Members

This was not the ending Shaw intended. In fact, during his life, Shaw never saw his ending performed. He wrote the play to end indeed with Eliza going to marry Freddie. But the actor playing Higgins played it to imply she would return to him. The ending we see in My Fair Lady was created by the original movie version of the play (Pygmalion, 1938). Shaw hated it. The intention of the play is to overturn cultural convention, but the force of cultural convention it seems was too overwhelming. A more recent adaptation (1983) with Margot Kidder and Peter O'Toole has what is likely a more faithful ending.

Vohs, Joan

From Here to Eternity The More the Merrier South Pacific Come See the Paradise The Shopworn Angel Swing Shift The Horizontal Lieutenant Coming Home The Clock

Waterloo Bridge 1940 A Yank in the R.A.F. 1941 This Above All 1942 I Was Male Order Bride 1949 The Young Lions 1958 Hanover Street 1979

I've always thought the best ending for the movie version would've been if after Higgins says to Eliza "Where the devil are my slippers?", Eliza would reply with something like: "Your SLIPPERS?! Excuse me sir, but are your legs broken or something? I'm sure you can find them yourself!", and said not in a Cockney accent but in the more uppercrust accent she now has. And then fade out as we see Higgins smiling with the thought that he truly had made a better, more confident and more desirable person of Eliza, and he then goes to retrieve his own slippers. (...in this way, many more people would be satisified with the ending I believe, and maybe even G.B. Shaw himself)

Wow. Talk about blinders! Didn't recall when Higgins first ordered Eliza to fetch his slippers, she (as Higgins put it) "Shied" them at him and stormed out, eh? But realizing she had fallen in love with him, she returned, and a more docile but still mischievous Higgins, then asked, "Where the devil are my slippers?" After all, Higgins did realize his dislike of living without her, And too, realizing his reluctance to jeopardize her walking out again, would surely do what he could to make her happy, as she would for him which people in love are wont to do. Look at it these couple of ways... In MY BIG FAT GREEK WEDDING, Michael Constantine, as the Father, keeps harping on the notion that he is "the head of the family". And later in the movie, his wife(Lainie Kazan) lets it be known... "He may be the HEAD of the family, but I'm the NECK. And the neck can turn the head in any direction it wants!" My wife would often joke about, "We share things, He gives me his money, and I give him a headache!" But too, goes on, "But he's not stingy about it. He usually gives it back!" Sepiatone

I thought Peter Cushing's technical explanation about how one becomes a werewolf was almost as hilarious as his accent! And who gets the award for the best dog-dressed-as-a-monster? The nominees are The Beast Must Die andThe Killer Shrews.

Endora, played by Agnes Moorehead on Bewitched

THE HOUSE ON 92ND STREET (1945)

THE OLD DARK HOUSE (1932)

Ivanek, Zeljko

A Farewell to Arms (1932) Notorious (1946) Their Finest (2016) Yanks (1979)

Bratter, Paul -- Robert Redford in Barefoot in the Park

Grant, Lee

Frakes, Jonathan

Witherspoon, Guy - Simon Callow in Love's Kitchen

Upton, Sheriff Steve - Randolph Scott in The Desperadoes

The Good Earth Next: Bette Davis, Donald Crisp & Beulah Bondi

1931

Charlie's Angels their classic first season episode Angels In Chains. The episode had Christina Hart, Kim Basinger and Lauren Tewes as the guest stars.

Sullivan's Travels Take the Money and Run

Get a grip, maybe, just maybe they are doing it for children or young adults who have never been exposed to this stuff. Here is a senario. Asian kids just flipping through the cable channels come across some TCM film that just may catch their interest, its cool so they watch it to the end, they liked it. They stay on the channel up next is Breakfast at Tiffany's. Or some Black kids are watching something that catches their interest and they watch it through to the end and the next film is Gone With The Wind, See where I'm coming from? These are not for us but for those innocents never exposed to the past culture which they are not remotely familiar with.

