Jlewis

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Everything posted by Jlewis

  1. ... and not sure how they will look on this messageboard. Think of this a bit like Topbilled "A Year In Hollywood" series with lots of reading material... if with more spelling errors involved. I do not want to "hog up" the forum with these. It was easy to put them on the other CMU forum, starting back in 2009, because I could go back and re-edit even this year... AND the readers over there were used to me being A Nerd. Feel free to chew me out on THIS thread... although if you do on the one I am making for Paramount, it is OK. I will respond on this one though.
  2. Jlewis

    What is Cult?

    I have all three of Danny Peary's books on the subject published between 1981-1988, the golden age of VHS when you no longer had to pay a fortune to watch a certain title you were curious about by way of a 16mm catalogue or wait for some inner city "art house" theater to revive it. Obviously he did not invent the word, but he was the one who made it popular. All three books are excellent reads for any movie fan because he digs pretty DEEP into a lot of titles from The Rocky Horror Picture Show, The Wizard Of Oz and even the pornographic Beyond The Green Door. There is no cookie cutter definition for what a cult movie must be except that as many... or more... people enjoy it today than at the time of its release. Willie Wonka And The Chocolate Factory is a perfect example since only certain critics were discussing it back in 1971 (and not too favorably) but most of the family audiences it was intended for did not warm to it until after enough showings on TV built up a fan base. Both Citizen Kane and Casablanca made the cut for this same reason, but Gone With The Wind did not because it was always a mammoth part of the cultural landscape since Day #1. Likewise Disney's Fantasia made the cut but not Snow White And The Seven Dwarfs or Bambi, although the latter could potentially be a cult film since it merely broke even initially at the box-office in 1942. Yet because Bambi is so much a part of the Disney story book franchise, it can't be a cult. A cult generally is something that needs rediscovery after being ignored for a couple years. Many would debate if John Ford's The Searchers should have been included since it was a profitable film even in 1956, just not one discussed much by Ford fans until the 1970s. Intriguingly Annie Hall also is included in one of the later books even though one would argue it is the least "cult"-like of all of Woody Allen's films, being a Best Picture winner (like Casablanca).
  3. Jlewis

    Making some "Shortie Checklists"...

    Covered the World Windows series here, under United Artists: Produced in England by E.S. Keller and F.W. Keller, this series of 16 Technicolor travelogues are fondly remembered today by the stellar work of then 22-23 year old cameraman Jack Cardiff, all a full decade before the glories of Black Narcissus, The Red Shoes and The African Queen. One of his first travel films in the spectacular three-strip system was commissioned by James FitzPatrick of MGM's Traveltalks: Paris On Parade documented the Paris International Exposition in the summer of 1937. The Keller team then promptly sent him next to Italy to do The Eternal Fire covering Pompeii and later Rome and Palestine. By the spring of 1938, he was shooting in India. United Artists distributed all internationally, but only handled the first 8 in the United States. Paramount distributed the remaining titles under a different umbrella logo “Fascinating Journeys”... two years after their British releases. Competition with the Traveltalks probably curtailed their chances at that time since FitzPatrick's top cameraman Winton Hoch already covered India in the rainbow process well enough for American audiences in such 1936 titles as India On Parade. Yet Cardiff went a bit further than Hoch by not only showcasing the Taj Mahal in all of its Technicolor glory, but also covering it at night for Temples Of India. For a while, the British Film Institute had this one available on YouTube, but later removed it. Three other titles can be viewed... as of now: Road In India, Delhi and Indian Durbar. Ruins Of Palmyra And Baalbek, filmed earlier than the India reels (probably the winter of 1937-38) and released in the United States on November 1, 1938, is particularly interesting since Palmyra's ruins are pretty much gone today, thanks to the more recent war in Syria. Most of what you see documented here was destroyed by 2015. Encyclopædia Britannica had reissued this one for the 16mm market, along with other World Windows re-edited with different titles, as Ancient Baalbek And Palmyra on September 29, 1953. Read further here: http://www.bfi.org.uk/news-opinion/news-bfi/features/arch-palmyra-syria-jack-cardiff-technicolor
  4. Forgot that one. Sadly it is hard to find on either DVD or online, unlike The Emperor's Nightingale. Almost as gruesome as Ray Harryhausen's hydra in Jason And The Argonauts.
  5. RASHOMON may not be the "greatest" Japanese film and certainly the director himself made other titles that would rank higher as critical darlings, but we can clearly see here that it was to Japanese cinema what the Beatles were to British pop music: the shot heard around the world. Sort of like Charlie Chaplin and Mickey Mouse as well, this film landed in each international film festival dock with open arms. Part of its success in the U.S. (with RKO even handling distribution rights when most of the majors had prior been leaving foreign imports to United Artists and the smaller companies to handle) may be due to a brand new Art House market opening in the fifties, one that absorbed both the earlier CITIZEN KANE (resembling RASHOMON with multiple characters relaying a common experience through radically different eyes and toying with the standard movie structures), the contemporary Swedish imports from Bergman utilizing eerily similar summertime forest settings and the New Wave boom post Brigitte Bardot and the over-praised HIROSHIMA MON AMOUR.
  6. Jlewis

