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  1. 9 points
    In the first full year after the merger, 20th Century Fox was working at an astounding rate. With 59 films released, they were going at a rate slightly faster than 1 a week. They also found the time (and money) to dip their toes into three-strip Technicolor for the first time, something that would hint of the company's trailblazing use of color in the future. and a movie that premiered in November (although released nationwide in January 1937) would seal their destiny as an important studio. The year began early, on Janurary 3, with Warner Baxter and Alice Faye starring in the musical King of Burlesque. On January 10, the newest Charlie Chan mystery, Charlie Chan's Secret, was released. January 17 brought Paddy O'Day, another musical vehicle for child star Jane Withers co-starring a pre-stardom Rita Hayworth (still working under her real last name Cansino at this point in time) January 24's Professional Soldier was an adventure film based on a Damon Runyon story. It starred Victor McLaughlin (destined to win an Oscar for The Informer a few months later) and MGM's child star Freddie Bartholomew. The month of January was capped off by the dramatic B-film My Marriage with Claire Trevor. February 7's release started a brand new B movie series. The film was named Every Saturday Night, and it concerned a family named Evers (later changed to Jones in the series' run.) 17 films would be made in the series including 2 more before the year was out. February 14's drama, It had to Happen brought together George Raft and Rosalind Russell (bizarrely this lobby card is stamped by company 7 arts, which was not even existent when this film was released) February 21 was marked by Here Comes Trouble, a short heist comedy. February was closed out on its final day by a John Ford classic, The Prisoner of Shark Island, starring Warner Baxter and Gloria Stuart March 6 brought onto the screen the famous Dionne Quintuplets for their first film, The Country Doctor. Being less than 2 years old at the time, it can be assumed that titular character Jean Hersholt did much of the acting. March 13's Song and Dance Man was misleadingly named. It starred Claire Trevor. March 20's Everybody's Old Man showcased writer Irvin S. Cobb in a dramatic acting role. Charlie Chan could find a mystery anywhere. On March 27, he found one At the Circus. That same day, George O'Brien became a Canadian mountie in the western O'Malley of the Mounted. April began with Jane Withers playing Booth Tarkington's Gentle Julia. The following week brought major stars Wallace Beery and Barbara Stanwyck in the war film A Message to Garcia. April 17 arrived bringing the latest with Shirley Temple, Captain January, with her blend of charm and cheer. April 24 closed the month on a quieter note with The Country Beyond with Rochelle Hudson. The May quartet started on the 1st with Under Two Flags, a romantic adventure epic with Ronald Colman, Claudette Colbert, Victor MacLachlan, and Rosalind Russell. Paul Cavanaugh played the gambler Champagne Charlie on May 8. The First Baby, the next May release, looks like a lost film. It only has this one cropped photo to show for it. May 22 brought Frances Dee in the comedy Half Angel opposite Brian Donlevy. June 5's Private Number was a remake in disguise. The earlier film, Secret Interlude, was much more risque allegedly. This one starred Robert Taylor, Loretta Young, Patsy Kelly, and Basil Rathbone. Despite the comic chops of Kelly, this film was a drama. On June 12, Jane Withers thought she was Little Miss Nobody (inferiority complex?) The drama also featured Jane Darwell, Ralph Morgan, Sara Haden, and Harry Carey Sr.. Human Cargo was an action-suspense film about illegal trafficking and people out to stop it. Claire Trevor, Brian Donlevy, Ralph Morgan, and Rita Hayworth appeared. Sins of Men was a drama with that somber title. Jean Hersholt was the star, but Don Ameche played a double role. On June 26, The Crime of Doctor Forbers (as played by Robert Kent) was revealed. Gloria Stuart was by his side. Jack London's classic adventure White Fang came to the screen in July with Michael Whalen and Jean Muir. Then George O'Brien hit the oater trail again with The Border Patrolman. And the newly-renamed Jones family returned for their second homey outing in Educating Father. High Tension mixed comedy and drama, and Glenda Farrell and Brian Donlevy. And Shirley Temple had one of her best regarded hours with Poor Little Rich Girl, with Jack Haley, Alice Faye, and Gloria Stuart. 36 Hours to Kill rounded off July. the thriller starred Brian Donlevy and Gloria Stuart, who seemingly had boundless reserves of energy given how often they appeared over the course of a month. To begin August, Myrna Loy came from MGM to Fox and Warner Baxter for To Mary with Love. and Charlie Chan, now finished with the circus, hit the Race track instead in Charlie Chan at the Race Track. Simone Simon came to America for the romantic Girls' Dormitory alongside Herbert Marshall and Ruth Chatterton. tyrone Power had a smaller part (though he would not have to settle for those much longer) Sing Baby Sing came with an Oscar nominated song and with Alice Faye, the Fox musical queen of the era, and Adolphe Menjou. August ended with Claire Trevor in a generation swap version of Lady for a Day known as Star for a Night. Jane Darwell played her mother. The cool breeze of September brought Howard Haws directing the war saga The Road for Glory with Fredric March, Warner Baxter, and Lionel Barrymore. And Jane Withers now felt better enough to have a name this time around: Pepper. Maybe the comedy lifted her spirits. The mounties returned, this time with Robert Kent, in King of the Royal Mounted. Continuing the air of deja vu, the Jones family returned in Back to Nature. September ended with the milestone of Fox's first 3-Strip Technicolor film. Ramona, based on a well regarded novel, was a Western Adventure Romance with Loretta Young and Don Ameche. October started with the PG Wodehouse comedy Thank You, Jeeves! with Arthur Treacher and David Niven. The Ladies in love in Ladies in Love were Janet Gaynor, Constance Bennett, Simone