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Showing content with the highest reputation since 05/24/2019 in Posts

  1. 8 points
    Jumping in here (very) late to the party. I'm Brandon, one of the brothers featured in this promo. I was recently trying to sort out when we worked on this promo, and stumbled across this thread. Thought I could clear up a couple of the questions posed her, if by chance anyone is still interested... Yes the original promo, I believe titled Master of Titles, or at least that is what we called it, aired back in 2014 when we did the work. The making of promo, aka promo of a promo, still airs. Why? Beats me. Perhaps because it was shot so beautifully by the creative team at Crawford Communications, now doing amazing work as Chorus Films in Atlanta. Or maybe it’s just the right length as suggested above to fill the ad-free gaps TCM has between programming. I believe the original promo spot is still included at the end of the segment as it is in this version on TCMs YouTube page. https://www.youtube.com/watch?v=ZUCqfp20nMo But here is the crazy thing. I’ve been very fortunate to live a creative and professional life that has put me in odd corners of pop media consumed by the masses. I make my living bobbing around behind famous types on big stages, live TV appearance, and chart topping songs. And I don’t mean that to sound boastful. These opportunities are almost always a part of a job I’ve been hired to do and are in no way dependent on or a result of any fame on my part. When the band you play for gets booked to play Oprah, you appear on Oprah. And thus occasionally people I meet will give me a funny look as they are trying to connect where they have seen me before. Sometimes it’s immediate, other times it takes a little guess work, but almost always the result is, I’m that guy who composed music in that TCM promo. It has been a backstage security guard, a Publix deli employe, an art fair vendor who chased me down the street, and most recently the estranged relative of a dear friend. It happens monthly if not more since the promo started airing in 2014. And it has reaffirmed what I’m sure many of you here on these forums already know. The TCM community is widespread, diverse and passionate. Everyone who makes the connection is quick to share how much they love the channel and all it represents, which makes me proud to have the association we have through this promo. And for that reason, I hope it never goes away. And as Overeasy above suggests, that we are in fact “old men” and it is still running. -Brandon
  2. 7 points
    Thanks Tom, you do have the cutest sense of humor and you too Dargo Dargo, that's really nice that you remembered that I like Jeff Chandler. I liked his performances, but more than that, I've read what a truly nice man he was. He and Sammy Davis Jr. were very close friends, when Sammy had that horrible accident and lost his eye, Jeff Chandler offered to give him his eye to replace the one Sammy lost. I admire that very much. He was also very proud of his Jewish heritage and a very strong supporter of israel. He was a liberal Democrat and campaigned for JFK. He had strong beliefs and was willing to back them up and that's admirable. Very sad that Jeff died when he was only 42 due to malpractice on the part of a surgeon. Jeff Chandler was just a nice man and a good actor and although he was typecast he did a good job with those performances. Now back to Noir
  3. 6 points
    That's called an "inglenook". Originally seats near a fireplace, but I've seen inglenooks in back door entrances and in kitchen alcoves with a table: I've salvaged inglenook booths from old houses when they've "renovated" (people are dumbasses) A "turret" room refers to the "tower" shape, originally used for shooting enemy in 135º from a castle. This was later popularized in Queen Anne Victorian style houses: My favorite room in my old house is the "Parlor". When my great grandmother died she was was laid out in the living room (where I watch movies) under a 6 foot long window because "the parlor" was too small! I already have it stipulated in my will to be laid out in the parlor, if granted a wake.
  4. 6 points
    I've been looking forward to seeing this one again. The last time this movie was on TCM, as I recall, was during their month-long tribute to Francois Truffaut maybe 5 or 6 years ago, and of all the films I saw for the first time during that month (and I watched a ton of 'em!) this is the one that I have thought about the most in the years since. I don't want get into it too much before it airs, tho I must say I've rarely seen a film whose central character (played by Truffaut himself) was so discomforting and difficult to understand. It's not too hard to see why this was one of Truffaut's least successful (monetarily speaking) films-- I've also heard that he considered it his most personal, (and this coming from the guy with the 5-film-long autobiography.) Also known as "Altar of the Dead" (based on a Henry James story)
  5. 6 points
    I call Bogus - they didn't include Elsa!
