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"Wall E" (2008) So much garbage can't get rid of it, just compact to make mountains of it just to make room.

Glenda Farrell--Tiger by the Tail (1970) Alice Faye--Every Girl Should Have One (1978) Alfred Hitchcock's last cameo, as a silhouette in Family Plot (1976) Jeanne Crain,--Skyjacked (1972)

Sansfin, that reminds me of a conversation that I had with a friend who was born in Cuba and left there as a kid in the 70's. He talked often about how bad the conditions were. I had read somewhere that Havana was impeccably tidy despite the deprivations. I asked him about that. He told me "That's because people are so poor they don't throw anything out!". He also told me that on Cuban TV there was a show with a hostess sort of like Julia Child, who would do episodes about how to re-use garbage. Like making food out of orange peels and re-using coffee grounds.

Well Herman, allow me to get the following in here first and before some other joker around here pipes in.... This thread stinks!

Looks like it was shot on a sound stage with Pasadena city hall as a backdrop.

Be patient, the movies you want to see will eventually be shown. Keep your eye on the guide, hopefully you have a DVR so you don’t have to sit there when it shows. You’re right though, lots of channels show many of the same movies.

I would suggest giving it time. The films cycle through gradually. John Garfield and the Lanes get plenty of screen time during the year, since most of their films were made at Warner Brothers and the WB catalogue is in the TCM library.

Norman Lloyd and Patricia Morison were guests at the last Cinecon I attended in 2017. Lloyd was especially sharp in his on-stage interview. A wonderful gentleman.

Ida Lupino --My Boys Are Good Boys (1979) Bobby Darin--Happy Mother's Day, Love George (1974) Brigitte Bardot-- The Edifying and Joyous Story of Colinot (1973) Rita Hayworth --Wrath of God (1972)

Soapdish 1991

Walter Pidgeon for Sextette 1977 Eleanor Parker for Sunburn 1979 Fredric March for Iceman Cometh 1973 Binnie Barnes for 40 Carats 1973 Helen Hayes for Candleshoe 1977

Ray Davies really starts to show his lyrical chops and what would be one of his trade marks; this take on stuffy English society and biting jabs, with just the right amount of humor and satire, in songs like A Well Respected Man, Dedicated Follower of Fashion, I'm Not Like Everybody Else and Who'll Be The Next In Line.

Romance (1930) A snoozer. A young rector named Tom Armstrong (Gavin Gordon) falls for the famous opera singer Rita Cavallini (Greta Garbo). But he doesn’t know his friend Cornelius Van Tuyl (Lewis Stone) is just one in a long line of guys who have made sheet music with her. So he ends up looking like a caffone. Garbo’s acting is pretty bad, and the rest of the cast isn’t as good as she is. Henry Armetta plays an Italian. Garbo and Stone have a spaghetti dinner. Garbo keeps calling Stone “Corny.” There is one opera scene; unfortunately the Marx brothers are nowhere to be found. There was a silent version released in 1920, with Doris Keane as Cavallini. That film is lost. This film should be.

Where Is Love? ("Oliver") Next: Foreign Country in Title

i'm surprised no one has mentioned the trash compactor in STAR WARS, they even turned it into a play set:

In case you haven't already found the book itself, it's called Stages: Of Life in Theatre, Film and Television. I read it a couple of years ago and found it fascinating. After I first got to know Lloyd as Dr. Auschlander in St. Elsewhere and then learned more about him, I thought he had to be one of the most interesting people in Hollywood, and Stages confirms that. My gosh: Lloyd played a notable role in Orson Welles' famous fascist-set stage version of Julius Caesar in the 30s; was directed on stage by Elia Kazan; worked with Hitchcock in both film and behind the scenes on Hitch's TV show (the latter helping Lloyd out of blacklist-era unemployment); worked with Jean Renoir, whom Lloyd said looked like a "large Idaho potato farmer"; was a personal friend of Charles Chaplin, who also featured Lloyd in LImelight; and had TV success in St. Elsewhere. It's amazing that until just a couple days ago, someone with this length and breadth of experience still lived among us. Stages was derived from oral-history interviews that Lloyd gave for a Directors Guild of America project. Even though it's not in question-and-answer form -- it's organized as a more-or-less chronological autobiography -- the book is perhaps more conversational than one that was initially created in written form. And a conversation with Norman Lloyd about his long life is definitely a good thing! Even though he lived a very long life full of fascinating experiences, I'm still sad to see him go. There's no one else like Norman Lloyd.

