Members

Have you seen the more musical adaptation of Ball of Fire, A Song is Born, with Danny Kaye and Virginia Mayo? Same basic storyline but with Kaye as a music professer instead of a linguist like Cooper. Since both films are different I don't really compare them (or use that bogus term "remake" for the latter). Being a jazz musician, I love how jazz music is used in A Song is Born and there are some nice musical scenes. (of course Ball of Fire has that great opening with Stanwyck and drummer Gene Krupa). Bottom line both films are worth seeing. While Mayo isn't in Stanwyck's league (only a handful are IMO), she is very sexy and does a great job in the film. The supporting case of the older men in Ball of Fire is first rate, but A Song is Born features, Benny Goodman, Tommy Dorsey, Louis Armstrong, Lionel Hampton, and a host of other fine jazz musicians. The film is from RKO so TCM shows it. (both films are directed by great-in-all-genres, Howard Hawks).

CAESAR AND CLEOPATRA (1945)

Johnny Apollo (1940).

SansFin's Schedule for January 9th to January 15th, 2022 General Theme: A week of days. All daytime themes are a nationally or internationally recognized 'Day.' Star of the Month: Zasu Pitts, Thursday Evening Spotlight: Movie Animals: Dogs, Cats, Snakes and Bats. This Week: Cats Bob's Picks, Monday Evening Universal B-Movies, Friday Evening Bad Boy Bank Robbers, Saturday Evening Sunday, January 9th Balloon Ascension Day 6:00 A.M. Flight of the Lost Balloon (1961) Mala Powers, Marshall Thompson, James Lanphier, Dir: Nathan Juran, 91 mins., W.M.J. Productions, P/S 7:45 A.M. Dr. Goldfoot and the Girl Bombs (1966) Vincent Price, Fabian, Franco Franchi, Dir: Mario Bava, 82 mins., AIP, P/S 9:15 A.M. The Red Balloon (1956) Pascal Lamorisse, Sabine Lamorisse, Georges Sellier, Dir: Albert Lamorisse, 34 mins., Films Montsouris, P/S 10:00 A.M. M (1931) Peter Lorre, Ellen Widmann, Inge Landgut, Dir: Fritz Lang, 99 mins., Nero-Film AG, P/S 11:45 A.M. The Adventures of Baron Munchausen (1943) Hans Albers, Wilhelm Bendow, Michael Bohnen, Dir: Josef von Báky,110 mins., Premiere # 01 1:45 P.M. Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes (1965) Stuart Whitman, Sarah Miles, James Fox, Dir: Ken Annakin,138 mins., Fox, P/S 4:15 P.M. Lola Montès (1955) Martine Carol, Peter Ustinov, Anton Walbrook, Dir: Max Ophüls, 116 mins., Gamma Film, P/S 6:15 P.M. Mysterious Island (1961) Michael Craig, Joan Greenwood, Michael Callan, Dir: Cy Endfield, 101 mins., Ameran Films, P/S Evening Theme: Apartment Life 8:00 P.M. The Key (1958) William Holden, Sophia Loren, Trevor Howard, Dir: Carol Reed, 126 mins., Highroad, P/S 10:15 P.M. Apartment For Peggy (1948) Jeanne Crain, William Holden, Edmund Gwenn, Dir: George Seaton, 96 mins., Fox, P/S Silent Sunday Night 12:00 A.M. The Battle of the Sexes (1928) Jean Hersholt, Phyllis Haver, Belle Bennett, Dir: DW Griffith, 88 mins., Feature Prods., P/S TCM Imports 1:30 A.M. The Irony of Fate, or Enjoy Your Bath! (1975) Andrey Myagkov, Barbara Brylska, Yuriy Yakovlev, Dir: Eldar Ryazanov, 192 mins., Mosfilm, Import Exempt 4:45 A.M. The Ninth Guest (1934) Donald Cook, Genevieve Tobin, Hardie Albright, Dir: Roy William Neill, 65 mins., Columbia, Import Exempt Monday, January 10th Peculiar People Day 6:00 A.M. Morgan: A Suitable Case for Treatment (1966) Vanessa Redgrave, David Warner, Robert Stephens, Dir: Karel Reisz, 97 mins., British Lion, P/S 7:45 A.M. Gildersleeve's Ghost (1944) Harold Peary, Marion Martin, Frank Reicher, Dir: Gordon Douglas, 64 mins., RKO 9:00 A.M. The Madwoman Of Chaillot (1969) Katharine Hepburn, Charles Boyer, Claude Dauphin, Dir: Bryan Forbes, 132 mins., Commonwealth United, P/S 11:15 A.M. Travels With My Aunt (1972) Maggie Smith, Alec McCowen, Lou Gossett, Dir: George Cukor, 109 mins., MGM 1:15 P.M. The Old Dark House (1932) Boris Karloff, Melvyn Douglas, Charles Laughton, Dir: James Whale, 70 mins., Universal, P/S 2:30 P.M. One Way Pendulum (1964) Eric Sykes, George Cole, Julia Foster, Dir: Peter Yates, 90 mins., Woodfall, P/S 4:00 P.M. The Ladykillers (1955) Alec Guinness, Peter Sellers, Katie Johnson, Dir: Alexander Mackendrick, 91 mins., Ealing, P/S 5:45 P.M. The L-Shaped Room (1962) Leslie Caron, Anthony Booth, Avis Bunnage, Dir: Bryan Forbes, 126 mins., British Lion Film Corp, P/S Bob's Picks - Gene Tierney was one of his favorite actresses 8:00 P.M. Laura (1944) Gene Tierney, Dana Andrews, Clifton Webb, Dir: