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I worked as a crew member in Hollywood for 42 years, at the beginning with MGM, and then through business rearrangements with the studios, Ted Turner buying MGM in 1986 being the one that effected me the most, spent my final 30 years at Warner Brothers. The actors that most quickly come to mind, as classic era actors, were three that I worked with on the tv show Dallas. Because of a personal relationship with a known member of that production, I got to be around the actors more than just on the set. First, Howard Keel, the man who basically replaced Jock Ewing. I certainly was not into musicals in those years, so I didn't know what movies he was in. I think he was a little frustrated on the show as he was kind of treated as second tier, behind the main stars of the show. This seemed to sadden him, although he was a pretty nice guy in speaking to him. Next, Barbara Bel Geddes. She was a kind woman and was very respected by the cast and liked by the crew. She was definitely the matriarch on and off camera and was a gentle woman(mainly). After Barbara left the show, she was replaced by Donna Reed. Unfortunately for her, she was not embraced by the cast too well as the new Miss Ellie and it seemed to make for a lonely experience. She was quiet and refined, but seemingly knew that she was in an awkward position in trying to replace an icon of the show as well as it's matriarch. Unfortunately, being in my 20's at the time, I didn't appreciate who those three fine actors were. One thing about all of them was professionalism. It was too bad that Mr. Keel and Miss Reed got cast to replace original iconic cast members and there was a bit of justified sadness and quiet frustration that I don't think that would have happened if they had been there from the beginning.

I could bore you all with stories from decades in the industry, but one kind of encounter now stands out to me. My boss at Warner Brothers was retiring and he was a huge fan of Charlton Heston. I had a family contact that was in the industry plus on the board of directors for the NRA. When approached, Mr Heston personally signed a photo for my retiring boss. I shortly thereafter knew this is one of the last ones he signed before he died. Because of Alzheimer's, Charlton Heston hadn't signed many personalized photos toward the end of his life and it made this particular signed photo very special.

I was only on Dallas for two seasons but both Priscilla Presley and Barbara Carrera were there during those years, 1984-1986. Barbara wasn't around the set as much as Priscilla so I really don't recall much about her personally. However, that is not the case with Priscilla. I remember my mouth dropping when I first saw her, she was stunning. I don't say that lightly as seeing actors off camera frequently kind of numbs the experience. Priscilla was different though, She had the palest skin I had ever seen and blue eyes that kind of jumped out at you. But, for the sake of this post, I will comment about her persona. She was like royalty. With having been married to Elvis, who many of us mourned as he had just died a few years ago at that point, combined with her quiet bearing, there was something regal about her. Any kind of interesting parts of her personal life did not seem to show on her. I don't think she was experienced as an actress at that point so her performances did not seem to come as easy to her as the rest of the cast. But what she had was a presence. I don't know how well that translated on camera, but off camera you could not help but feel that there was something different and maybe special about this woman.

So This Is Paris (Lubitsch, 1926) Thank you TCM for finally showing this! The plot (spouses sneaking around behind each others' backs) may owe a lot to Die Fledermaus (which Lubitsch previously adapted in 1917 as The Merry Jail). But the telling and the setting are glorious. The sequence at the Artists' Ball was a special highlight (I'm going to be very disappointed when my favorite bar reopens and everyone prefers to stand around looking at their phones rather than dancing madly). Ben Model's score was a delight--if I can't see this film at AFI Silver with an appreciative audience, this was the next best thing. It's already on HBO MAX, and will be on Watch TCM after the West Coast feed finishes--don't miss it.

The Letter (1940) Love Letters (1945) Letter from an Unknown Woman (1948)

I haven't seen Macabre in quite a while, but I remember it being kind of lame. I guess my favorites of his horror period are Mr. Sardonicus and The Tingler, but I'd like to see some of Castle's 1940s/early 50s films. Quite a diverse lot. One of his earlier films which I've never seen -- Slaves of Babylon -- features Maurice Schwartz, who founded the Yiddish theater in NYC! He plays the prophet Daniel. It also features Julie Newmar in the role of dancer-assassin.

