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Call me a fuddy-duddy, but I can't tolerate the slowly moving background during most of the host intros and outros. I will accept all the other stylistic changes, but the random movement makes me queasy. So I have to avert my gaze. It makes me sad, really! I promise this is the last time I will harp on this, but I had to get it off my chest, in case any of the Powers That Be care.

The British songwriter and producer Leslie Bricusse, known for his creation of popular songs for stage and screen productions, died Tuesday at the age of 90. His death in Saint-Paul-de-Vence, France was announced on Instagram by his longtime friend, Dame Joan Collins -- the actress who once was married to Bricusse's frequent collaborator Anthony Newley (1931-1999). Collins called Bricusse “one of the giant songwriters of our time.” The cause of death was not mentioned. Bricusse was nominated for 10 Academy Awards (winning twice), nine Grammys (with one win) and four Tonys, He and Newley were inducted into the Songwriters' Hall of Fame in 1989. Briscusse is survived by his wife, the actress Yvonne "Evie" Romain, their son Adam and several grandchildren. At the fifth Annual Grammy Awards, held on May 15, 1963, Bricusse and Newley won Song of the Year honors for "What Kind of Fool Am I?" -- one of their songs from the 1962 stage musical "Stop The World - I Want To Get Off." They were the first Brits to win the songwriting Grammy. Bricusse and Newley's song "Feeling Good" -- from their 1964 stage musical " The Roar of the Greasepaint – The Smell of the Crowd" -- became a celebrated 1965 recording by Nina Simone -- and a favorite song for numerous "American Idol" hopefuls through the years. Bricusse, Newley and composer John Barry co-created "Goldfinger," the theme for the 1964 James Bond thriller starring Sir Sean Connery. It was the first of three Bond themes performed by Dame Shirley Bassey, and it became the Welsh singer's signature song. In a 2004 American Film Institute survey of the Top 100 movie songs of all time, "Goldfinger" came in at No. 53. Three years later, Bricusse and Barry created the title theme for another 007 film. "You Only Live Twice" was performed by Nancy Sinatra, and it became a No. 3 hit on Billboard's adult contemporary chart. Bricusse's first Academy Award win was for the 1967 song "Talk to the Animals" from "Doctor Dolittle." Sir Rex Harrison, who played the title character in the film based on Hugh Lofting's children's books, performed the tune in the picture. A year later, the Best Original Song Oscar went to "The Windmills of Your Mind" by Michel Legrand and Alan and Marilyn Bergman from "The Thomas Crown Affair." That song was performed in the movie by Noel Harrison, Sir Rex's son -- giving the Harrison family an unprecedented, back-to-back achievement. Bricusse's Oscar was accepted by Sammy Davis. Jr. (pictured below with presenter Barbra Streisand) who earlier performed "Talk to the Animals" during the 1968 Oscar telecast. Davis included many Bricusse-Newley songs in his repertoire. The 1969 musical remake of "Goodbye, Mr. Chips" -- which starred Peter O'Toole and Petula Clark -- earned Bricusse and John Williams an Academy Award nomination for Best Score of a Musical Picture. Among the numbers performed in the production were "What a Lot of Flowers" and "Fill the World with Love." The two songs were recorded by actor Richard Harris --O'Toole's longtime friend and sometime drinking companion -- and included in his 1970 LP "The Richard Harris Love Album." Bricusse spearheaded the production of "Scrooge," the 1970 musical version of Charles Dickens' "A Christmas Carol" that starred Albert Finney in the title role. Bricusse served as the movie's executive producer, adapted the movie's screenplay and provided compositions for the music score. Directed by Ronald Neame ("The Poseidon Adventure"), the production received four Oscar nominations: Best Art Direction-Set Decoration (Terence Marsh, Robert Cartwright and Pamela Cornell), Best Costume Design (Margaret Furse), Best Original Song ("Thank You Very Much" by Bricusse) and Best Music, Original Song Score (Bricusse, Ian Fraser and Herbert W. Spencer). The beloved 1971 fantasy film "Willy Wonka & the Chocolate Factory" -- it's being remade for the second time -- featured an Oscar- nominated score by Bricusse, Newley and Walter Scharf. The movie's star, Gene Wilder, performed the song "Pure Imagination." Another song, "The Candy Man," was later recorded by Sammy Davis, Jr., and it became his only No. 1 hit song. Bricusse reteamed with John Williams for the memorable flying sequence in 1978's blockbuster hit "Superman," Bricusse wrote the lyrics for "Can You Read My Mind?" -- recited by Margot Kidder, the actress who played Lois Lane opposite Christopher Reeve as The Man of Steel. Bricusse and another music great, Henry Mancini, won their final Academy Awards for "Victor/Victoria," the 1982 musical comedy starring Dame Julie Andrews as a struggling British coloratura soprano named Victoria Grant who became the toast of Paris by posing as a singing female impersonator named Victor. In effect, that made her a woman posing as a man posing as a woman. The songwriters shared the award for Best Original Song Score and Its Adaptation or Best Adaptation Score. Nancy Sinatra @NancySinatra My heart is aching today because one of the loves of my life is gone. Leslie Bricusse was my friend for more than fifty years - years filled with warm embraces, a strong shoulder & a guiding hand. Sending love to Evie, Adam & all of their friends tonight. May God treat him well. 5:55 PM · Oct 19, 2021·Twitter Web App Piers Morgan @piersmorgan RIP Leslie Bricusse, 90. Songwriter extraordinaire, and a delightful man. Penned many of the greatest movie lyrics incl Bond themes from Goldfinger & You Only Live Twice, and had one of the great showbusiness marriages to his beloved Evie for more than 60 years. 6:51 AM · Oct 20, 2021·Twitter for iPhone Brent Spiner @BrentSpiner RIP Leslie Bricusse. My next door neighbor for many years. Wrote lyrics for so many memorable songs. Love to Evie and the family. 4:15 PM · Oct 19, 2021·Twitter for iPhone Tim Rice @SirTimRice Songwriters around the world mourning the loss of the great Leslie Bricusse, creator of hit shows, hit records, many immortal standards. Music's Candy Man who ruled his world with charm and modesty. RIP. 5:13 AM · Oct 20, 2021·Twitter Web App