Simon, and Loretta Young. Don Ameche, Paul Lukas, Alan Mowbray, and Tyrone Power were the men who were the objects of their affection. No need to guess who the star of the musical Dimples was. it was Shirley Temple. Frank Morgan played her grandfather. Pigskin Parade, another musical, was the first Fox film since the merger to receive a nomination at the Oscars for acting for Stuart Erwin. Patsy Kelly, Jack Haley, Judy Garland, Betty Grable, and Tony Martin were also involved. October closed with the thriller 15 Maiden Lane. Claire Trevor and Caesar Romero were the ones exploring it. November started the American directing career of Otto Preminger with a musical comedy (!), Under Your Spell with Lawrence Tibbitt and Wendy Barrie. Wild Brian Kent sent Ralph Bellamy and Mae Clarke (no grapefruits here) to the Wild Wild West. Can This be Dixie? asked Jane Withers and Slim Summerville in this musical comedy. the answer was yes. Deep south all the way. reunion was indeed a Reunion. It was a sequel to the year's earlier film The Country Doctor, and again had the same leads. Warner Baxter went on safari in the adventure White Hunter. And then came the gamechanger..... Lloyd's of London was the one TCF had been waiting for. A smash hit, a big film, a new major star in Tyrone Power, and plenty of prestige. This was the film that really cemented the newly reformed company as a major studio. it also starred Madeline Carroll, Freddie Bartholomew, Guy Standing, and C. Aubrey Smith in this sweeping epic. As such, December was a little anticlimatic but still supple. Barbara Stanwyck and Joel McCrea inagurated the holiday season with the musical Banjo on My Knee. Buddy Ebsen and Walter Brennan were also present. Who was Laughing at Trouble? Jane Darwell, Allan Lane, Sara Haden, Margaret Hamilton, and John Carradine, that's who! The Career Woman was Claire Trevor. Given the number of films she was in in this year, that comes as no surprise! The Christmas Shirley temple film was Stowaway, a delightful and charming musical that paired her with Robert Young and Alice Faye. She even spoke a little Mandarin Chinese in this one. The final release of the year was One in a Million, which premied on New Year's Eve. It was Sonia Henie's debut to films after winning so many skating prizes.
  2. 8 points
    A day late, but here we go. 1937 awaits! January started with Charlie Chan at the Opera, with Warner Oland continuing to be on mystery patrol. This was released on the same day as an Elizabeth Bergner/Laurence Olivier version of Shakespere's timeless comedy As You Like It. Another pair followed a week later. Secret Valley, a B Western-gangster film with Richard Arlen and Virginia Grey... And Crack-Up, another B involving Peter Lorre as a spy (also with Brian Donlevy) Crime surfaced again with yet another B, Woman-Wise with Rochelle Hudson. February opened with a Jane Withers saga with a bracing title, The Holy Terror Followed by an enjoyable musical, On the Avenue with Dick Powell, Madeleine Carroll, Alice Faye, and The Ritz Brothers. Wings of the Morning, a romance, paired Henry Fonda and Annabella in the first British film in 3 strip Technicolor. And the Jones Family was Off to the Races in another rustic adventure. The month concluded saying that Love is News, with Tyrone Power, Loretta Young, and Don Ameche, and also featuring George Sanders, Slim Summerville, and Jane Darwell. March started with a Fair Warning. Interestingly, this B featured John Payne in a supporting role. Fox would make him a star soon enough. Another crime saga the next week, Nancy Steele is Missing!, co-directed by George Marshall and Otto Preminger, and starring Victor McLaglen Next thing you knew there was Claire Trevor saying it was a Time Out for Romance. Another romance followed with Jimmy Stewart and Simone Simon in a remake of the evergreen silent Seventh Heaven, but the results weren't as fertile this time around. April started with Brian Donlevy taking a Midnight Taxi to crime. Arthur Treacher and David Niven returned for their second and final dose of PG Wodehouse in Step Lively Jeeves In a romantic comedy, Don Ameche and Ann Sothern found Fifty Roads to Town There was a lot of living at Fox in late April of 1937, first with Walter Winchell, Alice Faye, and Patsy Kelly in Wake Up and Live, a musical. And then with Rochelle Hudson hitting the crime circuit again in That I May Live May was in bloom when Tyrone and Loretta met again for love and laughter in Cafe Metropole. On a quieter note, the same day saw It Happened Out West. And Jane Darwell received a rare lead in The Great Hospital Mystery. Charlie Chan made it all the way to the Olympics to solve a case of his own.... Under the Red Robe was a historical fiction drama and the final directorial effort of Victor Sjostrom. It starred Conrad Veight, Annabella, and Michael Redgrave. The month closed with This is My Affair , starring Barbara Stanwyck and Robert Taylor, a few years before their marriage. Jane Withers was the one in question in the comedy Angel's Holiday ' Keeping up with the Jones (Family) saw them into Big Business. Tony Martin declared audiences to Sing and Be Happy. July started with a Slave Ship. Wallace Beery, Warner Baxter, Jane Darwell, Mickey Rooney, George Sanders, and Joseph Schildkraut were all in it. Rochelle Hudson finally found herself in a comedy (with Jack Haley) in She Had to Eat. But not for long. The following week found her in crime again in Born Reckless. Ricardo Cortez was The Californian of the western of that name. The Lady Escapes found Gloria Stuart and George Sanders in a comedy. And, after a 7 month absence, Shirley Temple returned in Wee Little Winkie Alice Faye and Don Ameche found that You Can't Have Everything, to a musical beat. One Mile from Heaven starred Claire Trevor and was the last of six films of hers to be directed by Alan Dwan. Love Under Fire found Loretta Young suspected to be a jewel thief by detective Don Ameche, who falls for her. A new series, that would ultimately encompass 8 films, was started with Peter Lorre in Think Fast, Mr Moto. Another B oater followed in Western Gold. September entered with Sonia Henie and Tyrone Power on Thin Ice. A