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I simply took it to mean that he was ill-fated from the beginning. It is much like when you fall to your knees and look up into the sky and say: "Why me, Lord?" and the clouds part and a thunderous voice replies: "Some people just pi.ss me off."

North By Northwest

What about Charade? Even Cary Grant was hesitant about that one. I think it works, primarily because she's chasing after him (per Grant's suggestion/requirement for taking the role). But he's definitely old enough to be her father. I was never convinced these two had an affair:

So I caught Warning Shot after Point Blank, I had never seen it before, It wouldn't be something I'd go out of my way to seek out but it was watchable. I break American Noir Style Films into Classic Hollywood Noir (1940-1959), Transitional Noir (1960-1969), and then Neo Noir. Neo Noir an be broken into Early Neo Noir (1970s), middle Neo Noir (1980s-1990s) and Late Neo Noir (post 2000) Harper, Point Blank, and Warning Shot all fall into the Transitional Noir period. What happened was that during 1950s Hollywood was loosing their audiences to competition with TV. Previously the pool of dark themes and subject matter that Noir forged into stylish films, were held in check by a voluntary Motion Picture Production Code. Think of Hollywood productions under the Code as having a guardrail of violence on one side and a guardrail of sex and taboo subjects on the other. When the Big Studio motion picture companies began to get serious competition from television, they needed an edge to get butts out of the living rooms and into the theaters they began to no longer enforce the code and to explore more previous banned subject matter. The guardrails disappeared. Then independent producers in competition with the Hollywood Studios tried to out do them by being the Avant Guard of exploiting the new freedoms. The legal challenges of, and ever changing benchmarks to the obscenity laws and the old taboo themes weakened the bulwarks of the pool and that arbitrary "dam" holding back all creativity burst out with predictable results. So those Film Noir that went too far over the line depicting violence started getting classified as Horror, Thriller (even though they were just say, showing the effects of a gunshot wound, or dealing with weird serial killers, maniacs, and psychotics, etc.). Those that went too far depicting sexual, drug, torture, etc., situations were being lumped into or classed as various Exploitation flicks, (even though they are relatively tame comparably to today's films). The the noir-ish films that dealt with everything else, except Crime, concerning the human condition were labeled Dramas and Suspense. Those that tried new techniques, lenses, etc., were labeled Experimental. Some films are so so bad in all aspects that they acquire the "so bad it's good" Cult status. These Film Noir I label the Transitional Noir. Since the 1970's all of the above in various forms and intensities can typically be part of the creative tool box used in what we call Neo Noirs. Also note that Neo Noirs have been made for roughly fifty years easily eclipsing Classic Film Noir.

You might reflect on how it is a blessing that you left the industry when you did. It seems now to be a common complaint that passengers do not remove the batteries from their sex toys before checking their baggage and the jostling of it results in it being activated. The noise and vibration must then be investigated as a possible bomb. I must wonder how many of those incidents you would have to handle before you could no longer maintain a professional façade while telling a passenger that their **** triggered a partial shut-down of the airport and delayed a dozen or more flights.

That reminds me of the time I was with a friend who saw a ten dollar bill blowing across a plaza parking lot. She was after it faster than a jet. Car wheels were squealing to a halt as she pursued that bill, impervious to all physical harm that could occur from a mere encounter with a chrome and steel vehicle moving twenty miles an hour her way. She came back smiling with the bill clutched in her happy fingers. I was shaking my head but figured she had earned it. Other people standing nearby were laughing.

And here I always thought an even better title for this movie (and maybe the book) would have been, How Not To Pack Your Checked Baggage ! (...of course and then again, having been an airline baggage handled myself at one time, I would probably think so, huh)

Mata Hari (with Garbo) The Russia House Married to the Mob (really funny) No Way Out (the Costner version) Scandal (about the Profumo affair in Britain) Notorious (with Bergman, Grant and Claude Raines (he steals the movie)) I really wish they would run it again.

Whenever John Wayne is teamed with almost any other actress than Maureen O'Hara. (...the chemistry just isn't nearly up to the same degree)

Whenever Audrey Hepburn is paired with a guy old enough to be her father. With Bogart in SABRINA (she has more chemistry with William Holden). With Gary Cooper in LOVE IN THE AFTERNOON (a major mismatch). With Rex Harrison in MY FAIR LADY (another unconvincing pairing).