    Ben Mankie's HUAC Rants

    The only "sin" that Ben has committed is appearing on Young Turks videos, but he is very mild-mannered and quite neutral in his opinions there. One time he even discussed favorite movies of different candidates in the election. He was very tongue-in-cheek when mentioning that you-know-who loves Citizen Kane. He was very coy and didn't expand on the subject, so we the viewers were expected to debate for ourselves whether you-know-who loves that movie for its cinematic artistry or you-know-who loves that movie because its lead character bosses everybody around like little children and insists the only news worth reporting is the news he likes... *cough cough*. Ben slyly kept his trap shut regarding the matter. Of course, Robert was loved because he was gossipy of the subjects some viewers would rather he stay gossipy about. However very few here knew he had a long-term male partner until after he died because he himself knew fully well how opinionated some viewers were about that. He would only have to read the threads here today when somebody dares to question the, um, orientations of deceased movie stars.
  7. Jlewis

    TopBilled’s Essentials

    Oh that has happened to me too, but I think it has more to do with the person uploading the video on YouTube not wishing it to be shared on other sites. If a video is a problem to this forum, the mods just delete your post altogether. One problem I also find is that videos sometimes get deleted on YouTube, along with the accounts that upload them. Most of these are only online for a couple years and the older your posts are here, the more likely you need to re-check them over time to see what images and videos are still visible.
  8. Jlewis

    TopBilled’s Essentials

    Hopefully none of the "antiques" I post in the short film threads cause panic.
  9. Jlewis

    TopBilled’s Essentials

    You do realize that some of us are clicking on the images that look like videos first rather than the links. (Yes, I am not the brightest bulb in the box.) I think it was Audie's personality that is what sold him as a star more than his military decorations. James Cagney certainly saw star power in him, giving him his first big break. Only 45 when he died in an airplane crash not far from all-mysterious Roanoke.
  10. Jlewis

    A Very English Scandal

    I did watch the backstory documentary: https://www.youtube.com/watch?v=2Ck9hZGV59Q We can debate whether Jeremy Thorpe purposely wanted to kill Norman Scott or just scare him, although the poor Great Dane still lost his life, but it just demonstrates the awful lengths politicians go to hide their sex lives. Sort of like the Stormy business today. What makes it all tragic is that it was less necessary to hide everything in middle 1970s than in 1960-61 because homosexuality was no longer illegal in the UK and it was not like he was some "family values" conservative. He was with the liberal party and fought for racial rights in regards to South Africa, among other social liberal causes.
  11. Jlewis

    "The Swimmer"

    Don't quit now! The fun is only getting started! You may need to make a little correction here: https://en.wikipedia.org/wiki/Burt_Lancaster#Marriages_and_relationships "Recent biographers and others" should be changed to "Recent biographers and some TCM forum members fantasizing that he is winking at them while dropping trou in The Swimmer" Charlton Heston insisted that a script girl was fawning over him in the famous trial scene in Planet of The Apes, but I suspect that was his fantasy. After all, he already did the Mel Gibson Gallipoli routine with his bro-buddies earlier in that same film. I sure hope some of you still have a sense of humor.
  12. Jlewis

