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  2. jakeem

    Trump's Biggest Whoppers

    Holly Figueroa O'Reilly‏Verified account @AynRandPaulRyan Replying to @realDonaldTrump Holly Figueroa O'Reilly Retweeted Donald J. Trump Our President doesn't understand that even when the economy is doing well, we still enforce laws.
  3. jakeem

    Trump's Biggest Whoppers

    Donald J. Trump‏Verified account@realDonaldTrump You mean the Stock Market hit an all-time record high today and they’re actually talking impeachment!? Will I ever be given credit for anything by the Fake News Media or Radical Liberal Dems? NO COLLUSION! 6:43 PM - 23 Apr 2019
  4. NipkowDisc

    a new hate target for the left: Kate Smith

    you say things change. you are trying to excuse pettiness. it is petty and unnecessarily judgmental to condemn kate smith for lyrics she sang in 1931. the left refuses to listen to reason obviouisly because they have no desire to temper disapproval with any understanding. liberals wish to condemn and ask for tolerance while giving none. if she had been called upon by politically correct liberals to issue some form of mea culps she probably would have but the pc mccarthyism of today wasn't in full swing back then. edit the lyrics but removing a statue of her is sheeting on all the singing that she gave that so many love. liberals relentlessly demand love, tolerance and understanding but when do they start practicing what they so easily demand from others? hypocrites! your hate shows very easily.
  5. hamradio

    Where movie characters live

    Sorry to spoil the fantasy. What's really inside the house..
  6. jakeem

    Happy Birthday to...