  6. 6 points
    I just watched Noir Alley recorded from last month 99 RIVER ST. While watching realized I had seen this before, a loooong time ago, well before I knew the careers of John Payne and Evelyn Keyes. It was a pleasant surprise to see them both outside of their typical roles, actually showing their talents as actors. Very enjoyable noir. So much negativity around Eddie Muller, this is only the second or third time I've caught his intros/outros and thought he was EXCELLENT. He speaks clearly, intelligently, succinctly and venture to guess he writes his own copy, which I thought was much more interesting than what Osborne/Mankiewicz was/is provided.
  7. 6 points
    Ironweed (1987) Halloween - Skid Row Noir "On All Hallows Eve, the veil between the world of the living and the world of the dead was thin. It allowed the souls of the dead to come back to earth and walk among the living." (Holiday Insights) Ironweed was directed masterfully by Brazilian native Héctor Babenco, (Pixote, At Play in the Fields of the Lord). The screenplay was by William Kennedy based on his the Pulitzer Prize-winning novel of the same name. The cinematography was by Lauro Escorel, and the music was by John Morris. Babenco shot most of the film on location in the upper Hudson Valley of New York State. The gritty locations include the seedy sides of, Albany, Glenville, Athens, Slingerlands, Troy, Watervliet, and Hudson. Hudson by the way was the town that filled in for the town of Melton in Classic Noir Odds Against Tomorrow. When I saw this film back in 1987 I wasn't remotely into Film Noir, I was a Western aficionado. I wasn't appreciating what I saw at the time. Two down and out characters that a thirty-four year old found un-relateable and slightly repulsive. Watching this film again just the other night was a eye opener. I never appreciated it at the time I saw it. I needed to acquire a sense of noir-ish cinematic memory. You only achieve this by getting quite a few Film Noir and Transitional Noirs under one's belt. Then you start to appreciate the iconography, see the tropes, the patterns, the archetypes, the full range of the Noir spectrum. When all the right ingredients are there your mind clicks. Noir is a drug for the mind, you know it when you watch it. Noir stimulates aesthetic, emotional and occasionally erotic feelings. Ironweed not only makes great use of the above mentioned locations but Babenco's moody style uses both eerie gin soaked flashbacks and slightly disorienting DT hallucinations. Ironweed is just one relentless downward spiral of melancholy and regret. Jack Nicholson as Francis Phelan actually will blow you away. Nicholson gives what is one of his best performances. He's an on the skids has been ballplayer..... Ironweed got mixed reviews. Not many could relate to the downer story line but Nicholson, Streep, and Baker were amazing. It's a downer but worth a watch 8/10 Full review with more screen caps here in Film Noir/Gangster.
  8. 6 points
    I always thought that Clifton Webb was the femme fatale in Laura.
  9. 6 points
    CARNIVAL OF SOULS (1962) *Score: 6.5/10* Starring: Candace Hilligoss, Frances Feist, Sidney Berger, Art Ellison, Stan Levitt, Tom McGinnis, Forbes Caldwell, Dan Palmquist. Mary Henry is the sole survivor of a tragic water-related car accident, and people are surprised that she managed to make it out alive. After recovering, Mary decides to take a job in Utah as a church organist (despite her very clear aversion to churches and religion, in general). Upon her arrival in Utah, Mary starts to see the pale face of a male stranger, and becomes increasingly more terrified and unhinged with each viewing, which causes her neighbor, new employer, and landlady to want nothing more to do with her since she appears to be "bad news." No one, not even the doctor she manages to befriend, is aware of what is truly going on with Mary, and it is clear to the audience that she is isolated with only her nightmares and visions to keep her company. Entertaining and compelling thriller despite its low budget. I was genuinely impressed with the storyline and overall aesthetic of this film. I was impressed with the cast, and the effects. I will most likely buy the Criterion blu ray for this film; it's one I'd like to have in my collection.
  10. 6 points
    The Owl and the Pussycat (1970) Shrill **** Barbra Streisand gets evicted from her apartment at midnight and proceeds to knock on the door of her neighbor, struggling writer George Segal. She proceeds to make his life hell, getting him evicted a few hours later, and then proceeds to make the lives of all of Segal's friends hell as the two try to find places to live. Somehow, Segal finds himself falling in love with this obnoxious, self-centered jerk. Loud, unfunny, and tedious. 3/10 Streisand's character really deserved to have somebody beat the crap out of her. Make her more obnoxious, condense the action into 15 minutes, and then have her dead body dumped in Central Park, leading to a murder mystery where everybody had a motive to kill her, and you'll have a rather better movie.
