Roy Cronin

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  1. Roy Cronin


    I've been scouring the internet to find opening night reviews of Carol's performance in Blue Denim but turned up next to nothing (I'm not subscribing to the NYTs archive), but I did come across interesting facts about the theater, Playhouse Theater on West 48th. Following Blue Denim, it housed The Miracle Worker, Never Too Late (Paul Ford and Maureen O'Sullivan) and The Impossible Years (Alan King), all long runs and made into movies. It can be seen in The Producers. It was razed in 1969 to make way for office space attached to Rockefeller Center.
  2. Roy Cronin


    Didn't he get involved in music and LSD experimentation? Not saying that the music had any impact on his movie career, but the LSD originated there.
  3. Roy Cronin

    Teachers In Movies

    I remember a while ago there was perhaps a thread or at least some posts concerning things you can read on classroom blackboards in the movies. Some math errors were detected, but I don't remember any stay on The Teacher Thread track, does anyone have examples of any interesting ones (a la Peyton Place above.)
  4. Roy Cronin

    Beautiful Autumn Scenes In Movies

    You can do commentary on Autumn in New York, that not-so-classic Richard Gere/Winona Ryder pairing.
  5. Roy Cronin

    Beautiful Autumn Scenes In Movies

    I remember Peyton Place making use of location shots for the opening credits too. And Autumn is featured prominently in the Far From Heaven's precursor, All That Heaven Allows.
  6. Roy Cronin

    R.I.P. Ric Ocasek

    Paulina made a number of films, probably most famously Anna, which earned Sally Kirkland an Oscar nomination.
  7. Roy Cronin


    This entire thread has been fabulous, fun and informative. I almost felt bad (ly) it got derailed, but learned that Carol & Joan almost worked together in Return to Peyton Place. So everything is copacetic.
  8. Roy Cronin


    GET OUT! You're too short for that gesture. (I use that line a lot in real life and no one ever gets it.)
  9. Roy Cronin


    Here's a bit more from the story; The bolding is mine! In some ads, the o in the title's "of" was a wedding band, and the text read, "The story of the girls who claw and scratch their way to the top ... only to realize too late--there's no wedding ring on their finger!" Snapshots of each couple, each containing a line of dialogue (example: "I had the finest husband ... too bad he wasn't mine"), would wheel in a circle, or run vertically, like those photo-booth strips. The Halsman cover of Jaffe's book was often reproduced within the ad--a seal of approval--even as Jaffe's sympathetic portrait of single women was being hyped as "The Female Jungle Exposed." A steady drumbeat of coverage led up to the film's release, splashy photo spreads in Life magazine on Suzy Parker ("A Gay Soaking for Suzy"), Martha Hyer ("Nothing but the Best"), and Joan Crawford ("The Durable Charms of Joan the Queen"). And in big cities around the country secretaries vied for the title Miss Best of Everything Secretary. The winner got a line in the movie, playing an assistant who chases after Caroline. (She calls, "Oh, Caroline," and Hope Lange answers, "Not now, later, Dinah.")
  10. Roy Cronin


    This is probably too lengthy, but it's juicy and gossipy!! Though Hope Lange was the unspoken star of the movie, it became quite clear that Joan Crawford, now 55, was the star of the set. She arrived at the studio in a limousine. She swept in, dressed to the nines, with an entourage that included a hairdresser, makeup artist, wardrobe mistress, secretary, chauffeur, and stand-in (all the other girls shared Fox staffers), and nobody would say good morning until she said it first. Crawford played the ice-queen editor in the movie, and, fittingly, when she was on the set it was kept cold, very cold, six degrees below normal temperature, and not just because she had coolers full of Pepsi for the cast and crew, and a special cooler of 140-proof vodka for herself. "That was my first awareness," remembers Diane Baker, "that an artist had that kind of (power). She had to have the set freezing. People caught cold. We all tried to figure it out. Someone came up with the solution; it had to be because of her makeup." And yet, despite the cold, Crawford was in meltdown. She was mourning the loss of Steele, the end of her happiest marriage, and was desperate about money. She told gossip columnist Louella Parsons that she accepted the small role (for which Wald reportedly paid her $65,000) because Steele's death had left her "flat broke." This in turn infuriated the executives at Pepsi-Cola, who felt smeared, so Crawford had to recant the comment, saying there was a "misinterpretation" (which teed off Parsons, who never forgave her). Crawford's drinking was an open secret on the set, and though she was never visibly drunk, Jaffe once saw Madame Perfectionist in mismatched sandals, one turquoise, one beige. Crawford would later say to writer Roy Newquist, "After Alfred died and I was really alone, the vodka controlled me. It dulled the morning, the afternoon, and the night." Did it? On-camera, Crawford was a consummate professional. But off-camera, to the young women around her, she seemed out of control. "She was pretty much a vulnerable, tear-ridden person, trying to hold it together," says Diane Baker. "She was crying one day, before a take. She was scared to death. I just gave her a positive sign, like 'Yes, you're going to be fine.' It sort of solidified a ... kindness." In turn, Crawford adopted Baker as a protegee, which was fine until they met again on the set of Strait-Jacket, and a recovered Crawford--"She was the boss again"--cut Baker and her scenes down to size.
  11. Roy Cronin


    To my knowledge Blue Denim has never had a (major) Broadway revival, but I'm not certain. I doubt it's the type of play that amateur groups or schools would revive either. The Wiki entry makes it seem like it's a play that's produced with some regularity
  12. Roy Cronin


    I thought you could tell when I was kidding. (But it does seem possible, no?)
  13. Roy Cronin


    Allegedly Joan's last words to Hope Lange on the set were "If you think I was tough to work with I hope you never run into that bastard Glenn Ford."
  14. Roy Cronin


    Joan was probably happy at least that Hope didn't get the part. I found this article about the filming of "The Best of Everything." The only outright tension was between Hope Lange and Crawford, between the star with first billing and the name that came last. Amanda Farrow, after all, was Crawford's first supporting role--a comedown. "I was fortunate because there was tension," said Lange. "Our scenes were built-in with tension. It had to have been tough to have all of these young upstarts, and there she was in a non-starring role." No doubt Crawford was feeling vulnerable, but clearly she knew how to use that vulnerability. And when it came to delivering her lines, baiting repartee punched up by Gavin Lambert, her darts over the desk take the skin off your nose. Years later, in conversation with Newquist, more baiting: "The youngsters did all right," Crawford said, "but for some reason or other I'm proud to say I sort of walked off with the film. Perhaps it was the part--I had all the balls--but I think it was a matter of experience, knowing how to make the most of every scene I had." Still later, with biographer Lawrence J. Quirk, the truth: "All those young ****es," she called them.
  15. Roy Cronin


    Remick and Lange, yeah too old. I just looked it up. Varsi (1938) was closest to Carol's age (1942).

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