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An aside related to this interesting film: Vampyr was funded by Baron Nicolas de Gunzburg, acting in the film under the name of Julian West. Gunzburg was one of the great personages of the 20th century. He was the lover of Oklahoma Territory-born actor Erik Rhodes, who appeared as an Italian in two Astaire and Rodgers films. Gunzburg became a renowned editor of fashion magazines, including Vogue and was a mentor to many designers, including Calvin Klein. They should make a movie about Gunzburg's fascinating and varied life. Julian West in Vampyr Baron Nicolas de Gunzburg (aka Julian West) Erik Rhodes in The Gay Divorcee A few years ago, Vanity Fair featured Baron Nicolas de Gunzburg: A Life in Pictures. It's a fascinating look at the life of a fascinating man. https://www.vanityfair.com/style/photos/2014/08/niki-de-gunzburg-photos

I see characters in movies that are supposedly the same age as I am and they look like they're at least 20-25 years older, I look like I could be their kid sister. I blame the cigarettes and booze for that. For the women, I just figure it's a difference with their makeup, hairstyle and clothing. People that are my parents age (late 50s) are made out to be elderly with one foot in the grave. I think it's funny in classic films, especially for women, girls start out looking like Shirley Temple, age into someone like Barbara Stanwyck, then 50 hits and they look like Marjorie Main or May Robson. There is no elegant, sexy older woman in classic cinema.

Majors, Lee

Nothing Sacred (1937) became Living It Up (1954) My Favorite Wife (1940) became Move Over Darling (using the same elevator door gag..) The More the Merrier (1943) moved the trio idea to Tokyo for Walk Don't Run (1966)

The 1939 version of THE WIZARD OF OZ (1939) was a remake. Did you know that? So if you had told MGM, hey it was already done in 1925, there is no need to do it again, then Judy Garland's version would not exist.

Danes, Claire

Rooney made 4 films in 1941, so it was a fairly busy year. He was also involved with Ava Gardner and married her the following year. I suspect that the studio felt the role in Ziegfeld was too small for Rooney to take. The film has an ensemble cast, so why have Rooney in the film, when he could be the lead in a film, which would bring in more overall money to the studio.

TCM isn't what it used to be, and it never was. This is what Robert Osborne said in his very very very first introduction on the shiny brand new TCM: Hi, welcome to Turner Classic Movies. I'm Robert Osborne, I'm gonna be your host, right here, as we present some of the best, the--finest films ever made, twenty-four hours a day. We're going to be drawing not only from the great film libraries of MGM and Warner Brothers, but also from other outstanding catalogs, so: Come join us, and see not only great films and stars from the past, but also films from recent years, featuring some of our newest and most watchable stars. (Emphasis mine.) My impression is people see the word classic and think it refers exclusively to the studio-era. TCM has never limited itself to that.

Okay, I know this topic sounds a bit creepy. But when I was starting college in the early 90s, I had gone to live with my mother's sister and my grandparents (they had two homes next door to each other and I divided my time between both places when I wasn't on campus studying). You could say this is where I developed my love for classic film, because my grandparents watched American Movie Classics every night-- after Wheel of Fortune. LOL And I soon switched my major to film and television. My aunt was a bit peculiar (that's putting it nicely) and she liked to say in front of my grandparents "all those people are dead now." Referring to the actors on screen in a particular scene. She was usually correct, if it was a movie from the 1930s and all the performers were in fact deceased. Though of course she couldn't be sure if the extras in the background were dead or still alive. One film she could never say this about was GONE WITH THE WIND since Olivia de Havilland lived for a million years. I guess I wanted to start this thread in honor of my aunt who died a year ago. She joined all those people that still live on. Question: does it ever cross your mind that you are watching film as history and part of our way of life is no longer around? Or does it not matter to you? Sometimes I think about what happened to all those people on screen. Like how they lived the rest of their lives and how they died.