CAMILLE (1936)

If that's that case, I can only commend you for being so gentlemanly in your original description of Harrison, Herman. I would not have been able to show the same restraint in talking about him if I had been in your position.

I can believe this, since I have read many stories of how rude, nasty and downright abusive he could be with the help at restaurants and hotels. He was not nice to fans either. While appearing in My Fair Lady on Broadway, a woman asked for an autograph and he told her to "sod off". She responded by smacking him on the head and shoulders several times with her playbill. Stanley Holloway (Alfed Doolittle in the show and not fond of Harrison either), saw this and later said it was "an unusual and welcome case of the fan hitting the sh*t."

Well, as we get a new entry this evening, before finally leaving The Third Man Behind, I just wanted to relay another of the reasons i love the film so much. Callahan: " We should've dug deeper than a grave". This line, one of my favorites ever, does a great job of summarizing the whole ambiguity going on in the exhumation of the character of Harry Lime. He's hardly in the movie. He's off screen for an overwhelming majority of the film. He's talked about, pondered, and much of the story is the examination of Holly's friendship with Lime, and Anna's love for him. As the story goes on you ask yourself, "how could she have loved this man?". And it's the same with Holly's friendship with him. Seeing how both characters deal with what they learn from Calloway about Lime is a never ending source of intrigue to me. That's why for me, the sudden appearance of Lime in that doorway, a sort of magic trick is how i always consider it (think of the way he disappears from Holly in that scene; he never should've been able to get away without being seen. It's an illusion of some kind, with the creepy shadows in the alley way and the echo of running footsteps) is one of my favorite scenes in any movie ever. The sudden appearance of Lime in the lighted doorway reinforces the idea of the power Lime has in both life AND death; we need to look closer at who Lime was, what he meant to the characters, and what his actions mean in a world blasted by human deprivation. Lime seems to hold a power over everyone in the film, even after his death, he goes on holding sway over the character's lives ( Callaway and Martens' obsessions with him; Anna's love). And you see at the end he will continue to hold sway even after his "second" death. It's an amazing effect of the structure of the storytelling in this film. It's not out of sequence; but still, the bringing back to life plot device in this case adds real depth to the story being told. The film begins with Lime's "funeral". Much later, he's resurrected; "dug up" at that same cemetery. He's figuratively and literally brought back, temporarily any way, to life. And the film ends at Lime's real funeral, after an extended sequence underground, in the sewers of Vienna, where Holly ends his life. We see Anna's ultimate response to Holly's actions in the stunning final shot of the film. Even after having seen the picture untold times, I'm not positive what to make of it. Especially when trying unravel the personal stories within the context of a war ravaged Vienna, whose culture has been completely obliterated by the war, the city leveled to the ground, its citizens robbed of any kind of level headed human morality. Like Eddie said in his closing remarks, there's a lot to take in there. And it's something I've remained intrigued about in my lifetime of movie going. And my thoughts have continued to shift over time as I think of it. And it remains intriguing after all these years. For me, it's one of my greatest movie experiences. An incredible story, told best as a film. Read the novella; it's very good. The movie's that much better.

OK here's a few more classic era celebs that were memorable from my Russian Tea Room years (1980's-1990's); Hume Cronyn & Jessica Tandy They were quite nice as customers, and were regulars for awhile. Mr. Cronyn I recall wore turtlenecks and jackets and Ms Tandy sweaters at all times of year (our AC was pretty effective). They were treated with great respect by others in the business. When Mr Cronyn/Ms Tandy were in the restaurant I remember that constantly, present-day actors and stars would visit their table to introduce themselves and offer compliments and tributes. It was my impression that they were both quite admired in the business, especially by other actors. Rex Harrison Was a regular for awhile in 1986 or 87, he may have been in a show on Broadway at that time. What can I say that is positive... not much. I will encapsulate by saying that he was not the most generous person (once tipped me $4 on a $400 tab) and was not a supporter of ethnic or racial diversity (I won't go into details, it was bad). Van Johnson Very nice man, and looked great when we would see him (late 1980's). Tall, ruddy, good drinker.. fun guy. He had a knack for flirting with the staff without acting inappropriately. There's a way to do it right and he never stepped over the line, he was always charming and non-offensive. Unlike certain others.