Since he’s a doctor, I think we can add FRANKENSTEIN THE BODY SNATCHER FLATLINERS ISLAND OF DR MOREAU ISLAND OF LOST SOULS

Actually Sepia, by far THE most "nonsense phrase" (okay, really a word in this case) that "Millennials" use now days, is when they begin EVERY freakin' reply to a question that's posed to 'em with the word "So"! (...I might have mentioned this before, haven't I) LOL

Ice Pirates was made by MGM in 1984, so it is actually part of that original Turner Library that Warner Brothers acquired under the deal with Turner in 1996. So this is a case of TCM trotting out something they actually own. If you ever peruse MovieCollectorOH's big database of everything TCM has shown, you'll see some of the titles not shown since the 1990s are C- westerns made by MGM or Warner Brothers in the 50s and 60s. As TCM made more deals with more studios, they didn't need to show these bad films again. But for some reason, they feel the need to trot out Ice Pirates from time to time to pad the schedule.

I hope we see some comedy, because I think she was a very deft comedienne when the role called for it. I like Cactus Flower, but I adore Indiscreet with Cary Grant, in which she effortlessly handled the sophisticated wit and visual style. I'm also in the mood for Notorious again. I've mentioned it in a past thread but I think she did one of the best jobs of playing drunk of any actor I can remember. She didn't go for the usual slurring of words; it was as though her thinking and mental state were slurred and compromised. Brilliant.

Entrapment: Sean Connery & Catherine Zeta-Jones Dogville: Nicole Kidman & Lauren Bacall Silver Linings Playbook: Robert De Niro & Jennifer Lawrence Mr. Morgan's Last Love: Michael Caine & Clémence Poésy

Jack Lemmon and William Powell in Mister Roberts Sidney Poitier and Spencer Tracy in Guess Who's Coming to Dinner Goldie Hawn and Ingrid Bergman in Cactus Flower Tom Selleck and Don Ameche in Folks!