This one: The Iron Petticoat

I never thought much about the title. Maybe “The Killing” title was used in reference to the slang, I.e, “I made a killing today at the racetrack.” I love this movie though. I enjoyed the way the heist was set-up and the eventual execution. Elisha Cook Jr and Marie Windsor were fantastic, as was Sterling Hayden. I enjoyed the non-linear narrative. I know Stanley Kubrick didn’t like the narration, but I liked it. It helped me keep the events of the movie straight in my mind.

The Killing (1956) An ex-convict plans a perfect robbery. My main problem with this movie is that it is difficult for me to find when I wish to watch it because I can never truly associate the title with the action and so must backtrack through which actors appeared together. I find the title inappropriate because it is not an assassination and no person was to be killed during the robbery. This movie flips all the switches for my definition of a noir. None of the characters nor any aspect of their environment are prettified or excused. They are as they are and the world is as it is. Sterling Hayden is perfect as a man who has learned the hard way that you have to take all that you can grab and that you will lose as badly for stealing a little as you will for stealing a lot. This is why he has set his sight on the grandest score possible. I have a natural antipathy for short men and Elisha Cook Jr. ideally demonstrates how they are more like yappy little dogs rather than being truly human. Marie Windsor deserves special notice as I know of few others who could so wonderfully portray simple and honest amorality while flouncing around in next to nothing. The performance of rest of the cast show why they appeared in a great number of roles during their careers. 8.3/10 I watched it on: Amazon Prime Video and I see that it is listed for viewing for free with commercials on: PlutoTv.

I'm going to Los Angeles/San Diego in October. We're planning on Universal Studios and eating at Musso & Frank's. I'm also going to the Larry Edmunds Bookshop. I also hope to see The Brady Bunch House (I know, not Classic Hollywood) when I'm there. In San Diego, we're spending a few days at the Hotel Del Coronado where Some Like it Hot was filmed. Not the summer per se, but this past March, we went to an aviation/car museum in Hood River, OR and I saw the two stunt planes flown in The Tarnished Angels. A couple years ago, I sat in the cockpit of Howard Hughes' Spruce Goose at the Evergreen Aviation and Space Museum in McMinnville, OR. I also recently attended two films during the Paramount Theater Summer Film Series in Austin, TX. I saw To Catch a Thief and A Streetcar Named Desire.

late Sat., 7-3 (times ET) 10:15 pm The Tall Men (1955) 2h 2m | Adaptation Two brothers, Ben and Clint, join a cattle drive from Texas to Montana. While heading for ... see: https://www.tcm.com/tcmdb/title/92299/the-tall-men#articles-reviews?articleId=021388 Director Raoul Walsh Cast Clark Gable, Jane Russell, Robert Ryan Sun, July 4 NOIR ALLEY.......... 12:30 am Guilty Bystander (1950) 1h 32m | Crime Guilty Bystander stars Zachary Scott and Faye Emerson, in their fourth and final film together. They play a divorced couple searching for their kidnapped toddler son. Scott stars as Max Thursday, a former police officer down on his luck, who suffers from alcoholism and works as a house detective at a seedy hotel.......... The film received mixed reviews. New York Times critic Bosley Crowther praised the performances of Scott, Emerson and Boland and while he felt that Lerner and his team had done “a fairy respectable job” the story to him was “patent, contrived, and superficial.” However, it appealed to audiences and proved to be quite profitable. Years later, thanks to its restoration, Guilty Bystander is being rediscovered as a film noir hidden gem." see: https://www.tcm.com/tcmdb/title/77063/guilty-bystander#articles-reviews?articleId=021396 Director Joseph Lerner Cast Zachary Scott, Faye Emerson, Mary Boland

I was re-watching this bad film classic from 1970 and my only explanation from this what were they thinking disaster is drugs. There seems to be too much of Mae West, that yes is Hollywood icon but by then she was not a box office attraction- were they trying to attract an older audience by casting her ? The scene in which Mrya rapes Rusty is played both a horror film- (all those lightning flashes) In the book the scene is erotic- (the violation of straight men must have been one of Vidal's favorite fantasies- it turns up again in "Caligula) In the movie it's neither shocking or sexy- it's just ridiculous like most of the film

I love The Killing, but when Sterling Hayden puts the money in the suitcase, I'm always yelling at him: Don't take the money out of the bag! Just put the bag in the suitcase! Alas, he never listens to me.

