1939 woodie

Mia Farrow Toady Writes A Lengthy Attack On Our Guy

2024.05.19 18:56 FatimaMansioned Mia Farrow Toady Writes A Lengthy Attack On Our Guy

This piece was mentioned and criticised on some of the Woody Allen Twitter feeds, so I thought I'd post it here.
Someone called Rosita Sweetman has written an article attacking Woody Allen, called "ENOUGH! Confronting Woody Allen."
That article is badly written, with numerous factual errors, and contains a laughable hagiography of Mia Farrow, a woman the late Katherine Hepburn described as having no "moral structure to her life."
Sweetman begins her article by calling Woody Allen as "unrepentedly misogynistic as ever". Sweetman also says " Woody is the guy who, since the very beginning of his career, made films about older guys glomming onto young women. Very young women."
Eh? Allen (born 1935) began his career with the films Take the Money and Run, Bananas, Everything You Ever... , Sleeper and Love and Death. His love interests in these films were played by Janet Margolin (born 1943) Louise Lasser (born 1939) and Diane Keaton (born 1946).
None of these women in these films could be described as "very young women" compared to Allen. So Sweetman deliberately leaves these films out and starts spouting the usual cliches about Manhattan instead.
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2024.05.09 08:23 MirkWorks Adventures in the Orgasmatron: How the Sexual Revolution Came to America by Christopher Turner (Intro)

Introduction
In 1909, Sigmund Freud was invited to give a series of lectures at Clark University in Worcester, Massachusetts. On the way there from Vienna his cabin steward was reading The Psychopathology of Everyday Life, an event Freud claimed was the first indication he ever had that he was going to be famous. In the United States, the philosopher and psychologist William James and many other leading American intellectuals turned out to hear Freud talk, giving psychoanalysis official recognition, as Freud saw it, for the first time. He later wrote about what the Clark lectures meant to him: “In Europe I felt as though I was despised; but over there I found myself received by the foremost men as an equal. As I stepped onto the platform at Worcester to deliver my Five Lectures upon Psychoanalysis it seemed like the realization of some incredible daydream: psychoanalysis was no longer a production of delusion, it had become a valuable part of reality.”
Little did Freud know how his intellectual discoveries would transform America, which he dismissed as an “anti-paradise” or a “gigantic mistake.” Though he feared that Americans would enthusiastically “embrace and ruin psychoanalysis” by popularizing it and watering it down, he already suspected that his theories would in some way shake the country to the core. While watching the waving crowds from the deck of his ship as it docked in New York, turned to his fellow analyst Carl Gustav Jung and said, “Don’t they know we’re bringing them the plague?”
Well before the hedonism of the 1920s, a Freud-inspired revolution in sexual morals had begun. Greenwich Village bohemians, such as the writers Max Eastman and Floyd Dell, the anarchist Emma Goldman, who had been “deeply impressed by the lucidity” of Freud’s 1909 lectures, and Mabel Dodge, who ran an avant-garde salon in her apartment on Fifth Avenue, adapted psychoanalysis to create their own free-love philosophy. In the radical journal The Masses, Floyd Dell warned that “sexual emotions would not be repressed without morbid consequences.” Eastman, one of America’s first analysands, wrote a book comparing Freud and Marx: “Weren’t all forms of repression evil?” he asked rhetorically. Dell’s left-leaning analyst, a Shakespeare scholar called Dr. Samuel A. Tannenbaum who treated many of Greenwich Village artists, argued that it was healthier for young men to frequent prostitutes than to practice abstinence or masturbation.
Together they fashioned a cult of the orgasm - Mabel Dodge even went so far as to call her dog Climax. However, as Dell later admitted, their experiment was an isolated one, like that of the Oneida Community in the nineteenth century and a handful of other “obscure but pervasive sexual cults.” It was only after the Second World War that the idea of sexual liberation would permeate the culture at large.
When Wilhelm Reich, the most brilliant of the second generation of psychoanalysts who had been Freud’s pupils, arrived in New York in late August 1939, exactly thirty years after his mentor and only a few days before the outbreak of war, he was optimistic that his ideas about fusing sex and politics would be better received there than they had been in fascist Europe. Despite its veneer of Puritanism, America was a country already much preoccupied with sex - as Alfred Kinsey’s renowned investigations, which he began that same year, were to show. Reich could be said to have instigated “the sexual revolution”; a Marxist analyst, he coined the phrase in the 1930s in order to illustrate his belief that a true political revolution would only be possible once sexual repression was overthrown, the one obstacle Reich felt had scuppered the efforts of the Bolsheviks. “A sexual revolution is already in progress,” he declared, “and no power on earth will stop it.”
Reich was a sexual evangelist who held that the satisfactory orgasm made the difference between sickness and health. “There is only one thing wrong with neurotic patients,” he concluded in The Function of the Orgasm (1927): “the lack of full and repeated sexual satisfaction” (the italics are his). The orgasm was the panacea to cure all ills, he thought, including the fascism that had forced him to leave Europe. Reich sought to reconcile psychoanalysis and Marxism, thereby giving Freudianism an optimistic gloss, arguing that repression, which Freud came to believe was an inherent part of the human condition, could be shed. This would lead to what his critics dismissed as a “genital utopia” (they mocked him as “the prophet of bigger and better orgasms”). His ideas became influential in Europe, which Henry Miller, finding a new sense of purpose through sex, characterized as “the Land of Fuck.” Reich was a figurehead of the vocal sex reform movement in Vienna and Berlin before the Anschluss, after which the Nazis, who deemed it part of a Jewish conspiracy to undermine the continent, crushed it. His books were burned in Germany along with those of the German sexologist Magnus Hirschfeld and Freud.
Soon after he arrived in the United States, Reich invented the orgone energy accumulator, a wooden cupboard about the size of a telephone booth, lined with metal and insulated with steel wool - a box in which, it might be said, his ideas came almost prepackaged. Reich considered his orgone energy accumulator an almost magical device that could improve its users’ “orgastic potency” and by extension their general, and above all mental, health. He claimed that it could charge up the body with the life force that circulated in the atmosphere (a force which he christened “orgone energy”) - mysterious currents that in concentrated form could not only help dissolve repressions but also treat cancer, radiation sickness, and a host of minor ailments. As he saw it, the box’s organic material absorbed orgone energy, and the metal lining stopped it from escaping, so the box acted as a greenhouse; and, supposedly, there was a noticeable rise in temperature in the box.
Reich persuaded Albert Einstein to investigate the machine, whose workings seemed to contradict all known principles of physics, but after two weeks of tests Einstein refuted Reich’s claims. Nevertheless, the orgone box became fashionable in America in the 1940s and 1950s, when Reich rose to fame as the leader of the new sexual movement that seemed to be sweeping the country. Orgone boxes were used by such countercultural figures as Norman Mailer, J. D. Salinger, Paul Goodman, Allen Ginsberg, Jack Kerouac, and William Burroughs - who claimed to have had a spontaneous orgasm in his. At the height of his James Bond fame, Sean Connery swore by the device, and Woody Allen parodied it in the movie Sleeper, giving it the immortal nickname “Orgasmatron.” Bohemians celebrated the orgone box as a liberation machine, the wardrobe that would lead to utopia, while to conservatives it was Pandora’s Box, out of which escaped the Freudian plague - the corrupting influence of anarchism and promiscuous sex.
Because of his radical past, Reich was placed under surveillance almost as soon as he arrived in the United States (his FBI file is 789 pages long). In 1947, after Harper’s Magazine introduced Reich to Americans as the leader of “a new cult of sex and anarchy,” the Food and Drug Administration began investigating him for making fraudulent claims about the orgone accumulator, and in 1954 a court ruled that he must stop leasing and selling his machine. When he broke the injunction he was sentenced to two years in prison. The remaining accumulators, along with thousands of copies of the journals and eleven books Rich self-published in America (including copies of The Sexual Revolution), which were thought to constitute “false advertising” for them, were incinerated.
In the ideological confusion of the postwar period, when the world was trying to get its head around what came to be called the Holocaust and intellectuals disillusioned with communism were abandoning the security of their earlier political positions, Reich’s ideas landed on fertile ground. With his tantalizing suggestion that sexual emancipation would lead to positive social change, Reich seemed to capture the mood of this convulsive moment. People sat in the orgone box hoping to dissolve the toxic dangers of conformity, which, as Reich had eloquently suggested as early as 1933, bred fascism. The literary critic Alfred Kazin wrote in his journal, “Everybody of my generation had his orgone box…his search for fulfillment. There was, God knows, no break with convention, there was just a freeing of oneself from all those parental attachments and thou shalt nots.”
In his essay “The New Lost Generation,” James Baldwin described how that generation crystallized around Reich’s thinking in the later 1940s and early 1950s:
It was a time of the most terrifying personal anarchy. If one gave a party, it was virtually certain that someone, quite possibly oneself, would have a crying jag or have to be restrained from murder or suicide. It was a time of experimentation, with sex, with marijuana, with minor infringements of the law. It seems to me that life was beginning to tell us who we were, and what life was - news no one has ever wanted to hear: and we fought back by clinging to our vision of ourselves as innocent, of love perhaps imperfect but reciprocal and enduring. And we did not know that the price of this was experience. We had been raised to believe in formulas.
In retrospect, the discovery of the orgasm - or, rather, of the orgone box - seems the least mad of the formulas that came to hand. It seemed to me….that people turned from the idea of the world being made better through politics to the idea of the world being made better through psychic and sexual health like sinners coming down the aisle at a revival meeting. And I doubted that their conversion was any more to be trusted than that. The converts, indeed, moved in a certain euphoric aura of well-being. Which would not last…There are no formulas for the improvement of the private, or any other, life - certainly not the formula of more and better orgasms. (Who decides?) The people I had been raised among had orgasms all the time, and still chopped each other with razors on Saturday nights.
“There was, God knows, no break with convention”; “the least mad of the formulas that came to hand” - both Kazin and Baldwin saw their bewildered peers breaking out of one ideological prison only to find themselves in another. Theirs was a generation teetering on a new kind of brink - full of optimism about the possibility of change, they were unsuspecting accomplices in the authorship of more insidious forms of control.
I first learned about Reich’s orgone energy accumulator in 1993 when I visited Summerhill, the “free” school in Suffolk, England, founded in 1921 by A. S. Neill. I was an anthropology student at Cambridge University and, when I asked whether I could stay for a while as a participant-observer, I was offered a large tepee as a place to sleep. I like the idea of living in it: a wigwam seemed a suitable home for a backyard anthropologist. However, everything at Summerhill - where lessons are voluntary and the pupils invent their own laws - is put to a vote, and the children decided they wanted to keep the tepee for themselves. So for that summer I lived in a bed-and-breakfast in Leiston. All the other guests worked for the nuclear power station Sizewell B: every piece of crockery and all the towels and cutlery were stamped with the nuclear power station’s logo. The owner of the B&B had been given a free pullover after a random Geiger counter inspection had determined that his own, hung out on the clothesline, harbored dangerously elevated levels of radiation.
A.S. Neill met Reich in Oslo in 1936 and soon afterward became his analysand, fitting in a dozen sessions with him one a return trip. Reich had by that time been expelled from the International Psychoanalytic Association (he had once been considered Freud’s heir apparent, but his attempts to reconcile psychoanalysis and Marxism ended up alienating practitioners of both), and pioneered a new form of analysis called “vegetotherapy,” a repudiation of the talking cure. Reich’s third wife, Ilse, described it as “doing away with the psychoanalytic taboo of never touching a patient,” and replacing it with “a physical attack by the therapist.” Reich would relax the patient’s taut muscles with deep breathing exercises and painful massage, until he or she broke down in involuntary convulsions, which Reich called the “orgasm reflex.”
Though his school had already been running for fifteen years, Neill found in Reich’s work its ideological justification, and he once referred to himself as Reich’s “John the Baptist.” His many books are littered with references to Reich’s concepts of “character-armor” and “self-regulation.” For his part Reich saw Neill’s project as a practical test of his ideas, and he sent his own son, Peter, to Summerhill for a while. He once threatened to give up his research and come and teach at the school, but Neill laughed and declined his offer, saying that Reich would frighten the children. Neill did, however, ask him to be the legal guardian of his daughter, Zoe. Reich invited Neill to start an orgonomic infant research center at his research institute in Maine and encouraged him to replace his Summerhill staff with people schooled in Reichian practice. Neill rejected both suggestions, but continued to read aloud from Reich’s books at staff meetings.
Reich and Neill shared a belief in the redemptive power of unconstricted development in children. For Reich this had an urgent political significance: he thought that only when children were raised free would it be possible to lay the foundations of a utopia. Neill thought that a radical reform of the education system was an essential preliminary to the creation of a better world. Both men believed that children were inherently good: it was an authoritarian, sexually repressive upbringing that corrupted them. Summerhill was designed to offer children a sanctuary from the moral contamination of the world, where they could live out their desires without the fear of punishment and play without the pressure of indoctrination: “We set out to make a school in which we would allow children freedom to be themselves,” Neill wrote. “In order to do this we had to renounce all discipline, all direction, all suggestion, all moral training, all religious instruction.” The school’s motto continues to be “Giving children back their childhood.”
By the summer of 1944, Neill had begun to practice Reich’s analytic technique on his pupils at Summerhill. “I have given up teaching and am doing only veg.-ther. analysis,” he wrote to Reich. “The more I see the results with adolescents the more I consider that bloody man Reich a great man…Marvelous how patients weep so easily when lying on their backs. Some do so in the first hour. Why?” One former student remembers being instructed to lie down and “breathe deeply, as though you’re having sexual intercourse,” while Neill prodded her stomach (she was too young to know what sex was, so she just panted). “The repressed ones have stomachs like wooden boards,” Neill wrote to Reich of his pupils’ resistance, “but children begin to loosen up very quickly, and at once begin to be hateful and savage.”
The philosopher Bertrand Russell, like Neill, preached the benefits of an unconstrained childhood and campaign for new sexual mores. Neill said that Russell’s On Education (1926) was the only book on the topic he’d read without uttering an expletive. Russell spent a week at Summerhill in 1927 before opening a school of his own, Beacon Hill, based on similar principles. He was soon disillusioned, however, and left the school after five years. The children in his care, Russell wrote, were “sinister,” “cruel,” “destructive.” The effect of giving them their freedom “was to establish a reign of terror, in which the strong kept the weak trembling and miserable.” Russell’s own children, for whom Beacon Hill was partly created (it had only twelve pupils), were, like their father, traumatized by their time at the school. “I learned to get along inside a shell,” Kate Russell said, “fending off physical and emotional assaults from others and trusting nobody.” But for Neill, the monstrous behavior of children was a stage long the path to liberation: if they were “hateful and savage” it was only because they were sloughing off the final carapace of their repressions.
The accumulator that Reich gave Neill arrived in England on the Queen Elizabeth in April 1947, along with a smaller “shooter” box with a protruding funnel for directing orgone energy rays at infections and wounds. “I sit in the Accumulator every night reading,” Neill wrote appreciatively, “re-reading the Function of the O. while I sit in the box.” Neill soon became convinced of the machine’s effectiveness: “We used the small Accu on a girl of 15 with a boil on her leg,” he said. “It cleared up in three days, and we are to have her in the big box next term.” The effects apparently defied scientific explanation: “When Lucy had a new lump on her face under the operation scar, she applied the small Accu and it went in a fortnight,” Neill marveled. He bombarded Reich with questions: Was it safe to keep an accumulator in one’s bedroom? Did you have to be naked inside it? Would it be effective in the damp English climate? How long could his daughter safely sit in the box?
Neill’s daughter, Zoe Readhead, has run Summerhill since 1985. Neill was sixty-four when his only child was born; when she was two, Picture Post ran a story saying that of all the children in Britain, she had the best chance of being free. “I remember the orgone accumulator vividly,” she told me. “It was quite chilly in there because of the zinc.” As a child Readhead was prescribed half an hour a day in the device; she recalls the red plastic cushion she sat on and the funnel or “shooter” she was encouraged to position over her ear to try to cure a recurrent earache. She also remembers that as she grew up Neill lost interest in the machine (he thought he’d been mistaken in putting an extra layer of asbestos around it), and moved it to a corner of the garage.
By the time Reich died, in 1957, he and Neill were no longer communicating. In December 1954 Neill wrote, “It gave me a great shock to find you believing in visits from other planets. No, I said, it can’t be true; Reich is a scientist and unless he sees a flying saucer he won’t accept it as reality. I can’t understand it.” Reich, whose sanity had long been an open question (Sandor Rado, who analyzed Reich for a few months in 1931, said that he was “schizophrenic in the most serious way”), had started to suffer from paranoid delusions about the world being under attack by UFOs. The armor-clad orgone box was always something of a protective shield, illustrative of Reich’s sense of being besieged, but he now built a “cloudbuster,” an orgone gun that was designed not only to influence the weather - diverting hurricanes and making it rain in the desert - but to be the first line of defense against an alien invasion. It was a kind of orgone box turned inside out, so that it could work its therapeutic magic on the cosmos.
Reich initiated the break with Neill; his young son, Peter, who was spending the summer at Summerhill, told Neill that the American planes passing over the school had been sent to protect him, or so his father said. Neill replied that this was nonsense (there was a large U.S. air base nearby), and when Reich heard of Neill’s response he wrote to his remaining supporters that Neill was no longer to be trusted. In the American edition of Neill’s Summerhill: A Radical Approach to Childhood, published in 1960, all references to Reich were deleted because the publisher considered him too controversial. (The book sold two million copies in the United States.) But Neill never turned his back entirely on his friend’s philosophy, and long after Rich’s death he persuaded Zoe to go to Norway to have vegetotherapy with another of Reich’s disciples, Ola Raknes.
Reich died of a heart attack in Lewisburg Federal Penitentiary in 1957, eight months after being sentenced. If Reich’s claims were no more than ridiculous quackery, as the FDA doctors who refuted them suggested, and if he was just a paranoid schizophrenic, as one court psychiatrist concluded, then why did the U.S. government consider him such a danger? What was happening in America that led Reich to become an emblem of such a deep fear?
The critic Louis Menand described Arthur Koestler, with whom Reich shared a Communist cell in Berlin, as “a slightly mad dreidel that spun out of Central Europe and across the history of a bloody century.” Reich’s story traces a similarly erratic path, and looking back at his era can help to shed new light on it. Through the history of Reich’s box it’s possible to unpack the story of how sex became political in the twentieth century, and how it encountered Hitler, Stalin, and McCarthy along the way . Reich created the modern cult of the orgasm and, influentially, held that ecstasy was a point of resistance, immune to political control. Of course, the birth control pill - licensed by the FDA in 1957 (the year Reich died) for treating women with menstrual disorders - ultimately provided the technological breakthrough that facilitated the sexual liberation of the following decade. But Reich, perhaps more than any other sexual philosopher, had already given the erotic enthusiasm of the 1960s an intellectual justification, and laid the theoretical foundations for that era.
His ideas rallied a new generation of dissenters, and his orgone box, however unlikely an idea it may now seem, became a symbol of the sexual revolution. In January 1964, Time magazine declared that “Dr. Wilhelm Reich may have been a prophet. For now it sometimes seems that all America is one big Orgone Box”:
  • With today’s model, it is no longer necessary to sit in cramped quarters for a specific time. Improved and enlarged to encompass the continent, the big machine works on its subjects continuously, day and night. From innumerable screens and stages, posters and pages, it flashes the larger-than-life-sized images of sex. From countless racks and shelves, it pushes the books which a few years ago were considered pornography. From myriad loudspeakers, it broadcasts the words and rhythms of pop-music erotic. And constantly, over the intellectual Muzak, comes the message that sex will save you and libido make you free.
Time called this new “sex-affirming culture” the “second sexual revolution” - the first having occurred in the 1920s, “when flaming youth buried the Victorian era and anointed itself as the Jazz Age.” In contrast, the children of the 1960s had little to rebel against and found themselves, Time commented, “adrift in a sea of permissiveness,” which they attributed to Reich’s philosophy: “Gradually, the belief spread that repression, not license, was the great evil, and that sexual matters belonged in the realm of science, not morals.”
In 1968 student revolutionaries graffitied Reichian slogans on the walls of the Sorbonne, and in Berlin they hurled copies of Reich’s book The Mass Psychology of Fascism at police. At the University of Frankfurt 68er (as they were called in German) were advised, “Read Reich and act accordingly!” According to the historian Dagmar Herzog, “No other intellectual so inspired the student movement in its early days, and to a degree unmatched either in the United States or other Western European nation.” In the 1970s, feminists such as Shulamith Firestone, Germaine Greer, and Juliet Mitchell continued to promote Reich’s work with enthusiasm.
However, even in his lifetime, Reich came to believe that the sexual revolution had gone awry. Indeed, his ideals seemed to run aground in the decade of free love, which saw erotic liberation co-opted and absorbed into what the historian of psychoanalysis Eli Zaretsky calls a “sexualised dreamworld of mass consumption.” Herbert Marcuse, another emigre who became the hero of a younger generation, provided the most rigorous critique of the darker side of liberation. After his initial enthusiasm for a world characterized by “polymorphous perversity,” Marcuse became cynical about it, and he ended his career with a series of brilliant analyses of ways in which the establishment adapted all these liberated ideas (the “intellectual Muzak” of the time) into an existing system of production and consumption. Reich had propagated an expressive vision of the self, but his sexualized politics of the body soon dissolved into mere narcissism as consumers sought to express themselves through their possessions. In the process, as Marcuse was early in detecting, sex and radical politics became unstuck.
It is a testament to the popularity Reich once had that his name is still remembered at all - so many of his colleagues have been forgotten. But he is now known more for his mad invention rather than for the sexual radicalism that box contained. Reich’s eccentric device might be seen as a prism through which to look at the conflicts and controversies of that era. Why did a generation seek to shed its sexual repressions by climbing into a closet? And why were others so threatened by it? What does it tell us about the ironies of the sexual revolution that the symbol of liberation was a box?
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2024.05.05 19:54 Fun_Protection_6939 I decided to analyze some data for the Best Picture winners which had corresponding Best Actress winners.

Due to the increasing rhetoric that movies which star Best Actress winners seldom get represented in other categories, I decided to analyze the data present with the movies which star Best Actress winners which won Best Picture. This will be in chronological order.
So, in average, the number of nominations that a Best Picture winner which also stars a Best Actress winner is 7 nominations. The average number of wins is 4 wins.
The most number of nominations for a film in this list is Gone With The Wind, which had a record-breaking 13 nominations. Note that Shakespeare In Love also had 13 nominations, but a good amount of those were rigged. The lowest number of nominations is Annie Hall, which was nominated only for the Big 5 and nothing else.
The most number of wins is again, Gone With The Wind with 8 wins, followed by Shakespeare In Love with 7 and Mrs. Miniver with 6. Interesting to note is that all of the Big 5 winners won only the Big 5 and nothing else.
As for correlation with other acting categories, 4 out of these 14 movies also won Best Supporting Actress. 3 of them won Best Actor, and 3 of them won Best Supporting Actor.
As for my personal feelings, 14 is way too less of BP winners which also starred Best Actress winners. Of the top of my head, Fargo should've easily won Best Picture. I would gladly swap out Shakespeare In Love for Fargo. Also, Eternal Sunshine Of The Spotless Mind should've won BP and Actress the same year Million Dollar Baby did, but Million Dollar Baby is a firm second for me, so I'm not really salty on it. A Streetcar Named Desire and Network were also the best films of their year, but I understand that people may feel otherwise.
Note- Technically, Sunrise didn't win BP, but I'm counting it in anyways.
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2024.05.05 17:28 Fun_Protection_6939 I decided to analyze some data for the Best Picture winners which had corresponding Best Actress winners.

Due to the increasing rhetoric that movies which star Best Actress winners seldom get represented in other categories, I decided to analyze the data present with the movies which star Best Actress winners which won Best Picture. This will be in chronological order.
So, in average, the number of nominations that a Best Picture winner which also stars a Best Actress winner is 7 nominations. The average number of wins is 4 wins.
The most number of nominations for a film in this list is Gone With The Wind, which had a record-breaking 13 nominations. Note that Shakespeare In Love also had 13 nominations, but a good amount of those were rigged. The lowest number of nominations is Annie Hall, which was nominated only for the Big 5 and nothing else.
The most number of wins is again, Gone With The Wind with 8 wins, followed by Shakespeare In Love with 7 and Mrs. Miniver with 6. Interesting to note is that all of the Big 5 winners won only the Big 5 and nothing else.
As for correlation with other acting categories, 4 out of these 14 movies also won Best Supporting Actress. 3 of them won Best Actor, and 3 of them won Best Supporting Actor.
As for my personal feelings, 14 is way too less of BP winners which also starred Best Actress winners. Of the top of my head, Fargo should've easily won Best Picture. I would gladly swap out Shakespeare In Love for Fargo. Also, Eternal Sunshine Of The Spotless Mind should've won BP and Actress the same year Million Dollar Baby did, but Million Dollar Baby is a firm second for me, so I'm not really salty on it. A Streetcar Named Desire and Network were also the best films of their year, but I understand that people may feel otherwise.
Note- Technically, Sunrise didn't win BP, but I'm counting it in anyways.
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2024.04.29 20:16 yawningvoid28 Turner Classic Movies (U.S.) Full Daily Schedule For May, 2024.

(all airtimes E.S.T.)
WED MAY 01
(1:15AM) The Children's Hour (1961/1h 47m/Drama/William Wyler)
(3:15AM) The Apartment (1960/2h 5m/Comedy/Billy Wilder)
(6:00AM) From the Earth to the Moon (1958/1h 40m/Science-Fiction/Byron Haskin)
(7:45AM) The Snow Devils (1965/1h 18m/HorroAntonio Margheriti)
(9:30AM) The Green Slime (1969/1h 30m/HorroKinji Fukasaku)
(11:15AM) Moon Zero Two (1969/1h 40m/Roy Ward Baker)
(1:15PM) Countdown (1968/1h 41m/Drama/Robert Altman)
(3:00PM) Toward the Unknown (1956/1h 55m/Drama/Mervyn Le Roy)
(5:00PM) Plan 9 from Outer Space (1959/1h 19m/HorroEdward D. Wood, Jr.)
(6:30PM) The Thing from Another World (1951/1h 27m/HorroChristian Nyby)
(8:00PM) Laura (1944/1h 28m/Film-NoiOtto Preminger)
(9:45PM) Rebecca (1940/1h 55m/Suspense/Alfred Hitchcock)
THU MAY 02
(12:15AM) Marnie (1964/2h 10m/Suspense/Alfred Hitchcock)
(2:45AM) Agatha (1979/1h 38m/Mystery/Michael Apted)
(4:30AM) Penelope (1966/1h 37m/Comedy/Arthur Hiller)
(6:30AM) The Angry Hills (1959/1h 45m/Suspense/Robert Aldrich)
(8:30AM) The Pride and the Passion (1957/2h 12m/Adventure/Stanley Kramer)
(11:00AM) Sweet November (1968/1h 54m/Romance/Robert Ellis Miller)
(1:00PM) My Fair Lady (1964/2h 50m/Musical/George Cukor)
(4:00PM) I Want To Live! (1958/2h 0m/Drama/Robert Wise)
(6:15PM) The Defiant Ones (1958/1h 37m/Drama/Stanley Kramer)
(8:00PM) No Greater Glory (1934/1h 57m/Drama/Frank Borzage)
(9:00PM) Man’s Castle (1933/1h 6m/Romance/Frank Borzage
(11:00PM) Secrets (1933/1h 30m/Western/Frank Borzage)
FRI MAY 03
(12:30AM) A Farewell to Arms (1932/1h 18m/Romance/Frank Borzage)
(2:15AM) Stranded (1935/1h 16m/Romance/Frank Borzage)
(3:30AM) **Desire (1963/1h 31m/Romance/Frank Borzage)
(5:15AM) The Circle (1925/1h 0m/Silent/Frank Borzage)
(6:30AM) The Half Naked Truth (1933/1h 7m/Comedy/Gregory La Cava)
(7:45AM) Texas Carnival (1951/1h 17m/Comedy/Charles Walters)
(9:15AM) Maisie Was a Lady (1941/1h 19m/Comedy/Edwin L. Marin)
(10:45AM) Flamingo Road (1949/1h 34m/Drama/Michael Curtiz)
(12:30PM) The Unholy Three (1930/1h 12m/Crime/Jack Conway)
(1:45PM) The Mind Reader (1933/1h 9m/Drama/DirectoRoy Del Ruth)
(3:00PM) Lili (1953/1h 21m/Musical/Charles Walters)
(4:30PM) The Wagons Roll At Night (1941/1h 24m/Drama/Ray Enright)
(6:00PM) Carnival Story (1954/1h 35m/Drama/Kurt Neumann)
(8:00PM) Dead Men Don't Wear Plaid (1982/1h 28m/Comedy/Carl Reiner)
(10:00PM) Dirty Rotten Scoundrels (1988/1h 50m/Comedy/Frank Oz)
SAT MAY 04
(12:00AM) Father of the Bride (1991/1h 45m/Comedy/Charles Shyer)
(2:00AM) Pennies From Heaven (1981/1h 47m/Musical/Herbert Ross)
(4:00AM) Robin and the 7 Hoods (1964/2h 3m/Musical/Gordon Douglas)
(6:15AM) Maya (1966/1h 31m/Adventure/John Berry)
(8:00AM) MGM CARTOONS: Grin and Share It (1957/0h 6m/Comedy/Michael Lah)
(8:07AM) Believe It or Not #10 (1932/0h 7m/Short/?)
(8:15AM) Glimpses of Peru (1937/0h 8m/Short/?)
(8:24AM) The Walking Dead (1936/1h 6m/HorroMichael Curtiz)
(9:30AM) Brush Roper (1955/0h 30mWestern/Stuart Heisler)
(10:00AM) POPEYE: Never Kick a Woman (1933/0h 6m/Animation/Dave Fleischer)
(10:07AM) The Falcon Takes Over (1942/1h 3m/Mystery/Irving Reis)
(11:30AM) Buzzin' Around (1933/0h 20m/Comedy/Alfred J. Goulding)
(12:00PM) Tonight and Every Night (1945/1h 32m/Musical/Victor Saville)
(1:45PM) Angels in the Outfield (1951/1h 42m/Drama/Clarence Brown)
(3:45PM) The Liquidator (1966/1h 44m/Suspense/Jack Cardiff)
(5:45PM) Billy Budd (1962/1h 52m/Drama/Peter Ustinov)
(8:00PM) A Face in the Crowd (1957/2h 6m/Drama/Elia Kazan)
(10:15PM) Ace In The Hole (1951/1h 59m/Drama/Billy Wilder)
SUN MAY 05
(12:15AM) Dark Passage (1947/1h 46m/Film-NoiDelmer Daves)
(2:15AM) Yentl (1983/2h 14m/Musical/Barbra Streisand)
(4:30AM) Portnoy's Complaint (1972/1h 41m/Drama/Ernest Lehman)
(6:15AM) Harlan County, USA (1976/1h 43m/Documentary/Barbara Kopple)
(8:15AM) Black Fury (1935/1h 32m/Drama/Michael Curtiz)
(10:00AM) Dark Passage (1947/1h 46m/Film-NoiDelmer Daves)
(12:00PM) Random Harvest (1942/2h 4m/Romance/Mervyn Le Roy)
(2:30PM) Raintree County (1957/3h 7m/Drama/Edward Dmytryk)
(5:30PM) Gypsy (1962/2h 29m/Musical/Mervyn Le Roy)
(8:00PM) The Big Trail (1930/1h 50m/Western/Raoul Walsh)
(10:15PM) White Heat (1949/1h 54m/Crime/Raoul Walsh)
MON MAY 06
(12:15AM) The First Auto (1927/1h 15m/Silent/Roy Del Ruth)
(2:00AM) A River Called Titas (1973/2h 39m/Drama/Ritwik Ghatak)
(5:00AM) Busses Roar (1942/0h 58m/Drama/D. Ross Lederman)
(6:00AM) I Loved a Woman (1933/1h 30m/Drama/Alfred E. Green)
(7:45AM) The Keyhole (1933./1h 9m/Drama/Michael Curtiz)
(9:00AM) Age of Indiscretion (1935/1h 18m/Drama/Edward Ludwig)
(10:30AM) My Past (1931/1h 23m/Romance/Roy Del Ruth)
(11:45AM) Mannequin (1938/1h 35m/Romance/Lew Borzage)
(1:30PM) The Common Law (1932/1h 15m/Drama/Paul L. Stein)
(3:00PM) His Brother's Wife (1936/1h 30m/Romance/W. S. Van Dyke)
(4:30PM) Man On Fire (1957/1h 35m/Drama/Ranald Macdougall)
(6:15PM) One is a Lonely Number (1972/1h 37m/Drama/Mel Stuart)
(8:00PM) The Cheat (1915/0h42m/Silent/Cecil B. De Mille )
(9:15PM) The Dragon Painter (1919/0h 53m/Silent/William Worthington)
(10:15PM) The Tong Man (1919/0h 58m/Crime/William Worthington)
(11:30PM) Yellowface: Asian Whitewashing and Racism in Hollywood (2019/0h 54m/Documentary/Clara Kuperberg and Julia Kuperberg)
TUE MAY 07
(12:30AM) China Sky (1945/1h 18m/WaRay Enright)
(2:00AM) Sayonara (1957/2h 27m/Romance/Joshua Logan)
(6:00AM) Bed of Roses (1933/1h 7m/Drama/Gregory Lacava)
(7:15AM) Honeysuckle Rose (1980/1h 59m/Drama/Jerry Schatzberg)
(9:30AM) The Subject Was Roses (1968/1h 47m/Drama/Ulu Grosbard)
(11:30AM) The Blue Gardenia (1953/1h 30m/Suspense/Fritz Lang)
(1:00PM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(3:15PM) Brooklyn Orchid (1942/0h 50m/Comedy/Kurt Neumann)
(4:15PM) Brother Orchid (1940/1h 30m/Crime/Lloyd Bacon)
(6:00PM) Black Narcissus (1947/1h 39m/Drama/Michael Powell)
(8:00PM) North by Northwest (1959/2h 16m/Suspense/Alfred Hitchcock)
(10:30PM) A Matter of Life and Death (1947/1h 44m/Romance/Michael Powell)
WED MAY 08
(12:30AM) Forbidden Planet (1956/1h 38m/Science-Fiction/Fred Mcleod Wilcox)
(2:15AM) Citizen Kane (1941/1h 59m/Drama/Orson Welles)
(4:30AM) The Fountainhead (1949/1h 54m/Drama/King Vidor)
(6:30AM) The Shoes of the Fisherman (1968/2h 42m/Drama/Michael Anderson)
(9:30AM) Lone Star (1952/1h 34m/Western/Vincent Sherman)
(11:30AM) Rio Bravo (1959/2h 21m/Western/Howard Hawks)
(2:00PM) The Westerner (1940/1h 40m/Western/William Wyler)
(4:00PM) The Life and Times of Judge Roy Bean (1972/2h 0m/Western/John Huston)
(6:15PM) A Big Hand for the Little Lady (1966/1h 35m/Western/Fielder Cook)
(8:00PM) Shane (1953/1h 58m/Western/George Stevens)
(10:15PM) Hud (1963/1h 52m/Western/Martin Ritt)
THU MAY 09
(12:15AM) Spartacus (1960/3h 2m/Drama/Stanley Kubrick)
(3:45AM) Heidi (1937/1h 28m/Drama/Allan Dwan)
(5:30AM) Kim (1951/1h 53m/Adventure/Victor Saville)
(7:30AM) Dance, Fools, Dance (1931/1h 21m/Drama/Harry Beaumont)
(9:00AM) Possessed (1931/1h 12m/Romance/Clarence Brown)
(10:30AM) Laughing Sinners (1931/1h 11m/Romance/Harry Beaumont)
(11:45AM) Dancing Lady (1933/1h 22m/Musical/Robert Z. Leonard)
(1:30PM) Forsaking All Others (1934/1h 24m/Romance/W. S. Van Dyke)
(3:00PM) Chained (1934/1h 11m/Romance/Clarence Brown)
(4:30PM) Love on the Run (1936/1h 20m/Romance/W. S. Van Dyke)
(6:00PM) Boom Town (1940/1h 56m/Adventure/Jack Conway)
(8:00PM) History Is Made at Night (1937/1h 37m/Romance/Frank Borzage)
(10:00PM) Smilin' Through (1941/1h 40m/Romance/Frank Borzage)
FRI MAY 10
(12:00AM) Seven Sweethearts (1942/1h 38m/Musical/Frank Borzage)
(1:45AM) Flirtation Walk (1934/1h 37m/Musical/Frank Borzage)
(3:30AM) Shipmates Forever (1935/1h 49m/Musical/Frank Borzage)
(5:30AM) Hearts Divided (1936/1h 27m/Romance/Frank Borzage)
(7:00AM) No Other Woman (1933/0h 56m/Drama/J. Walter Ruben)
(8:00AM) Little Lord Fauntleroy (1936/1h 38m/Drama/John Cromwell)
(10:00AM) The Prisoner of Zenda (1937/1h 41m/Adventure/John Cromwell)
(12:00PM) Viva Villa! (1934/1h 55m/Western/Jack Conway)
(2:00PM) A Star Is Born (1937/1h 51m/Romance/William A. Wellman)
(4:00PM) Reckless (1935/1h 36m/Romance/Victor Fleming)
(5:45PM) A Tale of Two Cities (1935/2h/Drama/Jack Conway)
(8:00PM) Rebel Without a Cause (1955/1h 51m/Drama/Nicholas Ray)
(10:00PM) The Loneliness of the Long Distance Runner (1962/1h 44m/Drama/Tony Richardson)
SAT MAY 11
(12:00AM) Rumble Fish (1983/1h 34m/Action/Francis Ford Coppola)
(2:00AM) Wild Boys of the Road (1933/1h 17m/Drama/William A. Wellman(
(3:30AM) Crime School (1938/1h 26m/Drama/Lewis Seiler)
(5:00AM) Haunted Gold (1932/58m/Western/Mack V. Wright)
(6:00AM) Jungle Book (1942/1h 49m/Adventure/Zoltan Korda)
(8:00AM) MGM CARTOONS: Little Buck Cheeser (1937/0h 7m/Animation/Rudolf Ising)
(8:08AM) Believe It or Not #11 (1932/0h 7m/Documentary/?)
(8:16AM) India on Parade (1937/9m/Short/?)
(8:26AM) Attack of the 50 Foot Woman (1958/1h 5m/HorroNathan Hertz)
(9:30AM) Tom and Jerry (1955/0h 30m/Drama/Leo McCarey)
(10:00AM) POPEYE: Little Swee' Pea (1936/0h 7m/Animation/Dave Fleischer)
(10:08AM) The Falcon's Brother (1942/1h 3m/Mystery/Stanley Logan)
(11:30AM) Forbidden Passage (1941/0h 20m/Short/Fred Zinnemann)
(12:00PM) Sweet Charity (1969/2h 29m/Musical/Bob Fosse)
(2:45PM) Point Blank (1967/1h 32m/Crime/John Boorman)
(4:30PM) Roadblock (1951/1h 13m/Film-NoiHarold Daniels)
(6:00PM) American Graffiti (1973/1h 49m/Comedy/George Lucas)
(8:00PM) The Fisher King (1991/2h 17m/Dramedy/Terry Gilliam)
(10:30PM) Synecdoche, New York (2008/2h 4m/Dramedy/Charlie Kaufman)
SUN MAY 12
(12:45AM) Follow Me Quietly (1949/0h 59m/Film-NoiRichard O. Fleischer)
(2:15AM) Murder, She Said (1961/1h 26m/Mystery/George Pollock)
(4:00AM) Murder at the Gallop (1963/1h 21m/Mystery/George Pollock)
(5:30AM) MGM Parade Show #11 (1955/0h 25m/Documentary/?)
(6:00AM) Three Daring Daughters (1948/1h 55m/Musical/Fred M. Wilcox)
(8:00AM) Please Don't Eat the Daisies (1960/1h 51m/Comedy/Charles Walters)
(10:00AM) Follow Me Quietly (1949/0h 59m/Film-NoiRichard O. Fleischer)
(11:15AM) So Big (1953/1h 41m/Romance/Robert Wise)
(1:15PM) Pocketful of Miracles (1961/2h 16m/Comedy/Frank Capra)
(3:45PM) Mildred Pierce (1945/1h 53m/Drama/Michael Curtiz)
(5:45PM) Imitation of Life (1959/2h 5m/Romance/Douglas Sirk)
(8:00PM) I Remember Mama (1948/2h 14m/Drama/George Stevens)
(10:30PM) Yours, Mine, and Ours (1968/1h 51m/Comedy/Melville Shavelson)
MON MAY 13
(12:30AM) The Merry Widow (1925/1h 51m/Silent/Erich Von Stroheim)
(3:00AM) Unknown Pleasures (2002/1h 52m/Comedy/Jia Zhang-ke)
(5:00AM) The World (2004/2h 19m/Adventure/Jia Zhang-ke)
(7:30AM) Night Flight (1933/1h 24m/Drama/Clarence Brown)
(9:00AM) Sadie McKee (1934/1h 30m/Romance/Clarence Brown)
(10:45AM) Song of Love (1947/1h 59m/Western/Clarence Brown)
(12:45PM) Intruder in the Dust (1949/1h 29m/Drama/Clarence Brown)
(2:15PM) White Cliffs Of Dover (1944/2h 6m/Romance/Clarence Brown)
(4:30PM) Edison, the Man (1940/1h 47m/Drama/Clarence Brown)
(6:30PM) Wife Vs. Secretary (1936/1h 28m/Romance/Clarence Brown)
(8:00PM) Tokyo Joe (1949/1h 28m/Suspense/Stuart Heisler)
(9:45PM) The Geisha Boy (1958/1h 38m/Comedy/Frank Tashlin)
(11:45PM) Daughter of the Dragon (1931/1h 10m/Crime/Lloyd Corrigan)
TUE MAY 14
(1:00AM) Daughter of Shanghai (1937/1h 3m/Crime/Robert Florey)
(2:15AM) Escapade in Japan (1957/1h 33m/Adventure/Arthur Lubin)
(4:00AM) Bridge to the Sun (1961/1h 52m/Drama/Etienne Périer)
(6:00AM) Key Largo (1948/1h 41m/Crime/John Huston)
(8:00AM) Wind Across the Everglades (1958/1h 33m/Adventure/Nicholas Ray)
(9:45AM) Sweet Bird of Youth (1962/2h 0m/Drama/Richard Brooks)
(12:00PM) Bright Road (1953/1h 9m/Drama/Gerald Mayer)
(1:15PM) Good-Bye, My Lady (1956/1h 35m/Drama/William A. Wellman)
(3:00PM) Louisiana Story (1948/1h 17m/Documentary/Robert Flaherty)
(4:30PM) Cry of the Hunted (1953/1h 20m/Drama/Joseph H. Lewis)
(6:00PM) The Drowning Pool (1975/1h 46m/Mystery/Stuart Rosenberg)
(8:00PM) Rancho Notorious (1952/1h 29m/Western/Fritz Lang)
(9:45PM) Beach Party (1963/1h 41m/Musical/William Asher)
(11:30PM) Breathless (1983/1h 40m/Drama/Jim McBride)
WED MAY 15
(1:30AM) Two Weeks in Another Town (1962/1h 47m/Drama/Vincente Minnelli)
(3:30AM) Querelle (1982/1h 48m/Drama/Rainer Werner Fassbinder)
(5:30AM) The Boy Friend (1971/1h 48m/Musical/Ken Russell)
(7:30AM) Design for Scandal (1941/1h 25m/Romance/Norman Taurog)
(9:00AM) Live, Love and Learn (1937/1h 18m/Comedy/Geo. Fitzmaurice)
(10:30AM) The Kid from Kokomo (1939/1h 35m/Comedy/Lewis Seiler)
(12:15PM) Tender Comrade (1943/1h 42m/Drama/Edward Dmytryk)
(2:15PM) A Guy Named Joe (1943/2h 0m/Romance/Victor Fleming)
(4:30PM) We Who Are Young (1940/1h 19m/Romance/Harold S. Bucquet)
(6:00PM) Our Vines Have Tender Grapes (1945/1h 45m/Drama/Roy Rowland)
(8:00PM) Gigi (1958/1h 56m/Musical/Vincente Minnelli)
(10:15PM) Lili (1953/1h 21m/Musical/Charles Walters)
THU MAY 16
(12:00AM) Oliver! (1968/2h 33m/Musical/Carol Reed)
(2:45AM) Roberta (1935/1h 25m/Musical/William A. Seiter)
(4:45AM) Mame (1974/2h 12m/Musical/Gene Saks)
(7:15AM) The Pitfall (1948/1h 24m/Film-NoiAndre De Toth)
(9:00AM) The Set-Up (1949/1h 12m/Drama/Robert Wise)
(10:15AM) The Maltese Falcon (1941/1h 40m/Mystery/John Huston)
(12:00PM) Lady in the Lake (1947/1h 43m/Mystery/Robert Montgomery)
(2:00PM) They Live by Night (1948/1h 35m/Crime/Nicholas Ray)
(4:00PM) The Strange Love of Martha Ivers (1946/1h 56m/Film-NoiLewis Milestone)
(6:00PM) The Postman Always Rings Twice (1946/1h 51m/Film-NoiTay Garnett)
(8:00PM) The Mortal Storm (1940/1h 40m/Drama/Frank Borzage)
(10:00PM) Three Comrades (1938/1h 40m/Romance/Frank Borzage)
FRI MAY 17
(12:00AM) Flight Command (1940/1h 50m/Adventure/Frank Borzage)
(2:15AM) The Spanish Main (1945/1h 40m/Adventure/Frank Borzage)
(4:15AM) Strange Cargo (1940/1h 45m/Drama/Frank Borzage)
(6:15AM) The Shining Hour (1938/1h 20m/Drama/Frank Borzage)
(7:45AM) One of Our Spies Is Missing (1966/1h 0m/Adventure/E. Darrell Hallenbeck)
(9:30AM) Where the Spies Are (1965/1h 53m/Comedy/Val Guest)
(11:30AM) The Prize (1963/2h 16m/Mystery/Mark Robson)
(2:00PM) The Venetian Affair (1967/1h 32m//Mystery/Jerry Thorpe)
(3:45PM) How to Steal the World (1968/1h 26m/Adventure/Sutton Roley)
(5:15PM) 36 Hours (1964/1h 55m/WaGeorge Seaton)
(7:15PM) MGM Parade Show #11 (1955/0h 25m/Documentary/?)
(8:00PM) Separate But Equal (1991/3h 10m/History/?)
(11:30PM) The Murder of Mary Phagan (1988/4h 11m/Drama/?)
SAT MAY 18
(4:00AM) Freedom on My Mind (1994/1h 45m/Documentary/Connie Field)
(6:00AM) Gunga Din (1939/1h 57m/Adventure/George Stevens)
(8:00AM) MGM CARTOONS: Old Smokey (1938/0h 7m/Animation/William Hanna)
(8:08AM) Believe It or Not #12 (1932/0h 8m/Documentary/?)
(8:17AM) Natural Wonders of the West (1938/0h 8m/Documentary/James H Smith)
(8:27AM) Devil's Island (1940/1h 2m/Drama/William Clemens)
(9:30AM) Rookie Of The Year (1955/Comedy/John Ford)
(10:00AM) POPEYE: Hold the Wire (1933/0h 6m/Animation/Dave Fleisher)
(10:07AM) Falcon in Danger (1943/1h 13m/Mystery/William Clemens)
(11:30AM) The Song of Fame (1934/0h 21m/Short/Joseph Henabery)
(12:00PM) The Great Ziegfeld (1936/3h 0m/Musical/Robert Z. Leonard)
(3:15PM) The FBI Story (1959/2h 29m/Crime/Mervyn Le Roy)
(6:00PM) Cahill, U.S. Marshal (1973/1h 43m/Western/Andrew V. McLaglen)
(8:00PM) Jailhouse Rock (1957/1h 36m/Musical/Richard Thorpe)
(10:00PM) Forty Guns (1957/1h 18m/Western/Samuel Fuller)
SUN MAY 19
(12:00AM) Take Aim at the Police Van (1960/1h 19m/Film-NoiSeijun Suzuki)
(1:45AM) The Cowboys (1972/8m/Western/Mark Rydell)
(4:00AM) Chisum (1970/1h 50m/Western/Andrew V. McLaglen)
(6:00AM) Behind Office Doors (1931/1h 26m/Drama/Melville Brown)
(7:30AM) The Boss Didn't Say Good Morning (1937/10m/Short/Jacques Tourneur)
(8:00AM) Executive Suite (1954/1h 44m/Drama/Robert Wise)
(10:00AM) Take Aim at the Police Van (1960/1h 19m/Film-NoiSeijun Suzuki)
(11:45AM) The Roman Spring of Mrs. Stone (1961/1h 44m/Drama/José Quintero)
(1:45PM) Sex and the Single Girl (1964/1h 54m/Comedy/Richard Quine)
(3:45PM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(5:45PM) Some Like It Hot (1959/2h 0m/Comedy/Billy Wilder)
(8:00PM) The Muppets Take Manhattan (1984/1h 34m/Musical/Frank Oz)
(10:00PM) Little Shop of Horrors (1986/1h 28m/Musical/Frank Oz)
MON MAY 20
(12:00AM) The Kiss (1929/50m/Silent/Jacques Feyder)
(12:50AM) Love (1927/1h 22m/Silent/Edmund Goulding)
(2:30AM) No End (1985/1h 44m/Drama/Krzysztof Kieslowski)
(4:30AM) Blind Chance (1981/2h 2m/Drama/Krzysztof Kieslowski)
(6:45AM) Athena (1954/1h 36m/Musical/Richard Thorpe)
(8:30AM) The Last Days of Pompeii (1935/1h 36m/Drama/Ernest B. Schoedsack)
(10:15AM) The Slave (1962/1h 32m/Adventure/Sergio Corbucci)
(12:15PM) Land of the Pharaohs (1955/1h 46m/Adventure/Howard Hawks)
(2:15PM) The Silver Chalice (1954/2h 24m/Drama//Victor Saville)
(4:45PM) Quo Vadis (1951/2h 51m/Drama/Mervyn Le Roy)
(8:00PM) House of Bamboo (1955/1h 42m/Crime/Samuel Fuller
(10:00PM) Green Mansions (1959/1h 44m/Romance/Mel Ferrer)
TUE MAY 21
(12:00AM) Hell to Eternity (1960/2h 12m/WaPhil Karlson)
(2:30AM) Grand Prix (1966/2h 59m/Adventure/John Frankenheimer)
(6:00AM) Mr. Chump (1938/1h 1m/Comedy/William Clemens)
(7:15AM) Mr. Hex (1946/1h 3m/Comedy/William Beaudine)
(8:30AM) Mr. Dodd Takes the Air (1937/1h 26m/Musical/Alfred E. Green)
(10:00AM) Mr. Doodle Kicks Off (1938/1h 17m/Comedy/Leslie Goodwins)
(11:30AM) Mr. Imperium (1951/1h 27m/Romance/Don Hartman)
(1:00PM) Mr. And Mrs. North (1941/1h 7m/Mystery/Robert B. Sinclair)
(2:15PM) Mr. Skeffington (1945/2h 7m/Drama/Vincent Sherman)
(4:45PM) Mr. Blandings Builds His Dream House (1948/1h 34m/Comedy/H. C. Potter)
(6:30PM) Mister Cinderella (1936/1h 15m/Comedy/Edward Sedgwick)
(8:00PM) The 5,000 Fingers of Dr. T (1953/1h 28m/Musical/Roy Rowland)
(9:45PM) The Red Shoes (1948/2h 14m/Romance/Michael Powell)
WED MAY 22
(12:15AM) Donkey Skin (1970/1h 30m/Drama/Jacques Demy)
(2:00AM) The Glass Slipper (1955/1h 34m/Musical/Charles Walters)
(3:45AM) Brigadoon (19541h 48m/Musical/Vincente Minnelli)
(5:45AM) Thief of Bagdad (1940/1h 46m/Adventure/Ludwig Berger)
(7:45AM) Lord of the Flies (1963/1h 30m/Drama/Peter Brook)
(9:30AM) Tunes of Glory (1960/1h 45m/WaRonald Neame)
(11:30AM) Tom Jones (1963/2h 11m/Comedy/Tony Richardson)
(1:45PM) The Lady Vanishes (1938/1h 37m/Suspense/Alfred Hitchcock)
(3:30PM) Oliver Twist (1948/1h 56m/Drama/David Lean)
(5:30PM) Sense and Sensibility (1995/2h 15m/Romance/Ang Lee)
(8:00PM) Marty (1955/1h 31m/Romance/Delbert Mann)
(9:45PM) Harvey (1950/1h 44m/Comedy/Henry Koster)
THU MAY 23
(12:00PM) Alice (1990/1h 25m/Comedy/Woody Allen)
(2:00AM) Tommy (1975/1h 51m/Musical/Ken Russell)
(4:00AMP Lenny (1974/1h 51/Drama/Ken Russell)
(6:00AM) Marriage on the Rocks (1965/1h 49m/Comedy/Jack Donohue)
(8:00AM) The Tender Trap (1955/1h 51m/Comedy/Charles Walters)
(10:00AM) Big City (1948/1h 43m/Crime/Norman Taurog)
(12:00PM) Neptune's Daughter (1949/1h 33m/Musical/Edward Buzzell)
(2:00PM) On the Town (1949/1h 38m/Musical/Gene Kelly)
(4:00PM) Take Me Out to the Ball Game (1949/1h 33m/Musical/Busby Berkeley)
(5:45PM) Words and Music (1948/1h 59m/Musical/Norman Taurog)
(8:00PM) How Green Was My Valley (1941/1h 58m/Drama/John Ford)
(10:15PM) Seven Samurai (1956/2h 40m/Drama/Akira Kurosawa)
FRI MAY 24
(2:00AM) The Battle of Algiers (1966/2h 0h/WaGillo Pontecorvo)
(3:15AM) Lust for Life (1956/2h 2m/Drama/Vincente Minnelli)
(5:30AM) MGM Parade Show #11 (1955/0h 25m/Documentary/?)
(6:00AM) A Day at the Races (1937/1h 45m/Comedy/Sam Wood)
(8:00AM) I Love You Again (1940/1h 39m/Comedy/W. S. Van Dyke II)
(10:00AM) The Loved One (1965/1h 56m/Comedy/Tony Richardson)
(12:15PM) The Awful Truth (1937/1h 30m/Comedy/Leo McCarey)
(2:00PM) No Time For Sergeants (1958/1h 59m/Comedy/Mervyn Le Roy)
(4:15PM) The Sunshine Boys (1975/1h 51m/Comedy/Herbert Ross)
(6:15PM) The Producers (1967/1h 28m/Comedy/Mel Brooks)
(8:00PM) The Caine Mutiny (1954/2h 5m/Drama/Edward Dmytryk)
(10:15PM) Platoon (1986/2h 0m/WaOliver Stone)
SAT MAY 25
(12:30AM) Men in War (1957/1h 44m/WaAnthony Mann)
(2:15\AM) The Steel Helmet (1951/1h 24m/WaSamuel Fuller)
(4:00AM) Go for Broke! (1951/1h 32m/WaRobert Pirosh)
(5:45AM) The Human Comedy (1943/1h 58m/Drama/Clarence Brown)
(7:45AM) Merrill's Marauders (1962/1h 38m/WaSamuel Fuller)
(9:30AM) They Were Expendable (1945/2h 15m/WaJohn Ford)
(12:00PM) Thank Your Lucky Stars (1943/2h 7m/Musical/David Butler)
(2:15PM) Onionhead (1958/1h 50m/Comedy/Norman Taurog)
(4:15PM) The Story of G. I. Joe (1945/1h 49m/WaWilliam A. Wellman)
(6:15PM) A Farewell to Arms (1932/1h 18m/Romance/Frank Borzage)
(8:00PM) Attack (1956/1h 47m/WaRobert Aldrich)
(10:00PM) Captains of the Clouds (1942/1h 53m/WaMichael Curtiz)
SUN MAY 26
(12:00AM) Bad for Each Other (1954/1h 23m/Film-NoiIrving Rapper)
(1:45AM) Men Of The Fighting Lady (1954/1h 20m/WaAndrew Marton)
(3:15AM) The Red Badge Of Courage (1951/1h 9m/Drama/John Huston)
(4:45AM) Wings For The Eagle (1942/1h 23m/WaLloyd Bacon)
(6:15AM) The Fighting 69th (1940/1h 30m/WaWilliam Keighley)
(7:45AM) Mister Roberts (1955/2h 3m/Comedy/John Ford)
(10:00AM) Bad for Each Other (1954/1h 23m/Film-NoiIrving Rapper)
(11:45AM) The Naked and the Dead (1958/2h 11m/WaRaoul Walsh)
(2:15PM) The Dirty Dozen (1967/2h 29m/WaRobert Aldrich)
(5:00PM) The Great Escape (1963/2h 48m/WaJohn Sturges)
(8:00PM) The Memphis Belle: A Story of a Flying Fortress (1944/40m/Documentary/Lt. Col. William Wyler)
(9:00PM) The Cold Blue (2018/1h 41m/Documentary/Erik Nelson)
(11:00PM) The Best Years Of Our Lives (1946/2h 52m/Drama/William Wyler)
MON MAY 27
(2:00AM) The Flying Fleet (1929/1h 27m/Silent/George Hill)
(2:15AM) The Flying Fleet (1929/1h 27m/Silent/George Hill)
(3:45AM) The Burmese Harp (1956/1h 56m/WaKon Ichikawa)
(4:00AM) The Burmese Harp (1956/1h 56m/WaKon Ichikawa)
(6:00AM) The Cranes Are Flying (1957/1h 34m/Romance/Mikhail Kalatozov)
(7:45AM) Appointment in Tokyo (1946/0h 55m/Documentary/Maj. Jack Hively)
(8:45AM) The McConnell Story (1955/1h 47m/Drama/Gordon Douglas)
(10:45AM) War Nurse (1930/1h 20m/WaEdgar Selwyn)
(12:15PM) Cry 'Havoc' (1944/1h 37m/WaRichard Thorpe)
(2:00PM) Bataan (1943/1h 54m/WaTay Garnett)
(4:00PM) The Rack (1956/1h 40m/Drama/Arnold Laven)
(5:45PM) Darby's Rangers (1958/2h 1m/WaWilliam A. Wellman)
(8:00PM) Three Came Home (1950/1h 46m/WaJean Negulesco)
(10:00PM) The Bridge on the River Kwai (1957/2h 41m/Drama/David Lean)
TUE MAY 28
(2:00AM) Assignment in Brittany (1943/1h 36m/Drama/Jack Conway)
(3:45AM) Sergeant York (1941/2h 14m/WaHoward Hawks)
(6:15AM) Mummy's Boys (1936/1h 8m/Comedy/Fred Guiol)
(7:30AM) My Demon Lover (1987/1h 27m/Comedy/Ted G, Vujovich)
(9:00AM) The Smiling Ghost (1941/1h 11m/Suspense/Lewis Seiler)
(10:30AM) Singapore Woman (1941/1h 4m/Drama/Jean Negulesco)
(11:45AM) The Reptile (1966/1h 30m/HorroJohn Gilling)
(1:30PM) Death Curse of Tartu (1966/HorroWilliam Grefé)
(3:00PM) Curse of the Demon (1958/1h 35m/HorroJacques Tourneur)
(4:30PM) The Curse of the Mummy's Tomb (1964/1h 21m/HorroMichael Carreras)
(6:00PM) Sphinx (1981/1h 58m/Adventure/Franklin J. Schaffner)
(8:00PM) Jason And The Argonauts (1963/1h 44m/Adventure/Don Chaffey)
(10:00PM) King Kong (1933/1h 40m/HorroMerian C. Cooper)
WED MAY 29
(12:00AM) Metropolis (1926/2h 23m/Silent/Fritz Lang)
(2:45AM) Modern Times (1936/1h 27m/Silent/Charlie Chaplin)
(4:15AM) Eraserhead (1977/1h 40m/HorroDavid Lynch)
(6:00AM) Beauty and the Beast (1946.1h 35m/Romance/Jean Cocteau)
(7:45AM) The Merry Widow (1934/1h 39m/Musical/Ernst Lubitsch)
(9:30AM) The Red Danube (1949/1h 59m/Drama/George Sidney)
(11:45AM) Conquest (1937/1h 52m/Romance/Clarence Brown)
(1:45PM) National Velvet (1944/2h 5m/Drama/Clarence Brown)
(4:00PM) Invitation to the Dance (1956/1h 33m/Musical/Gene Kelly)
(5:45PM) The Sea of Grass (1947/2h 11m/Drama//Elia Kazan)
(10:00PM) Ninotchka (1939/1h 50m/Comedy/Ernst Lubitsch)
THU MAY 30
(12:00AM) Camille (1937/1h 48m/Romance/George Cukor)
(2:00AM) Suzy (1936/1h 39m/Drama/Geo. Fitzmaurice)
(3:45AM) Marius (1931/2h 5m/Comedy/Alexandre Korda)
(6:00AM) British Agent (1934/1h 21m/Suspense/Michael Curtiz)
(7:30AM) Crossroads (1942/1h 24m/Suspense/Jack Conway)
(9:00AM) Mission to Moscow (1943/2h 3m/Drama/Michael Curtiz)
(11:15AM) Princess O'Rourke (1943/1h 34m/Comedy/Norman Krasna)
(1:00PM) A Majority of One (1961/2h 33m/Comedy/Mervyn Le Roy)
(3:30PM) The Notorious Landlady (1962/2h 3m/Comedy/Richard Quine)
(5:45PM) The Ugly American (1963/2h 0h/Drama/George Englund)
(8:00PM) The Front Page (1974/1h 45m/Comedy/Billy Wilder)
(10:00PM) The Front Page (1931/1h 41m/Comedy/Lewis Milestone)
FRI MAY 31
(12:00AM) His Girl Friday (1940/1h 32m/Comedy/Howard Hawks)
(2:00AM) Switching Channels (1988/1h 45m/Comedy/Ted Kotcheff)
(4:00AM) Hooper (1978/1h 39m/Comedy/Hal Needham)
(6:00AM) Wild Rovers (1971/1h 50m/Western/Blake Edwards)
(8:30AM) The Great Bank Hoax (1977/1h 33m/Comedy/Joseph Jacoby)
(10:15AM) Larceny, Inc. (1942/1h 35m/Comedy/Lloyd Bacon)
(1:30PM) Going in Style (1979/1h 37m/Comedy/Martin Brest)
(3:30PM) The Getaway (1972/2h 2m/Crime/Sam Peckinpah)
(5:45PM) Dog Day Afternoon (1975/2h 10m/Crime/Sidney Lumet)
(8:00PM) The Public Enemy (1931/1h 14m/Crime/William A. Wellman)
(9:30PM) Brian's Song (1971/1h 30m/Drama/Buzz Kulik)
(11:00PM) The Bingo Long Traveling All-Stars and Motor Kings (1976/1h 50m/Comedy/John Badham)
submitted by yawningvoid28 to movies [link] [comments]

