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Comedy is really, really hard. You can't copy. There are no "cover" comics. You can sing other people's songs. You can act by repeating other people's play and movie roles. But comedy has to always be fresh, new and original. It's like being an artist. Nobody cares if you can copy the Mona Lisa. Comedy is like painting. It must be unique.I consider it the most difficult performance art form.Norm McDonald was an original. He did almost all his own stuff. He didn't graduate from high school. He just made it up from his own brain.Comedy doesn't get enough credit.Some will say...oh, he was JUST a comedian. No he wasn't. He was actually an incredibly, brilliant guy. It is really, really hard to make people laugh....hard....over and over. To laugh, is the greatest human emotion.Think about it. We weep...cry...feel incredible sorrow. Human beings are cursed with the ability to feel deep, horrible pain. But when we laugh...it's so liberating. It is joyful and we always remember what makes us feel great. Comedy is a gift we all can share and remember forever.Norm McDonald will be missed.I am sad.

Despite Irene Dunne's blackface, which still could be seen in the context of the type of entertainment that was offered on a showboat at the time, I think the 1936 (however imperfectly) captures the issue of racism more authentically than the the prettified 1951 version. The montage during "Ol' Man River" is especially compelling. In the 1951 version, we don't see these images of blacks laboring, and the verse about the "black boss" is eliminated, as is that of the black chorus joining Julie and Magnolia in "Can't Help Lovin' Dat Man." Joe and the other black actors are often watching as a "chorus" over the dramatic events in the story, particularly the revelation of Julie's identity. At least we see a black couple in a relationship, even though some may claim their song contains stereotypes (although my White husband says the verses addressed to Joe could apply to him!). Magnolia's character regards her friendship with Julie as superseding race, and a later scene where Magnolia auditions, singing "Can't Help Lovin' Dat Man," for a bigoted theater manager who says, "That's a n... song," Magnolia responds, "That's one of the most beautiful songs I've ever heard." In watching the 1951 version, I sometimes wonder, "Is race even that important in this story?" Moreover, Irene Dunne is a better actress by far than the vapid Kathryn Grayson; Helen Morgan's fragile and faded Julie is more poignant than the glamorous Ava Gardner. In my opinion, Howard Keel is the only improvement over the 1936 version. In watching the 1936 Showboat, I often wonder whether James Whale is continuing his theme about social outcasts (Waterloo Bridge, Frankenstein) in this story in the compassion exhibited for characters like Julie and Joe. It's also clear that Whale has a love for theater. I've also noticed similarities in the humorous theater scenes, which mock the crudity of the actors and performances, to some of his focus on the "hams" in The Great Garrick. Anyway, despite some dated aspects, the 1936 version is a superior work that's worthy of more than one viewing.