  11. 5 points
    I watched THE ROAD BACK (1937) on YouTube. It's not an especially good print, but it's acceptable. I'd wanted to watch this for a long time because I'm interested in that period of history, generally, of Remarque's work and career, and Whale's work as a director. It's not a very good screenplay, and if one has not seen ALL QUIET ON THE WESTERN FRONT (1930) (or read that novel) it may be hard to grasp the substance of the plot. Also, one has to wonder how much of Whale's intent was edited out of the finished film, as it seems some characters and plot points are underdeveloped. Whale reportedly distanced himself from the work after Universal Pictures' incoming owners demanded some revisions (allegedly in order to satisfy German exhibitors and/or censors.) There are details in this that are suggestive of Whale's other work (great attention to production design, intimate conversations that drive the plot, stretches of silent activity that serve plot and character development); but there is also an odd reliance on comic characters that I do not associate with Whale, nor with Remarque. I'd recommend watching it as long as YouTube has it available, as it seems unlikely to be shown on TCM or elsewhere. It's not a very good film, but it's nice to have extended my exposure to one of the important classic-era directors.
  12. 5 points
  13. 5 points
    Bandolero! (1968) Undemanding western, boasting three big stars and some striking photography representing the American southwest and Mexico (shot at Alamo Village, Texas, the set for the 1960 The Alamo, with the impressive canyon shots done in Utah). Dean Martin plays the head of an outlaw gang nabbed holding up a small town bank in which a resident is killed. James Stewart is his brother who poses as a hangman to help the gang escape (all a little too easily). Along the way Martin's gang encounter and kidnap Raquel Welch, widow of the man just killed in the robbery, with George Kennedy thrown into the mix as the town sheriff who, along with his posse, pursues them across the border into Mexico. There they are all in danger as they have entered bandolero territory. You have to close your eyes to a lot of things in the screenplay of a film of like this. Such as the fact that Jimmy Stewart (our beloved Jimmy Stewart) is a "good" guy yet he waylays the real hangman on the way to town in order to pose as him, and we never find out what he did to him (the hangman is never seen again). He kills him? Surely not our Jimmy! Leaves him tied up somewhere in the country? That's as good as leaving him for dead. Anyway it's a question the audience is clearly not intended to ponder. The film also has a lot of sentimental dialogue between the two brothers (Stewart and Martin), with Stewart talking about a little ranch they could have somewhere together, and Dean sorta goin' along with it. But it gets mawkish, at times, especially when Kennedy finally gets the drop on them and Jimmy and Dean are almost immediately yapping to one another about Pop. When Kennedy, after listening in silence to their family banter, finally says he thinks he's going to be sick at his stomach, I rather felt the same way. Raquel, adopting a slight attempt at a Mexican accent, is always perfectly coiffed and made up, of course, no matter how hot the weather conditions in which she was riding that day. Of course the entire idea of Stewart and Martin as brothers is a source of levity itself. There are a number of closeups of the head of the bandoleros, and they made sure to find the ugliest character actor seen for the role since Alfonso Bedoya once proclaimed he didn't need no stinkin' badge. Nevertheless, Bandolero is the kind of easy going outdoor escapism that many will probably enjoy well enough even if it all does seem rather familiar. Stewart seems to be having fun in his scenes posing as a hangman. A time waster. 2.5 out of 4
  14. 5 points
    A giant robot of Donald Trump sitting on a gold toilet is on its way to the UK after being shipped from China for protests against the US president's state visit
  15. 5 points
    A 1973 TV movie of the week, I have been searching for it for 46 years and finally it's on Youtube. It's about 3 handicapped men who plan a jewel heist in a museum. 7/10 The stars are paraplegic Mike Connors, blind Kent McCord and hook handed Michael Cole. It has some suspenseful "will they pull it off?" and "will they get caught?" moments. The story doesn't really matter, the real treat is seeing private eye Joe Mannix, "Adam-12's" Officer Jim Reed and "Mod Squad" cop Pete Cochran on the other side of the law for once. I had met Kent McCord at an autograph show about 20 years ago and he had fond memories of his co stars and this film. He said he knew Mike Connors for many years and was a stunt double for him on the 1966 version of "Stagecoach". Anybody else recall this movie?