Otto Preminger, 88 mins., Fox, P/S 9:30 P.M. Dragonwyck (1946) Gene Tierney, Walter Huston, Vincent Price, Dir: Joseph L. Mankiewicz, 103 mins., Fox, P/S 11:15 P.M. The Shanghai Gesture (1941) Gene Tierney, Walter Huston, Victor Mature, Dir: Josef von Sternberg, 98 mins., Arnold Productions, P/S 1:00 A.M. Where the Sidewalk Ends (1950) Dana Andrews, Gene Tierney, Gary Merrill, Dir: Otto Preminger, 95 mins., Fox, P/S 2:45 A.M. Night and the City (1950) Richard Widmark, Gene Tierney, Googie Withers, Dir: Jules Dassin, 96 mins., Fox, P/S 4:30 A.M. Rings on Her Fingers (1942) Henry Fonda, Gene Tierney, Laird Cregar, Dir: Rouben Mamoulian, 86 mins., Fox, P/S Tuesday, January 11th Heritage Treasures Day - Museums and Archaeologists 6:00 A.M. Lost Souvenirs (1950) Bernard Blier, Pierre Brasseur, Suzy Delair, Dir: Christian-Jaque, 135 mins., Gray-Film, Premiere # 02 8:15 A.M. Mystery of the Wax Museum (1933) Lionel Atwill, Fay Wray, Glenda Farrell, Dir: Michael Curtiz, 77 mins., WB 9:45 A.M. How to Steal a Million (1966) Audrey Hepburn, Peter O'Toole, Eli Wallach, Dir: William Wyler, 123 mins., World Wide Productions, P/S 12:00 P.M. Topkapi (1964) Melina Mercouri, Peter Ustinov, Maximilian Schell, Dir: Jules Dassin, 120 mins., Filmways Pictures, P/S 2:00 P.M. The Plot Thickens (1936) James Gleason, Zasu Pitts, Owen Davis Jr., Dir: Ben Holmes, 69 mins., RKO 3:15 P.M. Cairo (1963) George Sanders, Richard Johnson, Faten Hamamah, Dir: Wolf Rilla, 91 mins., MGM-British, P/S 5:00 P.M. The Mummy (1932) Boris Karloff, Zita Johann, David Manners, Dir: Karl Freund, 73 mins., Universal, P/S 6:15 P.M. I Live My Life (1935) Joan Crawford, Brian Aherne, Frank Morgan, Dir: W.S. Van Dyke, 97 mins., MGM Evening Theme: George Zucco's Birthday 8:00 P.M. Dead Men Walk (1943) George Zucco, Mary Carlisle, Nedrick Young, Dir: Sam Newfield, 64 mins., PRC, PD 9:15 P.M. Flame of Stamboul (1951) Richard Denning, Lisa Ferraday, Norman Lloyd, Dir: Ray Nazarro, 68 mins., Columbia, P/S 10:30 P.M. The Cat and the Canary (1939) Bob Hope, Paulette Goddard, John Beal, Dir: Elliott Nugent, 72 mins., Paramount, P/S 11:45 P.M. Scared to Death (1947) Bela Lugosi, George Zucco, Molly Lamont, Dir: Christy Cabanne, 65 mins., Golden Gate Picture, P/S 1:00 A.M. Fog Island (1945) George Zucco, Lionel Atwill, Jerome Cowan, Dir: Terry Morse, 72 mins., PRC, PD 2:15 A.M. The Black Raven (1943) George Zucco, Wanda McKay, Noel Madison, Dir: Sam Newfield, 61 mins., PRC, PD 3:30 A.M. Tarzan and the Mermaids (1948) Johnny Weissmuller, Brenda Joyce, George Zucco, Dir: Robert Florey, 68 mins., Sol Lesser, P/S 4:45 A.M. Charlie Chan in Honolulu (1938) Sidney Toler, Phyllis Brooks, Victor Sen Yung, Dir: H Bruce Humberstone, 68 mins., Fox, P/S Wednesday, January 12th Kiss a Ginger Day 6:00 A.M. The Man Who Loved Redheads (1955) Moira Shearer, John Justin, Roland Culver, Dir: Harold French, 100 mins., London Film Productions, P/S 7:45 A.M. The Reformer and the Redhead (1950) June Allyson, Dick Powell, David Wayne, Dir: Melvin Frank, 90 mins., MGM 9:15 A.M. The Liquidator (1965) Rod Taylor, Trevor Howard, Jill St. John, Dir: Jack Cardiff, 105 mins., MGM 11:00 A.M. The Lost World (1960) Michael Rennie, Jill St. John, David Hedison, Dir: Irwin Allen, 97 mins., Irwin Allen Productions, P/S 12:45 P.M. The Quiet Man (1952) John Wayne, Maureen O'Hara, Barry Fitzgerald, Dir: John Ford, 129 mins., Argosy Pictures, P/S 3:00 P.M. Against All Flags (1952) Errol Flynn, Maureen O'Hara, Anthony Quinn, Dir: George Sherman, 84 mins., UI, P/S National Pharmacist Day 4:30 P.M. Tension (1950) Richard Basehart, Audrey Totter, Cyd Charisse, Dir: John Berry, 95 mins., Loew's, P/S 6:15 P.M. The Sisters (1938) Errol Flynn, Bette Davis, Anita Louise, Dir: Anatole Litvak, 99 mins., WB Spotlight: Dogs, Cats, Snakes and Bats 8:00 P.M. Rhubarb (1951) Ray Milland, Jan Sterling, Gene Lockhart, Dir: Arthur Lubin, 94 mins., Pramount, Premiere # 03 9:45 P.M. When the Cat Comes (1963) Jan Werich, Emília Vásáryová, Vlastimil Brodskÿ, Dir: Vojtech Jasnÿ, 91 mins., Filmové studio Barrandov, Premiere # 04 11:30 P.M. The Crimes of the Back Cat (1972) Anthony Steffen, Sylva Koscina, Giovanna Lenzi, Dir: Sergio Pastore, 96 mins., Cinecittà, Premiere # 05 1:15 A.M. Alice In Wonderland (1933) Leon Errol, Louise Fazenda, Ford Sterling, Dir: Norman McLeod, 76 mins., Paramount, P/S 2:45 A.M. The Black Cat (1968) Kichiemon Nakamura, Nobuko Otowa, Kei Satô, Dir: Kaneto Shindô, 99 