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I don't get what Tracy saw in Robert Young or Ingmar Bergman, and even more so Broderick Crawford.

Could barely get through THE BIGGEST BUNDLE OF THEM ALL. One of those mid-to-late '60's international heist comedy-adventures that think they're so clever and hip. Please pass this one up because you will be missing nothing. The cast includes the terminally bland Robert Wagner whose inflection-less voice and wooden manner nevertheless served him best in A KISS BEFORE DYING; Raquel Welch, as always hopelessly out of her element; Vittorio de Sica (a little of Vittorio, as an actor, goes a very long way) and, rounding out this stultifying "romp" is the one and only Edward G. Robinson, cast apparently for old-school Hollywood gangster cred, although frankly I'm sure Akim Tamiroff would have worked just as well and probably for less.

I was going to have my friends design new drapes for me, but you wouldn't believe the amount of backstabbing and insanity it led to.

I still say that the new logo reads TOM to me. The middle letter comes across as an O with a little crack in it. But that may just be 64-year-old eyeballs which can only read so far down the optometrist's eye chart. What puzzles me is the decision-making that went into this logo change. If, for over a quarter of a century TCM could only attract a certain older demographic, is there something just inherently niche-ish about classic movies that you can push them on people only so far? You still have to accept that the product you're trying to sell is what it is. Dizzying, swirling, bright graphics can't get around that. I have a 28-year-old son who grew up watching all the classic movies because his mother and I love them. He understands them and appreciates them (So does his wife, by the way!), but doesn't turn on TCM as the habit we had formed when he was growing up. And I know that flashcard information about what's coming up on the channel isn't going to change that. Maybe, (and perhaps this is in the offing for some time later) TCM could come up with a real movie series for teens or young adults that looks at more contemporary films and could draw the audience to the all that came before. Though I would be reluctant to trust the corporate people at the network, why not find some real average young people to talk about the movies they see. Our church had a series of family movie nights over the past year, and it was fascinating to hear the observations of school-age kids amidst some grown-up discussion. So with all the latest vibe-y, what the "Cool Kids" are watching, approach to its audience, I wonder if someone in the boardroom just said, "Scrap the 'Let's Movie' and go with 'Let's Groovy!'" Brian

British Intelligence (1940) CUNY TV channel 6/10 Set during WWI, there are some enemy agents in a British household. Interesting film with many double and even triple twists. Boris Karloff is very good, he uses a French accent as a butler with a scarred face and a limp. Margaret Lindsay is also good, and she was a dark haired exotic beauty. Although set in WWI days, it has many parallels to the then current German attack on the British.

I couldn't have put it better myself. This has absolutely NOTHING to do with younger vs older people (let's not confuse the issues here). It is strictly about the original logo design which had character, versus the newer logo which is nothing interesting in comparison. Just anyone's typical average business-commercial graphics. Big mistake.

I simple thought. That has nothing to do with Spence and Hepburn. But thanks for the distraction, TB. The TCM logo. I wonder how nice it would have been if they'd just stayed with the original logotype? Would that have hurt anyone? Would that have driven away potential viewers? No. It would not. The original logo had a soul and a sense of time and place the that new logo lacks, in extremis. The new logo can hardly be called a logo. It's just weak typeface that spells out the networks name. As others have noted, it really ain't gonna sell many t-shirts or mugs. The strong, smart brands know enough to make incremental changes to their typography, unless it is hopelessly outdated. Many of them have learned that staying with an archetype turns out to be the best practice, as typefaces and logos often come around and become "cool" again. And they have a power that transcends fads. Think Perrier. Coke. Alfa Romeo, CBS. Meanwhile, the less enlightened create new logos (think Dodge, Pepsi, Kia) that are meaningless, but succeed to ensuring that "the emperors new clothes" stays on many people tongues. I will really miss the original logo. And believe me, it was "outdated" when it began. It was not au courant when TCM launched, but was intended to imbue a "classic movie" sense to the network, while still being simple and elegant. Something the new logo fails to do.