LARRY, MOE AND CURLEY IN THE ALL-FAULT BUNGLE

Sounds like heaven to me.

The Mysterious Lady (1928) Conspirator (1949) The Spy Who Loved Me (1977) Another Country (1984) La Femme Nikita (1990) [+ remake Point of No Return] A Different Loyalty (2004) Black Book (2006) Lust, Caution (2007)

Dishonored 1931 From Russia With Love 1963 Arabesque 1966 Deadlier Than the Male 1967

Apart from the cynicism of the robbery being upended by greedy members out for themselves, I watched the first half thinking, it doesn't FEEL like a sardonic, emotionally-removed later-Kubrick film. And then, in the second half, where little real-world things start going wrong with the perfect on-paper plan... 😅

If it means anything to anyone, the novel on which the film THE KILLING is based is called CLEAN BREAK, And I actually kind a like that title better. But at the same time, I also prefer the book to the movie or at least I did when I read it a long long time ago.

I get that. Like Wayne and Elizabeth Allen in DONOVAN'S REEF. Talk about May and December? Seemed more JANUARY-DECEMBER to me! Sepiatone

1960s Transitional Noir - some are going to feel like Classic Noir some are going to feel like Neo Noir. There are black comedy Noir also... Girl Of The Night (1960) Murder, Inc. (1960) The Savage Eye (1960) The 3rd Voice (1960) Why Must I Die? (1960) 20,000 Eyes (1961) Blast Of Silence (1961) The Young Savages (1961) Night Tide (1961) Underworld USA (1961) Something Wild (1961) All Fall Down (1962) Cape Fear (1962) Experiment In Terror (1962) Manchurian Candidate (The)(1962) Private Property (1962) Requiem for a Heavyweight (1962) Satan in High Heels (1962) Shock Corridor (1962) Stark Fear (1962) Twilight Of Honor (1963) The Naked Kiss (1964) The Pawnbroker (1964) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Kiss Me Stupid (1964) The Glass Cage (1964) The Thrill Killers (1964) Strange Compulsion (1964) The Strangler (1964) Angel's Flight (1965) Brainstorm (1965) Flesh and Lace (1965) Hot Skin And Cold Cash (1965) Love Statue (The)(1965) Mirage (1965) Once A Thief (1965) Tell Me in the Sunlight (1965) Who Killed Teddy Bear (1965) Aroused (1966) Mr. Buddwing (1966) Seconds (1966) Rage (1966) Harper (1966) In The Heat Of The Night (1967) In Cold Blood (1967) The Incident (1967) The Outsider (1967) (TV movie) Reflections in a Golden Eye (1967) Sweet Love, Bitter (1967) Boston Strangler (The) (1968) The Pick-Up (1968) Marlowe (1969) Shame, Shame, Everybody knows your name (1969) The Honeymoon Killers (1969)

I didn't mind Audrey with those individuals. I didn't care for Sally Field and Paul Newman (and I don't think they got along very well) in Absence of Malice. Indiana Jones and Kate Capshaw in the 2nd film (the worst of the first three) If we include TV Shows, Sam Malone was happy to have escaped from Diane Chambers (I think the cast was happy when she left) There was a mystery with Jean Arthur and William Powell - didn't make a great duo

"Too much Mae West" was Raquel's opinion too. From what I can tell, the director made one bad decision after another, the first being hiring Rex Reed and the last being allowing Mae to be a Queen Bee throughout production.

