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https://www.hollywoodreporter.com/movies/movie-news/norman-lloyd-dead-106-1234951530/ Norman Lloyd, Star of ‘Saboteur’ and ‘St. Elsewhere,’ Dies at 106 The actor, also an esteemed producer and director, worked with Orson Welles, Charlie Chaplin and Jean Renoir and had a long collaboration with Alfred Hitchcock during an amazing career in show business. Norman Lloyd, the actor, producer and director whose collaborations with Orson Welles, Alfred Hitchcock, Charlie Chaplin, Bertolt Brecht and Jean Renoir made him a legend — albeit an off-the-radar one — in Hollywood, died Tuesday morning. He was 106. Lloyd died in his home in Los Angeles, his son, Michael, told The Hollywood Reporter. Lloyd portrayed the villain who plummets from the Statue of Liberty at the climax of Hitchcock’s Saboteur (1942) and appeared as the crusty Dr. Daniel Auschlander on NBC’s acclaimed 1980s hospital drama St. Elsewhere. His first love was the theater, and he was asked by Welles and John Houseman to join their legendary Mercury Theatre in the mid-1930s. He played Cinna the Poet in Welles’ anti-fascist adaptation of Julius Caesar, the 1937 Broadway production that landed Welles, then 22, on the cover of Time magazine. On film, Lloyd was another villain in The Southerner (1945), which was co-written by William Faulkner and directed by the French auteur Renoir; played a choreographer in Limelight (1952), written, directed and starring his frequent real-life Beverly Hills tennis opponent, Chaplin; and portrayed the headmaster in Dead Poets Society (1989), directed by Peter Weir. His work as the bad guy Fry in Saboteur(1942) launched a relationship with Hitchcock that would span nearly four decades and include a role in Spellbound(1945) and work as a producer and director on the classic TV series Alfred Hitchcock Presents and its follow-up, The Alfred Hitchcock Hour. On Hitchcock Presents, Lloyd directed a 1960 installment, “The Man From the South,” an adaptation of a Roald Dahl short story in which a young gambler (Steve McQueen) makes a bet that his cigarette lighter can work 10 straight times. If it does, he wins a car from Peter Lorre’s character; if it doesn’t, Lorre will chop off McQueen’s finger with a hatchet. Yet throughout these and other brushes with greatness, Lloyd remained fairly anonymous, more happenstance than household name; a 2007 documentary on his life was aptly titled Who Is Norman Lloyd? He was born Nov. 8, 1914, in Jersey City, New Jersey, and raised in Brooklyn. His parents paid for his singing and dancing lessons and took him to an elocution teacher to help get rid of his accent. Lloyd’s first big break came in 1932 when, while attending New York University, he was picked to be an apprentice at the Civic Repertory Theatre run by Eva Le Gallienne, one of the grand figures of the American stage. In an effort to get the gig, he knocked unannounced on the Broadway theater stage door of British actor Nigel Bruce (Dr. Watson of the Sherlock Holmes films) and elicited his advice. Later, Lloyd joined May Sarton’sApprentice Theatre in Dublin, New Hampshire, where he received no pay but room and board, then did plays for the Living Newspaper unit of the Federal Theatre Project of the Works Progress Administration. When Welles and Houseman left the Federal Theatre to form the Mercury, they asked him to come along. In addition to Julius Caesar, Lloyd appeared in their production of The Shoemaker’s Holiday. In 1940, the peripatetic Lloyd followed Welles out to Los Angeles to act in what would have been the wunderkind’s first film — a reimagining of Joseph Conrad’s Heart of Darkness — but budgetary worries prompted RKO to pull the plug before filming began. Lloyd returned to New York and passed on participating in Welles’ next project, Citizen Kane. “I have always regretted it,” Lloyd told then-THR reviewer Todd McCarthy of his decision to abandon Welles. After performing in Saboteur and Spellbound, he appeared in Lewis Milestone’s A Walk in the Sun (1945) and took a job with the director’s production company. In 1947, Lloyd and Houseman produced the U.S. premiere of Galileo, written by Brecht, then Germany’s top playwright, and directed by Joseph Losey. The production, staged at the Coronet in Los Angeles, starred Charles Laughton. In the early days of television, Lloyd helmed James Agee’s five-part Mr. Lincolnfor Alistair Cooke‘s Omnibus, the first commercial network series devoted to the arts. Stanley Kubrick, then a 24-year-old second-unit director, assisted Lloyd on the 1952-53 project. Lloyd’s career took a downturn when he was suspected of having communist ties (Milestone and Losey were blacklisted) and unable to get work in Hollywood. So he returned to Broadway to direct the 1954 musical comedy The Golden Apple, starring Kaye Ballard. For his anthology series Alfred Hitchcock Presents, the influential Hitchcock insisted that Lloyd be hired to co-produce the half-hour show, which ran from 1955-62. Later, Lloyd would choose the stories, writers and directors for the 1963-65 Alfred Hitchcock Hour. Lloyd worked for the last time with Hitchcock on Short Night, a thriller that the filmmaker was planning to make in the late 1970s but couldn’t because of health problems. The British icon died in April 1980. Also in the ’70s, Lloyd produced and directed several stage adaptations for PBS’ Hollywood Television Theater, including Steambath, about the afterlife, for which he earned an Emmy nomination. When Renoir was too ill to stage his work Carolafor the series, he entrusted Lloyd to handle it. Lloyd also produced for such other anthology series as Journey to the Unknown for British TV, The Name of the Game and Tales of the Unexpected. On St. Elsewhere — the popular NBC/MTMEnterprises drama that aired for six seasons from October 1982 to May 1988 — Lloyd played Auschlander, the chief of services at the fictional Boston-based teaching hospital St. Eligius. His character battled liver cancer throughout the series before succumbing to a stroke in the show’s fantasy finale, one of the most-talked-about series endings in TV history. Lloyd also could be seen in the films The Green Years (1946), Anthony Mann’s The Black Book (1949), Losey’s remake of M (1951), Robert Wise’s Audrey Rose (1977), Martin Scorsese’s The Age of Innocence(1993), The Adventures of Rocky & Bullwinkle (2000) and In Her Shoes (2005); in the 2000 made-for-TV movie Fail Safe; in recurring roles on the series Wiseguy, The Practice and Seven Days; and in guest spots on Kojak, Murder, She Wrote, Star Trek: The Next Generation and Modern Family. In the 2015 Amy Schumer film Trainwreck, he played a friend of her father’s in an old-age home. Lloyd’s memoir, Stages of Life in Theater, Film and Television, was published in 1993. In recent years, the raconteur delighted audiences at Cannes, the TCM Classic Film Festival and elsewhere with his showbiztales. In 1935, Lloyd married Broadway singer and dancer Peggy Craven; the year before, she had appeared in a production of Romeo and Juliet, starring Basil Rathbone, Katherine Cornell and Welles. She died in 2011.