He just sent Willie with a fake ID

Norm Macdonald, who became the sixth anchor of the popular "Weekend Update" segment of "Saturday Night Live," has died of cancer at the age of 61. The Canadian product, who had been battling the disease privately for nine years, died today, his management firm Brillstein Entertainment told the website Deadline Hollywood. “He was most proud of his comedy,” his longtime producing partner and friend Lori Jo Hoekstra said in a statement. “He never wanted the diagnosis to affect the way the audience or any of his loved ones saw him. Norm was a pure comic. He once wrote that ‘a joke should catch someone by surprise, it should never pander.’ He certainly never pandered. Norm will be missed terribly.” Macdonald is survived by his son, Dylan. A regular on "Saturday Night Live" from 1993 to 1998. Macdonald succeeded Kevin Nealon as the "Weekend Update" anchor in 1994. He was forced out of the segment three years later by NBC executive Don Ohlmeyer, who said Macdonald was not funny. Observers pointed out that the comedian frequently delivered jokes about the acquitted double-murder suspect O.J. Simpson, a friend of Ohlmeyer's. The "Weekend Update" duties went to Colin Quinn. Although he left SNL in 1998, Macdonald later made occasional appearances as Burt Reynolds on the sketch show's "Celebrity Jeopardy!" bits. Macdonald said he came up with the idea for the "Jeopardy!" spoofs, basing them on "Half Wits," a 1980s "SCTV" send up of a Canadian teen game show hosted by Alex Trebek. Macdonald was never a breakout film star, but he appeared in several projects through the years. His screen debut was in the 1995 comedy "Billy Madison," in which he played the best friend of the title character (SNL's Adam Sandler). In 1998, Macdonald (pictured below with Artie Lange) starred in the comedy film "Dirty Work," which the comedian co-adapted from a Roald Dahl short story titled "Vengeance Is Mine, Inc." Macdonald and Lange played financially strapped buddies who started a revenge-for-hire business. Directed by the actor-comedian Bob Saget, the film was neither a critical nor commercial success. But it has become a cult favorite. The picture, which also featured Jack Warden, Traylor Howard, Chris Farley, Christopher McDonald, Chevy Chase, Don Rickles. John Goodman and Sandler, is currently available on HBO and HBO Max. In 2015, Macdonald became the second performer to take on the role of KFC founder Col. Harland Sanders in television commercials (the first was another SNL alumnus, Darrell Hammond). Sanders, who died in 1980, has since been portrayed by other actors, including Jim Gaffigan, Rob Lowe and Reba McEntire. Macdonald, who began his career as a standup comic, became a favorite guest on late-night talk shows. In a 2016 Sirius XM radio interview with Howard Stern, Macdonald discussed some of his appearances, including a memorable 2015 finale on CBS' "The Late Show with David Letterman." David Letterman @Letterman In every important way, in the world of stand-up, Norm was the best. An opinion shared by me and all peers. Always up to something, never certain, until his matter-of-fact delivery leveled you. I was always delighted by his bizarre mind and earnest gaze. (I’m trying to avoid using the phrase, “twinkle in his eyes”). He was a lifetime Cy Young winner in comedy. Gone, but impossible to forget. Dave Letterman 4:44 PM · Sep 14, 2021·Twitter for iPhone Adam Sandler @AdamSandler Every one of us loved Norm. Some of the hardest laughs of my life with this man. Most fearless funny original guy we knew. An incredible dad. A great friend. A legend. Love u pal. 4:15 PM · Sep 14, 2021·Twitter for iPhone Senator Bob Dole @SenatorDole “Norm @normmacdonald was a great talent, and I loved laughing with him on SNL. *Bob Dole* will miss Norm Macdonald.” 3:54 PM · Sep 14, 2021·Twitter for iPhone Conan O'Brien @ConanOBrien I am absolutely devastated about Norm Macdonald. Norm had the most unique comedic voice I have ever encountered and he was so relentlessly and uncompromisingly funny. I will never laugh that hard again. I'm so sad for all of us today. 3:38 PM · Sep 14, 2021·Twitter Web App Steve Martin @SteveMartinToGo We loved Norm MacDonald. One of a kind. 2:57 PM · Sep 14, 2021·Twitter for iPad Jon Stewart @jonstewart No one could make you break like Norm Macdonald. Hilarious and unique. **** cancer. 2:45 PM · Sep 14, 2021·Twitter for iPhone Seth MacFarlane @SethMacFarlane To so many people in comedy, me included, there was nobody funnier than Norm MacDonald. You always hoped he would hang around after the work was done, just so you could hear his stories and get a laugh. So hilarious and so generous with his personality. I’m gonna miss him. 3:32 PM · Sep 14, 2021·Echofon edgarwright @edgarwright Of the many addictive rabbit holes you can disappear down on the internet, the most pleasurable is 'Norm MacDonald chat show appearances'. Thanks for all the laughs Norm, very sorry to see you go. 2:41 PM · Sep 14, 2021·Twitter Web App

I noticed that for "Hispanic Heritage Month", TCM will show films starring Anthony Quinn and Rita Hayworth - two amazing talents. I'm not sure they'll show all of the best performances featuring these two so here are my favorites. I'd love to hear your opinions of favorite Quinn or Hayworth performances and movies. Anthony Quinn La Strada (1954) - my personal favorite with Quinn. Quinn plays the itinerant performer in a circus who dominates his girlfriend. He makes the role more than a portrayal of just a cruel savage character but shows his isolation and a dramatic character shift at the end of the film when he breaks down in tears. This film is directed by Frederico Fellini. It is a stirring story and filmed in a realistic style. Other Quinn favorites are: Lawrence of Arabia, Viva Zapata, Zorba the Greek and Lust for Life. Rita Hayworth Gilda (1946) - one of my favorite noir movies with Hayworth playing a sexy femme fatale type. I love the characters and twists and turns in this story that takes place in South America. Other Hayworth favorites include: The Lady from Shanghai, Separate Tables and Angels Have Wings.

