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Tuesday, May 28, 2013

Man's Favorite Sport? (1964) - A Rock Hudson Comedy


Mansfavoritesportposter.jpg
Rock Hudson, known mostly for his popular battle-of-the-sexes romantic comedies with Doris Day, also pairs well with other leading ladies.


Hudson has a reserved acting style. Most of the time his facial muscles move almost imperceptibly, in that Robert Mitchum way.  In comedies, he plays the straight man well, the character who is usually the only clear thinker in the room who reacts to chaos around him.

Thus, when you see him in Man's Favorite Sport? (1964) opposite Paula Prentiss - an actress with a much more unpredictable acting method- you've got friction and, therefore, comedy gold. The two have a Burns and Allen vibe, not in material, but in his reactions to the silliness, often stemming from Prentiss' character.

Producer-director Howard Hawks envisioned Sport as a remake of his classic Bringing Up Baby (1938), about a screwball lady who follows a guy around, unintentionally making his life miserable.  Sport follows Roger (Hudson), a fishing expert and sporting goods salesmen at Abercrombie and Fitch who has never fished a day in his life.  Public relations expert, Abbie (Prentiss) secures Roger's spot in a fishing competition, then discovers his secret. The bulk of the film is the two of them desperate to deceive everyone, and falling in love with each other in the process.


It's more of an homage to Baby than a remake. There's even a replay of the famous scene in the original where a lady's dress tears and the guy walks closely behind to save her embarrassment. In the original, the lady (Katharine Hepburn) accidentally tears the man's (Cary Grant)  tuxedo. He's annoyed. He then accidentally tears the lady's gown and feels an obligation to help her out of the room, which causes him to miss an appointment. It's yet another inconvenience for him caused by the presence of the goofy leading lady.


In Sport, the character whose dress is torn is not Abbie, but Abbie's friend Isolde (Maria Perschy). The man doesn't accidentally tear it, a wooden chair does. So he helps her out and misses an appointment. What in the original was an awkward and almost literal bonding moment between the two leads becomes random in the remake, mostly because the problem in the scene has nothing to do with Abbie, and does not drive the story or their relationship forward. So the movie just pauses for a comic bare back shot of Isolde (who is given the unfortunate nickname, "Easy").



That's another thing. From the movie itself to the advertising for the film, the tone wavers. Note the  question mark in the title and the playfulness of the two leads in the poster above. Not a fishing lure in sight. The title and advertising are meant to imbue intrigue and a little raciness to a remake of an early Code Era comedy. The actual movie is a bit quaint for the worldly, 1960s viewing audience who have by this time seen Sean Connery make his way through a bevy of  bikini-clad babes, a gallon of martinis and fairly realistic violence.

Man's Favorite Sport? is nothing like this poster. Roger does not spend his time being caressed by Abbie or anyone else. He spends half of the movie trying to fish and the other half despising the woman who has just made his life miserable and could cost him his job. It's a charming story, but caught in a changing of the guards in terms of comedy tastes.

 

It's a movie that is ambivalent about what it wants to be. At times, the movie stretches towards its pedigree and wants to be an old fashioned screwball comedy with an emphasis on witty dialogue, fun characters and improbable situations. Thus, it places our leads in a noisy room where Roger shares his secret just as the noise dies down and everyone in the room can hear him.

It also wants to be hip and cool and tap into the return of overt sensuality -often found in teen beach films of the day- where the humor comes from guys making none-too-subtle quips while the camera ogles ladies. Thus, there is a random scene where Abbie gets drenched in the rain, making her blouse see-through... and that's the whole joke. End scene.


Though there are disparate tones in the film, the differences in the two leads' acting methods are complimentary. Hudson is a reserved and "bashful" actor, giving the audience only the part of himself that he wants us to see. He carries more than a trace of glamorous, old Hollywood - unattainable, enigmatic, a star.

Paula Prentiss is also a star, but a different kind, an accessible kind. You could see yourself knowing this person. Whereas Hudson carefully places himself in a scene and locks himself in, Prentiss remains forever in motion.

She is always doing "business," i.e. flicking her bangs so that they are not perfectly coiffed throughout the scene, punctuating someone else's line with uproarious laughter, waving her hands around, and speaking in that quick His Girl Friday clip as if she has so much to tell you but there isn't enough time in the day to get it all out. This is also the first time I've seen anyone in a  movie made before 1970 lick her fingers.  It's a gesture someone might make in real life, which is slightly jarring, but it works because we understand what Roger is going through when this whirlwind of activity enters his life.