It's a fascinating movies for many reasons and yes it must watch in you have any interest in pre-Stonewall gay history

From July 3-6, 1921, the Poli ran O’Malley of the Mounted, starring William S. Hart as Sergeant O’Malley and Eva Novak as Rose Lanier. The film was released on March 20, 1921, at six reels. Complete copies are held in several archives, including the Library of Congress. Plot: Sergeant O’Malley, a member of the Northwest Mounted Police, is assigned to bring in the murderer of a saloon keeper named La Grange. Disguised as a cowboy, O’Malley attends a rodeo, where he believes a group of outlaws, including the alleged killer, are performing. He follows them to their stronghold in the mountains, then robs a bank in order to ingratiate himself into the gang. After making off with $5000, he is chased by a posse, but he manages to elude them, and then is admitted into the gang. O’Malley falls for Rose Lanier, who cooks for the gang. Rose’s brother, Bud, is the alleged killer. When the leader of the gang, Red Jaeger, makes unwanted advances towards Rose, O’Malley thrashes him. Jaeger decides to betray the gang, and secretly rides to the sheriff’s office. There, he learns that the stolen bank money has been returned, and that O’Malley is working undercover. Jaeger shows the evidence to the gang, and they tie O’Malley to a tree. He is placed under guard, and is set to be hanged at daybreak. Rose secretly gives O’Malley a knife, enabling him to escape, along with her and her brother. While the three are on the run, O’Malley learns that Lanier killed La Grange because the saloon keeper had wronged her. Later, O’Malley leaves a note telling Rose and Lanier who he really is. He also informs then he is headed back to his post to resign, but will return for Rose if she is willing to wait for him. The story was filmed again in 1936, with George O’Brien in the title role. Motion Picture News remarked that the film “carries enough detail and typically Hart touches to keep one at attention.” Photoplay wrote “Hart at his Hart-iest; spectacular riding, rapid gun work and hangings before breakfast. A worn plot but with some original twists and, as is the case with the majority of the famed westerner’s pictures, without a dull moment. The beautiful photography of this feature deserves special attention.” The show below shows the film being promoted at the Palace Theatre in Des Moines: The pony which Hart rode in the film was brought to the Princess Theatre in Denver, as part of an exploitation campaign: Also on the bill was a comic performer named “D.D.H.?” who got “one laugh after another without the slightest difficulty,” and who appeared “incognito for some reason known only to himself.”