ALICE DOESN'T LIVE HERE ANYMORE 3.5/5 I thought this a fairly decent film from Scorsese; this is one of his few films that seems to focus on a character of the more feminine persuasion. I enjoyed this, although I wanted to give it a higher rating than I did but it just didn't quite reach that point for me. I will say that I thought Ellen Burstyn's performance was quite solid, as were those of Kris Kristofferson and Diane Ladd (fun fact, a 7 or 8 year old Laura Dern can be seen sitting at the diner counter in one of the scenes towards the end of the film). PLANET OF THE APES (1968) 3.5/5 I had been putting this film off for months, possibly even years, but I finally broke down and decided to watch it. I'm glad I did, because it was a solid entry in the sci-fi repertoire; I don't much care for Charlton Heston in looks or in acting choices (the exception being DeMille's "Ten Commandments"), but I didn't mind him in this role at all. I do think there were some scenes that I could have ultimately done without, but overall, I think it was a quite engaging piece. I would recommend it to anyone who is wanting to view older sci-fi films. UNFORGIVEN (1992) 3.5/5 In my opinion, this was entirely too long of a film given the subject matter... I felt like there were a few unnecessary scenes, as well as a few that were somewhat of a chore to sit through... maybe that's just me, though. I really do enjoy westerns, but I think this one felt inconsistent to me at times; there were several scenes that I felt were quite engaging, and a few that seemed rather tedious. THE TIME MACHINE (1960) 3.5/5 Let me first preface this by stating that no one truly knows for certain what the future will hold. That being said, I don't think the futuristic society depicted here is an accurate reflection of what life will be like by then. I really enjoy time travel as a major premise for films, and this was executed pretty well. There was a scene where Rod Taylor demonstrated how the machine operated, and the passage of time was observed by a mannequin in a store window, with her outfits being switched to fit the fashion of the times. I thought that was a clever method of showing the effects of time travel and the passage of time. The time-lapse photography was also a clever touch; no wonder this film won the Academy Award for special effects.

I have Hepburn's book Me. In a chapter called "Love", it's a chapter about Spencer Tracy. She says "I loved Spencer Tracy." She moved into "Spence's tiny house, which we rented from George Cukor." She took him to her parents place back east. Of these meetings, she said "I think that they liked him -- but Spence felt a bit uncomfortable with them. After all, he was a married man. I don't think that Dad and Mother were bothered too much by this. But there it was as far as Spence went -- and he felt uncomfortable -- unrelaxed. So we seldom were together when I went home. She goes on: "I have no idea how Spence felt about me. I can only say I think that if he hadn't liked me he wouldn't have hung around. As simple as that. He wouldn't talk about it and I didn't talk about it. We just passed twenty-seven years together in what was to me absolute bliss." Later in the book, she's discussing the aftermath of Tracy's death: "After Spence died -- a few days later -- I called Louise (note: Tracy's wife) and said, "You know, Louise, you and I can be friends. You knew him at the beginning, I at the end -- or we can just pretend that -- I might be a help with the kids." "Well, yes," she said. "But you see, I thought you were only a rumor..." Hepburn continues: "And I had not broken up their marriage. That happened long before I arrived on the scene. In California I did not go out in public with him. And no one ever got a picture of us together -- socially -- privately, that is. And actually -- as time passed -- the media let us alone." Neither personality seemed to be particularly monogamously-minded, so I have no doubt they had affairs with others throughout their own relationship. I don't think Hepburn needed a beard at all, because if anything, she was discreet, at least where the tabloids and gossip rags were concerned.