mins., Toho, Premiere # 06 4:30 A.M. The Shadow of the Cat (1961) André Morell, Barbara Shelley, William Lucas, Dir: John Gilling, 79 mins., Hammer Films, Premiere # 07 Thursday, January 13th New Year's Eve in Gregorian Calendar 6:00 A.M. Holiday Inn (1942) Bing Crosby, Fred Astaire, Virginia Dale, Dir: Mark Sandrich, 100 mins., Paramount, P/S 7:45 A.M. Holiday Affair (1950) Robert Mitchum, Janet Leigh, Wendell Corey, Dir: Don Hartman, 87 mins., RKO 9:15 A.M. After The Thin Man (1936) William Powell, Myrna Loy, James Stewart, Dir: W S Van Dyke, 112 mins., MGM 11:15 A.M. The Saint Strikes Back (1939) George Sanders, Wendy Barrie, Barry Fitzgerald, Dir: John Farrow, 64 mins., RKO 12:30 P.M. The Bride Walks Out (1936) Barbara Stanwyck, Gene Raymond, Robert Young, Dir: Leigh Jason, 81 mins., RKO 2:00 P.M. One Way Passage (1932) William Powell, Kay Francis, Aline MacMahon, Dir: Tay Garnett, 68 mins., WB 3:15 P.M. Indiscreet (1958) Cary Grant, Ingrid Bergman, Cecil Parker, Dir: Stanley Donen, 100 mins., WB 5:00 P.M. The Divorcee (1930) Norma Shearer, Chester Morris, Robert Montgomery, Dir: Robert Z Leonard, 82 mins., MGM 6:30 P.M. New Year's Evil (1980) Michelle Waxman, Roz Kelly, Kip Niven, Dir: Emmett Alston, 90 mins., Cannon Films, P/S Star Of The Month: Zasu Pitts 8:00 P.M. So's Your Aunt Emma! (1942) Zasu Pitts, Roger Pryor, Warren Hymer , Dir: Jean Yarbrough, 62 mins., Monogram, PD 9:15 P. M. Forty Naughty Girls (1937) James Gleason, Zasu Pitts, Marjorie Lord, Dir: Edward F. Cline, 63 mins., RKO 10:30 P.M. The Bashful Bachelor (1942) Chester Lauck, Norris Goff, Zasu Pitts, Dir: Malcolm St. Clair, 78 mins., Jack Votion Productions, P/S 12:00 A.M. Professional Sweetheart (1933) Ginger Rogers, Norman Foster, Zasu Pitts, Dir: William A. Seiter, 73 mins., RKO 1:15 A.M. The Meanest Gal in Town (1934) Zasu Pitts, Pert Kelton, El Brendel, Dir: Russell Mack, 62 mins., RKO 2:30 A.M. The Gay Bride (1934) Carole Lombard, Chester Morris, Zasu Pitts, Dir: Jack Conway, 80 mins., MGM 4:00 A.M. Sing and Like It (1934) Zasu Pitts, Pert Kelton, Edward Everett Horton, Dir: William A. Seiter, 72 mins., RKO 5:15 A.M. Miss Polly (1941) Zasu Pitts, Slim Summerville, Kathleen Howard, Dir: Fred Guiol, 45 mins., Hal Roach Studios, P/S Friday, January 14th Organize Your Home Day - Maids 6:00 A.M. The Diary of a Chambermaid (1946) Paulette Goddard, Burgess Meredith, Hurd Hatfield, Dir: Jean Renoir, 98 mins., Bogeaus Prods., P/S 7:45 A.M. Maid's Night Out (1938) Joan Fontaine, Allan Lane, Hedda Hopper, Dir: Ben Holmes, 64 mins., RKO 9:00 A.M. Make Your Own Bed (1944) Jack Carson, Jane Wyman, Ricardo Cortez, Dir: Peter Godfrey, 82 mins., WB 10:30 A.M. Cluny Brown (1946) Jennifer Jones, Charles Boyer, Peter Lawford, Dir: Ernst Lubitsch, 96 mins., Fox, P/S 12:15 P.M. Murder She Said (1961) Margaret Rutherford, Arthur Kennedy, Joan Hickson, Dir: George ****, 87 mins., MGM 1:45 P.M. The Farmer's Daughter (1947) Loretta Young, Joseph Cotten, Ethel Barrymore, Dir: HC Potter, 97 mins., RKO 3:30 P.M. Oblomov (1980) Oleg Tabakov, Elena Solovey, Yuri Bogatyryov, Dir: Nikita Mikhalkov, 140 mins., Mosfilm, Premiere # 08 6:00 P.M. Flavor of Green Tea Over Rice (1952) Shin Saburi, Michiyo Kogure, Kôji Tsuruta, Dir: Yasujirô Ozu, 116 mins., Shôchiku Eiga, Premiere # 09 Universal B's 8:00 P.M. The Mummy's Hand (1940) Dick Foran, Peggy Moran, Wallace Ford, Dir: Christy Cabanne, 67 mins., Universal, P/S 9:15 P.M. The Mummy's Curse (1944) Lon Chaney Jr., Peter Coe, Virginia Christine, Dir: Leslie Goodwins, 60 mins., Universal, P/S 10:15 P.M. The Mummy's Ghost (1944) John Carradine, Robert Lowery, Ramsay Ames, Dir: Reginald Le Borg, 61 mins., Universal, P/S 11:30 P.M. The Mummy's Tomb (1942) Lon Chaney Jr., Dick Foran, John Hubbard, Dir: Harold Young, 61 mins., Universal, B-Movie Exempt 12:45 A.M. House of Frankenstein (1944) Boris Karloff, Lon Chaney Jr., J. Carrol Naish, Dir: Erle C. Kenton, 71 mins., Universal, P/S TCM Underground 2:00 A.M. Lock, Stock and Two Smoking Barrels (1998) Jason Flemyng, Dexter Fletcher, Nick Moran, Dir: Guy Ritchie, 107 mins., Summit, Underground Exempt 4:00 A.M. Yojimbo (1961) Toshirô Mifune, Eijirô Tôno, Tatsuya Nakadai, Dir: Akira Kurosawa, 110 mins., Toho, P/S Saturday, January 15th Holy Feast of Paul the Hermit 6:00 A.M. Dangerous Paradise (1930) Nancy Carroll, Richard Arlen, Warner Oland, Dir: William A. Wellman, 58 mins., Paramount, Premiere # 10 7:00 A.M. Andrei Rublev (1969) Anatoli Solonitzine, Nikolay Sergeyev, N. Grinko, Dir: Andrey Tarkovskiy, 205 mins., Mosfilm, P/S 10:30 A.M. The Virgin Spring (1960) Max von Sydow, Gunnel Lindblom, Brigitta Petersson, Dir: Ingmar Bergman, 89 mins., Svensk Film, P/S 12:00 P.M. Flowers of St. Francis (1950) Aldo Fabrizi, Pino Locci, Peparuolo, Dir: Roberto Rossellini, 75 mins., Cineriz, P/S 1:15 P.M. The Garden Of Allah (1936) Marlene Dietrich, Charles Boyer, Basil Rathbone, Dir: Richard Boleslawski, 79 mins., Selznick, P/S 2:45 P.M. Russian Ark (2002) Sergey Dreyden, Mariya Kuznetsova, Leonid Mozgovoy, Dir: Aleksandr Sokurov, 99 mins., Hermitage, P/S 4:30 P.M. Treasure Island (1934) Wallace Beery, Jackie Cooper, Lewis Stone, Dir: Victor Fleming, 103 mins., MGM 6:15 P.M. Mrs. Brown, You've Got A Lovely Daughter (1968) Peter Noone, Herman's Hermits, Stanley Holloway, Dir: Saul Swimmer, 95 mins., MGM TCM Essentials / Bad Boy Bank Robbers 8:00 P.M. The Thomas Crown Affair (1968) Steve McQueen, Faye Dunaway, Paul Burke, Dir: Norman Jewison, 102 mins., Mirisch, P/S 9:45 P.M. $ (1971) Warren Beatty, Goldie Hawn, Gert Fröbe, Dir: Richard Brooks, 121 mins., Columbis, P/S Film Noir 12:00 A.M. Pushover (1954) Fred MacMurray, Kim Novak, Philip Carey, Dir: Richard Quine, 88 mins., Columbia, P/S 1:30 A.M. Un Flic (1972) Alain Delon, Catherine Deneuve, Richard Crenna, Dir: Jean-Pierre Melville, 100 mins., EIA, P/S 3:15 A.M. Cash on Demand (1961) Peter Cushing, André Morell, Richard Vernon, Dir: Quentin Lawrence, 89 mins., Hammer, P/S 4:45 A.M. Ladies They Talk About (1933) Barbara Stanwyck, Preston Foster, Lyle Talbot, Dir: Howard Bretherton, 69 mins., WB ***** SansFin's Programming Notes for Schedule for January 9th to January 15th, 2022 General Theme: A week of days. All daytime themes are a nationally or internationally recognized 'Day.' Star of the Month: Zasu Pitts, Thursday Evening Spotlight: Movie Animals: Dogs, Cats, Snakes and Bats. This Week: Cats Bob's Picks, Monday Evening Universal B-Movies, Friday Evening Bad Boy Bank Robbers, Saturday Evening "Evening Theme: Apartment Life" is solely an excuse to schedule: The Irony of Fate, or Enjoy Your Bath! (1975). "Peculiar People Day" was chosen over "Bittersweet Chocolate Day", "Houseplant Appreciation Day" and "National Cut Your Energy Costs Day" because I felt that most here will identify more with 'peculiar' people than with bad candy, fickle ferns or sitting in cold, dark rooms. "Bob's Picks" was difficult because I did not track his choices. I did read that Gene Tierney was one of his favorite actresses and so I went with that and scheduled all things Gene. "George Zucco's Birthday" I choose this week so as to pay tribute to an actor who brightened every movie. "Spotlight: Dogs, Cats, Snakes and Bats. This Week: Cats" I wish to bring attention to excellent movies which have not appeared on TCM. Specifically: Rhubarb (1951), When the Cat Comes (1963) and The Black Cat (1968) but I love all the movies I scheduled under this theme. "Star Of The Month: Zasu Pitts" I have never watched a Zasu Pitts movie which I did not like very much. She never seems to be given the respect and admiration which she deserves. "Universal B's" Nothing says to me 'B-Movie' like a quick and dirty little horror film that is quite enjoyable. "TCM Underground" I did wish to schedule: The VelociPastor (2018) for this in order to spread awareness of this quirky little gem but I hesitated because it is so modern. "Holy Feast of Paul the Hermit" Monks and hermits may seem to be an odd choice as movie characters because they avoid confrontation and are often considered anti-social. "Bad Boy Bank Robbers" is excuse to showcase as an Essential Steve McQueen as the ultimate cool bad boy. I scheduled a Film-Noir on Sunday at 10:00 A.M. Sunday and a different one on 12:A.M. the following Sunday because that appears to be current method of TCM scheduling. Distribution: 1920's - 1 1930's - 26 1940's - 25 1950's - 19 1960's - 23 1970's - 5 1980's - 2 1990's - 1 2000's - 1 All Premieres/Exempts: The Adventures of Baron Munchausen (1943) The Irony of Fate, or Enjoy Your Bath! (1975) The Ninth Guest (1934) Lost Souvenirs (1950) Rhubarb (1951) When the Cat Comes (1963) The Crimes of the Back Cat (1972) The Black Cat (1968) The Shadow of the Cat (1961) Oblomov (1980) Flavor of Green Tea Over Rice (1952) The Mummy's Tomb (1942) Lock, Stock and Two Smoking Barrels (1998) Dangerous Paradise (1930)