Loved-loved-loved him on St. Elsewhere. (And WiseGuy too.) Goodnight Dr. Auschlander.

Sigh. Very sad news, but given his advanced age, rather expected. 106 years old is an incredible feat, especially for a man. he was fantastic on St. Elsewhere.

His televised interview with Ben during a TCM film festival just a few years back and when he was I think 102, was by far one of, if not, the most entertaining interview done with an old Hollywood pro that I recall ever watching. While watching it, I found he had the energy and the spirit and the ability to recall moments in time from the distant past that many men half his age don't have. (...R.I.P., Norman Lloyd...what a life you lived)

Yes, the musical is fairly obscure, having only one full production, AFAIK, at Fort Worth's Casa Mañana, starring Hal Linden and Dee ****. It was workshopped in NYC later. Stephen Cole wrote the book and lyrics, and is responsible for another classic film adaptation into a musical: The Night of the Hunter. Alfred Uhry (Driving Miss Daisy, etc) penned an updated screenplay of Dodsworth for WB back in the 1990s, and it was to have starred Harrison Ford. Warners picked it up after Gregory Peck gave up on the project and sold the rights. It appears that the effort is dormant. https://variety.com/1995/voices/columns/linden-returns-to-tuners-with-dodsworth-1117862796/ Playbill also had an article back in 2010 that Uhry was updating the play, with a reading by Lincoln Center Theater.

Arlene and Norman were both on the TCM cruise in 2013, as was I. He was also in the John Garfield noir, He Ran All The Way, which was shown at the TCM festival.