https://www.dw.com/en/greek-composer-mikis-theodorakis-dies-aged-96/a-59058240 The renowned "Zorba the Greek" composer has died. His musical and political voice has cut through Greece's checkered history of war, dictatorship and austerity. Mikis Theodorakis composed more than 1,000 works and is an icon of resistance against dictatorship Influential Greek composer Mikis Theodorakis has died at the age of 96 at the hospital, the Greek Ministry of Culture confirmed on Thursday. Many people associate the composer's name with the famous soundtrack from the three-time Oscar-winning film Zorba the Greek (1964). The music made Theodorakis famous all over the world, and the movie went on to become a classic. For non-Greeks, the "Sirtaki," a dance that appears in the film, became synonymous with Greek folk dancing — although the choreography was invented for the film. Theodorakis composed a wide body of work, including over a thousand songs, most of them based on Greek poems, that have become a part of the country's cultural heritage. His simple, emotional folk songs rooted in Greek texts and tradition made him a symbolic figure in left-wing circles. Theodorakis also wrote a number of symphonies, operas, chamber pieces and ballet and film music. Theodorakis was internationally renowned for the 'Zorba The Greek' (1964) soundtrack Resistance fighter and cultural revolutionary Born on July 29, 1925, on the island of Chios in the Aegean Sea, Mikis Theodorakis composed his first songs at age 13 and gave his first concert at 17. Gripped by classical music, he dreamed of a career as a musician and took courses at the Athens Conservatory. Fate had different plans for him however. During World War II, Theodorakis fought Nazi German troops occupying Greece. During the Greek Civil War (1946 to 1949), he joined the leftist popular front. Repeatedly arrested for being an opponent of the far-right regime, Theodorakis endured brutal torture, including being buried alive. Upon his release from the horrific camp on the prison island of Makronisos, Theodorakis was physically broken, but his love for music was undiminished. Finishing his studies in Athens, he continued studies in Paris and completed them with honors. Theodorakis's classical compositions soon brought success and awards, but over time he increasingly focused on Greek folk music, inspiring a cultural revolution in his homeland. He set socially critical texts written by poet Yannis Ristos to music, writing for the humble bouzouki, a traditional Greek plucked stringed instrument. MIKIS THEODORAKIS: GREECE'S POET OF FREEDOM Total artist Besides numerous film scores and many stage works, Mikis Theodorakis also wrote chamber music, cantatas, oratorios and hymns. In 1968, after the military junta again took power in Greece, he composed his "Songs of Freedom." 1234567 Internationally successful, outlawed at home Theodorakis' breakthrough on the international stage came with the soundtrack for the Hollywood film epic Zorba the Greek and the Holocaust song cycle Mauthausen, sung in 1965 by the then 16-year-old Maria Farandouri, a famous Greek singer and political activist. As his music inspired the Greeks to search for their own modern cultural identity, the composer continued his political activism as a representative in the Greek parliament. When the leftist representative Grigoris Lambrakis, whom Theodorakis revered, was assassinated, the composer wrote the soundtrack for the political thriller Z about the founding of the Greek military dictatorship. It was a musical monument to his idol, and once again, the soundtrack was strongly influenced by Greek folk music. On April 21, 1967, the military junta came to power, and Theodorakis saw himself forced to go underground. As founder of the Patriotic Front, he was once again arrested, tortured and sent to a prison camp. An international solidarity movement, made up of renowned artists such as the composers Dmitri Shostakovich and Leonard Bernstein, the playwright Arthur Miller and the singer Harry Belafonte, managed to bring about his release. In 1970 Thedorakis was banished and sent into exile in France. He was a key voice against the 1967–1974 Greek junta His music had been outlawed in Greece from June 1967, and anyone listening to it had to expect harsh consequences. That, however, did not stop the rebellious Greek musician from traveling the world and performing over a thousand concerts. During his shows, he spoke out against dictatorships of every kind and gathered support for the resistance against the military dictatorship in his own country. While on tour, Theodorakis was received by politicians such as Gamal Abdel Nasser from Egypt and Palestinian leader Yasser Arafat. The later French President Francois Mitterrand and German Chancellor Willy Brandt also offered him their friendship. In exile in France, he composed extensive song cycles and his famous musical setting of the revolutionary "Canto General" of Chilean poet Pablo Neruda. Hero or traitor? Following the breakdown of the military dictatorship in 1974, Mikis Theodorakis returned to his home country and was celebrated as a hero and an icon of freedom. Before long, however, intrigues were again determining political life in Greece. The composer shifted back and forth from resignation to commitment and from parliamentary activity to voluntary retreat. Mikis Theodorakis in East Berlin in 1980 In 1986, he joined the Turkish composer Zülfü Livaneli in founding the Committee for Turkish-Greek Friendship, aimed at ending the centuries-old hostilities between the neighboring countries. Both came under heavy fire for their attempts to create peace — and both were labeled "traitors." But that did not stop them. From 1990 to 1992, Theodorakis served as a state minister in a parliament consisting of a grand coalition of conservatives, socialists and leftists. He remained committed to reconciling Greeks and Turks while focusing on educational and cultural reforms. Sharp-tongued artist Following his retreat from state politics, Mikis Theodorakis became music director of the Greek Radio Symphony Orchestra and Chorus in 1993, where he often conducted his own works. Following the antique model, he returned to writing lyrical tragedies including the ancient figures of Medea, Electra and Antigone. He left the concert stage in 1999 but continued composing. Still a sharp-tongued commentator on politics, he vehemently attacked the austerity measures of the Greek government under pressure from the EU. "We are living through a national tragedy," he exclaimed in 2012. "The Greeks have needlessly been maneuvered towards the abyss." He also repeatedly sharply criticized the US government and Israel's treatment of the Palestinians. At a political rally in Athens in 2018 Accusations of antisemitism In 2003, his criticism of Israeli policy culminated in the statement: "Today we can say that this little country is the root of evil, not of good. That means that too much self-righteousness and stubbornness are evil." In a 2011 television interview, he dubbed himself an "antisemite and anti-Zionist" and declared that "American Jews" stood behind the world economic crisis, which had also reached Greece. These statements were met with horrified reactions in Israel and beyond. In an apology, Theodorakis explained his position in a letter to the Central Jewish Council in Greece. What he had meant by "root of evil" had been the "unfortunate policies" of the State of Israel and its ally, the US. Having described himself as "antisemitic" had been a mistake made in the course of the very long and fatiguing interview. "I love the Jewish people, I love the Jews!" said Theodorakis. Always taking a stand In an open letter in 2013, a visibly aged Theodorakis announced his "complete retreat as a fighting citizen." After 70 years of struggle, he said, he felt that his views had not been accepted by the people or the political leadership. But completely refraining from taking a stand would seem not to have been an option. Although he no longer made public appearances, Theodorakis commented on events in Greece on his home page — for instance, during the coronavirus crisis when the government in Athens declined to give financial support to unemployed musicians. Towards the end of his life, Mikis Theodorakis seemed increasingly bitter, but his musical heritage remains unquestioned. He is seen as one of the most influential musicians of the 20th century. This article was translated from German.