The reviewers might have been brave enough, but newspaper editors wouldn't have allowed that back in 1968. The only NY Times review I can find is from March 1969, when it was released to neighborhood theaters, 3 months after its initial release. I guess the NYT skipped reviewing it when it played at the first-run theaters. It's not kind, and particularly so to the actors involved. Here's a sample: All of this is by way of saying that "Skidoo," the newest Preminger movie that opened yesterday at neighborhood theaters, is something only for Preminger-watchers, or for people whose minds need pressing by a heavy, flat object. The movie, which has the form of comedy, is 98 minutes of disconnected story-conference ideas about a retired hood (Jackie Gleason) commissioned to dispose of a Valachi type (Mickey Rooney) who's about to tell all to a Senate investigating committee. The cast is large and mostly old (George Raft, Cesar Romero, Peter Lawford, Doro Merande, Burgess Meredith), but Preminger's use of disintegrating faces is more cruel than comic. Groucho Marx appears briefly as the syndicate boss known as "God," a conceit that's funny for even less time than it takes to report, and Carol Channing, who plays Gleason's wife, is simply a running sight gag. The movie's almost complete lack of humor, its **** contemporaneousness (much is made of hippies, pot and LSD), its sometimes beautiful and expensive-looking San Francisco locations, and its indomitable denial that disaster is at hand (apparent from almost the opening sequence)—all give the film an undeniable Preminger stamp. So do the imaginative title credits but these—since Preminger is being consistently high-handed with our affections—have been placed at the very end of the movie.

Thanks for reminding me about OCEANS ELEVEN (1960). I just looked at a clip, and the garbage looks totally authentic! I particularly like the rancid lettuce leaves and entire newspaper sections. Some of the discarded food looks usable, like the carrots, but that is realistic. Probably most hotel food waste is OK food (buffet leftovers, food from banquet no-shows, or produce that is good but not up to restaurant standard). Best Garbage Oscar? Certainly I hope that the Academy members voting on nominees for Production Design take details like garbage realism into account!🙂 BTW I enjoyed seeing Sammy Davis Jr outsmart the police in this scene. Very progressive for the time!

You Are My Lucky Star - Debbie and Gene - Singin In The Rain Bob Fosse alone or in a duet singing in a movie

Out of Towners. (1970)

I don’t know how recently you got it added but John Garfield was the Star of the Month just a couple of months ago.

I apologize if I wander off the Reservation with this one as I sometimes do when I either REALLY LIKE or REALLY DON'T LIKE something... My day to day life is often spent dealing with my manic depression, and as such, I am drawn to the ABSOLUTE BEST and ABSOLUTE WORST of things- music, movies, TV, etc.- and while I have a genuine unforced, completely not-pretentious appreciation for the highbrow (I've read BLEAK HOUSE and OUR MUTUAL FRIEND and DOMBEY AND SON! All the way through too! ) i HAVE AN EQUALLY STRONG FASCINATION WITH THE PRURIENT, THE TRASHY, THE (as HENRY HIGGINS WOULD SAY ) "the delightfully low, the deliciously dirty!" And on that note, let me tell you about my seeing the 1971 exploitation film I DRINK YOUR BLOOD for the first time last night. This film was a Goddamned masterpiece. [I know I usually post images in my reviews, but in this case, there's not a single still I could find on bing that I could in good conscience post here.] To get what little criticism I have out of the way, THE TITLE HAS NOTHING TO DO THE STORY, and it was called that as a gimmick to put it on a double with with a MUCH TAMER unreleased 1964 horror comedy ZOMBIE, retitled I EAT YOUR SKIN (the latter has been done by Rifftrax and it's pretty funny.) this film is about a nearly-abandoned, isolated, upstate New York town, populated by only a handful of stragglers; A MANSON FAMILY-like group of 6 multi-racial hippies decides to crash. they give an old man LSD and, out of revenge, his BILL MUMY-like grandson FEEDS THE HIPPIES MEAT PIES THAT END UP GIVING THEM RABIES. THE RABID HIPPIES THEN RUN AMOK AND TO DESCRIBE THE HOUR AND TEN MINUTES OF ENSUING MADNESS WOULD BE WITHOUT A POINT. Also without a point would be to deny the ELECTRIC ENERGY this movie takes on, it's one SHOCK after another, just throwing spaghetti at the wall and seeing what sticks. YOU CAN'T LOOK AWAY FROM IT, it GRABS you and SHAKES THE SH!T OUT OF YOU in a VERY REAL way that few movies- good or badly done- can. this is not a film for everyone, but OH WAS IT EVER A FILM FOR ME! THIS WAS THE CINEMATIC EQUIVALENT OF ELECTROSHOCK THERAPY! i will note that the film can be found in full on youtube, but it is EN FRANCAIS, which frankly, sounds like AN EVEN MORE FUN VIEWING EXPERIENCE! I apparently saw the "full restored version" which included a couple of misfired scenes tacked on at the ending, but they actually didn't hurt the momentum of the rest of the film (because up to then, it's THAT STRONG.) Also, there is an undeniable link between this film and NIGHT OF THE LIVING DEAD, although I herein note that while NIGHT OF THE LIVING DEAD is a seminal, highly important film, it's a little lethargic. this movie is ALL ENERGY. A LOTTA MOUNTAIN DEW AND COCAINE AND ACID WENT DOWN ON THIS SET. PS- RABID HIPPIES would be a much better title for this than I DRINK YOUR BLOOD.