2024.03.31 08:41 yawningvoid28 Turner Classic Movies' Full Monthly Schedule for the Month of April, 2024.

U.S. Version. All Airtimes E.S.T.
MON APR 01
(12:45AM) The Conquering Power (1921/1h 29m/Silent/Rex Ingram)
(2:30AM) A Slightly Pregnant Man (1973/1h 35m/Comedy/Jacques Demy)
(4:15AM) Summer with Monika (2007/1h 37m/Romance/Ingmar Bergman)
(6:00AM) Ben-Hur (1925/2h 13m/Silent/Fred Niblo)
(8:30AM) The Big Parade (1925/2h 22m/Silent/King Vidor)tb
(11:15AM) The Unholy Three (1925/1h 26m/Silent/Tod Browning)
(1:00PM) The Cameraman (1928/1h 18m/Silent/Edward Sedgwick)
(2:30PM) The Crowd (1928/1h 35m/Drama/King Vidor)
(4:15PM) The Broadway Melody (1929/1h 42m/Musical/Harry Beaumont)
(6:00PM) Flesh and the Devil (1926/1h 37m/Silent/Clarence Brown)
(8:00PM) Grand Hotel (1932/1h 45m/Drama/Edmund Goulding)
(10:00PM) MGM: When The Lion Roars Part I: The Lion Roars (1992/2h 0m/Documentary/Frank Martin)
TUE APR 02
(12:15AM) Dinner at Eight (1933/1h 53m/Comedy/George Cukor)
(2:15AM) The Divorcee (1930/1h 20m/Drama/Robert Z. Leonard)
(3:45AM) Bombshell (1933/1h 31m/Comedy/Victor Fleming)
(5:30AM) The Thin Man (1934/1h 20m/Mystery/W. S. Van Dyke)
(7:00AM) Three on a Match (1932/1h 4m/Drama/Mervyn Leroy)
(8:15AM) The Strange Love of Molly Louvain (1932/1h 13m/Drama/Michael Curtiz)
(9:30AM) Friends of Mr. Sweeney (1934/1h 8m/Comedy/Edward Ludwig)
(10:45AM) Heat Lightning (1934/1h 3m/Crime/Mervyn Le Roy)
(12:00PM) Side Streets (1934/1h 3m/Romance/Alfred E. Green)
(1:15PM) Dr. Socrates (1935/1h 10m/Crime/William Dieterle)
(2:30PM) 'G' Men (1935/1h 25m/Crime/William Keighley)
(4:00PM) We Who Are About to Die (1936/1h 22m/Drama/Christy Cabanne)
(5:30PM) The Case of the Stuttering Bishop (1937/1h 10m/Mystery/William Clemens)
(6:45PM) Racing Lady (1937/0h 59m/Drama/Wallace Fox)
(8:00PM) Sense and Sensibility (1995/2h 15m/Romance/Ang Lee)
(10:30PM) The Remains of the Day (1993/2h 14m/Drama/James Ivory)
WED APR 03
(1:00AM) In the Name of the Father (1993/2h 7m/Biography/Terry George)
(3:30AM) Much Ado About Nothing (1993/1h 51m/Comedy/Kenneth Branagh
(5:30AM) MGM Parade Show #8 (1955/25m/Documentary/?)
(6:00AM) The Fugitive Kind (1960/2h 15m/Drama/Sidney Lumet)
(8:15AM) The Teahouse of the August Moon (1956/2h 3m/Comedy/Daniel Mann)
(10:30AM) Mutiny on the Bounty (1962/3h 5m/Drama/Lewis Milestone)
(1:45PM) Reflections in a Golden Eye (1967/1h 49m/Drama/John Huston)
(3:45PM) Julius Caesar (1953/2h 1m/Drama/Joseph L. Mankiewicz)
(6:00PM) Viva Zapata! (1952/1h 53m/Western/Elia Kazan)
(8:00PM) On The Waterfront (1954/1h 48m/Drama/Elia Kazan)
(10:00PM) The Wild One (1953/1h 19m/Crime/Laslo Benedek)
(11:30PM) A Streetcar Named Desire (1951/2h 2m/Drama/Elia Kazan)
THU APR 04
(1:45AM) The Chase (1966/2h 15m/Drama/Arthur Penn)
(4:15AM) The Formula (1980/1h 57m/Suspense/John G. Avildsen)
(6:15AM) Nobody Lives Forever (1946/1h 40m/Romance/Jean Negulesco)
(8:00AM) Lucky Partners (1940/1h 42m/Comedy/Lewis Milestone)
(10:00AM) Two Smart People (1946/1h 33m/Comedy/Jules Dassin)
(12:00PM) The Treasure of Pancho Villa (1955/1h 36m/Western/George Sherman)
(1:45PM) I Like Your Nerve (1931/1h 10m/Comedy/William McGann)
(3:00PM) Love on the Run (1936/1h 20m/Romance/W. S. Van Dyke)
(4:30PM) Please Believe Me (1950/1h 27m/Romance/Norman Taurog)
(6:00PM) Yolanda And The Thief (1945/1h 48m/Musical/Vincente Minnelli)
(8:00PM) Annie Hall (1977/1h 33m/Comedy/Woody Allen)
(10:00PM) Diner (1982/1h 50m/Drama/Barry Levinson)
FRI APR 05
(12:00AM) Dodsworth (1936/1h 41m/Romance/William Wyler)
(2:00AM) Scandal: The Trial of Mary Astor (2018/1h 2m/Documentary/Alexa Foreman)
(3:15AM) Upper World (1934/1h 12m/Crime/Roy Del Ruth)
(4:30AM) Paradise for Three (1938/1h 18m/Comedy/Edward Buzzell)
(6:00AM) The Great Sinner (1949/1h 50m/Drama/Robert Siodmak)
(8:00AM) Designing Woman (1957/1h 58m/Comedy/Vincente Minnelli)
(10:15AM) Woman of the Year (1942/1h 52m/Comedy/George Stevens)
(12:15PM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
(2:00PM) Dark Victory (1939/1h 46m/Romance/Edmund Goulding)
(4:00PM) Now, Voyager (1942/1h 57m/Romance/Irving Rapper)
(6:15PM) The Letter (1940/1h 37m/Drama/William Wyler)
(8:00PM) Double Indemnity (1944/1h 46m/Film-NoiBilly Wilder)
(10:00PM) The Major and the Minor (1942/1h 40m/Comedy/Billy Wilder)
SAT APR 06
(12:00AM) Mauvaise Graine (1934/1h 26m/Drama/Billy Wilder)
(1:30AM) Five Graves To Cairo (1943/1h 36m/WaBilly Wilder)
(3:30AM) Rumble Fish (1983/1h 34m/Drama/Francis Ford Coppola)
(5:30AM) Alice in Movieland (1940/0h 21m/Short/Jean Negulesco)
(6:00AM) The Tunnel of Love (1958/1h 38m/Comedy/Gene Kelly)
(8:00AM) MGM CARTOONS: Abdul the Bulbul Ameer (1941/0h 8m/Animation/Robert Allen)
(8:09AM) Believe it or Not #6 (1932/0h 7m/Short/?)
(8:16AM) Along the Cactus Trail (1944/0h 9m/Documentary/James A. Fitzpatrick)
(8:26AM) The Fargo Kid (1941/1h 3m/Western/Edward Killy)
(9:30AM) Arroyo (1955/Western/George Waggner)
(10:00AM) POPEYE: Bridge Ahoy! (1936/0h 6m/Animation/Dave Fleischer)
(10:08AM) Babbitt (1934/1h 14m/Drama/William Keighley)
(11:30AM) Money to Loan (1939/0h 21m/Crime/Joseph Newman)
(12:00PM) Beat Street (1984/1h 46m/Drama/Stan Lathan)
(2:00PM) Honeysuckle Rose (1980/1h 59m/Drama/Jerry Schatzberg)
(4:15PM) Ride Lonesome (1959/1h 14m/Western/Budd Boetticher)
(5:45PM) The Treasure of the Sierra Madre (1948/2h 6m/Adventure/John Huston)
(8:00PM) Blood on the Moon (1948/1h 28m/Western/Robert Wise)
(9:45PM) One Touch of Venus (1948/1h 22m/Comedy/William A. Seiter)
SUN APR 07
(12:00AM) Violence (1947/1h 12m/Film-NoiJack Bernhard)
(1:45AM) Summer of '42 (1971/1h 42m/Romance/Robert Mulligan)
(3:45AM) Class of '44 (1973/1h 35m/Drama/Paul Bogart)
(5:30AM) Roof Tops of Manhattan (1935/0h 21m/Short/Joseph Henabery)
(6:00AM) Two on a Guillotine (1965/1h 47m/HorroWilliam Conrad)
(8:00AM) Susan Slade (1961/1h 56m/Romance/Delmer Daves)
(10:00AM) Violence (1947/1h 12m/Film-NoiJack Bernhard)
(11:30AM) April in Paris (1952/1h 41m/Comedy/David Butler)
(1:15PM) The Great Race (1965/2h 37m/Comedy/Blake Edwards)
(4:00PM) Pride and Prejudice (1940/1h 57m/Romance/Robert Z. Leonard)
(6:15PM) The Secret Garden (1949/1h 32m/Drama/Fred M. Wilcox)
(8:00PM) Young Man with a Horn (1950/1h 52m/Romance/Michael Curtiz)
(10:00PM) New Orleans (1947/1h 29m/Musical/Arthur Lubin)
MON APR 08
(12:00AM) The Circle (1925/1h 0m/Silent/Frank Borzage)
(2:00AM) All My Good Countrymen (1968/2h 6m/Comedy/Vojtech Jasný)
(4:15AM) Courage for Every Day (1964/Drama/Evald Schorm)
(6:00AM) Mutiny on the Bounty (1935/2h 12m/Adventure/Frank Lloyd)
(8:15AM) Born to Dance (1936/1h 48m/Musical/Roy Del Ruth)
(10:15AM) Love Finds Andy Hardy (1938/1h 30m/Comedy/George B. Seitz)
(12:00PM) Goodbye, Mr. Chips (1939/1h 54m/Drama/Sam Wood)
(2:00PM) The Mortal Storm (1940/1h 40m/Drama/Frank Borzage)
(3:45PM) Lassie Come Home (1943/1h 28m/Adventure/Fred M. Wilcox)
(5:15PM) Bathing Beauty (1944/1h 41m/Musical/George Sidney)
(7:00PM) Some of the Best (1944/0h 48m/Short/?)
(8:00PM) The Wizard of Oz (1939/1h 42m/Fantasy/Victor Fleming)
(10:00PM) MGM: When the Lion Roars Part 2: The Lion Reigns Supreme (1992/2h 0h/Documentary/Frank Martin)
TUE APR 09
(12:15AM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(2:15AM) A Woman's Face (1941/1h 45m/Drama/George Cukor)
(4:15AM) Cabin in the Sky (1943/1h 38m/Musical/Vincente Minnelli)
(6:00AM) MGM Parade Show #8 (1955/0m 25m/Documentary/?)
(6:30AM) Young Dillinger (1965/1h 42m/Biography/Terry O. Morse)
(8:15AM) Young Catherine (1991/2h 0m/Drama/Michael Anderson)
(11:30AM) Young Winston (1972/2h 37m/Drama/Richard Attenborough)
(2:15PM) Young Tom Edison (1940/1h 22m/Drama/Norman Taurog)
(4:00PM) Young Cassidy (1965/1h 50m/Romance/Jack Cardiff)
(6:00PM) Young Bess (1953/1h 52m/Romance/George Sidney)
(8:00PM) Picnic at Hanging Rock (1975/2h 0m/Drama/Peter Weir)
(10:00PM) So Long at the Fair (1950/1h 26m/Suspense/Terence Fisher)
(11:45PM) Agatha (1979/1h 38m/Suspense/Michael Apted)
WED APR 10
(1:30AM) The Seventh Victim (1943/1h 11m/HorroMark Robson)
(3:00AM) The Vanishing (1988/1h 47m/HorroGeorge Sluizer)
(5:00AM) The Metro-Goldwyn-Mayer Story (1950/0h 56m/Documentary/Herman Hoffman)
(6:00AM) The Appointment (1968/1h 40m/Drama/Sidney Lumet)
(8:00AM) Lawrence of Arabia (1962/3h 46m/Adventure/David Lean)
(12:00PM) Funny Girl (1968/2h 35m/Musical/William Wyler
(2:45PM) MGM Parade Show #18 (1955/0h 25m/Documentary/?)
(3:30PM) THE POWER OF FILM: Popular and Memorable (2023/Documentary/Laura Gabbert and Doug Pray)
(4:15PM) THE POWER OF FILM: Trapped (2023/Documentary/Laura Gabbert and Doug Pray)
(5:00PM) THE POWER OF FILM: Character Relationships (2023/Documentary/Laura Gabbert and Doug Pray)
(5:45PM) THE POWER OF FILM: Heroes and Villains (2023/Documentary/Laura Gabbert and Doug Pray)
(6:30PM) THE POWER OF FILM: The Power of Paradox (2023/Documentary/Laura Gabbert and Doug Pray)
(7:15PM) THE POWER OF FILM: Love and Meaning (2023/Documentary/Laura Gabbert and Doug Pray)
(8:00PM) The Godfather (1972/2h 55m/Crime/Francis Ford Coppola)
(11:15pm) The Freshman (1990/1h 42m/Comedy/Andrew Bergman)
THU APR 11
(1:15AM) Last Tango In Paris (1972/2h 5m/Drama/Bernardo Bertolucci)
(3:30AM) The Missouri Breaks (1976/2h 6m/Western/Arthur Penn)
(6:00AM) Love Crazy (1941/1h 40m/Comedy/Jack Conway)
(7:45AM) Down to Their Last Yacht (1934/1h 4m/Musical/Paul Sloane)
(9:00AM) The Last Gangster (1937/1h 21m/Crime/Edward Ludwig)
(10:30AM) Little Caesar (1930/1h 20m/Crime/Mervyn Leroy)
(12:00PM) Abe Lincoln in Illinois (1940/1h 50m/Drama/John Cromwell)
(2:00PM) Dr. Ehrlich's Magic Bullet (1940/1h 43m/Drama/William Dieterle)
(3:45PM) Edge of Darkness (1943/h 59m/WaLewis Milestone)
(5:45PM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(8:00PM) My Favorite Year (1982/1h 32m/Comedy/Richard Benjamin)
(10:00PM) That's Entertainment! (1974/2h 12m/Documentary/Jack Haley, Jr.)
FRI APR 12
(12:30AM) To Be or Not to Be (1942/1h 39m/Comedy/Ernst Lubitsch)
(2:15AM) The Producers (1967/1h 28m/Comedy/Mel Brooks)
(3:45AM) The Great Dictator (1940/2h 9m/Comedy/Charles Chaplin)
(6:00AM) A Farewell to Arms (1932/1h 18m/Romance/Frank Borzage)
(7:30AM) The Candidate (1972/1h 49m/Drama/Michael Ritchie)
(9:30AM) The Golden Arrow (1964/1h 31m/Adventure/Antonio Margheriti)
(11:15AM) Giant (1956/3h 21m/Drama/George Stevens)
(2:45PM) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)
(4:45PM) Purple Noon (1961/1h 58m/Crime/René Clément)
(6:45PM) Indiscretion of an American Wife (1954/1h 3m/Romance/Vittorio De Sica)
(8:00PM) Bullets or Ballots (1936/1h 17m/Crime/William Keighley)
(9:30PM) The Sea Hawk (1940/2h 7m/Adventure/Michael Curtiz)
(11:45PM) The Music Man (1962/2h 31m/Morton DaCosta)
SAT APR 13
(2:30AM) Kings Row (1942/2h 7m/Drama/Sam Wood)
(4:45AM) It's a Great Feeling (1949/1h 25m/Comedy/David Butler)
(6:15AM) Romance on the High Seas (19481h 39m/Musical/Michael Curtiz)
(8:00AM) Billy Boy (1954/0h 6m/Animation/Fred “Tex” Avery)
(8:07AM) Believe It or Not #7 (1932/0h 7m/Documentary/?)
(8:15AM) Calling on Costa Rica (1947/0h 9m/Short/James A. FitzPatrick)
(8:25AM) The Hired Gun (19571h 3m/Western/Ray Nazarro)
(9:30AM) Want Ad Wedding (1955/Comedy/0h 30m/William A. Seiter)
(10:00AM) POPEYE: What--No Spinach? (1936/0h 6m/Short/Dave Fleischer)
(10:08AM) Bad Little Angel (1939/1h 17m/Drama/William Thiele)
(11:30AM) No Contest! (1934/0h 21m/Musical/Joseph Henabery)
(12:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(2:00PM) Seven Brides for Seven Brothers (1954/1h 43m/Musical/Stanley Donen)
(4:00PM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(6:00PM) Indiscreet (1958/1h 40m/RomCom/Stanley Donen)
(8:00PM) Auntie Mame (1958/2h 23m/Comedy/Morton DaCosta)
(10:30PM) Grey Gardens (1976/1h 34m/Documentary/Ellen Hovde)
SUN APR 14
(12:15AM) Breaking Point (1950/1h 37m/Film-NoiMichael Curtiz)
(2:15AM) Wild Bill Hickok Rides (1942/1h 21m/Western/Ray Enright)
(4:00AM) The Guardsman (1931/1h 23m/Comedy/Sidney Franklin)
(5:30AM) The Pirate (1948/1h 42m/Musical/Vincente Minnelli)
(7:30AM) North by Northwest (1959/2h 16m/Suspense/Alfred Hitchcock)
(-10:00AM) The Breaking Point (1950/1h 37m/Film-NoiMichael Curtiz)
(12:00PM) An American in Paris (1951/1h 53m/Musical/Vincente Minnelli)
(2:00PM) Mr. Skeffington (1945/2h 7m/Drama/Vincent Sherman)
(4:30PM) Cyrano De Bergerac (1950/1h 52m/Drama/Michael Gordon)
(6:30PM) Private Screenings: Robert Osborne (2014/?/Documentary/?)
(8:00PM) Gone With the Wind (1939/3h 39m/Drama/Victor Fleming)
MON APR 15
(12:00AM) The Wind (1928/1h 15m/Silent/Victor Seastrom)
(1:30AM) Robert Osborne's 20th Anniversary Tribute (2015/0h 47m/Documentary/?)
(2:30AM) Diabolique (1955/1h 47m/HorroHenri-Georges Clouzot)
(4:30AM) The Petrified Forest (1936/1h 23m/Drama/Archie L. Mayo)
(6:00AM) Bataan (1943/1h 54m/WaTay Garnett)
(8:00AM) Marsha Hunt's Sweet Adversity (2015/1h 37m/Documentary/Roger C Memos)
(9:45AM) The Postman Always Rings Twice (1946/1h 51m/Film-NoiTay Garnett)
(11:45AM) Meet Me in St. Louis (1944/1h 53m/Musical/Vincente Minnelli)
(1:45PM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
(3:30PM) On the Town (1949/1h 38m/Musical/Gene Kelly)
(5:30PM) Silk Stockings (1957/1h 57m/Musical/Rouben Mamoulian)
(8:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(10:00PM) MGM: When the Lion Roars Part 3: The Lion in Winter (1992/2h 0h/Documentary/Frank Martin)
TUE APR 16
(12:15AM) Cat on a Hot Tin Roof (1958/1h 48m/Drama/Richard Brooks)
(2:15AM) Ben-Hur (1959/3h 32m/Drama/William Wyler)
(6:00AM) A Carol for Another Christmas (1964/1h 25m/Drama/Joseph L. Mankiewicz)
(7:30AM) Soldier in the Rain (1963/1h 28m/Comedy/Ralph Nelson)
(9:00AM) Touch of Evil (1958/1h 35m/Crime/Orson Welles)
(11:00AM) The Great Race (1965/2h 37m/Comedy/Blake Edwards)
(2:00PM) Bachelor in Paradise (1961/1h 49m/Comedy/Jack Arnold)
(4:00PM) Dear Heart (1964/1h 54m/Romance/Delbert Mann)
(6:00PM) Days of Wine and Roses (1962/1h 57m/Drama/Blake Edwards)
(8:00PM) The Pink Panther (1964/1h 53m/Comedy/Blake Edwards)
(10:15PM) Breakfast At Tiffany’s (1961/1h 55m/Dramedy/Blake Edwards )
WED APR 17
(12:30AM) Two For The Road (1967/1h 51m/Dramedy/Stanley Donen)
(2:30AM) Charade (1963/1h 54m/Suspense/Stanley Donen)
(4:30AM) Wait Until Dark (1967/1h 48m/Suspense/Terence Young)
(6:30AM) Blackboard Jungle (1955/1h 41m/Drama/Richard Brooks)
(8:15AM) Rebel Without a Cause (1955/1h 51m/Drama/Nicholas Ray)
(10:15AM) Il Posto (1961/1h 38m/Drama/Ermanno Olmi)
(12:00PM) A Taste of Honey (1961/1h 40m/Drama/Tony Richardson)
(1:45PM) A Summer Place (1959/2h 10m/Drama/Delmer Daves)
(4:00PM) Splendor in the Grass (1961/2h 4m/Drama/Elia Kazan)
(6:15PM) Badlands (1973/1h 35m/Crime/Terrence Malick)
(8:00PM) Guys and Dolls (1955/2h 30m/Musical/Joseph L. Mankiewicz)
(10:45PM) Sayonara (1957/2h 27m/Romance/Joshua Logan)
THU APR 18
(1:30AM) The Ugly American (1963/2h 0m/Drama/George Englund)
(6:00AM) Three Faces East (1930/1h 11m/Adventure/Roy Del Ruth)
(7:15AM) The Animal Kingdom (1932/1h 25m/Romance/Edward H. Griffith)
(8:45AM) The Man In Possession (1931/1h 19m/Comedy/Sam Wood)
(10:15AM) Irene (1940/1h 41m/Musical/Herbert Wilcox)
(12:00PM) Four's a Crowd (1938/1h 31m/Comedy/Michael Curtiz)
(1:45PM) Make Your Own Bed (1944/1h 22m/Comedy/Peter Godfrey)
(3:15PM) The Ex-Mrs. Bradford (1936/1h 20m/Mystery/Stephen Roberts)
(4:45PM) Personal Property (1937/1h 24m/Comedy/W. S. Van Dyke II)
(6:15PM) Merrily We Live (1938/1h 30m/Comedy/Norman Z. McLeod)
(8:00PM) The Thin Man (1934/1h 20m/Mystery/W. S. Van Dyke)
(9:45PM) Killer’s Kiss (1955/1h 7m/Suspense/Stanley Kubrick)
(11:00PM) Real Life (1979/1h 39m/Comedy/Albert Brooks)
FRI APR 19
(1:00AM) Zelig (1983/1h 24m/Comedy/Woody Allen)
(2:30AM) Simon (1980/1h 37m/Comedy/Marshall Brickman)
(4:15AM) Penn & Teller Get Killed (1989/1h 29m/Comedy/Arthur Penn)
(6:00AM) A Global Affair (1964/1h 24m/Comedy/Jack Arnold)
(7:30AM) Hold That Baby! (1949/1h 4m/Comedy/Reginald Le Borg)
(9:00AM) Boy Meets Girl (1938/1h 20m/Comedy/Lloyd Bacon)
(10:45AM) Brother Rat and a Baby (1940/1h 27m/Comedy/Ray Enright)
(12:30PM) Bachelor Mother (1939/1h 20m/Comedy/Garson Kanin)
(2:00PM) Four Mothers (1941/1h 26m/Drama/William Keighley)
(3:30PM) 3 Godfathers (1949/1h 45m/Western/John Ford)
(5:30PM) Father's Little Dividend (1951/1h 22m/Comedy/Vincente Minnelli)
(7:00PM) The Kid (1921/52m/Silent/Charles Chaplin)
(8:00PM) The Great Escape (1963/2h 48m/WaJohn Sturges)
(11:00PM) Escape (1940/1h 38m/Adventure/Mervyn Le Roy)
SAT APR 20
(1:00AM) Escape From East Berlin (1962/1h 34m/Drama/Robert Siodmak)
(3:00AM) Escape from the Iron Curtain (1957/57m/Drama/Denis Kavanagh)
(4:00AM) I Escaped From the Gestapo (1943/1h 15m/Spy/Harold Young)
(5:30AM) MGM Parade Show #8 (1955/0h 25m/Documentary/?)
(6:00AM) Please Don't Eat the Daisies (1960/1h 51m/Comedy/Charles Walters)
(8:00AM) MGM CARTOONS: Doggone Tired (1949/0h 7m/Animation/Fred “Tex” Avery)
(8:08AM) Believe It or Not #8 (1932/0h 7m/Documentary/?)
(8:16AM) Copenhagen "City of Towers" (1953/0h 8m/Short/?)
(8:25AM) The Omaha Trail (1942/1h 4m/Western/Edward Buzzell)
(9:30AM) The Life Of Vernon Hathaway (1955/Comedy/Norman McLeod)
(10:00AM) POPEYE: I Wanna Be a Lifeguard (1936/0h 6m/Short/Dave Fleischer)
(10:08AM) Burn 'Em Up O'Connor (1939/1h 10m/Adventure/Edward Sedgwick)
(11:30AM) Patrolling the Ether (1944/0h 20m/Drama/Paul Burnford)
(12:00PM) The Magic Flute (1975/2h 14m/Drama/Ingmar Bergman)
(2:30PM) The Seventh Cross (1944/1h 50m/WaFred Zinnemann)
(4:30PM) Lady in the Lake (1947/1h 43m/Suspense/Robert Montgomery)
(6:15PM) The World, the Flesh and the Devil (1959/1h 35m/HorroRanald Macdougall)
(8:00PM) Bugsy Malone (1976/1h 33m/Musical/Alan Parker)
(10:00PM) The Bad News Bears (1976/1h 42m/Comedy/Michael Ritchie)
SUN APR 21
(12:00AM) Born to Kill (1947/1h 32m/Film-NoiRobert Wise)
(2:00AM) The Abdication (1974/1h 43m/Drama/Anthony Harvey)
(4:00AM) Queen Christina (1933/1h 37m/Romance/Rouben Mamoulian)
(6:00AM) Crime and Punishment, USA (1959/1h 36m/Drama/Denis Sanders)
(7:45AM) Love Me or Leave Me (1955/2h 2m/Musical/Charles Vidor)
(10:00AM) Born to Kill (1947/1h 32m/Film-NoiRobert Wise)
(12:00PM) Madame Bovary (1949/1h 46m/Drama/Vincente Minnelli)
(2:15PM) Gigi (1958/1h 56m/Musical/Vincente Minnelli)
(4:15PM) The Awful Truth (1937/1h 30m/Comedy/Leo McCarey)
(6:00PM) The Goodbye Girl (1977/1h 50m/Comedy/Herbert Ross)
(8:00PM) Portrait of Jennie (1948/1h 26m/Romance/William Dieterle)
(9:45PM) Love Letters (1945/1h 41m/Romance/William Dieterle)
MON APR 22
(12:00AM) La Boheme (1926/1h 33m/Epic/King Vidor)
(2:00AM) The Woman Next Door (1981/1h 46m/Drama/François Truffaut)
(4:00AM) Swann in Love (1984/1h 51m/Adaptation/Volker Schlöndorff)
(6:00AM) Forbidden Planet (1956/1h 38m/Science-Fiction/Fred Mcleod Wilcox)
(7:45AM) Cimarron (1960/2h 20m/Western/Anthony Mann)
(10:15AM) Doctor Zhivago (1965/3h 17m/Drama/David Lean)
(1:45PM) Ice Station Zebra (1968/2h 28m/Adventure/John Sturges)
(4:30PM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(6:00PM) The Cincinnati Kid (1965/1h 53m/Drama/Norman Jewison)
(8:00PM) How the West Was Won (1962/2h 35m/Western/John Ford)
(11:00PM) 2001: A Space Odyssey (1968/2h 40m/Science-Fiction/Stanley Kubrick)
TUE APR 23
(1:45AM) Shaft (1971/1h 38m/Crime/Gordon Parks)
(3:45AM) Network (1976/2h 1m/Drama/Sidney Lumet)
(6:00AM) Playmates (1941/1h 36m/Comedy/David Butler)
(8:00AM) Romeo and Juliet (1937/2h 7m/Romance/George Cukor)
(10:15AM) Hamlet (1948/2h 35m/Drama/Laurence Olivier)
(1:00PM) Master Will Shakespeare (1936/0h 10m/Short/Jacques Tourneur)
(1:15PM) A Midsummer Night's Dream (1935/2h 12m/Comedy/Max Reinhardt)
(3:30PM) Henry V (1944/2h 16m/Drama/Laurence Olivier)
((6:00PM) Throne of Blood (1957/1h 50m/Drama/Akira Kurosawa)
(8:00PM) The Sundowners (1960/2h 13m/Drama/Fred Zinnemann)
(10:30PM) All Mine to Give (1957/1h 50m/Drama/Allen Reisner)
WED APR 24
(12:30AM) The Card (1952/1h 31m/Adaptation/Ronald Neame)
(2:15AM) Vacation From Marriage (1945/1h 32m/Drama/Alexander Korda)
(4:00AM) 49th Parallel (1941/2h 2m/WaMichael Powell)
(6:15AM) Goodbye, Mr. Chips (1969/2h 31m/Musical/Herbert Ross)
(9:00AM) Finian's Rainbow (1968/2h 40m/Musical/Francis Ford Coppola)
(11:30AM) Camelot (1967/2h 59m/Musical/Joshua Logan)
(2:45PM) Man of La Mancha (1972/2h 10m/Musical/Arthur Hiller)
(5:00PM) The Great Waltz (1972/2h 15m/Musical/Andrew L. Stone)
(7:30PM) MGM Parade Show #8 (1955/25m/Documentary/?)
(8:00PM) Apocalypse Now (1979/2h 33m/WaFrancis Ford Coppola)
TBD
THU APR 25
(1:15AM) The Young Lions (1958/2h 47m/WaEdward Dmytryk)
(4:15AM) Burn! (1969/1h 52m/WaGillo Pontecorvo)
(5:15AM) Masks and Memories (1934/0h 32m/Short/Roy Mack)
(6:00AM) Laugh and Get Rich (1931/1h 13m/Comedy/Gregory La Cava)
(7:30AM) Smart Woman (1931/1h 8m/Comedy/Gregory La Cava)
(9:00AM) Symphony of Six Million (1932/1h 25m/Drama/Gregory La Cava)
(10:45AM) The Age of Consent (1932/1h 5m/Romance/Gregory La Cava)
(12:00PM) The Half Naked Truth (1933/1h 7m/Comedy/Gregory La Cava)
(1:30PM) Bed of Roses (1933/1h 7m/Drama/Gregory La Cava)
(3:00PM) Stage Door (1937/1h 23m/Drama/Gregory La Cava)
(4:45PM) Fifth Avenue Girl (1939/1h 23m/Comedy/Gregory La Cava)
(6:15PM) Primrose Path (1940/1h 33m/Drama/Gregory La Cava)
(8:00PM) Woman of the Year (1942/1h 52m/Comedy/George Stevens)
(10:00PM) The In-Laws (1979/1h 43m/Comedy/Arthur Hiller)
FRI APR 26
(12:00AM) Christmas in Connecticut (1945/1h 41m/Comedy/Peter Godfrey)
(2:00AM) Breakfast for Two (19371h 5m/Comedy/Alfred Santell)
(3:15AM) The Bride Walks Out (1936/1h 15m/Comedy/Leigh Jason)
(4:45AM) Gambling Lady (1934/1h 6m/Suspense/Archie Mayo)
(6:00AM) Boys Town (1938/1h 36m/Drama/Norman Taurog)
(7:45AM) I Confess (1953/1h 35m/Drama/Alfred Hitchcock)
(9:45AM) Black Narcissus (1947/1h 39m/Drama/Michael Powell)
(11:45AM) Stars in My Crown (1950)1h 29m/Western/Jacques Tourneur)
(1:30PM) Angel Baby (1961/1h 37m/Drama/Paul Wendkos)
(3:30PM) The Night of the Iguana (1964/2h 5m/Drama/John Huston)
(5:45PM) The Sandpiper (1965/1h 56m/Romance/Vincente Minnelli)
(8:00PM) Tootsie (1982/1h 56m/Comedy/Sydney Pollack)
(10:15PM) Kramer vs. Kramer (1979/1h 45m/Drama/Robert Benton)
SAT APR 27
(12:15AM) The Graduate (1967/1h 45m/Comedy/Mike Nichols)
(2:15AM) Lenny (1974/1h 51m/Biography/Bob Fosse)
4:15AM) Agatha (1979/1h 38m/Mystery/Michael Apted)
(6:00AM) My Dream Is Yours (1949/1h 41m/Musical/Michael Curtiz)
(8:00AM) MGM CARTOONS: Honeyland (1935/0h 10m/Animation/Rudolf Ising)
(8:11AM) Believe It or Not #9 (1932/0h 7m/Short/?)
(8:19AM) Exotic Mexico (1942/0h 8m/Short/James A. Fitzpatrick)
(8:28AM) Robbers of the Range (1941/1h 1m/Western/Edward Killy)
(9:30AM) The Final Tribute (1955/Comedy/0h 30m/Andrew L. Stone)
(10:00AM) POPEYE: Let's Get Movin’ (1933/0h 6m/Animation/Dave Fleischer)
(10:07AM) Caught Plastered (1932/1h 10m/Comedy/William Seiter)
(11:30AM) The Skull Murder Mystery (1932/0h 21m/Mystery/Joseph Henabery)
(12:00PM) The Harvey Girls (1946/1h 41m/Musical/George Sidney)
(2:00PM) Big Leaguer (1953/1h 10m/Comedy/Robert Aldrich)
(3:15PM) Kings Row (1942/2h 7m/Drama/Sam Wood)
(5:45PM) Harper (1966/2h 1m/Mystery/Jack Smight)
(8:00PM) Trouble in Paradise (1932/1h 21m/Comedy/Ernst Lubitsch)
(10:00PM) Jewel Robbery (1932/1h 10m/Romance/William Dieterle)
SUN APR 28
(12:00AM) The Big Knife (1955/1h 51m/Film-NoiRobert Aldrich)
(2:00AM) Super Fly (1972/1h 36m/Crime/Gordon Parks, Jr.)
(4:00AM) Hit Man (1973/1h 30m/Crime/George Armitage)
(6:00AM) Carnival in Paris (1937/0h 21m/Comedy/William J. Thiele)
(6:30AM) Gay Purr-ee (1962/1h 26m/Musical/Abe Levitow)
(8:00AM) Made in Paris (1966/1h 43m/Comedy/Boris Sagal)
(10:00AM) The Big Knife (1955/1h 51m/Film-NoiRobert Aldrich)
(12:15PM) Kiss Me Kate (1953/1h 51m/Musical/George Sidney)
(2:15PM) Pat and Mike (1952/1h 35m/Comedy/George Cukor)
(4:00PM) The Americanization of Emily (1964/1h 57m/WaArthur Hiller)
(6:00PM) Guess Who's Coming to Dinner (1967/1h 48m/Comedy/Stanley Kramer)
(8:00PM) The Taking of Pelham One Two Three (1974/1h 44m/Suspense/Joseph Sargent)
(10:00PM) White Lightning (1973/1h 41m/Adventure/Joseph Sargent)
MON APR 29
(12:00AM) Sunnyside (1919/0h 27m/Silent/Charles Chaplin)
(12:28AM) A Dog's Life (1918/0h 32m/Silent/Charles Chaplin)
(01:00AM) The Knockout (1914/0h 26m/Silent/Roscoe "fatty" Arbuckle)
(2:00AM) The Seventh Continent (1989/1h 51m/Drama/Michael Haneke)
(4:00AM) Benny's Video (1992/1h 45m/Crime/Michael Haneke)
(6:00AM) The Big Parade of Comedy (1964/1h 29m/Documentary/Robert Youngson)
(7:45AM) Westworld (1973/1h 31m/Science-Fiction/Michael Crichton)
(9:30AM) The Sunshine Boys (1975/1h 51m/Comedy/Herbert Ross)
(11:45AM) My Favorite Year (1982/1h 32m/Comedy/Richard Benjamin)
(1:30PM) Clash of the Titans (1981/1h 58m/Fantasy/Desmond Davis)
(3:30PM) The Year of Living Dangerously (1982/1h 55m/Drama/Peter Weir)
(5:30PM) That's Entertainment! (1974/2h 12m/Documentary/Jack Haley, Jr.)
(8:00PM) Moonstruck (1987/1h 42m/Comedy/Norman Jewison)
(10:00PM) VictoVictoria (1982/2h 14m/Musical/Blake Edwards)
TUE APR 30
(12:30AM) Pennies from Heaven (1981/1h 47m/Musical/Herbert Ross)
(2:30AM) Fame (1980/2h 14m/Musical/Alan Parker)
(5:00AM) Diner (1982/1h 50m/Drama/Barry Levinson)
(7:00AM) Hollywood: The Dream Factory (1972/1h 0m/Documentary/Mark Woods)
(8:00AM) The Biggest Bundle Of Them All (1968/1h 50m/Crime/Ken Annakin)
(10:00AM) Until They Sail (1957/1h 35m/Drama/Robert Wise)
(11:45AM) Ivanhoe (1952/1h 46m/Adventure/Richard Thorpe)
(1:45PM) Out of the Past (1947/1h 37m/Film-NoiJacques Tourneur)
(3:45PM) Night Must Fall (1937/1h 57m/Suspense/Richard Thorpe)
(5:45PM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(8:00PM) Sweet Charity (1969/2h 29m/Musical/Bob Fosse)
(10:45PM) Irma la Douce (1963/2h 22m/Comedy/Billy Wilder)
submitted by yawningvoid28 to movies [link] [comments]