documentary, Borneo, also appeared. Wild and Woolly placed Jane Withers and Walter Brennan in a Western Adventure. Wife Doctor and Nurse was a romantic triangle comedy with Loretta Young, Warner Baxter, and Virginia Bruce. The Jones Family, who must be running on some sort of batteries or energy drink, next found themselves in Hot Water. College would never be the same when the comic Ritz Brothers found that Life Begins at College. Then George Sanders, Dolores Del Rio, and Peter Lorre starred in the espionage film Lancer Spy. A B western Roll Along Cowboy came in next until the next major Fox release That major one was Heidi, one of the most remembered Shirley Temple films. I must confess though, it actually scared me a little bit as a child. Charlie Chan then investigated a mystery on the stage, but for Warner Oland time was running out. He only did one more after this one. Eddie Cantor starred in the musical Ali Baba Goes to Town. Ann Sothern and Jack Haley appeared in a screwball comedy directed by Otto Preminger (!) Danger--- Love at Work Danger was obviously in the air, for it was also in the title of the new Cecar Romero B film Dangerously Yours Second Honeymoon starred Tyrone and Loretta in love again. Something tells me this was more than just their second honeymoon on screen. Jane Withers then stared down plenty of prospective parents in 45 Fathers In Dinner at the Ritz, a romantic mystery, you could find Annabella, David Niven, and Paul Lukas. Claire Trevor was a Big Town Girl Borrowing Trouble saw the Jones family again. They made films like rabbits. Peter Lorre Returned as Mr Moto on another case, Thank You, Mr. Moto Love and Hisses was a sequel to Wake Up and Live. Again, Walter Winchell, the famous critic, was the lead. And finally, to cap off the year, there was In Old Chicago, the first Best Picture nominee since the merger, an Oscar-winning performance by Alice Brady, and an all-around entertaining and gripping film
  3. 8 points
    20th Century Fox was born as part of a merger in 1935 between the Fox Film company, a 20 year old maker of films, long a major player in the film industry and the upstart 20th Century Pictures, an enormously successful independent producer at United Artists. The first steps of this new company were hesitant. In the first full year of the merger, a major star died and the depression was still at its height, but brighter days would be ahead..... These were the first releases of 20th Century Fox in the fledgling days after the merger in 1935. July 31, 1935: Dante's Inferno, a drama starring Spencer Tracy (who after this was en route to MGM) and Claire Trevor August 30, 1935, Redheads on Parade, a musical starring John Boles and Dixie Lee September 6, 1935, Steamboat Round the Bend, a comedy directed by John Ford. Star Will Rogers died a few weeks before its release in a plane crash. His final film would be released a few months later. September 13, 1935, The Gay Deception, the first Oscar-nominated film released after the merger. It was a romantic comedy starring Francis Lederer and Frances Dee. September 20, 1935, Thunder in the Night, a crime saga with Edmund Lowe September 27, 1935, Thunder Mountain (another week, another Thunder film), a B-western based on a Zane Grey story with George O'Brien and Barbara Fritchie October 4, 1935, Here's to Romance, a musical starring Nino Martini, Genevieve Tobin, and Anita Louise. October 14, 1935, Charlie Chan in Shanghai, the 9th in the series started under the old Fox label, starring Warner Oland. October 18, 1935, This is the Life, a family comedy with Jane Withers October 25, 1935... two films this day. A remake of Way Down East with Rochelle Hudson and Henry Fonda, and Bad Boy, a B-Comedy with James Dunn, 10 years before his Oscar win.... November 1, 1935, Music is Magic. Needless to say a musical. 'Twas the last film to be released that was filmed before the merger completely came together. Also was the last film for star Bebe Daniels. Star Alice Faye would soon become a major star in her own right. November 8, 1935, Metropolitan, an operatic musical with Lawrence Tibbitt. The first completely filmed after the merger, and thus, the first full fledged 20th Century Fox film..... November 15, 1935, Thanks a Million, a musical starring two stars loaned from WB: Dick Powell and Ann Dvorak (although it seems Miss Dvorak was beginning to freelance) November 22, 1935, In Old Kentucky, the swansong film for Will Rogers. It was a walloping hit. November 29, 1935, another 2 film day. The A-Film was The Man who Broke the Bank at Monte Carlo, a romantic comedy with Ronald Colman and Joan Bennett. The B movie was Navy Wife, with 3 main players whose careers would all blossom in years to come: Claire Trevor, Ralph Bellamy, and Jane Darwell. December 6, 1935, Show Them No Mercy, a crime film whose title seems to have been applied to its poster since top-billed Rochelle Hudson is nowhere to be found on it...... December 13, 1935, Your Uncle Dudley, a rare starring vehicle for Edward Everett Horton. December 20, 1935, Whispering Smith Speaks, an action B with George O'Brien, back again December 27, 1935, The Littlest Rebel, the year's final release starring the company's biggest star, Shirley Temple. it was a little to late to be a Christmas present, but it was very much welcomed by the accountants anyway.
  4. 7 points
    It's almost April 3, and that means Doris' 97th birthday is just around the corner! Over the past few years, your online birthday messages have brought her such joy, so we have once again posted a special birthday card, where you can send her your love, greetings and best wishes. Doris is always so touched by the generous outpouring of messages from fans all over the world, who have enjoyed her music and movies. And nothing means more to her than knowing that you share her love for animals and support her work to make this a better world for them. Please click here to sign Doris' card and wish her a Happy 97th Birthday! If you would like to make a donation in Doris' honor while you are there, it would mean so much to her, to all of us at DDAF, and most of all, to the animals. Please join us in wishing Doris the happiest of birthdays!