Sport is a good enough film. Prentiss was excited to work with Hudson. She's a big fan of the actor, stating for the Miami News just before the movie was released that,

"He's been my idol and I went to see Pillow Talk again to watch him operate."

The actress is a fan just like us. Again, she makes herself accessible. I'm looking forward to watching more of her films.

Monday, May 27, 2013

Memorial Day


Memorial Day is a U.S. federal holiday to commemorate those who have died while serving in the military. Java's Journey thanks the U.S. Armed Forces.






Saturday, May 25, 2013

Tyrone Power's Acting Lineage



Tyrone Power, movie star of the 1930s to the 1950s, is known for his family's deep roots in show business, but yours truly did not know how deeply the acting bug bit the family tree until now.

Let's take a look at some of the major players in the actor's history.












William T. Power 1795-1841. (Public domain image Image source.).
William Tyrone Power  was born in Waterford, Ireland on November 2, 1795 and was the first in his family to fancy acting.

William Tyrone Power's father died soon after William was born. He would never know the elder Power (a scenario which would famously play out again in his family over one hundred and fifty years later). William's widowed mother moved the family to Wales.

Young William was the first in his family to trod the boards. At around the age of sixteen, he began performing onstage for the love of show business and to be near a pretty girl who played Rosalind opposite his Orlando in As You Like It.

His mother encouraged him to quit acting and accept an appointment in the British commissariat service in South Africa, which he did. Returning to England in his early twenties, William  began acting again, playing mostly dignified comic characters of Irish descent.

He was not a success at first. Working at his craft, it would take another ten years or so before the actor would come to acclaim. By 1827, William gained enormous popularity as "the only legitimate representative of an Irishman on the British Stage," according to author William Winter.

His fame landed him an engagement overseas in New York in August of 1833. But, the sweltering heat wasn't the only cause of perspiration; the experienced actor was nervous.

"To my first night at New York... I looked with much anxiety, and not without reason, I had, contrary to the advice of many friends, given up a large income.... I had vacated my seat and quitted my country on no other engagement than one for twelve nights at New York, the profits of which were wholly dependent upon my success, as were my engagements in other cities dependent upon my reception in this...."

He had taken a huge risk coming to a strange country with only one engagement. But the gamble paid off;  his reputation preceded him and the audience enthusiastically welcomed him.

"The moment came when [I] was announced; and amidst greetings as heavy as ever I received in my life, I made my first bow to the Park [Theatre] audience...."

William attributed his overseas success to an attentive and accepting American audience, as well as to the organic nature of his repertoire:

"'[E]ach of my characters are, according to my ability, painted from nature; they are individual abstractions with which I have nothing to do; the colouring is a part of each, and I can't change it as I change my audience:- 'tis only for me to present the picture as it is; for them to like or dislike it.'"

They liked it.  And William liked the U.S. enough to write the memoir Impressions of America in which he describes his theatrical tours and also studies random people, interviews them out of curiosity and gives copious details of the marvelous sights that he has never encountered anywhere else.

 An unknown newspaper contemporary with William describes the actor as,
" ....about five feet, eight inches in height, with light hair and complexion, blue eyes, and a neat, compact figure, inclining to stoutness. His mercurial temperment, his genial but refined humor, the merry twinkle of his eye, the rich tones of his voice... his happy variations of brogue to the differenct shades of character he represented-- in fact, every requisite that nature and art could bestow, combined to make him the most perfect comedian of his class ever known on the American stage, while his personal character, so far as we have been informed, commanded the respect of all."

The actor was well-liked onstage and off,  an attribute which seems to run in the family.

William would commit to two more U.S. tours. No doubt there would have been more international tour dates, but returning home from what would be his last engagement in America, the actor was shipwrecked in the Atlantic Ocean in 1841. He was forty-six and at the height of fame.
Ethel Lavenu Power in 1863. (Public domain image. Image source.)

Harold Littledale Power (possibly born in Ireland in the early 1800s)

Two of William's sons followed in his footsteps and attempted a career in show business. Maurice Power tried acting and, according to author William Winter, failed. Another son, Harold Littledale Power  also tried his hand at show business, becoming a  successful concert pianist and actor in England.