2024.03.03 05:36 YellowRainLine My Nominations

As I do with my Film Registry votes, the way I do my votes for the Recording Registry are that I take 25 of the votes and put together what I think is close enough to a real Registry list as I come up with. Those are the first 25 that I'll post here. The other 25 are kind of my free reign to pick whatever I want to, as long as I feel they are actually deserving of being in the Registry. Here they are:
  1. “I Didn’t Raise My Boy To Be A Soldier” – Morton Harvey (1915/single)
  2. “Pan American Blues” – DeFord Bailey (1927/single)
  3. “Rockin Chair” – Mildred Bailey (1937/single)
  4. “The Huckle-Buck” – Paul Williams (1949/single)
  5. “Yours Truly, Johnny Dollar” Episode: “The Nick Shurn Matter” (Dec 19-23, 1955/radio)
  6. “Que Sera, Sera (Whatever Will Be, Will Be)” – Doris Day (1956/single)
  7. Sounds Of The American Southwest – Charles M. Bogert (1959/field album)
  8. “Puff The Magic Dragon” – Peter, Paul & Mary (1963/single)
  9. The Good, The Bad & The Ugly – Original Movie Soundtrack (1966/album)
  10. “Mas Que Nada” – Sergio Mendes & Brasil ’66 (1966/single)
  11. “With A Little Help From My Friends” – Joe Cocker (1968/single)
  12. “Feliz Navidad” – José Feliciano (1970/single)
  13. Kristofferson – Kris Kristofferson (1970/album)
  14. Heavy Weather – Weather Report (1977/album)
  15. “Baby Beluga” – Raffi (1980/single)
  16. “Never Gonna Give You Up” – Rick Astley (1987/single)
  17. Tracy Chapman – Tracy Chapman (1988/album)
  18. 1988 World Series Game 1, Kirk Gibson home run; Dodgers vs. Athletics – Jack Buck, announcer (Oct 15, 1988/radio)
  19. Carreras Domingo Pavarotti In Concert – José Carreras, Placido Domingo, Luciano Pavarotti (1990/album)
  20. Under The Big Top: 100 Years Of Circus Music – The Great American Mainstreet Band (1993/field album)
  21. CrazySexyCool – TLC (1994/album)
  22. “Juicy” – The Notorious B.I.G. (1994/single)
  23. You Might Be A Redneck If… - Jeff Foxworthy (1994/album)
  24. Rent – Original Broadway Cast (1996/album)
  25. September 11th Broadcast – Howard Stern (Sept 11, 2001/radio)
​
​
  1. Experimental Talking Clock – Frank Lambert (1878/spoken word)
  2. “The Prisoner’s Song” – Vernon Dalhart (1925/single)
  3. “Woodchopper’s Ball” – Woody Herman (1939/single)
  4. “Nightwatch” Episode: “Boy Go Home” – Donn Reed, host (July 31, 1954/radio)
  5. “The Battle Of New Orleans” – Johnny Horton (1959/single)
  6. “I’m Sorry” – Brenda Lee (1960/single)
  7. “Monster Mash” – Bobby Pickett (1962/single)
  8. Oliver – Original Broadway Cast (1963/album)
  9. Songs Of Leonard Cohen – Leonard Cohen (1967/album)
  10. Paranoid – Black Sabbath (1970/album)
  11. Blue – Joni Mitchell (1971/album)
  12. John Prine – John Prine (1971/album)
  13. “Garden Party” – Rick Nelson (1972/single)
  14. “Dream On” – Aerosmith (1973/single)
  15. “The Devil Went Down To Georgia” – Charlie Daniels Band (1979/single)
  16. “Super Freak” – Rick James (1981/single)
  17. “We Are The World” – USA For Africa (1985/single)
  18. “Ya Ya” – Buckwheat Zydeco (1985/single)
  19. “Tear Down This Wall” Speech – Ronald Reagan (June 12, 1987/spoken word)
  20. Beauty And The Beast – Original Movie Soundtrack (1991/album)
  21. Jagged Little Pill – Alanis Morrisette (1995/album)
  22. Speechless – Steven Curtis Chapman (1999/album)
  23. Dett: Listen To The Lambs – Nathaniel Dett Chorale (2002/choral)
  24. “Hey Ya!” – OutKast (2003/single)
  25. I Know Why The Caged Bird Sings Audiobook – Maya Angelou (2011/spoken word)
​
​
These votes of mine were submitted on June 3, 2023. Just waiting on the 2024 announcement to submit my next list. I already have replacement votes ready to go.
submitted by YellowRainLine to NationalRecordingReg [link] [comments]

2024.03.01 15:02 AwarenessLost7620 Black actors that played football.

These are actors who also had careers in professional football.
Jim Brown (February 17, 1936 – May 18, 2023) played for the Cleveland Browns (1957-1965). His first acting credit was "Rio Conchos" (1964). He had 58 total acting credits. Notable films include "Slaughter" (1972), "Three the Hard Way" (1974), and "Original Gangstas" (1996).
Bernie Casey (June 8, 1939 – September 19, 2017) played for the San Francisco 49ers (1961–1966) and Los Angeles Rams (1967–1968). His first acting credit was "Guns of the Magnificent Seven" (1969). Notable films include "Dr. Black, Mr. Hyde" (1976), "Hit Man" (1972), and "I'm Gonna Git You Sucka" (1988).
Mean Joe Greene (September 24, 1946 - ) played for the Pittsburgh Steelers (1969–1981). His first acting credit was in "Horror High" (1973). He has a total of eight acting credits. Notable films include "The Black Six" (1973), where he starred alongside five other N.F.L. players in a biker film, and "Lady Cocoa" (1975).
Fred Williamson (March 5, 1938 - ) played for the Pittsburgh Steelers (1960), Oakland Raiders (1961–1964), and Kansas City Chiefs (1965–1967). He appeared in several T.V. shows in the late 60s before becoming a Blaxploitation star in the 70s with classics such as "Black Ceasar" (1973), "Hammer" (1972), and "Three the Hard Way" (1974). He has 127 acting credits and several as a director and producer.
Woody Strode (July 25, 1914 – December 31, 1994) played for Hollywood Bears (1940–1942, Pacific Coast Professional Football League), Los Angeles Rams (1946, National Football League), and Calgary Stampeders (1948–1949, Canadian Football League). He was among the first to integrate into the N.F.L. after college. His first acting credit was in "Sundown" (1941). His first leading role was "Sergeant Rutledge" (1960). Notable films include "Spartacus" (1960) and "The Ten Commandments" (1956). He had 91 acting credits.
Roosevelt "Rosey" Grier (July 14, 1932 - ) played for the New York Giants (1955–1962) and Los Angeles Ram.
submitted by AwarenessLost7620 to BlackHistory [link] [comments]

2024.02.29 07:58 yawningvoid28 Turner Classic Movies (U.S.) Daily Schedule for March, 2024.

(all airtimes E.S.T.)
FRI MAR 01
(2:00AM) All Quiet on the Western Front (1930/2h 20m/WaLewis Milestone)
(4:30AM) The Divine Lady (1929/1h 50m/Romance/Frank Lloyd)
(6:15AM) The Informer (1935/1h 31m/Drama/John Ford)
(8:00AM) The Crowd (1928/1h 35m/Drama/King Vidor)
(9:45AM) Great Expectations (1946/1h 58m/Drama/David Lean)tb
(12:00PM) The Heiress (1949/1h 55m/Drama/William Wyler)
(2:00PM) I Want to Live! (1958/2h 0m/Drama/Robert Wise)
(4:15PM) 12 Angry Men (1957/1h 35m/Drama/Sidney Lumet)
(6:00PM) Guess Who's Coming to Dinner (1967/1h 48m/Comedy/Stanley Kramer)
(8:00PM) Mr. Deeds Goes to Town (1936/1h 55m/Comedy/Frank Capra)
(10:15PM) A Letter to Three Wives (1948/1h 43m/Comedy/Joseph L. Mankiewicz)
SAT MAR 02
(12:15AM) Marty (1955/1h 31m/Romance/Delbert Mann)
(2:00AM) The Awful Truth (1937/1h 30m/Comedy/Leo Mccarey)
(4:00AM) Dr. Jekyll and Mr. Hyde (1932/1h 30m/HorroRouben Mamoulian)
(6:00AM) The Great Dictator (1940/2h 9m/Comedy/Charles Chaplin)
(8:15AM) The Thin Man (1934/1h 20m/Mystery/W. S. Van Dyke)
(10:00AM) Goodbye, Mr. Chips (1939/1h 54m/Drama/Sam Wood)
(12:00PM) Anatomy of a Murder (1959/2h 40m/Drama/Otto Preminger)
(3:00PM) Elmer Gantry (1960/2h 26m/Drama/Richard Brooks)
(5:45PM) East of Eden (1955/1h 55m/Drama/Elia Kazan)
(8:00PM) Lincoln (2012/2h 29m/Drama/Steven Spielberg)
(10:45PM) A Man for All Seasons (1966/2h 0m/Drama/Fred Zinnemann)
SUN MAR 03
(1:00AM) Sergeant York (1941/2h 14m/WaHoward Hawks)
(3:30AM) Yankee Doodle Dandy (1942/2h 6m/Musical/Michael Curtiz)
(6:00AM) The Front Page (1931/1h 41m/Comedy/Lewis Milestone)
(7:45AM) Penny Serenade (1941/2h 5m/Romance/George Stevens)
(10:00AM) Watch on the Rhine (1943/1h 54m/Drama/Herman Shumlin)
(12:00PM) Sounder (1972/1h 45m/Drama/Martin Ritt)
(2:00PM) Cat Ballou (1965/1h 36m/Western/Elliot Silverstein)
(4:00PM) The Lost Weekend (1945/1h 41m/Drama/Billy Wilder)
(6:00PM) The Goodbye Girl (1977/1h 50m/Comedy/Herbert Ross)
(8:00PM) A Double Life (1947/1h 44m/Crime/George Cukor)
(10:00PM) To Kill a Mockingbird (1962/2h 11m/Drama/Robert Mulligan)
MON MAR 04
(12:30AM) On Golden Pond (1981/1h 49m/Drama/Mark Rydell)
(2:30AM) Lilies of the Field (1963/1h 34m/Comedy/Ralph Nelson)
(4:15AM) Boys Town (1938/1h 36m/Drama/Norman Taurog)
(6:00AM) Five Star Final (1931/1h 29m/Drama/Mervyn Le Roy)
(8:00AM) The Human Comedy (1943/1h 58m/Drama/Clarence Brown)
(10:00AM) The Little Foxes (1941/1h 56m/Drama/William Wyler)
(12:00PM) Stagecoach (1939/1h 36m/Western/John Ford)
(1:45PM) The Caine Mutiny (1954/2h 5m/Drama/Edward Dmytryk)
(4:00PM) Picnic (1956/1h 55m/Drama/Joshua Logan)
(6:00PM) Seven Brides for Seven Brothers (1954/1h 43m/Musical/Stanley Donen)
(8:00PM) An American in Paris (1951/1h 53m/Musical/Vincente Minnelli)
(10:00PM) It Happened One Night (1934/1h 45m/Comedy/Frank Capra)
TUE MAR 05
(12:00AM) Mrs. Miniver (1942/2h 14m/WaWilliam Wyler)
(2:30AM) Cavalcade (1933/1h 49m/Drama/Frank Lloyd)
(4:30AM) Grand Hotel (1932/1h 45m/Drama/Edmund Goulding)
(6:30AM) The Racket (1928/1h 25m/Silent/Lewis Milestone)
(8:00AM) A Tale of Two Cities (1935/2h 0m/Drama/Jack Conway)
(10:15AM) The Nun's Story (1959/2h 29m/Drama/Fred Zinnemann)
(1:00PM) Anchors Aweigh (1945/2h 23m/Musical/George Sidney)
(3:30PM) Battleground (1949/1h 58m/WaWilliam Wellman)
(5:45PM) Citizen Kane (1941/1h 59m/Drama/Orson Welles)
(8:00PM) In the Heat of the Night (1967/1h 49m/Suspense/Norman Jewison)
(10:00PM) Platoon (1986/2h 0m/WaOliver Stone)
WED MAR 06
(12:15AM) No Country For Old Men (2007/2h 2m/Crime/Joel Coen and Ethan Coen)
(2:30AM) Midnight Cowboy (1969/1h 53m/Drama/John Schlesinger)
(4:30AM) All the King's Men (1949/1h 49m/Drama/Robert Rossen)
(6:30AM) The Big House (1930/1h 20m/Crime/George Hill)
(8:00AM) The Private Life of Henry VIII (1933/1h 33m/Drama/Alexander Korda)
(9:45AM) Captain Blood (1935/1h 59m/Adventure/Michael Curtiz)
(12:00PM) Ivanhoe (1952/1h 46m/Adventure/Richard Thorpe)
(2:00PM) The Alamo (1960/3h 10m/Western/John Wayne)
(5:00PM) America America (1963/2h 57m/Drama/Elia Kazan)
(8:00PM) All About Eve (1950/2h 18m/Drama/Joseph L. Mankiewicz)
(10:30PM) Gentleman's Agreement (1947/1h 58m/Drama/Elia Kazan)
THU MAR 07
(12:45AM) Going My Way (1944/2h 10m/Musical/Leo McCarey)
(3:00AM) Hamlet (1948/2h 35m/Drama/Laurence Olivier)
(5:45AM) Madame Curie (1943/2h 4m/Drama/Mervyn Le Roy)
(8:00AM) Captains Courageous (1937/1h 56m/Drama/Victor Fleming)
(10:00AM) 42nd Street (1933/1h 25m/Musical/Lloyd Bacon)
(11:45AM) Foreign Correspondent (1940/1h 59m/Suspense/Alfred Hitchcock)
(2:00PM) The Letter (1940/1h 37m/Drama/William Wyler)
(4:00PM) Libeled Lady (1936/1h 38m/Comedy/Jack Conway)
(6:00PM) Ninotchka (1939/1h 50m/Comedy/Ernst Lubitsch)
(8:00PM) Casablanca (1942/1h 42m/Romance/Michael Curtiz)
(10:00PM) Out Of Africa (1985/2h 42m/Romance/Sydney Pollack)
FRI MAR 08
(1:00AM) My Fair Lady (1964/2h 50m/Musical/George Cukor)
(4:00AM) Tom Jones (1963/2h 11m/Comedy/Tony Richardson)
(6:15AM) Our Town (1940/1h 30m/Drama/Sam Wood)
(7:45AM) The Story of Louis Pasteur (1936/1h 25m/Drama/William Dieterle)
(9:15AM) Johnny Belinda (1948/1h 42m/Drama/Jean Negulesco)
(11:00AM) The Yearling (1946/2h 14m/Drama/Clarence Brown)
(1:15PM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
(3:00PM) The Music Man (1962/2h 31m/Musical/Morton Dacosta)
(5:45PM) Mister Roberts (1955/2h 3m/Comedy/John Ford)
(8:00PM) Rain Man (1988/2h 20m/Drama/Barry Levinson)
(10:30PM) Annie Hall (1977/1h 33m/Comedy/Woody Allen)
SAT MAR 09
(12:15AM) The Apartment (1960/2h 5m/Comedy/Billy Wilder)
(2:30AM) Gigi (1958/1h 56m/Musical/Vincente Minnelli)
(4:30AM) The Great Ziegfeld (1936/3h 0m/Musical/Robert Z. Leonard)
(7:30AM) The Champ (1931/1h 26m/Drama/King Vidor)
(9:00AM) Top Hat (1935/1h 45m/Musical/Mark Sandrich)
(11:00AM) The Maltese Falcon (1941/1h 40m/Film-NoiJohn Huston)
(1:00PM) The Last Emperor (1987/2h 43m/Drama/Bernardo Bertolucci)
(4:00PM) Lawrence of Arabia (1962/3h 46m/Adventure/David Lean)
(8:00PM) Ben-Hur (1959/3h 32m/Drama/William Wyler)
SUN MAR 10
(12:00AM) The Best Years of Our Lives (1946/2h 52m/Drama/William Wyler)
(3:00AM) Mutiny on the Bounty (1935/2h 12m/Adventure/Frank Lloyd)
(5:15AM) Cimarron (1931/2h 11m/Western/Wesley Ruggles)
(8:30AM) A Farewell to Arms (1932/1h 18m/Romance/Frank Borzage)
(10:00AM) Dark Victory (1939/1h 46m/Romance/Edmund Goulding)
(12:00PM) Cat on a Hot Tin Roof (1958/1h 48m/Drama/Richard Brooks)
(2:00PM) Bonnie and Clyde (1967/1h 51m/Crime/Arthur Penn)
(4:00PM) Gone With the Wind (1939/3h 39m/Drama/Victor Fleming)
(8:00PM) Around the World in 80 Days (1956/2h 50m/Adventure/Michael Anderson)
(11:15AM) Wings (1927/2h 24m/WaWilliam A. Wellman)
MON MAR 11
(1:45AM) You Can't Take It With You (1938/2h 0m/Comedy/Frank Capra)
(4:00AM) The Broadway Melody (1929/1h 42m/Musical/Harry Beaumont)
(6:00AM) They Drive by Night (1940/1h 33m/Drama/Raoul Walsh)
(7:45AM) High Sierra (1941/1h 40m/Crime/Raoul Walsh)
(9:30AM) Desperate Journey (1942/1h 47m/WaRaoul Walsh)
(11:30AM) Background To Danger (1943/1h 20m/Suspense/Raoul Walsh)
(1:00PM) Northern Pursuit (1943/1h 34m/Adventure/Raoul Walsh)
(2:45PM) White Heat (1949/1h 54m/Crime/Raoul Walsh)
(4:45PM) Along the Great Divide (1951/1h 28m/Western/Raoul Walsh)
(6:15PM) A Lion Is in the Streets (1953/1h 28m/Drama/Raoul Walsh)
(8:00PM) Baby Face (1933/1h 16m/Drama/Alfred E. Green)
(9:30PM) Bachelor Mother (1939/1h 20m/Comedy/Garson Kanin)
(11:00PM) Imitation of Life (1934/1h 46m/Drama/John M. Stahl)
TUE MAR 12
(1:00AM) Man Wanted (1932/1h 2m/Romance/William Dieterle)
(2:15AM) Female (1933/1h 0m/Drama/Michael Curtiz)
(3:30AM) Big Business Girl (1931/1h 19m/Comedy/William A. Seiter)
(4:45AM) Employees' Entrance (1933/1h 15m/Drama/Roy Del Ruth)
(6:00AM) Blonde Dynamite (1950/1h 6m/Comedy/William Beaudine)
(7:15AM) Larceny, Inc. (1942/1h 35m/Comedy/Lloyd Bacon)
(9:00AM) The Day They Robbed the Bank of England (1960/1h 25m/Crime/John Guillermin)
(10:30AM) Transatlantic Tunnel (1935/1h 34m/Science-Fiction/Maurice Elvey)
(12:30PM) Things To Come (1936/1h 53m/Science-Fiction/William Cameron Menzies)
(2:30PM) The Time Machine (1960/1h 43m/Science-Fiction/George Pal)
(4:15PM) Escape From East Berlin (1962/1h 34m/Drama/Robert Siodmak)
(6:00PM) The Taking of Pelham One Two Three (1974/1h 44m/Suspense/Joseph Sargent)
(8:00PM) His Girl Friday (1940/1h 32m/Comedy/Howard Hawks)
(10:00PM) Mildred Pierce (1945/1h 53m/Drama/Michael Curtiz)
WED MAR 13
(12:00AM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(2:00AM) Woman of the Year (1942/1h 52m/Comedy/George Stevens)
(4:00AM) Millions Like Us (1943/1h 43m/Drama/Frank Launder)
(6:00AM) Ambush (1950/1h 29m/Western/Sam Wood)
(7:30AM) The Last Hunt (1956/1h 48m/Adventure/Richard Brooks)
(9:30AM) The Painted Hills (1951/1h 5m/Adventure/Harold Kress)
(10:45AM) The Sheepman (1958/1h 25m/Western/George Marshall)
(12:15PM) Wagon Master (1950/1h 26m/Western/John Ford)
(3:30PM) The Forty-Niners (1954/1h 11m/Western/Thomas Carr)
(4:45PM) Hot Lead (1951/1h 0m/Western/Stuart Gilmore)
(6:00PM) The Hanging Tree (1959/1h 46m/Western/Delmer Daves)
(8:00PM) The Best of Everything (1959/2h 2m/Romance/Jean Negulesco)
(10:15PM) Desk Set (1957/1h 43m/Comedy/Walter Lang)
THU MAR 14
(12:15AM) Lucy Gallant (1955/1h 44m/Drama/Robert Parrish)
(2:15AM) The Fuller Brush Girl (1950/1h 25m/Comedy/Lloyd Bacon)
(4:00AM) Bright Road (1953/1h 9m/Drama/Gerald Mayer)
(5:15AM) The Wasp Woman (1960/1h 13m/HorroRoger Corman)
(6:30AM) Side Street (1950/1h 23m/Crime/Anthony Mann)
(8:00AM) Stakeout on Dope Street (1958/1h 23m/Crime/Irving Kershner)
(9:30AM) Scarlet Street (1945/1h 43m/Film-NoiFritz Lang)
(11:30AM) Main Street After Dark (1944/0h 56m/Crime/Edward Cahn)
(12:30PM) The House Across The Street (1949/1h 9m/Crime/Richard Bare)
(1:45PM) Crime in the Streets (1956/1h 31m/Crime/Don Siegel)
(3:30PM) Mystery Street (1950/1h 33m/Mystery/John Sturges)
(5:30PM) Sweeney Todd: The Demon Barber of Fleet Street (1982/2h 19m/Musical/Terry Hughes)
(8:00PM) Lover Come Back (1961/1h 47m/Comedy/Delbert Mann)
(10:00PM) The Wheeler Dealers (1963/1h 46m/Comedy/Arthur Hiller)
FRI MAR 15
(12:00AM) Come Fly with Me (1962/1h 49m/Comedy/Henry Levin)
(2:00AM) Sex and the Single Girl (1964/1h 54m/Comedy/Richard Quine)
(4:00AM) Kisses for My President (1964/1h 53m/Comedy/Curtis Bernhardt)
(6:00AM) The Painted Veil (1934/1h 23m/Romance/Richard Boleslawski)
(7:45AM) Living On Velvet (1935/1h 20m/Drama/Frank Borzage)
(9:15AM) Submarine D-1 (1937/1h 40m/Drama/Lloyd Bacon)
(11:00AM) Honeymoon for Three (1941/1h 14m/Comedy/Lloyd Bacon)
(12:30PM) 'Til We Meet Again (1940/1h 30m/Romance/Edmund Goulding)
(2:15PM) Experiment Perilous (1944/1h 31m/Drama/Jacques Tourneur)
(4:00PM) Dark Victory (1939/1h 46m/Romance/Edmund Goulding)
(6:00PM) The Great Lie (1941/1h 47m/Drama/Edmund Goulding)
(8:00PM) Nine to Five (1980/1h 50m/Comedy/Colin Higgins)
(10:00PM) Baby Boom (1987/1h 43m/Comedy/Charles Shyer)
SAT MAR 16
(12:00AM) The China Syndrome (1979/2h 2m/Drama/James Bridges)
(2:15AM) Network (1976/2h 1m/Drama/Sidney Lumet)
(4:30AM) Alice Doesn't Live Here Any More (1974/1h 53m/Dramedy/Martin Scorsese)
(6:30AM) Sunday Punch (1942/1h 16m/Comedy/David Miller)
(8:00AM) MGM CARTOONS: First Swallow (1942/0h 7m/Animation/Rudolf Ising)
(8:08AM) Believe It or Not #4 (1932/0h 8m/Short/?)
(8:17AM) Calling on Cape Town (1952/0h 8m/Short/?)
(8:26AM) Sagebrush Law (1943/0h 56m/Western/Sam Nelson)
(9:30AM) Meet the Governor (1955/0h 30m/Comedy/Leo McCarey)
(10:00AM) POPEYE: A Clean Shaven Man (1936/0m 6m/Comedy/Dave Fleischer)
(10:09AM) Aggie Appleby, Maker of Men (1933/1h 13m/Comedy/Mark Sandrich)
(11:30AM) I'm Much Obliged (1936/0m 21m/Comedy/Roy Mack)
(12:00PM) Gypsy (1962/2h 29m/Musical/Mervyn Le Roy)
(2:30PM) Bad Day at Black Rock (1955/1h 21m/Film-NoiJohn Sturges)
(4:00PM) The Defiant Ones (1958/1h 37m/Drama/Stanley Kramer)
(5:45PM) Spencer's Mountain (1963/1h 59m/Drama/Delmer Daves)
(8:00PM) King Solomon's Mines (1950/1h 42m/Adventure/Compton Bennett)
(10:00PM) The Prisoner of Zenda (1952/1h 41m/Adventure/Richard Thorpe)
SUN MAR 17
(12:00AM) Le Samourai (1967/1h 35m/Film-NoiJean-pierre Melville)
(2:00AM) Night Shift (1982/1h 46m/Comedy/Ron Howard)
(4:00AM) He Knows You're Alone (1980/1h 34m/HorroArmand Mastroianni)
(6:00AM) Little Nellie Kelly (1940/1h 40m/Musical/Norman Taurog)
(8:00AM) Odd Man Out (1947/1h 56m/Suspense/Carol Reed)
(10:00AM) Le Samourai (1967/1h 35m/Film-NoiJean-pierre Melville)
(12:00PM) The Rising of the Moon (1957/1h 21m/Comedy/John Ford)
(1:30PM) Flight of the Doves (1971/1h 41m/Drama/Ralph Nelson)
(3:30PM) Young Cassidy (1965/1h 50m/Romance/Jack Cardiff)
(5:30PM) Finian's Rainbow (1968/2h 40m/Musical/Francis Ford Coppola)
(8:00PM) Far and Away (1992/2h 20m/Adventure/Ron Howard)
(10:30PM) The Quiet Man (1952/2h 9m/Dramedy/John Ford)
MON MAR 18
(12:45AM) The Johnstown Flood (1926/1h 06m/Silent/Irving Cummings)
(2:00AM) A Story of Floating Weeds (1934/1h 29m/Silent/Yasujiro Ozu)
(3:45AM) Floating Weeds (1959/1h 59m/Drama/Yasujiro Ozu)
(6:00AM) The Warriors (1955/1h 25m/Adventure/Henry Levin)
(7:30AM) Cry Wolf (1947/1h 23m/Suspense/Peter Godfrey)
(9:00AM) Mara Maru (1952/1h 38m/Adventure/Gordon Douglas)
(10:45AM) Silver River (1948/1h 50m/Western/Raoul Walsh)
(12:45PM) The Prince and the Pauper (1937/2h 0m/Drama/William Keighley)
(3:00PM) Dive Bomber (1941/2h 13m/Drama/Michael Curtiz)
(5:30PM) San Antonio (1945/1h 51m/Western/David Butler)
(7:30PM) MGM Parade Show #17 (1955/0h 25m/Documentary/?)
(8:00PM) The Big Combo (1955/1h 29m/Crime/Joseph Lewis)
(11:30PM) Forever Amber (1947/2h 20m/Drama/Otto Preminger)
TUE MAR 19
(2:00AM) Beach Red (1967/1h 45m/WaCornel Wilde)
(4:00AM) At Sword's Point (1951/1h 21m/Adventure/Lewis Allen)
(5:30AM) Alice in Movieland (1940/0h 21m/Short/Jean Negulesco)
(6-:00AM) The Gay Diplomat (1931/1h 10m/Adventure/Richard Boleslawski)
(7:15AM) The Lady Refuses (1931/1h 12m/Drama/George Archainbaud)
(8:30AM) On With The Show (1929/1h 38m/Musical/Alan Crosland)
(10:15AM) Hard Boiled Mahoney (1947/1h 3m/Comedy/William Beaudine)
(11:30AM) Here Comes Trouble (1948/0h 50m/Comedy/Fred Guiol)
(12:30PM) Blondes at Work (1938/1h 0m/Suspense/Mystery/Frank Mcdonald)
(1:45PM) Street Girl (1929/1h 31m/Musical/Wesley Ruggles)
(3:30PM) Inside the Lines (1930/1h 12m/Drama/Roy J. Pomeroy)
(5:00PM) Three Who Loved (1931/1h 4m/Drama/George Archainbaud)
(6:15PM) Weary River (1929/1h 29m/Crime/Frank Lloyd)
(8:00PM) The Children's Hour (1961/1h 47m/Drama/William Wyler)
(10:00PM) Another Part of the Forest (1948/1h 47m/Drama/Michael Gordon)
WED MAR 20
(12:00AM) Watch on the Rhine (1943/1h 54m/Drama/Herman Shumlin)
(2:00AM) Toys in the Attic (1963/1h 30m/Drama/George Roy Hill)
(4:00AM) The North Star (1943/1h 45m/WaLewis Milestone)
(6:00AM) Crazy House (1930/0h 13m/Comedy/Jack Cummings)
(6:30AM) The Mad Genius (1931/1h 21m/HorroMichael Curtiz)
(8:00AM) Doctor X (1932/1h 16m/HorroMichael Curtiz)
(9:30AM) Svengali (1931/1h 16m/HorroArchie Mayo)
(11:00AM) Plane Nuts (1933/0h 19m/Comedy/Jack Cummings)
(11:30AM) M (1931/1h 39m/Suspense/Fritz Lang)
(1:30PM) Dr. Jekyll and Mr. Hyde (1932/1h 30m/HorroRouben Mamoulian)
(3:15PM) The Most Dangerous Game (1932/1h 3m/HorroErnest B. Schoedsack)
(4:30PM) Rasputin and the Empress (1932/2h 13m/Drama/Richard Boleslavsky)
(6:45PM) Thirteen Women (1932/1h 14m/Suspense/George Archainbaud)
(10:00PM) What's Up, Doc? (1972/1h 34m/Comedy/Peter Bogdanovich)
THU MAR 21
(12:00AM) Nickelodeon (1976/2h 2m/Comedy/Peter Bogdanovich)
(2:15AM) Wild Rovers (1971/1h 50m/Western/Blake Edwards)
(4:45AM) The Thief Who Came to Dinner (1973/1h 45m/Romance/Bud Yorkin)
(6:45AM) Cairo (1963/1h 31m/Crime/Wolf Rilla)
(8:45AM) Never So Few (1959/2h 4m/WaJohn Sturges)
(11:00AM) Operation: Crossbow (1965/1h 58m/Adventure/Michael Anderson)
(1:15PM) Khartoum (1966/2h 14m/Drama/Basil Dearden)
(3:45PM) The Fifth Day of Peace, (1969/1h 43m/Giuliano Montaldo)
(5:45PM) The Haunting (1963/1h 52m/HorroRobert Wise)
(8:00PM) The Thomas Crown Affair (1968/1h 42m/Romance/Norman Jewison)
(10:00PM) In the Heat of the Night (1967/1h 49m/Suspense/Norman Jewison)
FRI MAR 22
(12:00AM) Moonstruck (1987/1h 42m/Comedy/Norman Jewison)
(2:00AM) Fiddler on the Roof (1971/3h 0m/Musical/Norman Jewison)
(5:15AM) The Cincinnati Kid (1965/1h 53m/Drama/Norman Jewison)
(6:00AM) We Were Dancing (1942/1h 34m/Romance/Robert Z. Leonard)
(7:15AM) MGM Parade Show #17 (1955/0h 25m/Documentary/?)
(7:45AM) We Were Dancing (1942/1h 34m/Romance/Robert Z. Leonard)
(9:30AM) Bitter Sweet (1940/1h 32m/Musical/W. S. Van Dyke II)
(11:15AM) In Which We Serve (1942/1h 53m/WaNoel Coward)
(1:15PM) This Happy Breed (1944/1h 50m/Drama/David Lean)
(3:15PM) Private Lives (1931/1h 27m/Comedy/Sidney Franklin)
(4:45PM) Brief Encounter (1945/1h 26m/Romance/David Lean)
(6:15PM) Blithe Spirit (1945/1h 36m/Comedy/David Lean)
(8:00PM) Brian's Song (1971/1h 30m/Drama/Buzz Kulik)
(10:00PM) The Boy in the Plastic Bubble (1976/2h 0m/Biography/Randal Kleiser)
SAT MAR 23
(12:00AM) Duel (1971/1h 30m/HorroSteven Spielberg)
(2:00AM) The Autobiography Of Miss Jane Pittman (1974/2h 0m/Drama/John Korty)
(4:00AM) Queen Christina (1933/1h 37m/Romance/Rouben Mamoulian)
(6:00AM) Night Watch (1973/1h 45m/Suspense/Brian G. Hutton)
(8:00AM) MGM CARTOONS: The Impossible Possum (1954/0h 6m/Animation/Dick Lundy)
(8:08AM) Believe It or Not #5 (1932/0h 7m/Documentary/?)
(8:16AM) Glimpses of California (1946/0h 9m/Documentary/?)
(8:26AM) Western Heritage (1948/1h 1m/Western/Wallace A. Grissell)
(9:30AM) Day Is Done (1955/0h 26m/WaFrank Borzage)
(10:00AM) POPEYE: Brotherly Love (1936/0h 6m/Comedy/Dave Fleischer)
(10:08AM) The Captain's Kid (1936/1h 12m/Drama/Nick Grinde)
(11:30AM) Men of the Sky (1942/0h 20m/Short/B. Reeves Eason)
(12:00PM) Buena Vista Social Club (1998/1h 44m/Documentary/Wim Wenders)
(2:00PM) International Velvet (1979/2h 12m/Drama/Bryan Forbes)
(4:15PM) Courage of Lassie (1946/1h 32m/Drama/Fred M. Wilcox)
(6:00PM) Bringing Up Baby (1938/1h 42m/Comedy/Howard Hawks)
(8:00PM) Brannigan (1975/1h 51m/Crime/Douglas Hickox)
(10:00PM) Coogan's Bluff (1968/1h 34m/Crime/Donald Siegel)
SUN MAR 24
(12:00AM) Where Danger Lives (1950/1h 24m/Film-NoiJohn Farrow)
(1:45AM) A Raisin in the Sun (1961/2h 8m/Drama/Daniel Petrie)
(4:00AM) Edge of the City (1957/1h 25m/Drama/Martin Ritt)
(6:00AM) Easy to Wed (1946/1h 50m/Musical/Edward Buzzell)
(8:00AM) History Is Made at Night (1937/1h 37m/Romance/Frank Borzage)
(10:00AM) Where Danger Lives (1950/1h 24m/Film-NoiJohn Farrow)
(11:45AM) The Last Time I Saw Paris (1954/1h 56m/Drama/Richard Brooks)
(2:00PM) Sunday in New York (1963/1h 45m/Comedy/Peter Tewksbury)
(4:00PM) High Society (1956/1h 47m/Musical/Charles Walters)
(6:00PM) Three Coins in the Fountain (1954/1h 42m/Romance/Jean Negulesco)
(8:00PM) Intermezzo: A Love Story (1939/1h 6m/Romance/Gregory Ratoff)
(9:30PM) Notorious (1946/1h 43m/Drama/Alfred Hitchcock)
MON MAR 25
(12:00AM) The Boob (1926/1h 4m/Silent/William Wellman)
(1:30AM) All These Women (1964/1h 20m/Comedy/Ingmar Bergman)
(3:00AM) And God Created Woman (1956/1h 30m/Drama/Roger Vadim)
(5:00AM) Conspiracy (1938/0h 58m/Crime/Lew Landers)
(6:00AM) The Saint in London (1939/1h 12m/Mystery/John Paddy Carstairs)
(7:15AM) Piccadilly Jim (1936/1h 40m/Comedy/Robert Z. Leonard)
(9:15AM) The Last of Mrs. Cheyney (1937/1h 38m/Romance/Richard Boleslawski)
(11:00AM) Loose in London (1953/1h 2m/Comedy/Edward Bernds)
(12:15PM) The V.I.P.s (1963/1h 59m/Drama/Anthony Asquith)
(2:30PM) The Prince and the Showgirl (1957/1h 57m/Comedy/Laurence Olivier)
(4:30PM) The Reluctant Debutante (1958/1h 36m/Musical/Vincente Minnelli)
(6:15PM) A Hard Day's Night (1964/1h 32m/Musical/Richard Lester)
(8:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(10:00PM) Three Little Words (1950/1h 42m/Musical/Richard Thorpe)
TUE MAR 26
(12:00AM) Two Weeks with Love (1950/1h 32m/Musical/Roy Rowland)
(1:45AM) Mr. Imperium (1951/1h 27m/Romance/Don Hartman)
(3:30AM) The Daughter of Rosie O'Grady (1950/1h 44m/Musical/David Butler)
(5:30AM) Skirts Ahoy! (1952/1h 49m/Musical/Sidney Lanfield)
(7:30AM) Romeo and Juliet (1937/2h 7m/Romance/George Cukor)
(9:45AM) Green Mansions (1959/1h 44m/Romance/Mel Ferrer)
(11:45AM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(1:30PM) The Young Lovers (1964/1h 45m/Romance/Samuel Goldwyn, Jr.)
(3:30PM) A Summer Place (1959/2h 10m/Drama/Delmer Daves)
(5:45PM) Splendor in the Grass (1961/2h 4m/Drama/Elia Kazan)
(8:00PM) The Catered Affair (1956/1h 33m/Drama/Richard Brooks)
(9:45PM) The Affairs of Dobie Gillis (1953/1h 14m/Comedy/Don Weis)
(11:15PM) I Love Melvin (1953/1h 16m/Musical/Don Weis)
WED MAR 27
(12:45AM) Give a Girl a Break (1953/1h 21m/Musical/Stanley Donen)
(2:15AM) Hit the Deck (1955/1h 52m/Musical/Roy Rowland)
(4:15AM) Athena (1954/1h 36m/Musical/Richard Thorpe)
(6:00AM) Red Dust (1932/1h 19m/Romance/Victor Fleming)
(7:30AM) Bird of Paradise (1932/1h 20m/Adventure/King Vidor)
(9:00AM) Tarzan and His Mate (1934/1h 45m/Adventure/Cedric Gibbons)
(11:00AM) King Solomon's Mines (1937/1h 20m/Adventure/Robert Stevenson)
(12:30PM) China Seas (1935/1h 30m/Adventure/Tay Garnett)
(2:00PM) The Adventures of Robin Hood (1938/1h 42m/Adventure/Michael Curtiz)
(4:00PM) They Met in Bombay (1941/1h 26m/Drama/Clarence Brown)
(5:45PM) Mogambo (1953/1h 55m/Adventure/John Ford)
(8:00PM) Tammy and the Bachelor (1957/1h 29m/Romance/Joseph Pevney)
(9:45PM) The Mating Game (1959/1h 37m/Comedy/George Marshall)
(11:30PM) The Tender Trap (1955/1h 51m/Comedy/Charles Walters)
THU MAR 28
(1:30AM) Bundle of Joy (1956/1h 38m/Musical/Norman Taurog)
(3:30AM) This Happy Feeling (1958/Comedy/Blake Edwards)
(5:15AM) Susan Slept Here (1954/1h 38m/Comedy/Frank Tashlin)
(7:00AM) Listen, Darling (1938/1h 10m/Romance/Edwin L. Marin)
(8:30AM) Lord Jeff (1938/1h 18m/Drama/Sam Wood)
(10:00AM) David Copperfield (1935/2h 13m/Drama/George Cukor)
(12:30PM) Anna Karenina (1935/1h 35m/Romance/Clarence Brown)
(2:15PM) Little Lord Fauntleroy (1936/1h 38m/Drama/John Cromwell)
(4:00PM) The Devil Is a Sissy (1936/1h 32m/Comedy/W. S. Van Dyke)
(6:00PM) Captains Courageous (1937/1h 56m/Drama/Victor Fleming)
(10:00PM) Goodbye Charlie (1964/1h 57m/Comedy/Vincente Minnelli)
FRI MAR 29
(12:15AM) The Pleasure of His Company (1961/1h 55m/Comedy/George Seaton)
(2:30AM) The Gazebo (1960/1h 40m/Comedy/George Marshall)
(4:30AM) It Started with a Kiss (1959/1h 43m/Comedy/George Marshall)
(6:30AM) Mary, Mary (1963/2h 6m/Comedy/Mervyn Le Roy)
(8:45AM) How Sweet It Is (1968/1h 39m/Comedy/Jerry Paris)
(10:30AM) MGM Parade Show #17 (1955/25m/Documentary/?)
(11:15AM) The Great Race (1965/2h 37m/Comedy/Blake Edwards)
(2:00PM) Don't Make Waves (1967/1h 37m/Comedy/Alexander Mackendrick)
(3:45PM) Not With My Wife, You Don't! (1966/1h 58m/Comedy/Norman Panama)
(6:00PM) Sex and the Single Girl (1964/1h 54m/Comedy/Richard Quine)
(8:00PM) The Unsinkable Molly Brown (1964/2h 8m/Musical/Charles Walters)
(10:30PM) Divorce, American Style (1967/1h 49m/Comedy/Bud Yorkin)
SAT MAR 30
(12:30AM) What's the Matter with Helen? (1971/1h 41m/HorroCurtis Harrington)
(2:30AM) The Second Time Around (1961/1h 39m/Western/Vincent Sherman)
(4:30AM) How the West Was Won (1962/2h 35m/Western/John Ford)
(7:30AM) The Singing Nun (1966/1h 38m/Musical/Henry Koster)
(9:30AM) A Midsummer Daydream (1955/0h 25m/Comedy/John Brahm)
(10:00AM) POPEYE: I-ski, Love-ski, You-ski (1933/0h 6m/Animated/Dave Fleischer)
(10:08AM) The Chaser (1938/1h 15m/Drama/Edwin L. Marin)
(11:30AM) The Mild West (1933/0h 20m/Western/Joseph Henabery)
(12:00PM) The Gay Divorcee (1934/1h 47m/Musical/Mark Sandrich)
(2:00PM) Mr. Blandings Builds His Dream House (1948//1h 34m/Comedy/H. C. Potter)
(3:45PM) Fort Apache (1948/2h 7m/Western/John Ford)
(6:00PM) Get Carter (1971/1h 52m/Crime/Mike Hodges)
(8:00PM) The Passenger (1975/2h 3m/Drama/Michelangelo Antonioni)
(10:15PM) Prizzi's Honor (1985/2h 9m/Comedy/John Huston)
SUN MAR 31
(12:30AM) Pushover (1954/1h 28m/Film-NoiRichard Quine)
(2:15 AM) The Last Picture Show (1971/1h 58m/Drama/Peter Bogdanovich)
(4:30AM) Hearts of the West (1975/1h 43m/Western/Howard Zieff)
(6:15AM) The Green Pastures (1936/1h 30m/Drama/Marc Connelly)
(8:00AM) The Miracle of Our Lady of Fatima (1952/1h 42m/Drama/John Brahm)
(10:00AM) Pushover (1954/1h 28m/Film-NoiRichard Quine)
(12:00PM) Godspell (1973/1h 43m/Musical/David Greene)
(2:00PM) The Greatest Story Ever Told (1965/3h 45m/Drama/George Stevens)
(5:30PM) The Robe (1953/2h 15m/Drama/Henry Koster)
(8:00PM) Easter Parade (1h 43m/Musical/Charles Walters)
(10:00PM) King of Kings (1961/2h 48m/Drama/Nicholas Ray)
submitted by yawningvoid28 to movies [link] [comments]