The head and chin scratching remark was meant to denote my confusion at you being so sure that something was NOT true (Kate and Spence being a romantic couple) that Kate Hepburn, late in life, when she had no reason to lie, said categorically WAS true. Were there other relationships with women? She never said. Maybe or maybe not. I don't care what Kate Hepburn was or was not in her personal life. It was her business. And I think I treated Ms. WIlbourn very respectfully in my post. TB, I was confounded regarding your original post on this matter and I am confounded regarding your reply to me. You are JUST SO SURE of something that you can have no more knowledge of than I do. And my apologies to everybody else for derailing this thread. But I couldn't let this comment go unaddressed.

After a good spate of head and chin scratching at this most unexpected entry and some research I have to disagree with the statement "Hepburn and Tracy were costars and pals. That is all." In the documentary "All About Me" made in 1993 Hepburn talks a great deal about her relationship with Spence and says that she is happy that she can finally come clean. That the actual Mrs. Tracy liked being Mrs. Tracy and did not want a divorce and that Kate agreed not to talk about their relationship until after Mrs. Tracy had died. I can't believe that she would take such an opportunity to tell a bunch of lies about her 25 year love affair with Spencer Tracy. Why make this documentary at all if she just intended to do more covering up about her private life? She doesn't owe anybody an explanation of her behavior. I had never heard of Phyllis Wilbourn, so I researched her. She was an interesting lady. Now I don't know if this website is the least bit credible: http://www.elisarolle.com/queerplaces/pqrst/Phyllis Wilbourn.html But, the above site talks in detail about Wilbourn's early life. She was from a genteel family that had lost its fortune, and though she had training as a nurse, her family pedigree oddly demanded that she seek a career in which she did not wear a uniform! Apparently that was looked down upon? Thus she did secretarial work and became secretary and long time companion to actress Constance Collier. Collier had been married but lost her husband in the 1918 flu pandemic. Her relationship with Wilbourn began in the 20s, probably was initially sexual, but with Collier being a diabetic her increasingly frail health turned the relationship into that of close friends. Did you know Collier was the first person in Europe to ever be treated with insulin? So, after Collier's death in the 1950s, Wilbourn went to work for Hepburn. Did they have a relationship? Possibly. But the preponderance of evidence says that Spence and Kate were truly lovers, regardless of what other relationships they had outside of their own. Below is an article written at the time of Hepburn's death in 2003 that mentions Wilbourn. https://www.latimes.com/archives/la-xpm-2003-jul-11-et-tawa11-story.html

Agreed. I find the loss of the TCM logo, to put it mildly (or not so mildly) a true tragedy. Smart retailers know that an iconic logo is something you don't throw away. (See: Coca-Cola, Levis, Kelloggs, Johnson & Johnson, Heinz, etc., etc.) Change the sets, change the on-air graphics and music but, there was no reason to lose this wonderful logo. However, I am sure (having worked in TV production, advertising and marketing) that much of the decision-making which went into tossing the logo was because the powers that be thought it "looked old" which would defeat their mandate to GET YOUNGER VIEWERS. I really don't think potential viewers (younger or older) make their viewing choices based on logos!