SHAGGY DOG 1959 2006 PARENT TRAP 1961 1998 FUN WITH DICK AND JANE 1977 2005 MY FRIEND GODFREY 1936 1957

CHEAPER BY THE DOZEN BORN YESTERDAY MY SISTER EILEEN IT HAPPENED ONE NIGHT became YOU CAN'T RUN AWAY FROM IT

Sorry to hear this. Back around the late 1980s, she was appearing in a small jazz club in Manhattan, I was put right in the table right in front. She sang right to me and she talked about her book on The Supremes, I told her I bought it and she said "Oh so you heard all them juicy stories, right?"' I also gave her a rose I bought before I got there. She was very touched by that.

Mary Wilson, one of the original members of the iconic Motown singing trio The Supremes, has died at the age of 76. Her publicist Jay Schwartz announced that the singer died Monday at her home in Henderson, Nevada. No cause of death was disclosed. Wilson and the other original Supremes -- Diana Ross and the late Florence Ballard -- were inducted into The Rock and Roll Hall of Fame in 1988. "I was extremely shocked and saddened to hear of the passing of a major member of the Motown family, Mary Wilson of The Supremes," said Motown Records founder Berry Gordy in a statement issuedMonday night. "The Supremes were always known as the ‘sweethearts of Motown.’ Mary, along with Diana Ross and Florence Ballard, came to Motown in the early 1960s. After an unprecedented string of No. 1 hits, television and nightclub bookings, they opened doors for themselves, the other Motown acts, and many, many others." He added: "I was always proud of Mary. She was quite a star in her own right and over the years continued to work hard to boost the legacy of The Supremes. Mary Wilson was extremely special to me. She was a trailblazer, a diva and will be deeply missed." Wilson, Ross, Ballard and Betty McGlown (pictured below left), all residents of a Detroit housing project, formed a singing group called The Primettes in 1959. They often performed with The Primes, whose key members later formed The Temptations. McGlown, who left the trio to get married, was replaced by Barbara Martin in 1960. The Primettes became The Supremes (a name selected by Ballard) when they signed with Motown in 1961. After Martin left the group, The Supremes went on to become a dominant recording act. Thanks to the contributions of songwriters Lamont Dozier and brothers Brian and Eddie Holland, the group reeled off a dozen No. 1 pop chart hits, including "Where Did Our Love Go," "Baby Love," "Come See About Me" and "Stop! in the Name of Love" In November 1967, the trio (newly billed as Diana Ross and the Supremes) teamed with their old singing partners on a Sunday edition of "The Ed Sullivan Show." Cindy Birdsong had replaced Ballard, who was ousted from the group earlier in the year. A month later, the group appeared on CBS' "The Tennessee Ernie Ford Special." They performed their hit song "Reflections," which was later used as the opening credits theme for the ABC drama series "China Beach" (1988-91). In a January 1968 episode of the NBC series "Tarzan," Diana Ross and The Supremes played a trio of nuns who hoped to build a hospital in a village dear to one of them. The episode, which starred Ron Ely as Tarzan, also featured James Earl Jones as a tribal chieftain. When Ross decided to embark on a solo career, she made a final appearance with Wilson and Birdsong on "The Ed Sullivan Show" in December 1969. They performed the hit song "Someday We'll Be Together," which had been recorded without Wilson and Birdsong. After Ross's departure in 1970, Jean Terrell -- the sister of heavyweight contender Ernie Terrell -- became the lead singer of The Supremes. Through several lineup changes, Wilson remained with the group until it was disbanded by Motown in 1977. Wilson's 1986 memoir "Dreamgirl: My Life as a Supreme" was a best seller that didn't always cast Ross (whom Wilson always referred to as "Diane") in a good light. The book, dedicated to Ballard, took its title from the 1981 Tony Award-winning musical "Dreamgirls" -- based on The Supremes . Ross has never commented publicly about the musical or Wilson's book. In the fall of 2019, Wilson competed in the 28th edition of ABC's "Dancing With the Stars." Unfortunately, she and her professional partner Brandon Armstrong were the first couple to be eliminated. Ms. Ross @DianaRoss I just woke up to this news, my condolences to Mary's family I am reminded that each day is a gift I have so many wonderful memories of our time together "The Supremes" will live on in our hearts 6:52 AM · Feb 9, 2021·Twitter for iPhone Patti LaBelle @MsPattiPatti I am deeply saddened by the passing of the beautiful Mary Wilson! She was a legend and an icon and what she contributed to the world cannot be overstated. I send my deepest condolences and prayers to her family, loved ones and fans. 11:30 AM · Feb 9, 2021·Twitter for Android Paul Stanley @PaulStanleyLive OMG! Mary Wilson of the Supremes has died suddenly. I was just on a Zoom call with her Wednesday for about an hour & never could have imagined this. So full of life & great stories. Absolutely shocked. Rest In Supreme Peace Mary. Mary Wilson, Co-Founder of the Supremes, Dies at 76 Mary Wilson, an original member of the Supremes, died suddenly Monday night at her home in Las Vegas, her publicist announced. variety.com 2:54 AM · Feb 9, 2021·Twitter Web App Sherri Shepherd @sherrieshepherd Mary Wilson, co-founder of the groundbreaking @Motown group #TheSupremes has passed at 76. For every young girl (and some boys) who sang along to a Supremes’ song in the mirror with a hairbrush, this one hits home. Truly iconic! 2:35 AM · Feb 9, 2021·Twitter for iPhone