Harold married Ethel Lavenu (born in London in 1842)  and the husband and wife team performed together. They were well-off and comfortable due to Harold's father's success on stage and due to Harold's and Ethel's own show business acumen, which included successful plays in London and in New York, billed as Mr. and Mrs. Power.

Their performances were "clever" and often  "humorous," according to Winter. The author recalls that he attended a Harold and Ethel stateside performance in 1877, and describes,
"...the occasion of the first appearance of Mr. and Mrs. Harold Power in New York as one of unalloyed pleasure. The public has seen various entertainers since that time, but none more entirely agreeable."

Though not as great a hit with the public as William Tyrone Power - after all, the elder Power was considered the epitome of an entire genre of acting, thus casting a wide shadow on any descendant - still, Harold and Ethel ushered in another generation of acting success in the family.

Frederick Tyrone Power circa 1888. (Public domain image. Image source.)

Frederick Tyrone Power  was born in London in 1869.

Despite the success of Mr. and Mrs. Harold Power, they did not want their children to enter the acting profession. When at about the age of sixteen -the same age at which his grandfather showed a distinct interest in acting-  one of their sons, Frederick Tyrone Power, mentioned an interest in the stage to his favorite Uncle Fred who understood but warned him not to mention this desire to his parents.

Somehow Harold and Ethel discovered their son's bent towards acting and sent him from the exclusive Dulwich College in London to a ranch in Florida. There he was to be instructed in the business of growing oranges. Supposedly the idea was to get acting out of his blood by keeping him far away from the glittering stages and enticements of London.

Frederick was apprenticed to an abusive rancher who would often intercept the young boy's letters to his parents. With help from kind strangers, Frederick escaped to New York where, in about 1886, he embarked on a long struggle to become an actor.  The Englishman favored Shakespearean productions and, by the time the he was in his forties,  Frederick was considered a serious actor who held forth the torch of "the legitimate American stage" into the new century.



Frederick Tyrone Power circa 1912, the year in which his fist wife died.  (Public domain image. Image source.)


Friend and author William Winter, describes him in 1913:
"[Frederick Tyrone] Power's physical advantages for the stage are extraordinary. His figure is massive and imposing. His face is large, with strongly marked features, and is expressive of acute sensibility. His eyes, dark and brilliant, are communicative equally of tenderness and fire. His eyebrows (distinctively the actor's feature) are black and heavy, and they almost meet.... His voice is deep, strong, copious , and of a rarely melodious, resonant tone, --- though somewhat monotonous, like the rumble of an organ....

"My reading and observation teach me that, in every period, the sceptre of leadership in the esteem of the people is bestowed on the actor who excels in the great legitimate plays....  Within the next two or three years the American public will see the most prominent English-speaking actors in the plays of Shakespeare, and foremost among them, I believe, will be Tyrone Power."

As it was with his parents, and after much honing of his craft, Frederick was well-received in the states.  Like his grandfather, Frederick was considered the epitome of an entire sector of stage acting.

Continuing the tradition of marrying an actress, Frederick wedded Australian performer Edith Crane in 1898. The two had great success in New York. Edith died on January 3, 1912 of complications from surgery to remove a tumorous mass from her chest.

Fredrick T. Power's 2nd wife, Helen Emma Reaume in 1912. (Public domain image. Image source.)
Frederick then married Helen Emma Reaume (stage name Patia Power) in the same year. The two were very attractive people both in personality and in body. Frederick's eyes, "dark and brilliant...communicative equally of tenderness and fire," would show in the next generation as well. These attributes would become a source of both success and grief in their future son.

In addition to his stage success, Frederick would also become the first in the family to make a movie, the silent feature Aristocracy, released six months after his first child was born in 1914. The husband and second wife would make one film together - The Planter (1917).

Tyrone Edmond Power in the 1930s. Click for the image source.

Tyrone Edmond Power was born on May 5, 1914 in Cincinnati, Ohio.

Tyrone Edmond Power was the first of two children born to Frederick and Helen Power. A sister- Anne- would be born the following year.

Frederick, possibly reflecting on the discouragement and pain he received from his own parents, encouraged his son's natural interest in acting. Power graduated from Purcell High School in 1931. That summer, at the age of seventeen - that certain age or thereabouts when the Power men first take acting seriously- Power followed his father, the great Shakespearean actor, around stage and film, observing show business.