  16. 5 points
    Det. William Murdoch (Murdoch Mysteries) and Jessica Fletcher (Murder She Wrote) get around on two wheels: but Columbo drove a Peugeot
  17. 5 points
    "Quartet", "Trio" and "Encore" - three films that highlight certain stories by W. Somerset Maugham - 1948, 1950, 1951 - in their day, they were all very successful - the first, includes "The Facts of Life", "The Alien Corn", "The Kite" and "The Colonel's Lady" - the second and third compliations include six more stories - the second is "The Verger", "Mr. Know-All" and "Sanatorium" - the third includes "The Ant and The Grasshopper", "Winter Cruise" and "Giggolo and Giggolette" - I really would't want to discuss the details of the plots - they should come as a surprise to the viewer - the casts are sensational - below, the stars of "The Facts Of Life - Jack Watling and Mai Zetterling - the second film, Jean Simmons and Finlay Currie - the third film, Kay Walsh in a sensational performance -
  18. 5 points
    Looking For Love (1964) Watch TCM Not the stinker I thought it would be; then again, it’s not that great either. Connie Francis stars as a girl whose main desire in life is to get married and have kids, thus setting feminism back 10,000 years. She becomes infatuated with Jim Hutton, who likes tall women with big breasts. Hutton shows no interest, until Connie sings a sultry song. Then he decides there may be something to short women with big breasts. Joby Baker and Susan Oliver complete the quartet of who-is-going-to-end-up-with-whom. Numerous “guest stars” appear, including Danny Thomas, George Hamilton, and Johnny Carson, all playing themselves. Carson used to diss this film on his show; in actuality, he should have dissed his performance, since he is terrible in this (I say this as a big Carson fan). Connie sings a boatload of songs. I’ve always enjoyed her singing, so a few of these were at least tolerable. Make up your own caption:
  19. 5 points
    From May 29-31, the Poli ran The Roaring Road, directed by James Cruze, and starring Wallace Reid as “Toodles” Walden. Released on April 5, 1919, the film is just under an hour long and is available on YouTube. Brief Plot: “Toodles” Walden sells cars for J.D. Ward, aka “The Bear.” Walden is in love with Ward’s daughter Dorothy, aka “The Cub.” Toodles wants a crack at driving Ward’s racing car, but Ward refuses. When several of Ward’s racing cars get wrecked in transit, Walden and his mechanic Tom Darby make a new one out of the parts from the three old ones. Then Walden enters a local race and wins, and asks Walden for Dorothy’s hand. Ward says he won’t let his daughter get married for five years. Walden more or less tells Ward where to get off. Ward wants to enter a car in the Los Angeles to San Francisco road race, and concocts a plan whereby he will board a train for San Francisco with his daughter, and force Toodles to race after them. Unfortunately, Toodles is in the clink on a speeding violation. So somebody has to spring him from jail. Will Toodles break the speed record for the road race? Will he finally win Dorothy’s hand (and the rest of her)? Review: This is an OK production, with nothing much new. The story goes pretty much as expected. The first race is a letdown, as the camera is stationary and we just see cars whiz by. These scenes were filmed at the Santa Monica Race course. Press reports stated that Reid did his own driving, and exceeded speeds of 100 miles per hour. “I’ve done some pretty fast driving in my time,” said Reid in an interview, “but when I hit it up at somewhere around 110 miles per, I felt that finally I was, in the vernacular, ‘going some.’ I had a good wagon – I’d been all over it, and knew it was to be depended upon. Also, I felt competent to keep her on the road at any speed if nothing went wrong.” Along for the ride was Guy Oliver, who played Tom Darby. “I knew Guy was hanging on for dear life,” said Reid, “expecting every minute to go into the ditch. But I kept my eyes glued down the stretch and my hands were busy with the wheel. Lord, how we did go … I couldn’t see the grandstand and the people in it, though I knew my leading woman, Ann Little, Theodore Roberts, and others were there, breathlessly waiting for something to happen. Nothing did – though we took some big changes, I expect. … I hope no one will think I had any doubles or that any of the scenes were inserted or faked in any way, because as a matter of actual fact I drove every inch of the way.” The climactic road race from LA to San Francisco has some decent camera work, with a driver’s-eye view, shots from the side as Ward and his daughter watch, but with the now clichéd “car beating the train across the tracks” scene. I’ve only seen a few of Reid’s films, and he really appears to have a slight build in this one. But this was before the accident which caused his morphine addiction and ultimate demise; so I assume he was just thin by nature. The film was followed by a sequel a year later, entitled Excuse My Dust, with the same three principal actors. For that film, I’ve read some commentary stating that Reid was clearly in the throes of his addiction by then. Theodore Roberts, as “The Bear,” steals the show. His bluster, messed-up hair, and cigar-chewing are a riot to watch. A critic for Motion Picture Magazine wrote “this picture is supposed to star Wallace Reid, but according to the number of close-ups of Theodore Roberts smoking a cigar, I should say it was starring a new brand of tobacco.” Also featured on the bill was James “Fat” Thompson and Company, in what was described as a “screamingly funny blackface skit, “The Camouflagers,” a hilarious collection of odd nonsense.” When the act played on Fifth Avenue in New York City in 1919, Variety wrote “Here is a real Keystone of a blackface comedy act. Thompson and his partner are a couple of house painters and the talk is all cross fire between them while they are on a painting job. The finish is a wire ordering “Fat” home as triplets have been born. The talk is full of laughs and the act will get over anywhere.” Sounds like a real knee-slapper.
  20. 5 points
    So, this is the type of thing I do when I can't sleep. I've made a list of every film airing during Summer Under the Stars that are outside of the usual TCM "library", i.e., all films airing that were NOT made at MGM, UA, RKO or WB. I also left out Embassy, Allied Artists and AIP, since I'm pretty sure almost all of those studios' films are now under the control of MGM, and TCM can show them any time they want. A handful of these films are in the public domain, like Penny Serenade and Charade, but as long as they weren't originally released by one of the above four studios, I listed them anyway. One caveat: I pretty much left out all foreign films, as I didn't want to look up all their studios of origins that I would never have heard of, anyway. That leaves out pretty much all of Liv Ullman day. I think we can assume most of these films aren't typically under TCM's control. Okay, here we go: August 1 - Henry Fonda Let Us Live (Columbia, 1939) Young Mr. Lincoln (20th Century Fox, 1939) The Grapes of Wrath (20th Century Fox, 1940) The Lady Eve (Paramount, 1941) August 2 - Ruth Hussey Our Wife (Columbia, 1941) The Uninvited (Paramount, 1944) August 3 - Marlon Brando The Wild One (Columbia, 1953) On the Waterfront (Columbia, 1954) Morituri (20th Century Fox, 1965) The Freshman (Tri-Star, 1990) August 4 - Shirley Temple (All these titles are from 20th Century Fox) Poor Little Rich Girl (1936) Wee Willie Winkie (1937) Heidi (1937) Rebecca of Sunnybrook Farm (1938) Susannah of the Mounties (1939) The Little Princess (1939) August 5 - Melvyn Douglas Mary Burns, Fugitive (Paramount, 1935) I Met Him in Paris (Paramount, 1937) There's Always a Woman (Columbia, 1938) There's That Woman Again (Columbia, 1938) I Never Sang for My Father (Columbia, 1970) August 6 - Lena Horne The Duke is Tops (Million Dollar Productions, 1938) Stormy Weather (20th Century Fox, 1943) August 7 - James Stewart Mr. Smith Goes to Washington (Columbia, 1939) Harvey (Universal, 1950) The Man from Laramie (Columbia, 1955) Anatomy of a Murder (Columbia, 