And of course the very reason Gone with the Wind didn't sweep all the major Oscars in '39. Because Robert Donat is so damn good in the titular role. (...to say nothing about how good Greer Garson is in her first Hollywood film)

HARD TIMES 1976 Charles Dickens’ HARD TIMES TREAD SOFTLY 1952 KILLING ME SOFTLY 2002 ANNIE song — “Hard Knock Life” DEEP IN MY HEART Song — “Softly as in a Morning Sunrise”

Panic in the Streets, 1950 Directed by Elia Kazan. Stars Richard Widmark, Paul Douglas, Jack Palance, Barbara Bel Geddes Synopsis: A doctor (Widmark) and a policeman (Douglas) in New Orleans have only 48 hours to locate a killer infected with pneumonic plague. A less well regarded Kazan film, but as relevant today as it was 70 years ago, if not more so. When a murder victim washes up with bullet wounds, the medical examiner finds he's also carrying a deadly variant of bubonic plague, likely caused by rats that come in on ships. Pneumonic plague is airborne and the need to find the killers who are no doubt infected raises the stakes, but the police are slow to respond despite Widmark's dire warnings. I totally bought it.

Turn the Key Softly (1953) --follows three women when they leave prison Hardly Working (1980)

Well Mickey Rooney married or not,was hitting on every female at MGM,his reputation was so bad he was nicknamed Andy Hard- on

Hayworth & Quinn costarred twice. First in the remake of BLOOD AND SAND (1941): https://en.wikipedia.org/wiki/Blood_and_Sand_(1941_film) Then in the Italian war flick THE ROVER (1967): https://en.wikipedia.org/wiki/The_Rover_(1967_film)

Lorna, Lorna ... time to lose the "I'm sorry ... " in the thread title. You have hit pure gold. 🤗

Haha I feel exactly (and respectfully) the opposite- I ate Gypsy up with a spoon and loathe Gunga Din. I am forever amazed by how films strike people differently. And I'm glad there's so many-something for everyone! Same for Showboat; recorded both versions when TCM ran them back to back and was underwhelmed by both. But I'm sure gonna keep my eyes peeled for The Great Garrick, hopefully I'll see what everyone else sees in it.

Thursday, September 16 Lauren Bacall day. 12:15 p.m. Key Largo (1948). By John Huston.

I was watching some old recordings I had made in 2012 (mostly to enjoy the now-gone classic TCM graphics of that era) and stumbled upon "Son of the Gods" starring Richard Barthelmess & Constance Bennett with intros and outros by Robert Osborne. On the face of it, this film appears to be one of the most "objectionable" films you could view (I assume it will never see the light of day on TCM again) but, in reality, is it? Richard Barthelmess's character (Sam Lee) is the son of a wealthy Asian who, as the film begins, has been sent away to college. Sam "looks" Caucasian though he is by no means trying to "pass" as white. Sam is smart, kind, handsome and generous and the fact that he is Asian-American is known by his male friends but not by their girlfriends. When the women find out that Sam is Asian-American, let the racial epithets begin. However, Sam's friends strongly condemn the women and point out that Sam is a great guy and that they (the woman) are racist jerks. Sam then leaves for Europe where he meets (you guessed it!) the beauteous Constance Bennett and they fall madly in love. Until . . . Constance's racist father informs his daughter that Sam is (gasp!) Asian-American. Instantly, Constance begins hurling racial slurs at Sam, telling him she never wants to see him again. Sam is devastated and simultaneously receives a telegram summoning him home to the deathbed of his father. Upon inheriting his father's businesses, Sam decides to reject "the white world" and embrace his Asian heritage. Meanwhile, Connie, regretting her horrible behavior toward Sam, is spiraling downward into drink, degradation and potential death. She becomes so ill and calls for Sam so often that her racist father is forced to ask Sam to come to his daughter's bedside to help her find the will to live. Sam comes and she does live but he returns to New York. Finally, Connie (who has been trying to apologize for her horrible behavior for quite a while now) comes to Sam and says she doesn't care about his race and they reconcile. In one of those terrible The Studio Does Not Wish To Offend Anybody moments, at the 11th hour, it is discovered that Sam is the adopted (not biological) son of the Asian merchant and is actually white. To Connie's credit, this revelation, is unknown to her when she re-states her love for Sam and her desire to marry. In his typically classy, quiet, understated way, Robert Osborne in his intro and outro admitted that this film provided plenty of "cringe-worthy" moments and evidenced attitudes that definitely were not in line with "current" (2012) thinking. Wow. No over-the-top "Reframed" series, no need for multiple hosts to decry the anti-Asian sentiments in this film and, a general acknowledgement by a representative of TCM that we all get that the racist attitudes shown in this film were/are wrong but the film still has some merit, particularly to see the performances of both Barthelmess and Bennett at this stage of their careers. The other thing that struck me as revelatory about this film was that it consistently portrayed all of the racist white people as total villains and, almost to a fault, made the Asians and Asian-Americans pretty much saints. Something which in hindsight, is pretty amazing for a wide-release film written and produced in 1930. Bottom line: As been said here again and again: The overreach of the current TCM Management to publicly apologize for practically every film made from 1930-1960, is especially grating when one sees that TCM had been providing -- pretty much from Day 1 -- (excuse me for using another overused word) "context" and disapproval about the racist attitudes and stereotypes shown in many films of this era.

