DougieB

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  1. This may be a little off the wall, but I think there may be some kind of confrontation scene in The Hound of the Baskervilles when the distant heir comes to Baskerville Hall. There was a color Hammer version in the late 50's/early 60's and also a color PBS version in the early 2000's. That came to my mind before you said it may be a newer color film, so I thought I'd better mention it. It would also fit the time frame and the country setting, but I don't think he was necessarily of a lower social status.
  2. You got me wondering, so I watched the good print of Son of Fury on YouTube. There's no dinner scene like you describe, though there's a scene where he dresses up for a masquerade ball his uncle hosts and is exposed by the uncle. That trail is probably cold, but Fox remade it in 1963 as Treasure of the Golden Condor with Cornel Wilde. In that one he goes to Central America for gold instead of to the South Seas for pearls. I've seen that one in the dim past but, again, I can't remember if there's a dinner scene. It's been on Fox Movie Channel a number of times, but it's not currently listed in their On Demand menu. The funny thing is that the dinner scene rings a bell with me, but I can't place it. Hope you find it or that someone else will remember.
  3. DougieB

    Heads up for Secrets and Lies (1996)

    I couldn't agree more and I'm glad you mentioned contemporary social condition because this film can teach us more now than ever in these polarized times. What happens in this movie is nothing short of miraculous in the way that people all caught in downward spirals of one kind or another can find common ground and even real affection for each other. Clashing points of view seem likely to doom these people to epic failure, but their hard-won final acceptance of each other brings them not only to triumph but also to the simple joy of community. As stated above, it's a difficult but ultimately beautiful film which should be of interest to anyone (like myself) who has recently felt themselves disconnected from any or all of their fellows. We all need to get over ourselves and this movie is practically a roadmap of how to do it.
  4. DougieB

    Can’t remember movie name

    I wonder if it could be Peter Ibbetson (1935). As a child he bonded with a young girl but they were separated. They rediscover each other as adults and rekindle their love, but she's married and can't commit. It's a period piece with a love triangle featuring two people who never knew what had happened to each other. Not sure about the riding accident. Is it a movie which you saw in a theater, because that could narrow it down? If you saw it on TV it could be from any era. Do you remember black and white or color?
  5. It's been many years since I've seen it, but Son of Fury with Tyrone Power might fit. Power is supposedly illegitimate and is brought to his uncle's estate as a servant/stable boy. The family treats him with scorn, as though he has no standing in the family. I don't specifically remember a scene like the one you described, but it would fit the general context. His conflicts with the family lead him to escape to the South Seas for much of the movie. The big reveal is that his parents were indeed married and that he's the rightful heir to the whole estate. Anthony Adverse is another example of a rightful heir who's treated as a nobody by the family, though I don't remember the scene you describe in that movie either.
  6. DougieB

    help with a movie title

    It was probably the only time Diane McBain got to headline a movie. I think she could have handled more kinds of roles than Warner's was willing to offer her. Claudelle Inglish was lurid by design, but I think Diane did a great job of showing a good girl going bad rather than just some stereotypical "tramp". She was just as believably good as she was believably bad.
  7. DougieB

    Torchy Blaine

    I really like this series. Torchy and Maisie and all those others were probably the precursors of series television, as much as the radio programs which eventually transitioned to TV. TCM usually shows at least a few of the Torchy movies in a block when they program them, which I always look forward to. They're kind of formulaic and simplistic but Glenda Farrell really sells them and the on and off romance with the cop keeps you wanting to come back for more.
  8. DougieB

    50s-70s romance movies?

    Thanks. It would be nice to think that all the remastering of films to bring them up to HD standards would mean that those restorations of deleted language could be made, but not always, apparently.
  9. DougieB

    Who was Kyle Kersten by the way???

    Kyle is a kind of spirit animal for these Message Boards, I think. He was what used to be called "a gentleman and a scholar" and was a very calming influence when things could occasionally get rowdy here. I only had a few direct interactions with him, but he gave me the perspective I needed as a newbie to feel a part of the community. He wasn't just a poster; he curated threads highlighting visuals and graphics from the history of film and generated a lot of appreciative discussion. He was a special person deserving of the special honor on the masthead. Personally, it tickles me when I inadvertently activate the message and I'm gratified that TCM continues to honor him this way.
  10. DougieB

