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I'd love to hear your favorite picks for films that take place during summer. Summer is a time of year when many of us take a break from work or school and try new experiences. Her are 3 of my favorite films that take place during summer. 1. Summertime (1955) starring Katherine Hepburn and Rossano Brazzi and directed by David Lean. Katherine Hepburn plays a middle-aged secretary who has almost given up on love but before she does, she decides to take a vacation over the summer to romantic Venice, Italy. I love Hepburn's poignant acting performance in this film. 2. Stand By Me (1986) directed by Rob Reiner based on a story by Stephen King about a group of Oregon boys who decide to go searching for the body of a stranger accidentally killed near where they live. This story involves the emotions and social dynamics of a group of boys nearing the beginning of adulthood embarking on an adventure together. 3. Jaws (1975) directed by Stephen Speilberg. This is a scary story about a menacing great white shark. Scenes from Jaws that really bring summer to mind are the hoards of people crowding onto the beaches and on ferries during 4th of July weekend and the opening scene of teens having a party on the beach. After this film was released in 75, it seemed very unlikely that great white sharks (or other rare dangerous species of sharks) would actually come to the shores of the US but strangely enough, there are so many more sharks off our shores now.

I agree with Jaws (1975) Detective Story (1951) set on a sweltering summer day in a NYC police station Summer Of 42 (1971) one of the greatest coming of age stories on island off the coast of New England, beautiful music score

Gidget. Gidget is one of my all-time favorite movies. I've seen this movie dozens of times and it's still fun to watch each and every time. Sandra Dee and James Darren are adorable. Darren and Cliff Robertson are smokin' hot. This film has hot guys, the beach, surfing, what more could I want from a film? A Summer Place. This film is amazing and has everything I want from a good melodrama, plus it has memorable theme music. I knew the music long before I'd seen the film for which it was written. I love Picnic. It takes place on Labor Day, which is typically considered the unofficial end of summer (even though summer technically ends later in the month). Picnic is just so much fun with the love triangle, the drama, the romance, I just love it. The Parent Trap. Hayley Mills and Hayley Mills meet at a summer camp run by Miss Inch and Jane Hathaway. They discover they're actually twins, separated at birth and decide to switch places. I love this movie. I've seen it dozens of times and I never tire of it. Hayley Mills is my favorite of the Disney child stars. Summer Stock. Despite having one of the worst musical numbers of all time ("Heavenly Music"), it also features one of the best, most iconic musical numbers of all time ("Get Happy"). Judy Garland and Gene Kelly are a lot of fun together, even if the plot of this film is nothing special. This film is driven by the sheer star power of Garland and Kelly. Plus, I like that the action of this film starts on my birthday, as evidenced by the calendar at the beginning of the film! I also love the aforementioned Summertime. I love genuine romantic films that play out realistically and don't include the typical contrived plot points that plague many other romantic films (see Hallmark's drivel). The summer season provides such a great setting for film. I don't know if it's the heat and the lazy, sweltering atmosphere that it provides, or what it is about the summer. The summer is often the setting for one of my favorite subgenres, the 50s-60s teen beach movie. But despite not having listed any above, I think the summer also provides a great backdrop for film noir.

From June 5-8, 1921, the Poli ran Midsummer Madness, starring Jack Holt as Bob Meredith, Conrad Nagel as Julian Osborn, Lois Wilson as Margaret Meredith, and Lila Lee as Daisy Osborn. The film was released on January 23, 1921, at six reels. The Library of Congress holds a complete copy. Plot: Margaret Meredith feels neglected by her husband Bob, who buries himself in his law practice. They have a small child, who is cared for by Mary Miller, Margaret’s companion. When Bob’s work takes him out of town, he asks his friend Julian Osborn to entertain Margaret. Julian, who is married to Daisy, takes Margaret to a dance and flirts with her. Romance follows, and the pair go to a hunting lodge, where they begin to make love until their better judgment prevails. However, the two are seen by the caretaker while at the lodge. Osborn tries to defend Margaret by claiming she was not the woman at the lodge. Mary claims it was she who was with Julian at the lodge, in order to protect Margaret from scandal. Instead, Margaret confesses, and Bob admits he is partially to blame. Julian also repents, and is forgiven by Daisy. Wid’s Daily remarked that the film was a “commonplace story, made fairly attractive chiefly by sterling quality of cast … [Director] William De Mille was given story material which could scarcely be called unusual, but by dint of careful treatment, he has turned out a production that deserves considerable praise.” Motion Picture News also praised the direction, writing “it has taken “Midsummer Madness” for William De Mille to show his qualities of showmanship and artistic appreciation. He has taken a more or less conventional story and made it palpitate with life.” The film was based upon a novel entitled “His Friend and His Wife,” by Cosmo Hamilton. Hamilton spent a month at the Lasky studio, during which time he worked with William De Mille. According to De Mille, “before we began to work, I asked Mr. Hamilton to tell me the story of ‘His Friend and His Wife.’ He started to tell it to me with the ideas and the words of a novelist, introducing more than fifty characters and sketching in details which make up the book. But I soon convinced him that from the standpoint of the picture the story must center in the four characters, portrayed on the screen by Jack Holt, Lila Lee, Lois Wilson and Conrad Nagel, and that he must discard every incident that could not be told in pictures. He worked over this for days, my task always being to have him tell his story in terms of motion pictures.” Betty Francisco, who portrayed Mary Miller, is shown below autographing the shirt of Wallace Reid, who visited the set during filming: Also on the bill was a bear (yes, a real bear) named Big Jim. The Bridgeport Times wrote “monkeys do tricks to perfection but Big Jim gets away with more smart antics than a dozen monks.” Supposedly this bear could “shimmy like a flapper, dance like Charlie Chaplin, and wrestle like “Strangler” Lewis.” Other acts included Cooper and Lane, who were “black face funsters,” and Little Chief Tendehoa, who wore his hair in two braids, sang baritone and did gymnastics. When this guy did his act in Delaware, the (Wilmington) Morning News wrote that he “proved by his feats of strength and daring that the Indian is not a dead race.”