2024.02.19 16:30 stefanurquelle What would be the perfect Mark Proops celebrity impersonations setlist? Now that he's not busy filming anything hopefully I can hire him for a birthday party for my boys (7, 10, and 14).

Here is my dream 8 hour Mark Pogues setlist:
​
My boys are huge W.C. Fields Freaks so it starts with none other than
W.C. Fields from
My Little Chickadee (1940; 1h23m) and
Six of a Kind (1934; 1h2m) which also starred George Burns from
Oh, God! (1977; 1h38m)
​
W.C. Fields also starred in The Bank Dick (1940; 1h14m) featuring Shemp Howard from
The Three Stooges (2012; 1h32m) and
Hollywood Party (1934; 1h8m) starring Clark Gable from
Gone With the Wind (1939; 3h58m) along with Jimmy Durante from
Blondie of the Follies (1932; 1h23m) and
You're in the Army Now (1940; 1h14m)
​
Which was remade in 1994 (1h32m) starring Andy Dick
[He really needs to remake The Bank Dick (1940; 1h14m)] and
Pauly Shore from
Pinocchio: a True Story (2021; 1h34m) and
Encino Man (1992; 1h28m) starring Kelsie Grammer who won Oscer gold in
The Whaleman (2022; 1h57m) and
The Mummy (1999; 2h4m) starring the Mummy from
Elvis and Costello Meet the Mummy (1955; 1h30m) directed by Charles Lemont who also directed
Ma and Pa Kettle (1949; 1h16m)
​
The Mummy is of course also in Deck of Cards (2022; 45m) and
Decker vs Dracula (2015;2h30m) starring agent Jack Decker from
Decker (2014; 2h0m) and James Dean from
Rebel Without a Cause (1955; 1h41m) which also starred Natalie Wood
who mysteriously died falling out of a boat into the ocean in 1981
[it's too bad she wasn't on the boat from Jaws (1975; 2h10m) because then Mark could do Quint.]
​
Also aboard the boat that night were Robert Wagner from
Hollywood Homicide (2003; 1h56m) and Christopher Walken from
The Country Bear Jamboree (2002; 1h28m) and
Annie Hall (1977; 1h33m) starring Woody Allen from
Toy Story (1995; 1h17m) which also starred Tom Hanks from
Dilbert (2024; tbd) and
Pinocchio (2022; 1h45m) and
Saving Private Cody Banks (2013; 2h5m) where he plays Walt Disney who wrote and directed
The Lion King (2019; 1h58m) starring the Baboon from
Baboon: A Pep Boys Story (tbd) starring Manny Pep Boy.
​
Bravo Bravissimo Mark!
submitted by stefanurquelle to OnCinemaAtTheCinema [link] [comments]

2024.02.04 06:37 WiaXmsky Let's put together a definitive list of desperation guessing movies

I'll update this post with suggestions in the replies, please give as many as you can that have helped you! I'll organize them by decade.

1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

2000s

2010s

2020s

submitted by WiaXmsky to CINE2nerdle [link] [comments]

2024.01.30 08:05 yawningvoid28 The Daily Schedule For Turner Classic Movies (U.S.) for the Month of February, 2024

(all airtimes E.S.T.)
THU FEB 01
(12:30AM) Punch-Drunk Love (2002/1h 37m/Comedy/Paul Thomas Anderson)
(2:15AM) Whiplash (2014/1h 45m/Drama/Damien Chazelle)
(4:15AM) Marie Antoinette (2006/2h 3m/Biography/Sofia Coppola)
(6:30AM) Hold Your Man (1933/1h 29m/Romance/Sam Wood)
(8:00AM) Mutiny on the Bounty (1935/2h 12m/Adventure/Frank Lloyd)
(10:15AM) Comrade X (1940/1h 30m/Comedy/King Vidor)
(12:00PM) They Met In Bombay (1941/1h 26m/Drama/Clarence Brown)
(2:00PM) Somewhere I'll Find You (1942/1h 48m/Romance/Wesley Ruggles)
(4:00PM) The Hucksters (1947/1h 55m/Drama/Jack Conway)
(6:00PM) Any Number Can Play (1949/1h 52m/WaMervyn Leroy)
(8:00PM) The Power of Paradox (2023/?/?/?)
(9:00PM) 2001: A Space Odyssey (1968/2h 40m/Science-Fiction/Stanley Kubrick)
(11:45PM) The Power of Paradox (2023/?/?/?)
FRI FEB 02
(12:45AM) Metropolis (1926/2h 33m/Silent/Fritz Lang)
(3:15AM) Dr. Jekyll and Mr. Hyde (1941/2h 7m/HorroVictor Fleming)
(5:15AM) Rebel Without a Cause (1955/1h 51m/Drama/Nicholas Ray)
(7:15AM) Speed (1936/1h 5m/Drama/Edwin L. Marin)
(8:30AM) The Crowd Roars (1932/1h 25m/Adventure/Howard Hawks)
(10:00AM) The Big Wheel (1949/1h 32m/Drama/Edward Ludwig)
(12:00PM) To Please a Lady (1950/1h 31m/Romance/Clarence Brown)
(2:00PM) Fireball 500 (1966/1h 32m/Comedy/ William Asher)
(4:00PM) Speedway (1968/1h 35m/Musical/Norman Taurog)
(6:00PM) The Racing Scene (1969/1h 32m/Documentary/Andy Sidaris)
(8:00PM) The Autobiography Of Miss Jane Pittman (1974/2h 0m/Drama/John Korty)
(10:00PM) Freedom on My Mind (1994/1h 45m/Documentary/Connie Field)
SAT FEB 03
(2:15AM) The Murder of Fred Hampton (1971/1h 28m/Documentary/Mike Gray)
(3:45AM) Cicero March (1966/0h 9m/Documentary/The Film Group)
(4:00AM) American Revolution 2 (1969/1h 20m/Documentary/Howard Alk)
(5:30AM) Black Moderates and Black Militants (1968/?/Documentary/The Film Group)
(6:15AM) Paul Robeson: Tribute to an Artist (1979/0h 30m/Biography/Saul J. Turell)
(7:00AM) Emperor Jones (1933/1h 12m/Drama/Dudley Murphy)
(8:30AM) Within Our Gates (1920/1h 19m/Drama/Oscar Micheaux)
(10:00AM) Oscar Micheaux: The Superhero of Black Filmmaking (2021/1h 20m/Documentary/Francesco Zippel)
(11:30AM) Odds Against Tomorrow (1959/1h 35m/Crime/Robert Wise)
(1:30PM) Long Day's Journey Into Night (1982/?/Drama/William Woodman)
(3:30PM) A Raisin in the Sun (1961/2h 8m/Drama/Daniel Petrie)
(6:00PM) In the Heat of the Night (1967/1h 49m/Mystery/Norman Jewison)-
(8:00PM) When We Were Kings (1996/1h 30m/Documentary/Leon Gast)
(10:00PM) Hoop Dreams (1994/2h 51m/Documentary/Steve James)
SUN FEB 04
(1:00AM) Cornbread, Earl & Me (1975/1h 34m/Drama/Joseph Manduke)
(2:45AM) The Jackie Robinson Story (1950/1h 16m/Drama/Alfred E. Green)
(4:15AM) Greased Lightning (1977/1h 36m/Biography/Michael Schultz)
(6:00AM) Solomon Northup's Odyssey (1984/2h 0m/Drama/Gordon Parks)
(8:00AM) Gordon Parks: Moments Without Proper Names (1988/1h 0m/Documentary/Gordon Parks)
(9:00AM) The Learning Tree (1969/1h 47m/Drama/Gordon Parks)
(11:00AM) Imitation of Life (1934/1h 46m/Drama/John M. Stahl)
(1:00PM) The Negro Soldier (1944/0h 41m/Documentary/Capt. Stuart Heisler)
(2:00PM) Sergeant Rutledge (1960/1h 51m/Western/John Ford)
(4:00PM) Sounder (1972/1h 45m/Drama/Martin Ritt)
(6:00PM) Sparkle (1976/1h 38m/Drama/Sam O'steen)
(8:00PM) Bird (1988/2h 41m/Drama/Clint Eastwood)
(11:00PM) Lady Sings the Blues (1972/2h 24m/Biography/Sidney J. Furie)
MON FEB 05
(1:30AM) Body and Soul (1925/1h 26m/Silent/Oscar Micheaux)
(3:15AM) Black Girl (1966/1h 0h/Drama/Ousmane Sembene)
(4:15AM) Alma's Rainbow (1994/1h 25m/Drama/Ayoka Chenzira)
(6:00AM) Image Makers: The Adventures of America's Pioneer Cinematographers (2019/1h 31m/Documentary/Daniel Raim)
(8:00AM) Guns of Darkness (1962/1h 42m/Drama/Anthony Asquith)
(10:00AM) The Yellow Rolls-Royce (1964/2h 2m/Romance/Anthony Asquith)
(12:15PM) The V.I.P.S, (1963/1h 59m/Drama/Anthony Asquith)
(2:30PM) Libel (1959/1h 40m/Drama/Anthony Asquith)
(4:30PM) The Importance of Being Earnest (1952/1h 35m/Comedy/Anthony Asquith)
(6:15PM) The Browning Version (1951/1h 30m/Drama/Anthony Asquith)
(8:00PM) Notorious (1946/1h 43m/Suspense/Alfred Hitchcock)
(10:00PM) The Wrong Man (1956/1h 45m/Suspense/Alfred Hitchcock)
TUE FEB 06
(12:00AM) I Confess (1953/1h 35m/Drama/Alfred Hitchcock)
(2:00AM) The 39 Steps (1935/1h 27m/Suspense/Alfred Hitchcock)
(3:30AM) The Lady Vanishes (1938/1h 37m/Suspense/Alfred Hitchcock)
(5:15AM) Young and Innocent (1937/1h 10m/Suspense/Alfred Hitchcock)
(6:45AM) Flirtation Walk (1934/1h 37m/Musical/Frank Borzage)
(8:30AM) Colleen (1936/1h 29m/Musical/Alfred E. Green)
(10:15AM) Mother Carey's Chickens (1938/1h 22m/Drama/Rowland V. Lee)
(11:45AM) The Jackie Robinson Story (1950/1h 16m/Drama/Alfred E. Green)
(1:15PM) Footlight Parade (1933/1h 42m/Musical/Lloyd Bacon)
(3:00PM) The Tall Target (1951/1h 18m/Suspense/Anthony Mann)
(4:30PM) Shipmates Forever (1935/1h 49m/Musical/Frank Borzage)
(6:30PM) Edge of the City (1957/1h 25m/Drama/Martin Ritt)
(8:00PM) Annie Hall (1977/1h 33m/Comedy/Woody Allen)
(10:00PM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
WED FEB 07
(12:00AM) Modern Times (1936/1h 27m/Silent/Charlie Chaplin)
(1:45AM) Safety Last! (1923/1h 17m/Silent/Fred Newmeyer)
(3:00AM) Our Blushing Brides (1930/1h 19m/Romance/Harry Beaumont)
(4:45AM) The Big Store (1941/1h 20m/Comedy/Charles Riesner)
(6:15AM) Home Before Dark (1958/2h 17m/Drama/Mervyn Le Roy)
(8:45AM) The Enchanted Cottage (1945/1h 31m/Romance/John Cromwell)
(10:30AM) Come Live with Me (1941/1h 26m/Romance/Clarence Brown)
(12:00PM) Some Came Running (1958/2h 14m/Drama/Vincente Minnelli)
(2:30PM) The Prodigal (1955/1h 54m/Drama/Richard Thorpe)
(4:30PM) Till the End of Time (1946/1h 45m/Drama/Edward Dmytryk)
(6:15PM) Desire Me (1947/1h 31m/Romance/George Cukor)
(8:00PM) Antonia: A Portrait of the Woman (1974/0h 58m/Documentary/Judy Collins)
(9:15PM) The Best Years of Our Lives (1946/2h 52m/Drama/William Wyler)
THU FEB 08
(12:15AM) Cane River (1982/1h 30m/Drama/Horace Jenkins)
2:15AM) The Masque of the Red Death (1964/1h 30m/HorroRoger Corman)
(3:45AM) The Story of G. I. Joe (1945/1h 49m/WaWilliam A. Wellman)
(6:00AM) Beneath The 12-Mile Reef (1953/1h 42m/Adventure/Robert D. Webb)
(8:00AM) A Word for the Greeks (1951/0h 8m/Short/James A. Fitzpatrick)
(8:15AM) POPEYE: Greek Mirthology (1954/0h 6m/Animation/?)
(8:30AM) Helen of Troy (1956/1h 58m/Adventure/Robert Wise)
(10:45AM) Atlas (1961/1h 19m/Adventure/Roger Corman)
(12:15PM) Atlantis, The Lost Continent (1960/1h 30m/Adventure/George Pal)
(2:00PM) Hercules, Samson & Ulysses (1963/1h 25m/Adventure/Pietro Francisci)
(3:30PM) Clash of the Titans (1981/1h 58m/Adventure/Desmond Davis)
(5:45PM) The Colossus of Rhodes (1961/2h 7m/Adventure/Sergio Leone)
(8:00PM) The Power of Film - Part 6: Love and Meaning (2023/Documentary/Doug Pray and Laura Gabbert)
(9:00PM) Harold and Maude (1971/1h 31m/Dramedy/Hal Ashby)
(11:00PM) The Power of Film - Part 6: Love and Meaning (2023/Documentary/Doug Pray and Laura Gabbert)
FRI FEB 09
(12:00AM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
(3:00AM) To Have and Have Not (1944/1h 40m/Romance/Howard Hawks)
(5:00AM) The Metro-Goldwyn-Mayer Story (1950/0h 56m/Documentary/Herman Hoffman)
(6:00AM) Adventures of Don Juan (1948/1h 50m/Adventure/Vincent Sherman)
(8:00AM) Raintree County (1957/3h 7m/Drama/Edward Dmytryk)
(11:15AM) The Band Wagon (1953/1h 52m/Musical/Vincente Minnelli)
(1:15PM) Flower Drum Song (1961/2h 13m/Musical/Henry Koster)
(3:30PM) The Night of the Iguana (1964/2h 5m/Drama/John Huston)
(5:30PM) Gypsy (1962/2h 29m/Musical/Mervyn Le Roy)
(8:00PM) The Sting (1973/2h 7m/Comedy/George Roy Hill)
(10:15PM) Roman Holiday (1953/1h 58m/RomCom/William Wyler)
SAT FEB 10
(12:30AM) All That Jazz (1979/2h 3m/Biography/Bob Fosse)
(2:45AM) Camelot (1967/2h 59m/Musical/Joshua Logan)
(6:00AM) Merrily We Live (1938/1h 30m/Comedy/Norman Z. McLeod)
(8:00AM) Caged (1950/1h 36m/Drama/John Cromwell)
(10:00AM) Mogambo (1953/1h 55m/Adventure/John Ford)
(12:00PM) Rebel Without a Cause (1955/1h 51m/Drama/Nicholas Ray)
(2:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(4:00PM) Harvey (1950/1h 44m/Comedy/Henry Koster)
(6:00PM) Butterflies Are Free (1972/1h 33m/Drama/Milton Katselas)
(8:00PM) Written on the Wind (1957/1h 32m/Drama/Douglas Sirk)
(10:00PM) The Miracle Worker (1962/1h 47m/Drama/Arthur Penn)
SUN FEB 11
(12:00AM) Pollock (2000/1h 57m/Biography/Ed Harris)
(2:15AM) A Patch of Blue (1965/1h 45m/Drama/Guy Green)
(4:15AM) The Bad and the Beautiful (1952/1h 58m/Drama/Vincente Minnelli)
(6:15AM) Primrose Path (1940/1h 33m/Drama/Gregory La Cava)
(8:00AM) Love Affair (1939/1h 27m/Romance/Leo McCarey)
(9:30AM) The Magnificent Ambersons (1942/1h 28m/Drama/Orson Welles)
(11:00AM) Jezebel (1938/1h 44m/Drama/William Wyler)
(1:00PM) My Man Godfrey (1936/1h 35m/Comedy/Gregory La Cava)
(3:00PM) Pillow Talk (1959/1h 45m/Comedy/Michael Gordon)
(5:00PM) A Passage to India (1984/2h 43m/Drama/David Lean)
(8:00PM) The Razor's Edge (1946/2h 26m/Drama/Edmund Goulding)
(10:45PM) None But the Lonely Heart (1944/1h 53m/Drama/Clifford Odets)
MON FEB 12
(1:00AM) Key Largo (1948/1h 41m/Crime/John Huston)
(3:00AM) Anthony Adverse (1936/2h 16m/Adventure/Mervyn Le Roy)
(5:30AM) The Merry Widow (1934/1h 39m/Musical/Ernst Lubitsch)
(7:30AM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(10:00AM) George Washington Slept Here (1942/1h 33m/Comedy/William Keighley)
(12:00PM) Pride and Prejudice (1940/1h 57m/Romance/Robert Z. Leonard)
(2:00PM) Brigadoon (1954/1h 48m/Musical/Vincente Minnelli)
(4:00PM) The Prisoner of Zenda (1937/1h 41m/Adventure/John Cromwell)
(6:00PM) Knights of the Round Table (1953/1h 55m/Romance/Richard Thorpe)
8:00PM) The Adventures of Robin Hood (1938/1h 42m/Adventure/Michael Curtiz)
(10:00PM) The Robe (1953/2h 15m/Drama/Henry Koster)
TUE FEB 13
(12:30AM) Black Narcissus (1947/1h 39m/Drama/Michael Powell)
(2:30AM) Tess (1979/2h 52m/Romance/Roman Polanski)
(5:30AM) The Thief of Bagdad (1940/1h 46m/Adventure/Ludwig Berger)
(7:30AM) La Strada (1954/1h 55m/Drama/Federico Fellini)
(9:30AM) Monsieur Hulot's Holiday (1953/1h 31m/Comedy/Jacques Tati)
(11:15AM) Woman of the Year (1942/1h 52m/Comedy/George Stevens)
(1:15PM) It's Always Fair Weather (1955/1h 42m/Musical/Gene Kelly)
(3:15PM) North by Northwest (1959/2h 16m/Suspense/Alfred Hitchcock)
(5:45PM) The China Syndrome (1979/2h 2m/Drama/James Bridges)
(8:00PM) The Great McGinty (1940/1h 21m/Comedy/Preston Sturges)
(9:30PM) Eternal Sunshine of the Spotless Mind (2004/1h 48m/Comedy/Michel Gondry)
(11:30PM) Gosford Park (2001/2h 17m/Comedy/Robert Altman)
WED FEB 14
(2:00AM) Network (1976/2h 1m/Drama//Sidney Lumet)
(4:15AM) Princess O'Rourke (1943/1h 34m/Comedy/Norman Krasna)
(6:00AM) Pygmalion (1938/1h 34m/Comedy/Anthony Asquith)
(7:45AM) Random Harvest (1942/2h 4m/Romance/Mervyn Le Roy)
(10:00AM) Kitty Foyle (1940/1h 48m/Romance/Sam Wood)
(12:00PM) A Foreign Affair (1948/1h 55m/Comedy/Billy Wilder)
(2:00PM) Brief Encounter (1945/1h 26m/Romance/David Lean)
(3:45PM) Rebecca (1940/1h 55m/Suspense/Alfred Hitchcock)
(6:00PM) Wuthering Heights (1939/1h 43m/Romance/William Wyler)
(8:00PM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(10:00PM) Doctor Zhivago (1965/3h 17m/Romance/David Lean)
THU FEB 15
(1:30AM) From Here to Eternity (1953/1h 58m/Drama/Fred Zinnemann)
(3:45AM) Little Women (1933/1h 55m/Drama/George Cukor)
(6:00AM) The Public Enemy (1931/1h 14m/Crime/William *A. Wellman)
(7:30AM) Bachelor Mother (1939/1h 20m/Comedy/Garson Kanin)
(9:00AM) My Favorite Wife (1940/1h 28m/Comedy/Garson Kanin)
(10:30AM) The Search (1948/1h 45m/Drama/Fred Zinnemann)
(12:30PM) The Strange Love of Martha Ivers (1946/1h 56/Film-NoiLewis Milestone)
(2:30PM) The Narrow Margin (1952/1h 11m/Film-NoiRichard Fleischer)
(4:00PM) A Guy Named Joe (1943/2h 0m/Romance/Victor Fleming)
(6:15PM) Here Comes Mr. Jordan (1941/1h 33m/Comedy/Alexander Hall)
(8:00PM) A Star Is Born (1937/1h 51m/Romance/William A. Wellman)
(10:00PM) One Way Passage (1932/1h 9m/Drama/Tay Garnett)
(11:15PM) Love Me or Leave Me (1955/2h 2m/Musical/Charles Vidor)
FRI FEB 16
(1:30AM) The Stratton Story (1949/1h 46m/Biography/Sam Wood)
(3:30AM) 49th Parallel (1941/2h 2m/WaMichael Powell)
(5:45AM) Test Pilot (1938/1h 58m/Adventure/Victor Fleming)
(7:45AM) Crazylegs (1953/1h 27m/Biography/Francis D. Lyon)
(9:15AM) Dr. Jekyll and Mr. Hyde (1941/2h 7m/HorroVictor Fleming)
(11:15AM) The Window (1949/1h 13m/Film-NoiTed Tetzlaff)
(12:30PM) Objective, Burma! (1945/2h 22m/WaRaoul Walsh)
(3:00PM) Odd Man Out (1947/1h 56m/Suspense/Carol Reed)
(5:00PM) How the West Was Won (1962/2h 35m/Western/John Ford)
(8:00PM) Bullitt (1968/1h 54m/Crime/Peter Yates)
(10:15PM) The Pride of the Yankees (1942/2h 8m/Drama/Sam Wood)
SAT FEB 17
(12:30AM) Raging Bull (1980/2h 9m/Drama/Martin Scorsese)
(2:45AM) The Naked City (1948//1h 36m/Crime/Jules Dassin)
(4:30AM) Eskimo (1933/1h 57m/Adventure/W. S. Van Dyke)
(6:30AM) Four Daughters (1938/1h 30m/Romance/Michael Curtiz)
(8:15AM) Sayonara (1957/2h 27m/Romance/Joshua Logan)
(11:00AM) Crossfire (1947/1h 25m/Suspense/Edward Dmytryk)
(12:30PM) The Asphalt Jungle (1950/1h 52m/Crime/John Huston)
(2:30PM) The Barefoot Contessa (1954/2h 8m/Drama/Joseph L. Mankiewicz)
(5:00PM) The Big Country (1958/2h 46m/Western/William Wyler)
(8:00PM) How Green Was My Valley (1941/1h 58m/Drama/John Ford)
(10:15PM) The More The Merrier (1943/1h 44m/Comedy/George Stevens)
SUN FEB 18
(12:15AM) The Fortune Cookie (1966/2h 5m/Comedy/Billy Wilder)
(2:30AM) Being There (1979/2h 10m/Comedy/Hal Ashby)
(4:45AM) Sweet Bird of Youth (1962/2h 0m/Drama/Richard Brooks)
(7:00AM) Romeo and Juliet (1937/2h 7m/Romance/George Cukor)
(9:30AM) Friendly Persuasion (1956/2h 17m/Drama/William Wyler)
(12:00PM Quo Vadis (1951/2h 51m/Adventure/Mervyn Le Roy)
(3:00PM) Cool Hand Luke (1967/2h 9m/Drama/Stuart Rosenberg)
(5:15PM) The Dirty Dozen (1967/2h 29m/WaRobert Aldrich)
(8:00PM) Topkapi (1964/2h/Suspense/Jules Dassin)
(10:15PM) Adaptation (2002/1h 54m/Comedy/Spike Jonze)
MON FEB 19
(12:30AM) Cabaret (1972/2h 4m/Musical/Bob Fosse)
(2:45AM) Come And Get It (1936/1h 45m/Drama//Howard Hawks)
(4:30AM) Lust for Life (1956/2h 2m/Drama/Vincente Minnelli)
(6:45AM) Mr. Dodd Takes the Air (1937/1h 26m/Musical/Alfred E. Green)
(8:15AM) Meet Me in St. Louis (1944/1h 53m/Musical/Vincente Minnelli)
(10:15AM) The Umbrellas of Cherbourg (1964/1h 35m/Musical/Jacques Demy)
(12:00PM) Triplets of Belleville (2003/1h 20m/Animated/Sylvain Chomet)
(1:45PM) The Sandpiper (1965/1h 56m/Romance/Vincente Minnelli)
(4:00PM) Calamity Jane (1953/1h 41m/Musical/David Butler)
(6:00PM) The Gay Divorcee (1934/1h 47m/Musical/Mark Sandrich)
(8:00PM) The Man Who Knew Too Much (1956/1h 59m/Suspense/Alfred Hitchcock)
(10:15PM) The Thomas Crown Affair (1968/1h 42m/Romance/Norman Jewison)
TUE FEB 20
(12:15AM) Fame (1980/2h 14m/Musical/Alan Parker)
(2:45AM) A Star Is Born (1976/2h 20m/Musical//Frank R. Pierson)
(5:15AM) Lady Be Good (1941/1h 51m/Musical/Norman Z. Mcleod)
(7:15AM) Carefree (1938/1h 20m/Comedy/Mark Sandrich)
(9:00AM) Night and Day (1946/2h 8m/Musical/Michael Curtiz)
(11:15AM) The Enchanted Cottage (1945/1h 31m/Romance/John Cromwell)
(1:00PM) Of Mice and Men (1939/1h 47m/Drama/Lewis Milestone)
(3:00PM) The Old Man and the Sea (1958/1h 26m/Drama/John Sturges)
(4:30PM) The Harvey Girls (1946/1h 41m/Musical/George Sidney)
(6:15PM) On the Town (1949/1h 38m/Musical/Gene Kelly)
(8:00PM) The Red Shoes (1948/2h 14m/Romance/Michael Powell and Emeric Pressburger)
(10:30PM) Spellbound (1945/1h 51m/Suspense/Mystery/Alfred Hitchcock)
WED FEB 21
(12:30AM) Now, Voyager (1942/1h 57m/Romance/Irving Rapper)
(2:45AM) A Little Romance (1979/1h 48m/Romance/George Roy Hill)
(4:45AM) Lili (1953/1h 21m/Musical/Charles Walters)
(6:15AM) The Sea Around Us (1952/1h 1m/Documentary/Irwin Allen)
((7:30AM) The Secret Land (1948/1h 11m/Documentary/Orville O. Dull)
(9:00AM) Freedom on My Mind (1994/1h 45m/Documentary/Connie Field)
(11:00AM) Four Days In November (1964/2h 3m/Documentary/Mel Stuart)
1:15PM) Common Threads: Stories From the Quilt (1989/1h 15m/Documentary/Robert Epstein)
3:00PM) For All Mankind (1989/1h 26m/Documentary/Al Reinert)
4:30PM) When We Were Kings (1996/1h 30m/Documentary/Leon Gast)
6:15PM) Winged Migration (2003/1h 31m/Documentary/Jacques Cluzaud)
8:00PM) The Man Who Skied Down Mt. Everest (1975/1h 26m/Documentary/Isao Zeniy)
9:45PM) Harlan County, USA (1976/1h 43m/Documentary/Barbara Kopple)
(11:45PM) Anne Frank Remembered (1995/2h 2m/Documentary/Jon Blair)
THU FEB 22
(2:00AM) Woodstock: The Director's Cut (1970/3h 4m/Documentary/Michael Wadleigh)
(6:00AM) Algiers (1938/1h 35m/Crime/John Cromwell)
(8:00AM) Waterloo Bridge (1940/1h 43m/Drama/Mervyn Le Roy)
(10:00AM) The Private Lives of Elizabeth and Essex (1939/1h 46m/Romance/Michael Curtiz)
(12:00PM) Kismet (1944/1h 40m/Adventure/William Dieterle)
(1:45PM) National Velvet (1944/2h 5m/Drama/Clarence Brown)
(4:00PM) Rudyard Kipling's Jungle Book (1942/1h 49m/Adventure/Zoltan Korda)
(6:00PM) King Solomon's Mines (1950/1h 42m/Adventure/Compton Bennett)
(8:00PM) She Wore a Yellow Ribbon (1949/1h 43m/Western/John Ford)
(10:00PM) The Black Swan (1942/1h 25m/Adventure/Henry King)
FRI FEB 23
(12:00AM) Phantom of the Opera (1943/1h 32m/HorroArthur Lubin)
(2:00AM) The Picture of Dorian Gray (1945/1h 50m/HorroAlbert Lewin)
(4:00AM) Cries and Whispers (1972/1h 35m/Drama/Ingmar Bergman)
(6:00AM) Captains of the Clouds (1942/1h 53m/WaMichael Curtiz)
(8:00AM) Million Dollar Mermaid (1952/1h 55m/Musical/Mervyn Le Roy)
(10:00AM) Northwest Passage (1940/2h 6m/Western/King Vidor)
(12:15PM) Lassie Come Home (1943/1h 28m/Adventure/Fred M. Wilcox)
(2:00PM) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)
(4:00PM) Blackboard Jungle (1955/1h 41m/Drama/Richard Brooks)
(6:00PM) Strangers on a Train (1951/1h 36m/Suspense/Alfred Hitchcock)
(8:00PM) Laura (1944/1h 28m/Film-NoiOtto Preminger)
(9:45PM) The Defiant Ones (1958/1h 37m/Drama/Stanley Kramer)
(11:30PM) Mississippi Burning (1988/2h 5m/Drama/Alan Parker)
SAT FEB 24
(1:45AM) Ryan's Daughter (1970/3h 26m/Drama/David Lean)
(5:15AM) The Good Earth (1937/2h 18m/Drama/Sidney Franklin)
(7:45AM) The Valley of Decision (1945/1h 51m/Romance/Tay Garnett)
(10:00AM) Alice Adams (1935/1h 40m/Comedy/George Stevens)
(11:45AM) Suspicion (1941/1h 39m/Suspense/Alfred Hitchcock)
(1:30PM) Wait Until Dark (1967/1h 48m/Suspense/Terence Young)
(3:30PM) Born Yesterday (1950/1h 43m/Comedy/George Cukor)
(5:30PM) Auntie Mame (1958/2h 23m/Comedy/Morton Dacosta)
(8:00PM) Driving Miss Daisy (1989/1h 39m/Drama/Bruce Beresford)
(10:00PM) Funny Girl (1968/2h 35m/Musical/William Wyler)
SUN FEB 25
(12:45AM) Mildred Pierce (1945/1h 53m/Drama/Michael Curtiz)
(2:45AM) Alice Doesn't Live Here Anymore (1974/1h 53m/Drama/Martin Scorsese)
(4:45AM) Two Women (1960/1h 39m/Drama/Vittorio De Sica)
(6:30AM) Camille (1937/1h 48m/Romance/George Cukor)
(8:30AM) I'll Cry Tomorrow (1955/1h 57m/Drama/Daniel Mann)
(10:30AM) Baby Doll (1956/1h 54m/Drama/Elia Kazan)
(12:45PM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
(4:00PM) Far From Heaven (2002/1h 47m/Drama/Todd Haynes)
(6:00PM) Gaslight (1944/1h 54m/Suspense/George Cukor)
(8:00PM) A Streetcar Named Desire (1951/2h 2m/Drama/Elia Kazan)
(10:15PM) Moonstruck (1987/1h 42m/Comedy/Norman Jewison)
MON FEB 26
(12:15AM) The Country Girl (1954/1h 44m/Drama/George Seaton)
(2:15AM) Who's Afraid of Virginia Woolf? (1966/2h 11m/Drama/Mike Nichols)
(4:45AM) Dangerous (1935/1h 18m/Drama/Alfred E. Green)
(6:30AM) Green Dolphin Street (1947/2h 21m/Drama/Victor Saville)
(9:00AM) Thirty Seconds Over Tokyo (1944/2h 18m/WaMervyn Le Roy)
(11:30AM) Mutiny on the Bounty (1962/3h 5m/Suspense/Lewis Milestone)
(2:45PM) Forbidden Planet (1956/1h 38m/Science-Fiction/Fred Mcleod Wilcox)
(4:30PM) Topper Returns (1941/1h 25m/Comedy/Roy Del Ruth)
(6:15PM) Them! (1954/1h 34m/HorroGordon Douglas )
(8:00PM) Fantastic Voyage (1966/1h 40m/Science-Fiction/Richard Fleischer)
(10:00PM) Blithe Spirit (1945/1h 36m/Comedy/David Lean)
(11:45PM) 2001: A Space Odyssey (1968/2h 40m/Science-Fiction/Stanley Kubrick)
TUE FEB 27
(2:30AM) Destination Moon (1950/1h 20m/Science-Fiction/Irving Pichel)
(4:15AM) tom thumb (1958/1h 38m/Musical/George Pal)
(6:00AM) Woman in the Dunes (1964/2h 3m/Drama/Hiroshi Teshigahara)
(8:30AM) The Shop on Main Street (1965/2h 8m/Drama/Ján Kadár)
(10:45AM) The Firemen's Ball (1967/1h 13m/Comedy/Milos Forman)
(12:00PM) The Virgin Spring (1960/1h 27m/Drama/Ingmar Bergman)
(1:45PM) The Last Metro (1980/2h 11m/Drama/François Truffaut)
(4:00PM) Mon Oncle (1958/2h 0m/Comedy/Jacques Tati)
(6:00PM) Au Revoir, Les Enfants (1987/1h 44m/Drama/Louis Malle)
(8:00PM) 8½ (1963/2h 20m/Drama/Federico Fellini)
(10:30PM) Babette's Feast (1987/1h 45m/Comedy/Gabriel Axel)
WED FEB 28
(12:30AM) Indochine (1992/2h 40m/Drama/Régis Wargnier)
(3:15AM) Sundays and Cybele (1962/1h 40m/Adaptation/Serge Bourguignon)
(5:15AM) Closely Watched Trains (1967/1h 29m/Comedy/Jirí Menzel)
(7:00AM) Gold Diggers of 1933 (1933/1h 36m/Musical/Mervyn Le Roy)
(9:00AM) Naughty Marietta (1935/1h 20m/Musical/W. S. Van Dyke)
(11:00AM) The Hunchback of Notre Dame (1939/1h 57m/HorroWilliam Dieterle)
(1:00PM) This Land Is Mine (1943/1h 43m/Drama/Jean Renoir)
(3:00PM) The Brave One (1956/1h 40m/Drama/Irving Rapper)
(5:00PM) It's a Mad, Mad, Mad, Mad World (1963/3h 12m/Comedy/Stanley Kramer)
(8:00PM) Grand Prix (1966/2h 59m/Adventure/John Frankenheimer)
(11:15PM) The Hurricane (1937/1h 50m/Adventure/John Ford)
THU FEB 29
(1:15AM) Strike Up the Band (1940/2h 0m/Musical/Busby Berkeley)
(3:30AM) The Great Caruso (1951/1h 49m/Musical/Richard Thorpe)
(5:30AM) Anna Christie (1930/1h 14m/Drama/Clarence Brown)
(7:00AM) Lady For A Day (1933/1h 28m/Comedy/Frank Capra)
(8:45AM) The Southerner (1945/1h 31m/Drama/Jean Renoir)
(10:30AM) Bad Day at Black Rock (1955/1h 21m/Film-NoiJohn Sturges)
(12:00PM) The Treasure of the Sierra Madre (1948/2h 6m/Adventure/John Huston)
(2:15PM) Never on Sunday (1960/1h 31m/Comedy/Jules Dassin)
(4:00PM) Witness for the Prosecution (1957/1h 54m/Mystery/Billy Wilder)
(6:15PM) Midnight in Paris (2011/1h 34m/Comedy/Woody Allen)
(8:00PM) The Quiet Man (1952/2h 9m/Dramedy/John Ford)
(10:30PM) Giant (19563h 21m/Drama/George Stevens)
submitted by yawningvoid28 to movies [link] [comments]

