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Glad you posted this promo. I have not seen it yet. I am sure TCM is getting slammed from both sides regarding this series. I could go either way. My initial reaction was that the series seemed to be fairly insulting to the "regular" TCM viewer since it seemed to insinuate that we needed to be told that many of the depictions and attitudes in films from the classic era are anachronistic and inappropriate. We get it, TCM. We've always gotten it. Hell, I was cringing at Al Jolson wearing blackface from the first time I ever saw "The Jazz Singer" many years ago. The end of "Woman of the Year" makes me crazy! One more "let's put the career woman in her place" scene, thrown in to make the housewives in the theater happy. When I saw the Prologue in GWTW stating that the South in the mid 19th century was a "pretty world" for the first time all I could think of was: "Has anybody ever read a history book around here?" There are tons of thing in old movies (and I LOVE the old movies -- the older, the better) which I neither like nor approve of. Give us some credit, TCM. While it is my fervent belief (cynic that I am) that TCM did this feature solely at the behest of their corporate parent, Warner Media, to avoid a barrage of social media attacks, I have found some of the commentary interesting. Culture evolves and what is "acceptable" at one point in time becomes totally "unacceptable" later. Having said that, I sure wish some corporate entity would be as "sensitive" to the unrelenting barrage of violent content found in contemporary film and tv. Nobody seems to think that's a problem at all. The gorier, the better.

unemployable Michael Dorsey/soap star Dorothy Michaels...Tootsie nerdy pharmacist Warren Quimby (Richard Basehart) is also salesman Paul Sothern in Tension (1949) Nestor Patou (Jack Lemmon) becomes Lord X to be with Irma la Douce

I watched Call Northside 777, a documentary-style film noir directed by Henry Hathaway. Moments of great noir cinematography by Joe MacDonald, one of my favorites. Set in Chicago in the mid-40s. James Stewart plays a reporter who becomes convinced of the innocence of a convicted cop-killer (Richard Conte). Back in 1932 when the murder occurred, Chicago was corrupt. Lee J. Cobb is Stewart's editor, Helen Walker shines in a couple of scenes as Stewart's wife, and Betty Garde has the juicy role of Wanda Skutnik, the speakeasy owner whose eyewitness testimony sent Conte and his friend to prison. Fun fact: Betty Garde was the original Aunt Eller in Oklahoma! on Broadway because Charlotte Greenwood wasn't available. E.G. Marshall has a small uncredited role. Speaking of uncredited roles, Jane Crowley is great in a small role as a woman in a sleazy bar who tips off Stewart to the location of Wanda Skutnik. Every one of the brief moments Jane Crowley is on screen seems absolutely taken from real life. I looked her up on imdb, and Jane Crowley was in over 50 films, always in uncredited roles. SPOILERS: The film is well-made and has a satisfying ending until I realized half an hour later that the major questions of the film were all unanswered. Who persuaded the witness to lie? Who were the cops protecting? How were these fall guys selected?

1. Terence Fisher - So Long at the Fair 2. Richard Fleischer - The Narrow Margin 3. Milos Forman - (see below); Ragtime? Valmont? 4. Neil Jordan - The Crying Game 5. Anthony Mann - The Furies; Anthony Mann noir: Raw Deal 6. Otto Preminger - Bonjour Tristesse 7. Irving Rapper - Now, Voyager 8. Mark Robson - The Inn of the Sixth Happiness 9. Frank Tashlin - (see below); The Glass Bottom Boat 10. Robert Wise - West Side Story This was an unusually interesting group as I tried to pick favorites. Some of these directors have made films that I love. I loathe and avoid horror movies, so the only Terence Fisher film I've seen is So Long at the Fair, which I like very much. Wild choices of genre for some: The Narrow Margin or 20,000 Leagues Under the Sea? The Furies or Raw Deal? The Inn of the Sixth Happiness or The Seventh Victim? West Side Story or Born To Kill (or films from all the other genres Wise mastered)? Apparently, Milos Forman is a director I admire rather than love, and I didn't know that until now. I appreciate his best-known films while not having much desire to see them again. I thought of Intimate Lighting until I remembered that's an Ivan Passer film. I wouldn't mind seeing Valmont again, but I love Stephen Frears' Dangerous Liaisons. As for Frank Tashlin, The Glass Bottom Boat is noteworthy for the fun-loving colors of its cinematography. The Alphabet Murders is entertaining, Susan Slept Here has its clever moments, and yeah, Tashlin would not rank high on my list of favorite directors.