Pfeiffer, Michelle

King of the Khyber Rifles

"60 is the new 50." The above often heard comment regarding the idea of "ageing" in today's world is actually what I find myself quite often thinking about while watching an old classic film and not so much anymore that those in the cast are no longer with us. I've noticed cases within many classic movies where the character's age is mentioned and where it's implied that the character being over the age of 60 considers themself or is considered by others in the movie as being "old". (...and when you consider the thought that modern day actors such as Harrison Ford who is in his late-70s and Liam Neeson who is in his late-60s are still starring in films in which they play action heroes, and something of which would have been unheard of during the studio era, I think this alone helps prove the validity of the above saying)

There was talk years ago of a remake with Elizabeth Taylor and Gregory Peck but it never came to be (not sure which role Taylor was supposed to play).

Come Saturday Morning from The Sterile Cuckoo (it's actually played over the opening credits, but here it's over stills--a little more interesting to look at) next--another from a film about 'young love''

Dial M for Murder (1953) Next: Film that's often misquoted.

Gentleman Jim (1942).

The Private Affairs of Bel Ami (1947).

G-Men (1935).

Gerard, Gil

Witness Next: Graveyard

Yankee Doodle Dandy (1942)

I found this from - Classic Movie Hub - of interest: In a commentary following the film on Turner Classic Movies in 2008, Robert Osborne said that the original script had the Lana Turner character actually die at the end. However, after negative reaction from preview audiences, MGM decided to cut the actual moment of death before the film's official release. As a result, the audience is never certain of the fate of the character, because the film jumps to the Judy Garland finale. http://www.classicmoviehub.com/facts-and-trivia/film/ziegfeld-girl-1941/

What We Do in the Shadows (2014) Happy Gilmore (1996)

DODSWORTH (1936)

From what I've heard about the making of ZIEGFELD GIRL, Lana Turner's part was originally quite small compared to Garland and Lamarr's. After viewing early rushes, the producers decided to beef up Turner's part and give her star billing. This really was her breakout movie.

I didn't even remember that Jackie Cooper was in the film, which may indicate how small the role is (or how bad my memory is!). What I recall most is Lana Turner completely stealing the film from James Stewart and Judy Garland, which seems impossible. I never understood why Lana became a big star until I saw this film.

Another catchy title is FEAR STRIKES OUT (1957) which is really a biopic about a baseball player, played by Anthony Perkins. Wish TCM would re-air it.