  5. 6 points
    I just saw this list and thought I'd include it in this thread. It's from Rotten Tomatoes. It's their list of the 24 worst remakes, based on their "Tomato-Meter", which is tabulated via an averaging of critical appraisals. The "worst" were determined by the greatest discrepancy between the rating of the remake as compared to the original, or best known, films. Like all lists, they're subjective and don't really mean anything beyond entertainment. Nightmare on Elm Street (2010) The Invasion (2007) - remake of Invasion of the Body Snatchers (1956) Get Carter (2000) The Women (2008) The Mummy (2017) Godzilla (1998) The Wicker Man (2006) The Stepfather (2009) The Jackal (1997) - remake of Day of the Jackal (1973) The Haunting (1999) House of Wax (2005) Down to Earth (2001) Halloween (2007) The Pink Panther (2006) Day of the Dead (2008) The Fog (2005) Mr. Deeds (2002) Arthur (2011) Swept Away (2002) Rollerball (2002) Pulse (2006) The Heartbreak Kid (2007) Ben-Hur (2016) Psycho (1998)
  6. 6 points
    Good observations here, Hibi. And, in addition to your comment about Day's overacting in this film, I'll add that as much as I've always liked James Garner, he was never as good as Cary Grant was when he starred in these sorts of updated '60s screwball comedies. But then again in Garner's defense, NOBODY ever was or could be. (...and for that matter, Irene Dunne was always a hard act to follow too, ya know)
  7. 6 points
    'The Shanghai Gesture' is my favorite. A filthy pit where anything goes; a lowly sink where you can purchase anything ...even a human soul!
  8. 6 points
    Tomorrow, the World! (1944) This movie features Fredric March taking in his Hitler Youth nephew and trying to help him let go of his Nazi beliefs. This was an interesting look into anti-Nazi propaganda. Skip Homeier makes his film debut as Emil, the young German nephew of March's character, Mike Frame. Emil arrives at the Frame home in an old suit. When the family sits down for lunch, Mike asks Emil to change his clothes. Emil comes out donning his Hitler Youth uniform, complete with swastika. He immediately goes to work trying to recruit Mike's German maid into following his Nazi beliefs. Joan Carroll plays Mike's daughter, Pat, who immediately takes cousin Emil under her wing and tries to help him make friends with her classmates. It does not go well, especially when Emil meets Pat's classmate, Stan Dombrowski whose Polish name elicits hateful comments from Emil. Another one of Pat's friends, Milly, has a father who is a POW in a concentration camp in Germany. Betty Field portrays March's Jewish fiancee, Leona Richards, who is also Emil and Pat's teacher. Emil is especially cruel to Leona. Agnes Moorehead rounds out the cast as March's sister, Jessie, who is taken aback when she hears of Mike and Leona's impending marriage. Emil senses that Jessie doesn't like Leona either and attempts to manipulate her into following his belief system. I found Emil's pre-pubescent voice off-putting at first, but quickly found it amusing when in the context of his hateful, over the top behavior. He is so outrageous and over-the-top in this film to the point where it's more funny than the serious propaganda I'm sure it was intended to be. I think my favorite part was when Pat's friends beat the crap out of him. I found Emil's sudden change in personality a little unrealistic, but I suppose we have to hope that there is an iota of hope in this boy and that he can go on to lead a better life with March serving as his father figure. Hopefully he can evolve from his Hitler Youth upbringing. I enjoyed watching this film, but I do not think this is a film I would need to watch again and again. --- To Kill a Mockingbird (1962) I saw this film on Wednesday as part of the TCM Fathom events. While I read the book in high school (and loved it. Probably the only book, aside from The Great Gatsby, that we had to read that I liked!), I had never seen the film. I loved this movie. Phillip Alford and Mary Badham were fantastic as Jem and Scout Finch. I'm not typically a fan of child actors, as they're usually either too cute (e.g. catch phrases and obnoxious one-liners) or they're overly precocious and snotty. I do love it when kids seem like real kids, like how Jem and Scout were portrayed in the film. This film was very much a coming of age story with the adult Scout character looking back at a pivotal time in her childhood in the early 1930s. The ongoing tale of Boo Radley was especially captivating. There always seems to be "that neighbor" whom the kids tell tall tales about and the neighbor becomes a legend for whatever traits the kids perceive them to have. Gregory Peck was fantastic as Atticus Finch. I like Peck, but sometimes he can be a bit wooden, I think it's because of his deep voice. However, he was born for this part. Atticus was such a great protagonist and complex character. While the courthouse scene was amazing, I especially enjoyed the quieter scenes of Atticus comforting daughter Scout on the porch and giving her lessons, such as having to walk in another person's shoes in order to understand their viewpoint. That's such a great lesson in empathy and not passing judgement. The other scene that I thought was interesting was the scene where Atticus sets up shop in front of the jail when he gets word that the cruel Mr. Ewell, husband to the plaintiff in client Tom Robinson's rape trial, has rallied some of the neighbors to attack Robinson. The scene where the children refuse to leave the scene, forcing some of the neighbors to find their humanity was very powerful. Brock Peters was amazing as Tom Robinson. His emotional testimony was heartbreaking. Even though I'd read the book, I'd forgotten the outcome of the trial. Hearing the verdict was especially heart wrenching. The scene with Scout walking around as the ham was funny. The scenes with Boo were poignant and very well done. I absolutely loved this film and would watch it again in a heartbeat. The acting was excellent, the cinematography was gorgeous. Everything you'd want in a film was in To Kill a Mockingbird.