Yes, he has a fun, kind of b*tchy part in that, and the movie itself is lots of fun. One thing that strikes me about Roddy McDowall's career is the way his natural alertness, intelligence, and sensitivity as a child actor was so often channeled into villainous or at least devious parts as an adult. This may have been because some of his most successful roles onstage (before re-emerging in films as an adult actor after a decade-long absence) had demonstrated his skill in that particular area, e.g., as one of the murderers in Compulsion, and as the scheming Mordred in Camelot. Of course, he could still be intelligent, sensitive, and sympathetic when needed, which made him so perfect as Cornelius.

"That's right, Bing. They're REAL and they're SPECTACULAR!" That's Mary Carlisle and Bing Crosby in a 1933 film called "College Humor".

Seems you've never figured out that the whole 'Broadway Melody' number was just another satirical take on the Hollywood musicals that would soon come about after the advent of sound movies, eh? AND, with even a little nod to the gangster genre which would soon also become quite popular with the public. Sure, its also done in more a balletic fashion and as is the closing number in An American in Paris, and is a lot less tongue-in-cheek performed than is the earlier "Beautiful Girl" number, but there's just something about the way Kelly shouts out "GOTTA Dance" and then lively dances around during this sequence that grabs my attention every time I watch it, AND in the way the final shot is of the camera slowly closing in on that famous smile of his. AND, I've never gotten the idea at all that its inclusion was any sort of "vanity" number for Kelly, either. Nope, fits right into the whole narrative and flow of the film for me. (...know what I mean now, jelly bean?)

LIMELIGHT LES MISERABLES DUNKIRK

1951's A Place in the Sun with Angela Vickers (Liz Taylor) and George Eastman (Montgomery Clift) swimming, water skiing, sailing at her parents' summer home at Loon Lake while Eastman's pregnant girlfriend Alice Tripp (Shelley Winters) is baking in the sweltering heat of the city. 1954's Rear Window with photographer L. B. Jefferies (James Stewart) confined to his wheelchair with a broken leg during the dog days of summer while spying on his neighbors across the courtyard with his telephoto lens and binoculars, becoming convinced that a man may have murdered his wife.

And, yet another movie in which if the old saying, "Lucky in cards, unlucky in love" is true, would imply that Van Heflin must have been one hellava poker player. (...well, in regards to so many of the characters he played in his career, anyway)

7 Women What an interestingly different way for a director, John Ford, to wrap up a career. Although there was plenty of fighting going on, having women in the mission field as a story point was unique.

The Heiress (1949) The Story of Three Loves (1953) ("The Jealous Lover," the Moira Shearer ballet dancer segment) The Miracle Worker (1962) The Shawshank Redemption (1994) Cast Away (2000)

two thousand ninety-third category A glimmer of hope THE SNAKE PIT (1948) CHARLY (1968) AWAKENINGS (1990)

Barefoot in the Park The Electric Horseman Our Souls at Night(TV movie) Next: John Wayne and Ward Bond

Johnny Eager (1941) Green Dolphin Street (1947) The Three Musketeers (1948) Next: Jane Fonda and Robert Redford

Bridges Next: Tomei, Pavan, Petoro

1941 - Honeymoon for Three 1944 - The Doughgirls 1946 - One More Tomorrow Next: Lana Turner & Van Heflin

Stage Door (1937)

Sunday, June 6/7 4 a.m. Lisztomania (1976). Ken Russell film with Roger Daltrey ad Ringo Starr.

Hands Across the Table 1935 Pardon My Past 1946 Never A Dull Moment 1950 next: Ann Sheridan and Jane Wyman

1944

Thomas, Marlo

This is the only photo I could find of Margaret Fielding, from Kentucky Days (1923): At least the hair seems similar. I'm guessing it's her by process of elimination, since none of the other possible candidates in the cast of Paris (Irene Thompson, Ruth Eddings, or Gloria Stratton) are a visual match.

