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Mr. Peabody and the Mermaid (1951) - Ann Blyth The Seven Year Itch (1955) - Marilyn Monroe Scarface (1983) - Al Pacino

Les Diabolique Pillow Talk Blonde Crazy The Tingler The Jerk

Saw a guy wearing a fedora today. On the street! Almost nobody wears a hat these days. Not saying it's a loss. I couldn't bear wearing one. Used to be, almost everyone wore a hat. Would no sooner leave a house or apartment without a hat as without pants--I mean slacks. Hats even played pivotal parts in movies (evidence of criminal conduct, infidelity, inappropriate presence of an individual, presence of a person in a building). What I'm wondering is what started the cultural convention, tradition, something, of wearing hats. Did it start in Ancient Times and wend its weary way through the Dark Ages of dark hats, into the Enlightenment with airy hats that sat lightly on the head, to Impressionism that left hat-hair? And why fedora? Who was Fedora? And what ended hat hairing? I mean wat wearing? I mean--you know. Was it the Cultural Revolution of the 60s? Open honesty against the great hat cover-up? Hats could be awkward, or in the way. You could sit on them, or throw them on the bed (big no no, but Why?) . They could be in the way, or get blown off, and you'd have to chase 'em. Into traffic! Or you'd switch 'em and get the wrong size. Or they could be the style. And how the hell do you roll them up your arm onto your head? Or you rake it at a rakish angle showing your sauciness and sexuality (oh my!). Or you set it straight (classy!) and zip the brim razor even between your forefinger and thumb. You could toss your hat in the air, onto a hook, into the ring (though I've never actually seen that done). You could stuff it into your pocket, put it in a box, mute a trumpet, trap a wee beastie, bury an inopportune snork. And you could pop one on your head and step smartly out the door.

Must be something about the name "Sue" since I have over 100 vintage hats-which I still wear too! I need a key list to know which hats can be found in which boxes. Several on display on rotation with the seasons. I do think hats obviously originated to keep the head dry but eventually came to have a bit of a religious connotation. Think of yarmulkes and women's lace head coverings in church-generally the only hats worn inside. Classic Movie tie in: I have a prop Fedora from the movie SECRETARIAT.

The problem is too many people know nothing about firearms and never heard even the most basic rules. When I was in grade school, the local VFW gave basic lessons. The instructor knew his audience -- he showed us a rifle, unloaded it, let each of us look at it closely, then raised this unloaded weapon to his shoulder and fired. Most of us had handled rifles before (getting a .22 on your 7th birthday was a rite of passage), and this scared the bejeebers out of us. He'd put a notepad on the target so we each got a sheet of paper with a hole in it to remind us what can happen with an unloaded gun. Years later, I learned he was an amateur magician (good enough at sleight-of-hand that no one ever played poker with him), so slipping in a round after we'd all examined the rifle was easy for him. It was also effective. Even these many decades later, I can disassemble a weapon, clean it, and when I reassemble it, in my mind, it's a loaded weapon, and I treat it as such.

A propmaster? Maybe good "Hollywood" protocol, but absolutely bad firearm protocol. Everyone holding a gun should be 100% familiar with the firearm and the ammo, which means inspecting it themselves. P.S. This is no different from being a responsible driver on the road.

But on the plus side, at least he was doing his part to stop the spread of COVID.

John Lennon in A Hard Day's Night 1964 Mary Tyler Moore in The Dick Van Dyke Show episode Never Bathe On Sunday 1965 Elke Sommer in Boy, Did I Get a Wrong Number 1966

It seems Henry Fonda really likes to be clean: Wings of the Morning (1937) Spencer's Mountain (1963) Once Upon A Time In The West (1968)

two thousand two hundred thirty-third category Bathtub scenes Clifton Webb in LAURA (1944) Lucille Bremer in YOLANDA AND THE THIEF (1945) Edward G. Robinson in KEY LARGO (1948)

But even so, a rehearsal of a scene is the scene. So why was the gun pointed at the cinematographer and shot?

I have had similar experience a few times in the past. Every incident involved an adult riding the bike. That is why I am opposed to bike lanes on public streets and bike paths/trails that cross public streets. Actually not too sure about bicycles on public streets at all.