Es ist der Schlitten

1930

A LETTER FOR EVIE The Letter that changes everything for Kris Kringle in MIRACLE ON 34TH STREET Mail call in STALAG 17 --"At ease! At ease!" Lots of letter writing and receiving in MASH, including whole episodes called "Mail Call"

Also the original, SHOP AROUND THE CORNER

I'm so glad you enjoyed the film, and thanks for your kind words about the score! The TCM blog posted a very nice article/interview about it, written by Susan King, which you can read here.

I thought of one way we can get around the deactivation of the [spoiler] function IN THE MESSAGEBOARDS, just post the divulging information IN GERMAN, then whoever is reading the post can copy it and enter it into the google translator, which will then translate into English. IE: "Das Küken im "Weinenden Spiel" ist wirklich ein Typ."

These are animated moms that are the protagonist (or co-protagonist) of their movie: Purdy in 101 DALMATIANS Wilma Flintstone & Betty Rubble in THE FLINTSTONES The Queen in BRAVE Mrs Frisby in SECRET OF NIMH Elastigirl in THE INCREDIBLES & THE INCREDIBLES 2 Duchess in THE ARISTOCATS Here are moms that die in the course of the cartoon: Little Foot's mom in LAND BEFORE TIME Anna & Elsa's mom dies in the prologue in FROZEN but has a bigger part and solos in FROZEN 2 Nemo's mom from FINDING NEMO Other animated movies where moms show up -- PRINCESS AND THE FROG THE IRON GIANT SLEEPING BEAUTY PONYO THE GOOD DINOSAUR LION KING TANGLED PETER PAN WINNIE THE POOH (Kanga) TARZAN CORALINE PRINCE OF EGYPT

Pretty much. In those days I drove Mulholland daily and there was little traffic between Laurel Canyon and the 405/Sepulveda. My buddy had a lot more experience on Mulholland west of there plus he had a fair amount of track time at Willow Springs. He had several Ducatis he raced. Eventually I got better and got a better suited bike. I know that stretch on the 10 very well too. Never did it on two wheels though. We moved from LA to Glendale Az. in 94 but would comeback a few times a month. Had a boat San Pedro and we liked Catalina.

Order Order Out of Order (2019)

IN THE GOOD OLD SUMMERTIME (1949)

Back then, people drank their troubles away. There was alcohol everywhere. Now it’s hidden, a nasty secret but still here. I congratulate you on pointing out the big difference between book and movie. Hemingway celebrated the endless drinking, made it glorious fun events. Let’s drink our troubles away with beautiful fun charming creatures who forget their problems at the bottom of a bottle. I must say you have pointed out the main problem w Hemingway to movie issue-the Hays department

Cape Fear 1962

All of Me 1984

This is probably because it was a TV movie produced by Screen Gems Television (a subsidiary of Columbia), which made a bunch of sitcoms in the 60s. Some of the sets used in the movie were (slightly) redressed sets from the Stephens' living room from Bewitched.

"Actually, shweetheart, it's pretty easy to figure out. You see Sean Regan got shot by Eddie Mars' goons . . . no, no, Eddie Mars was blackmailing Carmen but he . . . well, for sure Little Jonesy and General Sterling had an "unusual" friendship till the butler caught them at it one day and then . . . Aw, nuts, baby. Let's go in the back room and make out."

Y'know, you kinda disappointed me DARG. Given the title of this thread, you missed a perfect opportunity to quip: "Since I started watching TCM regularly, I'd have to say the movie I've seen more than any other is (wait for it!) NORTH BY NORTHWEST! Sepiatone

In NYC, we had Shock Theater (with Zacherley), and, a few years later, Chiller Theater. https://en.wikipedia.org/wiki/Shock_Theater https://en.wikipedia.org/wiki/Chiller_Theatre_(1961_TV_series)

Think Tabonga got wood?

I met Carol Lawrence a few years ago. She was lovely, and fun, and amazing at 84!

My cable company's online description of From Hell It Came: "Wooden acting marks this lumbering tale about a monster tree stump whose bite is worse than its bark."

