin, Germany. Later, the widow of Bram Stoker, won a lawsuit over copyright infringement in the European Court, and the ruling was that all prints of the film were to be destroyed. Well, obviously, all weren't. The international release dates range from 1929 for the USA, to the 1970s and later for the rest of the world, which has seen the film only on television or video, except at festivals where the film is sometimes projected. I have never seen the film on a big screen, but if I ever am near an opportunity, I will try to attend.

The 1979 edition of Nosferatu was released first in France, 17 January 1979. This was followed by release in West Germany in February 1979 at the Berlin International Film Festival. The United States didn't see the film until October 1979, when it was shown at the New York Film Festival on October 1st, then released to the rest of the country four days later. The released versions have two different titles. The German-language film is entitled Nosferatu: Phantom der Nacht, and the English-language parallel production was released as Nosferatu the Vampyre. The international titles are of interest to me, as well. In Spain and Mexico the title split the difference between the first two and became Nosferatu, vampiro de la noche. The Greek title is Nosferatu, o Drakoulas tis nyhtas (Νοσφεράτου: Ο Δράκουλας της Νύχτας) or, by my poor translation, Nosferatu, Draculis of the Night. For all I know the Greek word for "vampire" is "Drakoulas." But the Italian title waxes the most grandiose: Nosferatu, principe della notte (Nosferatu, prince of the night).
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Mar 05, 2012 11:15 am

EDIT: This is bizarre. For some reason, twice, lately, I've gotten double posts when using Safari for Windows, which I do as YTMN when posting this thread. I don't recall having any double-posts using Firefox! Can a browser cause something like that? Perhaps I should swap browsers and do the tests as Gort in Safari, and do the actual YTMN thread-building in Firefox!

In both cases I only discovered the double posts when checking the thread afterward using a nifty feature of Safari for Windows called Webarchive. It allows me to save everything on the page in a single file, although I lose the ability to later capture my images and so forth (which I get with "Save entire Page" in Firefox). Thing is, Firefox doesn't save the contents of spoiler tags, and Safari does.

I think what originally appeared in this post is identical to that below, but I didn't check it character by character. Maybe this happens when I edit a post? Not sure.

EDIT 2: I just did a link test, and this post was originally created before the "duplicate" below it, because I used the link for the other post. This one is not the one that I linked to...which means that both were created simultaneously! This post was on the top, the other on the bottom, and that's why I selected its link. I'll have to roll upward and check for these from now on. And I wonder if there are others in the thread that I never caught (only been using webarchive since November 2011).

This creates a problem...when I discovered the first double post I removed the lower post, and it may also have been the post that I linked to...which will result in a broken link. But I don't recall which post it was! Argh!

EDIT 3: Okay, the first one that produced a double post was the one immediately above this, for Nosferatu's Producers. Fixed it. Could have something to do with this page getting so long and graphics-heavy, maybe. At least I'm aware of the problem, now.

.....original post (to which the IP links) below......

A Comparison of The Picture of Dorian Gray (1945) & Dorian Gray (2009)

Image The Players of 1945

The 1945 film, The Picture of Dorian Gray includes George Sanders as Lord Henry Wotton; Hurd Hatfield in a director-controlled performance as Dorian Gray; Donna Reed as Gladys Hallward (all grown up). The dance hall singer, Sibyl Vane, who replaces the actress in Wilde's novel is played by Angela Lansbury; her brother James Vane is played by Richard Fraser. Lowell Gilmore playes Basil Hallward, and David Stone, a suitor to Gladys, is played by a very young peter Lawford. The Full Cast and Crew.

Image The 2009 Cast

In 2009, director Oliver Parker selected Ben Barnes to become Dorian Gray; Ben Chaplin plays Basil Hallward. Maryam D'Abo is Gladys; Colin Firth is Lord Henry Wotton (who has a bit more humanity in this version). Rachel Hurd-Wood plays the actress Sibyl Vane, with Johnny Harris as her brother James. Rebecca Hall is the adult Emily Wotton. Full Cast and Crew.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Mar 05, 2012 11:15 am

A Comparison of The Picture of Dorian Gray (1945) & Dorian Gray (2009)

Image The Players of 1945

The 1945 film, The Picture of Dorian Gray includes George Sanders as Lord Henry Wotton; Hurd Hatfield in a director-controlled performance as Dorian Gray; Donna Reed as Gladys Hallward (all grown up). The dance hall singer, Sibyl Vane, who replaces the actress in Wilde's novel is played by Angela Lansbury; her brother James Vane is played by Richard Fraser. Lowell Gilmore playes Basil Hallward, and David Stone, a suitor to Gladys, is played by a very young peter Lawford. The Full Cast and Crew.

