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I have long felt (and even said aloud on numerous occasions) that Ben Mankiewicz was at his best when playing off a guest programmer. My favorite guest of his thus far were those Father's Day wraparounds with his own dad, Frank, back in 2013. Watching Ben and his brother, NBC Dateline correspondent, Josh Mankieiwcz, discuss movies and their family history has been very entertaining. It struck me that the two of them together would make a great team for The Essentials. The last time I felt this way was watching Robert Osborne interview Drew Barrymore during the TCM Festival screening of NIGHT FLIGHT. Not long after it was announced that Barrymore would be sharing the spotlight with Osborne. I haven't seen anyone chiming in on Josh's appearances with Ben but I felt I had to put it out there. I hope TCM will read this and take note. Your thoughts???

Places in the Heart (1984) Primrose Path (1940) The Jerk (1979)

Edison, the Man (1940) Next: a kite

FABULOUS TOPIC! I am torn about The METHOD. Some do really well with it, others are over-the-top, some it helps a role, while for others it hinders. I think it's just like any other artist "tool" where several other aspects are in play. Sometimes I love Julie Harris in a movie, she comes across as "really that person/situation" and other times I've found her "acting" like a stagey performance. The role? The actress? The direction? Could be anything. So sometimes I really enjoy a Method actor's work, like John Garfield. I certainly think it helped guide Marilyn Monroe. Other times, especially with Brando & James Dean, they are just insufferable and get in the way of their own believability. I'm an artist and have many apprentices through the years. You can teach all you know, but each person interprets differently & has different output. Factor in the written material & director's vision and the combinations are endless!

THE BIG SLEEP (1946) next: lightbulb

All the King's Men Ray Baby Face Jim Thorpe--All American

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING -- a window washer becomes chairman of the board (photo from the play but still Robert Morse)

Thanks for the update! As a result of Norman Lloyd's passing, I got 'sidetracked' and am re-watching St. Elsewhere. I am now on the episode where Terence Knox's character Dr. Peter White has been arrested after it was revealed he was the serial rapist. I remember how shocking this storyline was in 1983-84 on network television.

Lady for a Day (1933) / Pocketful of Miracles (1961) Pygmalion (1938) / My Fair Lady (1964) Giant (1956) (James Dean)

Sergeant York (1941) A Star is Born (1937, 1954, 1976, 2018) King of Kings (1961)

M*A*S*H (1970) Next: books

The name's Shaw....Robert Shaw. You're gonna remember that, Ms. Soo, or you're gonna getcha self another discussion--Ya follah? (Yes, I'm too chicken to watch Jaws and quote any of Cap'n Quint's lines.) And Top123 is still on my list of great Pre-Koch Nixon/Ford-era NYC Films, for an upstater who remembers--The "mayor" character who's so unpopular, he doesn't get out of his sick bed was a pretty recognizable joke for NYC'ers of the Abe Beame era.

The Brothers Ricco Next: Vivien Leigh, Charles Laughton, Rex Harrison

"And later Truman called me and said I was the best homosexual in a subway movie he had ever seen. Of course he rides in taxis, but I was thrilled all the same."

Yeah, and then later you had David Morse as the victim of prison rape, and Mark Harmon getting AIDS. St. Elsewhere was a brave show, a great show. I only wish it had once won an Emmy for Drama series; surely Hill Street Blues, Cagney and Lacey, or LA Law, all multiple time winners could have spared one.

David Copperfield 1935 Tobacco Road 1941 Oliver 1968

Lol. I love Elvis. I don't care. I may have a high "junk" threshold though. After all, I do love Roller Boogie, Xanadu, and Barbarella. And I love the Beach Party movies which definitely get more ridiculous with each successive sequel.

I don't mind the 'obvious ones' if they can bring in rarely seen films for these people. Like if they select Bette Davis, why not include her film debut for a change-- BAD SISTER (1931) is a very good Universal precode.