Nutty Professor (1963) - Professor Julius F. Kelp/Buddy Love Breakfast at Tiffany's (1963) - Holly Golightly/Lula Mae Barnes Clark Kent/ Superman (1978)

The Shadow (1940) Lamont Cranston/the Shadow Dr. Jekyll and Mr. Hyde (1931) No Way Out (1987) Russian spy poses as American officer Mrs. Wilson (2018 tv mini-series. Based a real story, a wife finds out after her husband's death that he had several other secret wives and families.) On Mad Men, Dick Whitman became Don Draper. (Draper died during combat, Whitman was wounded and the Army confused the two men's identities. Whitman kept Draper's name/life)

Finch, J. Pierpont--Robert Morse in How to Succeed in Business Without Really Trying

Colbrook, Mary -- played by Kay Francis in MY BILL (1938)

His work is one of the reasons why I feel that the entire: "director as auteur" theory is pretentious crap. Other directors might have to stamp their 'style' on all of their movies to identify their work in order to seek fulfilment but Robert Wise relied solely on simple excellence and put the integrity of the story ahead of his own ego.

Why slayton, whatever do you mean here? Oh...wait. You mean kind'a like THIS here maybe?...

57 channels. How quaint that sounds today. More proof that the QAnoners are dumb as bricks. 69 is the number that will keep one childless.

One thing that's fascinating about Robert Wise: The House on Telegraph Hill, The Set-Up, Born To Kill, Odds Against Tomorrow--no two of these adventures in film noir look or feel very much like each other. If Wise had sought a Zen-like annihilation of personality in each film, he could not have succeeded more fully. I intend this as high praise. Perhaps this is why Wise is successful in so many different genres.

It's gotten a little out of hand. They need to chill on new inductons for a while. If they want to have an annual party, they can honor existing members instead of shooing in new inductees just because they need an excuse to get together.

TAXI - 1919, 1931, 1953 ...also 1991, 1996, 1998, 2004, 2015, and the classic TV series

ZORRO BATMAN Just watched Netflix's new documentary about Mark Hofmann called MURDER AMONG THE MORMONS -- religious family man by day, master forger and murderer by night

GUNFIGHTERS (1947) with Randolph Scott THE GUNFIGHTER (1950) with Gregory Peck GUNFIGHTER (1999) with Robert Carradine

HEAT (1986) crime drama with Burt Reynolds HEAT (1995) thriller with Al Pacino

Three Secrets Next: Martha Scott, Ricardo Montalban, Patricia Owens

Wall Street next--twins (that aren't Hayley Mills..)

1 9 3 4

Effington, Priscilla, played by Deborah Kerr in "Dream Wife"

Bailey, Pearl

Get Me To the Church On Time - Stanley Holloway - My Fair Lady song you like in a bio pic

Friday, March 12 midnight. Citizen Kane (1941). George Coulouris (above) taking charge of the young Charles Foster Kane. Welles himself had a guardian take charge of him at a similar age. His name was Bernstein. Though the Coulouris character is named Thatcher in Kane, Welles gave the Bernstein name to the character played by Everett Sloane.

Rio Bravo Next: Priscilla Lane, Jack Carson & Edward Everett Horton

1937

Anderson, Richard

"Let's Go Bavarian" -- Fred Astaire, Joan Crawford in Dancing Lady (1933) Next: Sung by a British character actor

Two films featuring B.S. Pully, who was a Minsky comedian. A Tree Grows in Brooklyn (1945) Guys and Dolls (1955)

The ending of The Other is not very well filmed, and my companion was confused when we saw the film way back when. Since I had seen The Bad Seed and could recognize that this was an, um, imitation of The Bad Seed, I could explain the ending.

With Hitchcock, everything was a metaphor for sex. Except sex, which was a metaphor for perversion.

Hey, here's one.

Henry Hull

The Invisible Man

This never required CGI - much safer.

Haunted Harbor

CHARADE 1954 ( James Mason and Pamela Mason ) CHARADE 1963 ( Cary Grant and Audrey Hepburn )

Wasn't the bear that almost decapitates DiCaprio in The Revenant almost all CGI generated? I'm sure they'll be doing the same in Banks' movie. Btw, this line of talk has reminded me of one of my favorite old Far Side comics here...