    Glenda Farrell as SOTM November 2018

    It seemed like Heston's character specifically targeted older women. What I liked was that even though Glenda knew she was a mark, she wanted something from him too and knew how to go about it. It's interesting how people reference this as such an influence on Raiders of the Lost Ark because, other than the hat and jacket, Heston isn't much like Indy at all. Indy obviously had some kind of past with women, but Heston was a habitual predatory user in a way that's unimaginable for Indy.
  11. DougieB

    Glenda Farrell as SOTM November 2018

    There's a thread about Secret of the Incas in General Discussions but I decided to post here because james mentioned it specifically in this discussion about Glenda Farrell. After that thread appeared I watched the beautiful print on YouTube to refresh my memory and was mesmerized by Glenda's brief but compelling performance, specifically by the frankness of the sexual undercurrent between her and Charlton Heston. Probably her training pre-code and in the early days of the code helped her learn to get the message across without talking too much about it. Heston plays a tour guide at a tiny South American outpost and sometime paramour-for-hire ( it would seem). We see him near the beginning seeing a previous..client?..off on a plane and freely helping himself to her cash. (Clark Gable did a somewhat similar scene at a train station with a woman who had obviously outstayed her welcome in The Misfits.) He immediately rebounds by scoping out incoming new arrivals, one of whom is Glenda Farrell, with an inconsequential husband she proceeds to ignore as Heston's inquisitive gaze falls on her. The economy of their use of loaded double-entendre as they kind of circle each other is pretty amazing when you consider that the Production Code was still very much in effect in 1954. Heston then cruelly dashes her hopes after the arrival of Nicole Maurey, his intended co-star for the film. (Farrell: "Are you thinking of changing horses in midstream?" Heston: "Wouldn't you?") But every time Farrell is in Heston's vicinity thereafter, she lets him know with a combo of looks and body language that it would still be OK with her. In lesser hands her character would read as pathetic, but Glenda makes her a modern self-determined and sexually adventurous woman, with no particular shame attached. The movie as a whole seemed unusually casual about skirting taboos, such as when Heston described Thomas Mitchell as "ten pounds in a five pound bag", which leaves the omitted four-letter word sort of hanging in the air. Glenda seemed right at home in an environment full of rough edges (in a kind of Gloria Grahame-esque way) and it made me wonder whether or not she did much work in noir, because she seemed perfect for it. Add that to her gift for good-natured comedy and you have a very versatile actress indeed and I'm looking forward to the upcoming overview of her career. I'm glad to see so many of her films with Joan Blondell will be shown, because they really do seem like "sisters from another mother".
  12. DougieB

    Kathryn Grayson as SOTM January 2019

    I have to admit I've always been a little indifferent to her, so this will be a good opportunity to change my mind. It seems MGM in particular liked to put classically trained singers in the position of selling a combo of classical and popular material. I never questioned the artistry of the singers, but sometimes it seemed something like slumming and it could give popular material a shriller edge than I'm comfortable with. Also, the grande dame/diva persona often associated with the classical tradition doesn't necessarily translate into relatable characters in more proletarian fare, in my opinion. I've always given Kathryn Grayson A for effort, but I think the actual results could be mixed. I probably won't watch all of these, but I'll give what I do watch my best attention in hopes of being won over.
  13. And don't forget the Frankie Avalon theme song, the perfect bow for this slightly nutty present. Joan Fontaine looks like she knew exactly what he'd gotten herself into. I love the sub, like an underwater Chrysler.
  14. DougieB

    1962's GYPSY is currently on &

    I agree that Merman wasn't exactly known for subtlety, but we do have some film performances to look at. In There's No Business Like Show Business she played a show biz mother to Mitzi Gaynor, Donald O'Connor and Johnnie Ray and I was actually very struck by how restrained and nuanced her portrayal was. All three had show business proclivities (though Ray ultimately opted to become a priest) and she was caring and relatively patient in helping them through the pitfalls of the business, maintaining a sense of humor in the process. Merman could definitely do more than a one-note performance. The difference with Mama Rose is that she didn't really have a sense of humor, being so focused on vicariously living her personal ambitions through her children. The character is supposed to be cringe-inducing and I agree with the few others who thought Rosalind Russell did a pretty good job, other than the singing, which wasn't really worthy. PBS recently showed a British revival with Imelda Staunton as Rose and that version of the character was almost b*estial, so there are a lot of possible gradations in the interpretation of the character.
  15. DougieB

    "Fedora" (1978)

    Maybe he was pressured by suits or...did they still do previews in theaters then?...maybe preview audiences just didn't get it. Maybe in an environment which was dominated by much younger, "trendier" filmmakers like Scorsese and Coppola, Wilder started to second-guess himself. You're right, it's atypical and puzzling.

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