WAY OF A GAUCHO (1952)

I'm presently on the last season of "Perry Mason" episodes on CBS All Access. I thought it interesting that Ray Collins, the most senior regular cast member (he played Lieutenant Tragg) only appeared in 4 seasons of the 8-year series. He died in 1965, which was the last season "Perry Mason" aired...and through all those seasons, Collins always got a screen credit at the beginning and the end of each episode. Compare that to William Talman who played L.A. District Attorney Hamilton Berger. If he wasn't in an episode, he never got a credit. So, that led me to think Collins either had a fantastic agent, or the producers of the show (or others affiliated with "Perry Mason") allowed him all the credits because of his longevity in the business? He was born in 1889 in Sacramento. I'm also stream-watching old episodes of "The Twilight Zone", which are also commercial-free. I love watching the New Year's marathon on SyFy, but I've seen several episodes on CBS All Access that I never remember watching during those marathon broadcasts. I'm also getting into binge-watching "Mission Impossible" and "Reno 911".

"Among the movies he made in the second half of his career, Moonrise (1948) is acknowledged by some cinema scholars as Frank Borzage's late period masterpiece, a film that is both a summation of the director's thematic concerns and a visually stunning marriage of pictorial lyricism with noir sensibilities. It stands out from any other American film made in the forties and is closer in tone and mood to the poetic realism movement in French cinema during the thirties (Julien Duvivier's Pepe le Moko [1937], Marcel Carne's Port of Shadows [1938]). ...... To save money, Borzage ruled out location shooting and filmed Moonrise on only two sound stages for 30 different scenes. While this accounts for the film's artificial and highly stylized art direction, it also produces a claustrophobic, fever-dream intensity that works as an extension of Danny's world view, one which begins in brooding darkness and eventually sees the dawning light. The only other film that comes close to possessing the same dream/nightmare logic as Moonrise is Charles Laughton's The Night of the Hunter .............. see: https://www.tcm.com/tcmdb/title/83958/moonrise#articles-reviews?articleId=276624

From February 10-12, 1921, the Poli ran The Village Sleuth, starring Charles Ray as William Wells. The film was released in September of 1920 at five reels. Copies are held in the Library of Congress and several other archives. Plot: William Wells is a country boy who graduates from a correspondence school as a detective. He gets his start by solving the mystery of disappearing watermelons from his father’s patch. Then he applies for a job as house detective at a sanitarium, but instead ends up as the janitor. When a man is reported murdered, Wells suspects the man’s wife. So he dons the dead man’s clothes and visits the woman at night, hoping she will be scared into confessing. The dead man was short, fat, and wore a moustache; so Wells puts a pillow under his vest and puts on a fake moustache. When the woman sees him crouching in the shadows, she leaps out of bed, rushes toward him with her arms outstretched, and exclaims “My darling, so you are not dead!” Wells runs from the room. He falls for Pinky Wagner, who is accused of the murder. Wells manages to clear up the situation when he discovers that the “victim” has in fact not been murdered, but instead, a robbery had been committed. Picture Play Magazine wrote “the sleuth, as vitalized by Mr. Ray, is as lovable as he is ridiculous. Winifred Westover plays his sweetheart, an ex-chorus girl. I can’t imagine where she chorused. Judging by her demureness, it must have been a Methodist church.” Motion Picture News remarked “of course the story is weak and ridiculous, but there is such an abundance of amusing incidents, such unadulterated hokum, that the average audience is certain to like it.” Exhibitor’s Herald noted “it will take no sleuth to detect the drawing power of Charles Ray in this picture. And, once drawn, patrons are going to spread the tidings that Charles Ray is herewith to be seen in one of his best pictures to date.” The story was written by Agnes Christine Johnson, who wrote the scenarios for several of Ray’s pictures. In the 1930s and 40s, she wrote several screenplays for the Andy Hardy series. Married to fellow screenwriter Frank Dazey, the pair retired in the 1950s and opened a free clinic in Mexico. They continued to write on occasion for magazines. Their daughter, Ruth Dazey, was an officer in the United States Navy.