2024.01.19 06:57 everysproutingtree 101 Album Booster Pack: The List's Biggest Misses (in my opinion)

Hello folks!
A week ago, I the list. It was an amazing time! So much new music was there for me to revel in, and so many of my favorites got their time in the limelight.
BUT
There were some VERY glaring omissions. I’m here to correct this, with my patented 101 Albums Booster Pack. No Weezer? No MF DOOM? No Louis freaking Armstrong? No worries, this list has you covered, with a selection of personally vetted favorites from me.
For those like me that have finished the list and always look for more; for those that feel like one album a day isn’t enough and need some extra music discovery; for those that are a just so tired of Robert Dimery’s obsession with Britpop and need some fresh curation; this is for you.
In chronological order, and without further ado:
  1. 1925-1930 - Louis Armstrong - Hot Fives & Sevens
  2. 1939 - Lead Belly - Negro Sinful Songs
  3. 1940 - Bessie Smith - Empress of the Blues
  4. 1940 - Woody Guthrie - Dust Bowl Ballads
  5. 1945 - Mary Lou Williams - The Zodiac Suite
  6. 1950 - Benny Goodman - The Famous 1938 Carnegie Hall Jazz Concert
  7. 1950 - Charlie Parker - Charlie Parker with Strings
  8. 1952 - Hank Williams - Moanin’ The Blues
  9. 1954 - Chet Baker - Chet Baker Sings
  10. 1954 - Dizzy Gillespie - Afro
  11. 1954 - Louis Armstrong - Louis Armstrong Plays WC Handy
  12. 1956 - Harry Belafonte - Calypso
  13. 1958 - Ella Ftizgerald & Louis Armstrong - Porgy and Bess
  14. 1959 - Charles Mingus - Mingus Ah Um
  15. 1959 - Chuck Berry - Chuck Berry is On Top
  16. 1959 - Howlin’ Wolf - Moanin’ in the Moonlight
  17. 1959 - Ornette Coleman - The Shape of Jazz to Come
  18. 1960 - John Coltrane - Giant Steps
  19. 1961 - Ornette Coleman - Free Jazz
  20. 1961 - Patsy Cline - Showcase
  21. 1961 - Robert Johnson - King of the Delta Blues Singers
  22. 1963 - Duke Ellington - Money Jungle
  23. 1964 - The Supremes - Where Did Our Love Go?
  24. 1969 - The Shaggs - Philosophy of the World
  25. 1971 - Alice Coltrane - Journey in Satchidananda
  26. 1971 - Paul McCartney - Ram
  27. 1972 - Vicente Fernandez - El Idolo de Mexico
  28. 1975 - The Bulgarian State Radio & Television Choir - Le Mystère Des Voix Bulgares
  29. 1977 - The Damned - Damned Damned Damned
  30. 1977 - Pink Floyd - Animals
  31. 1980 - Black Sabbath - Heaven & Hell
  32. 1982 - Judas Priest - Screaming for Vengeance
  33. 1982 - Phillip Glass - Glassworks
  34. 1982 - The Descendants - Milo Goes to College
  35. 1984 - Bathory - Bathory
  36. 1986 - Misfits - Misfits
  37. 1987 - Eric B. & Rakim - Paid in Full
  38. 1988 - Death - Leprosy
  39. 1989 - Morbid Angel - Altars of Madness
  40. 1989 - Operation Ivy - Energy
  41. 1990 - Naked City - Naked City
  42. 1991 - Soundgarden - Badmotorfinger
  43. 1992 - Dream Theater - Images & Words
  44. 1993 - Israel Kamakawiwoʻole - Facing Future
  45. 1993 - Weezer - Weezer
  46. 1994 - Emperor - In the Nightside Eclipse
  47. 1994 - Selena - Amor Prohibido
  48. 1996 - Spice Girls - Spice
  49. 1996 - Sublime - Sublime
  50. 1996 - Tool - Aenema
  51. 1996 - Weezer - Pinkerton
  52. 1997 - Modest Mouse - Lonesome Crowded West
  53. 1998 - Neutral Milk Hotel - In the Aeroplane Over the Sea
  54. 1999 - Blink-182 - Enema of the State
  55. 2000 - Boris - Flood
  56. 2000 - Godspeed You! Black Emperor - Lift Your Skinny Fists Like Antennas To Heaven
  57. 2001 - Aesop Rock - Labor Days
  58. 2001 - Converge - Jane Doe
  59. 2001 - Daft Punk - Discovery
  60. 2001 - Opeth - Blackwater Park
  61. 2001 - System of a Down - Toxicity
  62. 2001 - Tool - Lateralus
  63. 2002 - Queens of the Stone Age - Songs for the Deaf
  64. 2003 - Sleep - Dopesmoker
  65. 2003 - The Postal Service - Give Up
  66. 2003 - The Unicorns - Who Will Cut Our Hair When We Are Gone
  67. 2004 - Madvillain - Madvillainy
  68. 2004 - MF DOOM - MM FOOD
  69. 2004 - Modest Mouse - Good News for People Who Love Bad News
  70. 2005 - Gojira - From Mars to Sirius
  71. 2005 - Lil Wayne - Tha Carter II
  72. 2005 - Gorillaz - Demon Days
  73. 2006 - J Dilla - Donuts
  74. 2006 - Skream - Skream!
  75. 2006 - My Chemical Romance - The Black Parade
  76. 2007 - AJJ - People Who Can Eat People Are the Luckiest People in the World
  77. 2007 - Burial - Untrue
  78. 2010 - Gorillaz - Plastic Beach
  79. 2012 - Death Grips - The Money Store
  80. 2012 - Tame Impala - Lonerism
  81. 2013 - Chance the Rapper - Acid Rap
  82. 2013 - Childish Gambino - Because the Internet
  83. 2013 - Daft Punk - Random Access Memories
  84. 2013 - Lorde - Pure Heroine
  85. 2014 - Snarky Puppy - We Like It Here
  86. 2015 - Tame Impala - Currents
  87. 2015 - Travis Scott - Rodeo
  88. 2016 - Aesop Rock - The Impossible Kid
  89. 2016 - Beyonce - Lemonade
  90. 2016 - King Gizzard and the Lizard Wizard - Nonagon Infinity
  91. 2016 - Sturgil Simpson - A Sailor’s Guide to Earth
  92. 2017 - King Gizzard and the Lizard Wizard - Flying Microtonal Banana
  93. 2017 - Tyler, the Creator - Flower Boy
  94. 2018 - Sophie - Oil of Every Pearl’s Un-Insides
  95. 2018 - twenty one pilots - Trench
  96. 2018 - Zeal & Ardor - Stranger Fruit
  97. 2019 - 100 Gecs - 1000 Gecs
  98. 2019 - Billie Eillish - When We All Fall Asleep Where Do We Go?
  99. 2019 - Tyler, the Creator - Igor
  100. 2020 - Bad Bunny - YHLQMDLG
  101. 2020 - Run the Jewels - RTJ4
If you’d like a little sampler of what this has to offer, I put together a playlist with one song from each album here. Check it out!
Y'all agree with my picks? Did I leave any big musical blind spots? Have I included any here that make you as angry as Dimery's inclusion of so much Morrissey makes me? Let me know!
submitted by everysproutingtree to 1001AlbumsGenerator [link] [comments]

2024.01.01 12:12 Smack-works Surreal jokes of HP characters [Characterization method]

This post may help you analyze HP characters, their variations and interpretations. But my approach to analysis is surreal. I've seen that "characterization" posts are not offtopic, so I hope my post fits here. Also, the post may suggest surreal fanfic ideas.
...
Who is Harry James Potter? What is Harry James Potter?
We have a strong impression of that character. (At least because of Daniel Radcliffe's portrayal.) But where exactly does this impression come from? Obviously, not every single Harry-related fact from the books or movies is essential for defining him. But what facts are essential? Same questions can be asked about any other characters.
I believe a good character description should focus on highlighting contrasts between characters. I think the essence of any character has three layers:
  1. In-universe uniqueness of the character. Compared to other characters in the story. If themes of the story is a cake, in-universe uniqueness describes what slice of the cake a character gets. (In this analysis I judge in-universe uniqueness by "unique attributes".)
  2. Cross-universe uniqueness of the character. If abstract ideas in fiction are fruits on top of the cake, cross-universe uniqueness describes what fruits a character gets on their slice of the cake. (In this analysis I judge cross-universe uniqueness by "surreal jokes". Yeah, it's a strange term.)
  3. Traits of the character. Traits describe the differences between characters who got similar cake slices and similar fruits.
Usually a character description focuses only on the 3rd layer. But in this post I want to focus on all three layers.

Disclaimer

The post contains spoilers about characters from other media. You can dodge spoilers if you read carefully. The post can be awkward and repetitive at times, but it's written by a human, unassisted.
All paintings linked in the post are drawn by Jacek Yerka and René Magritte. Two are drawn by Rob Gonsalves (Rest In Peace). And two by Shaun Tan.

Unique attributes

What's a "unique attribute", again?
  1. Take multiple characters with an attribute X (property X).
  2. Filter out all characters whose attribute X doesn't play an important role in the story.
  3. Filter out all characters who don't have the strongest, the most special connection to the attribute X.
The remaining characters have X as their unique attribute.

Surreal jokes

What's a "surreal joke"? It's two contradictory or conflicting possibilities combined into a single thing.
Here are some examples of surreal jokes: * Imagine a chair with spikes. The chair implies a possibility to sit on it. But the spikes prevent that. Two conflicting possibilities in a single thing. * Imagine money in a mousetrap. You want to take the money, but don't want to get jammed by the trap. Two conflicting possibilities. * Catch-22). Midas golden touch. Placebo button. Schrödinger's cat. All surreal jokes. * René Magritte drew jokes. The Lovers, 1928: kissing in bags defeats the purpose of kissing. The anger of gods, 1960: a horse on top of a car moves faster, but that's useless. The Room of Madame Sundheim, 1960: you don't need a house inside a house because you're already in a house. The Victory, 1939: a door which is not a part of a house — 100% functional but useless — not to mention it leads off a cliff.

Surreal jokes in HP

Here are some surreal jokes from the series:
The last example shows that character themes can be surreal jokes too. By the way, from now on I'll call surreal jokes simply "jokes" for short.

Let's begin the character analysis

Snape's unique attributes

What's unique about Snape? Compared to other HP characters.
  • Loneliness. Snape seems to have a withdrawn and cold personality. That appearance is simultaneously true and deceptive. Because he has hyper-specific reasons for being like this — his past and his role as a spy.
  • Grief. Many characters lost someone they loved. But Snape's grief affected his role the most. Turned him into a triple agent for the rest of his life. A 180° turn.
  • Relationship. Snape's relationships with Lily and Harry and the Order are the weirdest relationships in the series. Well, some other relationships are similarly weird (e.g. the one between Peter Pettigrew and Voldemort), but they have less importance in the story.
So, Snape has deceptive loneliness, the weirdest relationships and the most influential grief as his unique attributes.

Snape's joke

I think Snape is similar to those characters:
Elsa from Frozen, Lelouch from Code Geass, Kakashi from Naruto, Scrooge McDuck from DuckTales 2017, Darth Vader from Star Wars, Gandalf from LOTR, Amon from Korra, Patroclus from Hades videogame 2020, Carl Fredricksen from Up 2009, Jeong Jeong from ATLA.
  • What's the joke of those characters? They have "the most contradictory connection to someone". This contradictory connection can manifest itself in different ways. Those characters can have a mental relationship with a person which is stronger than their real relationship with said person. Or they can put up a half-true facade of a withdrawn person. Or take Gandalf — he's simultaneously a loner and the center of all communication/planning.
I think the joke fits Snape, given his unique attributes.
(Side note. Unique attributes are like puzzle pieces from which we can build surreal jokes. The same joke can be built from very different puzzle pieces. That's why very different characters — like Snape and Elsa and Gandalf — may end up being connected. It's really important to realize that unique attributes and surreal jokes are two independent things which reinforce each other. Unique attributes are the necessary "evidence" to back up the connections, without unique attributes the analysis falls apart. If you forget that, this post will seem like nothing more than a bunch of weak, vague analogies.)

Aesthetic

Some iLiKETRAiNS songs would fit Snape (e.g. A rook house for Bobby, Terra Nova, Death of an Idealist, Stainless Steel, The Accident). * Why? Because they emphasize events which are both connected and disconnected. (Connected because they are close in time. Disconnected because of irreversible consequences.) This is similar to Snape's joke.
https://i.imgur.com/zWFm0d1.jpeg
Here's a visual representation of Snape's joke. A house which is isolated, but isn't isolated from its village; a house which is isolated, but very close to its village; two houses which seem isolated, but aren't really isolated.

Snape's traits

Now that we've properly contextualized Snape, we can finally talk about his actual traits. What makes Snape unique compared to "similar" characters — his "variants"?
Snape is the most shut-in yet trollable variant. In contrast with Scrooge [highly trollable, but more social] and Darth Vader [highly shut-in, but untrollable].
Book!Snape is more nasty than Movie!Snape. Both are trollable.

Hermione's unique attributes

What's unique about Hermione?
  • Knowledge. There's a lot of knowledgeable characters in Harry Potter. But what characters stand out because of their knowledge? Knowledge of what characters gets explicitly brought up in the story many times? Of Hermione and Dumbledore. However, Hermione is much more absorbed in her knowledge — Dumbledore just has it and uses it. Hermione's antics are based on her knowledge, Dumbledore's antics are tangential to his knowledge.
  • Confidence. Draco and Hermione are the most unexpectedly insecure characters in the series.
So, Hermione is the most absorbed in knowledge char and one of the most unexpectedly insecure chars. Those are her unique attributes.

Hermione's joke

I think Hermione is similar to those characters:
Toph from ATLA, Marinette from Miraculous, Mabel from Gravity Falls, Webby from DuckTales 2017, Sandy Cheeks from SpongeBob, Mari from Rebuild of Evangelion, Dory from Finding Nemo, Spinel from Steven Universe, Nina Einstein from Code Geass, Melody and Komugi from Hunter x Hunter.
  • What's the joke of those characters? Each of them is an element of the world, but also the center of their own world. Most of them feel like living in their own world because they are always absorbed in their very distinct attitude or their big amounts of special knowledge. Self-made Marry Sues.
I think the joke fits Hermione, given her unique attributes.

Aesthetic

Some Eurythmics and Annie Lennox songs would fit Hermione (e.g. Here Comes The Rain Again, Miracle of Love, I Saved the World Today, Walking on Broken Glass, Little Bird). * Why? Because they combine impersonal observations and personal passions/insecurities. I.e. being aware of the bigger picture while still being absorbed into one's own emotions. Similar to Hermione's joke.
https://i.imgur.com/5aAK2QI.jpeg
Here's a visual representation of Hermione's joke. A thing at the center of its space inside a bigger space. (The last pic is SpongeBob media.)

Hermione's traits

Now that we've properly contextualized Hermione, we can finally talk about her actual traits. What makes Hermione unique compared to "similar" characters?
Among her variants, Hermione is the most social and one of the calmest. Which makes her different from Marinette [less social, less calm] and Webby [no calm]. And causes her to look like one of the least self-absorbed variants.

Ginny's unique attributes

What's unique about Ginny?
  • Personality. Her confident and independent personality stands out. However, her biggest role in the story is when she's possessed or just exists as Harry's girlfriend.
  • Independence. Ginny's independence is the most contradictory out of all characters. She's independent, but her role in the story is "being dependent".
  • Relationship. Many people are endangered in the story. However, only Snape and Ginny are endangered because of their relationships. (Only with them it's a big narrative point.) All times Ginny is vulnerable she is vulnerable because of Harry. One time because Tom Riddle exploits her insecurities and wants to get to Harry through her; another time because Harry goes on a dangerous mission and they have to "break up" in an unnatural way.
So, Ginny has the most contradictory independence.

Ginny's joke

I think Ginny is similar to those characters:
Rose DeWitt from Titanic 1997, Katara from ATLA, Sayaka from Madoka Magica, Casca from Berserk, Fiona from Shrek, Misato from Evangelion, Bo Peep from Toy Story, Mystique from X-Men: Days of Future Past, Arwen from LOTR, Michelle Jones from MCU, Wanda from MCU, Ericka Van Helsing from Hotel Transylvania, Sophie from Howl's Moving Castle, Evelyn from Everything Everywhere All at Once.
  • What's the joke of those characters? They have a strong identity, but the story tries to suppress their identity / way of life. Not just kill, but subdue them.
I think the joke fits Ginny, given her unique attributes.

Aesthetic

Some P!nk songs would fit characters above (e.g. So What, What About Us, Just Give Me A Reason, Who Knew). Or some Madonna songs (e.g. Material Girl, American Life, Like a Virgin, Bitch I'm Madonna).
  • P!nk songs describe how attitudes get tested against the pressure of reality. Madonna songs assert a lifestyle against [the pressure of] the world. Similar to Ginny's joke.
https://i.imgur.com/xzSocPf.jpeg
Here's a visual representation of Ginny's joke. A small bit of natural world smothered by industrial world (Shaun Tan); a colorful house smothered by other houses; a room surrounded and absorbed by Nature; an island house pressured by the city; a home surrounded by war (Shaun Tan). A singular element smothered by the world. By the way, compare the aesthetics of Ginny, Hermione and Dumbledore. There are parallels.

Ginny's traits

Now that we've properly contextualized Ginny, we can finally talk about her actual traits. What makes Ginny unique compared to "similar" characters?
Among her variants, Ginny is the most social and the most unburdened. She has school friends and a big family. The story doesn't restrict her freedom after the possession incident. This allows her to shine brighter than most of other variants.
Ginny is like Katara if Katara didn't need to be everyone's mom.

Dumbledore's unique attributes

What's unique about Dumbledore? Compared to other HP characters and some Big Good Guys of other fictional universes.
  • Influence. Dumbledore is one of the most powerful wizards, he's supposed to have the leading role in many major events. But most of the time he does things secretly. Shows up late to the party. Turns down the position at the Ministry. Dumbledore appears to be "big in Japan") while he's actually "big in the World".
  • Loneliness. Snape and Dumbledore are the loneliest characters. However, Dumbledore's loneliness (separation from his family) is "hidden", whether Snape's loneliness is apparent. Dumbledore's loneliness is inside his head: Dumbledore has a lot of friends and allies, but he doesn't have the family he wants the most — and he has to plan lonely plans.
So, Dumbledore's unique attributes are suppressed big influence and hidden loneliness.
(A side note. When I say "Snape and Dumbledore are the loneliest characters", I mean "the loneliest out of the most important characters" or "the loneliest characters out of those whose loneliness is important to the story". This should go without saying.)

Dumbledore's joke

I think Dumbledore is similar to those characters:
Aang from ATLA, Steve Rogers/Cap from MCU, Sheriff Woody from Toy Story, young Professor X from X-Men: Days of Future Past, Aragorn from Peter Jackson's LOTR, Van Hohenheim from FMA: Brotherhood, Ford from Gravity Falls, Achilles from Hades video game 2020, Master Fu from Miraculous, Donald Duck from DuckTales 2017, SpongeBob SquarePants, Waymond from Everything Everywhere All at Once.
  • What's the joke of those characters? Their role is made of negations. E.g. they have a special role, but their special role is negated — or their special role is tied to negation of their normal role. Take Dumbledore. He's the greatest Good Wizard, but he's removed from power. On the other hand, his young ambitions cost him the destruction of his normal life.
  • It's more subtle with Donald Duck and SpongeBob. They are just shafted on the sidelines of the world despite their passion. Their attitude doesn't fit their world. Donald is always unlucky and angry, SpongeBob is too naive.
I think the joke fits Dumbledore, given his unique attributes.

Aesthetic

Some "Weird Al" Yankovic songs would fit Dumbledore.
https://i.imgur.com/jJvpEHm.jpeg
Here's a visual representation of Dumbledore's joke. A singular element surrounded by negations. A lonely jockey in an empty field; a lonely house in a house-less field; a single spot with colorful towers surrounded by grey, "dead" towers.

Dumbledore's traits

Now that we've properly contextualized Dumbledore, we can finally talk about his actual traits. What makes Dumbledore unique compared to "similar" characters?
Dumbledore is the most emotionally resigned yet determined, the most restricted yet active and social. Dumbledore is burdened by knowledge of factors outside of his control. We never see how Dumbledore behaves when he has full freedom of options [for doing good] and full freedom to share information. Dumbledore can't just go out and start blasting evil and spilling all the jelly beans.
This forces Dumbledore to evolve into the most manipulative and calculating variant. Even though he wouldn't want to be like this.

Harry's unique attributes

What's unique about Harry? Compared to other important HP characters and protagonists of other stories (e.g. Naruto).
  • Personality & Influence. He's the protagonist, yet he doesn't have much personal agenda/direction/influence. He likes to get into trouble, but most events happen without his input.
  • Power & Influence. He fights the Big Bad, but he doesn't have many abilities. Yes, he has talents, but he's just a high-schooler at the end of the series. Compared to adult wizards and the best of the best adult wizards.
  • Self-sacrifice. Self-sacrifice is a powerful trope. I'd say Harry's self-sacrifice is the most important, the most emphasized and the most special in the story. Snape and Dumbledore sacrificed themselves 100% by their own choice and their self-sacrifices weren't metaphysically essential.
  • Main character. In some sense, Dumbledore and Harry are both main characters. And it adds additional weirdness to Harry, the fact that the strongest good wizard isn't the actual literal main character.
So, Harry has the "emptiest" role out of all characters. He's also one of the "emptiest" protagonists. ("Empty" is a bad word, but I don't know a better word. I don't mean it in a negative way.) And he does the most special self-sacrifice.

Harry's joke

I think Harry is similar to those characters:
Frodo from LOTR, Rock Lee from Naruto, Luffy from One Piece, Loki from MCU, Saitama from One-Punch Man, Nagato from Naruto, Shinji Ikari from Evangelion, Jack Sparrow from Pirates of the Caribbean, Asami from The Legend of Korra, Cassandra from Rapunzel's Tangled Adventure, Princess Yue from ATLA, Heinz Doofenshmirtz from Phineas and Ferb, Jim Moriarty from Sherlock BBC, Evelyn Deavor from Incredibles 2.
  • What's the joke of those characters? They turn absence of a special role into a special role. (They gain significance despite lacking abilities. They show extremely strong will despite not having a personal agenda.) Alternatively, they subvert / deconstruct / ironize their own role. (For example, they can be egoistic non-egoists, independent servants, kind villains.) Alternatively, their special role is self-sacrifice. (That is, their special role = negation of their role.)
  • Those are all variations of the same joke — combining a special role and its negation.
I think the joke fits Harry, given his unique attributes.

Aesthetic

Some John Lennon songs would fit Harry (e.g. Isolation, Help!, I Don't Wanna Face It, Instant Karma!, Mind Games, Jealous Guy). * All those songs convey Harry's joke. They are filled with ironic roles. Egoistic non-egoists, outraged altruists, fragile machos, half-ironic love-and-peaceniks, self-aware toxic partners.
https://i.imgur.com/TxnnsnP.jpeg
Here's a visual representation of Harry's joke. Places and persons "made of nothing": a ceiling which covers an empty field; two places with empty centers; a seemingly empty field which hides houses underneath; an empty silhouette.
Vsauce is a famous YouTube channel which possesses Harry's joke. A perfect science educator doesn't need any "personality". And Michael doesn't have one. Or does he? He manages to subvert absence of a personality without doing much.
By the way, notice that Harry's and Dumbledore's jokes are somewhat hard to differentiate. There's some surreal connection between the two.
And that's one of the reasons why some versions of Grindewald have Harry's joke. Because (a) Grindewald is supposed to be an "infinitely" more reasonable villain in the verse (so he deconstructs the verse's concept of a villain) and (b) Grindewald is a parallel to Dumbledore. "Two dudes thinking they are main characters" — Dumby's past and Dumby's future.

Harry's traits

Now that we've properly contextualized Harry, we can finally talk about his actual traits. What makes Harry unique compared to "similar" characters?
Harry is the most rebellious yet loyal, the most independent yet led compared to his variants. Without his rebellious and independent side, Harry would be like Frodo or Rock Lee.
Ironically, Harry is also one of the most social variants. Which causes him to inflict kindness on the biggest number of living beings. To be precise, Harry is the most social yet shut-in variant. That makes him different from Luffy, who just dissolves in his loyalty to his crew. Harry maintains some isolated, gloomy core.

Draco's unique attributes

What's unique about Draco?
  • Role & Struggle. Draco, Lupin and Dumbledore — those three characters struggle (mentally) with their role the most.
  • Circumstances. Out of all important characters, Draco has the weirdest role (a half-villain everyman) and motivation (he just wanted to be cool; then he just wanted to save his parents) and position (closest to the middle between Good and Evil).
  • Confidence. As I mentioned, Draco and Hermione are the most unexpectedly insecure characters in the series.
So, I'd say Draco experiences the most unusual struggle in the weirdest position. I mean, there are a lot of wizards and muggles like Draco. But in the context of the story and its most important characters his struggle stands out.

Draco's joke

I think Draco is similar to those characters:
Sheldon Cooper from Bing Bang Theory, Zuko from ATLA, lord Beckett from Pirates, CC from Code Geass, Gaara from Naruto, Lapis Lazuri from Steven Universe.
  • What's the joke of those characters? Their special role is undermined from the outside and from the inside. Sheldon is a genius who isn't treated as a genius and is confused by it; Zuko has lost his honor and is massively bothered by that; Gaara is despised and has massive internal issues/confusions; CC is used, abused and has a deathwish; Draco is a confused, scared, conflicted loser who's supposed to be the elite.
  • Alternatively, they are just externally and internally weird — for example, have a unique background and a unique motivation.
I think the joke fits Draco, given his unique attributes.

Aesthetic

Some The Cure songs would fit Draco (e.g. Lullaby, Friday I’m in Love, Disintegration, Last Dance, The Same Deep Water As You). Or some Ashbury Heights songs (e.g. SmAlLeR, Derrick is a Strange Machine, Waste of Love).
  • Why? Because the songs describe characters in liminal (transitional) situations with a strange attitude. (For example, Lullaby describes a strangely dispassionate character in a life and death situation. SmAlLeR describes another strangely calm and observant person in a dangerous situation. Last Dance describes a "strangely" calm character dancing with their past lover.) Kinda similar to Draco's joke.
https://i.imgur.com/Qg8WHKi.jpeg
Here's a visual representation of Draco's joke. A divided place isolated in the ocean; a place isolated under ground and additionally isolated by the ocean; useless inaccessible objects — useless because of their size. Those pictures can be seen as symbolizing internal and external negation. Or internal and external weirdness.

Draco's traits

Now that we've properly contextualized Draco, we can finally talk about his actual traits. What makes Draco unique compared to "similar" characters?
Draco is the most social yet shut-in variant. This makes him different from late Zuko [not shut-in] and early Zuko [not social]. If Zuko were more similar to Azula, he would be like Draco.

Lupin's unique attributes

What's unique about Lupin?
  • Role. Lupin is the strangest teacher at Hogwarts. Because he's Harry's family friend. Not some unrelated magicman. Also, unlike others, Lupin gives private lessons.
  • Personality. Lupin has the most contrasting sides. A super polite/kind person and a mindless wolf. Also, Lupin is both a wise mentor and a troubled, insecure person who needs help.
  • Relationship. There's a lot of shaky relationships in the series. But only Lupin's relationship is shaken the most by his own psychology, his inferiority complex. When he's already a dad! I'd say Lupin outdid Ron here.
So, Lupin has the strongest contrast between his qualities and his role and the strongest relationship insecurity.

Lupin's joke

I think Lupin is similar to those characters:
Plagg from Miraculous, Matamune from Shaman King, Mycroft Holmes from Sherlock BBC, Beerus from Dragon Ball.
  • What's the joke of those characters? Their personality and qualities don't fit their role. Matamune is a smol cat and a bookworm, but he's also a badass warrior; Beerus and Plagg, Gods of Destruction, are too lazy and kind for their job; Mycroft is Sherlock's brother and as genius as him, but Mycroft is not similar to Sherlock at all — and Mycroft is much kinder than he tries to appear.
I think the joke fits Lupin, given his unique attributes.

Aesthetic

Some Radiohead songs would fit Lupin (e.g. Paranoid Android, Karma Police, Creep, Man Of War, Spectre, All I Need, 2 + 2 = 5, Idioteque).
  • The songs focus on contrasting relationships (people who don't fit with each other) or on people who are unable to deal, emotionally, with their role in the world. Similar to Lupin's joke.
https://i.imgur.com/O2eyn57.jpeg
Here's a visual representation of Lupin's joke. Objects with qualities (size, texture) which don't suit them.

Hagrid's unique attributes

What's unique about Hagrid?
  • Circumstances. Hagrid is barely a wizard — among wizards. He's on the sidelines of the magical world and its major events. More so than Sirius Black or Wormtail.
  • Knowledge. And yet Hagrid knows a lot and does a lot.
Hagrid is the most important, most knowledgeable sidelined character.

Hagrid's joke

I think Hagrid is similar to those characters:
Ken from Haruhi Suzumiya, Tohru Adachi from Persona 4, inspector Lestrade from Sherlock BBC, Nicholas from Hot Fuzz, Crash Bandicoot (original trilogy).
  • What's the joke of those characters? Each is a part of the story, but is kinda removed/divorced from the events. They are like spectators.
  • Out of all videogame protagonists, I've highlighted Crash because he's supposed to be "stupid" (compared to his best friends and main enemies) — so you'd imagine he's one of the most divorced protagonists. Plus the most divorced in his own story.
I think the joke fits Hagrid, given his unique attributes.

Aesthetic

Some Gorillaz songs would fit Hagrid (e.g. Clint Eastwood, Feel Good Inc., On Melancholy Hill, Humility, Silent Running). Or some Jamiroquai songs (e.g. Virtual Insanity, Nights out in the Jungle, Deeper Underground, Emergency on Planet Earth, King for a Day).
  • The songs focus on being divorced from the events or low-key repulsed by the events. "I'm going deeper underground / There's too much panic in this town" (c.) Similar to Hagrid's joke.
https://i.imgur.com/uDivykA.jpeg
Here's a visual representation of Hagrid's joke. Places with useless extensions. A room which extends into some stupid railroad; some empty and overly tall room; unnecessary ladders; unnecessary emptiness inside a gigantic room; a useless ladder. How does this connect to Hagrid's joke? It symbolizes how Hagrid is shafted into some "useless", passive role in the world. By the way, compare the aesthetics of Harry, Lucius and Hagrid. There are parallels.

Hagrid's traits

Now that we've properly contextualized Hagrid, we can finally talk about his actual traits. What makes Hagrid unique compared to "similar" characters?
He is the most affectionate and the most naive variant.

Lucius' unique attributes

What's unique about Lucius?
  • Influence. He's the most influential character who doesn't matter. Despite his influence in the Wizarding World, Lucius fails to affect the story much. (In most of the books.)
  • Actions. Despite his influence and status, Lucius can affect the story only through the smallest/pettiest acts. Lucius' most impactful action was giving a little girl a dark artifact.
  • Significance. The only way Lucius can gain any importance to the story is by undermining someone's who's already important to the story. Lucius is like the apple in The Son of Man. Important only because it obscures something important.
Lucius is the most unexpectedly insignificant and impotent character.
Lucius is like the Cheems version of Dumbledore. Dumbledore restricts his power and still comes out on top; Lucius exerts his power as hard as he can to no avail.

Lucius' joke

I think Lucius is similar to those characters:
Scar from Lion King, Makunga from Madagascar 2, Walt Thrombey from Knives Out, Moriarty from Soviet Sherlock, Grinch, Tyrion Lannister from Game of Thrones, some Samuel L. Jackson roles (MCU's Nick Fury, Jimbo from Paws of Fury), King Pig from Angry Birds movies, Lord Farquaad and Prince Charming from Shrek.
  • What's the joke of those characters? They have the most contradictory influence/significance. This trait can manifest in different ways. Gaining importance only through undermining something or someone important; resorting to the pettiest acts despite being an important character; gaining importance only through helping something or someone important in subtle ways (Jackson); something else. I want to explain Moriarty and Tyrion specifically. Moriarty is a criminal mastermind, but at the time he enters the story explicitly he's desperate and petty. Tyrion is a nobel, but is treated like a "second class noble" (another paradox of importance).
  • If I had a nickel for every time a character like this gets deceived with an item of clothing, I'd have two nickels. For Lucius and Makunga. I'd also have 3 canes. And one eyepatch.
I think the joke fits Lucius, given his unique attributes.

Aesthetic

Some Alphaville songs would fit Lucius (e.g. Big in Japan, Forever Young, Lies). Or some Nik Kershaw songs (e.g. Don Quixote, You Might, Human Racing). Or some Nick Cave songs (Where The Wild Roses Grow, Red Right Hand, Scum). * Those songs undermine the importance of their subjects. Or overmagnify.
https://i.imgur.com/dFnhh5g.jpeg
Here's a visual representation of Lucius' joke. Places which are bloated/extended in an unnatural way and therefore bigger than they should be. (Two of the paintings are by Rob Gonsalves.)

Lucius' traits

Now that we've properly contextualized Lucius, we can finally talk about his actual traits. What makes Lucius unique compared to "similar" characters?
Among his variants, Lucius is one of the most prideful. Lucius takes himself 100% seriously and his ego is easily hurt. And yet his pride fits his status and his overall attitudes. Despite being a bigot, Lucius at least isn't a complete coward who values only himself. He's a loving parent and he's competent.
Biggest appropriate pride is what sets Lucius apart from Grinch [no status] and Scar [no values, no backbone].

Express analysis

I'm getting tired and nearing 40k limit, so I'll make the analysis of some characters shorter.

Ron

Ron's unique attribute is self-awareness. Ron is aware about his smaller role in the story and is aware about his feelings towards this awareness. Harry and Dumbledore and Ron are the most self-aware characters. (I mean their self-awareness is the most narratively highlighted. Harry describes his achievements as luck; Dumbledore is focused on his own mistakes and bad traits; Ron envies Harry but hates the envy.) However, Ron's self-awareness has the most direct narrative impact. It lands him in trouble and lands him out of trouble afterwards.
  • But I'm not sure to what surreal joke Ron's unique attribute corresponds. Maybe the joke is that one's innate qualities (e.g. emotions, self-awareness) negate one's role / make said role harder to fulfill. Or the opposite, reinforce one's role and make said role super-easy to fulfill. In such case I remember five characters similar to Ron. Chel from The Road to El Dorado — she uses self-awareness to her advantage without being an explicit con artist herself. Flame Princess from Adventure Time — she's doubting herself (her dad tried to gaslight her that she's evil) and reflects on having emotions. Ahsoka Tano — she's about trust issues and losing faith in the Order despite being a good guy. Konata from Lucky Star — she uses self-awareness to become the ultimate troll of her universe. Garfield) — uses his superior intelligence to become the ultimate troll.
Some Veela songs would fit the characters above (e.g. Ghost Assassin, Bloodlip, Vagrant). "True, we are vicious / Though we never intended to be malicious" (c.)
By the way, I'm using the word "self-awareness" in a bit unusual way. By that I mean heightened awareness about one's status + heightened awareness about other people (e.g. their insecurities and vulnerabilities).

Cedric, Neville

Check out the comments for Cedris and Neville analysis.
If you want, I also could try Fudge and Sirius and maybe Barty Crouch Jr.

Wrapping it up

Was it all a big stretch?

After reading my analysis, you may be asking yourself — was it all just a stretch after a stretch after a stretch? Vague analogies on top of vague analogies.
Well, for one thing, I don't think my analysis is based on analogies.
  • Unique attributes are not analogies. They are relatively objective properties of characters inside a story.
  • The connections between unique attributes and surreal jokes are not analogies either. They are more like deductions. To understand the post, it's really important to realize that unique attributes and surreal jokes are two independent things which reinforce each other.
  • A character analysis based on analogies would mainly judge the similarity of traits and circumstances. But that was a very small part of my analysis. That's not to say my analysis is perfect and lacks subjectivity.
Yes, you can read this post on the level of analogies. But it would be a superficial reading. To really see the meat of the post, you need to look at it through deductive lens.

Happy Holidays!

Anyway, thank you for reading this post. If you finished it, you're in the top 3% of the craziest people in the world.
Happy New Year 2024!
submitted by Smack-works to HPfanfiction [link] [comments]

2023.12.25 05:55 Top_Bill_6266 Could you help me with New York accents (pre-1940)?

I've tried compiling as many good examples as I can of the old style New York City accents, I've grouped each speaker by location, even though I believe that the accents don't necessarily vary by borough, but you may find some commonalities among the speakers listed below. I've limited the list to only those born before 1940, because among the baby boomers, the accent started to weaken and nowadays it's basically gone among under 30s sadly, especially the r-dropping. If you could share some more examples and maybe your commentary, that would be great.
Upper Manhattan
Arthur Housman (Here's an example from 1913 showcasing his accent when he was 24 https://www.youtube.com/watch?v=-ye7Eu48c1g he has a white tie)
Theodore Roosevelt (The oldest example on the list and quite possibly represents 19th Century New York speech)
Humphrey Bogart
The Marx Brothers
George Jessel
Lou Gehrig
Tony Curtis
Mortimer J Adler
Franklin D Roosevelt (Although his accent is to some extent cultured through his background in education. At the time, it was considered prestigious to use an accent that sounded Transatlantic)
William F Buckley Jr (ditto)
Jackie Kennedy
​
From Lower Manhattan
Jimmy Durante
Eddie Cantor
Meyer Lansky
James Cagney
Sheldon Leonard (Nick from It's a Wonderful Life)
Walter Matthau
Jackie Mason (Although his accent is pretty unique compared to other New Yorkers)
​
From Brooklyn
Jackie Gleason
The Howard Brothers (of the Three Stooges fame)
Eli Wallach
Mel Brooks (His accent is somewhat softer than the other examples)
Woody Allen
Alan Dershowitz
Harvey Keitel (Just barely qualifies as he was born in 1939)
​
From the Bronx
Garry Marshall
Judd Hirsch
Danny Aiello
Joey Bishop (He was born in the Bronx, but he brought his accent to South Philadelphia when he was a kid and mixed it with the local accent there)
​
From Queens
Carroll O'Connor
Mario Cuomo
Judy Holliday
submitted by Top_Bill_6266 to AskNYC [link] [comments]

2023.12.09 07:39 EasternCustomer1332 JLC

*What is Jazz Listening Club? It is a semi-weekly event where interesting and unique albums are shared to discuss. Thoughtful discussion could lead to you being a nominee for next week's album! Here are all the previous JLC submissions.
​
submitted by EasternCustomer1332 to u/EasternCustomer1332 [link] [comments]

2023.12.01 13:02 Astrologic_al Notable People Born Today December 1st

submitted by Astrologic_al to Astrologic_al [link] [comments]

2023.11.30 06:29 yawningvoid28 The Complete Turner Classic Movies (U.S.) Daily Schedule for December, 2023.