Saw him on the TCM cruise in 2013 and again at the festival. Hollywood institution, who will be sorely missed for his charm and deep knowledge of the history of the industry. TCM showed Saboteur on the cruise. Norman's big splash with Hitchcock !!!

Knute Rockne All American Next: Humphrey Bogart, Rex Ingram & Dan Duryea

Here is the interview with Ben: https://www.tcm.com/video/1567893/norman-lloyd-live-from-the-tcm-classic-film-festival-2016-open-professional/

I gave up on caring about the plot of The Big Sleep years ago. The story is the least of that film's virtues, as far as I'm concerned. In fact I find a explanation of the story and who killed who a pretty dry, boring topic. As long it has that cast with their delivery of occasionally sparkling dialogue, its sudden bursts of stylish violence, the sexy chemistry of Marlowe's various encounters with members of the opposite sex (including a cab driver and a bookstore clerk with things on her mind other than selling books) and Max Steiner's alternately exciting and romantic musical score I'm happy with this film. That cold blooded moment in which gunman Canino offers a drink to Jonesy ("What do you think it is? Poison?") stays with you. Far and away my favourite film of Bogie and Baby

I guess with the death of DVD's, we'll never get a CRITERION COLLECTION SPECIAL EDITION OF GREASE 2, featuring special audio commentary by WERNER HERZOG: "and we see in this scene an image of true female defiance: straddling dangerously atop a ladder to declare: my vagina is sacred, and you must climb a great height in order to reach it...You, The Cool Rider.”

It's just as powerful as I remembered. And depressing.

I went on a first date back in '77 to see this film. My date just wanted to see it. I had no idea what it was going to be about. She did. Later, I was troubled by her fascination with it. The relationship was....aaaahhhh....different.

Tell Me That You Love Me Junie Moon (1970) TCM -6/10 A woman with a scarred face (Liza Minnelli), an epileptic (Ken Howard) and a gay paraplegic (Robert Moore) decide to move in together after meeting in the hospital. Otto Preminger directed this interesting though uneven film, he seems to want to take advantage of the new permissiveness in films. It's a bit too long (112 min) and wavers between campy comedy and disturbing drama. The three leads help keep it afloat. Ann Revere returns to the screen here, playing a hospital social worker. Kay Thompson makes her last film appearance as a flighty landlord. Former football star Fred Williamson plays a muscular beach boy, he would later become a star in black action movies of the 1970s. James Coco has a good role as the owner of a local fish market who befriends the trio. I also liked the song "Old Devil Time" sung by folk singer Pete Seeger, who performs it on screen at the beginning.

My favorite Dreyfuss movie is, "Once Around." In that one he takes a character most people would hate, a pushy salesman who always has to be the center of attention, and makes him vulnerable and loveable. He's just brilliant in that, as are Holly Hunter and Danny Aiello.

From May 12-14, 1921, the Poli ran Gilded Lies, starring Eugene O’Brien as Keene McComb and Martha Mansfield as Helen Thorpe. (IMDB lists Mansfield’s character as Hester Thorpe, but all the reviews I found give the name as Helen.) The film was released on March 20, 1921, at five reels. The Library of Congress has a complete copy. Plot: Keene McComb, an explorer, is engaged to Helen Thorpe. Martin Ward and Helen’s aunt convince the girl that McComb has perished during an expedition. As a result, Helen marries Ward. McComb returns, and leases an estate in Florida. He then learns that Helen and Ward are his neighbors. McComb realizes that Helen is unhappy in her marriage. Ward schemes to bilk McComb in a phony financial deal. When Helen refuses to go along with the scheme, Ward beats her and she runs to McComb. McComb thrashes Ward in retaliation. Later, a note is found on Ward’s private dock, along with his coat, indicating he has committed suicide. Helen and McComb get married. But when they spend their honeymoon at a mountain lodge, Ward appears and fights with McComb. Ward falls from a cliff and is killed. While pointing out the film’s familiar plot, Wid’s Daily did have some kind words, noting “there are many very pretty shots, particularly those in the South and in the mountain lodge. The production generally is quite satisfactory, and the camera work and photography good.” The magazine added that Martha Mansfield was “very pretty and wears gowns well, but seems lacking when the moment requires real emotional acting. When she learns her former fiancé is alive, right after her marriage, she certainly doesn’t act as though she felt as badly as the titles try to make out.” Motion Picture News panned the film, writing “they’ll have to come much better than this for Eugene O’Brien, for the present feature gives the star no opportunity at all to display any of his talents with the possible exception of sitting or standing in dejected attitude.” C. B. Clark, Manager of the Iris Theatre in Pacific Grove, California, wrote “Martha Mansfield’s acting very amateurish. She photographs well and that’s all. Wonder if O’Brien can find another expression besides crooking his mouth.”