  9. 6 points
    These are hard to find, so it could be why they are forgotten. Regular TCM viewers may know them by heart, but I hardly ever find anybody else who knows they exist. Excuse me in advance for verbally vomiting all over this thread. Forgotten Faces (1928) Paramount - A man wants out of prison to protect his daughter from his tarantula of an ex-wife. He promises the warden he will not touch his wife if he is allowed a furlough. But does he actually keep this promise? Nothing But the Truth (1929) Paramount -This early talkie with Richard Dix as a stock broker shows he was a natural for the talkies. What went wrong in Cimarron I will never know. Love Parade (1929) Paramount - Such natural performances for an early talking picture you would think it was made on another planet. Being directed by Ernst Lubitsch probably helped. Dynamite (1929) MGM - DeMille's first foray into sound was very interesting. Young Man of Manhattan (1930) Paramount - A prohibition slice of life with Ginger Rogers as a teen flapper. Such Men are Dangerous (1930) Fox - A wealthy but ugly man has his bride run out on him on their wedding night. He fakes his own death, has plastic surgery, then returns to seduce her. Over The Hill (1931) Fox - Shows how having children is definitely not old age insurance. Palmy Days (1931) Sam Goldwyn - This little fluff piece was probably a real spirit lifter during the depression. Blonde Crazy (1931) Warner Bros. - Yes, everybody has seen this one and TCM plays it frequently. But IMHO it is the best film for demonstrating the magic and chemistry in the duo of Cagney and Blondell. And Ray Milland's actions still make no sense to me. 24 Hours (1931) Paramount - A man is accused of murdering his mistress. He and his wife rekindle their relationship over trying to prove his innocence. Only in the precode era. Six Hours to Live (1932) Fox - Is it cruel to bring a man back to life if he only has six hours to live? By Whose Hand? (1932) Columbia - Ben Lyon is terrific in this fast moving precode as a reporter who gets on a train on an impulse to follow a pretty girl and runs into a big story. This was shown exactly once - Jan 11, 2007 - on TCM in a beautiful print. Where is it? The Big Broadcast (1932) Paramount - Universal (which owns the 1929-48 Paramount film library) has put out the sequels to this on DVD. Why this fun lively film with tons of surrealism that started it all is not available I do not know. Night of June 13 (1932) Paramount - Four households on a suburban street are intertwined in various ways, and then one night one member of the four households is murdered. Blessed Event (1932) Warner Brothers - A signature role for fast talking Lee Tracy. Two Seconds (1932) Warner Brothers - What happens in a man's mind during the two seconds it takes to execute him by electrocution. Great acting by Edward G. Robinson. Turn Back the Clock (1933) MGM - Lee Tracy gets to live his life over on an alternate path and learns that his original life was not so bad after all. Terror Aboard (1933) Paramount - How do you kill over a dozen people onboard a yacht without any of them catching on as to who is to blame before you are done? Crime of the Century (1933) Paramount - A man confesses a murder to the police before it happens. When it does happen just as described it is not as open and shut as you would think. Double Harness (1933) RKO - A perfectly good marriage is ruined by love. Better known since TCM got the rights problems straightened out. Cross Fire (1933) RKO - The best B western ever. It shows a west in transition after WWI, and had a rather unique gangster angle built into. Oddly enough, TCM has shown it only three times, the last time being April 2011. Dangerous Corner (1934) RKO - A theft and a suicide make everyone concerned believe one thing led to the other. Then a year later the truth comes out. College Scandal (1935) Paramount - This is a very enjoyable combination college campus murder mystery, romance, and a comedy with even some musical numbers thrown in. You wouldn't think these things would mix together that well, but this film really works. Maybe the reason it is buried in obscurity is that there are no real stars in the film. Stolen Harmony (1935) Paramount - George Raft gets out of prison and goes to work for a traveling band but he just can't shake those invisible stripes. One of the few films that shows big band leader Ben Bernie in action Thanks a Million (1937) Fox - Great film about old time radio and blow hard politicians. Girls Can Play (1937) Columbia - Is a druggist using a girl's baseball team as a front for a criminal enterprise? And who would ever suspect such a thing? Features a young Rita Hayworth who is a standout in the cast. Exposed (1938) Universal - Saucy Glenda Farrell plays a reporter who gets involved in a big ruse and risks being "exposed". Shows she can sizzle with somebody other than Barton McLane. A great cameo by Eddie "Rochester" Anderson. It All Came True (1940) Warner Brothers- Bogart would never have agreed to be in a film where he wears a hat AND pajamas just two years later. But here he hams it up and even laughs. A great musical comedy treat, but you'll never get me to believe that anyone would find Jeffrey Lynn to be the man of their dreams. Flight From Destiny (1941) Warner Brothers- Thomas Mitchell in a rare leading role as a philosophy teacher who has a short time to live. What he chooses to do with that time is rather shocking. Among the Living (1941) Paramount - A man has an evil twin on the loose, and Susan Hayward is helping him fit into society so that nobody would ever think he is out of place - she doesn't know he is crazy. Great early performance by Hayward. Footsteps in the Dark (1941) Warner Brothers - Errol Flynn as a blue blood who has a secret life as an author of crime novels who winds up in a real life murder mystery. San Diego I Love You (1944) Universal - My favorite wartime film involving the war. You have a man with an invention who wants to sell it to the military, a girl trying to keep her goofy family together as they travel to San Diego to try and make the sale, the housing shortage in San Diego caused by the war, Buster Keaton as a bus driver, and Irene Ryan as an aircraft factory worker who knows her rights! Nine Girls (1944) Columbia - How do you make a compelling murder mystery with few men in the cast because everybody is in the army at the time? This film answers that question. Vacation From Marriage (1945) MGM - A plain mousy couple is thrown from a rut by WWII, and are not sure they want to go back to that rut afterwards. Strange Affair of Uncle Harry (1945) Republic - George Sanders plays a man whose family lost its fortune in the depression. He finds a bride in middle age, but his sister is determined to use every passive aggressive means at her disposal to stop the wedding. It's good to see Sanders play an (almost) normal person for a change. One Way to Love (1946) Columbia - Misleading title. Plot is about a writing duo with a huge contract who need the third member of their team back because he is the one with the talent. He is engaged to a rich girl who thinks writing