Saturday, September 4 4 p.m. Lawrence of Arabia (1962). I have to go with this David Lean classic for pick of the day.

Yeah, is that a stack of firewood in that narrow closet or whatever it is? Nice. Spence and Kate had one of the strangest relationships, even for Hollywood. Spence had a sex change operation when he was around 17 years old. He did it originally to stay out of WW I. But when the war was over he was tired of being a girly girl and changed back into being a manly man. But all the mental confusion of these events turned him into a devout alcoholic, the only thing he was ever devout about. And Kate? Well turns out she was her own illegitimate daughter. Wouldn't that go against the laws of time and space, or at least the laws of time? Well you know Kate, she could do anything she wanted to and she somehow managed this. It was only natural she would hook up with Spencer. She gave birth to a hermaphrodite they named Purvis who was put into an orphanage and never heard from again. Their various Tinseltown friends always made sure the true truth never came out.

Another wild topical veer on a long thread!

I think maybe INDISCREET is in the Public domain, because there are several full length versions on YouTube. I would recommend to anyone looking to watch anything to NEVER watch it on Pluto TV, even if that is the only source. Pluto follows AMC’s business model of first and foremost being a broadcaster of commercials. if bits and pieces of movies and TV shows sort of *Happen* to occur (as if by accident) in between the UNENDING BARAGE OF ADS, then so be it- But that’s not really why they’re in the game.

Have to say here slayton that this thought, the idea that Poitier's line somehow implied he thought himself in any way "superior" to his father or that Poitier was "giving up his heritage", has never crossed my mind. (...nope, I've always felt it implied Poitier felt or at least hoped he was entering a more color-blind world, or at least one that was or would be more color-blind than the one his father had been born into just a generation earlier)

Hello TCM Techies! Since the update to your Roku app yesterday (9/1/21) that features your new logo and graphics, I can no longer watch TCM programming on my Roku devices. The app initially loaded and allowed me to accept terms of use and login with my provider, and then the app crashed and went back to the Roku Home Screen. I have several different Roku devices, some are TVs, some are Roku Sticks, and one is a Roku Express. None of them work after the update. They all do the same thing when I open the app. They load, show the Watch TCM Home Screen briefly and then crash, taking me back to the Roku Home Screen. Since they are all different types of Roku devices, and they all do the exact same thing, I can only assume you have a software coding issue with your Roku Watch TCM app, which will require an update to fix. I’ve also uninstalled then reinstalled the app on all my devices to no avail as well The app does, however, work fine on my Amazon FireStick. I thought you might like to know that as well. Please let me know what you intend to do about it. Thank you.

NOBLE, James (1922-2016) Most famous role: The 'Governor' on BENSON.

The new logo is definitely a misstep for TCM. As has been mentioned here, you don't fix what isn't broken. One suspects this new logo is supposed to appeal to a younger demographic. It is possible they used a focus group of under thirty year-olds and asked them which logo they liked best. Coming from years of experience in logo design, I have to say the new TCM logo is rather poor. Its animated "C" is unclear what it wants to tell us. Without animation the "C" seems out of place and leaves the logo somehow unbalanced not to mention telling us nothing about what it represents. Its stripped down san-serif type loses any connection with classic film and it's boring to boot. Tis a sad day for TCM and for logo design in general.

Saboteur (1937) - London bomb threat The Wages of Fear (1953) - nitroglycerine Airport (1970) - bomb on board! Speed (1994) - bomb in bus The Quiet American (2002) - bicycle bombs

Heaven forbid! They should be preserved for posterity!

