Members

He played a mute in Gigot (1962), and received a good deal of acclaim for his performance.

This is from my blog, The Classic Film Connection. I originally posted it on September 6th (the day after Bob’s 92nd birthday). While it’s mostly about his work in television, I also cover what I feel are his most notable film roles. I’d love to know your thoughts and favorites, too - so I thought it was still message board relevant. 🙂 Bob Newhart: The Introvert’s Hero I’m a day late – but I’d like to dedicate this post as a birthday wish / tribute to the first person who showed me it’s OK to be an introvert… Several years ago, I landed my first real, grown-up, full-time job: a leadership position, in which I was responsible for overseeing multiple programs involving large groups of people. I also worked as part of a team of fellow leaders – all of whom were extroverted to a large degree. I stuck out like a sore thumb. Eventually, in our staff meetings, I began to hear never-ending choruses proclaiming how different I was. (The refrain usually began with, “You’re so quiet!” – and variations of that theme went on from there.) While I’ve often felt different, I never thought of myself as quiet – and I certainly didn’t equate quiet with bad. A supervisor re-introduced me to the terms introvert and extrovert (concepts I hadn’t heard since college) – although he would say “introvert” with such disdain, it sounded like a curse. And it was hard not to take on the idea that my introverted nature made me inferior – especially when that was so often, and so strongly, implied. It was harder still to lead and to do my job well when I felt undercut as a person. Enter Bob Newhart. In the midst of my personal crisis, I discovered The Bob Newhart Show by accident. (I remember I had quickly picked up dinner – and I was so hungry, I flipped on the TV and turned to a classic station, not caring what was on.) The episode I landed on charmed me, which led me to seek out the beginning of the series. Minutes into episode 1, I realized why I was drawn to this show: he was me. I was watching a male, middle-aged version of myself. He talked like me (I even stammer somewhat), thought like me, and functioned as I did in a work group, at home, and as a leader. He was the first true introvert I’d ever seen on screen, and the connection was strong. It was my first step in embracing who I am. And this connection grew even stronger when I researched the man himself and realized he was much more than the “name” of the show. Sure, it wasn’t all on him – there were directors, writers, and producers working together to make the magic happen – but major decisions required HIS approval. There was no mistake as to whose show this was – in title, on camera, and behind the scenes. That’s not to say he was dictatorial. The cast and crew largely seemed to function like a happy family. Everyone had a part to play, but in terms of taking on personal responsibility for the show’s success, Bob was certainly the leader of the team. In fact, the Name / Star / Silent Creative Glue role suited him so well, he repeated it over and over again (with the hugely successful Newhart, then Bob, followed by George & Leo – although I’m not sure how much behind-the-scenes involvement he had in the last one). This inspired me. I bought books on the power of introverts and being an introverted leader, I carried myself with enough confidence at work to at least not feel compelled to cave and change myself just to fit in – and I watched as much of The Bob Newhart Show as I could get my hands on. It was my go-to, especially when I felt misunderstood. I made it through all six seasons in no time – and I still come back to it regularly. Of course, the television shows came as a result of the mark he’d already made as a significant presence in stand-up comedy. His debut album, The Button-Down Mind of Bob Newhart, became a bestseller. It reached #1 on the Billboard charts – and remains the 20th best-selling comedy album of all time. His rise was meteoric. In a recent interview with WGN News, he relays that Button-Down Mind was recorded during his first-ever nightclub appearance (which was booked for the sole purpose of recording the album!). After its success, he says, “every day was New Year’s”. He appeared often on The