Image The 2009 Cast

In 2009, director Oliver Parker selected Ben Barnes to become Dorian Gray; Ben Chaplin plays Basil Hallward. Maryam D'Abo is Gladys; Colin Firth is Lord Henry Wotton (who has a bit more humanity in this version). Rachel Hurd-Wood plays the actress Sibyl Vane, with Johnny Harris as her brother James. Rebecca Hall is the adult Emily Wotton. Full Cast and Crew.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Mar 05, 2012 12:26 pm

A Comparison of The Picture of Dorian Gray (1945) & Dorian Gray (2009)

Image The Producers
In 1945 Albert Lewin acted as his own writer and director for The Picture of Dorian Gray. Lewin often filled the producer function as well as writing and directing on films he made after The Picture of Dorian Gray, but in 1945 the screen credit for producer goes to Pandro S. Berman. Because this was the era of the Studio System, Berman had been producing films since 1931, and didn't retire from that career until 1970. Among his 115 screen credits, Berman was the producer for such films as Top Hat (1935); The Hunchback of Notre Dame (1940); National Velvet, which introduced Elizabeth Taylor alongside established star Mickey Rooney (1944), The Three Musketeers (1948); Knights of the Round Table and The Long, Long Trailer (1953); Blackboard Jungle (1955); Jailhouse Rock (1957) and All the Fine Young Cannibals (1960). Clearly, his career took him into many genres. In 1952 he was nominated as producer for Best Film Ivanhoe, but garnered no Oscar until he got the Irving Thalberg Award in 1977.

The 2009 remake, Dorian Gray credits no fewer than ten producers and executives! This is no doubt due to having six production companies involved in the creation of the film. The list is too long to include here, but since 7 of the names are executive producers, I will focus on the three who probably were line producers in this case: Alexandra Ferguson, co-producer, Sophie Meyer, associate producer, and Barnaby Thompson, producer. I assume the differences in titles stem from the different employers they work for.

Ferguson has 16 producer credits. Among them are Mister Foe (originally Hallam Foe) (2007), and Tinker Tailor Soldier Spy (2011). Sophie Meyer has 4 producer credits. Thompson was producer of 28 titles to date, which include the two Wayne's World movies, as well as Coneheads. But he was also producer for the 2002 film of The Importance of Being Earnest. In 1991 he was nominated for an Oscar in the Live Action Short Film category for Rosie.

Image Distribution
The sole production company for the 1945 film was Metro-Goldwyn-Mayer. The same company distributed the finished product.

Although six companies shared in funding the picture, the 2009 film was distributed by E1 Entertainment Distribution in the United States. As you can see from following the link, the film did not get theatrical release in all countries (DVD only in the USA, for example) and there are a pile of companies sharing in distribution.

Image Release Dates
Albert Lewin's film premiered on 1 May 1945, but went into distribution release two days later. In other countries the release dates were as late as 1950.

Oliver Parker's remake debuted in Ireland and the UK on 9 September 2009, but did not make an appearance in the US until 24 August 2010, and then, only on DVD. Our neighbors to the North got to see the film in theaters beginning 11 September 2009. Apparently, USA, France, and Sweden were not deemed supportive of the theatrical prospects for the movie, because all three countries only saw DVD releases.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Re: YTMN Presents a Remake Rematch Thread

Post by YouTookMyName » Mon Mar 05, 2012 3:40 pm

The DG producers post didn't "automatically" double itself. So there must have been something unusual that I did when posting the two that went in twice. If only I knew what it was...........
Gort/YTMN left the forum due to trolling on August 25, 2018.
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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


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