HOLIDAY (1938) Next: Dianne Wiest, Barbara Hershey and Mia Farrow

The Senator Was Indiscreet (1947)

Im "With " TopBilled and Moe How.. _ Id Say Give it time (as well)... .. ... .their Library is HUGE.. ..... ..im STILL Running Across and Tripping Over Titles and Features i, Had. NO.. ..CLUE... They Did Service To.. That And.. ... ..... While im .. Admittedly Not Sure How long trnr clsc movies has been on my radar.. . .. theres titles.. . .. that ive seen them show, ..ONCE.... .. +YEARS Ago (Now)..... ..but thst doesnt neccesarily mean that theyve exterminated any given /respective titles (either)...

Esketh, Lady Edwina -- Myrna Loy in The Rains Came (1939)

These are some performers that I thought of for August 2022's Summer Under the Stars - next year. What the heck though, I'll share them with you now. 1. James Stewart (TCM should mix it up where his movies are concerned. I have 10 to 12 in mind for his SUTS Day. It doesn't have to include "The Philadelphia Story" - which I think is overplayed, and even overrated.) 2. Ida Lupino 3. Ramon Novarro 4. Linda Darnell 5. Peggy Ann Garner 6. John Ireland 7. Katharine Hepburn (I have in mind a different sort of mix of movies this day - mixing it up between her RKO's, her MGM's, & several from other studios. Again, her SUTS does not necessarily have to include "The Philadelphia Story" - or "Adam's Rib" for that matter.) 8. Kent Smith 9. Aline MacMahon 10. Robert Walker 11. Katy Jurado 12. Victor Mature 13. Richard Egan 14. Wendy Hiller 15. Danny Kaye 16. Gloria DeHaven 17. Paul Winfield 18. Bibi Andersson 19. Robert Stack 20. Gladys Cooper 21.James Earl Jones 22.Jeanette MacDonald 23. Scott Brady 24. Katharine Ross 25. John Gavin 26. Geraldine Fitzgerald 27. Gilbert Roland 28. Karen Morley 29. Howard Keel 30. Alice Faye 31. Bob Hope

Davis, Rebel, played by Edie Adams in "Lover Come Back"

I'm with CinemaInternational on this. I liked "Tell Me You Love Me, Junie Moon", a movie I had not seen till it aired on TCM last night. I liked Liza Minelli's performance in it and how she eventually gave in to sleep with Ken Howard who loved her despite her appearance. It helped her get over her fears of not being good enough (or attractive enough) to be loved that deeply. Robert Moore, the third main character in this saga of misfits, served as a nice counter-balance for Howard and Minelli's characters. It was nice to see Anne Revere ( a hospital social worker) on the screen too. I didn't realize until Alicia Malone mentioned it in the movie intro that this was Revere's return to the big screen after a 19-year hiatus, which began with her being black-listed in the Red Scare of the early 50's. Fred Williamson, like the 3 principle characters, was just beginning his acting career, and I think it's safe to say that few actors could wear painted on pants as well as he could...yikes! He befriends Moore's character and takes him out for a night of romance on the beach with a couple of interested ladies. James Coco, who runs a local fish market, hires Howard to work in his shop, but rescinds the job offer after hearing a false rumor about Howard's sexual perversions. After he helps Minelli find Howard, he's remorseful about what he's done, and begins to take an interest in helping out the three young friends as much as he can. True, the movie seems a little disjointed at times and might leave the viewer questioning many things about it, including why they tuned into it in the first place! But, despite the flaws and some of the quirkiness to it, it was an enjoyable way to spend a Tuesday evening. It had a bummer of an ending, but overall, I'm inclined to give it a 6 out of 10.