There's an erroneous impression being presented on this thread (Lord knows why) that Olivia de Havilland is unflatteringly photographed in The Proud Rebel. Beauty is in the eye of the beholder and all that but the statement in simply not true, including the very final shots of her in the film. Keep in mind that she is playing a farm woman so there is an attempt at reality in her appearance but she still looks quite lovely, especially for a woman in her early 40s. And no matter how much friction may have existed on the set between Olivia and director Curtiz she still contributes a fine, sensitive performance that adds immeasurably to the film's impact. I wish I had the technical know how to copy images from my computer to this thread of her appearance at the end of the film.

Eighty-Eighth Birthday Wishes of the Warm, Healthy, and Happy Kind to the (subjectively) Gorgeous Dancing Madam Barrie Chase. Multiple time partner of one Fred Astaire and (i believe) as unfortunate as this is, one of only two (principle) remaining artists from the comedic juggernaut Its A Mad Mad Mad Mad Mad Mad World. October 20. 1933. Kings Point New York.

Granger, Farley

I just saw a pretty extreme one yesterday. American Mary (2012)

If you want to see how truly silly this random movement is, watch it at 2x or 4x speed. Back and forth, back and forth...

TWILIGHT ZONE— “Eye of the Beholder”

Rudd, Marina--Elizabeth Taylor in The Mirror Crack'd

RIP. Stop the World and Roar of the Greasepaint are the Bricusse highlights for me.

Hopefully this counts: The Tingler (1959)

1st of December & 2nd of December GASLIGHT (1944) CASABLANCA (1942) DR. JEKYLL AND MR. HYDE (1941) SARATOGA TRUNK (1945) RAGE IN HEAVEN (1941) THE COUNT OF THE OLD TOWN (1934) SWEDENHIELMS (1935) WALPURGIS NIGHT (1935) INTERMEZZO (1936) A WOMAN’S FACE (1938) DOLLAR (1938) 8th of December & 9th of December THE BELLS OF ST. MARY'S (1945) FOR WHOM THE BELL TOLLS (1943) STROMBOLI (1950) EUROPA ’51 (1952) JOURNEY TO ITALY (1954) FEAR (1954) 15th of December & 16th of December INDISCREET (1958) ANASTASIA (1956) THE INN OF THE SIXTH HAPPINESS (1958) GOODBYE AGAIN (1961) ELENA AND HER MEN (1956) THE YELLOW ROLLS ROYCE (1964) ***They are skipping a week to do a marathon of holiday films.*** 29th & 30th of December MURDER ON THE ORIENT EXPRESS (1974) A WALK IN THE SPRING RAIN (1970) CACTUS FLOWER (1969) FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER (1973) A MATTER OF TIME (1976) AUTUMN SONATA (1978)

I agree; I don't know of any man that considers red lips "dated". Now the hairstyles that I get. I mentioned this again, about Nina Foch. In her 40s films she wore her pretty blonde hair long. But then that bun look became a thing in the 50s and Foch didn't look as sexy with a bun. What actress did? I blame in all on Jane Wyman! As for Red-lips; Here are the Kinks - Ray must of loved red lips in the 60s.

Quite a time for Ball fans. She's star of the month on TCM, the focus of their podcast, it's the 70th anniversary of the first episode of her first TV sitcom (premiered 15 Oct 1951), and Amazon Prime just released a trailer (they call it a teaser) for the film Being the Ricardos. Still unsure if Kidman and/or Bardem can pull off playing these two...

What a comprehensive tribute, JAKEEM-- good job! This is what I love about TCM forums. I never realized Bricusse co-wrote "What Kind of Fool Am I?" with Anthony Newley, nor so many of the other interesting facets of his lengthy career that you bring out. Fascinating.

I remember that year he was on Entertainment Tonight, they filmed him watching the Oscar nominations in his home. He got excited when he first heard "Den-" but it was Denholm Elliott for A Room With A View, then they announced Dennis Hopper in Hoosiers, he did seem surprised, mumbling to himself, "Hmmm, Hoosiers...I got it for Hoosiers..."

I just watched this one again, I saw it on when first released. Crispin Glover is way over the top as a brain fried teen, but I still like the film. It really captures the aimlessness and apathy of 1980s youth, a kind of updated version of Rebel Without A Cause. It also has some topical references to worries about Russia blowing us up. I think my favorite thing about it was Dennis Hopper as a one legged ex biker with a sex doll companion. This was coming off his comeback as the psycho in Blue Velvet and his Oscar nomination in Hoosiers.