I watched the interviews and I loved seeing the cast members together again. I also agreed with Rita's comments about the casting and the use of brown-face, I can see how she'd find that disappointing. I did think it was a little awkward with George Chakiris being right there; however, I have read Rita's comments on her disappointment with some of the aspects of West Side Story previously, so perhaps this is old hat to George. I don't think Rita blamed George. After all, he was cast just like Natalie Wood was. I actually prefer Natalie in her other films over this one. There is just something about her in this film where I feel like she's out of place and I do not like Marni Nixon's dubbing. That is really out of place, imo. I cannot help but think of Potsie from "Happy Days" every time Richard Beymer was on screen. I like West Side Story, but there's just something about it that keeps it from ranking in my top 5 of musicals. It might be in my Top 10, maybe a #8 or #9; but I have other musicals that I love much more. I've seen this film about half a dozen times, I've even seen it in the theater, and I plan on making my husband watch it again with me in the theater at the end of the year. After watching it again yesterday, I realized that I really don't care about Tony and Maria's story. Their story is meh. I want more of the Bernardo/Anita story with special appearance by Riff! For me, I watch West Side Story for the fantastic dancing, music and sets.

How Natalie Schafer looked at the age when Marilyn passed away

THE FACE BEHIND THE MASK (1941) Car bomb. Next: George Montgomery

Tuesday May 11, 2021 Tab on TCM the sea chase the burning hills the girl he left behind lafayette escadrille the golden arrow tab hunter confidential

The Arrival (2016) Linguist Amy Adams translates the alien's message

ps- thank you, I never knew the Spanish word for EEL.

Whatever.

1991 and I’ve also seen … I Can No Longer Hear the Guitar (1991) Philippe Garrel, France This is a case where I found everything that was written about the film quite interesting but then subsequently not the film itself. Perhaps it was because I wasn’t drawn to a single character. Night and Day (1991) Chantal Akerman, France Akerman fans may like this but I don’t count myself in their number. This is an odd love triangle story. I stayed through to the end as I was curious to see how it would turn out but I can’t say the wait was worth it.

I am very sorry but I do not consider that to be a 'shot across the bow'. It is more of a pop-gun salute.

LOL Well YEAH! And especially if ya like burlesque. And speaking of which, here's Princess Itmay herself! The very star of this film, burlesque queen Inez Claire... Burlesque dancer: Inez Claire - a Limber dancer - YouTube (...btw Sans, I was sure you were pullin' my leg about this film and makin' this all up UNTIL I researched this whole thing)

I can not speak to the creative instincts of producer/director W. Merle Connell. I do note that the nature of his other movies and their ratings on IMDb.com does not inspire confidence in his intellectual wiles. There is a notable exception. Tomb Itmay Concern (1950) has a slightly imaginative title. The movie has been given the synopsis: "An archaeologist and his assistant discover two female mummies in an Egyptian tomb with a warning in hieroglyphics not to wet them with the water in an urn. When they do, one mummy gets up to hi-jinks, while the other, Princess Itmay, does a burlesque dance." I may be optimistic but I have to believe that watching it might well be eleven minutes well spent.

Mercedes McCambridge

Alan Thicke Next: another TV dad

Maggie Next: River, Summer and Joaquin

Brothers and Sisters next: Troy Donohue, Van Williams and Diane McBain

ALL THE BROTHERS WERE VALIANT (1953) Next: Kay Francis, Miriam Hopkins and Herbert Marshall

QUEEN BEE (1955)

AND THEN THERE WERE NONE (1945)

Let us not forget Mary Miles Minter! Lola Lane Jack Jones Rachel Roberts Ruth Roman Bibi Besch Barbara Barrie Vivian Vance

There Is Only One Roy Orbison -Aug 1965 A great album, Roy's first for a new label MGM. He had most of his classic hits on the Monument label. "Ride Away" is a great opener, it reached only #25 as a single but it is just as good as his bigger hits. It has many changes and moods to it, with some fine orchestration and his usual peerless vocals. "You Fool You" is a nice 1950s style ballad. "I'm In A Blue Blue Mood" is the shortest (1:50) but one of the best on the album, it has similar structure to his hit "Running Scared" and he hits an incredible note in full voice. "If You Can't Say Something Nice" is good tale of comforting a woman who just lost her love. Side 2 opens with "Claudette" which Orbison had written but gave it away to the Everly Brothers back in the 50s. Roy's version is even better than theirs, a great rocking feel to it. "Afraid To Sleep" is a great dreamy ballad about not wanting to sleep for fear of dreaming of his lost love. "Summer Love" is nice relaxing tune taking us through the seasons. "Big As I Can Dream" is a very good dramatic ballad, sounds like it could have come from a Broadway show. The record closes with another gentle, wistful song "Wondering".