I went and binged on 3 films last night. I must confess that I fast forward in a few places when they're riding horses in the desert or cars are seen driving someplace. I try to watch every word of dialog however. First up: I rewatched THE YEAR OF LIVING DANGEROUSLY (1982) because I wanted to see Linda Hunt's Oscar winning supporting role again. I also wanted to compare it to THE KILLING FIELDS (1982) which I had also recently rescreened. Their story lines had many similarities. Linda Hunt was simply fabulous. It's pretty amazing when you see an Oscar winning role. It's obvious. Peter Weir's direction was also first rate. I always wondered why he doesn't have a longer filmography. DEAD POETS SOCIETY (1989) and MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2003) are 2 of my favorite movies, not just Weir films. I was also impressed with Sigourney Weaver's performance. I like to watch actors when they aren't speaking. How do they convey a feeling without words? Scene after scene, Weaver shows every kind of emotion; concern, amusement, fear, doubt, confusion...one after the other. Weir's lighting and camera angles are beguiling. The editing was extraordinary. There must have been a lot of film left on the cutting room floor. Perhaps it was the role, but Mel Gibson was much like Sam Waterston in THE KILLING FIELDS in that they both seemed to stumble through the film with a "This can't really be happening?" look on their faces. For me, watch it for Weir's artistry and Hunt's and Weaver's performances. #2: TORTILLA FLAT (1942) another Steinbeck depression era California based book adaptation. Spencer Tracy does a decent William Bendix imitation in this one. Not exactly a Tracy like role, but satisfying nonetheless. Hedy Lamarr is gorgeous. I've not watched a lot of her, but I must say I couldn't take my eyes off her when she was on screen. John Garfield played the typical roustabout that he often does, even as a few times he slipped into a Chico Marx kind of Italian accent. Most of all, I enjoyed the performance of Frank Morgan. With a full beard and bushy hair he was unrecognizable. He had a a couple charming scenes with dogs that I thought were worth the price of admission. And #3: THE SHOOTING (1966) with Jack Nicholson. I'd never seen it and always like early Nicholson performances. Millie Perkins was the female lead and I can't say I know much about her. She doesn't ring a bell. She was quite good even as the script was fairly opaque and left a lot of character details to the imagination. This was a pre-Clint Eastwood/Sergio Leone era western. Warren Oates plays the male lead and I'm not sure I've ever seen him in a lead role elsewhere. He plays a good, shlubby cowboy and his back and forth...tough guy then bewildered cowpoke...performance is excellent. Reading about the movie I see it was given high marks by many critics even as it never caught on theatrically in the U.S. I thank TCM for showing it. Nicholson doesn't show up until almost 1/2 way in and he immediately elevates the drama. Again, he doesn't have to say a lot of words to convey his menace. The ending is somewhat ambiguous and the only quarrel I have with the film is it doesn't develop the relationship between the Warren Oates' character and his missing brother. The ending is suppose to tie it all up, I guess, but it was more confusing than satisfying. Nevertheless, it's worth a look.

Forever Fernwood

RED DUST (1932)

I'm shocked! shocked! to find that cross-promotion is going on here!

ON GOLDEN POND (1981)

NO, don't do that you beat me to it by a minute. Please don't remove your answers I've removed them OY! I deleted them awhile ago, but deletion didn't show up. I had edited the post and clicked on to the original post if you know what I mean. the site is not cooperating with me LOL. Repost your answers.

Yeah, I got the earlier reference, CI. It was just that I couldn't help commenting on how much your pic of Helmsley reminded me of Eddie G. in drag. (...btw, I also remember Suzanne Pleshette playing her in the 1990 TV-movie...

HOW TO STUFF A WILD BIKINI (1965)

Being a normal human adult, I don't think I need to be "educated" about films that were made decades ago. They were made to be entertainment, not a political statement. They are a record of the times and can't be judged through the eyes of the 21st century. I am sure TCM thinks I am an uneducated rube who needs to be led around by the nose and needs these things explained to me in small words and short sentences, but I can just as easily turn TCM off. I will not be lectured to by the likes of Hollywood media. Lucky for me I own most of these movies and can watch them any time I like, without being told to watch out for the bad parts.