Norman Lloyd on Monday, and in 1942's "Saboteur"

Norman Lloyd, Star of ‘Saboteur’ and ‘St. Elsewhere,’ Dies at 106 The actor, also an esteemed producer and director, worked with Orson Welles, Charlie Chaplin and Jean Renoir and had a long collaboration with Alfred Hitchcock during an amazing career in show business.

Pauline Kael: "Its not Simon's one liners that get you down in The Goodbye Girl. It's his two liners."

An adult and three kids-- Angela Lansbury got stuck with 3 orphans in BEDKNOBS AND BROOMSTICKS Scrooge McDuck had his 3 nephews living with him in DUCKTALES Dave Seville had to deal with 3 chipmunks -- Alvin, Simon, Theodore

Beautiful Pic .

2016...10 CLOVERFIELD LANE Next: Meg Ryan has a pleasurable lunch with Billy Crystal.

The Perfect Furlough

The Gay Deception (1935)

Having seen and loved Nebraska (2013) during TCM's 31 Days of Oscar, I checked out The Descendants (2011), which was comparatively a disappointment, though well enough made. In Nebraska Alexander Payne gets the tone exactly right; in The Descendants he doesn't, and for this kind of movie that's a problem. You'd think a movie about Hawaii would be more interesting than a movie about Nebraska, but it isn't. The movie begins with George Clooney in voiceover talking about the Hawaii tourists don't see. If only we got to see more of that Hawaii. If only the movie were really about the descendants--the descendants of a large amount of land held in trust--some having become rich from their money from the trust, some having squandered what they received, some having a connection to their native ancestors and some not. Surely there could be a great movie in that subject. Instead, the subplot is about whether the land should be sold to Big Evil Corporate Real Estate Developers or kept virgin and pure so that maybe Clooney can figure something out before the trust terminates in seven years. As for the main plot--Clooney's wife is in a coma following a boating accident, do we pull the plug, etc.--the various reactions of people to this situation are honestly enough done, probably at too much length. Clooney is a good-looking guy and not a bad actor. He does a decent job of playing what's on the page, but he suggests little of the past or the inner life of his character. Other people tell him about his shortcomings as a man, as a husband, and as a father, but we don't see much of this reflected in his own performance. He has a teenage daughter and a ten-year-old who seem less like real people than like ideas about children acting out in times of emotional stress. Some, like me, will dislike the fact that the children use so much profanity. It seems like a crutch for the screenwriters, an easy way out. A major problem is that for the first hour not one of the characters is particularly likable. The father, the oldest daughter, and her boyfriend grow more likable in the second half, but this may be too late.

A wonderful man. An amazing life. Sympathies to Ben and all who knew him well.

He came on one of the TCM Cruises I think he was 99 years old at the time. Really nice man. Told a story about seeing Babe Ruth play baseball. He was amazing.

Wow. It seemed like he'd live forever. What a life! And he still looked good near the end too.

I remember a group of junior high friends, who were all such big Dreyfuss fans after the '77 Goodbye Girl/Close Encounters two-punch, all went to see his next big movie, The Big Fix (1978). Not only did we have no idea what it was about, but the movie was literally five years ahead of its time for even adults to follow, since its "Whatever happened to the 60's, after we all grew up in the 70's?" theme wouldn't become a big thing until '83's "The Big Chill" grabbed all the credit for it. Watched it again as an adult, and it's a hidden sleeper gem. 😎

Judy Knaiz from Hello, Dolly! Olivia Colman from The Favourite

Call it The Curse of The Seven Brides For Seven Brothers. Apologies to National Lampoon.

