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Well Tom, I DO have to admit that just about a month ago, I myself experieced this very feeling after... (...well after...ah, YOU know!) LOL

Miriam Hopkins, Star of the Month, I don't think has been ever so honored. But the recognition, or its repetition is long overdue. One of the brightest lights in my movie star firmament, she radiated an earthy unashamed sensuality paired paradoxically with a refinement that came from a patrician upbringing. We start off this Thursday with a trio of movies she made with Ernst Lubitsch, which are three of her best. The Smiling Lieutenant (1931) is a romantic comedy set in the world of the aristocracy and military of early 20th century central Europe, a theme he exploited repeatedly. Nikolaus (Maurice Chevalier), a Lieutenant, through a misunderstanding, is compelled to marry the dowdy Princess Anna (Hopkins). But he pines for his pretty Franzi (Claudette Colbert), the violin-playing leader of an all-woman orchestra. This was her first big movie role, and one would have expected her to be dominated by the other two, but she holds her own against them. Her vivacity, sparkle, sexiness, and comic timing charm us as Anna charms her 'Niki': Although Design for Living (1933), a romantic comedy about a menage-á-trois without sex, is a more important movie in terms of cinematic history, my personal favorite of the three is Trouble in Paradise (1932). It is so delightfully satiric, and irreverent, skewering pomposity, pretentiousness, and phoniyness. With an opening that has a Venetian garbage gondola piloted by an opera-spouting trash collector, how could it fail? It's hard to choose one from the many terrific scenes, but here's one between Lily (Hopkins), and her future lover Gaston (Herbert Marshall), two fakers, faking each other:

I consider Miriam Hopkins the quintessential Pre-Code actress. Sexy, smart, and direct, Miriam could seduce you one moment (Dr. Jekyll and Mr. Hyde) and break your heart (The Story of Temple Drake) in the next. I would have loved to have seen her in an all-out musical. Something like 42nd Street would have been a perfect vehicle. Great choice for SOTM.

I checked out THE EPIC THAT NEVER WAS (1965)- a British Documentary about the aborted filming of I, CLAUDIUS in 1937. i'm going to be naughty and again post it below, in full I had forgotten it was hosted by a very very charming DIRK BOGARDE. The two most surprising things to me about it were how low-key and calm JOSEF VON STERNBERG (who directed the failed effort) is in his interview (he was still alive and teaching film at (I think?) UCLA when this documentary was made) and how really, really handsome he was back in 1937 (he is included in some of the footage) MERLE OBERON and FLORA ROBSON are interviewed and they are both quite likable, ROBERT GRAVES is also interviewed and he is not likeable at all. (he also name drops that he was hanging out with WALLIS SIMPSON when he got the call that the film rights had been sold to his novel to wit I roll me eyes and say “oh! Get her!” for whatever reason, the problem with the whole thing seems to have been CHARLES LAUGHTON- who it seems had some crippling anxiety attack and could not complete the film- there is heartbreaking footage of him giving half a performance, and then breaking character, one time admonishing himself for his "Cockney" accent "I can't FIND the man!" he is reported as saying often on set,

I actually wrote a paper for AP English in High School that MICHELLE PFEIFFER should have won the BEST ACTRESS OSCAR for BATMAN RETURNS and I 100% stand by that today. the film on the other hand...(makes wavy hand gesture) eh....

I found this review on AV Club. The author, in a very brief bio, says she's interested in "feminist theory" which no doubt will have at least half the posters on here running for the exits. But, you know, if young people can find any justification for watching older movies, I'm all for it. https://film.avclub.com/celebrate-christmas-with-the-subversive-1940s-rom-com-t-1845857392 Keep on scrolling down for the reader comments, in which a bunch of classic movie fans (presumably no one who also posts on here?) largely ignore all the author's theories on gender and race role subversion and quickly suggest and debate a plethora of famous Christmas movies.

Thursday, January 7 12:30 p.m. Let Us Be Gay (1930). With two Canadian actresses, Norma Shearer and Marie Dressler.

I was surprised to find this film on the schedule, but it’s the first time I’ve seen the full film including parts cut for network showings of the movie. I don’t see it as a great film but it is absolutely entertaining and the humor is very enjoyable. Goldie Hawn is hilarious in all her incarnations and offers some wonderful lines (“I didn’t marry very well did I?” And “Shut up and eat your checkers.”) . Those are just two examples. Her vocal tone, her body language and herfacial expressions absolutely enrich the story line.

A Tree Grows in Brooklyn (1945)

TOM, DICK AND HARRY 1941

Her last film was called SAVAGE INTRUDER (1970).

