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Forever Young: A Memoir available Sept. 7, 2021 Iconic actress Hayley Mills shares personal memories from her storied childhood, growing up in a famous acting family and becoming a Disney child star, trying to grow up in a world that wanted her to stay forever young. The daughter of acclaimed British actor Sir John Mills was still a preteen when she began her acting career and was quickly thrust into the spotlight. Under the wing of Walt Disney himself, Hayley Mills was transformed into one of the biggest child starlets of the 1960s through her iconic roles in Pollyanna, The Parent Trap, and many more. She became one of only twelve actors in history to be bestowed with the Academy Juvenile Award, presented at the Oscars by its first recipient, Shirley Temple, and went on to win a number of awards including a Golden Globe, multiple BAFTAs, and a Disney Legacy Award. Now, in her charming and forthright memoir, she provides a unique window into when Hollywood was still 'Tinseltown' and the great Walt Disney was at his zenith, ruling over what was (at least in his own head) still a family business. This behind-the-scenes look at the drama of having a sky-rocketing career as a young teen in an esteemed acting family will offer both her childhood impressions of the wild and glamorous world she was swept into, and the wisdom and broader knowledge that time has given her. Hayley will delve intimately into her relationship with Walt Disney, as well as the emotional challenges of being bound to a wholesome, youthful public image as she grew into her later teen years, and how that impacted her and her choices--including marrying a producer over 30 years her senior when she was 20! With her regrets, her joys, her difficulties, and her triumphs, this is a compelling read for any fan of classic Disney films and an inside look at a piece of real Hollywood history. (from amazon.com)

That's what I thought too. Plus the stories seem to be "naughty or nice" with differing amounts of drug use and girls. Example. Dolly Parton, very nice, just like what you've seen in interviews etc. An absolute living doll! This was at RCA's office so no drugs or girls (or boys). Another example, Paul Kantner, very, very, very, naughty. Just a total dick. This was at a corporate convention. He was short with everyone who tried to engage him regardless of how high up the corporate food chain they were. Rick Springfield was there as well. His Jesse's Girl was a huge hit and the LP was rolling out so he had to come kiss the ring of the Pres. Just one naughty for him. Condescendingly pleasant with us lower level humans. Plus the guy was such a PacMan hog I wanted to run him over in the parking lot. Bryan Adams, nice. Probably because he's Canadian. NOT a PacMan hog. Drank beers with the guy. Some back stage stories? Certainly. Jefferson Starship, 38 Special opened. It was lead guitarist Craig Chaquico's birthday and he was in high spirits. Both he and Mickey Thomas go in the nice category. They were the only two I remember hanging around for any time outside the safety of their dressing rooms. The promoter Barry Fey flew in some very lovely companionship for the birthday boy. Must have been a two for one deal. Plenty of the stereotypical debauchery going on before the show. And I must say, the boys in 38 Special get a "nice" AND a Gold Star for going the extra mile since they actually showed up next morning to sign a bunch of stand-ups we would later use as promotional grease. I must ALSO say, I have never seen such a bunch of human wreckage still functional, they had clearly been up for at least all night. Really. Hat's off gentleman. More? OK. The Police and the Go-Gos. The tour was in support of Synchronicity and Beauty and the Beat. By now the Police were stinking huge. But I wasn't there for them. I was there because Belinda Carlisle was deeply in love with me, she just didn't know it yet. The cold pie of reality didn't take long to hit its mark. She was right there for a long time and just didn't look. I'm thinking "what she need's glasses?, she doesn't like boys?". *sigh* Sorry. . . . it still hurts. The Two Tom Tour. Tom Petty and Tommy Two-tone. Tommy Two-tone was out for their debut album, Petty was touring in support of Damn the Torpedoes. It won't come as a surprise Petty gets a naughty. The guy is a shrimp and notoriously suffers Napoleon complex, truly goes out of his way to be rude. Stan Lynch (drums), nice!. And a real lady killer. Mike Campbell (guitar), also nice. The Two-Tone boys all get a big nice. Except for Terry Nails (bass player) who tried to corner my girlfriend. David Bowie. RCA always had a love hate thing with Bowie. They enjoyed the arty-farty cred they got by having him but hated supporting his arty-fartyness. The constant complaint was, "he can write a hit any time he wants, he just won't". Which Bowie proved true when he went to EMI and tossed out Let's Dance. But back on point. Bowie was in town to play the lead in "Elephant Man". We had been tasked to get him from the the venue to the hotel. But David wanted to go out for a few drinks before retiring. We took him to a new "new wave club". Hole in the wall embarrassment no one could ever get lucky in, but that's where we went. Bowie ended up ditching us all and leaving with an attractive older lady that looked like she was in the B-52s. I don't know whether Bowie gets a naughty or nice because I'm pretty sure he was an alien. More next time the 90s edition.