    Art of Disney Animation

    All of the Disney features have characters that may be a trifle wooden. I mean... the princes with Snow White and Cinderella are hardly "wow" although Sleeping Beauty's (Aurora's) at least fights Maleficent. Simply put, I am OK with Wart. He is a nice honest and wholesome boy like Oliver Twist. Even displays tears when he shouts at his peers and even Merlin. I think both Ward Kimball specials were intended for TV with the car film running a full 50 minutes, but were cut down in running time and released theatrically to fill the bill. That is why we get so much live-action footage in both. Disney had some interesting 16mm educationals in animation at this time too, covering topics like natural family planning and VD. Regarding the Tomorrowland specials, I can watch Mars And Beyond over and over and over and over again. It is the gift that keeps on giving with each viewing.
  13. It is so hard to do these kinds of lists because there is a mountain of material I have still not watched. Also I feel many of these AFI and Sight & Sound lists are too focused on certain director "darlings" and those films with wide mass appeal. All too often silent cinema gets ignored (although it was nice of them to include Intolerance and a few others) and short films that haven't been given a second life on TV are tossed in the ash-can of history. These are 15 exclusively American produced features (running over an hour) that I have probably watched the most times... King Kong (RKO, 1933) - it has so much to answer for and you just can't be bored by it no matter how many times you watch it. So much detail incorporated into the cinematic fabric. I only recently learned that the famous Loch Ness "surgeon's photograph", later proven a fake, was allegedly inspired by the submerged brontosaurus herbivore-turn-carnivore rising out of the water. Bambi (Disney/RKO, 1942) - although all of the twitterpating annoys me as much as it does Friend Owl Sunset Blvd. (Paramount, 1950) - I love Gloria Swanson, even if she isn't as sexy here as in the much earlier Manhandled. Pity she had to shoot William Holden's Joe in the pool. Now she no longer has him or the chimp. Just Max (good ol' Erich Von Stroheim)... and he did care for her the most. Gone With The Wind (Selznick/MGM, 1939) - the soap opera of all soap operas. Only in Hollywood would the actress who plays frail and dying-in-the-end Melanie be the one who outlasts the rest of the cast in age. Everybody else exhausted themselves. (tie) The Graduate (Embassy, 1967) / Midnight Cowboy (Hellman/United Artists, 1969) - can't make up my mind between these two Dustin Hoffman flicks but there is this nice yin/yang quality about them when viewed together. In the former, he is experiencing his "first time" with Mrs. Robinson, while the latter has him aiding a down and out Jon Voight's Joe without so much as disrobing his own jacket. Also both with Dustin ending up in the back end of a bus. When Comedy Was King (Robert Youngson, 1960) - a nice crash course on the silent comedy stars. I especially love the opening shots of Charley Chase going to the movies to see himself I Am A Fugitive From The Chain Gang (Warner Bros, 1932) - this is the one you watch when you are feeling "whoa as me" depressed. At least he temporarily gets to be a high-paid engineer with a fancy suite, even though two women bring his downfall. The Incredible Shrinking Man (Universal-International, 1957) - pity Grant Williams never became a big star after this, shrinking away in his career by the seventies. But at least he exists, as he proudly announces at the end of this. Strangers On The Train (Warner Bros, 1951) - this and North By Northwest are my favorite Hitches. This one has that ever so slight edge though. My favorite scene involves Robert Walker and "mother" Marion Lorne: Mother: Well, I do hope you've forgotten about that silly little plan of yours. Bruno: Which one? Mother: About blowing up the White House. Bruno: Oh, Ma, I was only fooling. Besides, what would the President say? Mother: You're a naughty boy, Bruno. Sherlock Junior (Metro-Goldwyn, 1924) - yeah, I lean more towards Keaton than Chaplin although I have enjoyed the other's films too. I understand why The General is considered his masterpiece, but this represents to me the core of twenties comedy with all of its speeding cars, trains and movies-within-movies. The Band Wagon (MGM, 1953) - I like Singin' In The Rain equally but might as well give this one a shout-out Mr. And Mrs. Bridge (Palace/Cineplex Odeon, 1990) - I guess this is technically a British film (Merchant-Ivory) with an American cast (Newman and Woodward) but it seemed American enough to blend in with the others. I think the appeal of certain films rests on whether or not you know people who resemble the characters. Kinsey (Qwerty Films/American Zeotrope/Fox Searchlight, 2004) - Probably the best of the more recent wave of biopics, although I am sure it takes many liberties with history. I especially like the believable relationship between Liam Neeson and Laura Linney as husband and wife. Companion trio worth seeing just to demonstrate all of the trouble the real Kinsey caused: Radley Metzger's The Lickerish Quartet (1970), Score (1973) and The Opening Of Misty Beethoven (1976, arguably one of the greatest films of the seventies) Ben-Hur (MGM, 1925) - the later version with Charlton Heston sometimes puts me to sleep, but Ramon Navarro is way too lively on screen.
  14. Jlewis