And I'm older than you and cut my teeth on late 50's, early 60's TV. I became familiar with these stars through TV. I didn't know they had substantial film careers from the 30's to 50's. Some were leads. Some had significant character actor resumes. It wasn't until years later that I went back and found their real star turns. Shows like SEA HUNT (Lloyd Bridges), FATHER KNOWS BEST (Robert Young), THE DONNA REED SHOW (Donna Reed), MY THREE SONS (Fred MacMurray), GILLIGAN'S ISLAND (Alan Hale and Jim Backus), BEVERLY HILLBILLIES (Buddy Ebsen), THE REAL MCCOYS (Walter Brennan), PETTICOAT JUNCTION (Edgar Buchannan), WAGON TRAIN (Ward Bond), MCHALE'S NAVY (Ernest Borgnine), HAVE GUN WILL TRAVEL (Richard Boone), THE BIG VALLEY (Barbara Stanwyck), THE LORETTA YOUNG SHOW (Loretta Young). I particularly like young Buddy Ebsen hoofers. I looked forward to every episode of McHale's Navy. I loved that show. I also never missed an episode of the RED SKELTON SHOW. And while I knew (even as an 8 yr. old)) that she had always been a star, I never connected with any of the Lucille Ball shows except the original I LOVE LUCY.

not to be confused with THE MAGIC FOUNTAIN (1961)

THE BASHFUL ELEPHANT

"The Danny Thomas Show", which had also been known as "Make Room For Daddy", served as a pilot film for "The Andy Griffith Show". In the episode, Danny and his family are stopped in Mayberry by Sheriff Andy Taylor for not stopping at a stop sign. Danny insists he is innocent and chooses jail time over a fine. Ronny Howard plays Opie and Frances Bavier is on hand, but not as Aunt Bee . She plays a local widow whose husband was buried in a rented suit and she is still paying fifty cents a day for it. Andy Griffith had previously starred in a few movies, including "A Face In the Crowd".

I hope so!

A Christmas Carol (1938) Next: telephone

I hadnt realized Mary published a coffee table book a few years ago called Supreme Glamour full of photos of the wardrobe the Supremes wore in their heyday. I'm going to buy it.

Up

Ach! Could have done without all the DIANA ROSS and The Supremes clips. I've long thought it should have been either MARY or FLO as the lead singer of that trio, not the whiny nasal sounding Ross. And too, I thought both Mary and Flo were MUCH better looking than Ross anyway, Regardless, I liked them in spite of it all, and probably because of the strong songwriting pool at Motown. Smokey, Marvin, Holland, Dozier and Holland and even Gordy himself gave us a lot of great tunes to listen to and love for years later. As for the girls.... I liked many of their tunes, and one in particular(for reasons I can't pinpoint)---- Rest In Peace, Dear lady Sepiatone

ChorusCasey would waltz with a strawberry blonde,And the band played on.He'd glide cross the floor with the girl he adored,And the band played on.But his brain was so loaded it nearly exploded,The poor girl would shake with alarm.He'd ne'er leave the girl with the strawberry curls,And the band played on. The Band Played On - The Strawberry Blonde next Theme song from a 1950's or 1960's movie you love

There is no definition of "classic" and TCM uses this only as a marketing term. TCM was founded on the idea that most of the films shown would be American Studio-era films. I.e. America made talking films, released from 1929 - 1968 (note that the end of the Studio-era can be debated). This is TCM's branding. Note that TCM has remained true to this branding: The vast majority of films shown "fit" the branding. While special niche type programming like Women on Film does lead to TCM showing more films "outside" of this branding, when viewed in the aggregate, over say a 3 month period, TCM remains true to their original branding. TCM will show films outside this branding, and have always done so since day one. Is it time for the branding to change? I hope not, and nothing TCM has done recently suggest that it will.

THE EMPEROR WALTZ (1948)

Yeah, Robert looked like he was enjoying that segment.

You may be confusing age with the definition of classic. Some newer films are instant classics with audiences. Also not every film made between 1920 and 1950 is an automatic classic. Some of the output during those years was quite frankly, junk. It should be about how resonant and interesting the film is, not whether it was made a hundred years ago or a hundred days ago. And I think TCM's programmers know that.

Pre-Code musicals!? Great theme and I feel like an idiot that I never thought of it.