I'm not talking about the philosophical positions promoted, or critiqued, by the way the stories in movies play out--and there's plenty of them. I'm talking about observations, and conclusions I've made about the nature of movies from watching them. I expect people will disagree with me, but I've realized the contrary nature of the human race will lead it to just not recognize my brilliance: Movies can get worse, but they can't get better. This stands to reason. Creativity is no small feat. It's easy to have a spark of an idea, but developing it, fleshing it out, making it sparkle and delight, is another matter. I'm sorry to say most of the people involved in moviemaking just don't have it. And the ones that do, well, even they aren't always successful. I can already hear the objections. How can I know it's true? Can't a movie stumble at first, then start to hit on all cylinders. Well, I've tested it. I used to slog my way through the most horrible dreck. Dutifully spending seventy, ninety minutes and more of the precious time I have here in deference to the movie gods, until I came to the realization that when I feel like I'm chewing on cardboard, or have this almost intolerable urge to leap up off the sofa and run heedlessly out of the house, that I might better change the channel, or dust mop my floors. As a corollary, I will say that every movie has something good in it. A bit of dialog, or action, or direction, or something. But it is also true that it is not worth enduring all the other worthless minutes to find it. And then to remember it, you will have to make a note, and catalog the notes to remember why you should watch it again. Another demi-corollary is that if a movie I'm not impressed by has an actor in it I like, but does not show up right away, I'll wait to see what sort of difference they make when they come on (usually none). I'll also give a director I like the benefit of the doubt, for a while. This maxim has saved me countless wasted hours. If I'm not engaged, or I'm actively repelled by a movie in the first few minutes, I turn it off. Sometimes I don't even get through the credits. Don't get your history from movies. I've said this often other places. I wasn't the first to say it. Others have said it many times. The reason being, it's true. Don't go to documentary movies, either. Even cinema verité. You want history, go to a library, go to the books, go to the sources. Movies are entertainment. And by that I don't mean just superficial diversion. Powerful and moving stories are also entertainment. They have to be, otherwise people wouldn't watch 'em. Regardless of the time they depict, movies are always about the time they were made in. The example that comes first to mind to illustrate this is M*A*S*H (1970). Ostensibly about the Korean War, nobody doubts it's anti-war, anti-establishment message directly related to the Vietnam War and the rejection of the conventional american myth that grew out of the 60s. You can have Marie Antoinette sip chocolate out of the finest china, you can have a centurion kicking up sand in the Levant, you can have intergalactic battles fought thousands of years in the future. But it's all about when the movie was made. The mores, the culture, the ideas and conventions that were around at the time will shape and color the movie. You can also see this in movies that have had many remakes over time, like the A Star is Born movies. And some often readapted literature, like The Three Musketeers. This leads to the next observation, that: The more things stay the same, the more they change. This is a little harder to get a handle on. Comparing production code movies with more recent ones highlights the changes in our culture,. But it's surprising how persistent the conventions of storytelling are. And they're not always what you would assume. Of course, today movies are much more explicit in language, sex, and violence. Things that were severely frowned on in the past now pass without comment, and things that used to be accepted uncritically are now anathema. Everyone can make their own list. And they don't all relate to race and abortion. An example that comes to mind is from Shakespeare in Love (1998). Despite portraying the Bard in an adulterous affair without any scruple, the same old messages about the aristocracy are perpetuated. Shakespeare and Viola's continued relationship is impossible because the obligations of her class force her into a loveless arranged marriage. Think of The Swan (1956), and One Romantic Night (1930). An actor can make the difference. An otherwise uninteresting, or downright unwatchable movie can be made not only entertaining, but great by the performance of an actor. It doesn't happen often, but it can. For instance, Random Harvest (1942). It's a romance movie, which I almost always loathe, being even more formulaic than slasher movies. It has a plot that requires a suspension of disbelief that could give someone a hernia. And it's one of the favorite movies in my rotation. Why? Because of a performance. In this case, two performances, Greer Garson and Ronald Colman. It's been said that the mark of a great actor is the ability to read the entries of a phone book and make it engaging. Well, these two top that by a mile. They recite the lines of this script and make it painless to watch. Even more. They make it enjoyable. Gene Wilder does the same in Willy Wonka and the Chocolate Factory. A movie entirely worthless (except for a decent song: Pure Imagination), is brought to life by his performance.