Nothing that I can see. Olivia de Havilland, as a respected two time Academy Award winner, brought more prestige to The Proud Rebel than did the majority of Ladd's leading ladies, certainly of his post Shane years. That she coupled that status with a fine, sensitive performance which fully justified her reputation is one of the principle virtues of the film. Having said that, I think young David Ladd steals the whole show. Here they are almost a half century later at a 2006 Academy of the Motion Pictures Art and Science tribute to Olivia de Havilland. That's David Ladd on the left and Sam Goldwyn Jr., producer of The Proud Rebel, on the right. Olivia was two weeks away from turning 90 when this event occurred.

Yeah I just watched the "space herpe" bit. "Maybe" Epix DVN (drive in movies on certain cable systems) - or not. But not TCM. What the hell are they smoking, I don't want any of that. If they continue to try to be all things to all people, under the guise of packaged programming, this is inevitably what you will get.

I always enjoy INGRID BERGMAN. She is endlessly watchable and hell yeh, let's see NOTORIOUS again! I love THE YELLOW ROLLS ROYCE because of her third of it. INGRID BERGMAN is the only reason to look at the SPENCER TRACY JEKYLL/HYDE... it sure ain't LANA. INDISCREET is a delight. Despite its problems, I even enjoy INN OF THE SIXTH HAPPINESS. She is at the top of my list of Lady Movie Stars.

"They All Laughed"-- "When Edison recorded sound." Shall We Dance(Fred Astaire) Next: Another song that mentions a famous person

Katherine Hepburn with Peter O'Toole and Anthony Hopkins in The Lion in Winter (1968)

There's no arguing with facts: it's a film. A film, I might add, which has a scene involving something called "space herpes" The scene is on youtube. I won't post it. Really, now, I can - perhaps- see TCM playing this at 3 AM Sunday morning, but... 🤨

Shirley Temple with Gary Cooper and Carole Lombard in Now and Forever 1934 Sandra Dee with James Stewart in Take Her, She's Mine 1963 Kim Darby with John Wayne in True Grit 1969

Bing Crosby and Grace Kelly in The Country Girl William Holden and Susan Blakely in The Towering Inferno Alec Guinness and Mark Hamill in Star Wars

'You Light Up My Life' next: a song that mentions a famous person

The projection is strong here.

Nice post and one I agree with; so no one has been able to get access to the SOTM schedule so we know which films will be shown?

The Young, the Evil and the Savage (1968) Italy/Dir: Antonio Margheriti - Murders occur at an exclusive all-girls private school. With Michael Rennie as the investigating policeman, Mark Damon as the hunky new instructor, Luciano Pigozzi as the creepy gardener, Eleanora Brown, Sally Smith, Patrizia Valturri, Ludmila Lvova, and Vivian Stapleton. The widescreen cinematography looks nice, as do the ladies, but there's not a lot of inspiration or innovation on display. Also released as Naked You Die, The Miniskirt Murders, Cry Nightmare, and Schoolgirl Killer. There's a high quality print on YT at the moment, but the subtitles are partially obscured. (6/10)

Humphrey Bogart & John Derek in KNOCK ON ANY DOOR (1949). Maureen O'Sullivan & Mia Farrow in HANNAH AND HER SISTERS (1986).

Thanks very much, Katie. Now I ask, is this a "terrible" image of Olivia de Havilland? If your answer, like mine, is no, then what the heck are others here talking about with Olivia a "victim" of a misogynist director? For all I know he was one but you certainly wouldn't know it by her appearance in this closing shot from The Proud Rebel, in my opinion.

