--- In a_film_by@yahoogroups.com, Dan Sallitt <sallitt@p...> wrote:

> I was referring to a recent discussion here of Curtiz's THE BREAKING
> POINT, which is based on Hemingway's TO HAVE AND HAVE NOT. I'm
actually
> a pretty big fan of THE BREAKING POINT (less so of CASABLANCA), but was
> a little nonplussed to see so many cool reactions to the Hawks,
which is
> for me the Rosetta Stone of cinema. - Dan

Well I'll be darned, I missed the discussion and I didn't even know
Curtiz made such a film. I'd always thought general film appreciation
subordinated TO HAVE to CASABLANCA, whilst auteur culture had it in
reverse. The idea that Curtiz adapted the story (rather, I presume,
than remade the Furthman/Faulkner script) later on down the line
throws in some interesting...well, I'll have to track it down I guess.

> The songs in Stuck on You (without caps) are...

Darn, no dice. This is going to drive me batty.

Maltin's listing for OSMOSIS has it as having been shot in something
called Clairmont-Scope. Now that's a name.

Films shot in an anamorphic widescreen process, that is, the kind
patterned after the original CinemaScope, are becoming more and more
rare. Terence Davies shot HOUSE OF MIRTH in ArriScope, and THE NEON
BIBLE in J-D-C Scope. Spielberg shot MINORITY REPORT in 2.35:1, his
first 'Scope picture since HOOK. But it was Super 35, whereas HOOK
was Panavision. I don't know what the Farrellys used for STUCK ON
YOU, probably Super 35 like everybody else. (The gag where Damon
keeps slipping into frame when shooting the TV show is really odd
since it depends on the widescreen frame to work, and it's a TV show,
and a non-letterboxed one at that.)

-Jaime