She's Working Her Way Through College

Okay, this doesn't qualify as having met or seen a celebrity, but it's related. In a way. I was in the apartment of a girlfriend when her roommate (whom I had never seen before) unexpectedly returned home after having been on tour as a go go dancer with ZZ Top (that's the celebrity connection here). Into the room she strutted wearing a body hugging outfit and knee high leopard skin boots. You know, the type deathly afraid of any attention. My eyes popped out about a foot and a half. She really was strikingly beautiful and sexy. And she knew it. Accompanying her was her Hulk Hogan lookalike boyfriend who must have spent five hours a day in a gym to get those pecs and probably spent more time in front of a mirror than she did. Unlike the Hulkster, this guy had hair, long blonde hair that went down to his very broad shoulders. He was wearing some kind of skimpy shirt to make sure that everyone could see his abundance of muscles. His language skills were limited but I do remember him calling me "Dude" a lot. According to my girlfriend her roommate had broken their "no men" pact for their apartment, having Mr. Apollo moving in there, as well. My friend, who was forced to sleep on the couch, as a result, said the roommate and Hulk spent their nights in the bedroom grunting in carnal delight for hours on end. I really felt out of it with these two characters strutting around and preening in front of a full length mirror. Soon ZZ Top girl and my girlfriend were having an argument about something (I forget what) and I left the place. Not long afterwards my friend moved into another apartment with a different girlfriend. I must admit to relief with that news, and never saw either Leopard Skin Boots Lady or Bench Press Man again.

Virginia Mayo

Russell, Jane

You are correct, Princess, and the thread is yours! Although Barbara O'Neil's most famous role is as Scarlett's mother, her best role is undoubtably as the Duchesse de Praslin, the jealous, neurotic wife of the Duke (Charles Boyer) in All This, and Heaven Too. The film is based on a book which is based on fact. As a student of French history, this may interest you: https://en.wikipedia.org/wiki/Françoise,_duchesse_de_Praslin The film in which Barbara O'Neil is merely referred to as "The Woman" is I Remember Mama. She plays Uncle Chris's (Oscar Homolka's) girlfriend, who lives with him, which scandalizes his prudish nieces, who merely refer to her as "The Woman," though her character's name is Jessie Brown.

Got around to watching the movies. Ken Russell holds true to form in them. In Lisztomania (1976) Ken Russell, having seen he created something extravagant, felt irresistibly compelled to create something more extravagant. And he went on, piling extravagance on extravagance, striving for Olympian heights. The movie, as far as I can make out, depicts the development of romantic music in the nineteenth century as an allegorical conflict between Franz Liszt and Richard Wagner, posing Liszt as champion of true artistic virtue and Wagner as the evil genius, whose philosophies were responsible for the rise of naziism. In a climactic scene he manages to satirize both the perpetrators of the nazi horror and its victims, while trivializing the Holocaust, having a Hitler/Frankenstein's monster brought to life by a crazed Wagner mow down Jewish pawnbrokers with a guitar/machine gun. Like I said, true to form. Oh, and lots of naked women. Mahler (1974) is a little more restrained, if you can call having a quiet, lakeside boathouse burst suddenly into flame for an opening shot restrained. It follows Mahler and his wife, Alma on a train trip during which we get a retrospective of his life in a series of flashbacks. It's more of a conventional effort, but don't worry, Russell takes every opportunity for extravagance. And naked women.

I'm surprised no one has mentioned it earlier. But, do you really want this place to turn into the sewer Twitter or Facebook is?