Oh, I just remembered. I met the Cisco Kid (Duncan Reynaldo) when he came to Toronto's Maple Leaf Gardens in the early '60s, I guess. As a Saturday morning viewer of the Kid this was a very big deal to me at the time. I got in a lineup with my Dad and a million other kids and Reynaldo was at the front of the line handing out a photo of himself on his horse, Diablo. The main thing I recall is that when we got to the front of the line my Dad (Mexican born) briefly conversed with Reynaldo in Spanish. Believe me, there weren't too many Spanish speaking people in Toronto in those days.

After poring over the posts for this thread. I've come to the conclusion I lead a very dull, boring life! Actually, that's not really true. I happen to think there are 5 fascinating things about people that most of us would not be aware of or know about unless told. My brush with celebrity happened when I was 10 or 11, when I met Harry Bellaver. He was in "Another Thin Man" (played Creeps who organized the baby party near the end of the picture), "Side Street" (iced near the end of the picture by James Craig), and "Love Me Or Leave Me" (played Jimmy Cagney's pal). At the time, Harry had a recurring role in the soap opera "Another World" (he played Ernie, a mechanic). He was born and raised in the town where I live, and he came back in the late 60's from New York to visit his brother and sister-in-law and their kids. My mom and dad owned a tavern at the time, and the Bellaver clan congregated there one night for dinner and libations, and that's when I got to meet Harry and his wife. I had only known him from his role in "Another World", but just the fact that I was meeting someone I had seen on television turned me into a cross between Porky Pig and Jerry Mathers from his "Leave It To Beaver" days! 😀 Today, I live in the house that Harry's brother occupied before I bought it after his death. I used to work with one of his nieces. A nephew, who lives 3 houses over from me on another street, just turned 90 a couple of months ago. In my radio days as a newscaster, I was able to interview 8 former governors (4 from Illinois, 3 from Vermont, 1 from New Hampshire). I also got a nice interview from former U.S. Surgeon General, C. Everett Koop (nice guy; very accommodating). I also got to interview former NBA head coach Dick Versace (while he was still coaching collegiately at Bradley). In my time as a simple traffic court clerk, I got a chance to speak on the phone with former NBA #1 draft pick from 1981, Mark Aguirre! He'd gotten a speeding ticket passing through my county and had called to inquire how to get placed on court supervision so the ticket wouldn't show up on his driving record. He was very pleasant to talk to, which wasn't always the case in my section of the office. Around 2001, I received a call from a fellow whose last name was 'Rawls'. When he told me his name, I was plugging it into the computer and asked, "Is that R-A-W-L-S, like the singer?". He said it was and that he was Lou Rawls' nephew! I said, "Really?". And he confirmed it and added that he had just seen his uncle only a couple of weeks prior. I told him I enjoyed hearing his uncle sing and that he had a great set of pipes. He agreed and said everyone in his family enjoyed his company.

I've worked with many "classic stars" and won't bore with those stories, but here's one in line with this thread: Many years ago (1985), I went to see a production of Tom Stoppard's play Jumpers at the Aldwych Theatre in London. During the interval, I had to go to the loo. I walked up the stairs to the men's room and saw a bunch of girls standing outside. That seemed odd. I went in, and there was Tom Selleck standing there. He was just standing there, and I gathered that he had used the facilities but was waiting for the bells to ring for the next act of the play, before venturing out of the men's room. He said hello to me, and I said hi. He was still standing there, in a corner of the men's room, when I left. When I opened the door to leave, the girls screamed! They thought it was Tom Selleck. But it was just me, so they stop screaming. Selleck was evidently in London shooting some Magnum, P.I. episodes.