I thought this was a "general discussion" on a TV channel's message board. NOT a tutorial on psychiatry. And I think trying to facilitate the destruction of two major nations and the possibility of the total destruction of the Earth IS kinda psychopathic, eh? I've known paranoids, and they mostly cowered somewhere isolated in fear of whatever. And were never prone to acts of violence or other evil. Sepiatone

Seaweed is a very delicious subject for some of us. JIRO DREAMS OF SUSHI (2011)? next: sedative

Yeah, you're probably right. Remakes of action type films usually are.

Mary Poppins (1964) Next: Seaweed

"so, what kind of credits do you have? Any features?" "Mostly stage work, although I did a year on ONE LIFE TO LIVE and I played "The Homosexual" in "The Taking of Pelham 1, 2, 3...." "Ah, I don't remember a Homosexual in that film..." "It was a brief part, besides not a lot of people saw it." "That's a shame." "I know. I was a great Homosexual. And I got to meet Robert Shaw!"

Given the subjects and atmosphere of this forum, I thought asking a question about method acting would be appropriate. Is method acting a better way to prepare for your role? Is it too "over the top" in preparation or is it seen as a legitimate form to get into the role and concentrate better? I had read something years ago that Eric Stoltz was supposed to be Marty McFly in "Back To The Future," but demanded everyone call him and treat him as Marty off camera and it drove everyone nuts. Then today, I read where Jim Carrey did the same while portraying Andy Kaufman. Do acting schools and institutes teach method acting or is it to one's own preference? And does it really drive people nuts? I dont know much about acting and figured all of you would give great insight to this. Thanks.

The Mummy Who Came in from the Cold (2007) Egypt is renowned for the numerous rituals and elaborate preparation of its mummies but it is simple fact that they can occur with little or no preparation anywhere that conditions desiccate the body before it begins to putrefy. This fascinating little documentary shows the discovery and further investigation of a mummy in Sakha. That is the region which most typifies the mental image which most Western people have of Siberia. It is barren. It is cold. It is hundreds of miles of nothing but miles and miles. Bodies buried there in ancient times became mummies in the grave because the permafrost inhibited both chemical and microbial action while it caused also the bodies to dry out in a process similar to freezer burn on an intense scale. They touch on discovery and research of a typical mummy. Then they find one which is very special. The clothes are silk and leather trimmed with mink and are elaborately beaded. The garment which served as a garter belt to hold up leggings and which would not be seen when she was dressed was made of silver and copper and was covered in beads. They had never before found signs of such wealth. Perplexing to the researchers is that her feet were bound by rope which encircled her body also. The ends of her sleeves had been sewn closed to prevent her using her hands after death. I am an easy mark for interesting regional history and for examples of how researchers solve mysteries. This documentary has both. It is slightly less than an hour long and so is not a great commitment for the curious. 8.8/10 It is available for viewing for free with commercials on: TubiTV.

I was in Sequoia and missed this one, but had to add WIlliam Holden ALso, as a local who has seen shows inside, had to include a picture of how gorgeous the Pasadena Playhouse is: Of course, you've already gotten an extensive backstage tour of the Pasadena Playhouse if you've seen NOISES OFF:

Lars and the Real Girl (2007) Everything You Always Wanted to Know About Sex But Were Afraid to Ask (1973)

Sessue Hayakawa John Qualen Eleanor Powell How about a week of Janes, week of Johns, week of Roberts, etc... What I really appreciate about all of these suggestions from everyone is how obvious it is that we all really want to see more than just the "obvious" stars. We might all be a little more sophisticated than the credit we're given.

Ralph Fiennes and Director Henry King:

THE HONEYMOON KILLERS Alicia Malone explains this film is an example of women being manipulated by men because of their "body Image" issues. Martha (Shirley Stoler) is swindled by Raymond (Tony Lo Bianco), he confesses the manipulation, Martha is heartbroken and returns home. She then concocts a scheme to fake a drug overdose and have her friend Bunny (Doris Roberts, yes the mother from Everybody Loves Raymond. . . except that is a different Raymond than this Raymond) call Raymond during which he declares his love of Martha. Note. This is NOT female manipulation by Martha, so we can ignore it. So complete is Raymond's Svengali-esque manipulation over Martha she takes a managerial roll choosing the victims and performing the actual murders, this should not be confused with Martha simply exercising free will. Maybe Alicia was pinched for time and couldn't address this but I see a beefier problem stereotyping robust women as homicidal maniacs. Side note. Apparently Scorsese was the first choice as director but was fired for taking too long. I bet he's haunted to this day......