Yep, that's definitely NOT Zasu up there. Although, when she was young, she WAS kind'a cute... (...but then again, weren't we all when we were young...well okay, many of us, anyway)

Any Vince Guaraldi fans out there? I dropped this into our mix at work and there was a good response. Even the 20-somethings approved.

Two Henry James adaptations: Daisy Miller (1974) Next: The Wings of the Dove (1997)

Right now, I'm watching Dolores Hart's 36-minute Oscar nominated documentary, "God is the Bigger Elvis." Sister (Mother?) Dolores Hart discusses her career and her life as a Roman Catholic Benedictine nun at a monastery in Connecticut. While (obviously) she's older (she's in her 80s now, but early 70s in the documentary), her voice is still recognizable. As someone who is not religious in the slightest bit (but don't begrudge those who are, as long as they don't force their religion upon me), it's fascinating to me that Hart gave up her career at its peak. I wonder how far her career would have gone had she not answered her calling to be a nun. SOURCE: HBO Max

Eli Wallach, Charles Bronson, Ann Margret, Lon Chaney, Wallace Beery, Lionel Barrymore, Marie Dressler, Janet Leigh, Claudia Cardinale. Loved that they did Diana Dors last year!

I missed it, but I will look for it on demand. I have seen it once before and it is memorable to say the least. MAMIE gives a bad performance for the ages in this one; and RUSS TAMBLYN is THE DREAMIEST!

Thanks, Dargo. Don't get me wrong -- I admire Brando as an actor but was just viewing the word "library" in its....how shall I say...."antiquarian" definition. (I'm so old-school, lol) So contrasting the quaintness of that word with what Marlon represents in terms of non-traditional "undershirt" Method stereotypes -- you can understand.

On Golden Pond takes place over a summer.

Salty O'Rourke 1945 Duffy's Travern 1945 Calcutta 1949 next: Dorothy Lamour and Ray Milland

Nelson, Tracy

Lassie Come Home 1943 Hills of Home 1948 Challenge to Lassie 1949 next: Mona Freeman and William Holden

Just My Luck

Lady Be Good (1941)

Eric Roberts Next: J.B.

1. Martin Balsam in Psycho - he's stabbed and then falls down the stairs 2. Edmund Gwenn in Foreign Correspondant- falls from the top of the building 3. Martin Landau in North By Northwest - falls off of Mt Rushmore 4. Norman Lloyd in Saboteur - falls off of the Statue of Liberty 5. Kim Novak in Vertigo - falls from the Bell Tower Now, you wrote not to be too specific, so I'm not going into detail as to why they all fall, anyone who's seen these films obviously knows all this, if not it's a spoiler. Didn't appreciate the unnecessary snarky comment "althought the Hitch element is a given in this thread"

Jason Next: Keyes, Varden and Ankers

MRS. MIKE (1949)

THE SKY's THE LIMIT (1943) (Fred Astaire has had a few too many) next: southern hospitality

Not always: he also did Mrs. Parkington (who I always think should have had an affair with Mr. Skeffington).

Struthers, Sally

Zeena, played by Joan Blondell in "Nightmare Alley"

That would be a great title, but who would believe that a cop would hit himself with a hammer to make it look like self-defense.

River Phoenix was in Sneakers (1992) with Robert Redford, who was in Butch Cassidy and the Sundance Kid (1969) and The Sting (1973) with Paul Newman. OR River Phoenix was in Little Nikita (1988) and Sneakers (1992) with Sidney Poitier, who was in Paris Blues (1961) with Paul Newman. OR River Phoenix was in The Thing Called Love (1993) and Silent Tongue (1994) with Dermot Mulroney, who was in Where the Money Is (2000) with Paul Newman. [FWIW, Moyna McGill was in Frenchman's Creek (1944) with Joan Fontaine, who was in Until They Sail (1957) with Paul Newman. Your answer is good, too!] Next: Wilford Brimley

Yeah, Bruce Dern got the privilege of possible being the first to kill a John Wayne character in a movie, The Cowboys. In those years, imagine the villiany attached to Dern as he was tasked in violating the great John Wayne whose characters could never be killed. I have seen Dern talk about the experience and the comments to him from Wayne in how hated Dern would then likely be. I think Dern also mentioned Wayne wanting Dern to really rough up the Duke, but like mentioned above, my memory on that part is a bit fuzzy.

I'll go a big step beyond and admit I love them best acted out in a nice BBC miniseries. I had read and loved, "Middlemarch" and "Silas Marner" both before seeing them on Masterpiece, but I loved them even more afterward. Ben Kingsley was perfect as Silas. I have a vague memory of seeing some version of "The Mill on the Floss." Now I need to actually read that one. I just watched, "The Bad Seed. ' Holy moly. The acting, by everyone, was mesmerizing, even the mother whose physical acting was over the top for me, was still pretty awesome, but the one who left me an emotional wreck was Eileen Heckart as the grieving mother of the drowned little boy. She has to play crushed by grief at the same time as playing drunk and she does it so well. I think she's fabulous.

At the lagoon CREATURE FROM THE BLACK LAGOON (1954) PARADISE LAGOON (1957) THE BLUE LAGOON (1980)