Dean Martin Showand The Ed Sullivan Show, and hosted his own variety show (the very first, and Peabody Award-winning, The Bob Newhart Show) – which propelled him to his legendary phase as a sitcom star. I have no doubt the chief reason he garnered so much positive attention so fast (aside from the obvious fact that he is, indeed, very funny and clever) is because he was different. He was quiet. He was thoughtful. He fumbled for words. He listened. (Heck, his most well-known stand-up shtick revolves around his side of telephone conversations!) He was an introvert. His unwavering resolve to stay true to himself rewarded him with a remarkable career – and I venture to say it’s a large part of why he’s 92 (as of September 5th) and, if the WGN News interview from about 8 months ago I referenced earlier is any indication, still going strong. You can watch it here. (It’s delightful, by the way. His button-down mind is still as sharp as a tack!) The cinematic side of his career is less illustrious, but there are notable highlights: – His telephone act was brilliantly worked into his character for his first film role – a featured part in a lesser-known war picture, Hell is for Heroes (1962), starring Steve McQueen. – His perfectly over-the-top performance in Norman Lear’s comical satire, Cold Turkey(1971), deserves more attention. (In his long career, Bob has occasionally played the exact opposite of his well-known personality – always in a crazed, lampooning fashion that’s a perfect spoof of extreme extroversion…See evidence above.) – He achieved Disney immortality (and was perfectly cast) as Bernard the Mouse in the animated classics, The Rescuers (1977) and The Rescuers Down Under (1990). – And who can forget lovable Papa Elf, in the holiday hit, Elf (2003)? (Again, perfectly cast!) But his performances extend beyond the realms of comedy and family fun. There’s his early role in “How To Get Rid of Your Wife”, an episode of The Alfred Hitchcock Hour – which I haven’t seen yet, but hope to soon, as I’ve recently learned the entire series is available on Peacock. Granted, from what I’ve read, it does seem to be a comically-tinted episode – but there has to be some seriousness and suspense to it, because a) it’s Alfred Hitchcock, and b) THIS Bob Newhart is most certainly up to something and is decidedly NOT being funny: And there’s his three-episode stint on ER, of which I’ve only seen the first, because ER is generally too much for me anyway – plus I’ve read spoilers and know what happens. (Besides, my heart is still recovering from his appearance on NCIS.) But I do want to see it. I think comedians can make the best dramatic actors, so I love to watch when one steps out and tries. And it’s not like I don’t have the opportunity, since all of ER is on Hulu…I will watch it. I will. I’ll steel myself, and I will. (Now that I’ve put it in writing, I have to follow through.) Regardless of who or in what genre he plays, all of Bob’s characters share this uniquely personal touch that springs from him being so firmly and assuredly grounded in himself. And if you’re an introvert who, like me, needs to feel represented, seen, and understood – seek out The Bob Newhart Show. It’s very ‘70s, but it makes for excellent therapy. (*And all 6 seasons are now on Hulu!*) It’s funny. Entertainment is supposed to be just that – entertaining. And as such, I guess it’s not designed to truly be taken seriously. But occasionally, something or someone you see on screen can impact you in a life-changing way: like one character in a sitcom entirely redefining how you value yourself. That goes so far beyond mere entertainment. It’s the power of art – and the power of someone unwaveringly and uncompromisingly showing up in the world as himself. So, if you’ll indulge me a moment while I send this personal message out into cyberspace: Hi, Bob. Happy 92nd birthday. Thanks for being this introvert’s hero. *** So, what do you think? What are your favorite Bob Newhart moments? And whose work goes beyond entertainment for you? Also, are there any fellow introverts out there? (Feel free to comment here, of course - and, if you’d like to receive notification when I post something new on my blog, go here to subscribe via email or follow me on WordPress. I’d love to connect with you there, too!)

