TV/Movies Megathread

[Duque de Bragança]

I hate that movie.

I liked "Victory" better. 

Stupid Europeans.

Congratulations, you achieved butt hurt status!

Here are some European titles for you.

À nous la victoire

Fuga para a Vitória

[Maladict]

What's with the butt hurt obsession Duque?

[Duque de Bragança]

What's with the butt hurt obsession Duque?

You tell me, you are one of the leading experts on the topic.

[The Brain]

Come to butthurt.

[CountDeMoney]

Congratulations, you achieved butt hurt status!

Here are some European titles for you.

À nous la victoire

Fuga para a Vitória

lol, eggplant words. Thanksa lotta, greaseball!

[Duque de Bragança]

Congratulations, you achieved butt hurt status!

Here are some European titles for you.

À nous la victoire

Fuga para a Vitória

lol, eggplant words. Thanksa lotta, greaseball!

À nous la victoire eggplant? Keep going Comte de Largent! 

[FunkMonk]

Who doesn't enjoy hurting a good butt now and then?

[Ed Anger]

Who doesn't enjoy hurting a good butt now and then?

[FunkMonk]

 

[Savonarola]

Amos and Andy: Check and Double Check (1930)

Wholesome family entertainment straight from Jim Crow America.  This movie resembles a (((Marx Brother's))) movie more than anything in that there's the world inhabited by (white) upper crust society (with a pair of star crossed lovers); and there's the world inhabited by Amos and Andy where the funny stuff happens.  The two worlds only intersect tangentially.

Even ignoring all the offensive stereotypes in the film (Amos and Andy have to spend the night in a haunted house, imagine the laughs!); this one has problems.  It features the stars of the Amos and Andy show (Freemen Gosden and Charles Correll) who were both white men, so they play there roles in black face.  Also Gosden and Correll played multiple roles in the radio show; they could only do one here.  They did get another actor to play the Kingfish, but all the other characters had to be cut out; so much of the film is Amos and Andy doing their routine with only them on the screen.

The film is worth seeing to hear "Three Little Words" as sung by the Rhythm Boys (featuring Bing Crosby), seeing the street scenes of 1930 Harlem and seeing Duke Ellington perform with the Cotton Club Orchestra.  (This might be the only film appearance of the Cotton Club Orchestra with Duke Ellington; Cab Calloway would take over leadership in 1931.)

Two of the lighter skinned members of the Cotton Club had to put on black face, lest anyone think that the Cotton Club Orchestra was integrated.  At the time every state, and many cities had their own censorship board; so a mistake like that could well have stopped the film from being shown in the south.

[Admiral Yi]

Watched an episode and a half of Blunt Talk, Patrick Stewart's retirement paycheck.  He plays the host of an interview show.  Great fun if you like endless jokes about Poms getting aroused by being spanked, otherwise not.  I pass.

[Josephus]

Anyone watch new HBO crime show?

[celedhring]

Love & Mercy - the life and madness of Brian Wilson. Pretty decent, particularly the 60s scenes with Paul Dano - some of those trying to reproduce how he went about creating music are particularly great. The 1980s storyline about him getting rid of his Svengali-esque shrink is a bit more trite.

[Maladict]

Rewatched Adams Æbler, still funny as fuck. Mads Mikkelsen ftw.

[Savonarola]

Song O' My Heart (1930)

Of course Hollywood of the 1930s was open minded about their stereotypes.  In this picture, your friends and mine from the Emerald Isle, Pat and Mike, entertain us with their gab and Blarney.

Most of the film is singing by the great Irish tenor, John McCormack.  There's a plot about a woman who John has always loved, but married another man for money at her aunt's bidding and then there's Irish character actors, doing Irish things all Irishy; but most of these are set ups for songs.  McCormack was a gifted singer, and the late 20s and early 30s were a time when male tenors were all the rage; he does a mix of opera and traditional Irish songs throughout the film.

In addition to John McCormack, the film is notable for being Maureen O'Sullivan's (Jane from the Johnny Wiessmuller Tarzan films) screen debut.

The film was shot for sound, but there's a "Jazz Singer" type version where everything but the singing is silent; but since it was acted out as a talkie the silent version is unwatchable.