1959) August 8 - Ava Gardner The Killers (Universal, 1946) August 9 - Red Skelton None! It's 12 straight MGM releases. August 10 - Rita Moreno Seven Cities of Gold (20th Century Fox, 1955) The Lieutenant Wore Skirts (20th Century Fox, 1956) Summer and Smoke (Paramount, 1961) August 11 - Humphrey Bogart In a Lonely Place (Columbia, 1950) The Caine Mutiny (Columbia, 1954) August 12 - Ann Sothern A Letter to Three Wives (20th Century Fox, 1949) The Whales of August (Alive Films, 1987) August 13 - Brian Donlevy Beau Geste (Paramount, 1939) The Great McGinty (Paramount, 1940) Two Yanks in Trinidad (Columbia, 1942) The Glass Key (Paramount, 1942) August 14 - Liv Ullman (As previously mentioned, mostly foreign films here I'm choosing not to list) Lost Horizon (Columbia, 1973) August 15 - Rod Steiger The Harder They Fall (Columbia, 1956) The Unholy Wife (Universal, 1957) Run of the Arrow (Universal, 1957) August 16 - Irene Dunn Show Boat (Universal, 1936) The Awful Truth (Columbia, 1937) High, Wide and Handsome (Paramount, 1937) When Tomorrow Comes (Universal, 1939) Penny Serenade (Columbia, 1941) Over 21 (Columbia, 1945) August 17 - Erroll Flynn None! 12 straight Warner Bros. pics August 18 - Audrey Hepburn Sabrina (Paramount, 1954) Funny Face (Paramount, 1957) Charade (Universal, 1963) Paris When It Sizzles (Paramount, 1964) Robin and Marian (Columbia, 1976) August 19 - Buster Keaton None! Everything is MGM, UA or AIP August 20 - Dorothy McGuire A Tree Grows in Brooklyn (20th Century Fox, 1945) Gentleman's Agreement (20th Century Fox, 1947) Mother Didn't Tell Me (20th Century Fox, 1950) Flight of the Doves (Columbia, 1971) August 21 - Joel McCrea Union Pacific (Paramount, 1939) Sullivan's Travels (Paramount, 1941) The Palm Beach Story (Paramount, 1942) The More, the Merrier (Columbia, 1943) August 22 - Leila Hyams The Island of Lost Souls (Paramount, 1932) August 23 - Fred Astaire You Were Never Lovelier (Columbia, 1942) August 24 - Shirley MacLaine The Trouble with Harry (Paramount, 1955) Gambit (Universal, 1966) Woman Times Seven (20th Century Fox, 1967) Sweet Charity (Universal, 1969) Terms of Endearment (Paramount, 1983) Steel Magnolias (Tri-Star, 1989) August 25 - Dustin Hoffman The Tiger Makes Out (Columbia, 1967) Marathon Man (Paramount, 1976) Tootsie (Columbia, 1982) Death of a Salesman (CBS, 1985) (TV movie) Hook (Tri-Star, 1991) Hero (Columbia, 1992) August 26 - Mary Astor Return to Peyton Place (20th Century Fox, 1961) August 27 - Walter Brennan Home in Indiana (20th Century Fox, 1944) August 28 - June Allyson None! It's 12 MGM titles (or all "in library", anyway - too lazy to look it up again) August 29 - Paul Lukas Strictly Dishonorable (Universal, 1931) August 30 - Susan Hayward Smash-Up: the Story of a Woman (Universal, 1947) House of Strangers (20th Century Fox, 1949) With a Song in My Heart (20th Century Fox, 1952) August 31 - Kirk Douglas The Strange Love of Martha Ivers (Paramount, 1946) Gunfight at the O.K. Corral (Paramount, 1957) Spartacus (Universal, 1960)
  21. 5 points
    He's hasn't been the same since Anaconda.
  22. 5 points
    Harper (1966) 8/10 Paul Newman plays the title role of a private eye searching for a rich woman's (Lauren Bacall) husband. The story is not the big draw in this film, it is the incredible supporting cast. Bacall makes the most her small role as the wife who is not very upset about her husband's disappearance. Robert Wagner is a jet setter who seems giddy about helping out this private eye. Julie Harris is a junkie jazz singer. Shelley Winters is hilarious as a blowsy, drunken former starlet. Strother Martin shows up as weird guru, just one year before he roughs up Newman in "Cool Hand Luke". Janet Leigh is Newman's estranged wife. The film also takes advantage of the new permissiveness in film in regard to language and violence. It came out the same year as "Who's Afraid Of Virginia Woolf?". Ironically Arthur Hill, who appears here as Newman's lawyer pal, played the part of George in the original Broadway play of "Virginia Woolf." Some of the violence is still pretty disturbing today.
