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LADY AND THE TRAMP— Lady gets her muzzle from a pet shop 101 DALMATIANS — all the dogs go crazy during the twilight bark including pet shop dogs some of whom are cameos from LADY AND THE TRAMP

The Kennel Murder Case 1933 The Beach Boys had an classic album called Pet Sounds 1966.

Pal Joey (1957) TV: The Dead Parrot Sketch (Monty Python's Flying Circus)

Love with the Proper Stranger (Steve McQueen looks for Natalie Wood at work in the pet shop department of Macy's) The Dick Van Dyke Show, "The Return of Edwin Carp"

I wonder why Michael Cole was alone. I love the blurb "Kurt Russell's secret romance" on a cover with a photo of Goldie Hawn.

In addition to the fine selection of titles already supplied I would add They Died With Their Boots On (1941), The Gunfighter (1950) and Hondo (1953). Of the various films to deal with the legend of Wyatt Earp, Tombstone (1993) is one of the best. One of the best director-star western combinations was that of Anthony Mann and James Stewart, who made five films together in the first half of the '50s. Winchester 73 (1950) and The Naked Spur (1953) stand out among them, in my opinion. These were films with not only interesting, often colourful villains but a leading protagonist with secrets or dark streaks within his makeup to make him a more complex character than previously seen in many westerns. The 1950s, for my money, turned out more outstanding westerns than any other decade.

Here's a couple of good ones which where filmed right here in Sedona and which I can recommend for ya, N&N: This 1948 sort of western/film noir hybrid, stars Dick Powell as a federal government agent sent out west to find who's behind the thefts of gold shipments. This 1957 western builds to a terrific and surprising climax. The 2007 remake of it starring Russell Crowe and Christain Bale is also very well done.

Everyone of the films mentioned are great and classics, I'dd add these great ones to the list The Searchers ( my fav) Red River The Man Who Shot Liberty Valance Butch Cassidy and The Sundance Kid The Wild Bunch

SHE WORE A YELLOW RIBBON and EL DORADO are a lot of fun, at least they are for me (though one could argue EL DORADO is more or less a remake of RIO BRAVO but there are enough differences to make it stand out on its own). You might want to try some spaghetti westerns like the Sergio Leone/Clint Eastwood trilogy, A FISTFUL OF DOLLARS, FOR A FEW DOLLARS MORE and THE GOOD, THE BAD AND THE UGLY.

I really love how calm the detective is as played by Young; E.g. the end scene always get me; Montgomery (Ryan), tries to get away and Finlay (Young), gets out his gun, goes to a window, shouts "Montgomery stop" and then shoots him down. All in a day's work! Also when Finlay tells the story about Irish-Americans in the 1840s; he tells the story in a relaxed and calm manner, ending with noting that the Irish-American in his story was his grandfather!

If you are interested in neo-noir titles, the Criterion channel is currently streaming a collection of Neo-Noir films (some of these were included in TCM's July series): https://www.criterionchannel.com/neonoir On the Criterion site, the films are listed in order of release date: pluto Cotton Comes to Harlem (1970) pluto Across 110th Street (1972) The Long Goodbye (1973) * Chinatown (1974) * Night Moves (1975) pluto (r) Farewell, My Lovely (1975) hbom The Killing of a Chinese Bookie (1976) The American Friend (1977) tubi The Big Sleep (1978) Eyes of Laura Mars (1978) The Onion Field (1979) * Body Heat (1981) pluto (r) Blow Out (1981) * Cutter’s Way (1981) hbom * Blood Simple (1984) pluto (r) Body Double (1984) The Hit (1984) tubi Trouble in Mind (1985) Manhunter (1986) hbom * Mona Lisa (1986) The Bedroom Window (1987) tubi Homicide (1991) Swoon (1992) tubi Suture (1993) tubi The Last Seduction (1994) tubi Brick (2005) Notes: * - shown as part of TCM's neo-noir series (r) - recently shown on TCM pluto - streaming for free on pluto tv tubi - streaming for free on tubi tv hbom - streaming on hbomax

Great thread bringing back lots of memories. I admit to keeping notes in a composition book with significant plot points summarized. It definitely bogged down after the terrific 1897 storyline, which was when I think it's ratings peaked. The Leviathan plot was definitely laborious. But I bet the cast had a great time by the end playing so many different types of characters: the parallel time, flashback and parallel time within the flashback!

