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JackFavell

Our Favorite Brunettes

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You photos are breathtaking, Goddess. My favorites are the All American champion sweatshirt photo, and my favorite of all time is the green sweater shot - I don't know why, it's not the best photo of her ever taken, but it captures something different about her... there is something in her eyes that just grabs me and holds me...

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My friend David sent me this e-mail:

 

Why do I have the tendency of feeling like these stars are immortal. Always feels unreal when I hear of their passing. Thank you, Elizabeth Taylor.

 

The pictures you and Jackaaaaaaaaaay posted are beautiful. She lived big and loved big. She was a great friend to many. I found her beauty exquisite and loved many of her film performances. For me, Elizabeth Taylor is The Last Movie Star.

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All good things do unfortunately come to an end.

 

But as is the case with many of our favorite stars, we will always be able to watch them in their full glory on dvd, vhs, cable and of course TCM.

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That perhaps is true Rey....but I like the emotion of this:

 

"I feel the same way, M'Ava. If she's gone, then Hollywood really was just a dream world that never actually existed." - << (( Jack Favell )) >>

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I just had to share this cute, short video of "Queen Elizabeth". What a beauty!

 

 

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What a find. Did you see that little self-satisfied small smile she gave herself when she finished putting on her mascara? HA!

 

I say, "ALL HAIL THE QUEEN!" :-)

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> {quote:title=CineMaven wrote:}{quote}

> What a find. Did you see that little self-satisfied small smile she gave herself when she finished putting on her mascara? HA!

>

 

I sure did! And if I had a face like hers I would be smiling each time I looked in the mirror!

 

And I simply had to share this video. It's longer, and filled iwth personal home movies of her and Mike Todd. It's the loveliest thing I ever saw on her. She's positively radiant, and who wouldn't be, basking in the love of a guy like that? I was in tears by the end. You'll see why.

 

 

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I love the bottom picture of Mary. It looks like Rosetti could have painted her like that.

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Isn't it gorgeous? Mary is very pre-Raphaelite.

 

I like all of these a lot, but I think if I had to pick, my fave would be the second from the bottom, for the elegant pose, and the clothes!!!!!

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Yes, that one is lovely, too. You could wear that dress today. I wonder what the colors were.

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I don't know... I picture it in deep satiny grey, but then, the photo in black and white is probably prompting that. :D Maybe a dusty red or a frosty midnight blue?

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Johnm - Your mom is certainly the highlight of this thread! She's beautiful. I'm glad to see more pictures of her. :D

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> {quote:title=JackFavell wrote:}{quote}

> Johnm - Your mom is certainly the highlight of this thread! She's beautiful. I'm glad to see more pictures of her. :D

 

 

Thanks for your kind words. I certainly thought she was beautiful, my entire life. My 3 year-old granddaughter is now the most beautiful brunette in my life. In fact, she could play my mother, as a child!

 

Photobucket

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Last night TCM had a brunette treat with an evening showing films of one of our favorite brunettes, JOAN BENNETT.

 

SCARLET STREET (1945) - "They'll be masterpieces."

 

Bennett was pretty devilish as previously discussed here on the Message Board as "Kitty." She made me think of the Laura character in "FLESH" in that the heroine is head over heels for a heel. At least Cortez had some kind of ooomph factor. Duryea is just a sleazy slimey guy.

 

Putting aside Bennett for just a moment, I was also taken by Edward G. Robinson. He was Little Caesar. Then he plays the mean ol' sea captain in "Sea Wolf." He was quite different in "Double Indemnity" and here he?s such a softy. I want to protect him. He lead with his chin. How can this be the same man who is a real s.o.b. a few years later in "KEY LARGO"?? When Bennett (as Kitty) takes hold of Eddie G., she doesn't let go, and squeezes him for every drop of human dignity...even after her death. One of the most devastating movie endings I've ever seen.

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TRADE WINDS (1938) - "You're not the girl I want. You're the girl I want too much."

 

This movie was twisty turny. I couldn't quite get my footing with the comic moments blending with the drama. The tone kept me a bit off-balance. I really just wanted to cut away the fat and look at Bennett with Fredric March and their romance. She was luminous in love...then disillusioned...then accepting that she's in love even if it means going to prison just to spend time with March. Her reaction to the seeming betrayal of March was good; she was devastated being turned into the law, and now behind bars. You really just can't take your eyes off.