WAIT! Are you tellin' me here Cid that ALL those thousands and thousands of witty posts of mine that I've contributed to these boards all these many years will ONE DAY be lost to posterity TOO???!!! Say it ain't so, Joe...err, I mean CID! (...yeah, actually, I know what you're sayin' here...I've been wonderin' when that day might come to pass too lately)

The Bridge on the River Kwai (1957)

BATMAN — I guess all of them but I was thinking of 1966 LOONEY TUNES are loaded with explosives

The demographic of the people I transport down to and back from the Phoenix airport from here in the Sedona area with this little part-time shuttle driving gig that I've had in my retirement years for about 8 years now does tend to skew to the Boomer generation. I bring this point up because whenever I steer the conversations held inside the van I'm driving to the subject of Movies, I've noticed that the vast majority of my passengers say they seldom watch TCM and/or have only a limited interest in or knowledge of movies, and be those movies defined as "classic" or not. During these conversations (and of which I always attempt to initiate because it makes the two hour drive each way seem a hell of a lot shorter in duration for me...oh, and of course also because I love the sound of my own voice...I DO have a rich, mellifluous and resonant voice, ya know ) whenever I mention my favorite films of all time and after asking what films might be my passengers' favorites, more times than not these passengers might only vaguely recall once watching the movies I've mentioned and which could not in any way be described as "esoteric". Nope, we're talking about movies such as Academy Award winning films like The Best Years of Our Lives, The Apartment, and Casablanca. However and once again though, my passengers are most likely to only recognize the titles of these films at best but have little knowledge of their actual content. (...and so I guess with my point here being that the general public, and yes, even those old enough to have perhaps acquired a taste for classic films and who are not adverse to watching a movie that wasn't filmed in color, is still pretty much a relatively small demographic)

But it was really Omar Sharif that was robbed. That was a performance for the ages.

Blazing Saddles Next: sleeping outdoors

Dive Bomber (1941) Dr. Strangelove (1964) Fail-Safe (1964) Dr. Goldfoot and the Girl Bombs (1966) Slaughterhouse-Five (1972) (Dresden) Hope and Glory (1987) Fat Man and Little Boy (1989) Fight Club (1999) (buildings collapsing at end) The Dark Knight (2008) (hospital detonation) The Hurt Locker (2008)

I totally agree that TCM is for everyone. I wish I knew a lot of under 40's who appreciate classic movies but, sad to say, I do not. I've tried countless times to convert folks to the joys of watching black/white movies from the 1920's - 1950's and invariably they look at me as though I am deranged. (I am, but that's another topic for another time.) My point is that in making graphic decisions, it's clear that the current regime feels that the original logo/graphics/slogan were a turn-off to under 40's and that to attract them they need to destroy "the old" and promote how "with it" TCM can be. They may think "cosmetics" matter when making viewing choices but, no matter what age you are, content is what counts.

I'm sad to hear this news. I worked with Joan on several films coaching different actors and she and Richard lived nearby in Petersham. Richard E. Grant announces death of his wife of 35 years Joanjavascript:void('Bold') Washington, 71, as he posts heartbreaking video of them dancing together Richard E Grant has announced that his devoted wife Joan has died aged 71. Joan, a voice coach, passed away last night, the Withnail and I actor revealed in a heartbreaking tribute. He posted a poignant video of the pair dancing together and laughing along to a song. Richard wrote: 'ONLY YOU! Joan - Love of my Life & Giver of Life to our daughter Olivia. Our hearts are broken with the loss of your Life last night. 35 years married & 38 together. To be truly known and seen by you, is your immeasurable gift. Do not forget us, sweet Monkee-mine.'

On Svengoolie tomorrow, September 4, 2021: When I was a little kid, my friend's father took my friends and me to a Chinese restaurant on 170th Street in the Bronx, after which he took us to a bakery to get Charlotte Russes. Then he took us to a very enjoyable double bill at the Luxor Theater: The Amazing Colossal Man and The Attack of the Puppet People. But I don't think I knew there was this sequel to the former film.

Barbados Quest/ Murder on Approval, 1955

Best one there is -- "THe Man That Got Away" from A STAR IS BORN next another Oscar nominated song that didn't win

AROUND THE WORLD UNDER THE SEA ISLANDS IN THE STREAM SPLASH THE HAPPY ENDING THE EVIL BELOW BERMUDA TRIANGLE JOHN PAUL JONES

I love the show, especially Barnabas and Vicky. I hated Angelique, (Lara parker) lol! Thanks for this topic.😊

Yes! License to Kill (1989) -- scenes set in Bimini, Bahamas (but filmed in Key West) The World Is Not Enough (1999) -- underwater submarine scenes filmed in Bahamas 20,000 Leagues Under the Sea (1954) -- filmed in Bahamas and Jamaica Flipper (1996) -- set in Florida, but filmed in Bahamas Pippi in the South Seas (1970) -- most scenes filmed in Barbados Christopher Columbus (1949) -- scenes filmed in Barbados