I have always liked her. she guested on maverick six times one ep right along side Allison Hayes our beloved 50 foot woman. she co-starred with fellow NJ native Arthur Franz in The Flame Barrier my favorite blob movie. he plays a hard-bitten jungle guide to her pampered heiress. I read that she and arthur franz didn't get along well when they were shooting that and here I always thought it was just part of the movie's dramatics. a friend of my brother is friends with her son and so he gave my brother the gift of a picture she wrote on. it was a gift to the father of one of my brother's friend other friends. the beautiful Kathleen Crowley passed away in 2017.

https://www.hollywoodreporter.com/movies/movie-news/ned-beatty-dead-deliverance-1234967321/ The actor also had memorable roles in 'Nashville,' 'Network' and 'Homicide: Life on the Street.' Ned Beatty, who made an indelible first impression in Deliverance before turning in noteworthy efforts in Nashville, Network and Homicide: Life on the Street as one of the most respected character actors of his time, has died. He was 83. Beatty died Sunday of natural causes at his Los Angeles home, his daughter Blossom Beatty told The Hollywood Reporter. The Kentucky native also portrayed Lily Tomlin’s good ol’ boy hustler-lawyer husband in Robert Altman’s Nashville(1975), was a slippery Miami district attorney in Alan J. Pakula’s All the President’s Men (1976) and elicited laughs as Lex Luthor’s (Gene Hackman) bumbling sidekick Otis in Superman (1978) and its 1980 sequel. On television, Ned Beatty was at his best as Det. Stanley “The Big Man” Bolander on NBC’s Homicide: Life on the Street and as the chaplain assigned to an American private (Martin Sheen) in his final hours on the somber 1974 NBC telefilm The Execution of Private Slovik. Beatty had an excellent basso profundo singing voice, and his goal as a teenager was to have a career in the musical theater. One of his rare performances as a leading man came as the great Irish tenor Josef Locke in Hear My Song (1991). The harrowing survival saga Deliverance(1972), directed by John Boorman, starred Beatty, Burt Reynolds, Jon Voight and Ronnie Cox as buddies from Atlanta who take a trip to hillbilly country to canoe down a river. Beatty said he doubted he was going to get a part in the picture when he sat down with Boorman, his assistant and their wives for lunch in New York. A veteran of the local theater, he had never been in a feature film. “There was a very attractive lady [the wife of Boorman’s assistant] sitting next to me to my left,” he recalled in a 1992 interview with the CBC, “and I spent the whole time giving her my best shot … I was terribly married [but still] terribly flirtatious. “I was quite the heel, and I think that’s what John Boorman liked. He said he thought I was the rudest person he had ever met.” Deliverance, of course, has become infamous for its uncut 10-minute male rape sequence (“Squeal like a pig!”) in which Beatty, as pudgy businessman Bobby Trippe, is the victim. It’s a scene that viewers — male viewers in particular — have difficulty stomaching. Years later, The New York Times called upon Beatty to write an article about rape for the newspaper’s op-ed section. “The bottom line [of his piece] and the bad news,” he said, “was that a man would rather be a rapist than have to identify with the victim of a rape.” In other Reynolds starrers, Betty portrayed the lawbreaking sheriff J.C. Connors in White Lightning (1973) and Gator (1976) and a country music singer-songwriter in W.W. and the Dixie Dancekings (1975). The two also worked together in Stroker Ace (1983), Switching Channels (1988) and on a 1989 episode of ABC’s B.L. Stryker. In Network (1977), directed by Sidney Lumet and written by Paddy Chayefsky, Beatty spent just one day on the set and was seen