  23. 5 points
    From May 25-28, 1919, the Poli featured Hearts of Men, starring George Beban, who also produced the film. Released on April 27, 1919, the film was five and one-half reels and is presumed lost. Plot: Nicolo Rosetti, a widower, runs a small flower stand, and earns barely enough to support his mother and Beppo, his son. When his mother’s health declines, a doctor advises Rosetti to take her to a climate in a higher altitude. He buys some land in Arizona, but when he arrives there, he discovers he has been cheated and the land is worthless. Some kind laborers hear of his trouble, clear the land, and build a shack for his family. But Rosetti’s mother dies and now he must look after his son. His friends advise Rosetti to get married, so he sends a letter to his cousin in Italy asking him to find him a wife. A woman named Tina Ferronni agrees to come to America, but when she reaches Arizona, she is disappointed in the condition of Rosetti’s home, and also in Rosetti’s appearance. Despite this, she marries him. But immediately after the wedding, she starts flirting with a grocery clerk. Rosetti receives a letter from his mother-in-law, asking him to send Beppo to Italy so she can see him before she dies. Money for the trip is enclosed in the letter. Tina convinces Rosetti to send her with the boy. What Rosetti does not know is that his wife is going to run off with the grocery clerk. When Tina arrives in Italy, she writes a letter to Rosetti, telling him that Beppo is dead. Rosetti’s friends suspect a scheme, so they begin an investigation through the American Consul. The Consul informs them that Beppo is alive, and that Tina had lied in order to inherit the fortune that Beppo’s grandmother had left him. The Consul declares that he is returning Beppo to America, in the care of a trusted woman. Rosetti’s friends hold the news from him, hoping to surprise him. Meanwhile, Rosetti finds oil on his land, and offers to share his good fortune with his friends who have helped him so much. Beppo arrives and Rosetti’s friends take him to meet his father, who is overcome with joy at the sight of seeing his son. In addition to using his son in the film, Beban also cast his wife in a bit part. As one critic wrote, “observe the stunning woman who makes a momentary appearance in the flower shop of the first reel – Mrs. Beban.” On playing his roles, Beban said “I choose the character of a poor Italian or Frenchman or American, because the masses can understand his suffering – they can understand the tremendous struggle for daily bread for a loved one – and as for the classes, their sympathy will hold them interested in everyday lives.” Contemporaneous reviews were positive, and the film did well at the box office. Unfortunately, Beban is probably little-known today. However, his first film, The Italian (1915), is available on YouTube. I watched it several years back and found it quite moving.
  24. 5 points
    The Man Who Cheated Himself (1950) Watch TCM If you can buy cop Lee J. Cobb as Jane Wyatt’s lover, and Jane Wyatt as a femme fatale, and nobody but Cobb driving over the Golden Gate Bridge at night, and a fisherman netting the murder weapon from San Francisco Bay, this is the film for you. Wyatt impulsively pumps a few slugs into her husband while Cobb looks on in surprise. Cobb quickly comprises a scheme to get her off the hook. Cobb’s kid brother (John Dall) is also a cop, and teams with Cobb to find the killer. Wyatt is absolutely horrible in the early scenes; perhaps the director told her to act like she was trying to stink up the joint. But she does get better as the film moves along, and her final scene with Cobb managed to convince me she could definitely play a b****. Cobb is more restrained than usual, but as a romantic lead … well, give me a break. Still, the film has a few things going for it. Dall is very good, and the San Francisco locations help. OK time-killer.
  25. 5 points
    Here's the lineup for Ruth Hussey's day, the 2nd of August: rich man poor girl (1938) spring madness (1938) within the law (1939) fast and furious (1939) h.m. pulham esq. (1941) pierre of the plains (1942) susan and god (1940) tender comrade (1943) the facts of life (1960)the philadelphia story (1940) the uninvited (1944) our wife (1941) married bachelor (1941) blackmail (1939) free and easy (1941) And here's the lineup for Joel McCrea's day, the 21st of August: the most dangerous game (1932) bed of roses (1933) gambling lady (1934) the richest girl in the world (1934) dead end (1937) primrose path (1940) wichita (1955) colorado territory (1949) the palm beach story (1942)sullivan's travels (1941) the more the merrier (1943) union pacific (1939) ride the high country (1962) stars in my crown (1950)

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