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Kyle Kersten was a true friend of TCM. One of the first and most active participants of the Message Boards, “Kyle in Hollywood” (aka, hlywdkjk) demonstrated a depth of knowledge and largesse of spirit that made him one of the most popular and respected voices in these forums. This thread is a living memorial to his life and love of movies, which remain with us still.

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#1 rayban

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Posted 03 December 2016 - 03:45 PM

All (and I do mean all) of my feminist professors in film school gave lectures on ALL THAT HEAVEN ALLOWS. It is considered the quintessential 50s melodrama-- showing the confinement of the female subject by an unyielding and unforgiving patriarchal society. It's my favorite in this period/genre. Jane Wyman really captures the struggle that woman is facing as she deals with an empty nest. She falls in love with someone outside her class and must still keep up appearances and avoid scandal at all costs. It's a brilliant examination of the bourgeoisie.

I could not agree more - and we must thank Douglas Sirk.


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"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#2 TopBilled

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Posted 03 December 2016 - 01:06 PM

More conventional soap-operas like "All That Heaven Allows" are still  enjoyable, anyway.

 

 

All (and I do mean all) of my feminist professors in film school gave lectures on ALL THAT HEAVEN ALLOWS. It is considered the quintessential 50s melodrama-- showing the confinement of the female subject by an unyielding and unforgiving patriarchal society. It's my favorite in this period/genre. Jane Wyman really captures the struggle that woman is facing as she deals with an empty nest. She falls in love with someone outside her class and must still keep up appearances and avoid scandal at all costs. It's a brilliant examination of the bourgeoisie.


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"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#3 rayban

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Posted 03 December 2016 - 10:26 AM

I think that movies that are essentially soap-operas but have the ingredient of "madness" added to the mix are always more memorable than movies that simply insist on suffering - and I include in this first category - "To Each His Own", "Magnificent Obsession", "Written On The Wind" and "Madame X".

 

If they manage to remain standing at the end, you, the audience, are truly surprised.

 

Thrillers sometimes have this unique blend of soap suds and madness - thrillers like "Vertigo" and "Obsession".

 

More conventional soap-operas like "All That Heaven Allows" are still  enjoyable, anyway.

 

Madness isn't essential, but it helps.


"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#4 rayban

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Posted 02 December 2016 - 01:35 PM

The wife and I were watching To Each His Own and around halfway in she says 'this film has one tragedy after another,  this is torture'.     When the grown up son came into the story she said 'if they kill him off,   I don't want to see it'.     While not giving away the ending I assured her the story ended on the happy side.   She used over half a box of tissues!  

At the very least, half a box of tissues!!


"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#5 rayban

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Posted 02 December 2016 - 01:34 PM

In the 1936 melodrama COME AND GET IT, Frances Farmer plays Edward Arnold's wife. She is killed off after 30 minutes. Then in the next part, she plays his grown daughter, who of course resembles the dead mother. Both characters are named Lotta.

Jarrod -

 

as I have said on more than one occasion -
 

YOU ARE THE MAN!


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"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#6 jamesjazzguitar

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Posted 02 December 2016 - 01:00 PM

"To Each His Own" - what can I say? - such exquisite "torture" - as an out-and-out soap opera, this one has no equal - I surrended to it completely - in the end, I saw it through tears - yes, indeed, it is quite overpowering.

 

John Lund has the role of a lifetime - as Olivia deHaviland's lover (killed in World War II) and then as her son.

 

Has any other actor managed such a unique feat?

 

The wife and I were watching To Each His Own and around halfway in she says 'this film has one tragedy after another,  this is torture'.     When the grown up son came into the story she said 'if they kill him off,   I don't want to see it'.     While not giving away the ending I assured her the story ended on the happy side.   She used over half a box of tissues!  


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#7 TopBilled

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Posted 02 December 2016 - 11:13 AM

"To Each His Own" - what can I say? - such exquisite "torture" - as an out-and-out soap opera, this one has no equal - I surrended to it completely - in the end, I saw it through tears - yes, indeed, it is quite overpowering.

 

John Lund has the role of a lifetime - as Olivia deHaviland's lover (killed in World War II) and then as her son.

 

Has any other actor managed such a unique feat?