Lorna, as a tween and a teen it was a full time job subverting my Christian fundamentalist parents.

I watched the original as a child in the 1960s, and then again when it came on as reruns in 1976. I never saw the pre-Barnabus episodes. I've heard it ran more like a traditional soap of the time? There was something captivating about it. My younger sisters who hadn't been old enough to appreciate it when it was on in the 60s were hooked when it reappeared in the 70s. I almost bought the entire series DVD collection, but I figured considering how many DVDs/Blus I own, that would officially make me a hoarder since I could never see me watching all of those episodes. This show was so big in the 60s that I remember when I was ten at vacation Bible school all of us girls would gather round and discuss what happened on Dark Shadows during the past week. Vacation Bible school is probably a deep south thing in case you wonder what that is. P.S. - We actually had to retell the last week's storyline to about half the girls since their parents would not allow them to watch a TV show about vampires, since the Bible says people are supposed to die. Seriously. They were catching about half of it by going to a neighbor's house. Fortunately my parents never got the memo about vampires being unbiblical.

From August 18-20, 1921, the Poli ran So Long Letty, with T. Roy Barnes as Harry Miller, Colleen Moore as Grace Miller, Grace Darmond as Letty Robbins, and Walter Hiers as Tommy Robbins. The film was released in 1920 at six reels. An incomplete copy exists in the hands of a private collector. Plot: Harry Miller and his wife Grace share a twin bungalow with Tommy Robbins and his wife Letty. Harry is a natural-born mixer, while Grace is a homebody. Tommy loves to eat, while Letty prefers cabarets. Harry suggests to Tommy that they exchange spouses, and Tommy willingly goes along with the idea. But Grace and Letty get wind of the plan. So they devise their own plan, pretending to go along with the exchange for one week platonic “trial marriages.” Then the two women make the lives of their “new” husbands so miserable that the men plead to be reunited with their real wives. Moving Picture World wrote that the film was “one of the smartest little comedies we have yet been given. It forms a genuinely amusing little play in which the somewhat suggestive situations are handled so deftly as to offer no offense. … The action is smooth, almost unmarred by breaks in the continuity of time, and it moves so swiftly in every quickening tempo to the anticipated, yet unexpected climax that the length is not apparent, which is the truest compliment which can be paid to straight comedy.” The film was based upon a long-running play of the same name. Another version was filmed in 1929.

I love the trains and tracks in Human Desire, and the film as a whole almost as much as The Big Heat. He wasn't the greatest actor but I think Glenn Ford nailed the solid, taciturn, likeable average guy that these flicks called for.

I'd really like to see the new, CRITERION version of HISTORY IS MADE AT NIGHT, as well as the 1930 Version of JOURNEY'S END. Two other very fine films are ONE MORE RIVER, which was based on the last entry of THE FORSYTE SAGA. (This one was also directed by James Whale, ( who knew his Star well, and also knew how to get questionable content past the Hays Office.) It also had the nerve to shine the light on Spousal Rape, as well as England's antiquated Divorce Laws..... (Essentially, a woman couldn't get a Divorce, unless the husband was willing to allow it....even if she had been battered and Raped.) The other Film was THE RIGHT TO LIVE, made by Warner Brothers. This one was was the exact opposite, with a gentle young man with a broken back. He knows , (in spite of his Doctor's hopeful stories) that he will NOT Recover, and doesn't want his wife tied down to "half a man". He sends for his brother to come and visit, and take her to all the places he would have. Mix up a Healthy Younger Brother-in-law, A forlorn and jealous nurse, a Wise Mother, and Sir C. Aubrey Smith, and you have a real GEM!

TB is in the business so he has a much better understanding then I do, but I would assume for most T.V. shows the producers know if there will be a next season or not (based on contractual terms), well before they have to script the last few episodes for a season. I would hope that is the case. It would be rather harsh for a network to not have negotiated with the producers if a show was to continue (or not) for another season until after the current season had ended. PS: I see TB's comment: Interesting.