A bit off topic, but when I was a teenager I was a stock boy in a department store. Whenever there was a clean up required...like someone dropped and broke a bottle of shampoo or something or other they would announce over the store intercom, "Paging Mrs. F.D. Roosevelt please come to checkout #2....Mrs. F.D. Roosevelt please come to checkout #2." I would grab a mop and pail and scurry off to counter #2.

Travels With My Aunt 1972

That elbow hugging stance was a homage by John Ford and John Wayne to Harry Carey, who used to hold his elbow like that.

The Smith Family Next: Michael Richards, Jason Alexander and Julia Louis-Dreyfus

Marianna Hill Next: The Hunchback of Notre Dame (1923) The Thief of Bagdad (1924) The Man Who Laughs (1928) The Wolf of Wall Street (1929) Murders in the Rue Morgue (1932)

SIS HOPKINS (1941)

Well Sepia, being the "gay" and carefree type that I am, I of course was talking about what now appears to be the older definition of the word "homey" within the American lexicon.

The Legend of Young Dick Turpin (1965)

We're Only Human (1935)

Well, if yer almost sure, that's good, 'cause IMCDB, despite a lengthy list of 124 Spiders and Sports doesn't have anything I'm familiar with except The Lady in the Car With Glasses and a Gun (1970). But the main transport in that is a 1969 Mercury Marquis. The Spider only has a cameo. And it's never been shown on TCM And thinking of road movies set in ol' Europe, I can only think of like Two For the Road (1969, but the car in that is a 1963 Alfa Romeo Giulia 1600 Sprint), or Alice in the Cities (1974, but that is a 1973 Renault 4 Export), or Three (1969, but that is a Peugeot 202 BH Cabriolet.) So, go fish.

Hellfighters 1968 next: Katharine Ross, Paula Prentiss and Tina Louise

Last night after watching a DVR'd movie I caught the ad for TCM's showing of these "woke" violating films with the host's yakkity yakking about the "troubling" scenes of black face or scenes of slavery in GONE WITH THE WIND. ...blah, blah, blah. I don't know who they're talking to? Those of us who are devoted TCM viewers know all this stuff already. We know Al Jolson performed in black face and Astaire did too. We've all seen GWTW 20 times and we know about Hattie McDaniel. Sheesh....are they trying to tell us because we appreciate these movies that we shouldn't? Are they talking to people who do not watch TCM that TCM is woke and they should watch TCM because they show these movies purposefully to show these troubling scenes and there's lots of other movies that are not racist, homophobic, misogynistic drivel? If they ran their ads on CNN or MSNBC I'd say they were. But running the promos on their own station where only their most devoted viewers are likely to see them is, IMHO, them trying to deflect criticism of the movies they show that they know their audience wants to see. Basically, they're telling the world we know these movies are R, H and M but that's our audience and you should condemn them, not us. It's pathetic. All they're doing is alienating us....their core constituency.

JEZEBEL (1938)

On Svengoolie tomorrow, March 27, 2021: I didn't know this film, so I read a little about it. It sounds like a cheap version combining elements of The Most Dangerous Game and And Then There Were None. A superrich man invites a bunch of people to his remote estate, telling them that one of them is a werewolf and must be killed. Here's a quote from Wikipedia: "The only way to determine the identity of the werewolf is for a certain combination of elements to occur all at once, including a full moon and the presence of wolfsbane pollen in the air. When this fails to produce any lycanthropic reactions, Tom makes each of the potential werewolves grab silver objects to provoke allergic reactions, but this too proves unsuccessful." Evidently there are prints without the "Werewolf Break." I wonder which Svengoolie will show? I assume this photo was for publicity, or is there actually a scene where the dinner guests sit around, chatting with the werewolf (played by a big dog, evidently?): I guess this is one dog that's allowed on the couch: Spoiler: Although a few of the reviews online are positive, most are not. Here's a comment from one of the websites: "Now, it turns out that Tom isn’t a victim, of course. He’s the millionaire testing out his new Werewolf Security Defense System, a system that includes a whole bunch of armed dudes, a whole bunch of awkwardly placed cameras, and an honest to God attack helicopter. This isn’t a bad reveal at all, except that it feels like the scene itself goes on for about 80 YEARS. Tom is caught and let go by the guards not once, not twice, but three times. He’s running for his life in weirdly random giant boots, at the kind of pace you might expect from a small child casually frolicking after butterflies. We also zoom in on the “hidden” cameras at least five times. The whole thing is awkward and slow as hell."