The character Gleason plays in GIGOT was basically the same character he played on his variety show in the 1950s: The Poor Soul. He was mute. GIGOT is a variation on that character. NOTHING IN COMMON (1986) was Jackie Gleason's last movie. He played Tom Hanks' aging and stubborn father. Gleason died about a year after it was released. Gleason had a dramatic part in the 1983 made-for-cable presentation MR. HALPERN AND MR. JOHNSON. He starred with Laurence Olivier. It was shot on videotape. Runs about 50 minutes. Jackie made 5 movies in the early 1960s: THE HUSTLER, REQUIEM FOR A HEAVYWEIGHT, GIGOT, PAPA'S DELICATE CONDITION and SOLDIER IN THE RAIN. Then in the late 1960s he made 4 more movies: SKIDOO (1968), HOW TO COMMIT MARRIAGE (1969), DON'T DRINK THE WATER (1969) and HOW DO I LOVE THEE? (1970). It wasn't until 1976 that he appeared in another theatrical film: MR. BILLION. Then came SMOKEY AND THE BANDIT (1977). THE TOY (1982) is best avoided, btw. An unfortunate waste of a lot of talented performers.

Life with Father (1947) Mr. Blandings Builds His Dream House (1948) Father of the Bride (1950) Father's Little Dividend (1951) Parenthood (1989) Honey, I Shrunk the Kids (1989) The Addams Family (1991) The Brady Bunch Movie (1995) The Incredibles (2004) The Family Stone (2005)

Top row: Alexis Smith; Ann Sothern; J. Carrol Naish; Dean Stockwell; Lewis Stone; Clinton Sundberg; Robert Taylor; Audrey Totter; Spencer Tracy; Esther Williams; Keenan Wynn Second row: Peter Lawford; Jeanette MacDonald; Ann Miller; Ricardo Montalban; Jules Munshin; George Murphy; Reginald Owen; Walter Pidgeon; Jane Powell; Ginger Rogers; Frank Sinatra; Red Skelton Third row: Katharine Hepburn; John Hodiak; Claude Jarman; Van Johnson; Jennifer Jones; Louis Jourdan; Howard Keel; Gene Kelly; Christopher Kent; Angela Lansbury; Mario Lanza; Janet Leigh Fourth row: Gloria DeHaven; Tom Drake; Jimmy Durante; Vera-Ellen; Errol Flynn; Clark Gable; Ava Gardner; Judy Garland; Betty Garrett; Edmund Gwenn; Kathryn Grayson; Van Heflin Bottom row: Lionel Barrymore; June Allyson; Leon Ames; Fred Astaire; Edward Arnold; Pal (Lassie); Mary Astor; Ethel Barrymore; Spring Byington; James Craig; Arlene Dahl

It's sad to know Jane Powell is gone. One more of the stars from the golden era. RIP. I don't know if anyone mentioned Holiday In Mexico. One of her smaller films that also stars Walter Pidgeon as her father and US ambassador to Mexico (a perfect role for him), Xavier Cugat, Jose and Amparo Iturbi, and Roddy McDowall. It's a cute little story that revolves around her putting on her own party in Mexico with Jose Iturbi in mind, and Iturbi not being able to attend, much to her disappointment as he is her big secret crush. Pidgeon and Iturbi gain an understanding of the situation and amicably work things out. Cute movie. I'm not ashamed to admit this was one of my "gateway" classic movies.

The Subject was Roses next--honeymoon

Joan Crawford and Franchot Tone (married 1935): Today We Live (1933), Dancing Lady (1933), Sadie McKee (1934) Elizabeth Taylor and Richard Burton (married 1964): Cleopatra (1963), The V.I.P.s (1963) Lauren Bacall and Humphrey Bogart (married 1945): To Have and Have Not (1944) Dick Powell and Joan Blondell (married September 19, 1936): Big City Blues (1932), Gold Diggers of 1933 (1933), Footlight Parade (1933), Convention City (1933), Dames (1934), Broadway Gondolier (1935), Colleen (released 3/21/36), Stage Struck (released 9/12/36) Joel McCrea and Frances Dee (married October 1933): The Silver Cord (released May 1933) Ida Lupino and Howard Duff (married 1951): Woman in Hiding (1950) Arlene Dahl and Fernando Lamas (married 1954): Sangaree (1953), The Diamond Queen (1953) Esther Williams and Fernando Lamas (married 1969): Dangerous When Wet (1953) George C. Scott and Trish Van Devere (married 1972): The Last Run (1971) Brad Pitt and Angelina Jolie (married 2014): Mr. & Mrs. Smith (2005)

Dana was great. It's too bad TCM didn't publicize this more because I missed most of the Alain Delon film. I think she and Eddie are both obsessed with Grahame, and who can blame them? Man On a Tightrope in particular showed Gloria's acting chops at their best. She never overacted and always left you wanting more. I loved hearing about all the little actor's tricks and things only another actor would pick up on, like having her legs up in the air in both films, and putting her hands over the lamp. I'll be ordering the Noir magazine and looking forward to Dana's return in two weeks. And yeah, she looks hot for 65 - her cleavage is a lot better than my grandma's ever was.