This 1839 self-portrait by photographer Robert Cornelius, often credited as the "world's first selfie," always reminds me of actor John Savage: And something about this Julia Margaret Cameron portrait of an unnamed Italian actor (as Shakespeare's Iago) makes me think of Oscar Isaac:

I lifted this from the NYT website. I agree with it. Otto Preminger's "Tell Me That You Love Me, Junie Moon," which opened yesterday at the Beekman Theater, is about three gallant, self-styled "freaks" who set up housekeeping together in a broken-down bungalow that comes complete with a banyan tree in the backyard, a hoot owl in the banyan tree, a Peeping Tom next door, and a rich, spooky landlady who dresses like a World War I ace in leather helmet, leather jacket, tinted goggles and long, flowing scarf.Half of the face of Junie Moon (Liza Minnelli) has looked like Lon Chaney's Phantom of the Opera (or, at least, it is supposed to look that way) ever since a traveling salesman topped off their date by knocking Junie Moon into the mud and then pouring battery acid over her. Arthur (Ken Howard) is tall, blond and very handsome, but aside from the fact that he has an occasional seizure and sort of lopes when he walks, you'd hardly know that he suffers from a progressive neurological disorder that is turning his body into mush.In some ways the most pathetic member of the trio, perhaps because he seems the most resolutely self-contained, is Warren (Robert Moore), a red-bearded, barrel-chested homosexual who likes to make brownies and to use words like "divine" to describe things on the order of swimming trunks. Warren has been confined to a wheel-chair ever since he was 17 when, during a hunting trip, he made a pass at a friend who promptly shot him in the spine.In the course of Marjorie Kellog's tiny, moving novel, Junie Moon, Arthur and Warren, abandoned by their families, their friends and, to a large extent, the world, discover self and love so quietly and unobtrusively that the reader feels he has made the discovery himself. In the film, based on a screenplay by Miss Kellogg, there is never any doubt that the process of discovery is being led by Preminger.Much like one of the dispassionate doctors in Junie Moon's state hospital, who displays his patients to visiting medical men without ever listening to the patients' complaints, Preminger displays his characters without ever revealing them, or letting them reveal themselves. In "Junie Moon," the people never seem more important than the things Preminger places around them, like the hoot owl and the scroungy old dog Arthur befriends, or more important than the theatrical lighting, which makes real locations look like studio backdrops, and the clever techniques (flashback scenes are printed from unsqueezed anamorphic footage).This sense of display, which is not to be confused with visual spectacle, works quite well in movies of melodramatic event ("Hurry Sundown," "In Harm's Way," "Anatomy of a Murder"), but it is completely inappropriate for movies dealing with such private emotions as loneliness, embarrassment and suddenly recognized friendship. These things are difficult to see when you look at them directly; they have to be discovered out of the corner of the eye.Preminger doesn't direct movies as much as he makes frontal assaults on them. It's no accident that the most vivid moments in "Junie moon" are either the most cruel or the most bizarre, not because Preminger is cruel and bizarre, but because they fit into his melodramatic view of things. Junie Moon, shivering and feeling slightly silly, being forced to do a strip tease in a cemetery, in the dead of night, for a kinky boyfriend, while the soundtrack alternates between delicate Bach and something that sounds like old Stan Kenton.If anything, however, Preminger has been too sparing of our feelings. Miss Minnelli's Junie Moon is an exuberant, appealing misfit, but she really doesn't look very badly mangled (at one point in the novel Miss Kellogg describes her nose as a trench). Ken Howard's Arthur is so nice and healthy, if a bit shy, I couldn't believe he suffered from anything worse than a bad charley horse. By softening these edges, Preminger has, ironically, denied his characters the terror that is their right, and the affection that is ours.The most appealing person in the film is a beautifully commonplace fishmonger, played by James Coco, an aging bachelor who befriends Junie Moon and her friends and, much to his own surprise, falls in love with the very odd girl. I also liked Moore, who speaks his lines (fast, theatrically) like a director of Broadway comedies, which he is "Promises, Promises," "The Last of the Red Hot Lovers")."Tell Me That You Love Me, Junie Moon" is not an unintelligent film, but it is so cool and ordinary that it almost made me nostalgic for "Skidoo," which was epically bad but the obvious work of a brazenly gifted director. A version of this article appears in print on July 2, 1970 of the National edition with the headline: Screen: 'Junie Moon' at the Beekman:Liza Minnelli Stars in Preminger Film 3 Self-Styled 'Freaks' Set Up a Home. Order Reprints | Today’s Paper | Subscribe