Yes, and so apparently is the idea of being: avuncular [əˈvəNGkyələr] ADJECTIVE relating to an uncle. kind and friendly toward a younger or less experienced person. "an avuncular manner" synonyms: paternal · fatherlike · protective · supportive · encouraging · vigilant · [more] anthropology relating to the relationship between men and their siblings' children. (...and which Bob Osborne was...and which none of the present TCM hosts are)

Kim Novak (and Pyewacket the cat) in Bell Book and Candle (1958) Next: expert at doing double takes

Jack Benny in To Be or Not to Be ("That great, great Polish actor, Joseph Tura--perhaps you've heard of him?") Next: employed a penetrating gaze to memorable effect

Good to see The Great Garrick (1937), mentioned. This Warner Bros. film with Brian Aherne and Olivia DeHavilland is what I call an unknown gem. Often the film only gets mentioned because it was one of the first films Lana Turner was in. Olivia's natural beauty really shines in this film. I love the early scene where she is reflected in a pond. I can see the Whales magic in the film.

At the DMV - Department of Moving Vampires

The Harder They Fall (1956) A Hard Day's Night (1964) The Harder They Come (1972) Spy Hard (1996) Hard Candy (2005) Killing Them Softly (2012) La Dolce Vita (1960) L'Amour en douce (1985)

I think you meant Alan Hale Sr. However, Cagney and Alan Hale Jr. did work together on one occasion, in West Point Story. Since it was filmed the same year in which Hale's father died I suspect the two actors may have had a sentimental conversation or two about him.

one unexpected plus of the whole LEVIATHAN STORYLINE has been- if this makes sense- that many of the episodes have been character driven as opposed to plot driven- the latter of which is primarily how DARK SHADOWS operated 99.9% of the time to its credit and its fault, but THIS STORYLINE has opened up some interesting 1970 real-time drama AND CONFLICT between BARNABAS AND JULIA and ELIZABETH AND CAROLYN AND CAROLYN'S FATHER as well as the age old BARNABAS VS. BARNABAS struggle.

I agree, she's great in that, as was Cagney. A very much underrated film.

Best thread in years. One of the few I follow with regularity and interest. And certainly the only one where I dare to post.

La Strada is, at its payoff, a truly moving film. Although Quinn did a great job in his role, his brute could have been played effectively by other actors, but I cannot imagine anyone but Giuletta Masina in the role of Gelsomina. What an ending this film has. Gilda - the first time I saw this film, I couldn't have been more than ten years old, watching it late at night with the sound kept low to not wake my parents. I didn't understand the film, of course, but once I matured and began studying film noir, the sexual overtones in the triangle of characters made for much discussion with my friends.

still not mad at THE LEVIATHAN(s?) storyline...although i am sorry they "aged out" THE LITTLE BLONDE KID FROM QUEENS who played THE BEAST AT AGE 8 so quickly. He was such an uncanny combination of spooky and hilarious, like PAUL WILLIAMS possessed by JOE PESCI... "YO! It'd be a REAL FREAKIN SHAME if sumthin happened to this here antique shop, Lady..." also, forgive me for invoking his name, but does anyone else see a resemblance to the 45th PRESIDENT?