(all airtimes E.S.T.)
FRI DEC 01
(12:45AM) Sunrise at Campobello (1960/2h 23m/Drama/Vincent J. Donehue)
(3:15AM) Parole Girl (1933/1h 4m/Romance/Edward Cline)
(4:30AM) Boy Meets Girl (1938/1h 20m/Comedy/Lloyd Bacon)
(6:00AM) Inside Straight (1951/1h 29m/Drama/Gerald Mayer)
(7:30AM) Lightning Strikes Twice (1951/1h 31m/Crime/King Vidor)
(9:15AM) Angel Baby (1961/1h 37m/Drama/Paul Wendkos)
(11:00AM) Giant (1956/3h 21m/Drama/George Stevens)
(2:30PM) Arsenic and Old Lace (1944/1h 58m/Comedy/Frank Capra)
(4:30PM) Sylvia Scarlett (1935/1h 37m/Romance/George Cukor)
(6:15PM) The Bachelor and the Bobby Soxer (1947/1h 35m/Comedy/Irving Reis)
(8:00PM) Monkey Business (1952/1h 37m/Comedy/Howard Hawks)
(10:00PM) I Was A Male War Bride (1949/1h 45m/Comedy/Howard Hawks)
SAT DEC 02
(12:00AM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(2:00AM) Bringing Up Baby (1938/1h 42m/Comedy/Howard Hawks)
(4:00AM) Mr. Lucky (1943/1h 40m/Crime/H. C. Potter)
(6:00AM) Thrill of a Romance (1945/1h 45m/Musical/Richard Thorpe)
(8:00AM) MGM CARTOONS: Garden Gopher (1950/0h 6m/Animation/Fred “Tex” Avery)
(8:07AM) Aladdin's Lantern (1938/0h 10m/Comedy/Gordon Douglas)
(8:18AM) Beautiful Budapest (1938/0h 8m/Short/?)
(8:27AM) Crashing Las Vegas (1956/1h 2m/Comedy/Jean Yarbrough)
(9:30AM) BUCK ROGERS: The Phantom Plane (1939/Serial/Ford Beebe and Ray Trampe)
(10:00AM) POPEYE: Be Kind to 'Aminals' (1935/0h 4m/Animation/Dave Fleischer)
(10:07AM) Hold That Baby! (1949/1h 4m/Comedy/Reginald Le Borg)
(11:30AM) King for a Day (1934/0h 21m/Comedy/Roy Mack)
(12:00PM) Ladies of the Chorus (1949/1h 1m/Musical/Phil Karlson)
(1:15PM) Road to Utopia (1946/1h 30m/Musical/Hal Walker)
(3:00PM) Lili (1953/1h 21m/Musical/Charles Walters)
(4:30PM) A Christmas Carol (1938/1h 9m/Drama/Edwin L. Marin)
(6:00PM) Fitzwilly (1967/1h 42m/Comedy/Delbert Mann)
(8:00PM) Imitation of Life (1959/2h 5m/Romance/Douglas Sirk)
(10:15PM) All I Desire (1953/1h 19m/Romance/Douglas Sirk)
SUN DEC 03
(12:00AM) Black Angel (1946/1h 23m/Film-NoiRoy William Neill)
(1:45AM) The All-American Boy (1973/1h 58m/Drama/Charles Eastman)
(4:00AM) The Main Event (1979/1h 52m/Comedy/Howard Zieff)
(6:00AM) Carefree (1938/1h 20m/Comedy/Mark Sandrich)
(7:30AM) Red River (1948/2h 5m/Western/Howard Hawks)
(10:00AM) Black Angel (1946/1h 23m/Film-NoiRoy William Neill)
(12:00PM) Ben-Hur (1959/3h 32m/Drama/William Wyler)
(4:00PM) The Man Who Came to Dinner (1942/1h 52m/Comedy/William Keighley)
(6:00PM) The Bishop’s Wife (1947/1h 49 min/Comedy/Henry Koster)
(8:00PM) Four Weddings and a Funeral (1994/1h 56m/Comedy/Mike Newell)
(10:15PM) Sense and Sensibility (1995/2hr 15m/Romance/Ang Lee)
MON DEC 04
(12:45AM) Umarete Wa Mita Keredo (1932/1h 29m/Silent/Yasujiro Ozu)
(2:45AM) Fanny and Alexander: Episode 1 (1982/Ingmar Bergman)
(4:45AM) Fanny and Alexander: Episode 2 (1982/Ingmar Bergman)
(6:45AM) Calling Dr. Gillespie (1942/1h 24m/Drama/Harold S. Bucquet)
(8:15AM) David Copperfield (1935/2h 13m/Drama/George Cukor)
(10:30AM) The Gorgeous Hussy (1936/1h 42m/Romance/Clarence Brown)
(12:30PM) It's a Big Country: An American Anthology (1952/1h 29m/Drama/Clarence Brown)
(2:15PM) Grand Hotel (1932/1h 45m/Drama/Edmund Goulding)
(4:15PM) Playmates (1941/1h 36m/Comedy/David Butler)
(6:00PM) The Great Sinner (1949/1h 50m/Drama/Robert Siodmak)
(8:00PM) Cabin in the Sky (1943/1h 38m/Musical/Vincente Minnelli)
(10:00PM) Stormy Weather (1943/1h 17m/Musical/Andrew Stone)
(11:30PM) Death of a Gunfighter (1969/1h 34m/Western/Don Siegel)
TUE DEC 05
(1:15AM) The Duke Is Tops (1938/1h 12m/Musical/William Nolte)
(2:45AM) Till the Clouds Roll By (1946/2h 0m/Musical/Richard Whorf)
(5:15AM) MGM is on the Move! (1964/0h 36m/Short/?)
(6:00AM) The Blackbird (1926/1h 26m/Silent/Tod Browning)
(7:30AM) The Firebird (1934/1h 14m/Drama/William Dieterle)
(9:00AM) A Date with the Falcon (1941/1h 3m/Crime/Irving Reis)
(10:15AM) Bird of Paradise (1932/1h 20m/Adventure/King Vidor)
(11:45AM) Flamingo Road (1949/1h 34m/Drama/Michael Curtiz)
(1:30PM) The Fallen Sparrow (1943/1h 34m/Suspense/Richard Wallace)
(3:15PM) The House of the Seven Hawk (1959/1h 32m/Suspense/Richard Thorpe)
(5:00PM) Where Eagles Dare (1968/2h 38m/WaBrian G. Hutton)
(8:00PM) Rebel Without a Cause (1955/1h 51m/Drama/Nicholas Ray)
(11:30PM) Breathless (1960/1h 30m/Crime/Jean-luc Godard)
WED DEC 06
(1:15AM) Bullitt (1968/1h 54m/Crime/Peter Yates)
(3:15AM) Ocean's Eleven (1960/2h 7m/Comedy/Lewis Milestone)
(5:30AM) Dean Martin: King of Cool (2020/1h 47m/Documentary/Tom Donahue)
(7:30AM) Q Planes (1939/1h 18m/Suspense/Tim Whelan)
(9:00AM) High Flyers (1938/1h 10m/Comedy/Edward Cline)
(10:30AM) Melody Cruise (1933/1h 16m/Musical/Mark Sandrich)
(12:00PM) The Band Wagon (1953/1h 52m/Musical/Vincente Minnelli)
(2:00PM) The Long, Long Trailer (1954/1h 36m/Comedy/Vincente Minnelli)
(3:45PM) The Yellow Rolls-Royce (1964/2h 2m/Romance/Anthony Asquith)
(6:00PM) The Glass Bottom Boat (1966/1h 50m/Comedy/Frank Tashlin)
(8:00PM) Marty (1955/1h 31m/Romance/Delbert Mann)
(10:00PM) The Bachelor Party (1957/1h 33m/Drama/Delbert Mann)
THU DEC 07
(12:00AM) The Goddess (1958/1h 45m/Drama/John Cromwell)
(2:00AM) Middle of the Night (1959/1h 58m/Drama/Delbert Mann)
(4:15AM) The Catered Affair (1956/1h 33m/Drama/Richard Brooks)
(6:00AM) Bataan (1943/1h 54m/WaTay Garnett)
(8:00AM) Back to Bataan (1945/1h 37m/WaEdward Dmytryk)
(9:45AM) Air Force (1943/2h 4m/WaHoward Hawks)
(12:00PM) They Were Expendable (1945/2h 15m/WaJohn Ford)
(2:30PM) Task Force (1949/1h 56m/WaDelmer Daves)
(4:30PM) From Here To Eternity (1953/1h 58m/Drama/Fred Zinnemann)
(6:30PM) December 7th (1943/1h 21m/Documentary/John Ford)
(8:00PM) Willy Wonka and the Chocolate Factory (1971/1h 40m/Musical/Mel Stuart)
(10:00PM) On Borrowed Time (1939/1h 39m/Drama/Harold S. Bucquet)
FRI DEC 08
(12:00AM) Max Dugan Returns (1983/1h 38m/Comedy/Herbert Ross)
(2:00AM) Little Lord Fauntleroy (1936/1h 38m/Drama/John Cromwell)
(4:00AM) Father's Little Dividend (1951/1h 22m/Comedy/Vincente Minnelli)
(6:00AM) MGM Parade Show #13 (1955/0h 25m/Documentary/?)
(6:30AM) 49th Parallel (1941/2h 2m/WaMichael Powell)
(9:00AM) Blithe Spirit (1945/1h 36m/Comedy/David Lean)
(10:45AM) Brief Encounter (1945/1h 26m/Romance/David Lean)
(12:30PM) Doctor Zhivago (1965/3h 17m/Drama/David Lean)
(4:00PM) Once Upon a Honeymoon (1942/1h 56m/Comedy/Leo McCarey)
(6:00PM) Dream Wife (1953/1h 41m/Comedy/Sidney Sheldon)
(8:00PM) That Touch of Mink (1962/1h 39m/Comedy/Delbert Mann)
(10:00PM) Holiday (1938/1h 33m/Comedy/George Cukor)
SAT DEC 09
(12:00AM) My Favorite Wife (1940/1h 28m/Comedy/Garson Kanin)
(2:00AM) Every Girl Should Be Married (1948/1h 25m/Comedy/Don Hartman)
(3:30AM) Suzy (1936/1h 39m/Drama/Geo. Fitzmaurice)
(5:15AM) Alice in Movieland (1940/0h 21m/Short/Jean Negulesco)
(6:00AM) For the First Time (1959/1h 37m/Musical/Rudolph Maté)
(8:00AM) MGM CARTOONS: Peace on Earth (1939/0h 8m/Animation/Hugh Harman)
(8:09AM) Football Romeo (1938/0h 10m/Comedy/George Sidney)
(8:20AM) Glimpses of Ontario (1942/0h 8m/Short/?)
(8:29AM) Here Comes Happiness (1941/57m/Romance/Noel M. Smith)
(9:30AM) BUCK ROGERS: The Unknown Command (1939/Serial/Ford Beebe and Ray Trampe.)
(10:00AM) POPEYE: Pleased to Meet Cha! (1935/6m/Animation/Dave Fleischer)
(10:08AM) Let's Go Navy! (1951/1h 8m/Comedy/William Beaudine)
(11:30AM) Musical Movieland (1944/0h 20m/Musical/Leroy Prinz)
(12:00PM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(2:00PM) The Night of the Hunter (1955/1h 33m/Suspense/Charles Laughton)
(4:00PM) It Happened on 5th Avenue (1947/1h 55m/Comedy/Roy Del Ruth)
(6:15PM) Remember the Night (1940/1h 26m/Comedy/Mitchell Leisen)
(8:00PM) Fiddler On The Roof (1971/3h 0m/Musical/Norman Jewison)
(11:15PM) Tevya (1939/1h 33m/Comedy/Maurice Schwartz)
SUN DEC 10
(1:00AM) I Wouldn't Be in Your Shoes (1948/1h 10m/Film-NoiWilliam Nigh)
(2:30AM) Chimes at Midnight (1967/1h 55m/Comedy/Orson Welles)
(4:30AM) Star Of Midnight (1935/1h 30m/Suspense/Stephen Roberts)
(6:15AM) Girl Crazy (1943/1h 39m/Musical/Norman Taurog)
(8:00AM) Neptune's Daughter (1949/1h 33m/Musical/Edward Buzzell)
(10:00AM) Wouldn't Be in Your Shoes (1948/1h 10m/Film-NoiWilliam Nigh)
(11:30AM) The Pride of the Yankees (1942/2h 8m/Drama/Sam Wood)
(1:45PM) The Man Who Knew Too Much (1956/1h 59m/Suspense/Alfred Hitchcock)
(4:00PM) In the Good Old Summertime (1949/1h 43m/Musical/Robert Z. Leonard)
(6:00PM) Christmas in Connecticut (1945/1h 41m/Comedy/Peter G*odfrey)
(8:00PM) Animal Crackers (1930/1h 38m/Comedy/Victor Heerman)
(10:00PM) Bananas (1971/1h 21m/Comedy/Woody Allen)
(11:30PM) The Bakery Girl of Monceau (1963/0h 23m/Romance/Eric Rohmer)
MON DEC 11
(12:00AM) Dekigokoro (1933/1h 41m/Drama/Yasujiro Ozu)
(2:00AM) Fanny and Alexander: Episode 3 (1982/Drama/Ingmar Bergman)
(3:15AM) Fanny and Alexander: Episode 4 (1982/Drama/Ingmar Bergman )
(4:45AM) Going Highbrow (1935/1h 7m/Comedy/Robert Florey)
(6:00AM) Penrod and Sam (1937/1h 4m/Adventure/William McGann)
(7:15AM) Penrod and His Twin Brother (1938/1h 3m/Adventure/William McGann)
(8:30AM) Alive Adams (1935/1h 40m/Comedy/George Stevens)
(10:15AM) Father's Son (1941/0h 56m/Drama/D. Ross Lederman)
(11:30AM) Little Orvie (1940/1h 6m/Comedy/Ray McCarey)
(12:45PM) Presenting Lily Mars (1943/1h 44m/Musical/Norman Taurog)
(2:45PM) On Moonlight Bay (1951/1h 35m/Musical/Roy Del Ruth)*
(4:30PM) By the Light of the Silvery Moon (1953/1h 42m/Musical/David Butler)
(6:15PM) The Magnificent Ambersons (1942/1h 28m/Drama/Orson Welles)
(8:00PM) The Invisible Man (1933/1h 11m/HorroJames Whale)
(11:00PM) The Body Disappears (1941/1h 12m/Comedy/D. Ross Lederman)
TUE DEC 12
(12:30AM) The Invisible Boy (1957/1h 25m/Science-Fiction/Herman Hoffman)
(1:45AM) What’s New Pussycat? (1965/2h 0m/Comedy/Clive Donner)
(3:45AM) Where the Boys Are (1960/1h 39m/Comedy/Henry Levin)
(5:30AM) Days of Wine and Roses (1962/1h 57m/Drama/Blake Edwards)
(6:00AM) A Dog of Flanders (1935/1h 12m/Drama/Edward Sloman)
(7:30AM) It's a Dog's Life (1955/1h 26m/Comedy/Herman Hoffman)
(9:00AM) Flipper (1963/1h 30m/Adventure/James B. Clark)
(10:45AM) Flipper's New Adventure (1964/1h 32m/Adventure/Leon Benson)
(12:30PM) Zebra in the Kitchen (1965/1h 32m/Comedy/Ivan Tors)
(2:15PM) Clarence, the Cross-Eyed Lion (1965/1h 38m/Comedy/Andrew Marton)
(4:00PM) Born Free (1965/1h 35m/Drama/James Hill)
(6:00PM) Where The Lilies Bloom (1974/1h 36m/Drama/William Graham)
(8:00PM) The Seven Year Itch (1955/1h 45m/Comedy/Billy Wilder)
(10:00PM) She Done Him Wrong (1933/1h 6m/Comedy/Lowell Sherman)
(11:15PM) Flesh and the Devil (1926/1h 37m/Silent/Clarence Brown)
WED DEC 13
(1:15AM) The Blue Dahlia (1946/1h 38m/Film-NoiGeorge Marshall)
(3:15AM) Gilda (1946/1h 50m/Suspense/Charles Vidor)
(5:15AM) MGM is on the Move! (1964/0h 36m/Short/?)
(6:00AM) Alice Adams (1935/1h 40m/Comedy/George Stevens)
(7:45AM) Swing Time (1936/1h 45m/Musical/George Stevens)
(9:45AM) Vivacious Lady (1938/1h 30m/Comedy/George Stevens)
(1:30PM) I Remember Mama (1948/2h 14m/Drama/George Stevens)
(3:45PM) George Stevens: A Filmmaker's Journey (1984/1h 50m/Documentary/George Stevens, Jr.)
(8:00PM) Network (1976/2h 1m/Drama/Sidney Lumet)
(10:15PM) The Hospital (1971/1h 43m/Comedy/Arthur Hiller)
THU DEC 14
(12:15AM) The Americanization of Emily (1964/1h 57m/WaArthur Hiller)
(2:30AM) Altered States (1980/1h 42m/HorroKen Russell)
(4:30AM) The Last of the Mobile Hot-Shots (1969/1h 40m/Drama/Sidney Lumet)
(6:45AM) Captain Kidd (1945/1h 29m/Adventure/Rowland V. Lee)
(8:30AM) Hell Harbor (1930/1h 33m/Drama/Henry King)
(10:15AM) Seven Seas to Calais (1962/1h 42m/Drama/Rudolph Maté)
(12:00PM) Sinbad the Sailor (1947/1h 57m/Adventure/Richard Wallace)
(2:15PM) Treasure Island (1934/1h 42m/Adventure/Victor Fleming)
(4:00PM) Captain Blood (1935/1h 59m/Adventure/Michael Curtiz)
(6:15PM) The Master of Ballantrae (1953/1h 29m/Adventure/William Keighley)
(8:00PM) The Wedding Banquet (1993/1h 46m/Dramedy/Ang Lee)
(10:00PM) Dinner At Eight (1933/1h 51m/Drama/George Cukor)
FRI DEC 15
(12:00AM) We're Alive (1974/0h 49m/Documentary/Michie Gleason, Christine Lesiak and Kathy Levitt)
(1:00AM) Edge of the City (1957/1h 25m/Drama/Martin Ritt)
(2:30AM) Fame (1980/2h 14m/Drama/Alan Parker)
(5:00AM) The Invention of Cinema: Cinema Finds Its Voice (2021/1h 0m/Documentary/Eric Lange)
(6:00AM) David Copperfield (1935/2h 13m/Drama/George Cukor)
(8:15AM) Another Language (1933/1h 15m/Romance/Edward H. Griffith)
(9:45AM) Camille (1937/1h 48m/Romance/George Cukor)
(11:45AM) On Borrowed Time (1939/1h 39m/Drama/Harold S. Bucquet)
(1:30PM) Watch on the Rhine (1943/1h 54m/Drama/Herman Shumlin)
(6:00PM) Gunga Din (1939/1h 57m/Adventure/George Stevens)
(8:00PM) The Awful Truth (1937/1h 30m/Comedy/Leo McCarey)
(10:00PM) His Girl Friday (1940/1h 32m/Comedy/Howard Hawks)
SAT DEC 16
(12:00AM) Topper (1937/1h 37m/Comedy/Norman Z. Mcleod)
(2:00AM) Suspicion (1941/1h 39m/Suspense/Alfred Hitchcock)
(4:00AM) North by Northwest (1959/2h 16m/Suspense/Alfred Hitchcock)
(6:30AM) Honolulu (1939/1h 23m/Musical/Edward Buzzell)
(8:00AM) MGM CARTOONS: Alias St. Nick (1935/10m/Animation/Rudolf Ising)
(8:11AM) Joy Scouts (1939/0h 10m/Comedy/Edward L. Cahn)
(8:22AM) Rocky Mountain Grandeur (1937/0h 7m/Short/James H Smith)
(8:30AM) Easy to Love (1934/1h 1m/Comedy/William Keighley)
(3:30AM) BUCK ROGERS: Primitive Urge (1939/Serial/Ford Beebe and Ray Trampe.)
(10:00AM) POPEYE: The Hyp-Nut-Tist (1935/0h 6m/Animation/Dave Fleischer)
(10:08AM) Clipped Wings (1953/1h 5m/Comedy/Edward Bernds)
(11:30AM) Star in the Night (1945/0m 21m/Short/Don Siegel)
(12:00PM) Meet Me in St. Louis (1944/1h 53m/Musical/Vincente Minnelli)
(2:00PM) Little Women (1949/2h 1m/Drama/Mervyn Le Roy)
(4:15PM) The Shop Around the Corner (1940/1h 37m/Romance/Ernst Lubitsch)
(6:15PM) Holiday Affair (1949/1h 27m/Romance/Don Hartman)
(8:00PM) The Great Train Robbery (1979/1h 51m/Adventure/Michael Crichton)
(10:00PM) Robin and Marian (1976/1h 52m/Adventure/Richard Lester)
SUN DEC 17
(1:30AM) Mame (1974/2h 12m/Musical/Gene Saks)
(3:45AM) Travels With My Aunt (1972/1h 49m/Comedy/George Cukor)
(6:00AM) I Love You Again (1940/1h 39m/Comedy/W. S. Van Dyke II)
(8:00AM) It's a Wonderful World (1939/1h 26m/Comedy/W. S. Van Dyke II)
(10:00AM) Beware My Lovely (1952/1h 17m/Film-NoiHarry Horner)
(11:30AM) 3 Godfathers (1949/1h 45m/Western/John Ford)
(1:30PM) King of Kings (1961/2h 48m/Drama/Nicholas Ray)
(4:30PM) The Greatest Story Ever Told (1965/3h 45m/Drama/George Stevens)
(8:00PM) The Color Purple (1985/2h 34m/Drama/Steven Spielberg)
(11:00PM) It Happened On 5th Avenue (1947/1h 55m/Comedy/Roy Del Ruth)
MON DEC 18
(1:15AM) Ben-Hur (1925/2h 13m/Silent/Fred Niblo)
(3:45AM) Mon Oncle Antoine (1971/1h 50m/Drama/Claude Jutra)
(5:45am) Fanny and Alexander (1982/3h 8m/Drama/Ingmar Bergman)
(9:00AM) Tenth Avenue Angel (1948/1h 14m/Drama/Roy Rowland)
(10:15AM) Kind Lady (1935/1h 16m/Suspense/Mystery/George B. Seitz)
(11:45AM) Room for One More (1952/1h 38m/Comedy/Norman Taurog)
(1:30PM) Bundle of Joy (1956/1h 38m/Musical/Norman Taurog)
(3:30PM) Bachelor Mother (1939/1h 20m/Comedy/Garson Kanin)
(5:00PM) The Great Rupert (1950/1h 26m/Comedy/Irving Pichel)
(6:45PM) A Christmas Carol (1938/1h 9m/Drama/Edwin L. Marin)*
(8:00PM) Miracle On Main Street (1939/1h 18m/Drama/Steve Sekely)
(9:30PM) Blast of Silence (1961/1h 17m/Crime/Allen Baron)
(11:00PM) Cash On Demand (1961/1h 24m/1h 24m/Crime/Quentin Lawerence)
TUE DEC 19
(2:00AM) The Curse of the Cat People (1944/1h 10m/HorroGunther V. Fritsch)
(3:30AM) Merry Christmas, Mr. Lawrence (1983/2h 4m/Drama/Nagisa Oshima)
(5:45AM) Star in the Night (1945/0h 21m/Short/Don Siegel)
(6:15AM) Mrs. Parkington (1944/2h 4m/Romance/Tay Garnett)
(10:00AM) Love Finds Andy Hardy (1938/1h 30m/medy/George B. Seitz)
(12:00PM) Daughter of Rosie O'Grady (1950/1h 44m/Musical/David Butler)
(2:00PM) On Moonlight Bay (1951/1h 35m/Musical/Roy Del Ruth)
(4:00PM) Meet John Doe (1941/2h 3m/Drama/Frank Capra)
(6:15PM) The Shop Around the Corner (1940/1h 37m/Romance/Ernst Lubitsch)
(8:00PM) Going My Way (1944/2h 10m/Musical/Leo McCarey)
(10:15PM) The Bells of St. Mary’s (1945/2h 6m/Drama/Leo McCarey)
WED DEC 20
(12:30AM) O. Henry’s Full House (1952/1h 57m/Drama/Jasper Blystone)
(2:45AM) Period of Adjustment (1962/1h 52m/Comedy/George Roy Hill)
(4:45AM) Metropolitan (1990/1h 38m/Comedy/Whit Stillman)
(6:30AM) My Night at Maud's (1969/1h 50m/Comedy/Eric Rohmer)
(8:30AM) The Man I Love (1947/1h 36m/Drama/Raoul Walsh)
(12:00PM) The Trouble With Angels (1966/1h 52m/Comedy/Ida Lupino)
(2:00PM) Never Say Goodbye (1946/1h 37m/Comedy/James V. Kern)
(4:00PM) Susan Slept Here (1954/1h 38m/Comedy/Frank Tashlin)
(6:00PM) Christmas in Connecticut (1945/1h 41m/Comedy/Peter Godfrey)
(8:00PM) Remember the Night (1940/1h 26m/Comedy/Mitchell Leisen)
(9:45PM) The Cheaters (1945/1h 27m/Dramedy/Joseph Kane)
(11:30PM) We’re No Angels (1955/1h 46m/Comedy/Michael Curtiz)
THU DEC 21
(1:30AM) Lady in the Lake (1947/1h 43m/Mystery/Robert Montgomery)
(3:30AM) Roadblock (1951/1h 13m/Film-NoiHarold Daniels)
(5:00AM) Christmas Past (1925/2h 0m/Silent/Various)
(7:15AM) Hell's Heroes (1930/1h 5m/Western/William Wyler)
(8:30AM) The Curse of the Cat People (1944/1h 10m/HorroGunther V. Fritsch)
(10:00AM) The Rocking Horse Winner (1949/1h 31m/Drama/Anthony Pelissier)
(12:00PM) My Reputation (1946/1h 36m/Romance/Curtis Bernhardt)
(2:00PM) Backfire (1950/1h 31m/Crime/Vincent Sherman)
(4:00PM) Larceny, Inc. (1942/1h 35m/Comedy/Lloyd Bacon)
(8:00PM) Meet Me in St. Louis (1944/1h 53m/Musical/Vincente Minnelli)
(10:00PM) The Man Who Came to Dinner (1942/1h 52m/Comedy/William Keighley)
FRI DEC 22
(2:15AM) Meet John Doe (1941/2h 3m/Drama/Frank Capra)
(4:30AM) Beyond Tomorrow (1940/1h 24m/Romance/A. Edward Sutherland)
(6:15AM) Blossoms in the Dust (1941/1h 40m/Drama/Mervyn Le Roy)
(8:15AM) Boys Town (1938/1h 36m/Drama/Norman Taurog)
(10:00AM) Our Vines Have Tender Grapes (1945/1h 45m/Drama/Roy Rowland)
(2:00PM) A Carol for Another Christmas (1964/1h 25m/Drama/Joseph L. Mankiewicz)
(3:30PM) 3 Godfathers (1949/1h 45m/Western/John Ford)
(5:30PM) The Lion in Winter (1968/2h 14m/Drama/Anthony Harvey)
(8:00PM) The Bishop’s Wife (1947/1h 49m/Comedy/Henry Koster)
(10:00PM) An Affair To Remember (1957/1h 55m/Romance/Leo McCarey)
SAT DEC 23
(12:15AM) Room for One More (1952/1h 38m/Comedy/Norman Taurog)
(2:00AM) Penny Serenade (1941/2h 5m/Romance/George Stevens)
(4:15AM) In Name Only (1939/1h 42m/Drama/John Cromwell)
(6:00AM) Destination Tokyo (1943/2h 15m/WaDelmer Daves)
(8:15AM) Little Women (1933/1h 55m/Drama/George Cukor)
(10:15AM) Alias Boston Blackie (1942/1h 7m/Suspense/Lew Landers)
(11:30AM) The Thin Man (1934/1h 20m/Mystery/W. S. Van Dyke)
(1:15PM) Good Sam (1948/1h 54m/Dramedy/Leo McCarey)
(3:30PM) Bell, Book and Candle (1958/1h 43m/Comedy/Richard Quine)
(5:30PM) Pocketful of Miracles (1961/2h 16m/Comedy/Frank Capra)
(8:00PM) The Shop Around the Corner (1940/1h 37m/Romance/Ernst Lubitsch)
(10:00PM) In the Good Old Summertime (1949/1h 43m/Musical/Robert Z. Leonard)
SUN DEC 24
(12:00AM) Desk Set (1957/1h 43m/Comedy/Walter Lang)
(2:00AM) Susan Slept Here (1954/1h 38m/Comedy/Frank Tashlin)
(4:00AM) Bundle of Joy (1956/1h 38m/Musical/Norman Taurog)
(6:00AM) Three Godfathers (1936/1h 22m/Western/Richard Boleslawski)
(7:30AM) Beyond Tomorrow (1940/1h 24m/Romance/A. Edward Sutherland)
(9:00AM) The Great Rupert (1950/1h 26m/Comedy/Irving Pichel)
(10:30AM) Tenth Avenue Angel (1948/1h 14m/Drama/Roy Rowland)
(11:45AM) Love Finds Andy Hardy (1938/1h 30m/Comedy/George B. Seitz)
(1:30PM) Going My Way (1944/2h 10m/Musical/Leo Mc Carey)
(3:45PM) It Happened on 5th Avenue (1947/1h 55m/Comedy/Roy Del Ruth)
(6:00PM) Meet Me in St. Louis (1944/1h 53m/Musical/Vincente Minnelli)
(8:00PM) Christmas in Connecticut (1945/1h 41m/Comedy/Peter Godfrey)
(10:00PM) Holiday Affair (1949/1h 27m/Romance/Don Hartman)
(11:45PM) A Christmas Carol (1938/1h 9m/Drama/Edwin L. Marin)
MON DEC 25
(1:00AM) Little Women (1949/2h 1m/Drama/Mervyn Le Roy)
(3:15AM) Auntie Mame (1958/2h 23m/Comedy/Morton Da Costa)
(5:45AM) Big Business (1929/0m 18m/Silent/Leo McCarey)
(6:30AM) Bachelor Mother (1939/1h 20m/Comedy/Garson Kanin)
(8:00AM) All Mine to Give (1957/1h 50m/Drama/Allen Reisner)
(10:00AM) Never Say Goodbye (1946/1h 37m/Comedy/James V. Kern)
(11:45AM) Holiday Affair (1949/1h 27m/Romance/Don Hartman)
(1:30PM) The Apartment (1960/2h 5m/Comedy/Billy Wilder)
(3:45PM) The Man Who Came to Dinner (1942/1h 52m/Comedy/William Keighley)
(6:00PM) In the Good Old Summertime (1949/1h 43m/Musical/Robert Z. Leonard)
(8:00PM) Vertigo (1958/2h 8m/Suspense/Alfred Hitchcock)
(10:15PM) Rear Window (1954/1h 52m/Suspense/Alfred Hitchcock)
TUE DEC 26
(12:15AM) The Man Who Knew Too Much (1956/1h 59m/Suspense/Alfred Hitchcock)
(2:30AM) Rope (1948/1h 20m/Suspense/Alfred Hitchcock)
(4:00AM) Strangers on a Train (1951/1h 36m/Suspense/Alfred Hitchcock)
(6:00AM) The Long, Long Trailer (1954/1h 36m/Comedy/Vincente Minnelli)
(8:00AM) Strike Up the Band (1940/2h 0m/Musical/Busby Berkeley)
(10:00AM) The Big Sleep (1946/1h 54m/Mystery/Howard Hawks)
(12:00PM) The Adventures of Robin Hood (1938/1h 42m/Adventure/Michael Curtiz)
(2:00PM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(3:45PM) Lambchops (1929/7m/Comedy/?)
(4:00PM) After the Thin Man (1936/1h 50m/Mystery/W. S. Van Dyke)
(6:00PM) Top Hat (1935/1h 45m/Musical/Mark Sandrich)
(8:00PM) It Happened One Night (1934/1h 45m/Comedy/Frank Capra)
(10:00PM) Breakfast At Tiffany’s (1961/1h 55m/Dramedy/Blake Edwards)
WED DEC 27
(12:15AM) Bonnie and Clyde (1967/1h 51m/Crime/Arthur Penn)
(2:15AM) Platinum Blonde (1931/1h 28m/Comedy/Frank R. Capra)
(4:00AM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(6:00AM) The Subject Was Roses (1968/1h 47m/Drama/Ulu Grosbard)
(8:00AM) East of Eden (1955/1h 55m/Drama/Elia Kazan)
(10:00AM) Cat on a Hot Tin Roof (1958/1h 48m/Drama/Richard Brooks)
(12:00PM) Dial M for Murder (1954/1h 45m/Suspense/Alfred Hitchcock)
(2:00PM) Dead Ringer (1964/1h 55m/Suspense/Paul Henreid)
(4:00PM) Strait-Jacket (1964/1h 29m/HorroWilliam Castle)
(5:45PM) A Streetcar Named Desire (1951/2h 2m/Drama/Elia Kazan)
(8:00PM) The Invisible Man (1933/1h 11m/HorroJames Whale)
(9:30PM) Abbott and Costello Meet the Invisible Man (1951/1h 23m/Comedy/Charles Lamont)
(11:00PM) The Body Disappears (1941/1h 12m/Comedy/D. Ross Lederman)
THU DEC 28
(12:30AM) The Invisible Boy (1957/1h 25m/HorroHerman Hoffman)
(2:15AM) Invisible Invaders (1959/1h 7m/HorroEdward L. Cahn)
(3:30AM) The Amazing Transparent Man (1960/1h 0m/HorroEdgar G. Ulmer)
(4:45AM) The Catalina Caper (1967/1h 7m/Comedy/Lee Sholem)
(6:00AM) Lured (1947/1h 42m/Suspense/Douglas Sirk)
(8:00AM) Night Must Fall (1937/1h 57m/Suspense/Richard Thorpe)
(10:00AM) Night Watch (1973/1h 45m/Suspense/Brian G. Hutton)
(11:45AM) Wicked, Wicked (1973/1h 35m/HorroRichard Bare)
(1:30PM) The Last Of Sheila (1973/2h 0m/Suspense/Herbert Ross)
(3:45PM) Wait Until Dark (1967/1h 48m/Suspense/Terence Young)
(5:45PM) Seance on a Wet Afternoon (1964/1h 56m/Drama/Bryan Forbes)
(8:00PM) Pee-Wee’s Big Adventure (1985/1h 30m/Comedy/Tim Burton)
(9:45PM) Absence of Malice (1981/1h 56m/Drama/Sydney Pollack)
FRI DEC 29
(12:00AM) Sunday, Bloody Sunday (1971/1h 50m/Drama/John Schlesinger)
(2:00AM) Hair (1979/2h 1m/Musical/Milos Forman)
(4:15AM) Blow-Up (1966/1h 51m/Crime/Michelangelo Antonioni)
(6:15AM) Village of the Giants (1965/1h 20m/HorroBert I. Gordon)
(8:00AM) The Most Dangerous Game (1932/1h 3m/HorroErnest B. Schoedsack)
(9:30AM) Jungle Book (1942/1h 49m/Adventure/Zoltan Korda)
(11:30AM) Mogambo (1953/1h 55m/Adventure/John Ford)
(1:30PM) The African Queen (1951/1h 45m/Adventure/John Huston)
(3:30PM) None But The Lonely Heart (1944/1h 53m/Drama/Clifford Odets)
(5:30PM) Night and Day (1946/2h 8m/Musical/Michael Curtiz)
(8:00PM) Houseboat (1958/1h 50m/Dramedy/Melville Shavelson)
(10:00PM) Father Goose (1964/1h 58m/Adventure/Ralph Nelson)
SAT DEC 30
(12:15AM) Mr. Blandings Builds His Dream House (1948/1h 34m/Comedy/H. C. Potter)
(2:00AM) Crisis (1950/1h 35m/Drama/Richard Brooks)
(4:00AM) The Toast of New York (1937/1h 49m/Drama/Rowland V. Lee)
(6:00AM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(8:00AM) MGM CARTOONS: The Pups' Christmas (1936/0h 8m/Animation/Rudolf Ising)
(8:09AM) Surprised Parties (1942/0h 10m/Short/Edward L. Cahn)
(8:20AM) Switzerland the Beautiful (1934/0h 8m/Short/?)
(8:29AM) Living on Love (1937/1h 0m/Comedy/Lew Landers)
(9:30AM) BUCK ROGERS: Revolt of the Zuggs (1939/Serial/Ford Beebe and Ray Trampe)
(10:00AM) POPEYE: Choose Your Weppins (1935/0h 6m/Animation/Dave Fleischer)
(10:08AM) Private Eyes (1953/1h 4m/Comedy/Edward Bernds)
(11:30AM) Swingtime in the Movies (1938/19m/Short/Crane Wilbur)
(12:00PM) Repeat Performance (1947/1h 33m/Film-NoiAlfred Werker)
(2:00PM) Five Million Years To Earth (1968/1h 38m/HorroRoy Ward Baker)
(4:00PM) The Birds (1963/2h 0m/HorroAlfred Hitchcock)
(6:15PM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(8:00PM) AFI Life Achievement Award: 50th Anniversary Special (2023)
(9:45PM) The Searchers (1956/1h 59m/Western/John Ford)
SUN DEC 31
(12:00AM) AFI Life Achievement Award: 50th Anniversary Special (2023)
(1:45AM) The Player (1992/2h 3m/Comedy/Robert Altman)
(4:00AM) In a Lonely Place (1950/1h 31m/Drama/Nicholas Ray)
(6:00AM) 'Til We Meet Again (1940/1h 30m/Romance/Edmund Goulding)
(8:00AM) Ocean's Eleven (1960/2h 7m/Comedy/Lewis Milestone)
(10:15AM) After the Thin Man (1936/1h 50m/Mystery/W. S. Van Dyke)
(12:15PM) An American in Paris (1951/1h 53m/Musical/Vincente Minnelli)
(2:15PM) Radio Days (1987/1h 30m/Comedy/Woody Allen)
(4:00PM) Holiday (1938/1h 33m/Comedy/George Cukor)
(6:00PM) An Affair to Remember (1957/1h 55m/Romance/Leo McCarey)
(8:00PM) Spaceballs (1987/1h 36m/Comedy/Mel Brooks)
(9:45PM) Top Secret! (1984/1h 30m/Comedy/Jim Abrahams, David Zucker and Jerry Zucker)
(11:30PM) This Is Spinal Tap (1984/1h 22m/Comedy/Rob Reiner)
submitted by yawningvoid28 to movies [link] [comments]

2023.11.01 09:04 cardboardbuddy I watched every movie that ever won the Oscar for Best Picture -- all 95 of them