Thompson, Marshall

Slezak, Walter

Reynolds, Burt

O'Brien, Joan

Nuyen, Frances

Our third villain is JACK PALANCE He essays sinister characters in noir -- SUDDEN FEAR. In horror -- MAN IN THE ATTIC. And in westerns -- THE MCMASTERS.

Ewww...

PINOCCHIO 1940

Jackman, Hugh

https://www.nytimes.com/2021/01/05/arts/television/tanya-roberts-dead.html Tanya Roberts, a Charlie’s Angel and a Bond Girl, Is Dead at 65 After finding stardom in the 1980s, she fell out of the spotlight until re-emerging in 1998 in the sitcom “That ’70s Show.” Tanya Roberts, the breathy-voiced actress who found fame in the 1980s as a detective on “Charlie’s Angels” and as a brave earth scientist in the James Bond film “A View to a Kill,” died on Monday night in Los Angeles. She was 65. Her death, at Cedars-Sinai Hospital, was confirmed on Tuesday by her companion, Lance O’Brien. Her publicist, who was given erroneous information, had announced her death to the news media early Monday, and some news organizations published obituaries about her prematurely. The publicist, Mike Pingel, said Ms. Roberts collapsed on Dec. 24 after walking her dogs near her Hollywood Hills home and was put on a ventilator at the hospital. He did not give the cause of death, but said it was not related to Covid-19. He said she had not been noticeably ill before she collapsed. Ms. Roberts’s big acting break came in her mid-20s, when she was cast in the fifth and last season of “Charlie’s Angels,” the ABC drama series that, trading on its stars’ sex appeal, followed the exploits of three attractive former police officers who often fought crime wearing short shorts, low-cut blouses and even bikinis. The show was an immediate hit in 1976, but Farrah Fawcett, its breakout star, left after one season, replaced by Cheryl Ladd. Kate Jackson quit in 1979, and her replacement, Shelley Hack, was gone after just one season. Ms. Roberts replaced Ms. Hack. Jaclyn Smith appeared throughout the series run. There were high hopes for Ms. Roberts when she joined the cast. Her character, Julie, had some of Ms. Jackson’s character’s streetwise attitude; Julie was known to knock a handgun right out of a tough criminal’s hand. Her part couldn’t save the show’s plummeting ratings, but it did lead to an active decade for her in Hollywood. Most notably, she was a “Bond girl,” playing a geologist threatened by a microchip-monopolist madman (Christopher Walken) in “A View to a Kill” (1985), Roger Moore’s last appearance as Agent 007. Ms. Roberts also appeared in “The Beastmaster” (1982), a fantasy film. And she played the title role in “Sheena” (1984), a highly publicized adventure film inspired by a queen-of-the-jungle comic book character. Sheena, a female Tarzan type, wore skimpy fur outfits with décolletage, rode a zebra, talked to animals and shape-shifted. The film flopped at the box office, and Ms. Roberts began fading from public view. She returned to the spotlight in 1998 on the sitcom “That ’70s Show” as the glamorous, youngish Midwestern mom of a teenage girl (Laura Prepon). In that role she was beautiful, slim and sexy — and delightfully dimwitted. The comic mystery, year after year, was how her short, dumpy husband, played by Don Stark with frighteningly overgrown sideburns, had ever won her heart. Ms. Roberts appeared on the show for three seasons and later made guest visits. She was born Victoria Leigh Blum in the Bronx on Oct. 15, 1955, the second of two daughters of Oscar Maximilian Blum, a fountain pen salesman, and Dorothy Leigh (Smith) Blum. According to some sources, Tanya was her nickname. She spent her childhood in the Bronx and lived briefly in Canada after her parents’ divorce. She began her career by running away from home to become a model when she was 15. Back in New York, she studied acting, appeared in some Off Broadway productions and worked as a model and a dance instructor to make ends meet. Her modeling career included work for Clairol and Ultra-Brite toothpaste. She made her screen debut in the horror thriller “The Last Victim” (1976), about a serial rapist-murderer. After “Charlie’s Angels,” Ms. Roberts acted in both television and films. Her roles included the private eye Mike Hammer’s secretary in the television movie “Murder Me, Murder You” (1983), a detective working undercover at a sex clinic in “Sins of Desire” (1993) and a talk-radio host on the erotic anthology series “Hot Line” (1994-96). Her final screen appearance was on the Showtime series “Barbershop” in 2005. Even in her heyday, Ms. Roberts appeared not to enjoy being interviewed. Chatting with Johnny Carson on “The Tonight Show” in 1981, she laughed nervously, gave short answers and flirted with Michael Landon, her fellow guest. At one point, Mr. Carson mentioned a cover article about her in People magazine, prompting Ed McMahon, the host’s sidekick, to suggest, “Maybe there’s something in the magazine that’d be interesting.” Ms. Roberts was a teenager when she married in 1971, but the union was quickly annulled at the insistence of her new mother-in-law. In 1974, she met Barry Roberts, a psychology student, while both were standing in line at a movie theater. They married that year. Mr. Roberts became a screenwriter and died in 2006 at 60. In addition to Mr. O’Brien, she is survived by a sister, Barbara Chase, who was Timothy Leary’s fourth wife. Ms. Roberts had always insisted that she was a New Yorker at heart, and not just because she hated driving. “L.A. drives you crazy,” she said in the 1981 People magazine article. “I’m used to weather and walking and people who say what they mean.”