WHAT'S UP DOC? BRINGING UP BABY

DOWN AND OUT IN BEVERLY HILLS (1986) Next: lots of medical scenes

1975: NIGHT MOVES Next: Anthony Perkins wouldn't harm a fly.

I Wake Up Screaming (1941) Song of the Islands (1942) Wabash Avenue (1950) Next: Olivia de Havilland and Hattie McDaniel (not counting Gone With the Wind)

IMO, I think they can go way over the top. I think there was a story during the filming of The Marathon Man where Dustin Hoffman's character was supposed to be up for like four days, so Sir Laurence Olivier asked him what he did to prepare for it. Dustin told him he stayed up for four days. To which Sir Laurence said, "Why not just try acting?" (Or something to that effect.) I think Christian Bale is another one that takes it to an extreme.

Last night I watched THE TAKING OF PELHAM 1 2 3 after someone here had said it was a great Walter Matthau role. Wow. What a great movie. The story is about four criminals who take a subway car & passengers hostage in exchange for a million dollar ransom. Matthau is at mission control of Transit Authority Police and is the person in contact via radio with the criminals and the police on the street & tunnels. He gets lots of air time and does great with this dramatic role. This thriller didn't lull for one minute and built up to several climaxes once Matthau decides to just pay the ransom to protect the hostages from being killed. Tension builds with scenes of money going through counting machines & being bundled. Several fabulous scenes take place as bright blue 70's cop cars speed through NYC streets trying to get the cash to the appointed place in time. The stunt driving is astounding-one crash in particular, I couldn't believe they want us to believe everyone survived - this was before seat belts & air bags. Also of note was the incredible music score by David Shire. From the very first notes to the end, the music was dynamic & unnerving mostly on the back beat with bombastic horns & slight sax melody. Wow. A really great example of film music enhancing the emotions of a movie. This was full of familiar faces Sal Viscuso, Doris Roberts, Tony Roberts in small parts & a younger Jerry Stiller as police chief (Rico Petrone haha) who was just as handsome as his son Ben here. All the criminals were unknown to me except Martin Balsam who pretty much always plays himself. The hostages were a little contrived, but OK. I did not like that one principle black cop's voice was dubbed or if that was his real voice, should have been dubbed, it was awful. There were many little one line snarks & jokes which added to the realism & at the same time micro-relieved tension. Just everything about this movie was OUTSTANDING. Well, except for what the mastermind criminal does at the very end, unrealistic. But I howled out loud at the very last shot in the movie - priceless. One of the very BEST ending shots ever seen in cinema, in my opinion.

Oooh, I dunno Bunny. (...I wouldn't go ANYWHERE with that little brat if I were you!)

Boris Karloff was in Curse of the Crimson Altar with Barbara Steele. Barbara Steele was in Pretty Baby with Susan Sarandon. Susan Sarandon was in Twilight (1998) with Paul Newman. Next: Vivien Leigh

Interesting you should mention those groundbreaking storylines. It's clear to me that writer Tom Fontana (who was there for all six seasons) had very specific long-range arcs in mind for these main characters. There is a season 2 episode, not long after Harmon's character Dr. Bobby Caldwell, is is introduced, where a bisexual politician is diagnosed with AIDS and has to "come out" to his wife and his constituents. The very first person the politician bumps into in the hallway, after this diagnosis, is Dr. Caldwell. Also during the serial rape story, we have scenes that play up the friendship between Dr. Peter White (Terence Knox) and Dr. Jack Morrison (David Morse). In fact Jack is in the hallway when Peter is arrested and led out of St. Eligius. There is a scene before the arrest, where Jack comments on not understanding what it must be like for the women to be in fear of an unknown sexual predator. As you say, later on (in season 4 I believe) Jack Morrison becomes a victim of rape himself!