Ever since the Academy Awards started, there have been 95 iterations of the award, and 95 winners of the coveted Academy Award for Best Picture, which is supposed to award the best movie of that year. Whether it actually does award the best movie in any particular year is debatable.
So why watch every single one of these things? Short answer: I happened to have a lot of free time to watch movies, and I happened to watch two of these in a short period of time without realizing until later that they had both won Best Picture. I looked at how many I had watched and how many I had left to watch and thought yeah, okay, why not?
I didn't watch these in order -- I tried to vary what I watched, from old to new, highly rated to poorly rated, so I had a little bit of variety in what I was watching. And generally speaking, I did not watch the ones I'd already seen before, with one notable exception (I needed to revisit The Godfather before watching The Godfather II). Was it a worthwhile use of my time? Well... onward, to my thoughts on each one!
IN CHRONOLOGICAL ORDER:
Wings (1928)
Other than The Artist (2011), the only silent movie to win Best Picture, after the rise of the talkies. This is about two men in love with the same woman, who both sign up to become pilots in the Great War. I had never watched a silent movie before (not counting The Artist), so it took some getting used to, but this slapped. Really funny in parts, really touching in others, and the aerial shots are done in actual planes with actual WWI pilots-- still exciting to watch.
Incidentally, this film actually premiered in 1927 and entered the public domain in the United States this year, so it's everywhere on the internet (legally) now.
The Broadway Melody (1929).
As I said earlier when talking about Wings, talking films were just getting started, and this is billed as Hollywood's first all-talking musical -- it's about two sisters trying to make it big on Broadway.
It's a film of historical importance, but not very entertaining. The script and the acting feel awkward in a way that later films of the era don't, almost as if no one knew how to write/act for a talking film just yet.
All Quiet on the Western Front (1930).
The story of a group of young German boys who are drafted to serve in the army during WWI.
Visually, the battle sequences in this movie still hold up, and the story is timeless and devastating -- it deserves to be told again and again for as long as humans are at war with each other. (The 2022 version, in German with a German cast, is also a damn good film)
Cimarron (1931).
This movie is boring and racist. It's about a white settler in Oklahoma and his racist wife.
Incidentally, there's a minor character in this who talks about wanting to become a 'guardian' for Native Americans on the Osage reservation to steal their oil money, which is exactly the plot of Killers of the Flower Moon (2023). Go watch that instead.
Grand Hotel (1932).
This has what we would now call an 'ensemble cast' -- lots of big stars playing guests at the titular Grand Hotel in Berlin, as they meet each other and their fates intertwine. I liked this quite a bit -- great performances all around, the best one, in my opinion, from Lionel Barrymore as Kringelein, a mild-mannered accountant who finds out he only has weeks to live.
(Fun fact for modern moviegoers: this movie stars brothers Lionel Barrymore and John Barrymore. John is the grandfather of Drew Barrymore -- yes, that Drew Barrymore)
Cavalcade (1933).
This movie is about an upper-class English family and chronicles their lives from New Year's Eve, 1899, to 1933 as historical events happen around them.
There's a scene in this that's so unintentionally hilarious. There are two characters, newlyweds, who are talking about how they'll never be as happy as they are in that moment. Then they walk out of frame and it's revealed that they're on the Titanic. I laughed SO fucking hard and I don't think that was the intention. Other than that, this movie was a slog. It never does anything interesting visually except for the montage at the end. The ending song, '20th Century Blues', is pretty snappy too.
It Happened One Night (1934).
A young socialite (Claudette Colbert) en lists the help of a down-on-his-luck newspaper reporter (Clark Gable) to get to New York.
This movie is like the grandfather of all romantic comedies. So many common tropes that you will recognize in movies even today are also present in this movie. Genuinely very funny and endearing.
Mutiny on the Bounty (1935).
I am vaguely familiar with the story of this one. It's based on real history: in 1789, sailors of the H.M.S. Bounty took control of their ship and set their commander, Captain Bligh, adrift on a lifeboat. To this day the descendants of the mutineers live on Pitcairn Island. Clark Gable plays the leader of the mutineers, Fletcher Christian, and Charles Laughton plays Captain Bligh and he's such an infuriating, effective villain here. Incidentally: Clark Gable was in three films that won Best Picture in this decade and he uses the same accent in all of them. When playing a reporter from New York in It Happened One Night uses the exact same accent there as he does playing a British sailor in this movie or southern gentleman Rhett Butler in Gone with the Wind (1939). They really didn't bother with accents back then, something that I noticed in a lot of the earlier movies on this list.
The Great Ziegfeld (1936).
Perhaps I did this movie a disservice by starting it at 10pm when I was already sleepy, but I fell asleep watching this. Then I woke up, the movie was still playing, and it was in the middle of a blackface musical number. I really felt like I was having a nightmare.
I did restart the movie to watch the parts I missed, and... yeah it's still boring. It's a biopic about Florenz Ziegfeld, a man who made a bunch of successful Broadway musicals. Other than that, he had a life that, in my opinion, was not really interesting enough to turn into a film. So this movie was a snooze-worthy biopic broken up with occasional musical numbers, some of which were fun, like Fanny Brice, others of which were... not fun, like the aforementioned blackface performance.
The Life of Emile Zola (1937).
This is another biopic, this time about the French writer Emile Zola, and in particular, his involvement in the Dreyfus affair. The most notable thing about this movie is that it never once mentions the word 'Jew' or 'Jewish' except once when the word is on screen (but not spoken out loud), even though the whole point of the Dreyfus affair was the anti-Semitism of it all. So we're supposed to applaud our main character in this movie for standing up to prejudice... but the movie can't even put a name to it. What was the point of this movie?
You Can't Take It with You (1938).
Another romantic comedy, just a little tale of rich boy and his rich family meets girl and her zany manic pixie dream family who teaches them that life isn't all about money. This was a fun time.
Gone with the Wind (1939). (watched before I started this project)
This movie is... also.. racist. It's about plantation owners, slave owners, in the American South. But I think, if you keep that historical context in mind, it's still kind of worth watching? The epic old-Hollywood scale of this movie, Vivien Leigh giving an iconic performance as Southern belle and sociopath Scarlett O'Hara... unlike other old racist movies I had to watch as part of this project (cough Cimarron cough Ziegfeld), this was actually enjoyable as a movie.
Rebecca (1940).
Rebecca, the title character in this film, never appears in it, but she haunts it like a ghost. Not a literal, actual ghost, it's not that kind of movie, but it almost feels like she's pulling strings from beyond the grave. She's really THAT bitch. It's a testament to how well-written this story is that you really get a sense of her as a character even if you never see her.
How Green Was My Valley (1941).
This movie is about a working-class family of coal miners in Wales in the Victorian era, as narrated by Huw, the family's youngest son. I really enjoyed the music — lots of Welsh hymns and drinking songs. The visuals were also great — I knew that this couldn't possibly have been shot on location in Wales, given what was happening in Britain at the time. I hopped on Google after the fact and learned they actually built an 80-acre replica of a whole town just to shoot in.
Mrs Miniver (1942).
Speaking of what was happening in Britain at a time... Mrs Miniver is a film about an affluent family in England during WWII, filmed while WWII was still in progress. Obviously, it's a propaganda film, but it's effective as one. 80 years on, I'm very moved by that final scene, especially considering that they were still in the middle of the war then and they had no real way of knowing how it would turn out.
Casablanca (1943). (watched before I started this project)
See above: film about WWII created while WWII was still in progress -- about an American nightclub owner named Rick Owens (Humphrey Bogart) in the Nazi-controlled city of Casablanca who runs into his ex-lover, Ilsa Lund (Ingrid Bergman) and her husband, a resistance leader smuggling refugees out to safer countries.
This totally deserves its reputation as a classic. Such a great romance, and the La Marseillaise scene (if you've watched it, you know) is SO good.
Going My Way (1944).
Bing Crosby plays a priest assigned to a new parish that's not in the greatest shape, and starts a choir for troubled kids.
This movie is worth it just to hear Bing Crosby sing. Other than that, it's a cute, heartwarming little story that's probably exactly what people wanted after a rough couple of years of war.
The Lost Weekend (1945).
Man goes on four day bender. It's a terrifyingly real portrayal of alcohol addiction that you'll recognize if you or a loved one has ever gone through it.
The Best Years of Our Lives (1946).
This movie follows the lives of three veterans after WWII as they deal with PTSD, alcoholism, and adjusting to civilian life. This movie had me CRYING crying, like multiple times, it turned on the waterworks. Everyone in this movie is great, but special, special shout out to Harold Russell, an actual veteran who lost both his hands in the war. To this day he is the only person to ever win two Oscars for the same performance — the Academy gave him a special honorary award, then he went ahead and won the actual competitive Best Supporting Actor award anyway. Man deserves all the awards.
Gentleman's Agreement (1947).
This is a movie about a writer (Gregory Peck) pretending to be Jewish for a couple of months to write an article about antisemitism. This movie was a bit heavy-handed, but unlike Emile Zola (1936), this actually names the problem, so already, Gentleman's Agreement is better than the other movie in that regard.
Hamlet (1948).
This is literally just Hamlet, all dialogue taken directly from the play. Laurence Olivier stars and directs. I feel like I don't know what to say about this. It's Shakespeare, well-acted, with some cool sets.
All the King's Men (1949).
Tale as old as time: All the King's Men follows Willie Stark (Broderick Crawford), a man who starts out as a down to earth, idealistic guy and who slowly but surely turns into a complete monster as he climbs the political ladder. I remember so many people!!
All About Eve (1950).
The performances in this are just legendary. Famously, this received four acting nominations all in the actress categories, all of them well-deserved, especially the leads: Bette Davis as Margo and Anne Baxter as Eve.
An American in Paris (1951). (watched before I started this project)
It's got Gene Kelly dancing, iconic music by the Gershwin brothers, beautiful and colorful sets... just lovely.
The Greatest Show on Earth (1952).
This is half a documentary about the circus, and half a movie about an irritating love triangle I didn't care about.
From Here to Eternity (1953).
A movie about soldiers stationed on the island of Oahu in 1941, right before Pearl Harbor.
This movie has the most insane link to another Best Picture winner, namely, The Godfather (1972). In The Godfather, there's a character named Johnny Fontaine, a singeactor who asks for a favor from the Godfather to get a part in a movie. That subplot was allegedly based on a real life singeactor whose connections to the mafia got him a big part in a movie. In real life that guy was FRANK SINATRA!?? and that movie was From Here to Eternity. I guess that favor was worth it for Ol' Blue Eyes because he got an Oscar for Best Supporting Actor.
Something that continues to this day with movies like Top Gun: Maverick (2022) — the US military will help you make your movie, as long as you portray them in a positive light. So apparently the military also had final say on this movie. With that in mind I think it's a miracle this movie turned out the way it did because this makes the army look pretty bad. You can't possibly watch this movie and think "oh yeah, joining the army sounds cool" the way you might with a modern military propaganda blockbuster because this is bleak as hell. This movie is about servicemen stationed in Hawaii right before Pearl Harbor. So you already know things aren't gonna be great for these guys, because Pearl Harbor's about to happen. But even before Pearl Harbor these guys get put through the wringer by the abuses of the army.
On the Waterfront (1954).
The only thing I knew about this movie going in was the iconic line in it, the "I could have been a contender!" so for a really long time, I thought this movie was gonna be about boxing. It's not. The main character is a former boxer, but the movie is about gathering the courage to stand up against corruption and greed and it delivers that message so powerfully.
Unrelated side-note: So many main characters in these movies are boxers, amateur boxers, or former boxers, it's just a weird coincidence. The main character in How Green Was My Valley gets taught to box so he can protect himself from bullies, Terry Malloy (Marlon Brando) is a former boxer here in On the Waterfront, the main character in From Here to Eternity is a former boxer, then of course there are the two obvious boxing movies, Rocky and Million Dollar Baby. No other sport gets this much representation.
Marty (1955).
[Italian grandmother voice] So when ya gettin' married?
This was just nice. The title character, Marty, is an Italian-American man who lives with his mother because all his other siblings are married. It's such a sweet little film about two lonely people who find each other.
Around the World in Eighty Days (1956).
I've read the Jules Verne book this is based on, and it surprises me that such a classic tale of adventure could be this boring? Then I learned that this was kind of like... a mid-50's Avengers?
Let me explain: Apparently, every actor in this is someone who was famous at the time, ever scene with a character who appears for five minutes and never again is a cameo from some famous actor. Now, I don't generally watch a lot of movies from this time period, so I never recognized anyone. But I suppose that was the appeal of the movie, seeing all these famous actors pop up one after the other, like a modern-day superhero movie uniting all the Avengers. That appeal was lost on me because I don't watch enough movies from this time period to recognize anybody.
The Bridge on the River Kwai (1957).
My apologies to everyone around me because I have been whistling Colonel Bogey's March / Hitler's Only Got One Ball at inopportune moments ever since watching this. This was really good! I really cared about that bridge by the end of it.
Gigi (1958).
A romantic comedy musical set in Paris at the turn of the 20th century, following the title character, Gigi (Leslie Caron).
All the adults in this movie deserve prison for pedophilia / child grooming. PRISON FOR ALL OF YOU. The movie's only saving grace is the beautiful costumes and sets.
Ben-Hur (1959).
Ben-Hur is about the title character, Judah Ben-Hur, a wealthy Jewish prince living in the Roman Empire who runs into Jesus a bunch of times. This was the most expensive movie ever made, at the time. The budget really shows because the sheer scale of this movie is awe-inspiring. The action is great, from the sea battles to the chariot races. As for the story, well, it's a religious story and I'm not religious. I suppose if I were an practicing Christian I would be more moved, but even if you take away the Christ aspect of it all, the story of Judah trying to get back to his family is still touching.
The Apartment (1960). (watched before starting this project)
This holds up really well. Relatable romance, snappy dialogue, a really timeless film.
West Side Story (1961). (watched before starting this project)
Adapted from the stage musical of the same name, a retelling of Romeo and Juliet set on the Upper West Side of New York City. Instead of rival families, we have rival gangs, the Sharks and the Jets.
I watched this many many years ago, when I was a teenager and we had to recreate one of the scenes for a musical presentation at school. All the songs still live rent free in my head.
Lawrence of Arabia (1962).
Another sweeping, cinematic epic, from the same director as 1957's Bridge on the River Kwai. Another classic. Action-packed, brilliant acting by Peter O'Toole as T. E. Lawrence.
Tom Jones (1963).
A "comedy" that I just found painfully unfunny.
My Fair Lady (1964). (watched before starting this project)
Audrey Hepburn as Eliza was charming, the music's great, the costumes are great, but the way this movie ended just never sat right with me. I suppose my beef is with George Bernard Shaw, who wrote Pygmalion, the play My Fair Lady is based on, but there's so much they could have done to make the ending more plausible — make a certain character more likeable.
The Sound of Music (1965). (watched before starting this project)
A most beloved classic that I probably watched like a dozen times as a child.
A Man for All Seasons (1966).
This is a film about Thomas More, who was convicted of treason for refusing to affirm Henry VIII as head of the Church of England. This is a time period I've seen depicted a lot in historical fiction so I'm familiar with the facts of the case. It might be a bit dry and dull if you aren't the sort of person who's interested in that.
Recommendation based on this movie: Check out the TV miniseries Wolf Hall (2015), based on the novel of the same name by Hilary Mantel. It follows Thomas Cromwell, who was a villain in A Man For All Seasons but is portrayed much more sympathetically in this series.
In the Heat of the Night (1967).
Virgil Tibbs (Sydney Poitier), a black police detective, attempts to solve a murder in the rural racist South. It's not really about the murder, though, it's about the racism. Great performances from both Poitier and Rod Steiger, who plays the racist police chief that Poitier's character is forced to work with.
Oliver! (1968).
A film adaptation of the musical of the same name, which is itself based on the novel Oliver Twist by Charles Dickens. It follows Oliver (Mark Lester), a little orphan boy who joins a street gang led by the eccentric Fagin (Ron Moody).
I have never seen this before but I was surprised by how many of the songs I actually knew, out of context, like 'Food, Glorious Food', 'Where is Love' and 'As Long as He Needs Me'. This is a competently adapted movie version of a stage musical, so if that's the sort of thing you like, you'll like this.
Midnight Cowboy (1969).
I will speak more about the movie that won over Brokeback Mountain in 2005, but this was the O.G. gay cowboy movie and it actually won the Oscar. I came to really like the two weirdos in this movie, played to perfection by Jon Voight and Dustin Hoffman.
Patton (1970).
A biopic about American army general George S. Patton, a key figure in World War II.
This movie makes a fantastic first impression, with General George S. Patton (George C. Scott), addressing an unseen audience of troops in front of a huge American flag. The content of his speech is from a real speech that the real General Patton gave to his troops, including the famous line:
No bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country.
Scott is masterful as Patton, a character way more interesting and complex than I thought he would be before watching the movie.
The French Connection (1971).
As far as the Oscars are concerned, the 70s are a dark n gritty decade. It's got four crime dramas winning in a row, starting with 1971's The French Connection. This was intense! It follows two NYPD cops as they try to catch a French drug kingpin. This was shot in the New York of the 1970s, which has a reputation as a crime-infested hellhole. It's interesting to compare the New York of, say, The Apartment (1960), which still seemed kind of glamorous, with the dark gritty New York of Midnight Cowboy and The French Connection.
The Godfather (1972). (watched before I started this project)
I have, for whatever reason, never seen the second Godfather even though I have seen the first one, and it's been a while, so I rewatched the first Godfather to refresh my memory of what happened.
And it's still really damn good, what can I say? On a second watch I have an even greater appreciation of how certain scenes were shot, the way tension builds up, just chef's kiss
The Sting (1973).
Johnny Hooker, a small-time grifter (Robert Redford), plans an elaborate scheme to get revenge on a vicious crime boss.
This is one of the movies inspired this project. I checked it out because I was rewatching the show Community and the Grifting 101 episode of Season 6 is a loving homage to The Sting -- Thanks, Community, I love a good crime caper -- and I later learned that this movie won the Best Picture Oscar and wondered what other old Oscar winners were worth the watch.
The Godfather Part II (1974).
I can't believe I never actually watched this before. Yeah, I watched The Godfather, but it turns out it was only one half of an incredible narrative -- the rise and the fall of the Corleone family.
One Flew Over the Cuckoo's Nest (1975).
Randall McMurphy (Jack Nicholson) pretends to be insane to get transferred from prison to the mental asylum.
Really excellent performances by Jack Nicholson and Louise Fletcher in the lead roles. Nurse Ratched (Louise Fletcher) is an all-time great movie villain.
Rocky (1976).
Rocky Balboa (Sylvester Stallone), an amateur boxer, gets an unlikely chance to fight world champion Apollo Creed (Carl Weathers).
This movie is so ubiquitous and well-known in pop culture that I actually know exactly how it ends before even watching it, but even so, it still works as a movie -- it's about the journey more than the destination, it's about what Rocky does before the fight more than it is the actual result of the fight.
Annie Hall (1977). (watched before I started this project)
A movie about a neurotic comedian (Woody Allen) trying to dissect his failed relationship with a woman by the name of Annie Hall (Diane Keaton).
I watched this movie a long time ago, before I was fully aware of what a weird creep Woody Allen is. So I'm just gonna say, Diane Keaton is great.
The Deer Hunter (1978).
I don't know if this is a spoiler considering it's literally in the poster, and the film is so well-known for it that they literally use a screenshot from it to illustrate the Wikipedia article, but this is a movie about soldiers who are sent off to fight in the Vietnam War, and it's known for featuring several harrowing scenes>! depicting the main characters playing Russian roulette!< that will have you on the edge of your seat.
Kramer vs. Kramer (1979).
it hurts :')
I don't know what else to say, it's such a highly personal subject for me -- the Kramers of the title are a separated couple (played by Dustin Hoffman and Meryl Streep) fighting for custody of their child.
Ordinary People (1980).
An upper middle class family struggles to deal with the death of the family's eldest son.
This movie made me think, is my crying impulse broken? I cry a lot -- I have cried watching many of the movies on this list -- and this movie has such a reputation for being a tearjerker, but I just didn't feel it. I was just watching these characters go through things and I couldn't bring myself to care.
Chariots of Fire (1981). (watched before I started this project)
A movie about two runners aiming to compete at the 1924 Paris Olympics. I watched this a long time ago, but the only thing I or anyone ever remembers about this movie is the opening scene, as parodied by Mr. Bean at the 2012 Olympics, and the song that plays during that scene, 'Chariots of Fire' by Vangelis. Such an epic banger of a track.
Gandhi (1982).
Biopic of Mahatma Gandhi, one of the leaders of the Indian Independence movement.
Movies that are biopics of great historical figures like Patton and Gandhi live and die based on the performances of their main characters and Ben Kingsley knocks it out of the park as Mahatma Gandhi and makes it worth watching.
Terms of Endearment (1983).
That's mother right there. I don't mean 'mother' as in, the Gen Z slang of calling female celebrities 'mother', I mean Shirley MacLaine got her Best Actress Oscar by playing a character that reminded me so much of my own mother it's actually scary. I can't go into it without spoilers but this is a very sad movie about a tragedy happening to a family and it got me really weepy at the end.
Amadeus (1984).
This is a biopic of Wolfgang Amadeus Mozart (Tom Hulce), the classical composer, as told through the eyes of Antonio Salieri (F. Murray Abraham), his nemesis. Mozart and Salieri weren't actually enemies in real life, so the movie takes huge liberties with the truth to tell its story, but what a story it tells. This was so good. It's a Mozart biopic, so you know the music is gonna slap, but it's amazing how well the music ties in to the narrative.
Out of Africa (1985).
A beautifully shot snoozefest. This is based on a memoir by Danish author Karen Blixen (played in the movie by Meryl Streep), about her time in Kenya.
This was obviously one of the inspirations for the music video for Taylor Swift's 'Wildest Dreams', which is my favorite of her music videos, but that video is like three minutes long and this movie is damn near three hours and the visuals can't carry it for that long.
Platoon (1986).
I'm going to compare this movie to The Deer Hunter in particular because they are both Vietnam War flicks that won Best Picture. But The Deer Hunter is a Russian roulette movie before it's a Vietnam War movie. I read about the making of The Deer Hunter, and apparently the screenplay started out as a movie about guys playing Russian roulette in Vegas, before director Michael Cimino decided to turn it into a movie about Vietnam. To be fair, he did it very well -- it's filmed in Southeast Asia and special care was paid to making the movie look and feel realistic, but there's no actual historical record of Viet Cong making prisoners play Russian roulette. So it's not very historically accurate, in that regard.
Platoon on the other hand, was written and directed by Oliver Stone, a Vietnam War veteran, based on his actual experience. It's a lot more grounded in reality, because of that. Rather than just having evil Viet Cong stereotypes torturing prisoners, we have a depiction of what soldiers actually went through, and what innocent Vietnamese civilians suffering war crimes at the hands of American troops went through.
The Last Emperor (1987).
Based on true events: A look into the life of Puyi, the last Emperor of China. This was beautifully shot and felt like watching episodes from like three or four different seasons of The Crown smashed together (which is a good thing, I love The Crown. Only make it Chinese royalty instead of British.
Rain Man (1988). (watched before I started this project)
A brash young man (Tom Cruise) discovers that he has an autistic savant older brother (Dustin Hoffman) who his parents have been keeping secret from him his whole life.
I heard some really bad things about this movie before, but given that this movie is over thirty years old it's a more nuanced and sensitive portrayal of disability than its worst critics say it is. It never makes fun of Raymond (Hoffman), and while it is uncomfortable to watch the way Charlie (Cruise) treats his autistic savant brother at the start, the point of the movie is that he changes, he becomes a more sensitive, empathetic person (but still kind of an asshole). It's good character development.
Driving Miss Daisy (1989).
Driving Miss Daisy is about the friendship between a wealthy Jewish woman, Daisy Werthan (Jessica Tandy), and her Black driver, Hoke Colburn (Morgan Freeman).
Personally, I would have driven Miss Daisy into a tree.
I know that to some extent, that being an annoying bitch the point of Miss Daisy, but the other point of the movie is that her continued friendship with Hoke is supposed to change her for the better. She does not really change for the better, she still seems like the same irritable old bat she was at the start. Compare and contrast with the movie that won just before this, Rain Man. The main character is a dickhead at the start too but you actually see the character development.
Dances with Wolves (1990).
The only thing I really knew about this movie, coming in, was that it frequently gets compared to Avatar (2009). And those people were right, this movie has the same plot as Avatar, but it's... better? It's about a white man, Lieutenant John Dunbar (Kevin Costner) meeting and befriending a group of Lakota. Though it still has its critics, care was taken by the creators to depict Native American culture correctly.
The Silence of the Lambs (1991). (watched before I started this project)
A young FBI trainee (Jodie Foster) consults imprisoned serial killer and cannibal Hannibal Lecter (Anthony Hopkins) in order to catch a serial killer at large.
This is one of my favorite movies of all time and I can quote many of the scenes verbatim with some fava beans and a nice Chianti.
Unforgiven (1992).
Clint Eastwood made his name as an actor by starring in Westerns, and it's just right that he comes back to the genre and directs a downright fantastic picture about an old gunslinger (played by Eastwood himself) coming back for one final job.
I've seen this referred to as a deconstruction of a Western -- it uses the visuals, the tropes, and stereotypes of a Western but uses them to tell a story more complex than the black and white good/evil narrative of a classic Western. This was one hell of a movie. The ending gave me chills.
Schindler's List (1993).
Steven Spielberg's most important film: the true story of Oskar Schindler (Liam Neeson), a wealthy German businessman who saved over a thousand Jews from the Holocaust.
I put off watching this for a long time because I knew it would be depressing as fuck and no surprises there this absolutely wrecked me.
Forrest Gump (1994). (watched before I started this project)
A simpleminded man, Forrest Gump (Tom Hanks) relates his experiences over several decades of American history.
I have watched four of the five films nominated for Best Picture in this year and -- it's my least favorite of the nominations. (The other nominations that I watched: Pulp Fiction, Four Weddings and a Funeral, The Shawshank Redemption).
Which is not to say that Forrest Gump is a bad movie, it was just a stacked year. It's still a feel-good, memorable movie with a lot of rewatch value.
Braveheart (1995).
Mel Gibson directs and stars as William Wallace, a Scottish warrior who rebelled against English rule.
I know enough about this period of history to know this movie is wildly, wildly inaccurate. But it's fun. Best enjoyed as a medieval, Scottish-tinged fantasy film very loosely inspired by real history.
The English Patient (1996). (watched before I started this project)
This movie follows two storylines: one set in the final stretches of World War II, where French nurse Hana (Juliette Binoche) takes care of the titular English patient (Ralph Fiennes), and a flashback to before the war, to the love story between the 'English patient' and a woman named Katharine Clifton (Kristin Scott Thomas).
I thought this was very well-acted and romantic, though not as memorable as the sweeping romantic historical epic that won the year after it, which is...
Titanic (1997). (watched before I started this project)
A fictionalized account of the sinking of the RMS Titanic, a disaster that killed more than a thousand people.
You can meme this to death but it still brings me to tears even after multiple rewatches. And it's not even the main characters that provoke the tears -- it's the fate of some of the side characters on that ship.
Shakespeare in Love (1998). (watched before I started this project)
A (fictional) account of the (very real) English playwright William Shakespeare (Joseph Fiennes) falling in love while writing Romeo and Juliet.
I know, I know this gets a lot of shit for winning over Saving Private Ryan, and I agree that it shouldn't have won, but if you judge it for what it is it's a perfectly acceptable movie. Maybe one that didn't deserve like half the awards it got (Best Picture, and Gwyneth Paltrow for Best Actress, I mean really?) but they showed this to us in school when I was in my teens and it was genuinely a crowd-pleaser, maybe because we got to watch a movie and not do any work that day, but hey, I liked it.
American Beauty (1999).
A movie about a man (Kevin Spacey) who grows dissatisfied with his suburban family life.
Another movie that has been parodied and referenced so much in popular culture (e.g. the rose petal scenes, Do you ever feel like a plastic bag? ) that I kind of knew what this was about even before I watched it. Watching this for the first time now, knowing what I know about Kevin Spacey, gives his character a extra layer of grossness here. It kind of works for the movie.
(I reached the character limit so to be continued in comments)
submitted by cardboardbuddy to FilmClubPH [link] [comments]

2023.08.29 03:43 OShaunesssy Just read Bruce Hart's book and wanted to list out all the inaccuracies, lies, and other stories. (Spoiler: Everything is Bret Hart's fault, lol)

I just finished Bruce Hart's book, and oh boy, it was a doozy of a read. Full disclosure, I grew up in the area and have always/ will always be a massive Bret Hart fan.
Sometimes, this book stops being about Bruce's life and experiences and just becomes about how Bret took everything from him. Honestly, I can't tell if all the mistakes are intentional lies or just examples of Bruce not doing any research. He just wrote down the world as he remembers or interprets and didn't question a single thing.
You will notice a lack of coverage here for Owen's death, I'm instead compiling all POV's on that into one post sometime after I'm done rereading Bret's book next month.
As always, this is chronological order for his life up to 2010, and feel free to skip stuff that doesn't interest you. It gets pretty wild in the 90's imo...
Bruce says that Stu's mom passed away while they were living in Tents outside of Edmonton, but that's not accurate. They spent 1924 - 1928 living on the land out of tents, but Stu's mom died years later in 1939. It's weird that he couldn't even get these basic dates lined up. It was all before Bruce was born, but it wouldn't have required much effort to research this stuff.
Bruce says Stu was "shooting for survival against deadly Nazi U-boats in the North Atlantic" during World War 2. But Stu actually was relegated to being a sporting coach and instructor for various military teams due to Stu's background as an amature wrestler. Stu was bitter he never got to fight for his country and was pissed that the military held onto him for a couple of years after the war ended, still having him do the same routine.
Bruce claims that Stu was still working for Joseph "Toots" Mondt in New York when Edmonton mayor called Stu, asking him to come start a wrestling promotion up in their town. But really, by then, Stu and Helen had moved to Great Falls, Montana, where Stu worked as wrestler and booker for Larry Tillman and Jerry Meecker, who ran shows in Montana and Alberta. Edmonton city officials felt they were being ignored by Tillman/ Meecker and contacted Stu to ask him about opening up a wrestling company out of Edmonton. That makes sense, it wouldn't make sense for the mayor of Edmonton to call New York city in 1949 to contact some random wrestler with no booking experience, and try to convince them to travel all the way West and North to start up a promotion? This would have required just the basic amount of research on Bruce's part, but it's clear he isn't going for accuracy in his book. This was all the 1st chapter, which was only 5 pages long, haha
Bruce rightfully points out how one of the things Stu Hart never got credit for was breaking the color barrier in wrestling. When he opened up shop in 1948, one of his top baby faces was Woody Strode, who, along with Kenny Washington, were the first black NFL players in 1945. Other black wrestlers Stu featured significantly were Sweet Daddy Siki, Abdullah the Butcher, Junkyard Dog, Bad News Allen Brown, and many others.
Bruce throws a little shade at Gene Kiniski, saying when he was NWA Champion and came to Calgary, that the matches were flat and the attendance went down. He doesn't expand on it, but I think it's a point of view he picked up from his dad. Stu had notoriously written Kiniski off as former football guy with a bad knee. Billy Watson then took him to Toronto where he became a star and big draw, and while Stu and Gene would co-promote together later in their careers, there was always a little heat between the two that stemmed from Kiniski's rookie days in Calgary.
Bruce tells a funny story about when he visited Dory Funk Jr., and he spent some time with Terry. Terry took him and his brothers Dean and Bret to a wrestling show and told Bruce to jump in the main event and attack Boris Melanko, who was wrestling Dick Murdoch. Terry didn't bother to warn anyone at the show, so poor Bruce kind of roughed up by Melanko in the ring before police showed up to arrest him. Bruce was sitting in the back of a police car when Terry Funk finally showed up, much to the relief of Bruce. Hilariously though, Terry Funk would say he has never met the kid in his life and got all hot, telling the cops to lick up Bruce and throw away the key. It would be Lord Alfred Hayes who actually convinced the cops to let him go, I guess, taking pity on him. Bruce said Terry Funk got a good kick out of the rib.
Dory Funk Jr. and Bruce had a good talk on that visit, and Bruce says Dory even called Stu up right in front of him and advocated for Stu to start training him immediately. Bruce is telling a wildly flattering story about himself here, and while it's not impossible, it's just sounds farcical imo
Dave Ruhl is a guy I've read a ton about in these old timers books and by all accounts he sounds like a popular face with the fans but someone who had a bad reputation with the boys because he was the booker. That's Bruce's main issue with him. He speaks about how most of the wrestlers also didn't like him and seemed frustrated by how Ruhl must have just viewed him as "Stu's small kid" Bruce remembers how Ruhl sorta blew him off when he got back from Dory Funk Jr.'s and asked about being a wrestler.
Bruce described the night Ruhl fell durring a fight with Carlos Calon and cracked his skull on the ice, causing an injury that led to his career ending, as "a funny thing happened" because the booker who replaced Ruhl in Stampede, Joe "Tiger" Tamasso, didn't hold the same apprehension towards small guys like Bruce. Pretty caviler way of looking at a tragic fucking moment that ended a career imo.
Bruce also backs up the claim by some that the fight between Carlos and Ruhl, was over some female ring rat. The other book I read addresses this, but feels satisfied that it was just a dumb fight over smoking a cigar in the car. The claim about the ring rat is one that Ruhl's son vehemently denies, (along with the claim that the head injury is what ended his career) because Ruhl was married his entire career. The whole story of Ruhl vs Colon is fascinating and full of varying accounts. Ruhl himself claims he slipped, but Dan Kroffat, another wrestler who was there, remembers Carlos slapping Ruhl, causing him to fall. I may do an entire deep dive post on this topic after reading a couple more books that would share accounts.
In a hilarious case of irony, Bruce Hart criticizes the way Ruhl booked himself ontop and said others hated it too, but this would be the primary pioint of criticism towards Bruce when he was booking in the late 80's.
When Bruce first started wrestling, he had all his matches planned out move for move and would do that until a couple vets pointed out how that is akin to "wrestling with training wheels" and Bruce started working more on the fly. He remembers one vet telling him "You won't find any paint-by-numbers stuff in a museum."
Bruce says it was his idea to get his younger brother Kieth involved, after Bruce hurt his knee, but most seem to remember all the kids getting involved around the same time, because Stu needed help when Ruhl had to retire. Bruce even says "Kieth somehow climbed the corporate ladder and became the booker while I was injured" and then goes on to say Kieth booked him to be a jobber. But considering that Kieth would always just do what Stu wanted and that Stu didn't like small guys, and was known to give up on guys with injures (like Gene Kiniski with a knee injury like Bruce's in the 50's) I think Kieth was booking just as Stu told him to, or Stu himself was the one booking.
Bruce says after months and months of jobbing on Kieth's orders, he quit the buisness and went back to University. (Stu stopped inforcing his rules about graduating university when he needed help) Bruce remembers how Stu didn't seem to care and didn't try to talk him out. I think Stu wanted this, I think he told Kieth how to book Bruce, since he never liked how small Bruce was at 170 pounds. I think what ever value he saw in Bruce early on was gone when he got that knee injury. Stu just didn't like the small guys or those with bad injuries.
Bruce seems to think that his younger brither Kieth was solely responsible for every aspect of Stampede Wrestling in the 70's lol blaming him for how much amateur wrestling was pushed, then blaming him for how a bunch of big hard-core guys like Abdullah the Butcher were brought in. He literally blames solely Kieth for bringing in garbage hardcore death match guys King Curtin Laukea and Mark Lewin to the promotion for a year. These two men's only claim to fame was that they bled more than anyone else.
King Curtin and Mark Lewin were a 1-trick pony pair of wrestlers. Their M.O. was to show up in a territory, have a series of garbage blood matches where they just keep upping the amount of violence, cut nonsensical promos and not tell any stories until they killed the towns interest in violent matches snd they would move on. Dave Meltzer claims they actually killed the Australian market by doing this.
Their garbage matches lost Stampede Wrestling a ton of fans, with attendance tanking over their 8 month stay, and nearly lost them Tv spots after their violence pissed odd the network, then Calgary mayor and even their own broadcaster Ed Whalen. Whalen would appear on the 6 o'clock news to denounce the new violent direction of Stampede and suggest he will leave if it continues (which he actually did for a few years). In another book I read, Kieth Hart was interviewed and remembered this as a rough time and has nothing positive to say on those 2 wrestlers.
Bruce says that Kieth tried going back to amature wrestling but still caused tickets to plummet. He says this is when Stu Hart stepped in and took more control, bringing back Dan Kroffat to win the North American Championship off Larry Lane. Bruce says Larry came at Stu with a baseball bat and this prompted Stu to sell the promotion to a couple of guys (Osborne brothers) who were trying to get in on the wrestling buisness. The deal would fall through, but this is the first time I'm hearing about this as a reason, though I do like how he blames the entire plummet of Stampede Wrestling in the late 70's on Kieth.
The first time he ever got stoned, was when Kieth handed him a joint, and Bruce suggests it may have been laced with something extra. It's wild how much shade he casually throws at his younger brother with no real basis tbh
Bruce criticizes Kieths decision to bring back Larry Lane, and again I have to point out that Kieth wouldn't have done that unless told to by Stu or knew it was what Stu wanted. And the fact that Lane came back so soon makes the whole baseball bat story harder to believe. Bruce got very upset when Lane made more than him on the card, despite Lane's experience as a top babyface and how inexperienced Bruce was. For reference, Bruce would have been under 25 years old with a few years of experience, while Larry would have been close to 40 with 10 years or so of experience.
One thing that other Hart siblings talk about, and that Bruce never mentions in this book, is his relationship with his mom. Helen Hart was told that she may lose her baby after a bad car accident while pregnant. When Bruce Hart was born a few months later, Helen felt a bond that was never lost for the rest of her life. Helen gave Bruce what ever he wanted, Kieth and Bret remember how when Stu and Bruce would disagree over things having to do with Stampede Wrestling, that Bruce would talk to Helen, and Helen would in turn convince Stu to go along. Kieth says it wasn't uncommon for him to get to the show and find Bruce had Helen tell Stu to change the card around. Considering how close everyone says Bruce and Helen were and how much every insists that Helen coddled him, it's wild how little he talks about her in his book. It actually kinda bummed me out tbh.
Larry Lane was actually one of the wrestlers who didn't like how Stu kept his kids around the promotion and routinely call them brats. Apparently, Bruce never got over this, and Kieth remembers how Bruce would complain to Helen all the time about Larry and even convinced her not to co-sign his paycheques Kieth says his mom had this "hatred" for someone based on stories and things Bruce would tell her because she never really interacted much with the boys outside random phone calls.
Bruce (like literally every wrestler from that time or before him, like Gorgeous George, Billy Graham, Roddy Piper, and countless others) spent several months wrestling in Hawaii. He got a call from his dad who heard Bruce was helping with booking in Hawaii, and asked if he would do that in Stampede, since at the time, his even younger brother Bret was in charge, but about to head to Japan. Bruce says he was hurt and bitter by how Stu leaned on his younger brothers Kieth and Bret before coming to him and wanted to say no. But he thinks that if he didn't say yes, that Stu would have just shut the whole territory down for good, so he begrudgingly agreed.
The amount of time Bruce spent thinking of him vs. his brothers was kinda wild. He remembers when Stu told Bret that Bruce was doing a good job and said that Bret "almost seemed deflated. I thought that was kinda cool." He seems to judge his success in relation to his younger brothers business at the time. It's a wildly insecure way of looking at things imo.
Within a few weeks of becoming booker in Calgary, Bruce made himself the NWA mid-heavyweight belt. Though he points out how the idea came from the champion Dick Steinborn and that Dynamite Kid convinced him to do it, while he says he didn't want to do what he accused other bookers of doing
He says "I never given a rats ass what others think of me" in response to people criticizing his booking, but at the same time one of the chapters in the book is literally named "Silencing The Critics."
Probably the most fucked up /controversal aspect of Bruce's life, gets glossed over in this book and that's how he met Andrea, who would have 5 children with Bruce. I was very curious how Bruce would address this, and he just doesn't. He met Andrea outside a wrestling show, and describes how it was love at first sight and paints then out to be a romantic pair, saying they were married within months. That's all Bruce says lol but the truth is that, while Brice connected with Andrea at a wrestling show, they actually first met while Bruce was working his other job, as a high school substitute teacher. Andrea was 17 years old at the time, and Bruce was in his 30's, and he knocked her up within a few months, which is why they got married. It's super gross and in the book he wrote, he doesn't bring up her age at all or how she was a student of his at one point.
In the mid-80's, Bruce came up with a hot angle, where The Stomper would introduce his son to the crowd, before Bad News Allen attacked them both and assaulted the sons neck, resulting in a very convincing stretcher job, as a solemn Stomper cut an intense and dark promo about how he will avenge his son. This angle was so succusful that the heat it got resulted in the Wrestling and Boxing Commision fining Stu $15,000 and stpping the whole thing from going forward. Longtime broadcaster for Stampede, Ed Whalen actually quit in disgust, (he was always known for downplaying the violence and hating it) but Bruce suggests here that was originally a work. Ed was going to take a few months off to work for the Calgary Flames full time, but planned to come back. Bruce says the heat was so bad that Ed "had" to quit for real. I've never heard that Ed quitting was a work, since he stayed gone for years and they replaced him by bringing back Sam Menacker, who had stolen Stu's plane back in the 60's.
Bruce honestly suggests that Sam Menacker came back just to prove to Bruce that he still got it. Bruce apparently doesn't realize that when Sam last worked for Stampede, that Bruce was 13 years old and its very doubtful that Bruce played any part in Sam's decision making lol
In 1984, Bruce was the World Mid-heavyweight Champion for Stampede when a promoter from Singapor called, asking him to defend his title on a tour against a bunch of local guys. The main event would be Harley Race defending his NWA World title against Ric Flair. Bruce says FlaiRace matches never went well and that the crowd was more into him and his matches where he faced local guys, than Ric Flair vs Harley Race in 1984.
Bruce found out his dad was selling Stampede to WWF while driving to the show and listening to the radio. It was announced on the radio that Stu sold the promotion and that evenings show would be the last one. An irate Bruce questioned Stu, who just explained it was time to hang it up. Stu took one look at the monopoly Vince Jr was building, and decided it best to not fight it, and instead secured a good deal for his family with the sale. It was a 1 million dollar sale, with 100 grand paid out each year, and Stu receiving 10% of any house gates that WWF run in Calgary or Edmonton. And on top of that, he secured talent position for his top guys like Bret Hart, Davey Boy and Jim Neidhart. Bruce Hart was not one of these names, instead being offered an office job in WWF that would see him overseeing venue management for shows on the road. No creativity or booking or even wrestling offered to him.
Bruce says after 3 tours of working for WWF, he was never paid. When he asked about this, he says he was fired and sent a cheque for $150 for all his services.
This next part annoyed me. Bruce Hart explains that Vince just backed out of the deal with Stu because attendance was terrible for Vince in Alberta, and says now Vince poached their top talent, but backed out of the deal, noting that Vince screwed Stu here worse than he would ever screw Bret in the future.
He then says that Stu wanted to sue WWF, but was talked out of it by Bret and Jim Neidhart, who wanted to keep their jobs in WWF. That last bit was bullshit. Stu was actually unable to sue Vince and WWF for backing out of the deal, because someone on Stu's side actually broke the deal first when they violated the non-compete claus in the deal. No Hart was allowed to run wrestling shows in Calgary or Edmonton, but stupid fucming Bruce had actually started negotiating to do just that. Stu Hart had never trademarked "Stampede Wrestling," so after Stu took the deal, some random people in Calgary started to try and promote a "Stampede" show, and of course Bruce got involved, talking to them. Though no money was exchanged, and Bruce's involvement never went much farther, once Vince caught wind of a "Hart working a Stampede show" in Calgary, just months after he bought the territory, Vince was able to walk away clean. Bruce screwed his dad, but claims Stu chose not to sue because Bret "begged" him not to.
Kieth Hart has gone on record, saying that Stu only kept Stampede up and running as long as he did because Bruce kept pushing it. Kieth says that Bruce probably cost Stu 1 million dollars in the late 80's alone, just for keeping Stampede open as Bruce's vanity project. Bruce says here that Stu was pissed after Vince backed out of the deal and insisted on opening up shop again, while Brice claims he thought it was a bad idea.
A lot has been said about Owen Hart over the years and how he seemingly wasn't that interested in wrestling and did it for his family. From his wife to ex-girlfriends, to even quotes directly from him, you can see that Owen wasn't as sold on wrestling his whole life like some of his brothers. Bruce calls all that bullshit though and says Owen always wanted to. Others like Kieth and Owen's wife Martha have said though that Bruce really pushed Owen to wrestle for Stampede when they needed more bodies. Again, Bruce denies this and says Owen came to him.
Bruce tells a story about WWF coming to Calgary in the late 80's, so he and Stu went to the show to visit Bret, Davey Boy, Dynamite and others. Bruce says Davey Boy preceeded to insult Stu and Stampede Wrestling, saying it's becoming the laughingstock of the industry. Bruce says that Bret and Dynamite sat by and didn't say a word and that later that night, he and Stu and Owen all bitched about how ungrateful Bret was because Stu "could have sued Vince still." But no he couldn't, because Bruce was the one who fucked up the deal and broke the non-compete claus! So frustrating to read his version of events.
Bruce and Brian Pilman formed a tag team called "Bad Company" and they would wear black with pink lightening bolts. So of course, Bruce says that years later, Bret and Jim would copy the colors for the Heart Foundation.
Bruce implies that while teaming with Pilman, that he came up with the "good guy that would play dirty and be an antihero" character, saying he had been kicking the idea around in his head for years. From there he says that Pilman would later impart this wisdom onto Steve Austin and makes it sound like he can be attributed to the rise of Stone Cold.
In the past, I've heard it said that when Dynamite Kid and Davey Boy were fired from WWF in the late 80's, and returned to Stampede Wrestling, Dynamite had insisted on being made the booker, and he was for about 9 months. In Bruce's book, he claims that he resigned because Dynamite wasn't listening to him.
Bruce says that when Stampede finally closed down for real at the end of '89, that most of the reason could be attributed to the 9 month stint Dynamite Kid was the booker.
Stu contacted Vince McMahon in the early 90's about helping him restart Stampede Wrestling as a developmental territory for WWF. Bret Hart sarcastically asked him "why would Vince systematically destroy every territory in the 80's, just to reopen one up a few years later?" And claimed that Vince was humoring Bruce to either be nice or to fuck with him. Bruce was actually flown down to a WWE ppv in the States to discuss options with Vince, but was frustrated to find Vince didnt have much to say other than "I've been very busy and haven't had much time to think on that."
Bruce says that Bret would call him up while working for WWF and ask him for ideas on match finishes and angles.
Bruce says that along with the pink and black color scheme, he also came up with the wraparound glasses, the bikerjackets and even convinced Bret to use the Sharpshooter move. He doesnt say it exactly, by implies that Bret owes him his whole damn career.
His 3rd son was born 4 months early with a ton of complications. Bruce points out how this happened the while he was attending the SummerSlam 1991 show and he was supposed to discuss reopening Stampede as a farm territory with Vince that weekend, but had to leave early. He says Bret shook his head disaproavingly and told Bruce that he was blowing his opportunity and that Vince would be pissed. Bruce paints Bret as super cold here, disregarding how scary it must have been for Bruce to be told that both his wife and newborn may not make it and he must fly home asap! It's possible that Bret didn't give a shit, as Bruce implies, but I think he just understood Vince, who wouldn't miss a meeting if his children were set on actual fire.
Bruce says that Bret would routinely refer to Vince's booking team as "The Gay Mafia" and call them "Vince's homosexual bookers." Bruce suggests he is talking about Pat Patterson specifically here.
Bruce says that Bret called him pissed when he was told he would be losing the IC title to Jaques Rougeau and that he did the same thing when told he would drop it to Davey Boy at SummerSlam. Bruce says that Bret defended this point of view by trying to say he didn't mind dropping the title, but said that losing to Davey Boy was a deliberate slap in the face and that WWF was doing this to insult him.
Bruce says that both times Bret had to lose the IC title, Bruce talked him out of quitting on the spot, implying that Bret wasn't going to do the job.
Bruce says that when Pat Patterson was put on leave for the abuse allegations, that Bret recommended Bruce to Vince at his replacement booking in WWF. Bruce was asked to come visit the show on the night Bret won the world title off Ric Flair.
Bruce says that Stu (who also came to the show to visit) and Davey Boy were critical of the (Bret vs Flair) match quality and Bruce adds that Flair wrote in his book how him and Bret's world title match "was the shits." Bruce also said that Stu was complaining that the World title win for Bret was non-televised. Bruce claims that Stu and Davey Boy's comments got back to Vince and this is why he wasn't given the job as booker.
Bruce says, that in 1993, he was flown up to WCW to interview for position as booker. He obviously didn't get the job, but points put how he would havedone a much better job than the man who did get the position over him, Eric Bishoff.
For several years, Bret Had a had a column published in the Calgary Sun each week about wrestling and such. Bruce says he wrote every single one of them, free of charge, at the request of Bret.
In 1993, Bruce was called by Pat Patterson to come to WWF and kick start an angle at SummerSlam that would lead to a big Hart's vs others match at Survivor Series. Bruce says he was told by Vince and Patrerson that this would lead to a "Big angle or program" for Bruce in the WWF.
Of course, the angel never happened, and Bruce says that Vince and Pat avoided him all day while at the Survivor Series show, and he got the match finish from Brother Love. He says that years later he found out that Vince originally wanted Bruce vs Bret for the world title after Survivor Series, but that Bret "put the kibosh on it" and refused to work with Bruce, instead telling Vince the only brother he would work with, would be Owen. Bruce is super bitter over this and I get the feeling that this is a big point of contention in their relationship.
In 1994, Bruce was again contacted by WWF and invited to come on tour with Bret and Owen, wrestling tag mat he's in the main event with them. Bruce says that he implemented a ton of Stampede Wrestling spots and ideas and that everything he got the back after a match, all the boys would be congratulating him and high giving him. Bruce says the crowds were flat and dead until he came in with his ideas.
One night on the tour, he noticed Bret wasn't in the back after the match but noted again that all the boys were high fiving him. He saw Bret come in with Jack Lanza, and Jack preceeded to scream at Bruce for going off script and coming up with all these different spots. Bruce doesn't say it, but implies heavily that Bret went and got Jack to yell at him. Afterwards Bret gave Bruce "some sanctimonious lecture" about how you never talk back to the office and that Bruce had blown his last chance. Bruce says that a few years later, when Bret punched Vince McMahon after the Montreal Screwjob, that Bruce was tempted to call up Bret and give him the same lecture.
In late 1994, Bruce organized a big Stu Hart Wrestling show with a bunch of ex-Stampede guys and wrestlers from WWF and WCW. Bret called him up and told him to remove all the WCW guys if he wanted WWF guys and when Bruce refused, the figurehead president of WWF Carl De Marco called him up and said he wouldn't allow anyone from WWF there if there is WCW guys. Bruce tried to explain that this is a tribute show for Stu with proceeds going to charity but was told to "govern himself accordingly." Owen Hart called Bruce and told him that all the WWF guys are still going and that Bret is the only one who wouldn't. Ultimately he says that Bret came at the last minute and wrestled Davey Boy. The next morning Bruce says he was woken up by a phone call from an irate Bret who just screamed at him and told him he won't be ghostwriting his Calgary Sun column anymore, because Bret said Brice was trying to make him look bad.
Once more, Bruce was contacted about starting Stampede up as a farming territory for WWF, and so Shane McMahon actually flew into Calgary to talk to him, and when he went to pick Shane up but Bruce was shocked to find that he wasn't at the airport. Later he found out from Owen that Bret had intercepted Shane at the airport and convinced him to let him handle training out of his house, instead of Bruce's plan to use the dungeon. Bruce was upset and says Owen agreed with his point of view. He notes that the only 2 people to come out of Bret' "training school" were Mark Henry and Brakkus. Bruce notes how not getting him was a "huge blown opportunity for the WWF."
He says Jim Neidhart got him a job booking for Ultimate Championship Wrestling, a small independent promotion out of New York and was coming up with good ideas like Jim and other ex-WWF guys being fat cat heels. But then Bret Hart decided to start The Hart Foundation back up and got Jim Neidhart his job back in WWF and after Jim left, Bruce says he out his job too because of how pissed the owners were at Jim. Another job and opportunity for Bruce lost and he somehow gets to blame Bret.
When the WWF held their Calgary Stampede In Your House show, Bruce says that Brian Pilman contacted him up a few months ahead and said he had gone to Vince and Patterson, pitching to Bring Bruce into the Hart Foundation, and Bruce says Pilman wanted the two of them to get their Bad Company team back that they were in Stampede. He then says that a week or two later, Bret called him up and tried to tale credit for bringing in Bruce and that he may get a cruiserweight title run out of it. There was no "cruiserweight" title in the WWF, and the Light Heavyweight title wasn't around until 6 months after the In Your House show in 1997. Maybe there was talks of introducing it at the time and Bruce's name was brought up, but in the book here, Bruce says he would have won it so Hart Foundation could have all the active titles. So none of this story makes sense imo.
Bruce thought he was being set up for a hot angle with Steve Austin, seriously. He says he and Stu were asked to come up to RAW show the following night in Edmonton, where they would shoot an angle on Jerry Lawlers Kings Court show, where Stone Cold would interrupt and kick start the feud. Bruce says when they got to the arena, that they were kept out by a security guard for over an hour until a pissed off Brian Pilman came out and explained that Bret vetoed the whole program.
Bruce says this is when his family stopped believing him about potential wrestling jobs, because he again came home when he said he was gonna be on the road working for the WWF like their uncles and his wife's brother-in-laws. He said this one in particular changed how Andrea looked at him and would have significant ramifications down the line. Knowing that his wife Andrea will leave him for his sisters husband Davey Boy, I'm concerned that Bruce actually blames Bret for this. (Upon finishing the book, it's clear that he does blame Bret for this too)
Weeks before Pilmans death, Bruce says that Pilman's wife called him and broke down over Pilman's drug problem. She told him one of the reasons Pilman tried to get Bruce a job on WWF, was because he thought Bruce could help get him clean. He says he reached out to Pilman a ton and planned to take time off and go see him after the next episode of RAW. That was the week he died.
Bruce says Steve Austin faxed Pilman's wife a brief note, saying that "something had come up" and he wouldn't be able to make it to Pilman's funeral. Bruce notes how Steve would also miss Owen's funeral and maybe that's why he is called Stone Cold.
The longest chapter in the book, without question, was on the Montreal Screwjob. (Though most chapters were only 2-3 pages so that's not saying much) Bruce rants on and on about how Vince was a terrible booker and he would have handled that better, how in the wrong Bret was and unprofessional he was. He rants about how much damage both men did to the industry and says Stu agreed with him on every point.
Bruce doesn't believe for a second that Bret had any creative control in the lead up to The Screwjob, noting how foolish and embarrassed Vince should feel if true. Bruce is forgetting here that Bret was often given full autonomy in his matches and storylines in Stampede Wrestling.
Bruce claims that Jim Neidhart and Davey Boy only quit after the Screwjob because Bret said he would get them better deals in WCW, but "turned his back on them" when they got there, and told them they should have gotten it in writing.
According to Vince Russo's book, shortly after the Montreal Screwjob, Owen called Russo, on the verge of tears, begging him for help because Bret said he would disown him as a brother if he keeps working for Vince. Bruce seems to believe this story and says that Bret basically did disown him as a brother and suggests they never fixed their relationship prior to Owen's death.
When Owen died, Bruce is genuinely more sympathetic towards Vince in this whole scenario than Martha or some of his siblings. He likes to look at it from a "bookers perspective' and how guilty he would feel in Vince's position. I'll have more to say on Owen's death in a future post after I reread Bret's book. Sorry I'm skipping it here.
Bruce notes how Bret called him up after Owen died, to say that Vince deliberately killed Owen as a way of getting revenge fir the Montreal Screwjob. This was the first they spoke since before Owen passed.
Bruce blames Bret for Davey Boy relapsing back into drug use, citing an article Bret wrote that trashed Davey Boy for deciding to work in WWF after Owen died. He says this led Davey back to drugs and eventually his death. Yes, he blames Bret for Davey Boy's death.
Bruce says that his older brother Smith lost custody of one of his kids, because Bret Hart testified against him saying he was unfit. And Bruce says Bret only did this because Smith also didn't agree with Bret's theory of Vince killing Owen on purpose.
He does indirectly blame Bret for his marriage falling apart. Because it was Bret who wrote mean words about Davey Boy, who responded by relapsing, where he would end up in the hospital with an infection. Bruce's wife Andrea would go to the hospital to visit Davey Boy, and eventually they started sleeping together. Remember, Davey Boy is married to Bruce's younger sister Daina. It's ll white trash levels embarrassing. Oh and also remember that Bruce's wife was that 16 year old kid he knocked up when he was a 33 year old substitute high school teacher. Gross.
Bruce stresses how Andrea and Diane never got along, because Diane would flaunt all her wealth for marrying Davey Boy, while Andrea had 5 kids with Bruce Hart, a part time substitute teacher. Bruce says Davey Boy and Diana were on the rocks, and Davey Boy used / tricked Andrea as a way to hurt Diana. He says Davey Boy lured Andrea closer with money and cars until one day, Andrea told Bruce that she and the kids were moving in with Davey Boy.
Bruce tells a weird story, about how Chris Benoit called him up in Feb 2001, and he notes how Chris was WWF Champion (maybe he means the IC title?) and Chris wanted to wrestle on RAW with Chris Jericho in a special match to honor Stu. Bruce says after they did this, Bret Hart went to Hart House and screamed at his mom for letting it happen snd then tore a bunch of Owen's pictures off the wall.
When Stu got the "Order of Canada" honor, Bruce says Bret tried to call the Governor-General's office a day have the honor taken away. He said Bret did this because Stu appeared on RAW for that Benoit/ Jericho match.
When Bruce's mom was in the hospital on her final days, his little sister Diane released a scathing "tell all" book that just served to insult everyone in the family with either out of context stories or flat out lies. Bruce says Bret actually attacked Diana at the hospital while visiting their dying mom. He says Bret lunged over the bed Helen was laying in and grabbed Diana by the throat, and had to be forcibly removed by security. Bruce says his mom passed away less than an hour later.
Bruce says he was listening to Diana do a radio interview about her book, when Bret called in and called her a fucking liar before they launched into a Jerry Springer style fight on the air.
Bruce says when Davey Boy died, that both his wife Andrea (who was with him when he died) and Davey Boy's wife Diana, threw separate funerals, determined to one-up the other.
He says Bret came and expressed regret over his article about Davey, the one that Bruce says pushed Davey back towards drug use. Bruce in his book, says about the article "many felt had played a role in Davey reverting back to drugs, which was the beginning of his long, sad downward spiral." In reality though, Davey Boy was a mess long before than and if he truly relapsed over an article, then he would have relapsed over anything. Bruce likes to pretend that Davey was going to be the next WWF Champion in 1999, and blames Bret for killing the man.
It's wild how much judgment Bruce has for Bret, because Bret thinks Vince killed Owen. All the while, Bruce is literally blaming everything wrong in the world, including people dying, on Bret. The hypocrisy on display here could be seen from space.
Bruce doesn't believe Goldberg played any role in Bret's stroke, saying he heard from a doctor that head injuries don't always lead to a stroke. He suggests Bret stressed himself into the stroke.
Bruce was driving when he heard on the radio that his father, Stu Hart had passed away.
I'm 2010, when Bret went back to WWE and worked a program with Vince, Bruce with a ton of nieces, nephews, brothers and sisters were flown in for the Mania match, wit hBruce even being made referee or the match! But of course Bruce had to point out issues he had with the storyline and angle, suggesting to Vince, Micheal Hayes and Triple H that they could get a couple of matches out of this, why just the one?? Did you see the condition of Bret here Bruce? He couldn't take a damn bump!
Honestly, Bruce writes down his whole idea for what should have happened in the Mania match and it's bat shit crazy. He wanted Vince to get heat by beating down Bret, for Bret or Vince to get color and then Bret mount a daring offence that would be thwarted by Triple H at the last minute, before HBK would come to Bret's aid, setting up a return match or two.
And of course the only reason it didn't happen was because Bret said no. It's laughable that Bruce thinks they would have done this, if it weren't for Bret Hart! Bret said this was a one and done thing and that was it. But Bruce was suprised and clearly upset when Bret came back and worked an angle with The Miz and Nexus over the summer where he even got involved in the main event Nexus match. Bruce again points out how Bret + HBK vs Triple H + Vince McMahon would have been a much better headline match for SummerSlam that year.
Bruce notes that in his opinion, Bret wasn't holding back any hit or pulling his punches in his "match" with Vince at Mania.
Bruce kisses Vince's ass heavily in this book, and even dedicates the final 3 pages of the book, as a person letter to Vince with a ton of inane booking tips and how to make the wrestling world a better place. Bruce really saw himself as The best wrestling booker of all time.
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2023.08.13 16:26 lunchboxthegoat 99 players / 99 days: #13 Kenny Washington UCLA

Counting down to the beginning of the season I'm going to attempt to post one player per day for the last 99 matching the days left to their jersey number. The players will be random. Use this thread to celebrate and talk about some guys.
(Numbers 14 thru 11 will be limited posts. No pictures or links as I'm out of town with no PC access)
Kenny Washington attended UCLA from 1936-1939. He played both football and baseball for the Bruins. He played both tailback and defensive back. As a baseball player he was a more well thought of prospect than teammate Jackie Robinson.
Washington, Robinson, actor and NFL star Woody Strode and Ray Bartlett were the heart and soul of the UCLA squad which was unique considering how few African Americans played collegiate football at the time.
As was typical Washington and the Bruins were the subject of much discrimination and racial prejudice. Despite this, In 1939 Washington became the first Bruin to lead the nation in total offense and the first consensus All American in program history. He led the Bruins to a 0-0 draw against undefeated and defending champ USC. Despite his excellence during to racial discrimination he did not earn first-team honors which excluded him from the East-West Shrine game.
After graduation Bears great George Halas had serious interest in signing Washington but could not convince the league to integrate. So Kenny worked for the LAPD, coached at UCLA and played in the Pacific Coast Professional Football League. He was the leagues highest paid player and earned all league honors from 1940-1945.
Then in 1945 the Cleveland Rams moved to LA and reached agreement to play in the publicly owned LA Memorial Collegium. As a result immense pressure was placed on the team to integrate thanks to William Claire 'Hailey' Harding and the LA Tribune. As a result on March 21st 1946 the Rams signed Washington making him the first African American to sign a contract in the NFL. They also signed former teammate Strode just a few weeks later.
He played until 1948 when injuries wore him down. Despite this he led the league in YPC in 1947 and still holds the Rams record for longest run from scrimmage. He retired in 1948 and 80,000 people attended his final game and sent him off with a standing ovation.
UCLA retired his #13. He holds a place at the Court of Honor at the LA Colesium and was inducted into the College Football Hall of Fame in 1956.
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2023.07.31 14:40 yawningvoid28 Full daily schedule for TCM (U.S.) over the month of August, 2023.

