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Love means never having to say you're sorry.

Oh well. He is now.

Desire Under the Elms

Singing for votes..Thanks a Million Wild in the Streets show biz meets reality...Pat Paulsen for President, 1968 ("I challenge Ronald Reagan to meet me on his home ground, the backlot of Warner Brothers")

We are protected by the enormity of your stupidity, for a time. Well, at least, it's a line about stupidity.

I also like Witness to Murder a bit more than Rear Window. Rear Window may be the more interesting of the two, but there's a sleazy element that makes it unpleasant to watch. I especially like the scenes with only Cheryl and Richter. They really convey that Cheryl is the biggest threat to Richter and make it believable that he would become obsessed with killing or discrediting her. I thought Stanwyck's intelligence and strength actually made the plot a bit more convincing. You could see Cheryl continually trying to figure out what she can do that will finally convince the police to take her seriously. But I also don't love the ending, even though I did like how it was shot. I'm not sure what I would have preferred that would have fit the time the film was made, however.

I too, thoroughly enjoyed WITNESS TO MURDER. Barbara Stanwyck was as good as ever and George Sanders played the smarmy, egotistical villain perfectly. The only problem I have is the last few scenes where Cheryl, while fleeing, climbs to the top of a high rise building under construction. Of course she was afraid and not thinking clearly, but that eliminates any option of escape. (SPOILER ALERT) It did set up the ultimate and dramatic demise of Richter so I get why it was done. Maybe I'm being too picky. Anyway, it was an entertaining film. It was also interesting how this film compares with REAR WINDOW. I think I like the Hitchcock movie better, but WTM was good too

Witness To Murder is one of my favorites, it does seem like the B&W noir version of Hitchock's Rear Window, released that same year. I am going to go out on limb and say I like Witness slightly better. The shrill music score at the beginning gives you a clue about what you're in for. Barbara Stanwyck gives one of her best performances and our sympathy goes out to her as we know she is telling the truth and no one believes her. George Sanders is one of the most clever and hateful villains I have ever seen on film. I wish Muller had gone into a bit more about certain scenes and actors. So I will talk about a few things that struck me- The scene in the mental ward was very disturbing thanks to the noir like shadows and the acting of the patients. There is one tough talking bleach blonde (Claire Carlton) who thinks every man wants her. A senile old woman who keeps repeating a phrase over and over, she is played by Adeline DeWalt Reynolds, who had a memorable uncredited role 10 years before in Going My Way (1944). She played Barry Fitzgerald's elderly mother at the end. Juanita Moore plays another patient who likes singing a torch song and doesn't care if anyone likes it or not. Jesse White has some funny moments as Gary Merrill's wisecracking police partner. The final nail biting scenes reminded me of another of my favorite noirs The Window (1949)

MIRIAM HOPKINS is one of those GOLDEN AGE STARS that I have never read a particularly nice word about anywhere [see also: LAKE, VERONICA and BEERY, WALLACE] she adopted a little boy who she loved very much, and referred to as "MY LITTLE MAN", and she was very liberal, but outside of that, the consensus from, OH, EVERYONE WHO EVER KNEW HER seems to be that she was AT ALL TIMES starring AS: MIRIAM HOPKINS in MIRIAM HOPKINS: THE STORY OF A WOMAN, featuring MIRIAM HOPKINS and introducing MIRIAM HOPKINS as HERSELF. Personally, I respect that, and it makes me like her all the more. I think the first movie I saw her in was BECKY SHARP (1935)- back in the 1990s on AMC before AMC went to ****. It is a MARVELOUS PERFORMANCE, just a real work of great technical ACTING and to see it is to view MIRIAM HOPKINS in a whole new way.

MAME (1974)

Joe Kidd (1972)

"Casablanca" is one of the best scripts ever written but it has one line that just clangs. During the Paris flashback Rick and Ilsa hear the German artillery and she says "Is that the sound of cannon fire...or my heart pounding?" Or something like that anyway. Just a dreadful line in a film that is filled with magnificent lines from beginning to end.

I'm No Angel 1933

ADAM HAD FOUR SONS (1941)

STANLEY AND LIVINGSTONE (1939)

Girl, A Guy and a Gob, A (1941)

Foul Play

Lifeboat next--opening night

Once upon a time, I used to work at a place very close to Phil Spector's mansion where he murdered Lana Clarkson. Weird place to have a mansion. Outside of the Spector mansion, Alhambra is pretty run down, with bars on windows and the like.

Gabriel Over the White House (1933) The Parallax View (1974)

A very talented musician and producer, crazy as they come, tragic, he gives sad final justice for LANA CLARKSON.

CHAPLIN (1992)

Bertha, the Sewing Machine Girl (1926)

1943

Airforce One Dave The West Wing Law and Order Blue Bloods Milk

The television series VEEP I am almost finished watching all seven seasons, and I wonder sometimes if life is imitating art or art is imitating life!