And I am, which surprises me on multiple fronts. I don't tend to go for machismo or conservatism and The Good Lord knows THE DUKE and I would NOT BE ABLE TO TALK POLITICS FOR LONGER THAN 10 SECONDS were we to have ever crossed paths in real life. also many of his movies are very very bad, but many are also very very good, and he is excellent in more than handful of them, like a slightly less masculine MAE WEST who was more capable of showing emotion, albeit it more with the eyes or the face than the voice. Also I am named after one of his characters, but that doesn;t have much to do with my liking of him as an actor.

Hatari! (1962) A team which captures African animals for zoos has a variety of problems as well as having to deal with the wildlife. I am not a fan of John Wayne. I will not risk wagering "loser must watch a John Wayne movie" even when I am sure to win the bet. This is one of the three movies in which I find him great. He is a basic guy working hard and taking risks and hoping that is all the world asks of him. That is his 'real life' persona and he portrays it well. Red Buttons is wonderful and as cute as a ... cute thing. Elsa Martinelli is at her svelte best. The animals make up the majority of the cast and their actions and reactions are captivating to watch. The IMDb.com reviews reek with calls of animal abuse. It is true that techniques of capture were primitive but the very nature of the business was to provide healthy and unharmed animals as no zoo wished to display cripples. They did the best they could with what they had and were not unnecessarily cruel. There are no knives nor clubs. There is no blood or gore except on humans as a result of accidents. John Wayne was twice the age of Elsa Martinelli. He looked as if he had been rode hard and put up wet while she looked as if she had just stepped out of a convent school. I usually overlook such discrepancies but this pairing severely pushed the limits of suspension of disbelief. The animals and the landscapes are more than sufficient reason to watch this movie. 8.9/10

I liked his performance in JAWS. It wasn't Oscar worthy, but I liked the movie.

I actually liked Dreyfus better in 1977 for Close Encounters of the Third Kind. Maybe starring in both movies won him the Oscar?

SAG might have had an issue if Michelle slipped off the ladder onto that precariously pointed Christmas tree from the "Girl For All Seasons" number! "I'll be yours in Winter, when snow is on the ground... I'll warm you through December, I'll always be around...."

Six Black Horses Next: Zachary Scott

Ian Next: Eric, Julia and Doris

I wonder if they had called the film COOL RIDER whether it would have been better received. I know there was talk of calling it SON OF GREASE. Or COOL RIDER: SON OF GREASE. Because outside of EVE ARDEN, there's not much of a CONSISTENT link to the first film, there are hints of DIDI COHN and SID CAESAR and the kinda hot blonde biker gang leader with the bad skin who is still kinda sexy anyway, who by the way, has gone FULL PSYCHOPATH in this version, I mean, watch the MOTORCYCLE RAID LUAU FINALE and tell me these guys weren't lookin to pull some kind of freaky Proto-Manson mass execution thing on these poor 30 year old high school seniors having a RIDICULOUSLY EXPENSIVE AND OVER-THE-TOP HAWAIIAN THEMED GRADUATION PARTY, although, no FERRIS WHEEL, TILT-A-HOUSE or ENCHANTED STUDEBAKER THAT TAKES FLIGHT FOR THE HEAVENS at this one, guess the Graduation Committee didn't sell enough chocolate this year or something. Also it has the chance to become a TAUT PSYCHOLOGICAL THRILLER when it looks like COOL RIDER HAS BEEN KILLED and the KIDS SAY NOTHING ABOUT IT (that usually goes well in films, right?) I was kinda hoping it might become THE WRAITH in spite of the fact that I've seen GREASE 2 already... but no.

What Next, Corporal Hargrove?

He was on the TCM Cruise in 2013.

Norman's interview with the Television Academy: https://interviews.televisionacademy.com/interviews/norman-lloyd

In the CBS Sunday Morning video (thanks Peebs for posting), Ben M. in a voiceover refers to The Goodbye Girl as “a screen adaptation of a Neil Simon play.” This must be news to the Academy, since The Goodbye Girl was nominated for an Oscar for best original screenplay. I only noticed this because the TCM film festival interview with Richard Dreyfuss was the first I had heard of the details of the production of The Goodbye Girl, including the original title Bogart Slept Here, the De Niro firing, and the exit of Mike Nichols as director. So I found Ben’s comment confusing based on what I had heard in the intro and after reading about the production on Wikipedia.

Yankee Doodle Dandy next--checking in at hotel

Marjorie Next: Harrison, Peck and Sierra

Always liked Richard Dreyfus, but not necessarily most of his movies. My wife says I look like him. Maybe.