for radio is beneath him. Very funny vehicle for Chester Morris. The Dark Mirror (1946) Universal - One of two twins has probably murdered a man in what seems like the perfect crime. It Had to Be You (1947) Columbia - Ginger Rogers was a little too old to be playing the runaway bride, but this one has a great fantasy angle that makes it worth it. The Senator Was Indiscreet (1947) Universal - William Powell plays a crooked untalented blowhard who wants to be president. Sound familiar? Look for the great cameo at the end of the film. Night Has a Thousand Eyes (1948) Paramount - Edward G. Robinson plays a psychic who can't do anything to change the premonitions that he has. Intruder In the Dust (1949) MGM - A film about lynching and race relations in the South that shows that heroes can be found in the most unlikely places. Mrs. Mike (1949) United Artists - Dick Powell is a Canadian Mountie whose young bride is not prepared for the hardships of living in the arctic. Alias Nick Beal (1949) Paramount - I can't help but think of Broadcast News and Albert Brooks' speech about the devil - "What do you think the devil's going to look like if he's around? ... Nobody is going to be taken in by a guy with a long, red, pointy tail!". Enter Ray Milland. Dark City (1950) Paramount - Charlton Heston in a noir, if you can conceive of such a thing. Kiss Tomorrow Goodbye (1950) Independent - Sort of like White Heat in an alternate universe if Cody Jarrett had been sane. September Affair (1950) Paramount - An unhappily married man and a single woman meet in Italy, fall in love, miss a plane that crashes and are pronounced dead. This gives them the chance to start their lives over in Europe - during the production code era? Not a chance. Beautifully acted by Joseph Cotten and Joan Fontaine. Mr. Denning Drives North (1951) British - A man kills his daughter's sleezy beau by accident, disposes of the body, then goes slowly insane when the body is never found. The Whistle at Eaton Falls (1951) Columbia - It is not easy to run a factory, not fire anybody, and compete, even in the days before big corporations ran everything. Come Fill the Cup (1951) Warner Bros. - One of Cagney's best mature roles as a recovering alcoholic. Five Fingers (1952) Fox - Spy cat and mouse film with a great ironic ending. An Inspector Calls (1954) British - Actually it seems like either Rod Sterling or Alfred Hitchcock called in this suspense/thriller/fantasy with Alistair Sim as the titular inspector. End of the Affair (1955) British - There is an amazing amount of human realism for the 1950s in this film about marital infidelity. Man in the Backseat (1960) British - When everything that could go wrong in what was supposed to be a simple theft does indeed go wrong. Jigsaw (1962) British - Maybe Rudy Giuiliani was right. Maybe you do find the big crimes by going after the small ones. The Slender Thread (1965) Paramount - A woman has taken an overdose and THEN calls the suicide hotline. Great acting by Sidney Poitier and Ann Bancroft. J.T. (1969) - A Christmastime made for TV special about a poor kid bonding with a stray cat. Wanda (1970) - Now on Criterion, so it could be argued that it is not that forgotten. About a woman who could not think less of herself unless you allowed her to use negative numbers. The Last Child (1971) - Made for TV movie about a futuristic US where couples are limited to one child because of overpopulation. Love Among the Ruins (1975) - Katharine Hepburn employs Lawrence Olivier as her lawyer in a breach of promise suit and she seems to have no memory that the two were lovers decades before. The memory of her has caused him to stay single all of these years, so obviously he is annoyed. Wise Blood (1979) - A man is a complete cynic about faith except when it comes to his broken down car. Very quirky. Christmas Without Snow (1980) - Made for TV movie about a divorcee starting over in San Francisco. One Dark Night (1982) - On DVD, but this teen horror flick is different. The Paint Job (1992) - Completely lost as far as I can tell. A quirky little mystery/romantic triangle. There isn't even a Wikipedia article about it. The Prestige (2006) Warner Brothers - WB probably didn't have much faith in this one. They released it in October of 2006. The film is like one big magic trick. What does that last line mean?
  10. 6 points
    Spoiler alert: In Abbott and Costello Meet the Killer, Boris Karloff (1949), neither of the three actors were portraying themselves, and Karloff did not portray a killer. If Robert Louis Stevenson's schizophrenic title character would have agreed to appear in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953), he might have been disappointed to learn it was really two people he was meeting. Funny in numbering the titles of sequels that the makers of Boggy Creek II: And the Legend Continues (1984) were apparently unaware that there had already been a second entry in the saga, Return to Boggy Creek (1977), even though it boasted a Dawn Wells performance. Still not as much of an offense as failing the promise that Friday the 13th: The Final Chapter (1984) actually would be, after which Jason Goes to Hell: The Final Friday (1993) woudn't be either. Lovers of nature adventure films might have been disappointed to have never seen the Ice Station Zebra (1968) that the title promised. And Frankie and Annette were sorely missing in On the Beach (1959). In the 1962 and 1991 versions, neither Robert Mitchum nor Robert De Niro wore anything that should have evoked Cape Fear. And although they omitted the question mark, nobody ever replied to the query How Green Was My Valley (1941). The question mark absence also causes confusion with Who Framed Roger Rabbit (1989) as to whether "Who" might the Abbott and Costello routine character. I wonder if I'm the only one who thought The Postman Always Rings Twice (1946) had one of the most feeble excuses for a title. My UPS guy almost never rings the bell and is gone before I know there's a package. Vincent Price insists in the last moments of the movie that he is The Last Man on Earth (1965) even though he apparently isn't. I also don't recall any of the characters engaging in the title activity in American Graffiti (1974), such that it is never clear if it is the form of the word referring to the artist or the result. Similar to the question of whether, in The Cider House Rules (1999), "Rules" is a noun or a verb. In response to why he called his film Bananas (1971), Woody Allen responded because there weren't any bananas in it. Which makes about as much sense as the Marx Brothers titles Animal Crackers (1930), Horse Feathers (1932) and Duck Soup (1933). One expects total specificity in such a military atmosphere as served in The Thing From Another World (1951), which leads one to wonder, if ordered to give a full report of the movie's events while excluding the top secret location, commanding officer Kenneth Tobey may have simply written "I went to the place, and did the Thing." And what exactly was The Bravados (1958) supposed to mean? Perhaps the alternate title would be The People Exhibiting a Pretentiously Swaggering Display of Courage?