Jill Clayburgh was in The Thief Who Came to Dinner (1973) with Jacqueline Bisset, who was in The Life and Times of Judge Roy Bean (1972) with Paul Newman. (P. S. my Peter Dinklage connection was Dermot Mulroney: Living in Oblivion and Where the Money Is.) :-) Next: Boris Karloff

Faye Dunaway. She appeared with McQueen in 1974's TOWERING INFERNO and with Biel in THE RULES OF ATTRACTION (2002).

In this international world we live in, it might be difficult to find a major company that doesn't have its hand in some dirt, or has been in the past. They give a fancy name to not subsidizing something you don't believe in. They call it "cancel culture". I call it paying attention to where your money goes. Your pocket book is always your best weapon.

But not all of them are extreme. The main point is to be immersed in the character, to remain in character until the performance is over. I would say that soap opera actors who use method techniques are the most challenged, because their performance is ongoing. They may play the same role for years and have to remain in character all those years.

OUR VERY OWN (1950) Next: Boris Karloff, Victor McLaglen and Wallace Ford

Movies which I consider a good pairing with: The Taking of Pelham One Two Three (1974) for a double feature because they carry some of the same vibe or are an interesting counterpoint: Deadfall (1968) Robbery (1967) The Italian Job (1969) The Thomas Crown Affair (1968) The Cassandra Crossing (1976) Number 17 (1932) The Anderson Tapes (1971) The Great St. Trinian's Train Robbery (1966)

Katharine Ross is a different choice. She was certainly in a lot of classics.

Martin Sheen as character, Musante's equally twisted friend was just as psychopathic!

I don't particularly agree with "guilty pleasures" as I don't feel guilty for liking anything that I enjoy. However, falling under the definition you provided above, I love: Clue The Brady Bunch Movie A Very Brady Sequel UHF Big Trouble in Little China Roadhouse Buffy the Vampire Slayer Cocktail Flashdance The Legend of Billie Jean Barbarella Love Actually Overboard (1987) She's All That Weekend at Bernies Walk Hard: The Dewey Cox Story Gremlins Dirty Dancing So I Married an Axe Murderer Xanadu Roller Boogie Probably a third of my movie collection is comprised of so-called guilty pleasures. If there are sub-genres that I love it's the following: 80s-90s teen sex comedies, 50s-60s teen beach movies, ladies in prison, movies that feature a lot of dancing, but aren't necessarily musicals (a la Dirty Dancing, Flashdance, Footloose), roller disco films, anything involving some type of makeover... But I don't feel guilty about loving any of it. All films are proudly displayed.

A few more shrimp for the barbie: Isle of the Dead (1945) - Although no vampires in this one, it is the fear of them that drives the story. Count Yorga, Vampire (1970) and The Return of Count Yorga (1971) - Saw both of these back in the '70s with a large theater audience that was very into them. Twins of Evil (1971) - Just caught this one last week on Blu-Ray. Hard to go wrong with Peter Cushing. The Night Stalker (1972) - I know that this one was made for television. But it definitely rates a mention on this thread. And Darren McGavin and Simon Oakland were ideally paired as reporter and editor. Innocent Blood (1992) - Don Rickles becomes a vampire?!? Shadow of the Vampire (2000) - William Defoe nailed this one.

"Daughters of Darkness" (1971)--Delphine Seyrig stars as a possible(?) vampire; who menaces an eloped newlywed couple. An aged bellhop insists he recognizes her from fifty years ago when she stayed at the hotel she checks into again. She and the newlyweds are at the same hotel: there is a series of murders going on in the city. Seyrig's character denies being a vampire, but acknowledges being a descendant of Elizabeth Bathory (Google the name if it doesn't ring a bell). The three form a triangle. Any more info and I'll spoil the film. "Blood and Roses" (1961)--Early Mario Bava film where the heroine is named Carmilla; is she being menaced by a vampire--or something else?