The last episode is a backdoor pilot and it is a Betty-centered episode. A group of Betty's relatives are being killed off, and a father-son detective team (comic opposites of Barnaby and Jedidiah) believe Betty is the culprit, in order to inherit her rich aunt's fortune. Of course Barnaby and J.R. know Betty is no murderer so they help Betty prove her innocence. The comic father-son detective team gets a lot of screen time and it feels like they were being shopped to the network for a spinoff. But the spinoff was not green-lit and the Barnaby Jones series just sort of ends there (after Betty is exonerated).

Just off the top of my head I would recommend Shane, Ride the High Country and Dodge City. Of course there are many more fine ones.

LOL Who's a good boy. Who's a good boy. YOU'RE a good boy sagebrush, ahem, I mean Dug. Btw, he's getting his own TV series on Disney+ starting in a couple of weeks. (...just thought ya might wanna know)

I agree! I love watching noir/horror at night. When I watched The Haunting (1963) I did so on a gloomy day and I found myself really immersed in the film.

I have to be in a mood to deal with the subject matter. Some films, (like Schindler's List), I will probably never watch. Others, (like To Kill A Mockingbird), I doubt I'll want to sit through when there's literally thousands of other films I could be watching. Basically, the heavier the story, the more I would put off watching it. Then I prefer the setting to be right. For example, I would rarely watch a noir in the morning or mid day. I would rather watch that or a horror movie at night to enhance the effect. Or a movie about a cold and windy day and its hot and sunny outside would not work for me. I try not to let the overhype or critics bother me. Too many times , there are other factors that lead to a negative review. Factors that I don't deem important.

Don't worry, he'll get his.

Sean Connery won for The Untouchables. I'm not great on Bond trivia, but I'll try. What film did James Bond use the jet pack (developed around where I live and a friend of mine's father knew the gentlemen who flew it).

I have to use today's category to mention the Pet Shop Boys:

looking for a squeaky bee dog toy in Best of Show Please Don't Eat the Daisies--Spring Byington owns a pet store 60's cartoon Magilla Gorilla lived in Mr. Peebles pet store

The 1840 story line is also a winner.

Russell, Jane

Shelley Long Next: outstanding hair

Ha! But we'll never know that for sure as long as there are movies that for one reason or another you just never seem to get around to seeing, right? As for reviews, I've never relied on them to determine ahead of time whether or not i might like or not like any movie. When a new movie would come out I'd read newspaper critic's reviews mostly to get an idea of what the movie was about. I've seen many movies that critics dumped on and vehemently hated that I wound up fully enjoying. And vice-versa. Which is also why I don't fully subscribe to any political ideology("liberal", "conservative" and that nonsense) as the people I know that do usually robot-like repeat the same opinions and state the same ideals like some collection of "pod people". I prefer to do my own thinking thank you. I know this appears to be digressing.... But I've also noticed that similar behavior from people who go by everything some movie or music critics say. I know you're smarter than that Top. And surely you can find more reliable and objective sources of movie info than reviews. Sepiatone

IIRC--and I think this was on a Dark Shadows website--as a young man, Anthony George had a nervous breakdown in Hollywood from the strain of pretending to be straight as he went after a leading man career in Hollywood. Working in television was apparently less stressful for him. He had a longtime partner. They apparently had an open relationship, and AG was known to make passes at newcomers on the show(s), according to other online sources. Anthony George's real first name was Ottavio, and either Wiki or imdb says that originally he tried using the name Ott George. Thank goodness someone suggested that Anthony was better.

I remember Vacation Bible School well, which was usually the week or two right after school. A little Bible study, a little singing, a snack, probably an art project (my art ability is zero, so I don't remember this well), a few hours' peace for our mothers. Imagine a thread so great that we can talk about Dark Shadows and Vacation Bible School!

I watched the film again, and although I liked the main story between Jane and DeNiro, the film as a whole had a choppy narrative. Swoosie (I like her too) and her hubby disappear from the film midway and are never seen or talked about again, despite living in the same house as Jane! I'd read they move out, but that whole subplot as to why and when was cut. Also Martha Plimpton's story seems underdeveloped too. Like there were cuts there as well.

Yes, I am thankful too that my mom was both religious and could appreciate when to separate what is real and what is not and just enjoy the fantasy.