  11. 6 points
    Lady in the Lake is a movie that I saw for the first time a few years ago and I didn't like it. I didn't like the decision to use first-person perspective. I didn't think it worked as well as it does in Dark Passage. However, there was *something* about Lady in the Lake that kept me from writing it off completely. I have since seen it (I think) three more times since. Each time it's grown on me a little more which each subsequent viewing. I do wish that if Robert Montgomery was committed to the first person perspective, that he didn't pop back into the film, speaking to the camera. I like that we get glimpses of him in mirrors and such, but when we see him speaking to us, it kind of takes me out of the film a bit. I then feel like we're watching an interview with Phillip Marlowe and how he solved the "Lady in the Lake" crime. I do think Montgomery's decision to use first person perspective was distracting at times, but i appreciate that he was trying something different. I can respect his artistic decision. Lady in the Lake is one of those films that has a somewhat convoluted plot, but with each successive viewing, more and more pieces of the puzzle fit together. I really like Audrey Totter and Jayne Meadows in this film. I thought Totter's portrayal of the ambiguous Adrienne Fromsett was fantastic. Meadows' character was all over the place (I mean that in a positive way, not negative), but one thing was clear, she is up to something nefarious. I think Lady in the Lake was my first time seeing Totter's work. I really liked her. Since then I've seen her in Tension, The Unsuspected, The Set-Up, and The Sellout. Apparently she's also in The Postman Always Rings Twice, which I've seen, but I don't remember Totter. Lady in the Lake is a very unique film. I think it is for that reason alone why I enjoy watching it.
  12. 6 points
    Yes he is fine, thank you. He ended up having to have his gall bladder removed. He’s all healed up in time for our vacation in a couple weeks!
  13. 6 points
    My site has been moved since this the boilerplate copy above was last updated: http://www.moviecollectoroh.com/reports/TCM_SCHEDULES_SUMMARY_alpha.htm
  14. 5 points
    Did anyone catch these two Sat. night?? I hadn't seen Darling in awhile and it doesn't hold up well. Shrill, broadly acted and not very funny. Director Gordon doesn't rein in Day's tendency to overreact in this one. Slack direction as well. (scenes drag on forever). Original wins hands down. (and it's also a lot shorter). I wonder why they didnt use the original script from Something's Gotta Give? It had to be better than THIS. (Nunnally Johnson wrote it, but Cukor brought in his own writer as well)
  15. 5 points
    To answer your question (a) some fans believe older movies have been vindicated by time, and are upset that many people are ignorant of movies before the very recent past (b) some fans either admire the craft of particular classic directors, or the general tone of classic movies. Among such qualities are greater subtlety, less vulgarity, sometimes more emphasis on women.
  16. 5 points
    I agree that it's too much to have so many of one star's films bombard the viewer in a week. And that's what it feels like too, a bombardment. Who is going to take the time to watch so much of one star in one week? And fans of that star with recording devices, who wants to record that much, especially if your device has only so much recording space left? I wonder who TCM thinks they are pleasing by so much in such a short span of time. This comment, of course, applies to any star, not just Garbo. It could be argued that presenting a star's films this way is actually a disservice to that performer, rather than spreading the films out throughout the month. "Did you hear, John? TCM's showing all my films in one week." "I love you, Greta, but even I need a break from you once in a while."
  17. 5 points
    Art is political-- just look at Picasso..... It seems to me that if you have such a big interest in TCM and classic film, we would have heard from you before. But with your first entry having to do with partisan politics, I do Wonder? At any rate you're on the wrong side-- of the website. LOL As for the classic actors and actresses-- they were of all kinds of political Persuasions. Just to give you a little background information-- Katharine Hepburn Spencer Tracy Robert Ryan Melvyn Douglas Gene Kelly Humphrey Bogart John Huston Richard Widmark Tony Curtis Shirley MacLaine Jeff Chandler John Garfield I can go on but all these people were very very left of center. If you stay with us you'll learn a lot more about classic films. PS I will remind you that a person can be left of center, and even a liberal and be a patriot, like maybe Franklin D Roosevelt or Harry S Truman.
  18. 5 points
    DUMBO (2019) *Score: 7/10* Starring: Danny DeVito, Colin Farrell, Michael Keaton, Eva Green, Alan Arkin, Nico Parker, Finley Hobbins. I saw this last night in theaters, and was not disappointed. I think this is Tim Burton's best work as of recent years. I enjoyed the little Easter eggs included in the film, and I think this was a wonderful tribute to the original. I tend to flip-flop between enjoying these live-action adaptations/prequels, and staring in disbelief at the horror I am witnessing (Cinderella, Pete's Dragon, Jungle Book). Okay, maybe "horror" isn't the correct word here, but you get the point. Some of Disney's remakes/sequels/prequels are enjoyable, and some seem to fall short. They don't seem to accurately capture the magic of the originals. That being said, I thought the special effects and sets/costumes were great, as per usual. I am a fan of DeVito, Keaton, and Green; they did not disappoint. It was nice to hear Eva Green speak in her native French accent for once. Danny Elfman (another personal favorite of mine) did the music. Some of the music was similar to the original, but with his own little twist to them, which I thought was quite refreshing. There were also some similarities between this one and the original, but this one was slightly different. I like that. I think it's nice when the remakes aren't shot-for-shot identical to the original source material.