TCM PROGRAMMING CHALLENGE #45 — PROGRAMMING NOTES TCM SPOTLIGHT: NOBODY READS ANYMORE: FILMS WITH LITERARY BEGINNINGS SILENT SUNDAY NIGHTS: Rumpelstiltskin: A Fairy Story (1914) TCM IMPORTS: Tristana (1970), and The Trial (1962) SPECIAL CHALLENGE NO. 1: ClassiCategories — Twenty-Fourth Category: Established Stars Who Helped Future Stars Get Started in the Movies (aka: MENTORS) STAR OF THE MONTH and SPECIAL CHALLENGE NO. 2: ANIMAL ACTORS: Rin Tin Tin SPECIAL CHALLENGE NO. 3: TCM THEME PARK: YOU CAN’T GET THERE FROM HERE TCM UNDERGROUND: The Adventures of Baron Munchausen (1988), and Time Bandits (1981) THE ESSENTIALS: Greed (1924) NOIR ALLEY: He Ran All the Way (1951) _______________________________________________________________________________________________________________________________________________________________________________________ FILMS BY DECADE: 1900-1910 — 0 1961-1970 — 16 1911-1920 — 2 1971-1980 — 10 1921-1930 — 6 1981-1990 — 3 1931-1940 — 15 1991-2000 — 2 1941-1950 — 23 2001-2010 — 1 1951-1960 — 19 2011-2021 — 0 PREMIERES: 1. Jude (1996) Rumpelstiltskin: A Fairy Story (1914) [exempt] 2. The Revengers (1972) 3. The April Fools (1969) 4. Thanks for Everything (1938) The Man from Hell’s River (1922) [exempt] My Dad (1922) [exempt] 5. Where the North Begins (1923) 6. Find Your Man (1924) 7. Quintet (1979) 8. The Double MacGuffin (1979) 9. Men Who Made the Movies: Alfred Hitchcock (1973) Erik the Viking (1989) [exempt] The Adventures of Baron Munchausen [exempt] 10. The Jayhawkers! (1959) _______________________________________________________________________________________________________________________________________________________________________________________ 🎬 TCM SPOTLIGHT: Spotlight films are programmed for the entirety of Sunday, including straight through SILENT SUNDAY NIGHTS and TCM IMPORTS. All films are based on novels, novellas, short stories, or fairy tales. Several other films in this week’s program are from novels as well. A programming theme such as this could go on, and on. It Happened One Night (1934) — “Night Bus”, short story by Samuel Hopkins Adams, 1933 Random Harvest (1942) — James Hilton’s novel, 1941 Of Mice and Men (1939) — John Steinbeck’s novel, 1937 Carrie (1952) — Theodore Dreiser’s novel, Sister Carrie, 1900 Great Expectations (1946) — Charles Dickens’ novel, 1861 The Great Gatsby (1974) — F. Scott Fitzgerald’s novel, 1925 The Maltese Falcon (1931) — Dashiell Hammett’s novel, 1930 Jude (1996) — Thomas Hardy’s novella Jude the Obscure, 1895 The Old Maid (1939) — Edith Wharton’s novel, 1924 Rumpelstiltskin: A Fairy Story (1914) — German fairy tale, collected by Brothers Grimm, 1812 The Last of the Mohicans (1920) — James Fenimore Cooper’s novel, 1826 Tristana (1970) — Benito Pérez Gablós’ novel, 1892 The Trial (1962) — Franz Kafka’s novel, 1925 🎬 JACKS ARE WILD: All films in this category feature at least two actors named Jack. 12 Angry Men (1957) — Jack Klugman, Jack Warden Days of Wine and Roses (1962) — Jack Lemmon and Jack Klugman Phffft (1954) — Jack Lemmon and Jack Carson The April Fools (1969) — Jack Lemmon, Jack Weston Thanks for Everything (1938) — Jack Oakie, Jack Haley Navy Blues (1941) — Jack Haley, Jack Oakie, Jack Carson, Jackie Gleason 🎬 SPECIAL CHALLENGE NO. 1: ClassiCategories — Twenty-Fourth Category: Established Stars Who Helped Future Stars Get Started in the Movies (aka: MENTORS) Three pairs of films, each beginning with a film featuring an actor/actress who championed a newcomer to the business, then a film with both those actors working together. Katherine Hepburn championed Judy Holliday. Lauren Bacall championed Kirk Douglas. George Arliss championed Randolph Scott. 🎬 STAR OF THE MONTH and SPECIAL CHALLENGE NO. 2: ANIMAL ACTORS: Rin Tin Tin With 2022 we mark the 100th anniversary of Rin Tin Tin in the movies, and it’s a perfect opportunity to feature him as Star of the Month. This category combines the STAR OF THE MONTH and the SPECIAL CHALLENGE NO.2: ANIMAL ACTORS. Following the Star of the Month block is a group titled STARS IN FUR COATS. My vision is that each week the Rin Tin Tin films would be followed by a block of films with other animal “guest stars”. There are plenty of dogs, cats, mules, bears, otters, wolves, and more from which to choose. The Incredible Journey (1963) — Syn as Tao the cat, Muffy as Bodger the Bull Terrier, Rink as Luath the Labrador retriever Ring of Bright Water (1969) — otters Charlie, the Lonesome Cougar (1967) — cougar A Tale of Two Critters (1977) — raccoon and bear cub 🎬 CINEMATOGRAPHY BY JAMES WONG HOWE Films featured here all received Academy Award nods for Howe. Hud (1963) — win The Rose Tattoo (1955) — win Kings Row (1942) — nominated Abe Lincoln in Illinois (1940)— nominated Algiers (1938) — nominated 🎬 LET’S GET READY TO RUMBLE I borrowed this signature line from Michael Buffer, famed ring announcer, to introduce a group of boxing pictures. 🎬 EAT YOUR PEAS, AND PASS THE MacGUFFIN Is it a spoiler to reveal the MacGuffin in each of these films? Probably not, but…. 🎬 LET’S MAKE A RUN FOR IT A group of films in which the characters are running from, or toward, something or someone. 🎬 SPECIAL CHALLENGE NO. 3: TCM THEME PARK: YOU CAN’T GET THERE FROM HERE The challenge statement: “As long as you can’t visit it in real life, you can put it in the theme park.” Cool. Erik the Viking (1989) — Valhalla (not to mention falling off the edge of the Earth) Lost Horizon (1937) — Shangri-La A Matter of Life and Death (1946) — Heaven Brigadoon (1954) — Brigadoon (you know, wherever that is) 🎬 HAVE A DRINK ON ME Some hardcore drinking goes on in this group of films, but to lighten things up a bit I did add that great mini-bottle checkers game, along with some Chaplin. Cheers! 🎬 THE ESSENTIALS No such thing as seeing Greed (1924) too many times, in my opinion. It’s from the Frank Norris novel, McTeague (1899), one of my favorites. 🎬 NOIR ALLEY “Everybody gets to the point where they draw the line.” 🎬 AD ASTRA PER ASPERA (“To the stars through difficulty.”) This group of films see Kansas on her way to statehood, which she achieved on 29 January 1861. Happy birthday, Kansas! (I chose to program this week specifically because it contains Kansas Day, which also happens to be my birthday.) 🎬 BIRTHDAY TRIBUTES