Frederick and son Tyrone in 1931. Click for image source.


In the winter of that same year, Frederick Tyrone Power suffered a heart attack and died in his son's arms while in Hollywood for a movie shoot, The Miracle Man. This death would carry eerie similarities to later events.

Power was the son of a famous man, but - as was the case for his father and grandfather- family fame did not guarantee him a sustainable career in acting. After his father's death, the young man scraped around directionless in show business for years - trying bit parts in films, then radio parts in Chicago with friend and future film star Don Ameche.

Power finally went to New York, the place where his father honed his craft.  In New York, the young man was given great career guidance from the best in stage actors, including Katharine Cornell. After learning to act on Broadway,  Power received offers from Hollywood talent scouts who clamored to sign the handsome performer to a contract. 

Tyrone Edmond Power as Zorro in 1939. Click for the image source.

Power signed with Twentieth Century Fox Studios in 1936, a relationship that would last for nearly twenty years. Power became known as the "King of Twentieth Century- Fox," bringing worldwide acclaim to himself and to his studio. Today, Power might be most famous as starring in the first filmed version of the fictional masked crusader for justice in 19th century California in The Mark of Zorro (1940).

Like that of his father and great-grandfather, Tyrone Power's legacy would be one firmly rooted in a certain sector of acting. For the movie star, though he performed in a myriad of genres, his legacy would be entrenched in dramatic adventure roles.

Power seemed to prefer complex, dark and brooding characters. The lightweight, "pretty boy" roles irked him. The tenderness and fire in his eyes which he inherited from his parents distracted many people from the fact that the actor could act.
"Some day I will show all the [detractors] who say I was a success just because of my pretty face. Sometimes I wish I had a really bad car accident so my face would get smashed up and I'd look like Eddie Constantine."

His talent and inherited masculine beauty seemed to be a gift and a curse which would plague him for the rest of his life.




Deborah Ann Montgomery Minardos Power, Tyrone Power's Last Wife. Click for the image source.

Power continued the family tradition of marrying within the business. He wedded and divorced two actresses: Annabella (whose daughter,Ann, from her previous marriage Power adopted) and Linda Christian (with whom he had two daughters: Romina and Taryn). Having been "twice burned, you know," Power decided never to marry again. Then he met Deborah Ann Montgomery Minardos. She was a fetching brunette from the South who had no show business ambitions. They married on May 7, 1958 and were soon expecting a baby.

On November 15, 1958, and similar to his father's demise, Tyrone Edmond Power died in Spain after suffering a heart attack while shooting a movie, Solomon and Sheba. Like his great-grandfather, he died still famous and in his forties, while working overseas.

The actor bequeathed those famous Irish eyes to the Carrie Estelle Doheny Eye Foundation (now the Doheny Eye Institute) for transplantation.




Tyrone William Power b. 1959. Click for the image source.

Tyrone William Power

The winter holiday season of 1958 was a difficult one for the Power family with the death of husband and father, Tyrone Edmond Power. However, a fresh ray of hope came about in the middle of the cold winter. Tyrone William Power was born on January 22, 1959 in Los Angeles, California, two months after his father died. Tyrone William (like his great-great-grandfather before him,William Tyrone Power) would never know the man who bore him.
"It was really weird for me as a kid, watching his movies and trying to figure out who he was. Here I had this father I never knew. One day he's a pilot, one day he's a cowboy, next day he's romancing yet another gorgeous girl. I'd look at him on screen and ask myself, 'Now how would he have been in the Dad role?'" 

Also, like his ancestors before him, Tyrone William has pursued acting, including appearing in a small part in Cocoon (1985). Of that part the actor has said,
"I couldn't say no to working with Jessica Tandy, Maureen Stapleton, and Don Ameche, who'd all worked with my father. It was a wonderful experience."
Tyrone William has, from time to time, attended retrospectives of his famed father.

History repeated itself again when, in 1995, Tyrone William married (and has since divorced) an actress - DeLane Matthews. When nearly in his forties, the couple bore a son, Tyrone Keenan Power. The younger Tyrone will be about seventeen now, the age when the acting bug awakens the men in the family with a firm bite.

-----------
On this, the month of Tyrone Power's birthday, we reflect on the dedication and drive that each of the Powers possess for show business. Whatever the future holds for the family, we fans appreciate their passion to be the best in their craft.