    ...Barbra Streisand (born Barbara Joan Streisand on April 24, 1942), the superstar actress, filmmaker and recording artist. Time cover for April 10, 1964 She has been nominated five times for Academy Awards in three different categories. Her recognized roles and movies are as follows (Oscar wins in bold): Fanny Brice in "Funny Girl" (1968). Best Actress (tied with Katharine Hepburn of "The Lion in Winter"). Katie Morosky Gardner in "The Way We Were" (1973). Best Actress. Best Original Song, 1976 (for "Evergreen (Love Theme from A Star Is Born)," shared with Paul Williams). Best Picture, 1991 (for "The Prince of Tides," shared with Andrew S. Karsch). Best Original Song, 1996 (for "I've Finally Found Someone" from "The Mirror Has Two Faces," shared with Marvin Hamlisch, Robert John Lange and Bryan Adams). From 1963 to 1971, Streisand was married to the actor Elliott Gould (who got his own Time cover in 1970). They had a son, Jason, in 1966. At the sixth annual Grammy Awards ceremony held on May 12, 1964, the Columbia recording artist's first LP "The Barbra Streisand Album" was named Album of the Year. She also won an award for Best Female Vocal Performance. Among the songs on the debut effort was Streisand's rendition of "Happy Days Are Here Again." On April 28, 1965. Streisand headlined a CBS television special titled "My Name Is Barbra." The program was aired weeks before the release of the singer's album of the same title. Streisand taped the one-woman show in segments during her run on Broadway in the musical "Funny Girl."The special earned five Primetime Emmy Awards, including an award for Streisand in the category of Outstanding Individual Achievement in Entertainment Streisand's film debut featured her portrayal of the musical comedy star Fanny Brice (1891-1951) -- the role she had played on Broadway a few years earlier. Directed by the great William Wyler ("Roman Holiday"), the film bio -- based on the hit stage production by Jule Styne (music), Bob Merrill (lyrics) and Isobel Lennart (book) -- followed Brice's rise to stardom and her bittersweet romance with gambler Nicky Arnstein (Omar Sharif). Kay Medford reprised her Tony Award-nominated stage role as Brice's mother. The first line by Streisand as Brice -- "Hello, gorgeous!" -- was ranked by the American Film Institute in 2005 as the 81st greatest movie quote of all time. At the 41st Academy Awards ceremony held on April 14, 1969, "Funnry Girl" was nominated for eight Oscars: Best Picture (producer Ray Stark, Brice's son-in-law); Best Actress (Streisand); Best Supporting Actress (Medford); Best Cinematography (Harry Stradling, Sr.); Best Film Editing (Robert Swink, Maury Winetrobe and William Sands); Best Original Song ("Funny Girl" by Styne and Merrill;, Best Score of a Musical Picture, Original or Adaptation (Walter Scharf); and Best Sound (Columbia Studio Sound Department). Streisand was the only winner, but there was a surprise in the Best Actress category. At the 24th annual Tony Awards held on April 28, 1965. Streisand was presented a special statuette as Star of the Decade. She never won a competitive Tony despite nominations for "I Can Get It for You Wholesale" in 1962 and "Funny Girl" in 1964. In 1969, Streisand joined forces with Steve McQueen, Paul Newman and Sidney Poitier to create the production company First Artists. The joint enterprise, which later added Dustin Hoffman, operated until 1980. Among the films released by the partners: Streisand: "Up the Sandbox" (1972), "A Star Is Born" (1976), "The Main Event" (1979); McQueen: "The Getaway" (1972), "An Enemy of the People" (1978), "Tom Horn" (1980); Newman: "Pocket Money" (1972), "The Life and Times of Judge Roy Bean" (1972), "The Drowning Pool" (1975); Poitier: "A Warm December" (1973), "Uptown Saturday Night" (1974), "Let's Do It Again" (1975), "A Piece of the Action" (1977); Hoffman: "Straight Time" (1978), "Agatha" (1979). "What's Up Doc?" -- Peter Bogdanovich's 1972 tribute to screwball comedies -- was a live-action, feature-length Bugs Bunny cartoon without Bugs. Streisand's wacky character, Judy Maxwell, carried on effectively in the tradition of "the Oscar-winning rabbit." Her No. 1 foil was Dr. Howard Bannister (Ryan O'Neal), a musicologist in San Francisco to receive a grant for the Iowa Conservatory of Music. The film marked the screen debut of Madeline Kahn, who played Howard's demanding fiancée. Directed by Sydney Poillack, the 1973 romantic drama "The Way We Were starred Robert Redford and Streisand as opposites who fell in love and married despite their differences. He was a golden boy and an apolitical WASP. She was a liberal Jewish activist. Their relationship began at a college just before World War II. The film reached its climax during the politically tumultuous McCarthy era of the early 1950s. Marvin Hamlisch won two Academy Awards for this movie: Best Original Dramatic Score and Best Original Song (for the title tune, shared with lyricists Alan and Marilyn Bergman). Streisand's version of the title song became a No. 1 pop hit and a standard. Hamlisch picked up a third award on Oscar Night 1974, winning in the Best Original Song Score and/or Adaptation category for his use of Scott Joplin rags in "The Sting." Streisand reprised the role of Fanny Brice in the 1975 sequel "Funny Lady," which focused on the late musical comedy star's marriage to the impresario Billy Rose (portrayed by James Caan). In real life, the entertainment couple was married from 1929 to 1938. The film received Academy Award nominations for Best Cinematography (James Wong Howe), Best Costume Design (Ray Aghayan, Bob Mackie), Best Original Song ("How Lucky Can You Get" by Fred Ebb and John Kander), Best Scoring, Original Song Score and/or Adaptation (Peter Matz) and Best Sound (Richard Portman, Don MacDougall, Curly Thirlwell and Jack Solomon). Streisand and Kris Kristofferson starred in the 1976 version of "A Star Is Born." The Hollywood tale about a celebrity couple -- one on the rise, the other in decline -- previously was filmed in 1937 and 1954. It also would be revisited in 2018 with a version in which Bradley Cooper starred, directed, co-produced and co-wrote. The 1932 drama "What Price Hollywood?" -- directed by George Cukor, who also helmed the 1954 version of "A Star Is Born" -- had a similar storyline. At the 49th Academy Awards ceremony held on March 28, 1977, Streisand made history by becoming the first person ever to win Oscars for acting and songwriting. Her song "Evergreen Love Theme from A Star Is Born)" was co-written by Paul Williams. In 1983, Streisand starred in the screen drama with music "Yentl," based on a story by the Yiddish author and Nobel Laureate Isaac Bashevis Singer. She also directed, co-produced and co-wrote the production. Set in 1904 Poland, Streisand played a Jewish girl who disguised herself as a male to become a scholar. The picture was a box-office hit and received three Academy Award nominations: Best Supporting Actress (Amy Irving), Best Adaptation Score (Michel Legrand, music; and Alan and Marilyn Bergman, lyrics); and Best Art Direction/Set Decoration (Roy Walker, Leslie Tomkins, Tessa Davies). It won the award for Adaptation Score. Streisand produced, directed and starred in "The Prince of Tides," the 1991 drama based on the best-selling 1986 novel by Pat Conroy. Nick Nolte played Tom Wingo, a South Carolina football coach who journeyed to New York to meet Susan Lowenstein (Streisand) -- the psychiatrist seeing his troubled twin sister Savannah (Melinda Dillon). He became involved with the doctor and began confiding his family's dark secrets. The film received seven Academy Award nominations, including Best Picture, Best Actor (Nolte), Best Supporting Actress (Kate Nelligan), Best Adapted Screenplay (Conroy and Becky Johnston), Best Cinematography (Stephen Goldblatt), Best Art Direction-Set Decoration (Paul Sylbert, Caryl Heller) and Best Original Score (James Newton Howard). But Streisand became one of nine women who did not receive Best Director nominations for films that became Best Picture nominees. On February 22, 2001, Streisand became the 22nd star -- and the fifth woman -- to receive the American Film Institute's Life Achievement award. The statuette was presented to her by Poitier.
  7. slaytonf