The first 6 months (which I barely remember as it's never shown in syndication) was more a Gothic soap opera. Vicky Winters is hired as a governess to an unruly child by a woman who hasn't left her spooky mansion in 20 yrs. There are hints she might be her daughter, but that never develops into any plotline. VIcky is an orphan, so she doesn't know who her parents are. Then there's Burke Devlin who returns to town after being in prison for something he didnt do (Roger was involved somehow, I forget the details) who wants revenge against the Collins family. Apparently the ratings weren't good and they launched Barnabas in a last ditch effort to avoid being cancelled and it worked! From that moment on it was anything goes on that show! LOL.

BLESS YOU FOR SHARING THIS!

Anyone having problems with this website during the past couple of days. Keep getting on and off "Cannot display this page or configuration error.....try again".

I have just seen the documentary, Master of Dark Shadows. I wish I could find more information about it's production. It was released in 2019 and features what I'm guessing are mainly archival interviews with people who died long before, like the master himself, Dan Curtis, and the shows primary face Jonathan Frid. Everyone looked pretty good with the passage of time, though some guess work is involved regarding how much time had passed to the day they sat down to speak. One or two obviously had some work done, but David Selby is certainly wearing the years well. I was first struck by the production design, with subjects seated in front of life sized images of whatever room would be appropriate for them: various portions of the Dark Shadows set for actors, and offices for executives or the writers, calling attention to the artifices created on a low budget. I liked seeing film clips from the show inserted into the screen space of vintage tv set facades. I also enjoyed the color stock footage of 1960s Chicago and NYC cityscapes, the home movies of the actors arriving at the studio and walking passed fan kids and signing autographs, and the clip of Jonathan putting the vampire moves on an uncertain Barbara Bouchet in front of Merv Griffin. (I'm hoping that worked out for him.) When Barbara Steele popped up early, I thought, I didn't know she was involved in it, but then I never caught on that the leading lady was an older Joan Bennett than I was used to seeing. Barbara is credited as co-producer I think of Winds of War, which Dan directed in the 80s and was the work of which he was most proud. I was also unaware of Jonathan's status as a teen idol in "16 magazine" and "Tiger Beat." Damn but those were odd times. In the segment that discussed where story ideas came from and how plots were borrowed from other classic works, actor Jerry Lacy got off a good one when he said, referring to all the horror cliches they'd built upon, "There was one thing we missed. We didn't do mummies." A shot of Dan Curtis with Darren McGavin told me he was also involved in The Night Stalker, more news to me. The discussion in the final third of House of Dark Shadows ('Unnatural love ... Come ... And see how the vampires ... DO it."), Night of Dark Shadows, and the prolonged discussion of Winds of War and War and Remembrance kill the buzz, but if the subject is Dan Curtis, as the title indicates, then that stuff can't be ignored, I suppose. Curtis was obviously sharp, a very hard worker and quite a Type A kinda guy, but he didn't seem to foresee the possibilities for rebroadcast. He would deny requests for retakes saying, Why bother? It will be seen one time. I came away with the feeling he was ultimately disappointed that his lasting legacy would be Dark Shadows, and not a broader body of work, that it was something he had to make his peace with. I'm glad he did because it was unique, and memorable, and still worth our time today.

A few others, particularly this :

Thanks, NoShear, and you too, Peebs! Guy Hamilton directed four Bond films. He also directed a Bond, a Bond Villain, and a Bond Girl in other films. Name these actors and the films.

No, the ghost of Josette Collins was seen by the audience before the ghost of Bill Malloy appeared to Victoria Winters. On Episode 70 (which aired on September 30, 1966), David showed Victoria the portrait of Josette Collins in the Old House. After David and Victoria leave, the portrait "comes to life" and her ghost is seen by the audience (but by none of the other characters) around the columns outside the Old House. The ghost of Bill Malloy appeared to Victoria Winters on Episode 85 (which aired on October 21, 1966). The ghost warned her to leave Collinwood before she's killed.

Off-topic, but it’s my thread so I’ll dare to do it, if I had told you that Richard Nixon was only going to be the fourth worst president in your lifetime back in 1969 you would’ve absolutely PLOTZED on the spot wouldn’t you?

Also love that they’re now “borrowing” from THE MANCHURIAN CANDIDATE (The sight of the queen of spades causes a man whose last name is Shaw to be hypnotized into committing murder.) A prime time show could never get away with this.