This wasn't the Razzies, but another group that pummels bad films. I got into looking it it because of the bonfire of the Vanities thread, but given the curiosity about bad films around here i thought I would share the notorious bottom 5 and the dishonors section for each year. That said, it can also create a bit of debate because I think some of the films listed in the 70s, 80s, and early 90s actually are good and are thoroughly wrong-headed picks (even a Best Picture winner made a dishonor section!), and some films aren't listed as being as bad as they were.....

Ives, Burl

Lady Baffles and Detective Duck in the Great Egg Robbery (1915) A lady thief is on a crime spree and intends to steal a collection of very large pearls. The police chief sends his best detective to safeguard them. This is the first of eleven short movies in which Gale Henry plays Lady Baffles and Max Asher plays Detective Duck. The action is quite sprightly even although the plot is quite thin. Character development is weak but the cinematography is exceptional. I am sorry to say that the only print which I could find is on: YouTube and parts of it are severely degraded. https://youtu.be/zsyOMaNHji0 I can offer no suggestions as to beverage pairing because I am not a member of: TCM Wine Club. I would suggest that the movie might be best appreciated in the accompaniment of a mild indica. 7.4/11

Now what about movies which are garbage?

pretty great choice for underground, maybe a double feature with CANDY (also 1968?)

SERIOUSLY THOUGH, even OTTO PREMINGER'S best films have their fair share of "HUH?!" moments, he's one of those who never made a fully satisfying film that I have seen, although I am a HUGE fan of LAURA and would list it among my all-time favorites.

You win.

Cloris Leachman was great in this episode, Phyllis was such a drama queen!

The Razzies tends to go on reputation, and star-giggling (eg. anything that Stallone stars in), this one seems to be cheap jokes about anything that personally bother the founders. I can appreciate that Clash of the Titans and Tron were not appreciated in their day, but The Gods Must Be Crazy as a "worst" film?? ("Well, it looked like a cheap home movie, and that guy kept stumbling over things!") Eraserhead? Heavy Metal? Top Secret!? Pulp Fiction?? We're talking amateurs, and nothing above college age.

Day, Doris

Builds strong Marxist-Leninists.

Okay....good to know!

one of JOHN WAYNE'S best- yet least talked about [thanks to its being trapped in Rights Issues Hell for many years] - performances was in HONDO from 1953 with the unlikely, but dynamic pairing of he and GERALDINE PAGE, who was nominated for a BEST SUPPORTING ACTRESS OSCAR but should have been in THE LEAD CATEGORY for this film, WAYNE too, it's one of his most complicated parts.

The Barefoot Contessa (1954) Next: Humphrey Bogart, Jennifer Jones, Gina Lollobrigida

It looks like it's about the making of The Bonfire of the Vanities: Season Two - The Plot Thickens (tcm.com) SEASON TWO THE DEVIL’S CANDY "The biggest disaster movie ever wasn’t supposed to be a disaster. The Bonfire of the Vanities was one of the best-selling novels of the 1980s and had all the makings for a hit motion picture: a dark comedy with heart and bite; an A-list director and a star-studded cast. So what went wrong? Come with us onto the closed set and hear actual recordings of Brian De Palma, Tom Hanks, Melanie Griffith and others, as they set about making one of the most anticipated films of its time, only to end up a fiasco for the ages."

I SEE ICE!

Just want to say thanks to TCM for taking the time for this special tribute to Satyajit Ray. My grandfather was a college classmate of Satyajit Ray’s and anyone who met Mr. Ray said he was a one-of-a-kind human and creative genius. I’m a daughter of Bengali immigrants, born and raised in the US. My parents wanted their kids to know about both the artistry of Bengali culture and the complex beauty of the human spirit. As a result, this education included a heavy dose of Satyajit Ray movies! Satyajit Ray may never have been a child living in a rural village with little means, a wife struggling with either boredom or work/life balance, or a clever detective aiming to outwit cold blooded criminals, but he had the gift of being able to manifest their minds and hearts on the screen. I’m so excited to see his work, which has been an influence to so many other important filmmakers, being represented on the channel in this wonderful way. Thank you!

7. Replaced Anne Bancroft on Broadway in The Miracle Worker