  19. 5 points
    Michael Keaton's my favorite. And I will always be fond of Adam West's campy portrayal of the character(s) on TV. Incidentally, Lyle Waggoner screen tested for the TV version. Wonder how that would've turned out if they hadn't chosen West. Here's Waggoner's screen test:
  20. 5 points
    Why deny your areas of expertise?
  21. 5 points
  22. 5 points
    Ok, a few hours late, but here are my thoughts on The Lady in the Lake: Might as well address the most noticeable thing about it that everyone comments on right off the bat. I agree with what seems to be the general consensus on the subjective camera thing; Robert Montgomery deserves credit and recognition for having the b@lls to try something different, kudos to him for that; but it just doesn't work. As Dargo pointed out, try watching a 105 minute movie that's almost completely subjective camera, and the novelty starts to pall fairly soon. It actually has the opposite of the intended effect: instead of drawing the viewer in and making them feel more involved, it creates an off-putting, even kind of distancing, feel. It's distracting. Also as a direct result of the subjective camera approach, we get odd performances from the two leads. Robert Montgomery, maybe because all we can go by most of the time is his voice, snarls through the whole film. Now, yes, Philip Marlowe is supposed to be tough. But he's not supposed to be rude, aggressive, insulting, and hostile - not all the time, anyway. I think Montgomery was compensating for the fact that we almost never see him by over-acting his lines. Also, Montgomery had an image, most of the time, of being an amiable guy, and maybe he was working to offset that. Whatever the reason, his Marlowe doesn't sound tough so much as he sounds like he's in a permanently bad mood. Why Totter's character would be romantically interested in him at all is hard to understand; it just feels like the script threw the two of them together because that's the way they wanted the story to go. Now, about Audrey Totter: I love this actress. I enjoy every thing I've seen her in. Something that I don't recall ever hearing about her is her ability to be funny, even when playing characters who on the surface, are not meant to be funny. But I think Audrey is having a blast playing these types of hard-boiled women, and she's secretly mining their characters a bit for comedy. Just look at how she mugs her way through The Lady in the Lake. There's no question that she's supposed to almost over-react to whatever Montgomery is saying to her, because of the aforementioned subjective camera thing. But Audrey takes this idea and just flies with it; I think it's absolutely hilarious, the way she smiles so broadly one minute and then switches to an outraged frown the next, depending on whatever rude insulting remark has come out of Marlowe/Montgomery's mouth. There are moments when I laughed out loud, watching her indignant responses to the invisible Marlowe. She really hams it up, but this is not a criticism. I think she does it on purpose, and it certainly makes this somewhat overly long film a little more entertaining. Yay, Audrey ! Finally, I have to agree with Dargo on his criticism of the Christmas time setting. There's no reason for it to be set over Christmas, the "holiday" decor etc. does not contribute in any way to the plot or the atmosphere of the film. It just makes it a bit tedious sometimes ( as when the police chief takes a call from his kid, who wants to know when he's going to come home Christmas Eve. Sheesh, when he starts reciting bits from "'Twas the Night Before Christmas", you know you need an editor to step in....) Oh wait, one more thing...Jayne Meadows as the fast-talking fake landlady is entertaining, I enjoy that scene. It's so plain that she's not the landlady and that she's clearly hiding something (well, not exactly "hiding", as it's pretty obvious what she's been doing there.) However, at the risk of sounding like someone who supports that whole "male gaze" idea ( and I'm a hetero woman), I find it just a bit unconvincing that she'd have been the kind of femme fatale to turn Lloyd Nolan into a bad cop. She's just not sexy or appealing enough; she doesn't have to be "beautiful", but she's just not very believable even as "attractive". Why would Lloyd have cast himself into the vortex (figuratively speaking) for her?? Anyway, I still had fun watching Lady in the Lake. It must be my third or fourth go-round with this film, and I believe it's the first time I didn't fall asleep at some point.
  23. 5 points
    Whether or not his Presidency protects him from an indictment by Robert Mueller, family separating, racial inflaming, dead war hero attacking, Moscow Trump Tower negotiating during the election Donald Trump is still a scum bag human being, and a disgrace to the Oval Office.
  24. 5 points
    Was thinking possibly of making a retrospective thread going through Fox releases of the past. Nothing fancy, just pictures, names of films, genres, a star or two. Would people be interested?
  25. 5 points
    TCM Fans: I currently am reading the Alan K. Rode book "Michael Curtiz, A Life in Films". It is a compulsive read and expands my horizon of Warner Brothers, Hal Wallis and the wide supporting staff that made Warner Brothers such a success in the 1930's-1950's. There is no way to deny Michael Curtiz his reputation as a fantastic and truly talented director. I especially appreciated the early introduction to his work in Hungary and Austria. It truly makes me want to sit down and "binge watch" Michael Curtiz's movies starting with Warners' silents that are still available to see and move through his career in a linear approach. The author has provided depth to what we believe we know about Mr. Curtiz and separates facts from fiction and provided a very detailed account of how the movies were planned, produced, sets constructed and famous shots I remember were established. So for all of you who are James Cagney, Errol Flynn, Bette Davis, Olivia de Haviland fans as well as fans of the large contingent of supporting actors I encourage you to read this book. It is long, at 553 pages,but is so thoroughly researched and supported by access to film archives as well as personal information from Curtiz's stepson, John Meredyth Lucas including snaps from the family's personal collection. Additionally it has a great filmography section that chronicles the films by dates so in as much as TCM owns much of the Warners' films I would like to lobby for a Michael Curtiz month with the author as the guest presenter. Now that would keep me glued to my tuchas. Good reading and good classic film watching Emily

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