From September 15-17, 1921, the Poli ran A Thousand to One, starring Hobart Bosworth as William Newlands and Ethel Grey Terry as Beatrice Crittenden. The film was released in December of 1920 at six to seven reels, and is presumed lost. Plot: William Newlands has embezzled money from his employers and has gambled it away. He receives a letter stating that an old friend of his father’s has died in Hawaii. The man’s daughter, Beatrice Crittenden, is an heiress, and is to be Newlands’ ward. Newlands’ erstwhile friend, Jimmy Munroe, advises him to marry the girl and take control of her funds. Newland has second thoughts after meeting the girl, goes ahead with the plan and the two are married. However, it is clear to Beatrice that something is not right. The newlyweds take a train trip for their honeymoon. The train is wrecked. Newlands is dazed and wanders away from the wreck. Beatrice cannot find her husband, but does offer aid to Steven Crawford, a mine owner. Then Newlands is reported burned to death in the wreck. Beatrice goes to Crawford’s cabin and nurses him back to health. Crawford falls for her, but Beatrice keeps her distance. Newlands, who has escaped from the wreck, resolves to lead a better life. He applies for work at the mine, using the assumed name of Gibson. Since he has grown a beard, Beatrice does not recognize him. He believes she is happy with Crawford, and decides to stay out of her life. He becomes foreman of the mine, and attempts to bring order to the discontented workers. Jimmy arrives and tries to turn the workers against Newlands. After a terrific fight in the mine, Newlands drives the strikers back to work. Gold is struck, and Crawford is saved from financial ruin. As Newlands is about to depart, Beatrice learns his identity and convinces him that she has always loved him. The stills below could not be placed in context. They depict Bosworth in Chinatown. I suppose the implication is that the Chinaman is nefarious: The film was based upon the novel Fate’s Honeymoon, by Max Brand. Wid’s Daily praised Bosworth’s acting, writing “it might as well be said that the star’s usual forceful performance does more than a little to put the picture over,” but then added that the film “has one main fault and that is its best action is spent in the early reels,” which left “the love story part – and the weakest thing in the story – to finish it up.” Motion Picture News was also lukewarm, writing that the film’s “lifelike dimensions have not been realized by the director because he has allowed arbitrary incident to destroy the logic. It is quite theatrical in several places, though it permits the star to score in a rugged characterization.” Photoplay was quite succinct: “The same old story. Physically strong but morally weak man leaves civilization behind him and finds his true self in the woods. Returning, he wins his wife back. That’s all.” Also on the bill was entertainer/producer Herman Timberg, who wrote a novelty entitled “Music Hath Charms.” The act was performed by Dave Schooler and four “nymphs.” The Bridgeport Times remarked that one of the girls, Maretta Nally, “has charm plus. She is the sort of artist who doesn’t need a spotlight – she reverses the calcium and lights up the audience with her subtle, little projections of a radiant personality.”

I unironically love reading reviews like these🤣Can we request albums for you to review? Like seriously, I have a few I would absolutely love to hear your honest opinions on lol

Minnie Next: William, Beatty, and Oates

Martha Next: Driver, Pearl, and Riperton

Are we open for discussion , or is it now time for the vote? My discussion is that I love this guy in everything he's been in, and my vote is an enthusiastic "thumbs up!" for barrels of birthday wishes.

You funny... the last review I wrote was for a record I never owned but could not stop listening to at YouTube... COSMIC DEALER Crystallization Review: https://www.amazon.com/gp/customer-reviews/R10Q8DW0EWN3RG?ref=pf_ov_at_pdctrvw_srp

The best of the series. The only one that really moves me emotionally.

My favorite is Boris Karloff in the 1931 Frankenstein. He conveyed pathos as a monster unable to speak. You felt sorry for Frankenstein when he is tormented but also frightened by him. Karloff created the iconic Frankenstein monster despite having to wear uncomfortable amounts of heavy makeup.