onscreen for less than six minutes. Yet no one could argue that he deserved his lone Oscar nomination for his commanding performance as Arthur Jensen, the bombastic bigwig of UBS’ parent conglomerate who convinces anchorman Howard Beale (Peter Finch) to see things his way. “You have meddled with the primal forces of nature, Mr. Beale, and I won’t have it!” Jensen bellows in a dimly lit boardroom. Beatty, who often played Southern yokels and was at ease doing comedy as well as drama, never seemed to harbor any regrets about not having more leading-man roles. “They’re more trouble than they’re worth,” he once told People magazine. “I feel sorry for people in a star position — it’s unnatural.” Ned Beatty was born on July 6, 1937, in Louisville, Kentucky, the son of a traveling salesman who pitched a system of fire hydrants to officials in small towns. He said his voice broke when I was 10, and he sung in barbershop quartets and at Baptist revivals and weddings as a teenager. Beatty graduated from Eastern High School in 1955 and then earned a scholarship to attend Transylvania University, a Christian Private school, in Lexington, Kentucky; while in college, he made ends meet by working as a butcher. When he was about 19, he got a singing part in the play Wilderness Road. “It was an outdoor play about the two counties in Kentucky in the Civil War — one had a lot of slave owners, and the other was very abolitionist,” he told the Chicago Tribute in 1992. “Because my voice was so loud, they gave me some [speaking] lines.” The experience got him hooked on acting, and in 1957 he joined the Barter Theatre in Abingdon, Va. (Ernest Borgnine, Hume Cronyn and Larry Linville also performed there early in their careers), moving about the country and performing. That was followed by a stint in Washington with the Arena Stage Company, where he appeared in the original production of The Great White Hope, starring James Earl Jones and Jane Alexander. He eventually made his Broadway debut in the play after it came to New York in 1968. Around this time, Beatty also landed a job as a bank robber in an FBI training film. “About a year later, I started getting arrested,” he told Backstage in 2001. “If I went into a small town somewhere, I’d get arrested. I’m serious. That’s the way cops work. They’re used to seeing pictures of bad guys. If they see you and they know that you’re a bad guy, they arrest you. So that went on for a little while, until I started getting known as a film actor.” Beatty sure was known after Deliverance. He went on to play a thief turned marshal in John Huston’s The Life and Times of Judge Roy Bean (1972), a rube salesman in Silver Streak (1976), the father of a terminally ill child in Promises in the Dark (1979), the head of an American spy organization in Hopscotch (1980) and the father of an unlikely football hero in Rudy (1993). His film résumé also included John Cassavetes’ Mikey and Nicky (1976), Exorcist II: The Heretic (1977), Gray Lady Down(1978), Steven Spielberg’s 1941 (1979), Huston’s Wise Blood (1979), Radioland Murders (1994), He Got Game (1998), Cookie’s Fortune (1999) with Altman again, Just Cause (1995), Spring Forward (1999), Thunderpants (2002) and Charlie Wilson’s War (2007), and he was the voice of the deceivingly cuddly Lotso in Toy Story 3(2010). Beatty also starred as an ex-Marine in charge of a D.C. community center on the short-lived 1977-78 CBS sitcom Szysznykand played John Goodman’s father in a recurring role on ABC’s Roseanne. The actor returned to the stage and Broadway in 2003 to portray Big Daddy in a revival of Cat on a Hot Tin Roof, winning a Drama Desk Award, then spent more than a year touring in a production of Showboat. Survivors include his fourth wife, Sandy, and children Blossom, Doug, twins Charles and Lennis, Wally, Jon, Thomas and Dorothy.

