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The Steel Trap (1952) DVD 7/10 An assistant bank manager (Joseph Cotten) steals $1 million dollars from the vault and plans to flee the country. This film reunites Cotten with Teresa Wright, his co star in Hitchcock's Shadow Of A Doubt (1943). In the earlier film they were uncle and niece and here they are husband and wife. Wright is a blonde in this one, the only time I saw her that way. The Hitchcock film is one of my top ten favorites so I enjoyed the novelty of seeing them together again. As for this film, it is a pretty good heist/noir. There is narration by Cotten to help the story along. There are some tense scenes of narrow escapes he must go through to get the money out of the bank and make his plane to flee to Brazil with his unsuspecting wife. The real locations help too, the bank scenes are from an actual Los Angeles bank. There are also some location work in New Orleans, which is where he has to make a connecting flight to Brazil.

Anna May Wong looking lovely in some stylish hats:

Marlon Brando, Kim Hunter and Karl Malden in A Streetcar Named Desire Stubby Kaye and Vivian Blaine in Guys and Dolls Joel Grey in Cabaret

Well, isn't all those Madea movies that Tyler Perry makes just a "Big Daddy in drag" kind'a thing already???

But what you wrote there is wrong from the get go. "The myth has always been that French critics in 1946 coined the term “film noir” to describe what the critics noted as changes in Hollywood crime films when they finally saw the films that weren’t available during the Nazi occupation. This story clearly isn’t true and Charles O’Brien who researched the use of “film noir” before the war in Film Noir In France: Before The Liberation documents how that term was used in the newspapers and magazines of Paris during the 1930s. Nino Frank and Jean Pierre Chartier (the other French critic) used “film noir” as a reference and not as a coinage. In August 1946, L'Écran français published Nino Frank’s article A New Kind of Police Drama: the Criminal Adventure. He begins by citing “seven new American films that are particularly masterful: ‘Citizen Kane,’ ‘The Little Foxes,’ ‘How Green Was My Valley,’ plus, ‘Double Indemnity,’ ‘Laura,’ and, to a certain extent, ‘The Maltese Falcon’ and ‘Murder My Sweet.’” He then focuses only on the crime films. Jean-Pierre Chartier – the other French critic who used the term “film noir” – wrote Americans Also Make Noir Films for La Révue du Cinéma in November of 1946. In that article he discusses three films: “Murder My Sweet,” “Double Indemnity” and “The Lost Weekend.” (William Ahern)

Robin and the 7 Hoods (1964)

Who needs a hat when your hairdresser is insane?

I think Roz here would've made a great Marian the librarian if it weren't for two things. One being she would've been too old for the part by the time Meredith Willson wrote his musical. (...and the other being she just couldn't sing, and evidenced by her work in Gypsy)

Arsenic and Old Lace: Jean Adair, Josephine Hull, John Alexander Barefoot in the Park: Robert Redford, Mildred Natwick

Quigley Down Under (1990)

Walter Matthau Odd Couple Henry Fonda Mister Roberts

Moore, Clayton

Elizabeth Wilson Reta Shaw Picnic Judy Holliday Born Yesterday Bells Are Ringing

Mason would have gotten Roz off. (but I agree with your overall point).

Evans, Evan, played by Hal Holbrook on Evening Shade

There is no way in the world that they could have shot Steinbeck's ending to The Grapes of Wrath in 1940. I doubt that they would even want to do it today.

Legendary burlesque performer Tempest Storm dies age 93: 'Queen of Erotic Dancers' dated Elvis Presley, had her 44DD breasts insured for $1MILLION and put on shows until she was in her 80s Tempest Storm, the burlesque dancer credited with bringing 'the art of striptease to the masses', has died at the age of 93. The flame-haired bombshell, who had her 44DD breasts insured for $1 million, passed away at home in Las Vegas Tuesday afternoon following a short illness. Storm had a successful stage career spanning more than six decades, and was still headlining shows in Sin City into her 80s.

Why bother putting a bird on a hat when you can simply use a cat? Cats as hats can carry attitude! Cats will chose which 'face' they show the world! Forget subtle body language! Your cat-hat can express your true level of interest. Fun for all ages! No species bias here!