Anne of the Indies (1951) Colourful pirate adventure from 20th Century Fox, one of the very few films to feature a woman as a pirate leader. (Yes, history records that there were a few female pirates). In this case Captain Providence is a terror of the Caribbean. No one among British authorities realizes, however, that the Captain is a woman. Jean Peters delivers a spirited performance as the title character and she has a couple of fencing scenes to demonstrate her athleticism, as well. It's difficult to know how much stunt double work is involved but certainly Peters is quite impressive here. Perhaps even more important, however, are the emotional conflicts she must portray as Captain Providence. Her character is presented as having been raised by Blackbeard, the pirate, and, as a result, she is every bit as ruthless in her treatment of captives as he would have been. The woman in her is awakened for the first time, however, by a French prisoner (Louis Jourdan) with whom she has an affair and falls in love only to turn bitter when he betrays her and she discovers, among other things, he already has a wife (Debra Paget). Peters will seek revenge and that revenge will be as cold blooded as that of any man (a woman scorned, after all) but then she will also be wracked with conscience pangs. Peters is reasonably effective in portraying the emotional turmoil of her character. The film has a few big sea battle scenes (I have to wonder how much they may have edited in scenes from The Black Swan, the studio's big pirate epic of a decade before). There is plenty of smoke and canon fire and the scenes play quite well. Thomas Gomez has a great scene stealing time, snorting and bellowing, as Blackbeard. Blackbeard is genuinely fond of Captain Providence but there will be a fall out between them which will turn him into her mortal enemy. James Robertson Justice has a prominent role as Providence's loyal first mate, while Herbert Marshall plays the pirate ship doctor, his affection for the pirate queen gradually chilling as he sees her increasing vindictiveness following her betrayal by Jourdan. Not at all a bad film of its kind and a good deal more entertaining than many of the second tier pirate films made with male stars in the lead. Even if you're not into this kind of movie you might at least appreciate this one for being a pirate film with a difference. It would be overstating it to say that Peters delivers a complex performance but, for an essentially superficial entertainment of this kind, there is more internal conflict portrayed by her than one would have expected. Also unexpected, I found the pirate queen's final moment in the film to be oddly affecting. 2.5 out of 4

MR. HALPERN AND MR. JOHNSON is not a comedy. I've seen it. MR. BILLION is sort-of a comedy, except that Jackie Gleason does not have a comedy part. He plays a crooked businessman. One movie that Jackie Gleason had a decent part in that seems to have vanished is THE DESERT HAWK (1950). It was directed by the fella who later went on to work on "The Tonight Show" with Johnny Carson for years. Fred de Cordoba was his name.

Monday, September 20/21 A great night of Mexican films. 9:45 p.m. Sombra Verde aka Untouched (1954). Mexican film by Roberto Galvadon with Ricardo Montalban. 5 a.m. Simon of the Desert (1965). Luis Bunuel under an hour.

Cheaper by the Dozen Radio Days We're Rich Again Papa's Delicate Condition

After watching The Hustler and Requiem for a Heavyweight within a couple of days of each other, it occurred to me that Jackie Gleason never gets mentioned too much for his dramatic roles (except for his Minnesota Fats). Personally, as great as he was as a comedic actor, I think his dramatic acting chops are still better. Not being leading man material, lookswise, he was doomed for supporting roles, but am I the only one who can't take my eyes off him when he's on screen. I'm guessing who ever shared a scene with him had to bust their **** just to stay in it. I can only think of those two movies that I've seen him act in a dramatic role. Did he have very many? Any recommendations?

photo was taken April 1949. The meal was February 1949. That's what I could find.

Butterflies are Free (1972)

Yes Sir, That's My Baby (1949)

Monday September 20, 2021 Musicals on TCM an american in paris on the town band wagon easter parade meet me in st. louis annie get your gun

Mildred Davis was 'The Girl' Harold Lloyd won over in several of his short silents before they were married in 1923 Betsy Drake and Cary Grant were married the year after they co-starred in Every Girl Should be Married There was real electricity when Vincent Price murdered Coral Browne in Theatre of Blood...and married her a year later

Carole Lombard and William Powell (m. 6/6/1931): Man of the World (released 3/28/31), Ladies' Man (released 5/9/31) Carole Lombard and Clark Gable (m. 1939): No Man of Her Own (1932) Jean Simmons and Stewart Granger (m. 1950): Adam and Evelyne (1949) Laurence Harvey and Margaret Leighton (m. 1957): The Good Die Young (1954) Laurence Olivier and Joan Plowright (m. 1961): The Entertainer (1960) Geraldine Page and Rip Torn (m. 1963): Sweet Bird of Youth (1962) Steve McQueen and Ali McGraw (m. 1973): The Getaway (1972)

According to the long out of print book the MGM Story, the contractees who were not there that day in the picture were Greer Garson, Margaret O'Brien, Louis Calhern, Cyd Charisse, Gladys Cooper, Nancy Reagan, Jean Hagen, Lena Horne, Jose Iturbi, Lana Turner, Deborah Kerr, Marjorie Main, William Powell, Elizabeth Taylor, James Whitmore, Paula Raymond, Marshall Thompson, Don Taylor, Frank Morgan, Barry Sullivan, Robert Walker, and Jimmy Stewart.