 

In the 1936 melodrama COME AND GET IT, Frances Farmer plays Edward Arnold's wife. She is killed off after 30 minutes. Then in the next part, she plays his grown daughter, who of course resembles the dead mother. Both characters are named Lotta.


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"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#8 rayban

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Posted 02 December 2016 - 10:54 AM

"To Each His Own" - what can I say? - such exquisite "torture" - as an out-and-out soap opera, this one has no equal - I surrended to it completely - in the end, I saw it through tears - yes, indeed, it is quite overpowering.

 

John Lund has the role of a lifetime - as Olivia deHaviland's lover (killed in World War II) and then as her son.

 

Has any other actor managed such a unique feat?


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"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#9 TopBilled

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Posted 19 November 2016 - 09:07 AM

1952 - such an out-and-out soap-opera, but Dorothy McQuire's unique performance elevates the material into a kind of high drama - and, let's face it, the ever-present MGM gloss, which I have always loved, does not hurt one bit.

 

LOVE, RE-DEFINED & RE-IMAGINED -

 

inviatation.jpg?w=640

 

Great photo. And I totally agree-- McGuire gives the material more respect than it probably deserves. Everyone else is doing a standard MGM melodrama, but she's playing it like a Greek tragedy.


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"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#10 rayban

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Posted 19 November 2016 - 07:57 AM

1952 - such an out-and-out soap-opera, but Dorothy McQuire's unique performance elevates the material into a kind of high drama - and, let's face it, the ever-present MGM gloss, which I have always loved, does not hurt one bit.

 

LOVE, RE-DEFINED & RE-IMAGINED -

 

inviatation.jpg?w=640

This one would've made a terrific Broadway play in the 50's.


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#11 rayban

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Posted 18 November 2016 - 07:54 PM

 

1in.png

 
Airing again on November 18th.

 

1952 - such an out-and-out soap-opera, but Dorothy McQuire's unique performance elevates the material into a kind of high drama - and, let's face it, the ever-present MGM gloss, which I have always loved, does not hurt one bit.

 

LOVE, RE-DEFINED & RE-IMAGINED -

 

inviatation.jpg?w=640


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#12 rayban

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Posted 13 October 2016 - 10:17 AM

"Wuthering Heights" with Laurence Olivier and Merle Oberon - the heartache in this film between Cathy and Heathcliff is so strong that the ending in which Heathcliff walks off with Cathy's ghost seems not only otherworldly, but "natural".

 

It is such a dark and twisted tale, too, and the introduction of David Niven and Geraldine Fitzgerald can only add to the unavoidable tragedy.

 

A film in which the lovers are doomed isn't a rarity on the screen.

 

But one in which the misery is so persuasive and so overwhelming like this one is rare.

 

Years later, there was a very good re-make, too, that starred Timothy Dalton.

 

And it could be much more honest about the cause of Cathy's death - she had been carrying Heathcliff's baby.

 

Anyway, as for the original, all of the four principals were memorable in establishing the miseries of love.

 

YOUNG LOVE, FIRST LOVE, FILLED WITH SUCH EMOTION -

 

Laurence_Olivier_Merle_Oberon_Wuthering_


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#13 rayban

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Posted 12 October 2016 - 08:19 PM

Yes, "The Enchanted Cottage" is a very special kind of film - it tells us - finally - that "beauty" does exist in the eye of the beholder - and that "beauty" can be very real to the beholder.

 

But, first and foremost, it needs the kind of devotion and love that can inspire that kind of "beauty".

 

The film is far from a fairy-tale.


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#14 TopBilled

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Posted 12 October 2016 - 03:53 PM

I have mixed feeling about the Enchanted Cottage.   Well acted and a fine production but the overall theme is what I struggle with.

 

I reject the phase 'everyone is "beautiful" in their own way" because to me it attempts to redefine what beautiful means.   Instead I take the POV that being beautiful (as in being physically attractive to others),  isn't important.   I.e. on the scale of human traits that I look for in others,  being beautiful is way down the list.

 

The end of the film does make that point but most of the film appears to stress the stereotype that being beautiful is meaningful.

 

Interesting comments. Maybe the filmmakers are making those points for most of the movie so that when we get to the end, and all that is undercut by the real message, we are in more of a state of shock. Like we are betrayed, because what we thought was the thesis was actually the anti-thesis.