Let me start out by saying I do not dislike Alicia Malone. She has poise and dignity, as well as intelligence. My gripe is that TCM Management has now clearly made her the water pail carrier for social-political opinions. She has recently begun spouting about "homophobia", "transgender phobia" and the like. Personally I have no such phobia's. But frankly, I'm sometimes beginning to feel like I'm watching CNN, MSNBC or FOX News when I listen to her. TCM is going a bit off the rails when it ventures into socio-ethical lecturing. I don't know Alicia's background, for they never talk about it. But for God's sake Alicia, please stick to film content and what goes into making a quality motion picture, especially during Hollywood's Golden Era. Please stay on the rails...and don't lecture us, okay? It isn't necessary. On the other hand, TCM struck gold when they brought Dr. Jacqueline Stewart on board. She clearly knows her stuff. In addition, she has tremendous screen presence and poise, in addition to a brilliant, educated mind. Bravo to TCM for making Dr. Stewart a part of the team! A wonderful move.

All Things Must Pass by George Harrison-Nov 1970 A great album showing George breaking free from The Beatles. I will do each Side: Side 1 It begins with "I'd Have You Anytime" cowritten by George with Bob Dylan, it is a soothing beginning, nicely setting the mood. "My Sweet Lord" is a #1 smash with great overdubbed guitars and George's voice, still a great listening experience. "Wah Wah" has a great guitar riff and a fine showcase for producer Phil Spector's Wall Of Sound. "Isn't It A Pity" is a mournful song of people break hearts, more nice orchestration, this is version one which goes on for 7:10. Side 2 This side begins with the joyous, rousing pop song "What Is Life?" which became a top 10 single. George does a beautiful version of "If Not For You", one of the best Dylan covers ever, far surpassing the original. Pete Drake (who also produced Ringo's Beaucoups Of Blues. provides great pedal steel guitar on "Behind That Locked Door". "Let It Down" has more great soaring orchestration, love the way George pronounces hair as "hur" on this. "Run Of The Mill" beautifully ends the side, great lyrics about everyone having choice. Side 3 "Beware Of Darkness' an eloquent song of being aware of dangers in life, starts this side. "Apple Scruffs" is a jaunty tribute to Beatle groupies hanging out at the Apple offices, great blasts of harmonica. "Ballad Of Sir Frankie Crisp (Let It Roll)" is a great tune made more haunting by the ghostly whispering of "Sir Frankie Crisp" throughout it. Another great Wall Of Sound is used on "Awaiting On You All", about chanting the names of the Lord. The beautiful, lush title song ends the side. Side 4 "I Dig Love" sounds like a throwaway, but it is still entertaining, sounds like Ringo on drums, he is credited with playing on the album but it does not specify which tracks. "Art Of Dying" is an interesting song about reincarnation. The second version of "Isn't It A Pity" is next, don't hear much of a difference, other than it's much shorter. "Hear Me Lord" is a nice ending to the main discs of the album. Apple Jam This is a boring disc of jam sessions recorded in between the other songs. I wish it wasn't included, it brings down the quality of the total album. Jam sessions are for the musicians, not for the listeners. If this disc was not included this would be the best album by an ex Beatle.