    "The Swimmer"

    That is all my fault, responding to the Larry rather than John Cheever part of a post.
  15. Jlewis

    Art of Disney Animation

    I am probably in the minority, but I rather like The Sword In The Stone. It has its flaws, mostly in its attempt to be trendy-contemporary with the Camelot years. (It was previewed in September of 1963, but went into wide release after JFK's assassination, which may have hurt it all the more both critically and commercially.) You had to be around then to get the joke about Bermuda travel commercials. Then again, I also favor the animated sequences in Bedknobs And Broomsticks over Mary Poppins although I agree with the critics that the earlier film is far better overall. Many consider the sixties through eighties a lackluster "dark age", but it was really more of a hit and miss situation with most of the hits being in smaller packages. For example, Ludwig Von Drake was a rather enjoyable new character despite so much of his material being used to link recycled footage from earlier films. The Winnie the Pooh featurettes still hold up despite "Americanizing" the material (if also aware of this with the all-American gopher admitting "I'm not in the book, y'know" in The Honey Tree, then being pounded underground by the rest of the gang celebrating at the end of The Blustery Day). I also consider something as obscure as Dad, May I Borrow The Car a fascinating, if not entirely successful, follow-up experiment to It's Tough To Be A Bird. The Rescuers was definitely the best of the features post-101 Dalmatians and pre-The Great Mouse Detective (another under-rated one). Despite the enduring popularity of The Jungle Book, I still favor Soyuzmultfilm's Maugli series better because Kipling works better as serious story telling than musical comedy.
  16. Jlewis

    "The Swimmer"

    Poor Danny. Nobody considers him a hunka-hunka o' burning luv on this forum. I have a feeling he and Larry were quite a riot together. The dialogue alone would make for one great comedy sketch. Anyhoo, back to The Swimmer...
  17. Jlewis

    "The Swimmer"

    Oh yeah, I forgot about good ol' Larry until you two, CaveGirl and Rayban, reminded me. There was a silly story I remember reading in the 1980s and can't remember the source, claiming he and Danny Kaye would meet up anonymously at airports and one played security officer frisk-er. Oh well... back to the swimming...
  18. Jlewis

    "The Swimmer"

    What is humorous about this whole conversation is that Burt is not being rumored to be "colluding with the Russians" or something that serious. We don't even know of anything specific happening except that he might have been partial to both genders in attraction. If this were 1955 and Hollywood Confidential was out to destroy a film star's career, it would make more sense to not "expose" somebody. Yet it has been almost 49 years since Stonewall, so hopefully there has been some progress in how accepting movie fans can be of actors and actresses regardless. Yes, I do understand that society has taken a few steps backward in the past two years, but that discussion belongs on the politics threads. For the record, Burt was married to three women and, according to her, loved Shelley Winters equally. (That's Shelley for you.) Yet he still had some "wilderness years" between wives #2 and #3 that might not have involved staying focused on Sandro Boticelli paintings. Add to this the fact that, yeeeaaaaahhh, he did support gay rights and fought alongside Madame Liz Taylor post-Rock Hudson death in Washington DC when that current administration was slow to fund AIDS research. Sooo... eh... I really don't think he would have an issue about all of this discussion as we may all be making it out to be.
  19. Jlewis

    "The Swimmer"

    It is OK. I understand where you are going with this even if I may not agree with you completely. Again, I don't think Burt would be bothered by any of the discussions on this thread since he was already brave enough to be appearing HERE when many of his generation wouldn't have dared. A little rumor that he may have been open to some gay affection on whatever level it might have been (since nobody has ever stated any physical, um, specifics) would not have phased him since he was always about "freedom".
  20. Jlewis

    "The Swimmer"