 

I like this movie, because I think it achieves what so many other trite productions fail to do. It gives us a true sense of magic-- the masks come off and it's very enchanting in a strange sort of way. Film is a visual medium, and this production effectively exploits the images of "beauty" on screen. 


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#15 jamesjazzguitar

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Posted 12 October 2016 - 12:47 PM

I can remember "The Enchanted Cottage", but I didn't remember it well enough.

 

It is, I think, a film that gets often ridiculed

 

But the heartache of both Dorothy McQuire's character and Robert Young's character is very real.

 

To feel ugly - to be ugly - is, let's face it, a very devastating life experience.

 

At the end, when the miracle of the cottage is revealed, when both characters can look at each other and see a beautiful person . . . well, I just think that is a very life-affirming experience.

 

And why can't they look "beautiful" to each other?

 

I could never ridicule this film.   

 

 

 

I have mixed feeling about the Enchanted Cottage.   Well acted and a fine production but the overall theme is what I struggle with.

 

I reject the phase 'everyone is "beautiful" in their own way" because to me it attempts to redefine what beautiful means.   Instead I take the POV that being beautiful (as in being physically attractive to others),  isn't important.   I.e. on the scale of human traits that I look for in others,  being beautiful is way down the list.

 

The end of the film does make that point but most of the film appears to stress the stereotype that being beautiful is meaningful.


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#16 rayban

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Posted 11 October 2016 - 10:02 PM

I can remember "The Enchanted Cottage", but I didn't remember it well enough.

 

It is, I think, a film that gets often ridiculed

 

But the heartache of both Dorothy McQuire's character and Robert Young's character is very real.

 

To feel ugly - to be ugly - is, let's face it, a very devastating life experience.

 

At the end, when the miracle of the cottage is revealed, when both characters can look at each other and see a beautiful person . . . well, I just think that is a very life-affirming experience.

 

And why can't they look "beautiful" to each other?

 

I could never ridicule this film.   

 

  fb28cdc4831e7f29418fa89640c717e2.jpg


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#17 TopBilled

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Posted 17 September 2016 - 09:57 AM

June Allyson could play well in musicals, comedies and dramas.

 

I would like a much younger actress in "Too Young To Kiss."

 

But would it have been as enjoyable without her unique personality?

 

I don't think so. And she had a special magic with Van Johnson that couldn't be duplicated by other actresses.


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#18 rayban

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Posted 17 September 2016 - 08:00 AM

June Allyson could play well in musicals, comedies and dramas.

 

I would like a much younger actress in "Too Young To Kiss."

 

But would it have been as enjoyable without her unique personality?


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#19 TopBilled

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Posted 15 September 2016 - 09:08 PM

Haven't seen Good News.   

 

Oh, you should. It's a fun film with nice musical numbers.


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"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#20 jamesjazzguitar

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Posted 15 September 2016 - 07:29 PM

You don't think June has a girlish face in GOOD NEWS, made around the same time? Of course, it depends on the make-up I suppose-- but to me, she often seemed younger than her actual years.

 

Recently, I watched several episodes of The June Allyson Show on YouTube. They were filmed in 1959, and the other actresses in those episodes (Ann Sothern, Ginger Rogers and Ann Harding) looked good but were definitely showing their age. Not June. She was wearing beautiful gowns and had chic hairstyles and when they cut to a long shot of her entering a room, she seemed so petit. She would speak directly at the camera to introduce the story, and It was hard to believe she was a big star with her own show-- because she looked like the girl next door playing dress up, very delicate looking and soft (despite the husky voice).

 

Haven't seen Good News.   As for how June aged.   I agree she aged very well.   I even posted about this a few months back.   I was watching the Judy Garland show made in 63\64 and June looked about the same as she did in her late 40s \ early 50s movies. 

 

My view on June is that she was one of those women that had a mature look when she was in her early 20s.  This type of women ages well in that her look doesn't change much as they get into their late 40s.    I.e. they look about the same over a 20 or so year period.      

 

Other women have a very youthful look in their early 20s but by their late 30s their look as changed in a noticeable way due to the contract between how they looked when they were in their 20s verses in their late 30s \ early 40s.   Of course often with these women stress or booze is the cause of their aging look.


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