The Tiki Family laughed out loud during THE BAD SEED '56 when someone was running around screaming outside & the Mother (I think) had her head on the table & listlessly punched it with her fist, repeating, "You're NOT HELPING, NOT HELPING" Sorry, can't recall the exact scene, it's been years since that viewing.

I thought exactly that when you posted this photo: Yeah, when everyone compared MADONNA to Marilyn, I always countered with Madonna is the modern Jayne Mansfield. MM was childlike & vulnerable with a naieve idea of stardom. Madonna is more like Mansfield, smart enough to know how to use the system to gain fame with exploitation above talent. In Mansfield's case, no one WANTED her for her talents, so she used what she could to gain fame fastest in a male oriented business. Mansfield's a perfect example of "selling out", making her career a tragedy. A tragedy to all modern women in business wanting to be taken seriously for their talent. (So glad Madonna retired, smart girl. Her lewd, exploitation work set women back decades) I agree, Jayne was a very good actress & perfectly beautiful. Her beauty was more exceptional seen in normal, everyday dress & make up, she did not benefit from embellishment-best left for the plain gals who need it!

The TCM premiere of Six Bridges to Cross (1955) originally scheduled for Jan 26 has been replaced with Sword in the Desert (1949) (not a premiere). The list of January premieres provided earlier has been updated.

MONSIEUR VERDOUX 1947

FIRST MONDAY IN OCTOBER 1981

A NIGHTMARE ON ELM STREET 1984

HAZEL

Given that the it was filmed during the middle of the war it is unlikely the studios knew the actual numbers and even if they did it is unlikely they would want to make things sound that bad.

TOP HAT (1935)

I just watched The Burglar a few weeks ago. I agree about Duryea! He was fantastic. I also agree about Jayne. Of the things that I've seen her in, she always comes across as cheap and somewhat sleazy. There seems to always be a focus on her large bust size and nothing else. I do think that behind "Jayne Mansfield" the character, the real Jayne Mansfield was a savvy business woman (she had to have been to capitalize on her "brand") and a very kind, lovely person. In The Burglar, we get to see Jayne Mansfield before she was "Jayne Mansfield" and I thought she was very pretty here and a good actress. I actually thought she looked better dressed down in this film, than she does when she's playing "Jayne Mansfield." Mickey Shaughnessy's character was gross and I'm glad Duryea was around to keep Jayne away from him. Shaughnessy always seems to play a bit of a sleaze, at least in the films of his that I've seen. I really like Dan Duryea. He always seems to play a weasley villain, but in this film, he's actually decent. Too Late for Tears is also fantastic when Duryea isn't the worse person in the film. I never thought about him having a thin voice, but he definitely does and I agree that he uses it to its best potential. He does come across as a man who just happened to have acting as a profession and not necessarily someone who was concerned with stardom or being a star. Since he didn't have an image to maintain, unlike the matinee idols or the huge stars, he could just focus on earning a living and not worry about vanity.

In a Hard Days Night sequence of the song, George is using a pick when he plays that part,

HIGH NOON (1952)

It is rare for us to venture into Nashville. It is only when we both have appointments there that we essay to dip over to McKay's. It is common for us to each spend from thirty to sixty dollars there. That may not seem to be very much but most books and DVDs are two dollars or less. I purchased a two-sided DVD with: No, No, Nanette (1930) and: Dinner at the Ritz (1937) for twenty-five cents. The disc is not in pristine condition but I believe it likely that it will play adequately on at least one side. My one expensive purchase was a Criterion Collection edition of: The Hidden Fortress (1958) for twenty-one-ninety-five. We have a copy but have discussed buying another for back-up. It is a case of: 'two great minds...' that my fuzzy purchased a copy also during his shopping there later.

Come on Nipkow, be honest, Jane looks a lot better than the last woman you have been with, assuming you can remember that far back.

Everett, Chad

Yes, Ray Milland doesn't come to mind as a slapstick type comedian but he cut his teeth with some very talented people in 1937's Easy Living, with Jean Arthur and Edward Arnold, and director Mitchell Leisen (with a screen-play by the iconic 40s comedic director Preston Sturges). While Ray was no Cary Grant (who was), he held his own with a good sense of comedic timings and charm.

IVY (1947)

Hmmm. No comment from Sir Paul McCartney yet. I suppose he's still bummed about the fact that Spector put a wall of sound on the 1970 LP versions of "Let It Be" and "The Long and Winding Road." This apparently irritated Macca so much that he stripped down the songs to his liking for the 2003 reboot "Let It Be... Naked."

Harrison Ford. Next: starred in a sci-fi movie or TV show

ROMAN HOLIDAY (1953)

Boudu Saved From Drowning (1932)

Burton, Richard