MEET ME IN ST LOUIS — Vincente and Judy

@David Proulx You’re not the only one - I can’t take my eyes off him either. 🤩 He’s so magnetic, yet so natural when he’s doing drama. It’s the exact opposite of his loud, brassy comedic style (which I don’t mean to disparage, as I find it very funny and brilliant in its own right - love The Honeymooners!). His dramatic acting is the epitome of subtle. And so much happens when he’s not saying a word. You really have to watch his face. Part of the magic of his performance in Requiem for a Heavyweight is that his silent moments belie the falsely confident, bullying vibrato he speaks with. When he’s not talking, the walls come down a little, and you see how he really feels. 🤩 And The Hustler is filled with so many fantastic actors giving outstanding performances - but all in a “showier” way. Gleason just strolls in, casually shoots his own pool, and packs as much dimension and emotion into his character very naturally - if you’re really watching. Maybe he made it look too easy. About Nothing in Common: I saw it for the first time when I was a teenager, and it moved me deeply. I don’t feel all the comedy quite lands, but the drama is very real, and it got to me. Like Tom Hanks’ character, I’m an only child - and if my parents hadn’t divorced when I was a teenager, I know that would be me. (And I may still be in a similar situation as they get older.) I’ve seen it multiple times since, but on that first viewing, I cried my eyes out. Partly because of the personal connection, but partly because of Gleason himself. I had no idea who he was - had never heard of The Honeymooners or anything else he’d done - but this made me love him, and he made me cry. To this day, I still have to be in just the right mood to watch it. Sometimes I start it, but can’t take it - again, because of the personal connection, but now also because I appreciate Gleason so much more and know this was his last film. To @Mr. Gorman’s point about Mr. Halpern and Mr. Johnson, it’s not a comedy at all. In fact, it’s very much like a dramatic, one-act play. Very serious, very nuanced - a little slow, slightly odd. (As much as I appreciate these masters, I found myself thinking, “Why am I watching this?”) But what I thought was most interesting (and it didn’t occur to me until after it was over) is how against type they are - Gleason is a sophisticated, upperclass businessman, and Olivier plays a common man from the working class. One would think the more natural casting would be to reverse the two. It’s almost like they got together before filming and decided to swap for the fun and the challenge of it - just to show what pros they are. I actually wish they had turned around and did it all over again, each playing the other’s role. I really think they could have. 🤩 (PS - It may be on YouTube. That’s how I was fortunate enough to see it.) *Oooo - There’s a Westinghouse Studio episode called “The Laugh Maker” that stars Gleason and Art Carney in pre-Honeymooners dramatic roles!* 😃 Another YouTube treasure. It’s a little odd, too. Also, I know you said you’re not interested dramedys, but check out this masterclass moment from Papa’s Delicate Condition. The movie’s basically light and sweet with a just little conflict, but he puts so much into this. It’s basically everything he does well combined into one scene - comedy, drama, music - a mini-showcase 🌟: https://youtu.be/eYHh1IIIIIg And for @Bethluvsfilms and any other Smokey and the Bandit fans, I adore this hilarious moment (Burt Reynold’s fantastic, side-splitting laugh makes it even better!):

Ann Blyth was under contract to MGM in the 1950s. She sang beautifully in a few musicals: The Great Caruso, The Student Prince, Rosemarie and Kismet. Still with us at 93 years!

Meet the People (1944) -- June Allyson and Dick Powell married in 1945

You know, manly stuff...

Yeah, we all loved us some Newhart back in "the day". his stand-up telephone bits were hilarious as was his bit as the driver's ed instructor. And it was delightful seeing him show up in the WWII flick HELL IS FOR HEROES ('62) among that high-powered all star cast. And somehow the screenwriters found a way to have his character do a phone conversation bit! Here, Bob reprises his classic bit Sepiatone

It's a Most Unusual Day ("A Date with Judy") Next: sung at a picnic

Too Many Girls (1940) Desi and Lucy fell in love while making the movie and married later that year in November.