 

HOUSEKEEPER'S DAUGHTER, THE (1939) - "Get outta here before I change your face."

 

When the movie starts, the camera dollies into Bennett sitting among a den of gangsters as she warns a poor sucker to get out of this rigged card game. She looks like a queen sitting there; she tells 'em off, looking like she belongs. She has a glare that could rival the best of 'em and can spit out tough bon mots with her alto voice that you wouldn't want to be on the receiving end. (Robert O. says this is Victor Mature's first movie. His voice isn't quite the commanding voice we've all grown to know. But he's sure got those looks...and his little eyebrow/forehead move).

 

This is a piece of fluff of a movie (where the title is repeated several times in the dialogue) of mistaken identities and hijinkx with firecrackers and dumb bad guys. There's not a real substantive thing for Joanie to do, but look beautiful. How did the great Menjou end up in this? Produced by Hal Roach, at least he made this seasoned roue really go after the Housekeeper and not her daughter. Menjou's change of heart is not really explained well, but at least he was more age-appropriate in his heart's choice.

?

WOMAN ON THE BEACH, THE (1947) - "Peggy, you're so beautiful. Beautiful on the outside."

 

As blind husband Charles Bickford tries to figure out who Robert Ryan is when they first eat, I love how director Renoir lets the camera lingers on Joan checking out Ryan. I think no one plays "haunted" like Robert Ryan. She has such a withering look that it can cut down the mighty Ryan. All 6'4" of him.

 

John...your granddaughter is absolutely adorable.

?

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I didn't get to see the movies on after *Scarlet Street* , I got them recorded though.

 

The thing that struck me about *Scarlet Street* (besides Dan Duryea's open hand) on second viewing was the greatness of the script. This has got to be one of the best scripts of the 1940's, and _so_ underrated. It's damn near perfect. EVERYTHING ties back into something else - it's a spiral inside a spiral with no ends dangling. Even the way poor Chris whistles his bird call at the beginning when he reveals himself to Kitty is brought back to haunt him... I suspect this script began with the phrase

 

"He couldn't even get arrested in this town..."

 

It's basically about a man who disappears. Sometimes that's what being nice in this world of vultures gets you. Imagine leaving no mark on the world, no footprint at all? As kids, we all want to be invisible. Watching this movie, it makes me realize that it would be torture.

 

Everything, right down to Kitty's bullseye handbag, is a plot point. It's breathtaking how Lang lines up his ducks in a row, not giving any aspect of the movie short shrift. A painting, a straw hat, an ice pick, a dead husband's photo, an art store window....it's all there to increase our enjoyment...and our agony.

 

It also gave me two programming ideas, though I'll never enter the challenge....

 

1. movies with a sly take on modern art

2. movies in which Melancholy Baby plays a key role

 

Joanie's tone in this movie is so comic, so perfect, so dumb under the smart that I have nothing but admiration for her. How do you do what she did with that role? She tosses of certain lines, giving just a hint of Kitty's real personality. And even at the end,you can't hate her. Not much anyway. And Edward G. Robinson? Why invisible is the right word, because you never see the mechanics of his performance, only the heartbreak.

 

Edited by: JackFavell on May 12, 2011 1:03 PM

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You hit me for a wallop with this line Jaxx:

 

"And Edward G. Robinson? Why invisible is the right word, because you never see the mechanics of his performance, only the heartbreak."

 

Lovely lovely written post. I've come to "SCARLETT STREET" with a modicum of kicking and screaming b'cuz of Joan Bennett's working over Eddie G. But I love my lethal ladies, and Joan's Kitty is definitely a femme fatale.

 

You can't beat a nice tight script. No Grand Canyon gaps you can drive a Mac truck through, no loose ends. Thoughtfull. Meaningfull. I didn't watch the film in its entirety last night. But the little I saw, what struck me was Bennett playing two notes simultaneously. I remember when Chris was going to leave her apartment how she slightly ran to get his hat and give him the ol' heave ho outta there. A great lethal lady with the flawed choice of Duryea for a lover. (Flawed women, wasn't that your list???)

 

The spiral within a spiral is well-put. I thought "TRADE WINDS" could have been much better, stronger without the comic input and the over-the-top Dudley Doo-Right Ralph Bellamy.

 

The ending of "SCARLETT STREET" also reminded me of Jack Nicholson's Sean Penn directed film: "THE PLEDGE." (2001) A man kept company by his inner demons.

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