    Nonetheless reading through this thread has been most educational as a psychological study of posters here and all of their own personal sexual hangups, issues regarding "masculinity" and movie star image vs. reality. I will probably get into a LOT of trouble for saying this, but the current views involving "orientation" have a somewhat thicker line connecting them to earlier 20th century views regarding race, religion and "foreigners" than many wish to admit. As they say, the more things change, the more other things stay the same. There will always be a sizeable chunk of the human species that is uncomfortable with what is different than they are used to in their immediate surroundings. Sometimes this is because they aren't all that comfortable with themselves. If you are comfortable with your self, you should only be concerned about others being different if and only if they are seriously threatening you. I will not get mad at those who love to eat meat even though I stopped eating it in my twenties. Just don't pin me down and shove it down my throat because I don't "swing that way". I won't lose respect for you or no longer be "fond" of you, but I might also secretly hope you don't kill the cow. If he were alive, Burt would enjoy reading this thread with his trademark impish grin. He had no shame to his game. Otherwise that 50s year old in The Swimmer wouldn't have flaunted his 30s-ish looking Adonis body like he did. If not just women admire it, more power to you. Oh I am sure he had few inhibitions regarding who wanted to touch it... within whatever boundaries he set for himself. When you google famous quotes, this one of Burt's is readily available: "I found marriage somewhat stifling. I don't know that I am the kind of man who ought to be married." In other words, he didn't stick to ONE partner his entire life and made sure a priest sprinkle holy water over just one honeymoon bed. He occasionally got bored with the same ol' same ol' way of doing things and, hey, it was the 20th century after all.
  21. Jlewis

    James FitzPatrick TravelTalks shorts

    Remember that this title is from his return trip in 1952. Check out Picturesque South Africa of 1936. I don't think most American viewers at the time picked up on the words used in Johannesburg City of Gold like you did, but considering that M ammy Two-shoes only officially retired from MGM's shown-with-the-Traveltalks Tom & Jerry cartoons that same year, it is no surprise that this title just blends in with the competition. Geoff Alexander's Academic Films For The Classroom is a good read, even though many of the films mentioned were 16mm educational rather than 35mm Hollywood produced. Other film producers like Paul Hoeffler were doing essentially the same thing regarding South Africa (ignoring the racial divide and pretending everything was hunky-dory, but maybe not using those antiquated words that are now considered offensive). It is insinuated, if not spelled out, that these filmmakers were strongly encouraged to conform to the primary government's point-of-view just so they could get their permits to shoot there. Note too that the FitzPatrick Traveltalks covering Japan in 1935 make no reference to the expanding military complex that was always visible everywhere. His Austria reel was fortunately shot the year before Hitler added it to his empire, but I am certain there were already plenty of distinctive flags displayed that were carefully blocked from the camera's view. Then again, you are talking about Jimmy FitzPatrick, whose view of the world resembled Disney's "It's a Small World" ride. Positively he wasn't blatantly racist as so many others of his generation and was always praising this and that location that displayed a variety of skin shades in close harmony. Unlike, say, 75% of the white United States population pre-civil rights era, he probably would have no issue with children of different races sharing the same swimming pool. His Brazil reels showing the beaches are particularly interesting in that regard. While we can debate here whether or not he would be as progressive as Spencer Tracy and Kate Hepburn's characters in Guess Who's Coming To Dinner and accept Sidney Poitier as a son-in-law, I do get the impression that he was gradually progressing with the times and this is noticeable when you watch the Traveltalks in chronological order, seeing how certain key words are no longer used post-WW2. Best way to sum him up is with the familiar line from a song in Monty Python's The Life Of Brian: he was always looking on the bright side of life. He blatantly stated in an interview that tourists don't want to see the less-than-pretty aspects of exotic locales, so he sticks to what would be depicted on post-cards. To be fair, National Geographic magazine was equally bad under Gilbert Grosvenor's reign with all of its Autochrome and Kodachrome photographs that showed everybody smiling and apparently well-fed. It is hard to open an issue showing scenic Georgia with its antebellum plantation recreations of the same era and not cynically chuckle at everybody looking happy as they recreate their "roles" of masters and servants.
  22. Jlewis

    Making some "Shortie Checklists"...