From May 8-11, 1921, the feature at the Poli was The Song of the Soul, starring Vivian Martin as Barbara Seaforth and Fritz Leiber as Jerry Wendover. The film was released in November of 1920 at five reels. The Cinematheque Royale de Belgique in Brussels holds a complete copy. Plot: Little Jerry Wendover heroically saves a little girl from a fire, but his face is terribly disfigured in the attempt. As an adult, he lives in seclusion in an old house in Florida. He is shunned by the people, who believe he is half-black. Barbara Seaforth, who is blind and an orphan, moves to Florida to live with her aunt, who dies soon afterward. In shock, Barbara wanders into an alligator-infested swamp, where Jerry rescues her. The two fall in love and are married. When Barbara becomes pregnant, she longs to be able to see her child. Jerry fears Barbara will no longer love him once she sees his face. The locals attempt to lynch Jerry because of his alleged race, and they feel he has taken advantage of Barbara. But Barbara saves him. After their child is born, a doctor tells Barbara there is a chance her sight can be restored, but she will have to go to New York for the operation. After the procedure, she returns home, still with bandages over her eyes, which are only removed briefly so she may glimpse her child. Knowing that Jerry dreads her looking upon him, she performs the extreme sacrifice of love. She removes the bandages, fondly looks upon her baby for the last time, and then looks into the blinding light of the sun, plunging her into permanent darkness. One reviewer stated that Barbara was the little girl that Jerry had saved as a youth, but I could not find any other review to confirm that. I suppose that development would have added even more emotion to the film, which already appears to have plenty of tear-jerking moments. Wid’s Daily called the film a “splendid picture from all angles,” adding “You’ll cry because you can’t help it and feel the better for it. … Vivian Martin as the blind girl does the best work of her career and her performance indeed warrants her a prominent place in stardom.” Moving Picture World also praised the film, writing “Fritz Leiber portrays with rare skill the soul of a man naturally vigorous, almost overflowing with life and strength, yet condemned to seclusion and self-torture.” The National Motion Picture League of New York often weighed in on films, suggesting cuts “in order that the films may be wholesome for children and young people.” For this film, they recommended that in the third reel, the title card “A lynching party” and the next scene (presumably the attempt to lynch Jerry) get the axe.

From May 5-7, 1921, the Poli ran Conrad in Quest of his Youth, starring Thomas Meighan as Conrad Warrener. The film was released on December 5, 1920, at six reels, and is available on YouTube, running around 75 minutes. Stills were taken from the YouTube version, as well as trade magazines. Brief Plot: Conrad Warrener has just returned to England from India. When he finds an old photo of himself with his cousins, he decides to contact them and invite them to his old house, where they all used to gather as children. His relatives show up, but lack the enthusiasm that Warrener has, so they end up leaving the next day. Warrener then meets his childhood sweetheart, only to discover she has changed considerably. He then remembers an older woman he once met in Italy, and sets off to see her. That reunion is somewhat bittersweet. On his way home, he encounters a theater group who have had their money stolen by their manager. He becomes involved in their plight, and falls for a woman who is also seeking to relive her past. Review: This is an interesting film. I was expecting a drama, but it was more like light comedy, with a few serious moments. The reunion of the four relatives is played for laughs; you can tell these people really don’t want to be there, and can’t wait to leave. Warrener tries to entice them with milk and porridge, a piano sing-a-long, and a game of Parcheesi, but fails at every turn. His guests turn in early, and are subjected to a leaking ceiling. Warrener’s childhood sweetheart has grown portly, with four kids. He does a double-take when he sees her. The best sequence is when he reunites with the older woman, “Mrs. Adaile,” beautifully played by Kathlyn Williams. Their relationship is very touching. They arrange for a late-night meeting to consummate the relationship, but when the lady arrives, she finds Warrener has nodded off. I thought the film should have ended there, with Warrener realizing the past is gone, and you can’t relive it. But in the last fifteen minutes or so, Warrener meets the actors and suddenly falls in love. This almost seemed like a tacked-on happy ending. Eddie Sutherland plays Conrad as a 17-year-old. In real life, his aunt, actress Frances Ring, was married to Thomas Meighan. Sutherland later became a director.