There's a lot to unpack here, but as a vintage hat collector and wearer (women's though of course🤣) I found this interesting. From Wikipedia: "The term fedora was in use as early as 1891. Its popularity soared, and eventually it eclipsed the similar-looking homburg.[2] The word fedora comes from the title of an 1882 play by dramatist Victorien Sardou, Fédora, which was written for Sarah Bernhardt.[10] The play was first performed in the United States in 1889. Bernhardt played Princess Fédora Romanov, the heroine of the play. During the play, Bernhardt – a noted cross-dresser – wore a center-creased, soft brimmed hat. The hat was fashionable for women, and the women's rights movement adopted it as a symbol.[11][12] After Edward, Prince of Wales (later the Duke of Windsor) started to wear them in 1924, it became popular among men for its stylishness and its ability to protect the wearer's head from the wind and weather.[11][12] Since the early part of the 20th century, many Haredi and other Orthodox Jews have made black fedoras normal to their daily wear." I think the decline in people wearing hats began when an increase in closed roof cars happened. I guess the lower roofs got, the less people wanted to have a hat squished on their heads😆 If anyone has any additional information on this though I'd be interested to hear it!

It is. The R&H musicals on film: Oklahoma! Carousel South Pacific State Fair (written specifically for film) The King and I Flower Drum Song The Sound Of Music There was also Cinderella, which was written specifically for TV (reportedly seen by 100M people on CBS during its first live telecast in 1957). It's been done multiple times on TV since, and a version made it to Broadway nearly 10 years ago now.

I feel like I almost killed a guy on a bicycle last night. He pulled out against traffic and against the light onto a busy street, never even checking for oncoming cars, and I had to slam on my brakes. It's one of those moments where you're rattled for a few minutes afterward, but I'd forgotten about it by the next morning until I heard this story while driving to work.

Great topic! The scene near the end of LAURA where Clifton Webb takes the rifle out of the clock and plans to shoot Gene Tierney was shocking and on some level, scary. Of course having him shirtless earlier in the movie was even scarier.

Robert Mitchum made my skin crawl in The Night of the Hunter. I was so afraid he'd murder those kids.

The Primetime Emmy Award-winning actor Peter Scolari, who starred with Tom Hanks in TV's "Bosom Buddies" and was a regular in Bob Newhart's 1980s sitcom, died Friday at the age of 66. His manager told Variety that the cause of death was cancer. He was a cast member of the current drama series "Evil," in which he co-starred as a Catholic bishop. The series began on CBS. but was aired on Paramount Plus for its second season. “He was mensch and a giving actor, said "Evil" creators Robert and Michelle King in a joint statement. "He took what otherwise was the straight man part and turned it into a comic pleasure.” Said Newhart: “We were friends and colleagues for over 40 years... He was a fantastic person, and it was a joy to work together. He will be sorely missed and his passing at 66 is much too early.” Scolari is survived by his third wife, Tracy Shayne, and four children -- Nicholas, Joseph, Keaton, and Cali. On "Bosom Buddies," which ran on ABC from 1980 to 1984, Tom Hanks was Kip Wilson and Scolari played Henry Desmond -- New York City roommates who found themselves in need of a new apartment. They wound up moving into The Susan B. Anthony Hotel, a building that housed only women. They passed muster by posing as women: Kip became Buffy, while Henry took on the identity of Hildegarde. The series also starred Donna Dixon, Wendi Jo Sperber, Telma Hopkins and Holland Taylor. Hanks and Scolari became lifelong friends as a result of their collaborations on the series. In "Newhart," which aired on CBS from 1982 to 1990, Scolari played Michael Harris, the producer of a Vermont TV show hosted by writer and innkeeper Dick Loudon (series star Newhart). For his efforts, Scolari earned three consecutive Emmy nominations as Outstanding Supporting Actor in a Comedy Series (1987-1989). The series also starred Mary Frann, Tom Poston and Julia Duffy. When Hanks made his directorial debut with the 1996 musical comedy feature "That Thing You Do!" -- the story of a fictional 1960s band -- he called on Scolari to play the host of "The Hollywood Television Showcase." Hanks did double duty, taking on the role of the band's manager. From 1997 to 2000, Scolari starred in Disney's "Honey, I Shrunk the Kids: The TV Show," a syndicated series based on the popular sci-fi movies that starred Rick Moranis. Scolari's co-stars in the family production were (from right to left) )Barbara Alyn Woods. Hillary Tuck and Thomas Dekker. Through the spectacular motion-capture process, Scolari provided the figure of Billy the Lonely Boy in Robert Zemeckis' 2004 computer-animated holiday film "The Polar Express." Hanks contributed to the creation seven different characters, including Hero Boy, the Conductor and Santa Claus. The picture was based on the 1985 children's novel by Chris Van Allsburg. In 2013, Hanks and Scolari were reunited in the Broadway play "Lucky Guy," which was written by Nora Ephron (1941-2012). The production starred Hanks as Mike McAlary, the late Pulitzer Prize-winning columnist for the New York Daily News. Scolari portrayed fellow columnist Michael Daly. Directed by George C. Wolfe, the play -- which had a limited run -- earned six Tony Award nominations and two wins: Best Featured Actor in a Play (Courtney B. Vance) and Best Lighting Design of a Play (Jules Fisher and Peggy Eisenhauer). Scolari appeared in 21 episodes of the HBO comedy/drama series "Girls" (2012-2017) as the father of New Yorker Hannah Helene Horvath (series star and creator Lena Dunham). His character, a Michigan State University professor, eventually announced he was gay, divorced Hannah's mother (Becky Ann Baker) and moved to New York City himself. For his efforts in "Girls," Scolari received the 2016 Primetime Emmy Award as Guest Actor in a Comedy Series. He was a bit lucky because he replaced Peter MacNicol of "Veep" in the category. MacNicol's nomination was revoked after it was ruled he had not appeared in enough episodes of the Washington-based comedy, also on HBO. In the supernatural drama series "Evil," Scolari played Bishop Thomas Marx, a skeptic who supervised a trio of investigators (played by Katja Herbers, Mike Colter and Aasif Mandvi) tasked with looking into reports of paranormal activity in New York City. The series has been renewed for a third season. Alan Sepinwall @sepinwall RIP, Peter Scolari. A welcome, acerbic presence in everything he appeared in, from Bosom Buddies to Newhart to Girls. He and Tom Hanks were so good together that Bosom Buddies soon abandoned the dumb crossdressing premise; people just wanted to watch those guys be funny together. 12:21 PM · Oct 22, 2021·Twitter Web App