The Year of Living Dangerously 1982

Daddy Long Legs

Indeed. And she's been that way ever since Gloria Swanson passed in 1983. Ironically they were also in the same disaster film, Airport '75, 24 years after Sunset Boulevard, but they never managed to share a scene.

Funicello, Annette

Darnell, Linda

Lineups I would choose for the suggested stars. Jane Wyatt Edit: editing to include the number of times each film has actually aired on TCM. Girl from God's Country (Republic, 1940) - At first, the latest nurse (Wyatt) to a young doctor in Alaska (Chester Morris) appears destined to follow the path of her predecessors and quickly abandon the frigid winters, desolate landscape and surly disposition of her employer, but after she witnesses the level of his devotion to his profession, she decides to stay. TCM Airings: 0 The Kansan (United Artists, 1943) - A cowboy wounded while stopping the James Gang from robbing a bank (Richard Dix) wakes up in the hospital to find he's been elected town marshal. He soon comes into conflict with the town banker (Albert Dekker), who controls everything in the town and is squeezing the townspeople for every cent he can get out of them. From the poster, it looks like Wyatt plays a showgirl who becomes Dix's love interest. TCM Airings: 4 Buckskin Frontier (United Artists, 1943) - A railroad man (Richard Dix) and the owner of a freight line (Albert Dekker) battle for control of a crucial mountain pass. It's Dix vs. Dekker again, and Wyatt I assume is once again Dix's love interest and also Lee J. Cobb's daughter although she was in real life one year older than Cobb. TCM Airings: 0 None But the Lonely Heart (RKO, 1944) - When an itinerant son (Cary Grant) returns home to help his sickly mother (Ethel Barrymore) run her shop, they both are tempted to turn to crime to help make ends meet. Wyatt is a cello-playing girl from across the street who loves Grant and patiently waits for him to become a better man. TCM Airings: 48 Strange Conquest (Universal, 1946) - Two doctors (Lowell Gilmore, Peter Cookson) try to find the cure for a fatal disease, while battling each other for the affection of a beautiful woman doctor (Wyatt). TCM Airings: 0 Pitfall (United Artists, 1948) - A married insurance adjuster (Dick Powell) falls for a femme fatale (Lizabeth Scott) while her boyfriend (Raymond Burr) is in jail, and all suffer serious consequences as a result. Looks like Wyatt plays Powell's wronged wife. TCM Airings: 13 My Blue Heaven (20th Century Fox, 1950) - A married song and dance team (Betty Grable and Dan Dailey) can't have children. They try to adopt, then to keep the children they adopt as they continue to work on their television show. There's an already married secondary couple who looks on and provides support played by Wyatt and David Wayne. TCM Airings: 4 Our Very Own (RKO, 1950) - A woman (Ann Blyth) discovers she's adopted after a heated argument with her sister (Joan Evans), and with the reluctant support of her adoptive parents (Donald Cook, Wyatt) and her baby sister (Natalie Wood), she goes in search of her biological mother and true identity. TCM Airings: 11 The Man Who Cheated Himself (20th Century Fox, 1950) - A veteran homicide detective (Lee J. Cobb) who witnesses his socialite mistress (Wyatt) kill her husband (Harlan Wade) sees his inexperienced brother (John Dall) assigned to the case. TCM Airings: 5 Criminal Lawyer (Columbia, 1951) - Two alcoholic lawyers (Pat O'Brien, Carl Reid) sober up to defend a friend (Robert Shayne) in a murder case. Wyatt plays a member of O'Brien's staff and I think a potential love interest. TCM Airings: 1 Treasure of Matecumbe (Disney, 1976) - In 1869 Kentucky, a young boy (Johnny Doran) and his friends set out to find a treasure chest hidden by his late father in the Florida Everglades during the Civil War. Wyatt plays one of the boy's two aunts, along with Virginia Vincent. TCM Airings: 1 Star Trek IV: the Voyage Home (Paramount, 1986) - To prevent Earth from falling prey to alien probe, Captain Kirk (William Shatner) and his crew must travel back in time to San Francisco in 1986 to collect the only beings that can communicate with it: humpback whales. In her final film role, Wyatt plays the mother of Spock (Leonard Nimoy), a role taken on by Winona Ryder in more recent films. TCM Airings: 0

Suddenly Susan (1996-2000)

Always Leave Them Laughing

Ruth Roman

FYI, it's Orson WELLES (with a second "e" after the ell.) If Orson were still alive, it's likely he would drunkenly berate you for this before bazooka barfing 2/3 of a bottle Paul Maisson Pinot Grigiot all over your feet.

Overly dramatic - Anthony Hopkins as Hannibal Lechter - he chewed the scenery with a bottle of Chianti to wash it and the fava beans all down.