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.

You've been corrected before. Would you PLEASE spell Cary Grant's name correctly. It is NOT Carey, there is NO E in the spelling. We'd all appreciate it.

Crossfire is a well known film at this forum since it is a noir with two iconic noir actors in Mitchum and Ryan. One of Robert Young best dramatic performances as well as an early noir film for Gloria Grahame, as a hard nosed dame. Also, since it was released in the same year as Gentleman's Agreement (1947), and deals with a similar topic, the two films are often linked. I prefer how Crossfire conveys it's "message" over how it is done in Gentleman's Agreement.

THE FURIES (1950) Next: lots of people at a park

JOANNE WOODWARD ROBERT WAGNER KATHRYN GRANT REX HARRISON ANN-MARGRET BETTY WHITE

The Naked Gun Next: A movie starring unknown actors (at least at the time)

CASTLE

I watched 2 films yesterday which I had DVR'd earlier. I enjoy rerunning certain scenes and really getting into what a director or an actor is up to. They were wildly different. BALL OF FIRE (1941) starring Gary Cooper and Barbara Stanwyck with a fine supporting cast. A romantic comedy written by Charles Brackett and Billy Wilder and directed by Howard Hawks....all top notch pros. While I was very familiar with Billy Wilder I wasn't as with Brackett 's name. The two collaborated on several screenplays, usually dramas, like SUNSET BOULEVARD, LOST WEEKEND and NINOTCHKA. This was a smart, snappy rom-com which I could easily see the professionalism in the dialog , character development and scene sequencing. All excellent. Hawks, who was familiar to me through his westerns like RIO LOBO, RIO BRAVO and EL DORADO has an exceptional list of films that included GENTLEMEN PREFER BLONDES and TO HAVE AND HAVE NOT. His skill was readily evident here. Stanwyck was only 24 years old. She's suppose to play a stripper named Sugarpuss O'Shea (now that's a name!) with a worldly knowledge of slang words that Cooper's character is trying to define for an encyclopedia he's editing. She never remotely comes close to stripping. Heck, Rita Hayworth in GILDA was way more provocative than Stanwyck in this role. She does a charming song number backed by the real Gene Krupa Orchestra as an introduction and she goes on to play a sassy, unflappable foil to Cooper's straight laced and bookish straight man. Dana Andrews plays a mobster involved with Stanwyck who wore the most sharply creased slacks I've ever seen on film. Honestly, whenever Andrews was on screen I couldn't take my eyes off those slacks. In the end, I thought just how fine an actress Stanwyck was. I can't think of a single actress in her 20's, today, that could deliver that performance. There's a brief scene where she is on the phone, talking to Andrews. Hawks cuts back and forth between the two as they speak. It's a smart, short scene. Andrews was a little stilted, but Stanwyck's voice, delivery and expressions screamed film star. She makes this movie. As for Cooper, he was his usually stolid, upright self. I am not a huge fan of Cooper. He always comes off the same to me in every film. I'm sorry if this troubles my fellow TCM posters. He was OK. His performance reminded me of a poor man's Cary Grant in HIS GIRL FRIDAY which had come out a year before. In particular the supporting cast was also terrific. Henry Travers who we all know as the fabulous, Clarence Odbody in IT'S AWONDERFUL LIFE was his affable, engaging self. You just smile when he's onscreen. Another is Charles Lane who was a ubiquitous face on just about every 60's TV show. I saw him in this movie and said to myself, "Hey, that's Homer Bedloe from PETTICOAT JUNCTION!"....but he also had a nice spot in IT'S A WONDERFUL LIFE as the real estate agent that tells Mr. Potter that some day this guy is going to be working for George Bailey. He always played officious types, lawyers or government types. The guy has an incredible Hollywood resume. He and Edgar Buchanan most have had a ton of war stories to tell while idling between takes of their shared sit com, PETTICOAT JUNCTION. Overall, BALL OF FIRE was very satisfying. ............................................................................................................................... Now for the second film THE KILLING FIELDS (1984) starring Sam Waterston, Haing Ngor (Oscar winner for Best Supporting Actor) and John Malkovich. After watching again after over 30 years I instantly could see why it also won Oscars for cinematography and film editing. This was Roland Joffe's first full length motion picture directing effort and it was incredible. He followed it up with THE MISSION and FAT MAN AND LITTLE BOY..... but interestingly he didn't have a particularly distinguished movie directorial resume. I wonder why. This film was beautiful. The first half of the movie is set in Cambodia and details the life and relationship of Waterston's NY Times reporter and his Cambodian companion and assistant Ngor. Joffe got everything you could possibly want out of 1st time actor in Ngor. It was a phenomenal accomplishment by both. Waterston was fine, but I've never found his delivery/persona on screen particularly riveting. I found his performance here, somewhat flat....I suppose because the other actors on screen with him stood out so much more. John Malkovich was early in his career here and he jumped off the screen. He killed it (pun intended) especially when sharing scenes with Waterston. I couldn't take my eyes off Malkovich. There's a brief scene in a NYC men's room after Waterston's character wins a reporting award and Malkovich's character confronts him about leaving Ngor's back in Cambodia. Malkovich delivers. The only negative I have with the film is the ending. When Waterston and Ngor are finally united the soundtrack breaks into playing John Lennon's "Imagine". At the time this was probably the first time the song had been used to convey our hopes and desires for world peace. In 1984 it must have seemed particularly poignant. But now that that song has been played a zillion times after every time something horrible happens in the world the meaning of it has really faded. It seems hackneyed and ordinary. In 1984...probably not, but today...meh. Overall a wonderfully directed movie...especially the first 1/2. Joffe's camera angles and small little views....maybe a horrified child sitting alone...or a tiny lizard climbing a crumbling wall. I can only imagine what was left on the cutting room floor as they had dozens and dozens of these little images interspersed between set scenes. This film deserves all the praise it has earned.