I like Ben's new fake house, but I'm worried that the built-in log rack will draw bugs. Then again, I've never seen one before. It's all rather beige and sort of homey-like but we'll probably be sick of it in a year's time. The new graphics and logo do nothing for me. 😃 I think there's a fresh rumor... lol

Have you tried approaching a gal who isn't a hot babe? Heed the sage advice of one of America's founding fathers, Benjamin Franklin, who is, remember, depicted on the $100 bill. Regarding Spencer Tracy, I suspect that his status and financial wealth probably compensated for his, IMO, average looks. Regarding the appeal of a man who has a sense of humor: Hmmm. Funny (no pun intended) that criterion isn't on the list of Six things that women find appealing in men (suggested reading, Dargo). FYI and a word to the wise: when a woman tells you that she's attracted to a man who has a sense of humor, that's not a cue for you to show her your "funny bone."

Did you try this without the gun in your mouth?

Yes, that definitely makes sense because of the "Pepe" connection, although the reality might be a bit more complicated. Mel Blanc based Pepé's voice on Charles Boyer's portrayal of Pépé Le Moko in Algiers, but apparently Pepé Le Pew's personality was loosely based on Chuck Jones's real-life colleague Tedd Pierce, "a self-styled 'ladies' man' who reportedly always assumed that his infatuations were reciprocated." Also, Chevalier's basic persona as a supremely self-confident, relentlessly insinuating boulevardier who seems interested only in short-term relationships seems somehow closer to Pepé Le Pew than it does to most of Boyer's roles (notwithstanding Gaslight, he was usually more of a gentleman, i.e. more sensitive to the needs of his female partners, as in Love Affair). And unlike Boyer, Le Pew is known to occasionally burst into song. Or maybe he's just a combination of both actors (intended as exaggerated shorthand for "French ladies' man")...

WHOA! can this woman pose.

Cecil Parker truly is a treasure! He was quite right that the drink he invented - Bourbon and Bisodol - did not catch on. 😀 I have been known to use in real life one of his lines: "I'm too old for this sort of evening. I always was."

Island in the Sun (1957) - fictitious island, filmed in Barbados I Still Know What You Did Last Summer (1998) - Bahamas Into the Blue (2005) - Bahamas Payday (2014) - Barbados

Indiscreet (1958) A truly sophisticated, wonderfully talented, and very successful woman falls in love with the ultimate forbidden fruit - a married man who can not get a divorce. This movie is the most soul-warming and heart-comforting movie ever made. It shows true romance in gentle touches, soft smiles and the joy of just being together. The lingering shots of doors closing discreetly are utterly sensual. I am sorry to say that it might be a spoiler but the deepest and most meaningful scene in any movie is when she is in her bathrobe with her face covered with cold cream and is acting totally silly and turns to see the most handsome and desirable man who ever existed is standing in the archway watching her. We instantly feel her mortification and desire to become two inches tall and sneak away unseen. This is the ultimate love story within the mystical and mythic world of those who are aristocratic by right of talent. It is the good humor and gentle wit of those who know their lives are blessed. (Anna: "I wish you didn't have any money. [Pause] I wonder if I would have said that if you had not just bought a yacht.") I love Ingrid Bergman in all things but she is here beyond perfection especially after the 1:04:40 mark when there crops up the tiniest little fly in the ointment. This is a romance but it is not a women-only movie! It is one of my little fuzzy's favorites of all time. I believe that this may in part be because all men wish to be Cary Grant and this is at his most suave and smooth. I believe he identifies deeply also with Cary Grant's little subterfuge. The beauty and charm of Ingrid Bergman is not lost on him. 10/10 This is now available for viewing for free with commercials on: PlutoTV and free to subscribers to: Amazon Prime Video.

My favorite part is when he’s like “I’m squinting!” Because the bright white is so blinding. I also like his mini rant about Rhoda’s 5 poster.

The Hollywood Reporter @THR The Broadway musical #Waitress is set to honor the beloved and late actor Nick Cordero — who passed away in July 2020 after contracting COVID-19 — with his very own pie name to be featured on the diner's menu board ‘Waitress’ to Honor Nick Cordero in Broadway Run With Special Pie Tribute The musical is set to honor the beloved and late actor — who passed away in July 2020 after contracting COVID-19 — with his very own pie name to be featured on the diner's menu board. hollywoodreporter.com 2:09 AM · Sep 3, 2021·SocialFlow