House of Dracula (1945) It was the end of the line for the monster franchise at Universal when the studio decided to reunite some fairly tired monsters once again for this sporadically enjoyable concoction. Dracula (a top hatted John Carradine) comes a visitin' Dr. Edelmann (Onslow Stevens) at his castle, hoping that the good doctor can find a medical cure for his vampirism. Soon afterward Larry Talbot, aka the Wolf Man (Lon Chaney Jr.) also pops in, hoping the doctor can do the same for his hirsute issues whenever there is a full moon. And it won't take long before the doctor will also stumble across Frankenstein's Monster (Glenn Strange), lying in a dormant state in a cave near his castle. The doctor is soon performing frequent blood transfusions on Dracula while working on a formula to help Talbot. As for the Frankenstein Monster, it is agreed to just let sleeping monsters lie (though he does haul him up into his laboratory). Assisting Dr. Edelmann is Nina (Jane Adams), his faithful nurse, who is also hoping that one day the doctor may be able to do something about that hunch on her back. Martha O'Driscoll is another nursing assistant of the doctor. She feels for Talbot's anguish but, unfortunately, she also captures Dracula's hypnotic eye. Dracula wants to be cured, alright, but, spot a pretty girl and, well, you know, old neck biting habits die hard. Perhaps ticked that the doctor interrupted a session he was about to have with the nurse, Dracula will reverse the flow of one of his blood transfusions with the doctor which, in turn, will cause Dr. Edelmann to start turning a little monstrous himself. Everything about this production is very familiar and predictable for those horror fans who had seen the previous monster combination flicks in the series (Frankenstein Meets the Wolf Man and, particularly, House of Frankenstein). However, the moody black and white photography of the impressive sets is first rate, as well as the musical score (an uncredited William Lava). Onslow Stevens, once his doctor's character starts to turn mad or whatever he is, arguably has the most effective scenes in the film, brief as they are. The doctor will also have an effective nightmare montage sequence, which involves all the monsters in the film, including a clip taken of Karloff from Bride of Frankenstein. Glenn Strange's Frankenstein Monster is the least utilized monster in the film and the picture will wrap up very quickly once he pops off those straps on his arms and chest on his lab table and starts stomping around. Oh, yes, the villagers will also get upset with the goings on at the castle (have you heard this one before?) and storm the place. Finally, Lionel Atwill is also in the cast, sadly largely wasted as a police official (a reprise, of sorts, of his memorable turn in Son of Frankenstein, only this time with two arms). This was one of Atwill's final roles, as the actor would die the following year. As I said, House of Dracula was the last of the line for the "serious" Universal monster films, to be brought back one final time three years later when they met up with Abbott and Costello for a surprisingly memorable finale. 2 out of 4

I recall enjoying Kathleen Crowley's appearances on Maverick. Her episodes, in which she played a sophisticated beautiful hustler, were always light hearted, often quite clever, and Crowley played her roles as a scam artist with her tongue firmly in her cheek. One episode in particular I recall with delight called Maverick Springs, which had Crowley's scheming Melanie Blake taking on both Maverick brothers. I regarded her appearances in the series as being among the series' highlights.

Worked for RCA, but we also distributed A&M, IRS, Deutsche Grammophon, and several other smaller jazz and blues labels, so we supported all the associated acts. What I did exactly was merchandising. I dealt with retailers in our region, made sure they had display materials for whoever we were pushing or who was coming to town. If your store reported "sales" to Billboard magazine, you got a lot of attention.

Is it only me, or does this shot of young Jimmy almost look like a Norman Rockwell painting?

Shearer, Norma

6) People often forget that Victor Mature was the actual star of the movie because of Richard Widmark's phenomenal success in his debut role.

John Gabriel, actor, singer-songwriter, and television producer, dead at 90

"How could you believe me when I said I loved you when you know I've been a liar all my life?"--Royal Wedding Next: Another Alan Jay Lerner-Burton Lane song that you like

Movies in which Beulah Bondi plays James Stewart's mother: Of Human Hearts (1938) Mr. Smith Goes to Washington (1939) It's a Wonderful Life (1946)

Guys and Dolls (1955)

Zachary Scott

Joel McCrea

I have to agree: I wish Eddie Muller would direct more people to these forums.

THE PALM BEACH STORY (1942)

It is quite amazing the amount of screen time Elvis gets on TCM.Well you can start your month with Kissin' Cousins the Sam Katzman cheapie,the first true rotten Presley movie.I recommend the ending where you clearly see Elvis and his 'twin' in the hay, Katzman and Parker were so cheap they did not even bother for an optical correction. Colonel Tom Parker insisted on keeping the budget of all Elvis movies to a minimum, and a $750 optical was required to achieve the effect, the two cousins Presley plays are only seen together in the same shot once. Presley and his double appear in the immediately prior long-shot where they somersault into the hay .Incredibly bad movie and for all the masochists down here i strongly recommend 'Tickle Me' the bottom of the barrel worthy of the Eddy Murphy's jokes,,terrible...