Dick Van Dyke and Paul Lynde in Bye Bye Birdie Robert Morse and Rudy Vallee in How to Succeed in Business Without Really Trying Barbra Streisand and Kay Medford in Funny Girl Ray Walston and Gwen Verdon in Damn Yankees the original B-way cast (Sidney Poitier, Ruby Dee, Claudia McNeil, Diana Sands, Ivan Dixon, Louis Gossett, Jr. and John Fiedler) were in the film version of A Raisin in the Sun

Ensemble/quasi-comedy Noirs, a small sub genre of Noir do exist. The Grand Central Murder (1942) Deadline at Dawn (1946), Manhandled (1949) His Kind of Woman (1951), Shack Out On 101 (1955), and even Lady In The Lake (1946), has some of this quality, there are probably a few others lurking in the Classic Noirs. Neo Noir contenders are Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964), The Late Show (1977) After Hours (1985), Down By Law (1986), Delicatessen (1991) and The Big Lebowski (1998).

from that year 1930... The Flirting Widow

I don't know for sure, but IMDb says it was filmed at Selznick International Studios in Culver City, which makes sense, since it was a Selznick production. That particular studio lot has had a lot of names over the years: Ince Studio De Mille Studios Pathe Studios RKO-Pathe Studios Selznick International Studios (leased from RKO) Desilu-Culver Studios Culver City Studios Laird International Studios Culver Studios It's currently undergoing an extensive renovation to become the LA site for Amazon's entertainment operations (including IMDb).

1930 - All Quiet on The Western Front 1931 - City Lights 1932 - Trouble In Paradise 1933 - Gold Diggers of 1933 1934 - It Happened One Night 1935 - A Night at the Opera 1936 - Dodsworth 1937 - Make Way for Tomorrow 1938 - Adventures of Robin Hood 1939 - Gone With the Wind Notes - It looks like we are all jettisoning the weird half year Oscar rules that were in place until 1934. Silent films were ineligible for the Academy Award for Best Picture in 1931, but City Lights was the best picture anyways.

1. All Quiet on the Western Front (1930) 2. City Lights (1931) 3. Scarface (1932) 4. King Kong (1933) 5. Twentieth Century (1934) 6. A Night at the Opera (1935) 7. Modern Times (1936) 8. Grand Illusion (1937) 9. The Adventures of Robin Hood (1938) 10. The Wizard of Oz (1939)

DADDY LONG LEGS

Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean

Dalzell, Dal--William Powell in Star of Midnight

https://www.hollywoodreporter.com/news/monte-hellman-dead-two-lane-blacktop-director-was-91-1051232 Two-Lane Blacktop and the The Shooting are both favorites of mine from his work.

** Please note that it may have been quite a while since I saw a given 1930s picture on TCM, so I'm going from memory on a lot of these, and these days my memory ain't so great !!☺️ 1931 - All Quiet on the Western Front (just completed a biography of Lewis Milestone, so this was already on my radar !) 1932 - The Sign of the Cross (in line with Nolte's pick) 1933 - King Kong - again, one of Nolte's possible winners 1934 - It Happened One Night (no brainer there !) 1935- Mutiny on the Bounty (I grew up with the 1962 version, but Osborne preferred this one, and it does have its merits) 1936- The Informer (Victor McLaglen won for best actor, and I like the story) 1937- The Good Earth (saw the late Luise Rainer at the TCM festival and really liked the film) 1938 - Adventures of Robin Hood (my favorite Errol Flynn movie) 1939- Gone With the Wind (probably the original "block buster" ) Thanks for asking !

Law and Order tv series The Sopranos tv series

Wagner, Robert

I try to avoid the binary classification of if a film is "noir" or not, but instead look at this question in the terms of degrees: what elements in the film say noir to me and, if I was writing a book called Film Noir (where one is limited to how many films one can discuss), does the film have enough of these elements where I would included it in the book. The most basic elements are themes and visuals. Of course each of these elements have sub-elements and so on. As for Born Yesterday: I find there are some noir related themes in the film; political corruption, crime, threats of violence (if not murder), a decent individual who, due to self interest, finds themselves trapped with said criminals and crimes, etc... But since these are done mostly for laughs the use of said themes doesn't make the film "noir" for me. As for the visual; I don't see any noir type visuals in the film; e.g. the use of shadows to create a dark atmosphere. If one is looking for a noir type comedy (or a comedy with noir elements), I recommend Unfaithfully Yours (1948).

Not knowing what class you taught, I wonder if showing your students the ending of The Grapes of Wrath and having them read and compare it to the conclusion of the book would have generated some interesting discussions or been a good topic for a paper. Did any of your students object to not being able to watch the ending?

The 1966 take on what mid to late 30s hats looked like: some look more authentic than others (to me.)

Bogart and Lorre and their love of smoking became an issue with Jack Warner while John Huston was directing his first film, The Maltese Falcon. There is an inordinate amount of smoking done by the main actors in this film. According to then-studio employee (and future screenwriter) Stuart Jerome, this resulted in a feud between studio head Jack L. Warner and stars Humphrey Bogart and Peter Lorre. Warner hated to see actors smoking on the screen, fearing it would prompt smokers in the movie audience to step out into the lobby for a cigarette. During filming he told director John Huston that smoking should be kept to a minimum. Bogart and Lorre thought it would be fun to annoy Warner by smoking as often as possible, and got their co-stars, Mary Astor and Sydney Greenstreet, to go along with the joke. During the initial filming of the climactic confrontation, all four actors smoked heavily. After seeing the rushes, Warner furiously called Huston to his office and threatened to fire him from the picture if he didn't tell Bogart and Lorre to knock it off. Realizing their prank had backfired, Bogart and Lorre agreed to stop smoking on camera. However, when the next series of rushes came back, it was obvious that the "lack" of smoking by the actors was taking away from the sinister mood of the scene. Huston went back to Warner and convinced him that the smoking added the right amount of atmospheric tension to the story, arguing that the characters would indeed smoke cigarettes while waiting nervously for the Maltese Falcon to arrive.