Udderly fantastic!

Fish and Chips, Is there anything else? Next: The movie that features your favorite food

https://www.romecapitol.com/capitolfest-18-current-schedule/ Making my plans for Capitolfest in August....

Never one to cow-tow to others, I hereby add a few more titles: Cow Green Was My Valley Cow the West Was Won Far from the Madding Cow The Cownt of Monte Cristo Cowheart (featuring Mel Gibson's ghastly haircowt)

7 FACES OF DR. LAO (1964)

1930 - The Devil to Pay! 1934 - Bulldog Drummond Strikes Back 1935 - Clive of India Next: Sonja Henie & Cesar Romero

Well too bad for you. Harper was the adaptation of Ross Macdonald's first Archer novel The Moving Target. "The Moving Target" was originally set in 1949, Harper moves the action up to the 65-66 (present at the time), with the only throwback to the 50s being the robin's egg blue 1955 Porsche 356 A Speedster that Newman drives, which I also see as a nod to 1955's Kiss Me Deadly opening sequence with Meeker driving a 1950 Jaguar XK 120 Roadster. This film is in the Classic Hollywood style of P.I. flicks, Newman's Harper is almost in the same mold as Sam Spade, and Philip Marlowe. Harper has that same quality of wisecracking cool, that's essential for your classic P.I. Though Harper doesn't drink a lot or smoke, he's more of a habitual gum chewer, the various ways he disposes of his wads are good for a few chuckles. The plot is very convoluted but not confusing. It's got quite a few Classic Noir actors to provide some cinematic memory. If the film has one fault it's that it doesn't quite go Noir enough. Looking back Harper is a little too old fashioned for its own good, it's got a classic Hollywood score by Johnny Mandel that's too flaccid for the material, it's honestly a bit of a snooze fest. There are also a few segments that feature what's supposed to be rock bands with folks dancing to what sounds like your typical generic Hollywood hip gogo elevator music track, completely disregarding what instruments are being played on screen. This is a case where I'm spoiled by today's easy use of the real recording artists of the time used in period films. The music also, is more reminiscent of what you would hear in that time periods comedies, so that, along with the presence of Robert Wagner just back from his signature The Pink Panther performance gives the film a bit of an off genre vibe. Had Wagner built upon his bad boy persona from his noir debut in A Kiss Before Dying with similar hardboiled fare, it may have been different. There are also some lite comedy sequences between Harper and his estranged wife Susan (Leigh). Combine all of the above with the ambiguous ending and Harper is at best soft boiled and noir lite. I like The Drowning Pool better.

So, jamesjazzguitar, YOU were the reason Angela Cartwright was always running back into the Jupiter 2!

Until I was about 40 I always viewed June Lockhart as a mother figure and not as an attractive woman. When Lassie was on I wasn't into girls yet (they had kooties), so my attention was on the dog. When Lockhart was on Lost in Space, Angela Cartwright was why I watched that show as a 12 year old (one of my first loves). Later on I did see June in classic T.V. Westerns; E.g. Have Gun, Will Travel, where she played a doctor that wasn't accepted by the locals because, well, she was a woman. She was on Wagon Train etc... It was a few years later before I realized she was the daughter of Gene Lockhart and that she was a child actor; Hey, there is June in All That and Heaven Too, Sergeant York, Meet Me in St. Louis etc.. June was a good actor and attractive woman.