I made the correction: Where in the sam did I get the big "team"???? Oh, well to ensure this reply isn't a total waste I offer this:

I liked her best in two of her comedies from the 1940s: 1948's Sitting Pretty with Clifton Webb (best actor Oscar nod), Robert Young and Richard Haydn. And especially 1947's Miracle on 34th Street with John Payne, Edmund Gwenn (supporting Oscar) and Natalie Wood. I thought her best dramatic performance was in 1952's The Quiet Man with John Wayne and Barry Fitzgerald. She once said (or wrote) that of all her performances, she would like to have received an Oscar nomination for playing Mary Kate in The Quiet Man.

I'm just the opposite. I like the cold turkey approach. I still remember back when (don't ask) you knew practically nothing about a film and you took your seat in the theater, the lights went out, and a story unfolded right in front of you. This is what for me is enjoying a film. You're approach seems more in the critical bent, professional critics that wrote for newspapers (back in the days when that was all we had) were given materials about the film, a full synopsis, e.g.. This is perfectly legitimate of course. You are much more the student of film that I am and I'm not surprised that you approach it that way. I would probably benefit by doing it your way, sometimes at least. I am not so ingeniously perspicacious that I can understand everything and perhaps that undermines my enjoyment. If I am in trouble with a film I might feel the need for a reality check and go for help. I still won't consult reviews at this point but perhaps the Wicki page for the movie and then proceed carefully looking for enlightenment needed at the time but not reed the whole thing. The element of surprise is too important for me.

So, why not just SAY, "I have to try to find the time to spare" or some other BS instead of making it appear that watching THE BIG SKY is somehow so emotionally draining that trying to watch it before he's "ready" might throw him into some kind of psychosis. Besides, that movie really isn't THAT "serious" that watching it might cause a person to delve into some hopeless despondency. Plus, if Top has it copied, or owns a copy of it there's no reason he couldn't watch it at his leisure without fearing for psychological damage. Or he could just say he's not that interested in seeing it as the summary of it made it seem he might not really like it all that much. We see(and often hear) what we want to. I wasn't intending to be negative and don't believe I was as much as I was being reactionary. But I will apologize regardless. and also give kudos to you for not using ridiculous 21st century social media "dweebspeak" like "passive/Aggressive". As for the movie.... The fistfight between Heston and Peck is alone worth the wait. Predictable, sure. But still...... Sepiatone

When first released, The Pope of Greenwich Village was promoted as if it were a comedy. The title sounds like a comedy. I saw the movie after a disastrous day at work, thinking, "I need to see a funny film tonight." Was I ever surprised!

"Psychologically ready"? Oy! We're talking a late '50's Western "epic" here( I just about call any movie almost three hours long an "epic"). NOT some dark, soul wrenching human introspection by Fellini or Bergman. So the time element can be your only sensible sounding excuse. And why the need to read reviews about it? WHOSE reviews, and why not just watch the damned movie and make up your OWN MIND about if you think it's good or bad? Nobody else can really tell anyone else what to look for in any movie. People are (hopefully) mostly individuals with individual tastes and reactions. OK, let's just say you've seen this movie. But it wouldn't surprise anyone(who thinks) that what YOU might like best about it(hypothetically assuming you do like it) is far different from what I like best about it. Or too, what makes ME like it so much could be what might make YOU hate it! Oh, and..... I've never(and likely never will) considered my watching a movie as being a "screening". Neither at home OR at a theater. Seems a bit pretentious to me. My advice? Just watch the damn movie. Sit there with a snack, a drink and an open mind. If you like and enjoyed the principals in this movie in other films they made chances are good for your liking this movie too. Just expect nothing more than hopefully to be entertained by it and look for no deep message, allegory or modern day interpretation through an early American tale and it just may wind up being one of your favorites too. Lets PLEASE not be like those blowhards on CNN's "History Of The Sitcom" who"see" shows like THE MUNSTERS, ADDAMS FAMILY, and BEWITCHED as representative of the "African-American in white society" sort of thing, or I DREAM OF JEANNIE as promoting misogyny. Really, nobody took them(nor intended them) to be more than "fish out of water" type of stories and comedies. Sepiatone