My folks used to watch him all the time on THE HONEYMOONERS. Having seen the show on DVD's now, he is hilarious. I say Gleason was equally adapt at comedy and drama. My first introduction to him was THE HUSTLER, but he's also superb in REQUIEM FOR A HEAVYWEIGHT. NOTHING IN COMMON was the movie he was teamed with Tom Hanks as father and son, and he's great in that as well. Of course he also tickles my funny bone with SMOKEY AND THE BANDIT. I have to agree with Mr. Gorman on THE TOY, however. It was a movie unworthy of Gleason's talents as well as Richard Pryor's.

I was first introduced to Newhart via his records - very funny. If not already mentioned, he use of the telephone in many episodes were a take off on his records. I did watch the Bob Newhart Show and enjoyed it when it originally aired, but I believe the later Newhart was much better. I bought the DVD's of Newhart. His next series didn't work out and was cancelled.

Nothing in Common (1986) - I mostly remember Tom Hanks playing a son who tried to connect with his elderly father. Paraphrasing: "Why don't we go to a club and listen to some music. I remember you liked Jazz!"

Skippy (1931)

The opposite of Scotty Bowers! Though I think he was just an opportunistic liar.

In the second movie you mentioned here Brian, I've always thought that Steve McQueen probably found himself doing exactly what David said above in his OP. (...and because Gleason DOES pretty much steal any scene that he's in in that film...including any with the future "King of Cool" superstar)

I know I've seen them, but can't recall much about them: "Papa's Delicate Condition" and "Soldier in the Rain"

He played Tom Hanks' father in a very late-career drama. I'm not remembering the name off the top of my head. It may have been his last film. Otherwise, I'm not thinking of many dramas.

I didn't know he was still alive. How could anyone not love Bob Newhart. He's the straight man who gets the laughs. He's the lovable guy who everything happens to. He's always been so understated, and his timing impeccable. I can't believe he's been working this late in life.

Hamlet -- all of them I Remember Mama (1948) Little Women -- all of them Harry and the Hendersons (1987) The Royal Tenenbaums (2001) all the National Lampoon Vacation films A Christmas Story (1983)

Satana, Tura

Bob Newhart was proof that you can be squeaky clean and still be a funny guy. Always enjoyed his subtle humor, especially on THE BOB NEWHART SHOW. Enjoyed NEWHART as well, but TBNS was strictly classic.

Yes. She was, in the 1950s. Powell was also one of the people in the famous 1949 MGM picture of most of their contractees at that time. I think the only ones left are Angela Lansbury, Arlene Dahl, Claude Jarman Jr, and Dean Stockwell.

My Favorite Wife 1940 Houseboat 1958 Bon Voyage ! 1962 Mr Hobbs Takes a Vacation 1962 The Thrill of It All 1963 Snowball Express 1972

Yes--characters at risk of falling from a building ledge, either intentionally (2,4,5) or unintentionally (1, 3). Good job, Peebs (and fast!) 🙂 Take it away...

Some clarifications: Horne was no longer on contract at this point. Neither was William Powell, who had signed a multi-picture deal at Universal in 1948 after his contract with MGM ended in 1947. Stewart was a freelancer after the war, but he did appear in MALAYA, so he should have been included in the photo. Robert Young, a former MGM star, was now at RKO but he came back to make THAT FORSYTE WOMAN so he also should have been in the photo. As for the others...Alexis Smith was on loan out from Warner Brothers to do ANY NUMBER CAN PLAY, which means she wasn't technically an MGM contract star. Her contract with Warners ended later in 1949 and she moved over to Universal. Errol Flynn was also a loan out from WB, so not really an MGM star. And Ginger Rogers was freelancing at this point and THE BARKLEYS OF BROADWAY was a rare MGM film for her. She would soon go to Warners to make PERFECT STRANGERS and STORM WARNING. Jennifer Jones and Louis Jourdan were under contract to David Selznick who loaned them to MGM for MADAME BOVARY. Incidentally Van Heflin was eager to cut strings with the studio and MADAME BOVARY was his last picture at MGM until the mid-60s. Lana Turner was on a lengthy suspension at this time. And Judy Garland was either on suspension or in the process of being fired.

David Naughton was in "Not for Publlcation" with Nancy Allen, who was in "Carrie" with PIper Laurie, who was in "The Hustler" with Newman. Next: Jan Clayton

Gould, Silas -- Guy Kibbee in Footlight Parade

I have this on vinyl too! Very good choice 👍

The Russian Star Wars posters aren't something to ignore by the way.