1990 A Tale of Springtime (1990) Eric Rohmer Another tale of two strangers who suddenly become girlfriends. And boy do these girls like to talk! Not as good as Boyfriends and Girlfriends (1987) but better than Four Adventures of Reinette and Mirabelle (1987).

Essential: THE STEPFORD WIVES (1975) TopBilled: I’ve gotten into the habit of looking up Roger Ebert’s old reviews, then seeing what Pauline Kael has written. I do this before I sit down to watch something and attempt to review it myself. Maybe because I see these two critics as guides, and because I am curious if I will arrive at the same conclusions they did. Ebert’s review on the 1975 original has an interesting section where he says Bryan Forbes directs the story in too gloomy a fashion. He feels that it would have had more bite as social satire in the hands of someone like Woody Allen. Perhaps. But does that mean Diane Keaton would have played Katharine Ross’ part? I think Ebert was impressed with the original concept, developed by writer Ira Levin. But Ebert was not enamored with Forbes’ interpretation. The dust jacket for the book, which was published in 1972, does play up the story’s menace and horror; and it predicts the term Stepford Wife “may well become part of our vocabulary.” That seems like an ominous warning. Despite its intriguing main ideas, Ebert doesn’t think Forbes’ film really gels or works as a piece of thoughtful entertainment. Maybe he’s right. On the other hand, his review of Frank Oz’s 2004 remake indicates he’s much happier with that version, since the remake downplays some of the macabre elements and presents a dark comedic angle. I guess Ebert feels this material works best as camp. Not as a dramatic, somber meditation on the role of women in suburbia. Meanwhile Kael has a unique view of the 1975 original. She labels it “women’s lib gothic.” She views the horror in the story as a basic catalyst for women if it helps to reflect the grotesque reality of their lives. But for some reason, Kael can’t fully embrace the film. Is it a bit too self-conscious a tale for an educated woman to watch? Ultimately Kael seems as disappointed as Ebert in Forbes’ version, though not for the same reasons. She feels Stepford and its wives are too tasteful, too tame. I’m not sure…did she want them to be wilder, more radical? A bit less dolled up? Kael notes that the main characters are presented as ‘deadheads’ in a zombified suburbia. She goes on to say these strange goddesses are waxed and antiseptic. Wonder what she thought about Mary Hartman dealing with waxy yellow build-up on Norman Lear’s classic sitcom which premiered a year later… Finally, Kael believes Forbes and screenwriter William Goldman have presented a thesis that is too literal. And my guess is she’d probably agree with Ebert that Woody Allen might have given it a cheeky treatment and that would have been better. Speaking of cheeky tales…writer/creator Marc Cherry was once asked how he came up with the title for his long-running TV hit Desperate Housewives. He said it came from a statement his mother had made. She mentioned a less-informed, less-empowered time as a wife and mother. She suggested that she and the other wives in their neighborhood didn’t always survive. They were desperate for a chance to live freely, desperate to be defined by something other than what their husbands told them to do or be, and desperate not to be trapped in a world of mass consumerism or class-conscious rubbish. The first episode of Desperate Housewives depicts the suicide of one such suburban woman (played by Brenda Strong) who goes on to narrate the rest of the series as a dead woman. In death she has an omniscient view of the robotic life her female counterparts endure in their affluent community. She is able to find the twisted humor in what is otherwise a most untenable situation.

Huge crowds (the twitterati) take to the internet. Nobody said anything about being moderate about racism, sexism and biogtry. (There is a weird trend on these boards lately to misconstrue posts instead of asking clarifying questions.) But I think the Reframed series could have been more moderately balanced in terms of representing different political points of view and looking at things more objectively. Specifically, why the films contain questionable material by today's standards and looking at the history of woke-ism. A discussion on the history of woke-ism is where I think a conservative panelist would have brought a unique perspective to the proceedings. TCM was too busy playing organ grinder and monkey, pushing its own ultra-liberal agenda.

I'd have to go with *The Life and Death of Colonel Blimp*, because it encompasses a pretty huge time span and does so with sincerity and great wit.