Funny Face (1957) - Fred Astaire and Audrey Hepburn

Quite a few previous Oscar winners and nominees with a young Hayley Mills in POLLYANNA but in terms of “stars” we have Adolphe Menjou and Jane Wyman (is Karl Malden a “star”?) Hayley Mills with Rosalind Russell in TROUBLE WITH ANGELS Natalie Wood with Rosalind Russell in GYPSY

The following is from the Silver Screen Oasis from August, 2009: The Forum for Questions for Charlie Tabesh These were questions submitted to Charlie Tabesh to answer while he visits with us from Monday, August 3rd through Wednesday, Aug. 5th. As you probably know, Mr. Tabesh has been with Turner Classic Movies since 1997. His duties include programming over 350 movie titles a month including the Race and Hollywood annual festival, Summer Under the Stars and the 31 Days of Oscar. He and his team coordinate the monthly programming and the acquisition selections. Mr. Tabesh is instrumental in leading TCM’s ongoing commitment to film preservation and appreciation. Here are some answers from Charlie Tabesh on Silver Screen Oasis in 2009 Q: With the increased reputation of TCM is working with studios easier or about the same as it was in the past? Once you have a kind of working agreement with a studio is there a package you lease or can you pick a certain number of titles in the deal? Thanks so much for spending some time with us this week. A: I'd say it's easier now than it used to be. We actually have pretty substantial agreements in place with every major studio. Traditionally networks license films for a set period of time (1 to 2 years, sometimes more, sometimes less) and a set number of runs during that time. There are real budget issues, so a model like that provides the incentive to play a film as many times as possible during that license period (because that means you could license fewer films). We've tried to work with each studio to provide greater access to their libraries so we could play some films only once or twice - that allows us to dig deeper and play titles that are rarely seen. As you know, when we do any sort of festival (star-of-the-month or anything else) we like to showcase films that might not be as well-known but that are important to the theme we're highlighting. We still have plenty of limits and by no means do we have access to every film from every studio but on any particular month I think you'll see films from all of them. Q: I have a question for you. Besides rights issues, what are some of the other problems you encounter when trying to book older, lesser known titles? A: other than rights the biggest issue, by far, is quality of materials. A lot of films are in very bad condition, some aren't playable at all. And even if a studio does have film elements, they still need to be transferred to video which can be very expensive (and cost-prohibitive) Q: I don't have to tell you that TCM has a very loyal core audience and we all have varied tastes when it comes to films and what we expect from TCM. It has to be very challenging to try and program something for everybody. Are there times when you're working on a schedule and just pounding your head on your desk trying to decide whether to add a lesser know, seldom seen, classic for all of us serious film buffs or another run of some well know film (like "Singing in the Rain") in an effort to get viewers who may tune in because they've seen it before or at least have heard of it? How do you do it? A: That is really the balance that we try to achieve. As you suggest, our hardcore fans, and I assume most people here at Silver Screen Oasis, are excited about the rare or obscure titles. But we're also a place that many people discover classic movies for the first time. In addition - because there are so few options out there for classic movie fans - some people are watching TCM almost all the time and, to them, any repeat is annoying because they might have seen that film on the channel a month or two ago. One more point: if we play a title 5 or 6 times a year, that's a whole lot for us; that might happen with less than a dozen titles each year and the average title plays between 1 to 2 times in a year. And even when we play a film 5 or 6 times, it's almost always at different times of the day. But if you've seen those films a few times you want something new and different. So we're trying to please a lot of people and different levels of classic movies fans. I'm sure we get it wrong sometimes but we do take pride in our role and try to do our best. Q: Three related questions -- 1. What market research is considered when selecting films and themes? 2. What are the demographics of the "typical" TCM viewer and how important is that "typical" viewer when programming? 3. Is there a theme that you, personally, have been wanting to program, but haven't for reasons other than film availability? A: No, we've never done any sort of research at all on what festivals or films we want to play. We've done some marketing research here and there to see how the brand is doing but never anything to help determine what to play. As for the "typical" TCM viewer, I think we have two primary audiences: 1. older people that remember a lot of these films from when they were younger and have a nostalgic feeling for them, and 2. hardcore film fans, people that just love movies, a group that spans all ages; of course this doesn't capture everyone and there's a lot of overlap between them, but that seems to be a broad description of the TCM fans. As for festivals I've always wanted to do, there are several. Filmlover (from the TCM message boards) had suggested a festival devoted to filmmakers that immigrated and came through Ellis Island, something that I've always thought was interesting. I'd like to do Iranian films at some point because they have such a rich film heritage that isn't seen here very much; comprehensive festivals of some Fox stars would be great (Monroe, Power, Grable, etc.); a festival devoted to revenge in the movies; there are a whole lot, those are just a few off the top of my head and I'm sure we will get to some or all of them in the future. There's just only so much space for all of the great possibilities. Q: 1. Are all or most of the films shown by TCM presented in digita-beta format transferred from a 35mm print ? 2. What about the films in the voluminous Warner library that haven't seen the light of day for eons particularly many Allied Artists and Monogram titles including the Bowery Boys series, Loophole (1954) and The Cruel Tower (1956)? 3. Does Warners strike new prints or make new transfers of films for viewing on TCM or do you have to simply have to program what you are told is available? 4. When will TCM screen some of the 1940's Universal Sherlock Holmes titles such as THE SCARLET CLAW and THE PEARL OF DEATH that have been remastered by UCLA instead of the PD Holmes films such as THE WOMAN IN GREEN and SHERLOCK HOLMES AND THE SECRET WEAPON that are regularly shown using transfers of extremely poor quality? 5. I thought the best thing TCM ever did was the SUMMER OF DARKNESS film noir series . Any chance of repeating this in a similar format? I would love to co-program it with you! A: 1. Yes, over 99% of what we play are 35mm films transferred onto digibeta. As several people know, there were a couple of times this year that 16mm transfers were the only option for us, but that's very rare. 2. We're in discussions with WB for broader access to their library, but that deal hasn't been completed yet. We have to negotiate with them just as we do any other studio, which surprises a lot of people, but it's true. 3. No studio strikes new prints for us, including WB. And if a film hasn't yet been transferred to video, they usually will only do the transfer themselves if there's a dvd market for the film, our license fee is high enough to cover that cost (plus a little more), or if we pay for it ourselves. There are some exceptions, but economics certainly drives a lot of the decision-making, as you might expect. With regard to WB specifically, many of the films were transferred years ago by Ted Turner. In the '90s WB acquired the TEC library but for a lot of films we still use transfers that were made many years ago. We're in conversations now with WB on the best way to update the library, and I should say there are some people there (one in particular) who are very passionate about that and they're taking a leading role in the process. 4. With the Holmes films it a matter of the rights and the cost to acquire them. But we are interested in obtaining them if we can afford it. 5. I agree, the Summer of Darkness was great and it might be time to do that again at some point in the near future.