I watched 2 films yesterday which I had DVR'd earlier. I enjoy rerunning certain scenes and really getting into what a director or an actor is up to. They were wildly different from each other. BALL OF FIRE (1941) starring Gary Cooper and Barbara Stanwyck with a fine supporting cast. A romantic comedy written by Charles Brackett and Billy Wilder and directed by Howard Hawks....all top notch pros. While I was very familiar with Billy Wilder I wasn't as with Brackett 's name. The two collaborated on several screenplays, usually dramas, like SUNSET BOULEVARD, LOST WEEKEND and NINOTCHKA. This was a smart, snappy rom-com which I could easily see the professionalism in the dialog , character development and scene sequencing. All excellent. Hawks, who was familiar to me through his westerns like RIO LOBO, RIO BRAVO and EL DORADO has an exceptional list of films that included GENTLEMEN PREFER BLONDES and TO HAVE AND HAVE NOT. His skill was readily evident here. Stanwyck was only 24 years old. She's suppose to play a stripper named Sugarpuss O'Shea (now that's a name!) with a worldly knowledge of slang words that Cooper's character is trying to define for an encyclopedia he's editing. She never remotely comes close to stripping. Heck, Rita Hayworth in GILDA was way more provocative than Stanwyck in this role. She does a charming song number backed by the real Gene Krupa Orchestra as an introduction and she goes on to play a sassy, unflappable foil to Cooper's straight laced and bookish straight man. Dana Andrews plays a mobster involved with Stanwyck who wore the most sharply creased slacks I've ever seen on film. Honestly, whenever Andrews was on screen I couldn't take my eyes off those slacks. In the end, I thought just how fine an acress Stanwyck was. I can't think of a single actress in her 20's, today, that could deliver that performance. There's a brief scene where she is on the phone, talking to Andrews. Hawks cuts back and forth between the two as they speak. It's a smart, short scene. Andrews was a little stilted, but Stanwyck's voice, delivery and expressions screamed film star. She makes this movie. As for Cooper, he was his usually stolid, upright self. I am not a huge fan of Cooper. He always comes off the same to me in every film. I'm sorry if this troubles my fellow TCM posters. He was OK. His performance reminded me of a poor man's Cary Grant in HIS GIRL FRIDAY which had come out a year before. In particular the supporting cast was also terrific. Henry Travers who we all know as the fabulous, Clarence Odbody in IT'S AWONDERFUL LIFE was his affable, engaging self. You just smile when he's onscreen. Another is Charles Lane who was a ubiquitous face on just about every 60's TV show. I saw him in this movie and said to myself, "Hey, that's Homer Bedloe from PETTICOAT JUNCTION!"....but he also had a nice spot in IT'S A WONDERFUL LIFE as the real estate agent that tells Mr. Potter that some day this guy is going to be working for George Bailey. He always played officious types, lawyers or government types. The guy has an incredible Hollywood resume. He and Edgar Buchanan must have had a ton of war stories to tell while idling between takes of their shared 60's sit com, PETTICOAT JUNCTION. Overall, BALL OF FIRE was very satisfying. ............................................................................................................................... Now for the second film THE KILLING FIELDS (1984) starring Sam Waterston, Haing Ngor (Oscar winner for Best Supporting Actor) and John Malkovich. After watching again after over 30 years I instantly could see why it also won Oscars for cinematography and film editing. This was Roland Joffe's first full length motion picture directing effort and it was incredible. He followed it up with THE MISSION and FAT MAN AND LITTLE BOY..... but interestingly he didn't have a particularly distinguished movie directorial resume. I wonder why. This film was beautiful. The first half of the movie is set in Cambodia and details the life and relationship of Waterston's NY Times reporter and his Cambodian companion and assistant Ngor. Joffe got everything you could possibly want out of 1st time actor in Ngor. It was a phenomenal accomplishment by both. Waterston was fine, but I've never found his delivery/persona on screen particularly riveting. I found his performance here, somewhat flat....I suppose because the other actors on screen with him stood out so much more. John Malkovich was early in his career here and he jumped off the screen. He killed it (pun intended) especially when sharing scenes with Waterston. I couldn't take my eyes off Malkovich. There's a brief scene in a NYC men's room after Waterston's character wins a reporting award and Malkovich's character confronts him about leaving Ngor's back in Cambodia. Malkovich delivers. The only negative I have with the film is the ending. When Waterston and Ngor are finally reunited the soundtrack breaks into John Lennon's "Imagine". It was probably the first time the song had been used to convey our hopes and desires for world peace. In 1984 it must have seemed particularly poignant. But now that that song has been played a zillion times after every time something horrible happens in the world the meaning has really faded. It seems hackneyed and ordinary. In 1984...probably not, but today...meh. Overall a wonderfully directed movie...especially the first 1/2. Joffe's camera angles and small little views....maybe a horrified child sitting alone...or a tiny lizard climbing a crumbling wall. I can only imagine what was left on the cutting room floor as they had dozens and dozens of these little images interspersed between set scenes. This film deserves all the praise it has earned.