I highly recommend: Love Crazy (1941). It is a complete romp.

Probably. It seems according to MovieCollector's archive that Overboard had aired on TCM three times before this, although there was a 15 year gap between the third time and Sunday's airing. Goldie probably is considered to be at least a semi-classic name now, given that she made her first big splash in show business in 1968, and (aside from narration on one and a cameo in another) all but 5 of the films she appeared in were released at least 25 years ago. But, Overboard also has a small role for Roddy McDowell; McDowell of course was a long-time Hollywood player, and was one of the biggest members on the Hollywood scene (he was friends with practically everyone), and as it so happens, he also produced the picture. So that might be an in.

Yes. The original agreement back in the 90s was agreed by both OTA broadcasters and cable TV. The main exception is when a channel like HBO or Showtime shows a film rated by the MPAA, they'll use that rating instead of a TV rating. Most basic cable channels don't, even when showing such films, primarily because they've been edited. TCM is pretty much the only one which shows unedited MPAA-rated films, but uses the TV ratings instead.

She was awesome in that film.

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Like the comments about Michelle (deserved it for Baker Boys) and I saw the documentary about I Claudius (also saw PBS Version and read two-volume book). I believe Emlyn (sp?) Williams, who wrote Night Must Fall and The Corn is Green, was Caligula.

I do agree that Miriam is certainly deserving. Sepiatone

2162 is The Bicycle Thief. No. 2163 is 20,000 Leagues Under the Sea. Yes. 2164 I'm racking my brain. I can't believe Sidney Poitier and and Paul Newman were in a movie together, and I have no idea what it was.. 2167 is 10. Yes. 2170 I remember the trailers for this movie, but I don't remember if I saw it. I've always liked Treat Williams. There are only two I'm sure I've seen.

From January 6-8, 1921, the Poli ran Oh, Lady, Lady, starring Bebe Daniels as Mary Barber, Harrison Ford as Hale Underwood, and Walter Hiers as Willoughby Finch. The film was released in November of 1920 at five reels, and is presumed lost. Plot: Willoughby Finch says goodbye to his country sweetheart, Mary Barber, promising her that he’s a “one woman man.” But as time goes by, Finch becomes engaged to society girl Molly Farringdon. Mary, who has become a famous actress and uses the stage name of Rilla Rooke, returns from a trip abroad, and while on a train, meets Hale Underwood. Underwood is to be the best man at Finch’s wedding. He falls for Mary. Arriving at the hotel, Mary discovers Finch is about to get married. She phones Finch that she is coming to see him. Her intention is to congratulate him, but Finch misinterprets her motives, believing she wants to break up his impending marriage. So he enlists a press agent to cover up his prior relationship. But the press agent makes a mess of the situation. He decides to hire an actress to play a vamp, pretend to be Finch’s lover, and scare away Mary. He inadvertently hires Mary for the part, not realizing who she is. Mary thinks she is helping Finch escape from an unhappy engagement, and she arrives, dressed as the vamp, during the wedding rehearsal, which shocks Finch: The wedding is called off. Worse, Underwood is now confused about Mary. Mary confesses to Underwood that she was only playing a part, and all concerned are reunited. One clever scene involves Bebe Daniels castigating her press agent. The effect is magnified on screen by having the press agent actually shrink in size, getting smaller and smaller the more he is berated, until he finally has to tip-toe to reach the door knob to let himself out. The still below (probably a publicity shot) shows Walter Hiers with Bebe Daniels and Harrison Ford: The next still (also probably a publicity shot) shows Hiers with Daniels: The still below shows director Maurice Campbell working with Hiers and Daniels, probably in a scene from the first part of the film: The film was adapted from a musical comedy of the same name, written by Guy Bolton and P.G. Wodehouse. Wid’s Daily wrote “there’s some really fine comedy contained in it and the complications that arise over the hero’s attempt to marry a society girl afford opportunity for exceptionally good comedy business. … the comedy business all the way through is natural and not forced. The titles are great. Whoever wrote them knows how to do it.” Motion Picture News remarked that the film contained “enough values of a farcical nature to provide a pleasant vehicle for the display of Bebe Daniels’ charm and talent. One must characterize it as wholesome entertainment which is exceedingly frail, but which conquers for its comedy highlights.” The Moving Picture World said that the film had “a radiance all its own. There is plenty of snap to the clever subtitles, and the action is never for a moment dull.” Also on the bill was a comedy short entitled Kids Is Kids, with Carter DeHaven and his wife. The two-reeler was released September 12, 1920. The DeHavens play a young married couple who volunteer to take charge of several orphans after an orphanage has burned down. When the couple also babysit for a young boy named Cicero, the orphans shave his head, sending his mother into a rage. There is also an overflowing bathtub, and, according to Wid’s Daily, “the ice cream scene and the business with the piano all get over very nicely.” Exhibitor’s Herald wrote “the picture is good fun and will be enjoyed, especially by those who have young children in their homes.” I did find a still, without context, of DeHaven encountering a dog:

Cat on a Hot Tin Roof (1958) next : absurd plot

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Sounds like Roddy McDowall.

The Hollywood Reporter @THR SAG-AFTRA issued a statement expressing displeasure about the fact that the Grammys has moved to the same date and time for which the #SAGAwards has long been scheduled http://thr.cm/W1SL9D5 1:01 AM · Jan 6, 2021·SocialFlow

Hmmm...while the following isn't exactly what you're lookin' for here Sans, this has got me wondering if the next time you see Deborah Kerr or Audrey Hepburn or Natalie Wood singin' in some movie, if the closed captioning should maybe read somethin' like... "It's really Marnie Nixon singing here" (...like I said, not exactly what you're lookin' for here, but still...)

CACTUS FLOWER 1969

Great idea TopBilled. I really love the title of your thread too. Winter Under The Stars and if TCM acquired such thing? We would get Winter Under The Stars and Summer Under The Stars. Love it. Keep it goin and try also requesting it in my thread. Called What Would You Like To See On TCM In 2021 and if you come up with any creative ideas we could maybe work on together here on the message boards? Like we are for Rick Moranis? Let me know. Ok buddy. Happy New Year to you and everybody.

The other film shown late Sunday as part of TCM Imports, Labyrinth of Passion (1982), is pretty far out there as well. Both are early works of director Pedro Almodóvar, so that was the justification for showing them on TCM. If that wasn’t enough, TCM is featuring Almodóvar on TCM Imports all month long. The remaining lineup is: 10th - Dark Habits (1983), What Have I Done to Deserve This? (1984) 17th - Matador (1986), Women on the Verge of a Nervous Breakdown (1988) 24th - Kika (1994), The Flower of My Secret (1995) 31st - Live Flesh (1997), All About My Mother (1999) All of these are TCM premieres, so perhaps TCM is showing them as some kind of a package deal.

ABE LINCOLN IN ILLINOIS 1940

TIME @TIME Grammys postponed until March as coronavirus cases surge in California Grammys Postponed Until March as Coronavirus Cases, Deaths Surge in California Los Angeles County has surpassed 10,000 COVID-19 deaths time.com 5:16 PM · Jan 5, 2021·Sprinklr

Yes, I guess that was an easy one. Nice work, Swithin. Now you get the thread.

The Revolt of Mamie Stover (1956)

JANE RUSSELL

Fascinating comments about the love life of Liz (saw her on stage in NYC opposite Burton in Private Lives - it was shortly before he died). They both had substance abuse problems and that sometimes means you will always love each other but marriage forever isn't in the cards. The only actor I can think of right now who went to co-star in a TV series is Martin Landau, but I don't think it is correct.

I'm very glad that TCM is airing early Almodovar's films as there are quite of few in his early filmography that I have yet to watch.

AUTUMN LEAVES 1956

I'm especially interested in The Chase. I'm a big fan of Robert Redford and I'm curious to see Miriam as a white trash mother. I'll definitely set this up to record. Thanks!

Re: her later films, she's wonderful in CARRIE (1952) which is not scheduled. And she does a fine comic turn in THE MATING SEASON (1951) also not scheduled. On the schedule, however, is THE CHASE (1966), which was her penultimate big screen appearance. She plays Robert Redford's white trash mother. She has limited screen time, what basically amounts to an extended cameo...but she has a sensational scene near they end where her boy (Redford) is being hauled away. The Hopkins-Redford casting is inspired since they really do seem like they could be mother and son. And it was fun to imagine that this might have been Temple Drake years later whose son had problems with the law just like she had decades ago.

I actually liked the half hour episodes better, they were a bit tighter and had more New York-eese stuff like the sidewalk fishermen. The longer episodes were more interiors and exposition. My list Mickey Spillane's Mike Hammer Alfred Hitchcock Presents Naked City The Fugitive The Outsider The Rockford Files Coronet Blue