I was watching a cooking show on PBS and they were doing the same thing! God, I hope this fad passes quickly.

Eyes Without a Face Dead Ringers Mad Love

In my opinion, there's nothing wrong with Ms. Lake. I think she was a cutie. But sure, not the only one. And red lipstick? I'm with DARG on that one too. As for the hair-dos, it all depends. Some were good, some bad, and several seemed to choose do's that did them no justice( unless the producer or director made the choice for some movie). And incidentally.... The mid '40's to mid '50's VIRGINIA MAYO still makes my heart race. Sepiatone

Gail Patrick was in My Man Godfrey with Alice Brady.

Live in a similar state with an equally determined governor. I don’t get these guys. There is something that could potentially save your life, but no, now it’s a political issue. Unbelievable. The best book I can recommend on the subject of pandemics and how they occur and progress would be John Berry’s The Great Influenza. It’s a fascinating read. I read it 10 years ago, and I’m very thankful that did. If not, I might have been susceptible to some of the utter hogwash that’s circulating now. Read it, it’s a long slog, but it’s meticulously research and has nothing whatsoever to do with any partisan shenanigans or political special interest. https://www.amazon.com/Great-Influenza-Deadliest-Pandemic-History-ebook/dp/B000OCXFWE/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1634672930&sr=8-1

I've Lived Before

9. Appeared in both the 1929 and 1940 versions of The Letter

The Hollywood Reporter @THR M. Night Shyamalan Named 2022 Berlin Film Fest Jury President hollywoodreporter.com M. Night Shyamalan Named 2022 Berlin Film Fest Jury President The director of 'The Sixth Sense' and 'Split' will head up the international jury for next year's Berlin International Film Festival. 7:05 AM · Oct 19, 2021·SocialFlow

People see what they want to see (either that or their memories are faulty). There is nothing wrong with Olivia de Havilland's appearance in The Proud Rebel. She was 41 when she made the film and other 41 year old women probably wish they looked half as good. There's nothing resembling Jo Van Fleet about these images of her. Olivia was aging well when this film was made, as reflected by these photos.

BEHAVE YOURSELF! (1951)