Sources

Tyrone Power by William Winter

Impressions of America by Tyrone Power

UPI news clipping about the movie star donating his eyes: "Tyrone Power Wills Eyes to Medicine"

Thursday, May 16, 2013

Do Not Disturb (1965) a Doris Day-Rod Taylor Comedy

Source
Doris Day is charming as always in this film about a married American couple who move to England. Unfortunately, the culture clash in Do Not Disturb (1965) is milked dry for comedy. 

Our star encounters British currency, fox hunting, driving on the "wrong" side of the road and life in an English cottage visited upon by a nosy neighbor dressed in plaid who calls everyone "love." Our star is then whisked away to Paris by a libidinous French guy who gets her drunk and tries to make whoopee with her.

Have we covered all the stereotypes yet?

Then the movie takes a sharp left turn to a completely other storyline involving  her husband's (Rod Taylor) business conference and a golden, backless ensemble into which a party guest tosses a grape which causes our star to dance the Shimmy. 

If Doris Day is one of America's favorite "dolls," then Do Not Disturb is the equivalent of someone taking the doll away, ripping the stuffing out and sticking pins into her. It's difficult to watch.

Day was in a rough patch career-wise and personally at this point. She was married to an abusive husband -Marty Melcher, who is also a producer of this film- and the material that she worked with lacked quality.

Today those who refer to Disturb mostly remember it as Australian actor Rod Taylor's first film with the megastar Hollywood actress.The title song by Ben Raleigh and Mark Barkan, which is performed over the credits, is catchy enough to stick in your brain long after the film is over.


Do Not Disturb is heavy on slapstick and light on witty dialogue, but it is fine for Doris Day fans who must watch her entire oeuvre.

Monday, May 13, 2013

What's There is Cherce: an ebook (free for the moment)

Most authoritative classic movie information can be found in physical books, museums, libraries or by speaking directly with the people who make the films.


https://docs.google.com/file/d/0B9Ya0AOEHTGUUEpjOHVWSWFRYmc/edit?usp=sharingThough the digital age is struggling to catch up to over a century of movie-making information housed in physical format, there are still more than enough classic movie databases online to browse and learn something interesting about the films we enjoy.

What's There is Cherce (click to download) directs you to online databases with information about classic movies that you may use to write a movie review, to support a school report or just to explore for your own curiosity.



The listed websites are in alphabetical order. There is a synopsis of the type of information to expect at each site. Note that this ebook(click to download) is not a list of where to watch movies online nor a guide for recommended movies.

What's There is Cherce (click to download) codifies movie-reviewing resources that we've discussed before here on Java's Journey and adds a few more.


There are fewer authoritative classic movie sources online than offline, but what’s there is "cherce."



Download What's There is Cherce.pdf

Friday, May 10, 2013

Follow Friday - May 10, 2013

Click on the images below for links to classic movie articles or blog posts throughout the web.

For regular links to fascinating classic movie information, visit  Laura's Miscellaneous Musings  and KC's  A Classic Movie Blog.
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Laura Petrie in Color via Making Nice in the Midwest

Recreating Astaire's Spring Fashions in The Band Wagon via Eclectic Ephemera

Elizabeth Taylor and Her Car via Noir and Chick Flicks
2013 TCM Film Festival via Laura's Misc. Musings

Sonny and Cher's Movie Cars via Noir and Chick Flicks
Check out the entire, ongoing series of stars and their cars at Noir and Chick Flicks. It's under "Beep Beep'm Beep Beep Yeah."

Wednesday, May 08, 2013

Google honors Saul Bass, master of the opening credits

Google
Opening movie credits in the mid-20th century saw a boost of creativity from graphic designer and filmmaker, Saul Bass.


Although Bass balked at the idea of there being distinctive Bass credits (He was there to enhance the film, not distract the audience by drawing attention to himself.), the "fingerprints" on his works cannot be denied.

West Side Story (1961)  Saul Bass/ United Artists

Today, on what would have been his 93rd birthday, Google has made a doodle for him using their own logo with Bass' stylings. They've made a series of Google doodles into a video, paying tribute to Bass' varied opening credits sequences.

Google

My favorite is the West Side Story one at 00:20-00:32 in the video.