Venable, Violet -- Katherine Hepburn in Suddenly Last Summer

The Stalking Moon 1968

THE GRAPES OF WRATH (1940) Next: Kirk Douglas, Cornel Wilde and Linda Darnell

Broken Blossoms (1919) next : lots and lots and lots of coffee is drunk i feel like a copycat just now

And TopBilled and I are both hoping for Rick Moranis sometime too. Aren’t we TopBilled?

WHAT LIES BENEATH (2000) He drowns Next: Mandy Patinkin

The Edge of Night

From April 21-23, 1921, the feature at the Poli was Hush, starring Clara Kimball Young as Vera Stanford and J. Frank Glendon as Jack Stanford. The film’s release date is uncertain, but it was six reels, and is presumed lost. Plot: Vera and Jack Stanford have been married a short time. Vera’s conscience begins to bother her and she considers telling her husband of an affair she had in her younger years with Herbert Brooks. Vera’s friend, Isabel Dane, cautions against it, but Vera goes through with the confession, but does not name the man. Jack mistakenly believes the man in question is his friend Hugh Graham. Vera leaves Jack, and goes to live with Isabel. Jack believes she has gone to Graham. Eventually, Isabel clears up the misunderstanding, and Vera and Jack are reunited. The stills below could not be placed in context. The first shows Clara Kimball Young: The second shows Kathlyn Williams (as Isabel Dane), Young, J. Frank Glendon, and Jack Pratt (as Hugh Graham): Wid’s Daily was not impressed, writing “Clara Kimball Young’s latest production to reach Broadway contains a direct warning and then gives a six-reel reason why wives should not tell their husbands too much that isn’t good for them to know. Other than the message it carries, “Hush” doesn’t fulfill any further mission. It is too unconvincing and actually lacks the strength of its own convictions. The basis of the plot is meagre and certainly not substantial enough for the amount of footage accorded it.” Motion Picture News was lukewarm, noting “it being so familiar, the contents of the offering are easily anticipated. One knows in advance just how the sequences will develop. There are no surprises in the situations and climaxes. And for that reason “Hush” doesn’t always hold the interest.” Photoplay added “seldom have we seen a heroine so intent upon telling her husband an episode of her past that she knew would result in their estrangement, as the lady who is the mainspring of the action in “Hush.” She simply refuses to listen to reason. Possibly because she knew if she did there would have been no picture.” A few years before her death in 1960, Clara Kimball Young was living alone in a Hollywood apartment. She had kept no mementos from her 50 years in show business. “I threw out all those scrapbooks and photos,” she said, in a 1955 interview. “If I weren’t with you now I wouldn’t be talking about the past. I’m living today. I’m in the rocket ship era. To hell with the past.”

Thats Interesting,. - --- -- Before i scrolled down and read Your Post.. i .. ..rather Immediately Thought of Dead Men Dont Wear Plaid. (along with Murder By Death and the Cheap Detective .. _ I Wonder Though.. Within the.. ...Context,. And (script) "Boundaries" of Plaid Men.. Do .. You Think maybe Bogey and the ((VERY)) Generically Speaking) Rest of the "Gang" .. ... are .. ... More or Less Integral for the..Progression,. Continuation... .....maybe even (the) "Success" of the Story Itself ? .. .. ... *in effect,. Taking On "First Chair" role as opposed to.. ... an "Apprentice", - or teachers assistant .. ... of sorts ... (?) And Please Let me Know if i unfairly and /or incorrectly twist (and ,or) "slant" Your Initial Response .. 🙏

Carlsen, Ed -- Alan Hale in They Drive By Night

1940: The Grapes of Wrath 1941: Sergeant York 1942: Gentleman Jim 1943: Casablanca 1944: Laura 1945: The Lost Weekend 1946: The Best Years of Our Lives 1947: Nightmare Alley 1948: The Treasure of the Sierra Madre 1949: The Third Man

AFAIK, no, Van Dyke was never in a filmed/taped production of it. He was, however, in the 1980 Broadway revival of The Music Man. It also featured a very young Christian Slater as Winthrop. This was a show that toured the country for 8 months prior to its arrival in New York. It had a very short Broadway run of 8 previews and 21 performances, and the show only got middling reviews. https://www.ibdb.com/broadway-production/the-music-man-13314 Here's a bootleg clip from a performance of "Marian the Librarian", and you can see it's kind of flat...