Recently, TCM had Rodgers and Hammerstein night. I watched "Carousel" which I find to be one of the most interesting Oscar and Hammerstein movie musicals. The story is surprisingly dark and emotional for a musical with a story that includes domestic abuse and the death of a main character. I love the fantasy/dream sequence when the daughter is imagining her father (who she has never met) who she knows was a good-looking carousel barker. Ballet dancers become the carousel horses. It's beautifully done. The songs in Carousel (or almost any Oscar and Hammerstein musical) are nonstop fantastic. They are not musicals with just one or two great songs. My all-time favorite Rodgers and Hammerstein musical movie is "Oklahoma". I love the humor and choreography. The dance during "Everything's Up to Date in Kansas City" includes a dancer jumping on top of a moving train. The ballet sequence when Laurie is asleep after taking taking a sleeping medicine is so surreal. Rod Steiger is an interesting bad guy in this film. What are your favorite Rodgers and Hammerstein movie musicals? Below are pictures from the ballet "Laurie's dream" sequence in Oklahoma.

Fran Drescher Next: Child actor who became brooding adolescent actor and died young.

Henry Next: Kevin, Noreen, Donna

Ida Lupino Next: Who worked with Jean Stapleton, Carroll O'Connor and Rob Reiner?

Claudette Colbert bathes her daughter (Juanita Quigley) in IMITATION OF LIFE (1934):

Pat O'Brien (from Milwaukee, and a celebrated son of Marquette U.) next: from Utah

Many bathtub scenes in Looney Tunes cartoons -- Tweety sings "Singin' in the Bathtub" -- sometimes Bugs things a boiling pot is a bathtub... DIAMONDS ARE FOREVER Not sure if it's a tub or shower in EASY LIVING, but it's ridiculous anyway MY FAIR LADY -- trying to bathe Eliza! THE WOMEN -- Crystal Allen's special tub NIGHTMARE BEFORE CHRISTMAS -- walking bathtub A QUIET PLACE THE THRILL OF IT ALL MARY POPPINS RETURNS -- whole bathtub number

The Adventures of Robin Hood, 1938 Next: More swash and buckle

Could it be Edgar Buchanan? Your rural comedy clue helps a lot.