    " The Green Pastures ", Sunday

    There is a maxim among anthropologists that goes: "They always do it different in Bongo Bongo." Meaning that if an anthropologist works up the courage, or is reckless enough to make a far-reaching proposition about human behavior, some other, playing the contrarian game, is sure to chirp up, "but they do it different in Bongo Bongo." As if the one instance of Silver Streak (1976) means that blackface is no longer hateful and racist. But I maintain that the blackface scene in that movie is just as hateful and racist and wrong as any other. It doesn't matter that it was done with the 'approval' of an African-American (Richard Pryor). Of course it was done as a sarcastic condemnation of the practice in other movies. But's no more appropriate for a member of a persecuted group to use a slur against that group than anyone else. Richard Pryor exemplifies this better than anyone else. He used the n-word in his routines, trying to own it, and drain the word of its toxic power. But he realized its inappropriateness and stopped using it. There is another example from a movie of the studio era which might also be mentioned as an unobjectionable blackface scene. It's the dance Fred Astaire does in Swing Time (1936), 'Bojangles of Harlem' in honor of Bill Robinson. Artistically and technically it's one of the best he ever did. Now nobody I think will say it is anything but a sincere tribute to a great man and dancer, and an acknowledgement by Astaire of the debt he and other dancers owed to him. Something rare, perhaps unique for movies of that era. But was it necessary to do it in blackface? Of course not. I know what some people will say: "It was the times." No one thought it was wrong, it was just the way things were. That's the unvarying rationale. Or rationalization. That phrase is used to excuse so much that is offensive in studio movies. But I don't buy it. People making movies knew blackface, and the general depiction of African-Americans was wrong and offensive. Just as when you hit an animal and it cries out, you know you hurt it. The African-American community made clear their condemnation of the way they were portrayed in movies through many avenues. But their voices were disregarded. So it was not that people didn't know, they just didn't care.
  8. Dargo

    Jokes about the movies

    From, The Player (1992) Larry Levy (Peter Gallagher): "I'll be there right after my AA meeting." Griffin Mill (Tim Robbins): "Oh Larry, I didn't realize you had a drinking problem?!" Larry Levy: "Well, I don't really, but that's where all the deals are being made these days."
  9. hamradio

    Where movie characters live

    There is a story behind where the Brady Bunch lived...that is DIDN'T live! The owners regret having the front of their home used as a back drop and fans who can't tell fantasy from reality descended by the droves. Had to install a hybrid wall / fence. Before.. after... https://www.etonline.com/iconic-brady-bunch-house-for-sale-after-nearly-50-years-106352 Some moron planned to purchased and restore it to the way it was on television. WHAT A DOPE....that was a studio set. Inside the Brady Bunch 'house".
  10. It's from YT comments about The Big Combo (1955). It doesn't really matter that much. Just about every studio era film will have very similar comments.
  11. hamradio

    a new hate target for the left: Kate Smith

    You just reminded me about the old Geico ad. Liked what little I heard and downloaded it. There's a reason the ad cut the song short. LOL! No it shouldn't be edited but keep away from children. The offensive lyrics came right after the end of the Youtube clip.
  12. kingrat

    I Just Watched...

    My top ten list for 1964 has to be redone, because I have to make room for The Killers. Don Siegel directed what was originally supposed to be a TV movie, but it was too violent for 1964 TV (what were they thinking when they wrote the script?), so it was released in theaters. I'd call this true noir, maybe taking its place next to Leave It to Heaven and Niagara in the color noirs, though not with cinematography at that level. It's vaguely a remake of Robert Siodmak's 1940s film of the same name, but the two have so little in common, it makes more sense to see them as independent films. Imagine a made for TV movie with this cast: Lee Marvin and Clu Gulager as the hit men; John Cassavetes as the race car driver who is their target; Claude Akins as his best friend and business partner; Ronald Reagan, in his last acting role, as the leader of a robbery; Norman Fell as another co-conspirator; and Angie Dickinson as the woman mixed up with more than one of these men. This isn't the film to look for sympathetic characters; except for Akins, who seems overprotective of Cassavetes and jealous of his success with Angie (or does he really have his pal's best interests at heart?) and the blind people in the opening scene, there aren't any. Lee Marvin is icy perfection. Clu Gulager should have had a much bigger career based on this performance alone as the health nut/hit man. This might be Cassavetes' best performance; I like him much better as an actor than as a director. Akins and Fell are solid, as usual. Reagan had a little trouble committing to playing a villain, but he's pretty good anyway. I love the moment when he tells Angie, "Let me try to change your mind about that" and hauls off and slaps her. (Angie, interviewed by Ben Mankiewicz, said that Reagan felt bad about this scene, even though he didn't really slap her. She said he was getting ready to run for governor and kept reading briefing books between shots. He did this film only to get out of his contract.) If you have a character who's supposed to have all the men falling for her, it makes sense to cast someone like Ava Gardner in the 40s version or Angie Dickinson in this 60s version. No explanation needed. Angie admitted to Ben M that she might have been able to have a bigger career had she been more ambitious, but she was interested in living as well as acting. Could this be Don Siegel's best film? It's certainly one of his best.
  13. Vautrin