Some years ago, I attended a screening of "Marty", one of my favorite films, at the Egyptian Theater in Hollywood, California. The director of "Marty", Delbert Mann, talked about the film and answered questions from the audience. There was a scene after Marty takes Clara home, where she sits in her parents' bedroom and talks about her date with Marty and makes the decision to take the job in the private school. I stood up and asked the audience if anyone was familiar with that scene. Delbert Mann said that the scene had been cut out for broadcast TV. TCM shows "Marty" with the scene included but the Movies Network recently showed "Marty" with the scene missing!

The film which just aired this afternoon, DELINQUENT DAUGHTERS, would fit in perfectly in the Underground time slot, lol.

Ah yes. I don't always listen to Suicidal Tendencies, but when I do, so do my neighbors.

Celebrity: A mid-sized Chevrolet produced on the GM A platform between 1982 and 1990. It was available as: sedan, coupe or station wagon.

Here are the TCM premieres for July, as determined by MovieCollectorOH’s TCM schedules database. Notes: - The dates shown are based on a programming day starting at 6 am ET and running past midnight. - Shorts and cartoons are listed separately. Feature Films Jul 3 - The Tall Men (1955) Jul 3 - Guilty Bystander (1950) Jul 5 - The Bonfire of the Vanities (1990) (also shown on the 25th) Jul 5 - Blow Out (1981) Jul 5 - Body Double (1984) Jul 16 - Body Heat (1981) Jul 16 - To Live and Die in L.A. (1985) Jul 17 - Los Tallos Amargos (1956) (Noir Alley, 2 showings) Jul 19 - The Games of the V Olympiad Stockholm, 1912 (2016) (doc.) Jul 19 - The White Stadium (1928) (doc.) Jul 19 - XIVth Olympiad: The Glory of Sport (1948) (doc.) Jul 19 - White Vertigo (1956) (doc.) Jul 19 - Tokyo Olympiad (1965) (doc.) Jul 19 - Visions of Eight (1973) (doc.) Jul 19 - Games of the XXI Olympiad (1977) (doc.) Jul 19 - 16 Days of Glory (1986) (doc.) Jul 19 - Marathon (1993) (doc.) Jul 19 - First (2012) (doc.) Jul 23 - Cutter's Way (1981) Jul 25 - Ma Vie En Rose (1997) Jul 30 - Blade Runner: The Final Cut (1982) Jul 30 - Tequila Sunrise (1988) Shorts Jul 18 - Pie, Pie Blackbird (1932) Cartoons Jul 3 - Popeye: I'll Be Skiing Ya (1947) Jul 10 - Popeye and the Pirates (1947) Jul 17 - Popeye: Safari So Good (1947) Jul 24 - MGM: Innertube Antics (1944) Jul 24 - Popeye: All's Fair at the Fair (1947) Jul 31 - Popeye: Snow Place Like Home (1948) Thanks as always to MCOH!

Alias Jesse James(1959)

I really wanted to go to Capitolfest. It is one of my favorite things. But I just can't convince myself that three days in a movie theater is safe. If I got Covid and it killed me that would be bad enough, but if it killed my husband - that would be horrifying. Yes we are both vaccinated, but we are in our 60s and I am diabetic. I hope you have fun though. The lineup looks fantastic. And since Kallie, the longtime Capitol Cat, died earlier this year, I hear the Capitol has a new theatre cat on patrol, also a calico.

THE RED LILY (1924)

What you are calling "complete version 1, complete version 2 etc." I would define as "intact"; I.e. unaltered. Anyhow, another good example is the two The Big Sleep versions; the released-only-overseas-too-US-troops version and the one most people know, the post-war, post Bogie\Bacall getting married version, where Hawks filmed additional scenes, re-filmed others (e.g. two different actresses play Mrs. Eddie Mars), and edited out scenes (one of my gal Martha Vickers!). TCM showed both version back-to-back a few years back. For those that haven't seen the limited-release version, I recommend it. The focus is more on Marlowe and the crimes and less on the Bogie\Bacall romantic angle.

Ten Nights in a Barroom (1926)