    On Charles Urban's thread, I mentioned a certain William Friese-Greene who was in battle with him in the courts over competing color film processes, his Biocolour being similar to Kinemacolor in its two color filter system. Friese-Greene is a very interesting character in his own right, being a pioneer who developed one of the earliest movie cameras around 1888-89 and was toying around with his own color movies just one decade later, years ahead of the Urban backed Edward Raymond Turner and George Smith. He also was subject to much controversy (as described on the BFI site) since some of his patents involved rather faulty equipment that didn't always work well and some of his claims for being “first” were later disputed. His unexpected death by heart failure on May 5, 1921, while attending a speech at Connaught Rooms, London, happened when he wasn't doing very well financially. Yet his reputation grew over time, partly thanks to one of his sons, Claude, who worked as a successful camera technician in the British film studios until his own untimely death in 1943, and a biographer named Ray Allister. Both men received just enough attention in the history books for daddy to receive his very own glossy biopic in 1951 called The Magic Box, starring Robert Donat (plus too many familiar faces to include in poster credits) and directed by John Boulting with Jack Cardiff's trademark Technicolor cinematography to boot. In fact, most of the criticism regarding the senior Friese-Greene's contributions really snowballed after this feature overly romanticized him, in addition to Allister's book it was based on being questioned as well. Peter Domankiewicz's blog dedicated to him, https://friesegreene.com/ , sums up his career both alive and deceased as “Famous. Ignored. Celebrated. Damned.” Great grandson gives a nice family introduction to the real William here: Claude continued after his father's death with Biocolour by creating Spectrum Films in 1923. A trio of experimental shorts were showcased in March of 1924: Quest For Colour, a series of Spain and UK travel scenes, Moonbeam Magic, a clever fantasy, and Dance Of The Moods, featuring the Margaret Morris Dancers. Later that same year, he took his camera on a motor journey from Cornwall to John O'Groates at the northern end of Scotland (filmed by early 1925) and back to London by way of Edinburgh, including a stop at the zoo. The first batch of these, listed as a series called The Open Road, were presented as one reel (under ten minutes) short subjects at a December 3, 1925 trade show with Wardour Films providing distribution. A total of 25 short films were in wider release by April 1926 with episode #26 added that fall with newer London “back home” material shot in August (presumably a year and half after the Scottish footage was filmed). While so much Kinemacolor has been lost, Claude's Biocolour material of this particular travelogue has been well preserved over the decades and modern digital technology has solved some of the double images and flickering involving a system that was only marginally better than Kinemacolor and not a “bi pack” system like contemporary Technicolor. (Claude himself later worked with both Dufaycolour and the more advanced three strip Technicolor while working for the major studios, the latter process only a year before his death.) The British Film Institute successfully issued a slightly edited down version of the shorts on DVD in 2006 as Claude Friese-Greene: The Open Road. Autumn foliage looked especially good in the system as this clip reveals. Hard to believe this was filmed about November of 1924, but it was!
  23. A while back, there were a lot of cheap DVDs available at an Asian food market (?!) and, of course, I had to add a Raj Kappor Bollywood to my collection. He was essentially that industry's Orson Welles, often starring, directing and micro-managing the editing and cinematography of his films, often aping the Hollywood product with all of its noir-ish shadows-galore. Aag (Fire) makes the cut here, being first shown in August 1948. It does run a little too long (over two hours) before getting-to-the-point, but makes for great musical tragedy; think of a composite of The Red Shoes, The Jazz Singer and The Story Of The Last Chrysanthemum (or any other Japanese melodrama about actors suffering for their art and never getting family approval) with singing... a lot of singing. Basic plot to get you started: groom must explain to his bride how he got his facial burns. Well, had he stuck to being a lawyer like Daddy wanted him to instead of... ugh!... acting... and also avoided women... Wikipedia lists Mukesh as the singer here.
  24. Jlewis

    Gay Theme Biofilms

    It all depends on how you define "masculinity". Compared to today's stars in their looks, obviously Ramon was not Chris Pratt or Zac Efron and even contemporary Valentino who was lifting the weights an awful lot in his final years, gradually resembling Douglas Fairbanks and Ramon's Ben-Hur co-star Francis X. Bushman in "hulk" by Son Of The Sheik. I guess I would see him more as a Shia LaBeouf. Nonetheless the twenties was an interesting decade when the genders blurred quite a bit. Part of this was due to The Great War and the less than enthusiastic response to its aftermath, as well as women taking on more roles in male dominated industry as a result. Just as the flappers were cutting their hair short and downsizing their cleavage to look more masculine (plus smoking cigarettes), the guys were fussier in their grooming habits. The great dictators in Spain, Italy and Germany would soon fixed that problem in the thirties, among a great many other issues they personally viewed as problems.
  25. Jlewis

    Gay Theme Biofilms

    He certainly looked his best in Ben-Hur (and you can see at least one mismatched scene in which he sports chest hair climbing ropes on the burning ship since somebody forgot to "wax" him) and The Pagan. There is a humorous scene from The Flying Fleet uploaded on YouTube called "1920s Navy physical exam".

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