txfilmfan, you've brought up a sore point. It always bothers me when Eddie Muller, at the end of his Noir Alley "outro" , invites viewers to comment on either Twitter or Facebook. I don't "do" Twitter or Facebook, and don't intend to. It definitely feels like a slight to those of us who like to post our ideas about movies on this forum, which after all is the home discussion page for Turner Classic Movies, and Eddie's program is part of Turner Classic Movies. He never even mentions this forum's existence. And yet, I suspect that the noir fans who do choose to discuss Noir Alley here, as opposed to Twitter or Facebook, know their movies better, and go into more depth in the conversations about the films than T. or F. Switching gears: did anyone notice that Eddie mentioned that Dennis O'Keefe had transitioned from light comedies and musicals in his earlier career to more serious, darker work? And that he compared that career switch to that of Dana Andrews? Was that a mistake? Did he mean Dick Powell?

Before Sven went over the cast, I told my SO that the main character played by Robert Harris was on Perry Mason a lot. Sure enough, that was the running gag throughout the host segments. I was cracking up.

Nope, but there is one obscure one out there. By ELO. ELO is my most memorable back stage experience. The band was getting dressed and I was hanging around watching the stage set up & started talking to this stage hand fiddling with the synthesizers. He introduced himself as Bob and I freaked! You're THE Bob Moog? He couldn't get over the fact I knew who he was, but I'm a theremin player & Raymond Scott fan, kindred spirit. Wish I could have gotten to know him better but he split after the show was over. Although I enjoyed hanging around with the guys, (more card players, must be a Manchester thing) I was far more starry eyed over meeting Bob Moog! I was just crushed when he passed. Glad Lynne is still going strong, what an incredible contribution he has made to music. Bev Bevan was the most personable, but we were all young crazy kids at that time. The closest I've ever been to anything sexual was seeing Bev in his shorts-memorable because they were bright blue spandex! Never saw anything like that before! I also remember being shocked, shocked when seeing pre-fame THE CARS in a bar and one of the members was wearing leopard print spandex pants, a black leather vest and NO SHIRT underneath it! Fashion horrors! 😝 Also saw pre-fame U2 in a bar, recommended to me by Irish band friends Horslips. They were just OK, but acted like spoiled brats to the crew/managers. Saw them in a big venue a year later and they were still just OK on stage & still treated their support crew miserably - never spoke to any of them. I've told all these stories here before and they're musicians so figured it wasn't the place until other non-movie celebs were mentioned.

Double feature featuring Bing Crosby-- Country Girl & The Bells of St Mary's

Maybe her modeling career after Funny Face really took off and now she’s a high-end Givenchy haute-couture model, who then gets involved in a caper to spice things up a bit.

Winters, Shelley

Something for down the road, my idea for August 2023's Summer Under the Stars: 1. Greta Garbo (mostly her silent films, with only three to five of her talkie films - and perhaps TCM's documentary about her) 2. Ronald Reagan 3. Sara Allgood 4. Van Heflin 5. Mercedes McCambridge 6. Oliver Reed 7. Vivian Blaine 8. Bruce Bennett 9. Lizabeth Scott 10. Juano Hernandez 11. Tuesday Weld 12. Hattie McDaniel 13. Sam Wanamaker 14. Bonita Granville 15. Michael Rennie 16. Shirley Knight 17. Johnny Weissmuller 18. Alan Bates 19. Dorothy Patrick 20. Omar Sharif 21. Barry Sullivan 22. Martha Scott 23. Lloyd Nolan 24. Juanita Moore 25. Julie Andrews 26. Rossano Brazzi 27. Danielle Darrieux 28. Tyrone Power 29. Romy Schneider 30. Don Ameche 31. Irene Dunne

Another great underrated Hispanic-American actor, Henry Da Silva. Worthy of a Summer Under the Stars Tribute. Although his name is not a recognizable, Mr. Da Silva worked regularly in both Hollywood and television. Some of his movie credits included, Ride A Crooked trail 1958, The Banderos 1958, Cinderfella 1960, Ocean's eleven 1960, The Manchurian Candidate, 1962 and many others.