Monday, May 06, 2013

Laura Petrie in Color by Making Nice in the Midwest



A blogger has colorized Laura Petrie's outfits on the Dick Van Dyke Show. She leaves the rest of the photo in black and white. Laura stands out even more than usual. I love it!

Read more at Making Nice in the Midwest.

Who Dislikes Classic Movies? Why?

When Denver Broncos quarterback, Peyton Manning, asked his teammates to watch five classic movies so they can "get on the same page with me," the teammates did not find his choices entertaining, but they trudged through. The thirty-seven year old refers to a generation gap in the team that he wants to bridge with films, "[We] don't speak the same language because we don't know the same favorite movies."

Manning resurrected a question that has troubled me for many years: Why do people dislike old movies? 

I can't remember a time when I disliked them; my own background is of no help. I turned to Yahoo Answers,Google, blogs, etc. and found a variety of responses to that question.
They don't like classic movies? Inconceivable!

One cannot explain why she doesn't like the classics.

"I don't know what it is about old movies that creeps me out.  And really, I don't even know the exact definition of 'old' as I use it here.  I'm thinking like, pretty much anything recorded earlier than say... the 1970s.  (So like, pretty much anything older than me.  Ha ha!)  But yeah... something about them just gives me the creeps. " - A user at Experience Project

Another one finds the acting distracting.
"I was having a discussion with my father-in-law awhile ago about a disconnect that I'm experiencing with "old movies"...

The conclusion that *I* was reaching was that the "acting" was worse than a Jr. high drama class would offer. Hear me out. I'm noting this with MANY old movies.

You've seen the scene: The female lead's eyes dart about as though tracking a fruit fly. Oh wait!! He said something awful; (her close-up, bite bottom lip, press hand to mouth and spin around away from him. Stare at the floor. Stare...there's that fly again... Now spin back with a constipated look. The cigarette (over) used as a dramatic prop with the lead (male) waving and gesturing and squinting through the smoke to convey frustration. Then (too obvious to ignore) stride across the stage and "hit the mark". Cue the sit-partially-cross-legged-on-the-corner-of-the-desk-pose, folds his hands in his lap...Good! (We HAVE our movie poster).

NOW, he doesn't like what she's saying; makes a big show of folding his arms. Wince, (close-up on him) glance about nervously (now the fruit fly is his) and then stands up, rush to his mark and grasp her arms between the shoulder and elbow as she looks painfully at your camera-side hand, and CUT we have our dramatic interaction.

Try that in a 2008 movie and we'll throw M&M's.... " Awf Hand at Reelviews.com


And on it goes.


Summarizing all of the answers I've found, these seem to be the problems:

"Unrealistic"
"Too old."
"They are older than I am!"
"They are not in color."
"Too long and slow-paced."
"Boring."
"I tried to like it, but the acting is weird/stilted."
"They are irrelevant."

This is not empirical data or anything. However, I noticed another pattern. The ones who voice their complaints are watching Bogart, anything noir, Gone with the Wind, Singin' in the Rain, Hitchcock thrillers in the classroom or The Wizard of Oz with granny.  They watch wonderful, but over-hyped, features and come away disappointed because they just don't understand why it's such a big deal to everyone else.

Then some feel as if the classics are something they are obligated to like (because of peer pressure) instead of something they've come to enjoy on their own. They weary of us telling them they don't know what they're missing.

If these are the reasons, then we'd do well to connect the current with the past, to connect that foreign entity -the old movie- to something in that person's life to help others appreciate that classic movies are very much relevant today.
Don't like classic movies,eh? Engarde!

Some movie watchers will be beyond reach; they don't like old movies and that's the end of it. However, many simply need a guide. Someone to be that bridge between then and now.

I met a school teacher who often pauses classic movies during a salient plot point to discuss with the students what is going on, what they believe will happen next and what they would do if they were the characters. This helps the kids find a connection with the movie. Everyone is eager to express an opinion.

When West Side Story ran in theaters recently, the students -who before were completely blasé about old films- were eager to go! They were so excited afterwards, they began snapping their fingers and leaping about in the parking lot, just like the Sharks and the Jets in the film. 

Reaching beyond our classic movie fandom can be done. They might not become the fanatics that we are, but they might come away with a better appreciation of these historical gems.

Now I turn to you. On the sidebar to your right is a poll on this question. Click the answer you think best captures why people hate old movies. You can also answer in the comments section below.

Why do you think people dislike old movies?