    a new hate target for the left: Kate Smith

    You mean the Ava Gardner mural that nobody would guess was Ava Gardner? I can understand why Korean-Americans would find the rising sun background offensive while other folks would not pay much attention to it. And I can understand why they wouldn't want it close to their neighborhood. I just can't understand why there are no places nearby to purchase spray paint. Should songs be edited for offensive lyrics? **** no.
  14. Today
  15. speedracer5

    Noir Alley

    This is the second time that I've watched Woman on the Run. I liked it more the second go around as well. I'm a big Ann Sheridan fan, I'll watch anything that she appears in. I'll agree with MissWonderly's comments re: Ann's hair. It's unfortunate that she was forced to don the Ethel Mertz 'do in this film--especially after Eddie Muller having shared glamorous photos of Ann during his introduction. The Ethel Mertz hair looked fine on Vivian Vance, as it made her a little frumpy and contrasted nicely with star Lucille Ball, but even Vance looked better at the end of the series when she grew her hair out. Ann was only 35 in Woman on the Run and she easily looked 10 years older. I'll also agree with MissWonderly's assessment of Woman on the Run being an interesting study on a marriage gone South. Ann is rather indifferent to husband Elliot Reid, she doesn't even know about his heart condition! If you are unaware of your spouse's health issues, your marriage is really on the rocks. I think it's interesting to learn about more and more facets of their relationship as Ann tries to find her husband. They were really in love in the beginning and then, seemingly grew apart. Perhaps it's the transition into normal, humdrum life after the excitement of the dating and honeymoon stages are over. Ann grew bored of her husband. Her husband probably grew bored of her as well. I also love movies that feature amusement park scenes and I love noir that features real, on location footage. As someone who has been to modern San Francisco a few times, the difference between 1949/1950 San Francisco and 2010s San Francisco is night and day. While the layout and look of the city is the same, there is so much less traffic. Less people. Less homeless population. Everything. The look at 1949/1950 San Francisco almost looks idyllic. People could actually afford to live there! It was just a blue collar port city. I thought Dennis O'Keefe made an excellent pairing with Ann. I loved the rapport they had with one another and their banter. SPOILER!! I thought the twists were interesting, like when Ann asked Dennis his name and he casually said his name was Daniel Legget, but his friends call him "Danny Boy." The audience will remember that the victim at the beginning of the film is assaulted and murdered by a "Danny Boy." Ann is unaware of his real identity, but as the audience, having this knowledge adds a layer of suspense. I thought Elliott Reid was great and I immediately recognized him as the director from Lucy Ricardo's Vitameatavegamin commercial in I Love Lucy. Robert Keith, who played the police inspector, was Brian Keith's father. This was a great film and I enjoyed hearing the background as to how Eddie Muller's Film Noir Foundation found this film and with UCLA, restored it. I also thought Eddie disclosing how he saved Woman on the Run was funny, even if some piracy was involved. Sometimes you gotta do what you gotta do if it'll serve the greater good.
  16. TopBilled

    ONE word titles

    From 1951
  17. LonesomePolecat

    ONE word titles

    Illusion (1929)
  18. LonesomePolecat

    The First Film That Comes to Mind...

    Calamity Jane next dry cleaning
  19. TopBilled

    *A to Z of Movies*

    THE EXTRA DAY (1956)
  20. LonesomePolecat

    *A to Z of Movies*

    Dangerous Corner (1934)
  21. TopBilled

    TWO word titles

    From 1935
  22. LonesomePolecat

    ClassiCategories

    Groucho did that on TV
  23. LonesomePolecat

    First Movie SONG That Comes to Mind

    "Smile" written by Charlie Chaplin, from MODERN TIMES (words added later) next another theme that had words added later
  24. TopBilled

    ClassiCategories

    THE MIKADO (1939) is based on a comic opera by Gilbert & Sullivan. https://en.wikipedia.org/wiki/The_Mikado_(1939_film)
  25. LonesomePolecat

    ClassiCategories

    Louise (1939) Porgy and Bess (1959) The Beggar's Opera (1953) A Night at the Opera contains 2 real operas: Il Trovatore and I Pagliacci Metropolitan (1935) is another backstage opera film and is loaded with opera segments from Carmen, Barber of Seville, and many others ...Just make sure your opera is phantom-free
  26. starliteyes

    TWO word titles

  27. TopBilled

    Movies by Number

    SEVEN DAYS TO NOON (1950)
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