(All airtimes E.S.T.)
TUE AUG 01 (Lucille Ball day)
(6:00AM) Bean (1936/1h 2m/Comedy/William Hamilton)
(7:15AM) Room Service (1938/1h 18m/Comedy/William A. Seiter)
(8:45AM) Dance, Girl, Dance (1940/1h 30m/Musical/Dorothy Arzner)
(10:30AM) You Can't Fool Your Wife (1940/1h 5m/Comedy/Ray McCarey)
(11:45AM) Too Many Girls (1940/1h 25m/Musical/George Abbott)
(1:15PM) Valley of the Sun (1942/1h 24m/Western/George Marshall)
(2:45PM) Lured (1947/1h 42m/Suspense/Douglas Sirk)
(4:30PM) Easy to Wed (1946/1h 50m/Musical/Edward Buzzell)
(6:30PM) Easy Living (1949/1h 17m/Drama/Jacques Tourneur)
(8:00PM) The Long, Long Trailer (1954/1h 36m/Comedy/Vincente Minnelli)
(10:00PM) Forever, Darling (1956/1h 36m/Comedy/Alexander Hall)
(12:00AM) Meet the People (1944/1h 40m/Musical/Charles Riesner)
(2:00AM) Du Barry Was a Lady (1943/1h 41m/Musical/Roy Del Ruth)
(4:00AM) Without Love (1945/1h 51m/Comedy/Harold S. Bucquet)
WED AUG 02 (Anthony Perkins day)
(6:00AM) The Actress (1953/1h 30m/Comedy/George Cukor)
(7:45AM) Tall Story (1960/1h 31m/Comedy/Joshua Logan)
(9:15AM) The Life and Times of Judge Roy Bean (1972/2h 0m/Western/John Huston)
(11:30AM) Five Miles to Midnight (1963/1h 50m/Drama/Anatole Litvak)
(1:30PM) Phaedra (1962/1h 55m/Drama/Jules Dassin)
(3:30PM) Goodbye Again (1961/2h 0m/Drama/Anatole Litvak)
(5:45PM) The Trial (1963/1h 58m/Drama/Orson Welles)
(8:00PM) Psycho (1960/1h 49m/HorroAlfred Hitchcock)
(10:00PM) Fear Strikes Out (1957/1h 40m/Drama/Robert Mulligan)
(12:00AM) Friendly Persuasion (1956/2h 17m/Drama/William Wyler)
(2:30AM) Winter Kills (1979/1h 36m/William Richert)
(4:15AM) Remember My Name (1978/1h 34m/Drama/Alan Rudolph)
THU AUG 03 (Stella Stevens day)
(6:00AM) Sol Madrid (1968/1h 30m/Crime/Brian G. Hutton)
(7:45AM) Rage (1966/1h 43m/Drama/Gilberto Gazcón)
(9:30AM) The Secret of My Success (1965/1h 52m/Comedy/Andrew L. Stone)
(11:30) How To Save A Marriage – And Ruin Your Life (1968/1h 42m/Fielder Cook)
(1:30PM) Advance to the Rear (1964/1h 40m/Comedy/George Marshall)
(3:30PM) The Courtship of Eddie's Father (1963/1h 57m/Comedy/Vincente Minnelli)
(5:45PM) The Ballad of Cable Hogue (1970/2h 1m/Western/Sam Peckinpah)
8:00PM) Girls! Girls! Girls! (1962/1h 46m/Musical/Norman Taurog)
(10:00PM) Where Angels Go...Trouble Follows! (1968/1h 35m/Comedy/James Neilson)
(12:00AM) The Silencers (1966/1h 44m/Action/Phil Karlson)
(2:00AM) Slaughter (1972/1h 31m/Action/Jack Starrett)
(4:00AM) Cleopatra Jones and the Casino of Gold (1975/1h 34m/Crime/Chuck Bail)
FRI AUG 04 (Jackie Cooper day)
(6:00AM) Broadway to Hollywood (1933/1h 25m/Musical/Willard Mack)
(7:30AM) When a Feller Needs a Friend (1932/1h 7m/ Drama/Harry Pollard)
(8:45AM) O'Shaughnessy's Boy (1935/1h 27m/Drama/Richard Boleslawski)
(10:15AM) Boy of the Streets (1937/1h 16m/Crime/William Nigh)
(11:45AM) Tough Guy (1936/1h 15m/Drama/Chester M. Franklin)
(1:15PM) Gallant Sons (1940/1h 16m/Mystery/William Ryan)
(2:45PM) Ziegfeld Girl (1941/2h 11m/Musical/Robert Z. Leonard)
(5:00PM) The Navy Comes Through (1942/1h 22m/WaA. Edward Sutherland)
(6:30PM) Syncopation (1942/1h 28m/Drama/William Dieterle)
(8:00PM) The Champ (1931/1h 26m/Drama/King Vidor)
(11:30PM) Treasure Island (1934/1h 42m/Adventure/Victor Fleming)
(1:30AM) The Devil Is a Sissy (1936/1h 32m/Comedy/W. S. Van Dyke)
(3:15AM) Divorce in the Family (1932/1h 20m/Drama/Charles F. Riesner)
(4:45AM) Dinky (1935/1h 5m/Drama/D. Ross Lederman)
SAT AUG 05 (Errol Flynn day)
(6:00AM) Montana (1950/1h 16m/Western/Ray Enright)
(7:30AM) The Sisters (1938/1h 38m/Drama/Anatole Litvak)
(9:15AM) Edge of Darkness (1943/1h 59m/WaLewis Milestone)
(11:30AM) Kim (1951/1h 53m/Adventure/Victor Saville)
(1:30PM) Adventures of Don Juan (1948/1h 50m/Adventure/Vincent Sherman)
(3:30PM) San Antonio (1945/1h 51m/Western/David Butler)
(5:30PM) They Died with Their Boots On (1941/2h 18m/Western/Raoul Walsh)
(8:00PM) The Private Lives of Elizabeth and Essex (1939/1h 46m/Romance/Michael Curtiz)
(10:00PM) The Sea Hawk (1940/2h 7m/Adventure/Michael Curtiz)
(12:15AM) The Adventures of Robin Hood (1938/1h 42m/Adventure/Michael Curtiz)
(2:15AM) Mara Maru (1952/1h 38m/Adventure/Gordon Douglas)
(4:15AM) Rocky Mountain (1950/1h 23m/WaWilliam Keighley)
SUN AUG 06 (Debbie Reynolds day)
(6:00AM) The Affairs of Dobie Gillis (1953/1h 14m/Comedy/Don Weis)
(7:15AM) Athena (1954/1h 36m/Musical/Richard Thorpe)
(9:00AM) Susan Slept Here (1954/1h 38m/Comedy/Frank Tashlin)
(10:45AM) The Catered Affair (1956/1h 33m/Drama/Richard Brooks)
(12:30PM) Bundle of Joy (1956/1h 38m/Musical/Norman Taurog)
(2:15PM) The Unsinkable Molly Brown (1964/2h 8m/Musical/Charles Walters)
(4:30PM) I Love Melvin (1953/1h 16m/Musical/Don Weis)
(6:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(8:00PM) The Tender Trap (1955/1h 51m/Comedy/Charles Walters)
(10:00PM) The Mating Game (1959/1h 37m/Comedy/George Marshall)
(12:00AM) It Started with a Kiss (1959/1h 43m/Comedy/George Marshall)
(2:00AM) The Gazebo (1960/1h 40m/Comedy/George Marshall)
(3:45AM) Mary Mary (1963/2h 6m/Comedy/Mervyn Le Roy)
MON AUG 07 (Robert Ryan day)
(6:00AM) The Woman on the Beach (1947/1h 11m/Film-NoiJean Renoir)
(7:30AM) Act of Violence (1949/1h 22m/Film-NoiFred Zinnemann)
(9:00AM) Best of the Badmen (1951/1h 24m/Western/William D. Russell)
(10:30AM) The Naked Spur (1953/1h 31m/Western/Anthony Mann)
(12:15PM) Flying Leathernecks (1951/1h 42m/WaNicholas Ray)
(2:00PM) Captain Nemo and the Underwater City (1970/1h 46m/Science-Fiction/James Hill)
(4:00PM) Back from Eternity (1956/1h 37m/Adventure/John Farrow)
(5:45PM) Billy Budd (1962/1h 52m/Drama/Peter Ustinov)
(8:00PM) Berlin Express (1948/1h 26m/Suspense/Jacques Tourneur)
(9:45PM) The Set-Up (1949/1h 12m/Film-NoiRobert Wise)
(11:15PM) On Dangerous Ground (1952/1h 22m/Film-NoiNicholas Ray)
(12:45AM) Executive Action (1973/1h 31m/Crime/David Miller)
(2:30AM) Lolly Madonna XXX (1973/1h 45m/Drama/Richard C. Sarafian)
(4:30AM) The Secret Fury (1950/1h 25m/Suspense/Mel Ferrer)
TUE AUG 08 (Joan Blondell day)
(6:00AM) Union Depot (1932/1h 15m/Drama/Alfred E. Green)
(7:15AM) Lawyer Man (1933/1h 12m/Drama/William Dieterle)
(8:30AM) Traveling Saleslady (1935/1h 4m/Comedy/Ray Enright)
(9:45AM) The King and the Chorus Girl (1937/1h 35m/Comedy/Mervyn Le Roy)
(11:30AM) The Famous Ferguson Case (1932/1h 14m/Crime/Lloyd Bacon)
(12:45PM) Blondie Johnson (1933/1h 7m/Crime/Ray Enright)
(2:00PM) I've Got Your Number (1934/1h 8m/Comedy/Ray Enright)
(3:15PM) We're in the Money (1935/1h 6m/Comedy/Ray Enright)
(4:30PM) Broadway Gondolier (1935/1h 38m/Musical/Lloyd Bacon)
(6:15PM) Dames (1934/1h 30m/Musical/Ray Enright)
(8:00PM) Gold Diggers of 1933 (1933/1h 36m/Musical/Mervyn Le Roy)
(10:00PM) Footlight Parade (1933/1h 42m/Musical/Lloyd Bacon)
(12:00AM) Topper Returns (1941/1h 25m/Comedy/Roy Del Ruth)
(1:45AM) Three on a Match (1932/1h 4m/Drama/Mervyn Le Roy)
(3:00AM) Blonde Crazy (1931/1h 15m/Comedy/Roy Del Ruth)
4:30AM) Make Me a Star (1932/1h 10m/Comedy/William Beaudine)
WED AUG 09 (The Nicholas Brothers day)
(6:00AM) That's Entertainment! (1974/2h 12m/Documentary/Jack Haley, Jr.)
(8:15AM) The Emperor Jones (1933/1h 12m/Drama/Dudley Murphy)
(9:45AM) My Son Is Guilty (1939/1h 3m/Drama/Charles Barton)
(11:00AM) Carolina Blues (1944/1h 21m/Musical/Leigh Jason)
(12:30PM) Tap (1989/1h 50m/Musical/Nick Castle, Jr.)
(2:30PM) The Pirate (1948/1h 42m/Musical/Vincente Minnelli)
(4:15PM) That's Dancing! (1985)/1h 45m/Documentary/Jack Haley, Jr.)
(6:15PM) Orchestra Wives (1942/1h 38m/Musical/Archie Mayo)
(8:00PM) Stormy Weather (1943/1h 17m/Musical/Andrew Stone)
(9:30PM) Sun Valley Serenade (1941/1h 26m/Musical/H. Bruce Humberstone)
(11:15PM) Down Argentine Way (1940/1h 29m/Musical/Irving Cummings)
(1:00AM) Pie, Pie Blackbird (1932/0h 10m/Musical/Roy Mack)
(1:20AM) The Black Network (1936/0h 21m/Short/Roy Mack)
(1:40AM) An All-Colored Vaudeville Show (1935/0h 11m/Short/?)
(2:00AM) The Liberation of L. B. Jones (1970/1h 42m/Drama/William Wyler)
(4:00AM) Uptown Saturday Night (1974/1h 44m/Comedy/Sidney Poitier)
THU AUG 10 (Rhonda Fleming day)
(6:00AM) The Big Circus (1959/1h 49m/Drama/Joseph M. Newman)
(8:00AM) The Crowded Sky (1960/1h 45m/Adventure/Joseph Pevney)
(10:00AM) The Revolt of the Slaves (1961/1h 42m/Adventure/Nunzio Malasomma)
(12:00PM) Alias Jesse James (1959/1h 32m/Comedy/Norman Z. Mcleod)
(1:45PM) Gun Glory (1957/1h 28m/Western/Roy Rowland)
(3:30PM) Home Before Dark (1958/2h 17m/Drama/Mervyn Le Roy)
(6:00PM) Out of the Past (1947/1h 37m/Film-NoiJacques Tourneur)
(8:00PM) While the City Sleeps (1956/1h 39m/Crime/Fritz Lang)
(10:00PM) The Killer Is Loose (1956/1h 13m/Film-NoiBudd Boetticher)
(11:30PM) A Connecticut Yankee in King Arthur's Court (1949/1h 47m/Fantasy/Tay Garnett)
(1:30AM) Serpent of the Nile (1953/1h 21m/Adventure/William Castle)
(3:00AM) The Golden Hawk (1952/1h 23m/Adventure/Sidney Salkow)
(4:30AM) Odongo (1956/1h 25m/Adventure/John Gilling)
FRI AUG 11 (Alan Ladd day)
(6:00AM) Joan of Paris (1942/1h 35m/WaRobert Stevenson)
(8:00AM) The McConnell Story (1955/1h 47m/Drama/Gordon Douglas)
(10:00AM) Santiago (1956/1h 33m/Adventure/Gordon Douglas)
(12:00PM) Guns of the Timberland (1960/1h 31m/Western/Robert D. Webb)
(2:00PM) The Iron Mistress (1952/1h 50m/Western/Gordon Douglas)
(4:00PM) The Big Land (1957/1h 33m/Western/Gordon Douglas)
(6:00PM) Drum Beat (1954/1h 51m/Western/Delmer Daves)
(8:00PM) Shane (1953/1h 58m/Western/George Stevens)
(10:15PM) This Gun for Hire (1942/1h 20m/Film-NoiFrank Tuttle)
(12:00AM) The Blue Dahlia (1946/1h 38m/Film-NoiGeorge Marshall)
(2:00AM) The Glass Key (1942/1h 25m/Film-NoiStuart Heisler)
(4:00AM) The Deep Six (1958/1h 50m/WaRudolph Maté)
SAT AUG 12 (Deborah Kerr day)
(6:00AM) Please Believe Me (1950/1h 27m/Romance/Norman Taurog)
(7:30AM) The Life and Death of Colonel Blimp (1943/2h 43m/WaMichael Powell)
(10:30AM) Quo Vadis (1951/2h 51m/Drama/Mervyn Le Roy)
(1:30PM) Young Bess (1953/1h 52m/Romance/George Sidney)
(3:30PM) King Solomon's Mines (1950/1h 42m/Adventure/Compton Bennett)
(5:30PM) The Sundowners (1960/2h 13m/Drama/Fred Zinnemann)
(8:00PM) Heaven Knows, Mr. Allison (1957/1h 47m/WaJohn Huston)
(10:00PM) Black Narcissus (1947/1h 39m/Drama/Michael Powell)
(12:00AM) An Affair to Remember (1957/1h 55m/Leo McCarey)
(2:15AM) Vacation from Marriage (1945/1h 32m/Drama/Alexander Korda)
(4:15AM) Dream Wife (1953/1h 41m/Comedy/Sidney Sheldon)
SUN AUG 13 (Paul Newman day)
(6:00AM) The Prize (1963/2h 16m/Suspense/Mark Robson)
(8:30AM) Sweet Bird of Youth (1962/2h 0h/Drama/Richard Brooks)
(10:45AM) The Young Philadelphians (1959/2h 16m/Drama/Vincent Sherman)
(1:15PM) Harper (1966/2h 1m/Mystery/Jack Smight)
(3:30PM) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)
(5:30PM) Cool Hand Luke (1967/2h 9m/Drama/Stuart Rosenberg)
(8:00PM) The Long Hot Summer (1958/1h 55m/Drama/Martin Ritt)
(10:15PM) Cat on a Hot Tin Roof (1958/1h 48m/Drama/Richard Brooks)
(12:15AM) The Mackintosh Man (1973/1h 38m/Suspense/John Huston)
(2:15AM) Pocket Money (1972/1h 42m/Dramedy/Stuart Rosenberg)
(4:15AM) Rachel, Rachel (1968/1h 41m/Drama/Paul Newman)
MON AUG 14 (Greer Garson day)
(6:00AM) When Ladies Meet (1941/1h 48m/Comedy/Robert Z. Leonard)
(8:00AM) The Law and the Lady (1951/h 44m/Romance/Edwin H. Knopf)
(9:45AM) Adventure (1945/2h 5m/Adventure/Victor Fleming)
(12:00PM) The Valley of Decision (1945/1h 51m/Romance/Tay Garnett)
(2:15PM) Julia Misbehaves (1948/1h 39m/Comedy/Jack Conway)
(4:00PM) Pride and Prejudice (1940/1h 57m/Romance/Robert Z. Leonard)
(6:00PM) Goodbye, Mr. Chips (1939/1h 54m/Drama/Sam Wood)
(8:00PM) Mrs. Miniver (1942/2h 14m/WaWilliam Wyler)
(10:30PM) Mrs. Parkington (1944/2h 4m/Romance/Tay Garnett)
(12:45AM) That Forsyte Woman (1949/1h 54m/Romance/Compton Bennett)
(2:45AM) Blossoms in the Dust (1941/1h 40m/Drama/Mervyn Le Roy)
(4:30AM) Scandal at Scourie (1953/1h 30m/Drama/Jean Negulesco)
TUE AUG 15 (Ronald Colman day)
(6:00AM) The White Sister (1923/1h 44m/Silent/Henry King)
(8:15AM) The Story of Mankind (1957/1h 40m/Fantasy/Irwin Allen)
(10:00AM) My Life with Caroline (1941/1h 21m/Comedy/Lewis Milestone)
(11:30AM) Lost Horizon (1937/2h 12m/Adventure/Frank Capra)
(1:45PM) The Prisoner of Zenda (1937/1h 41m/Adventure/John Cromwell)
(3:30PM) A Tale of Two Cities (1935’2h 0m/Drama/Jack Conway)
(5:45PM) Random Harvest (1942/2h 4m/Romance/Mervyn Le Roy)
(8:00PM) Raffles (1930/1h 20m/Adventure/Harry D'abbadie D'arrast)
(11:00PM) Bulldog Drummond (1929/1h 30m/Crime/F. Richard Jones)
(12:45AM) Condemned! (1929/1h 26m/Drama/Wesley Ruggles)
(2:30AM) Kismet (1944/1h 40m/Adventure/William Dieterle)
(4:15AM) Lucky Partners (1940/1h 42m/Comedy/Lewis Milestone)
WED AUG 16 (Katy Jurado day)
(6:00AM) A Covenant With Death (1966/1h 37m/Drama/Lamont Johnson)
(8:00AM) Barabbas (1962/2h 24m/Biography/Richard Fleischer)
(10:30AM) Stay Away, Joe (1968/1h 41m/Musical/Peter Tewksbury)
(12:30PM) Trial (1955/1h 45m/Drama/Mark Robson)
(2:30PM) Trapeze (1956/1h 45m/Drama/Carol Reed)
(4:30PM) Man from Del Rio (1956/1h 22m/Western/Harry Horner)
(6:15PM) The Badlanders (1958/1h 25m/Western/Delmer Daves)
(8:00PM) High Noon (1952/1h 25m/Western/Fred Zinnemann)
(9:45PM) Broken Lance (1954/1h 36m/Western/Edward Dmytryk)
(11:45PM) Arrowhead (1953/1h 45m/Western/Charles Marquis Warren)
(1:45AM) Pat Garrett & Billy the Kid (1973/1h 46m/Western/Sam Peckinpah)
(4:00AM) Under the Volcano (1984/1h 49m/Drama/John Huston)
THU AUG 17 (Bob Hope day)
(6:00AM) Bachelor in Paradise (1961/1h 49m/Comedy/Jack Arnold)
(8:00AM) Critic's Choice (1963/1h 40m/Comedy/Don Weis)
(9:45AM) Boy, Did I Get a Wrong Number! (1966/Comedy/1h 39m/George Marsha)
(11:30AM) Road to Singapore (1940/1h 24m/Musical/Victor Schertzinger)
(1:00PM) Road to Zanzibar (1941/1h 32m/Musical/Victor Schertzinger)
(2:45PM) Road to Morocco (1942/1h 23m/Musical/David Butler)
(4:30PM) Road to Utopia (1946/1h 30m/Musical/Hal Walker)
(6:15PM) Road to Bali (1953/1h 30m/Musical/Hal Walker)
(8:00PM) Nothing But the Truth (1941/1h 30m/Comedy/Elliott Nugent)
(9:45PM) The Ghost Breakers (1940/1h 22m/HorroGeorge Marshall)
(11:30pm) My Favorite Blonde (1942/1h 18m/Comedy/Sidney Lanfield)
(1:00AM) My Favorite Brunette (1947/1h 27m/Suspense/Elliott Nugent)
(2:30AM) The Princess and the Pirate (1944/1h 34m/Comedy/David Butler)
(4:15AM) A Global Affair (1964/1h 24m/Comedy/Jack Arnold)
FRI AUG 18 (Carole Lombard day)
(6:00AM) No More Orchids (1932/Romance/1h 11m/Walter Lang)
(7:15AM) The Gay Bride (1934/1h 20m/Comedy/Jack Conway)
(8:45AM) Fools for Scandal (1938/1h 21m/Comedy/Mervyn Le Roy)
(10:15AM) Swing High, Swing Low (1937/1h 37m/Musical/Mitchell Leisen)
(12:00PM) Nothing Sacred (1937/1h 15m/Comedy/William A. Wellman)
(1:15PM) Mr. and Mrs. Smith (1941/1h 29m/Comedy/Alfred Hitchcock)
(3:00PM) To Be or Not to Be (1942/1h 39m/Comedy/Ernst Lubitsch)
(4:45PM) In Name Only (1939/1h 42m/Drama/John Cromwell)
(6:30PM) No Man of Her Own (1932/1h 25m/Dramedy/Wesley Ruggles)
(8:00PM) The Princess Comes Across (1936/1h 16m/Comedy/William K. Howard)
(9:30PM) True Confession (1937/1h 15m/Comedy/Wesley Ruggles)
(11:15PM) My Man Godfrey (1936/1h 35m/Dramedy/Gregory La Cava)
(1:00AM) Twentieth Century (1934/1h 31m/Comedy/Howard Hawks)
(2:45AM) Vigil in the Night (1940/1h 36m/Drama/George Stevens)
(4:30AM) Lady by Choice (1934/1h 18m/Dramedy/David Burton)
SAT AUG 19 (Fred Astaire day)
(6:00AM) The Belle of New York (1952/1h 22m/Musical/Charles Walters)
(7:30AM) Yolanda and the Thief (1945/1h 48m/Musical/Vincente Minnelli)
(9:30AM) Finian's Rainbow (1968/2h 40m/Musical/Francis Ford Coppola)
(12:00PM) Easter Parade (1948/1h 43m/Musical/Charles Walters)
(2:00PM) The Band Wagon (1953/1h 52m/Musical/Vincente Minnelli)
(4:00AM) Top Hat (1935/1h 45m/Musical/Mark Sandrich)
(6:00PM) Shall We Dance (1937/1h 56m/Musical/Mark Sandrich)
(8:00PM) Daddy Long Legs (1955/2h 6m/Musical/Jean Negulesco)
(10:15PM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(12:00AM) Silk Stockings (1957/1h 57m/Musical/Rouben Mamoulian)
(2:15AM) The Barkleys of Broadway (1949/1h 48m/Musical/Charles Walters)
(4:15AM) Carefree (1938/1h 20m/Comedy/Mark Sandrich)
SUN AUG 20 (Barbara Stanwyck day)
(6:00AM) The Purchase Price (1932/1h 8m/Drama/William A. Wellman)
(7:15AM) Illicit (1931/1h 21m/Drama/Archie Mayo)
(8:45AM) The Woman in Red (1935/1h 8m/Romance/Robert Florey)
(10:00AM) To Please a Lady (1950/1h 31m/Romance/Clarence Brown)
(12:00PM) Christmas in Connecticut (1945/1h 41m/Comedy/Peter Godfrey)
(2:00PM) Ball of Fire (1942/1h 51m/Comedy/Howard Hawks)
(4:00PM) Double Indemnity (1944/1h 46m/Crime/Billy Wilder)
(6:00PM) The Violent Men (1955/1h 35m/Rudolph Maté)
(8:00PM) Baby Face (1933/1h 16m/Drama/Alfred E. Green)
(9:30PM) Executive Suite (1954/1h 44m/Drama/Robert Wise)
(11:30PM) Clash by Night (1952/1h 44m/Romance/Fritz Lang)
(1:30AM) Night Nurse (1931/1h 12m/Drama/William A. Wellman)
(3:00AM) The Man with a Cloak (1951/1h 21m/Suspense/Fletcher Markle)
(4:30AM) Cry Wolf (1947/1h 23m/Suspense/Peter Godfrey)
MON AUG 21 (James Stewart day)
(6:00AM) Speed (1936/1h 5m/Drama/Edwin L. Marin)
(7:15AM) Born to Dance (1936/1h 48m/Musical/Roy Del Ruth)
(9:15AM) Navy Blue and Gold (1937/1h 34m/Comedy/Sam Wood)
(11:00AM) Come Live with Me (1941/1h 26m/Romance/Clarence Brown)
(12:30PM) It's a Wonderful World (1939/1h 26m/Comedy/W. S. Van Dyke Ii)
(2:00PM) Mr. Smith Goes to Washington (1939/2h 5m/Drama/Frank Capra)
(4:15PM) Firecreek (1968/1h 44m/Western/Vincent McEveety)
(6:15PM) The Cheyenne Social Club (1970/1h 42m/Comedy/Gene Kelly)
(8:00PM) Winchester '73 (1950/1h 32m/Western/Anthony Mann)
(10:00PM) Shenandoah (1965/1h 45m/Western/Andrew V. McLaglen)
(12:00AM) Carbine Williams (1952/1h 31m/Western/Richard Thorpe)
(2:00AM) The FBI Story (1959/2h 29m/Crime/Mervyn Le Roy)
(4:45AM) Murder Man (1935/1h 10m/Crime/Tim Whelan)
TUE AUG 22 (Geraldine Chaplin day)
(6:00AM) Honeycomb (1969/1h 42m/Drama/Carlos Saura)
(8:00AM) Buffalo Bill And The Indians, Or Sitting Bull's History Lesson (1976/2h 3m/Western/Robert Altman)
(10:15AM) The Hawaiians (1970/2h 23m/Adventure/Tom Gries)
(12:30PM) The Three Musketeers (1973/1h 45m/Adventure/Richard Lester)
(2:30PM) The Four Musketeers (1975/1h 48m/Adventure/Richard Lester)
(4:30PM) Doctor Zhivago (1965/3h 17m/Drama/David Lean)
(8:00PM) Cria Cuervos (1976/1h 37m/Drama/Carlos Saura)
(10:00PM) Anna and the Wolves (1972/1h 36m/Drama/Carlos Saura)
(12:00AM) Peppermint Frappé (1967/1h 32m/ThrilleCarlos Saura)
(1:45AM) Elisa, Vida Mia (1976/2h 5m/Drama/Carlos Saura)
(4:00AM) Stress-es tres-tres (1968/1h 34m/Drama/Carlos Saura)
WED AUG 23 (Vincent Price day)
(6:00AM) The Long Night (1947/1h 37m/Crime/Anatole Litvak)
(8:00AM) The Las Vegas Story (1952/1h 28m/Drama/Robert Stevenson)
(9:45AM) His Kind of Woman (1951/2h 2m/Suspense/John Farrow)
(12:00PM) The Baron of Arizona (1950/1h 36m/Western/Samuel Fuller)
(2:00PM) Twice Told Tales (1963/1h 59m/HorroSidney Salkow)
(4:15PM) Diary of a Madman (1963/1h 36m/HorroReginald Le Borg)
(6:15PM) The Last Man on Earth (1964/1h 26m/HorroSidney Salkow)
(8:00PM) House of Wax (1953/1h 28m/HorroAndre De Toth)
(9:45PM) House on Haunted Hill (1958/1h 15m/HorroWilliam Castle)
(11:15PM) The Pit and the Pendulum (1961/1h 20m/HorroRoger Corman)
(12:45AM) The Masque of the Red Death (1964/1h 30m/HorroRoger Corman)
(2:30AM) The Tingler (1959/1h 20m/HorroWilliam Castle)
(4:15AM) The Bat (1959/1h 20m/HorroCrane Wilbur)
THU AUG 24 (Loretta Young day)
(6:00AM) Loose Ankles (1930/1h 18m/Comedy/Ted Wilde)
(7:15AM) Big Business Girl (1931/1h 19m/Comedy/William A. Seiter)
(8:45AM) Week-end Marriage (1932/1h 5m/Comedy/Thornton Freeland)
(10:00AM) They Call It Sin (1932/1h 8m/Drama/Thornton Freeland)
(11:15AM) Life Begins (1932/1h 11m/Drama/James Flood)
(12:30PM) The Unguarded Hour (1936/1h 28m/Suspense/Sam Wood)
(2:00PM) The Life of Jimmy Dolan (1933/1h 10m/Drama/Archie Mayo)
(3:30PM) Midnight Mary (1933/1h 11m/Drama/William Wellman)
(5:00PM) Heroes for Sale (1933/1h 13m/Drama/William A. Wellman)
(6:30PM) Employee's Entrance (1933/1h 15m/Drama/Roy Del Ruth)
(8:00PM) Bedtime Story (1941/1h 25m/Comedy/Alexander Hall)
(9:45PM) Rachel and the Stranger (1948/1h 33m/Western/Norman Foster)
(11:30PM) A Night to Remember (1942/1h 31m/Mystery/Richard Wallace)
(1:15AM) Cause for Alarm! (1951/1h 14m/Suspense/Mystery/Tay Garnett)
(2:45AM) Key to the City (1950/1h 39m/Comedy/George Sidney)
(4:30AM) Taxi! (1932/1h 10m/Crime/Roy Del Ruth)
FRI AUG 25 (Ernest Borgnine day)
(6:00AM) The Whistle at Eaton Falls (1951/1h 36m/Documentary/Robert Siodmak)
(8:00AM) Bad Day at Black Rock (1955/1h 21m/Suspense/Mystery/John Sturges)
(9:30AM) Go Naked in the World (1961/1h 43m/Drama/Ranald MacDougall)
(11:30AM) The Split (1968/1h 30m/Crime/Gordon Flemyng)
(1:15PM) Pay or Die (1960/1h 50m/Crime/Richard Wilson)
(3:15PM) The Dirty Dozen (1967/2h 29m/WaRobert Aldrich)
(6:00PM) Torpedo Run (1958/1h 38m/WaJoseph Pevney)
(8:00PM) Ice Station Zebra (1968/2h 28m/Adventure/John Sturges)
(10:45PM) The Wild Bunch (1969/2h 28m/Western/Sam Peckinpah)
(1:30AM) Escape From New York (1981/1h 39m/Adventure/John Carpenter)
(3:30AM) The Legend of Lylah Clare (1968/2h 10m/Drama/Robert Aldrich)
SAT AUG 26 (Doris Day day)
(6:00AM) My Dream Is Yours (1949/1h 41m/Musical/Michael Curtiz)
(8:00AM) Jumbo (1962/2h 5m/Musical/Charles Walters)
(10:15AM) On Moonlight Bay (1951/1h 35m/Musical/Roy Del Ruth)
(12:00PM) Tea for Two (1950/1h 38m/Musical/David Butler)
(1:45PM) Love Me or Leave Me (1955/2h 2m/Musical/Charles Vidor)
(4:00PM) The Winning Team (1952/1h 38m/Drama/Lewis Seiler)
(6:00PM) Please Don't Eat the Daisies (1960/1h 51m/Comedy/Charles Walters)
(8:00PM) Pillow Talk (1959/1h 45m/Comedy/Michael Gordon)
(10:00PM) Move Over, Darling (1963/1h 43m/Comedy/Michael Gordon)
(12:00AM) The Glass Bottom Boat (1966/1h 50m/Comedy/Frank Tashlin)
(2:00AM) Julie (1956/1h 39m/Suspense/Andrew L. Stone)
(4:00AM) The Tunnel of Love (1958/1h 38m/Comedy/Gene Kelly)
SUN AUG 27 (Humphrey Bogart day)
(6:00AM) San Quentin (1937/1h 10m/Drama/Lloyd Bacon)
(7:30AM) Crime School (1938/1h 26m/Drama/Lewis Seiler)
(9:00AM) Racket Busters (1938/1h 11m/Drama/Lloyd Bacon)
(10:15AM) The Return of Dr. X (1939/1h 2m/HorroVincent Sherman)
(11:30AM) King of the Underworld (1939/1h 9m/Crime/Lewis Seiler)
(12:45PM) The Oklahoma Kid (1939/1h 25m/Western/Lloyd Bacon)
(2:15PM) Conflict (1945/1h 26m/Suspense/Curtis Bernhardt)
(4:00PM) Passage to Marseille (1944/1h 49m/WaMichael Curtiz)
(6:00PM) Key Largo (1948/1h 41m/Crime/John Huston)
(8:00PM) To Have and Have Not (1944/1h 40m/Romance/Howard Hawks)
(10:00PM) The Maltese Falcon (1941/1h 40m/Mystery/John Huston)
(12:00AM) In a Lonely Place (1950/1h 31m/Drama/Nicholas Ray)
(2:00AM) The Two Mrs. Carrolls (1947/1h 39m/Suspense/Peter Godfrey)
(4:00AM) Chain Lightning (1950/1h 34m/Drama/Stuart Heisler)
MON AUG 28 (Ann Sheridan day)
(6:00AM) Honeymoon for Three (1941/1h 14m/Comedy/Lloyd Bacon)
(7:30AM) One More Tomorrow (1946/1h 27m/Romance/Peter Godfrey)
(9:00AM) City for Conquest (194/1h 41m/Drama/Anatole Litvak)
(10:45AM) It All Came True (1940/1h 37m/Comedy/Lewis Seiler)
(12:30PM) They Drive by Night (1940/1h 33m/Drama/Raoul Walsh)
(2:15PM) The Unfaithful (1947/1h 49m/Drama/Vincent Sherman)
(4:15PM) Shine on Harvest Moon (1944/1h 52m/Musical/David Butler)
(6:15PM) George Washington Slept Here (1942/1h 33m/Comedy/William Keighley)
(8:00PM) Kings Row (1942/2h 7m/Drama/Sam Wood)
(10:15PM) The Man Who Came to Dinner (1942/1h 52m/Comedy/William Keighley)
(12:15 AM) Nora Prentiss (1947/1h 51m/Film-NoiVincent Sherman)
(2:15AM) Woman on the Run (1950/1h 17m/Mystery/Norman Foster)
(3:45 AM) The Opposite Sex (1956/1h 57m/Musical/David Miller)
TUE AUG 29 (Woody Strode day)
(6:00 AM) The Lion Hunters (1951/1h 15m/Adventure/Ford Beebe)
(7:30 AM) Tarzan's Fight for Life (1958/1h 26m/Adventure/Bruce Humberstone)
(9:00 AM) Tarzan's Three Challenges (1963/1h 32m/Adventure/Robert Day)
(10:45 AM) Genghis Khan (1965/2h 4m/Biography/Henry Levin)
(1:00 PM) Winterhawk (1975/1h 27m/Western/Charles B. Pierce)
(2:45 PM) Seven Women (1966/1h 33m/Adventure/John Ford)
(4:30 PM) Pork Chop Hill (1959/1h 37m/WaLewis Milestone)
(6:15 PM) The Last Voyage (1960/1h 31m/ThrilleAndrew L. Stone)3
(8:00 PM) Spartacus (1960/3h 4m/Action/Stanley Kubrick)
(11:30 PM) Sergeant Rutledge (1960/1h 51m/Western/John Ford)
(1:30 AM) The Professionals (1966/1h 57m/Western/Richard Brooks)
(3:30 AM) The Sins of Rachel Cade (1961/2h 4m/Drama/Gordon Douglas)
WED AUG 30 (Sophia Loren day)
(6:00 AM) Lady L (1965/2h 4m/Comedy/Peter Ustinov)
(8:00 AM) The Pride and the Passion (1957/2h 12m/Adventure/Stanley Kramer)
(10:30 AM) Brass Target (1978/1h 51m/ThrilleJohn Hough)
(12:30 PM) Operation Crossbow (1965/1h 58m/Adventure/Michael Anderson)
(2:30 PM) Human Voice (2014/0h 25m/Short/Edoardo Ponti)
(3:00 PM) Boy on a Dolphin (1957/1h 51m/Adventure/Jean Negulesco)
(5:00 PM) More Than a Miracle (1967/1h 43m/Fantasy/Francesco Rosi)
(6:45 PM) Live from the TCM Classic Film Festival: Sophia Loren (2016/1h 0m/Documentary/Sean Cameron)
(8:00 PM) The Gold of Naples (1957/1h 47m/Anthology/Vittorio De Sica)
(10:30 PM) Arabesque (1966/1h 45m/Mystery/Stanley Donen)
(12:30 AM) A Special Day (1977/1h 43m/Drama/Ettore Scola)
(2:30 AM) Two Women (1960/1h 39m/Drama/Vittorio De Sica)
(4:15 AM) Ghosts – Italian Style (1969/1h 33m/Comedy/Renato Castellani)
THU AUG 31 (John Carradine day)
(6:00 AM) Mary of Scotland (1936/2h 3m/Biography/John Ford)
(8:15 AM) Captains Courageous (1937/1h 56m/Adventure/Victor Fleming)
(10:30 AM) Five Came Back (1939/1h 15m/Adventure/John Farrow)
(12:00 PM) Barbary Coast Gent (1944/1h 27m/Western/Roy Del Ruth)
(1:30 PM) Reunion in France (1942/1h 44m/Adventure/Jules Dassin)
(3:30 PM) I Escaped From the Gestapo (1943/1h 15m/ThrilleHarold Young)
(5:00 PM) Gangway for Tomorrow (1943/1h 8m/Drama/John H. Auer)
(6:30 PM) Hitler's Madman (1943/1h 25m/WaDouglas Sirk)
(8:00 PM) Stagecoach (1939/1h 36m/Western/John Ford)
(9:45 PM) The Grapes of Wrath (1940/2h 9m/Drama/John Ford)
(12:00 AM) Drums Along the Mohawk (1939/1h 43m/Adventure/John Ford)
(2:00 AM) Cheyenne Autumn (1964/2h 40m/Western/John Ford)
(4:45 AM) Northwest Rangers (1942/1h 4m/Western/Joe Newman)
submitted by yawningvoid28 to movies [link] [comments]

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