Just above some of the chatter here, I noticed back on Sunday that the schedule page actually loads in a different way now, for the better. I can assure you that this change has been made, as it affected my own "new feed" schedule until I fixed it by redirecting to a newer address. In doing so, I noticed there are now separate data feeds for EST, CST, and so forth. This change looks like it happened last Saturday. This is actually a good change, no matter how you might look at their updated website. Think of it as being a bit more complete. It now sends each time zone a different data feed of the schedule, versus attempting to calculate it in the user browser based on the Eastern time zone. The improvements may have had unintended consequences - temporarily I hope.

I submitted the season 9 color info to IMDb. Prior to that, it only indicated that there were B&W episodes. It wasn't accepted at first, until I submitted additional sources for the information. Apparently early syndication packages skipped over that episode, so it had rarely been seen since the original run. I know that MeTV has run the episode several times.

LA is 500 square miles, and it's always amazing how Perry Mason and Lt. Tragg would always end up at the same crime scene within minutes of each other.

Clark Gable

Banacek

Bullfighter and the Lady (1951).

Captains of the Clouds

YOLANDA AND THE THIEF 1945

Watson, Thomas played by Henry Fonda in The Story of Alexander Graham Bell 1939

As far as career film legacy, for me Collins is clearly the most esteemed regular actor of the Perry Mason show. Of course there is the role in Citizen Kane, one of the bigger secondary character roles (and I would say the most important one as it relates to the fall of Kane). His other films for Welles were The Magnificent Ambersons and Touch of Evil many years later. But he provided fine support in a host of other films: The Big Street, The Human Comedy, Roughly Speaking, Leave Her to Heaven, Crack-Up, The Best Years of Our Lives, The Bachelor and the Bobby-Soxer, The Senator was Indiscrete, The Man from Colorado, The Heiress, Paid in Full, The Racket, and The Desperate Hours (and of course many other films).

THE UNFORGIVEN (1960) Next: THE RED BADGE OF COURAGE (1951) Two Audie Murphy performances directed byJohn Huston.

Yeah...I have no idea where I got that 19 episodes junk! According to IMDB, Collins had emphysema real bad, which caused him to bow out of the series after the 1960-61 season had ended. He passed away just prior to the series' final season. It was decided to keep him on the credits to keep his spirits up during his illness and to allow him to maintain his Screen Actor's Guild insurance benefits. I forgot the primary rule of writing a term paper (or making an internet post)....RESEARCH before you write!!!! (or in this case, post)! IMDB says there were 271 total "Perry Mason" episodes.

Vale, Norma, played by Barbara Stanwyck in "There's Always Tomorrow"

Two for the Seesaw

Ella Raines

I was born in 1995. By that point, most of the big classic stars were either elderly or gone. Even fewer are alive now, and most are gone. Sometimes I think about the fact that they are all gone in films of the 30s and 40s, but not often. They live every time you see one of their films, and ones favorite actors and actresses begin to feel like friends. it doesn't bother me. Most of my favorite films were years ago.

I was having a really tough time after the 2016 election, and I discovered the first five seasons of MURDER, SHE WROTE were on amazon prime. In the strangest way, they kind of saved my life. I also kind of sucked the marrow from them, viewing and reviewing them repeatedly and even watching some later episodes online. Cheese is SUCH a great comfort food. I’m not sure I can really sit down and watch the show the same way again, It burned bright, it burned hard, and I will always owe it a great debt. FYI Please don’t think I’m shilling by saying this, but the NBC streaming service Peacock somehow got the rights to all 12 seasons of MSW (it’s a Universal produced show) The last I checked, they were all available for viewing for free. It’s also a better way of watching them turn on Hallmark because they are not heavily edited

Lol. They are ruthless. They sent me advertising!! I was like noooo I'm only 36.

Our seventh child star is British child star JON WHITELEY I remember when I first watched HUNTED (1952) one of his earliest movies, in which he appeared with Dirk Bogarde. He's just fantastic in it, but even better in THE KIDNAPPERS (1953) made a short time afterward. Later he teamed up with Bogarde again for THE SPANISH GARDENER (1956). He also did a Hollywood movie called MOONFLEET (1955), produced by MGM, which cast him opposite George Sanders and Stewart Granger. Plus there was an American-financed movie in Britain, THE WEAPON (1956) which found him playing Lizabeth Scott's son. As an adult he became a scholar in the art world. Ever the detective, I found out where he was working in England. This was two years ago. I sent an email to his work address, and within a day or so he replied. He was very polite and told me about his current work and what it was like receiving an Oscar (an honorary juvenile Oscar). If you have the chance to watch his movies, I am sure you will enjoy Jon's performances as much as I do.

Considering the average life span is around 76, we should be celebrating the lives of those whom managed to live 90-100+. This is a blessing. Time is simply catching up.

1994

THE IMPORTANCE OF BEING EARNEST (1952)

THE BALLAD OF JOSIE

Thanks for the Mel Brooks and Gene Wilder double feature. Loved it and I’ve got a great idea. I’m going to post it right now.

YouTube ads have gotten ******* OBNOXIOUS! especially NOOM that stupid EVERYTHING FRYING PAN And that seven minute long hello fresh video where that woman has the gall to tell me “you’re going to watch me prepare what I’ve ordered from hello fresh.” No màmà, not so long as that SKIP AD button works, I’m not watching you make sweet potato frittatas ya ******* shut in.

THE BISCUIT EATER (1972)

The point is someone thinks they can make more money out of it. That's all...

TWO THOUSAND WOMEN (1944)

Jefferson, Louise -- played by Isabel Sanford on TV's All in the Family & The Jeffersons

I just stumbled onto The Vampire Bat on Comet TV, shot in 1932, with Lionel Atwill, Melvyn Douglas and Fay Wray.