Both these terrific tunes were the A and B sides of a, IMO, perfect 45 (that I still have):

Alan Hale appeared in more films with Errol Flynn than any other actor during his career. The two actors, buddies in real life, had a delicious screen chemistry in which the fun they had in each other's company translated itself beautifully to the audience. Here are the 12 Flynn films in which Hale appeared. The Prince and the Pauper (1937) The Adventures of Robin Hood (1938) The Sisters (1938), noteworthy as the only one of their films in which the two actors shared no scenes Dodge City (1939) The Private Lives of Elizabeth and Essex (1939) Virginia City (1940) The Sea Hawk (1940) Santa Fe Trail (1940) Footsteps in the Dark (1941) Desperate Journey (1942) Gentleman Jim (1942) Adventures of Don Juan (1948) Of note, Hale and Flynn also had separate musical appearances in the all star Thank Your Lucky Stars 1943).

A CHILD IS WAITING (1963)

Yep NS, I understand some of the best surfing can ALSO be done near the now deactivated "Dolly Parton by the Sea" here ...

Grace Jones covering the 1979 song by The Pretenders:

Grace Jones covering the 1978 song by Flash and the Pan.

I not only saw The Exorcist, I was in college studying Theology and had a course in demonology around the time the film was released. We had to read the book and see the film. Our teacher -- a Jesuit -- tried to get Father Thomas Bermingham, the technical advisor to the movie, to speak to our class, but he was too busy. He also had a small role in the film. (Father Bermingham had taught at my university.) In the demonology class, we were more interested in the accuracy of the exorcism process, as well as in Pazuzu, than we were in vomit.

The real genius of this film is Gordon Willis' camerawork. I'd argue that it makes half of Houseman's performance. I hope they add it to WatchTCM so I can do more marveling. 🙂 It came near the beginning of a pretty good 70s run: The Landlord 1970 Klute 1971 The Godfather 1972 Bad Company 1972 Up the Sandbox 1973 The Paper Chase 1973 The Parallax View 1974 The Godfather: Part II 1974 The Drowning Pool 1975 All the President's Men 1976 Annie Hall 1977 Interiors 1978 Comes a Horseman 1978 Manhattan 1979

Nefertiti -- played by Anne Baxter in THE TEN COMMANDMENTS (1956)

And now for your viewing pleasure, ladies and gentlemen, here are a singing and dancing Alan Hale and Jack Carson trying to out ham one another

That's right. Raft probably did save Cagney's life after he spoke to some gangland associates when an "accident" may have been in the cards for Jimmy during some studio labour problems. Cagney spoke very well about Raft in his bio. Speaking of Cagney he also wrote this, "The one consolation for all the hard work we did was the kind of person you worked with. Alan Hale, that wonderful guy we all loved. Always in a good humour." Here they are playing chess on the set of Captains of the Clouds. The Fighting 69th 1940 The Strawberry Blonde 1941 Captains of the Clouds 1942

Lina Wertmüller -- first woman nominated for Academy Award for Best Director, 1977; awarded the Academy Honorary Award for her career in 2019 Alice Rohrwacher Cristina Comencini Francesca Archibugi Asia Argento Sergio Corbucci Elio Petri Matteo Garrone

Well this film didn't really help Harrison Ford's career; I just saw him on Gunsmoke in a bit part that was made 2 years after this film.

I always had a hankering to live primarily in Southern California; don't know when San Francisco took primary attention but it did, so after the death of my father in 1969 that's where I headed. Frankly, it wasn't the best experience of my life -- I don't think I ever really felt settled there. Moved around the city -- I think my mind even now is blocking the addresses -- resided around Market Street I believe. Lots of hills...I worked at a bank and had a roommate for a short while. Then I got fed up and left for Hollywood in the late '70's. This was more compatible in the long run. Made a few good friends and hobnobbed with some people in the horror film industry. It was fun, but oh that smog! Horrible! SoCal was a much better fit for me. Midwesterners retire to Florida's west coast and New Yorkers gravitate towards the Atlantic side. But my family had been in the Sunshine state since the 1950's -- my grandmother moved down there around that time, followed by her son and his family (Uncle George, Aunt Elaine and my cousins) Florida was truly a paradise back then. We visited often from the Bronx, then after Mom remarried she and her new husband relocated to Boca. The Riviera I guess will have to wait...

She's excellent in TRIBUTE TO A BAD MAN (1956) with James Cagney.