Gotta admit it MIGHT even be longer than that one I started a while back that began that whole "Don Ameche/George Brent Controversy"! (...btw, I STILL say that it was supposed to be Brent in that cartoon)

Reginald Denny - Cat Ballou (1965)

I was quite shocked and disappointed to find this out. I hadn't contributed to the forums for many years. I only used it for research and check up coming releases. It gave me pause for reasons I'm sure you can understand. Thought you all might find this of interest. Dear Friends, This announcement will probably come as a shock and I apologize in advance for that. Thanks to all of you we have built relationships that are not just words on a computer screen. We have met, embraced, shared meals and drinks and laughter and I will treasure those times spent in each other's company in various cities around the world. Dad used to say, "you've got to make the effort" and many of you did. Thank you for that. I know dad would have loved those times as much as I did. We’ve built tremendous relationships and a beautiful community for all things Sinatra. I appreciate the love and support for the Sinatra Family and our online neighborhood for the past decades. And I'm very grateful for the members who attended my various performances over the years—your friendly faces were a joy to behold even when being forced to endure loud rock and roll! Thank you for that too. When we started this page way back in 1997, we voiced and embraced our Mission Statement: We the Sinatra Family pledge to keep the legacy of Frank Sinatra safe and free from harm so that his music and charitable work will live on in the hearts of future generations around the world. All who enter this site are charged with this responsibility. We will keep this flame burning with the integrity and truth that were so much a part of his spirit and life’s work. The Sinatra Family Forum empowers its members to “keep the flame” in their own lives and help light it in others by educating new members on the individual and collective bodies of work and values of the Sinatra Family. But now it's time to say goodbye. It is with a heavy heart that the Sinatra Family Forum and SinatraFamily.com website will be shutting down and going offline on August 1, 2021. Dad always said, "you have to know when to get off" and we believe that time has come. Going forward I’ll be looking to keep in touch with each of you on Instagram (@nancysinatra) and Twitter (@nancysinatra), where I’ll be Live-tweeting a bit more and Live Instagramming as well. It’s never easy to say goodbye, but leaving this website and the Sinatra Family Forum is most wrenching and difficult. I’ll miss you. I love you. And I thank each and every one of you for being part of the Sinatra Family Forum and for “keeping the flame.” Please stay in touch with me so we can keep the flame burning. [Signed: Nancy Sinatra]

We were thrown a fun bone with Harryhausen and the wonderful JASON AND THE ARGONAUTS, then it was, well, quickly back to social significance.....(although HARLAN COUNTY, U.S.A., can never be seen too much imo).

Invitation

Steel Magnolias next--drugstore

- You are correct, Noir Alley is getting a late start Saturday evening (very early Sunday) due to the Clint Eastwood films. Of course, it will also be shown at the regular time of 10 AM ET Sunday morning. - I assume La Bestia Debe Morir will be shown in Spanish with English subtitles. - Plunder of the Sun does look like a good one. According to MCOH's records, it has not been shown on TCM since 2012. I think Dave Karger will be doing the introduction on Saturday afternoon.

During the last couple of winters I saw men wearing fedoras. And in certain cases I approved very much. 😍 Last weekend at Noir City DC some of the moviegoers had on fedoras in tribute to the period. It probably takes a certain amount of commitment to wear a hat like that today, but I salute the gentlemen who made the effort.

6. Is Merry Anders

From October 23-26, 1921, the Poli ran a double-feature. The Idle Class starred Charlie Chaplin and Edna Purviance. It was released in September of 1921. It is available on YouTube, running around 30 minutes. Brief Plot: The Little Tramp is a dead ringer for a rich man who neglects his wife. After a series of misadventures on a golf course, the Little Tramp ends up at a masquerade party thrown by the couple, with mistaken identities being the result. Review: This is the perfect length for a Chaplin flick. There are some very funny bits, several of which made me even chuckle out loud. Charlie gets knocked around a few times (which I never find that funny), but overall this short is entertaining and fast-moving, with some interesting sight gags. The second feature was The Blot, with Claire Windsor as Amelia Griggs and Louis Calhern as Phil West. It was also released in September of 1921. It has been shown on TCM (which is where I first saw it), and is available on YouTube, running around 90 minutes. I reviewed this film in another thread years ago, so I am supplying an edited version here. Brief Plot: The story mainly revolves around the plight of a family in which the father, Professor Griggs, is an underpaid college professor. His daughter Amelia is pursued by wealthy Phil West, who is Griggs’ student. Review: After the first fifteen minutes or so, I thought it was going to be pretty dull, but this film steadily engaged me. Claire Windsor, as the daughter, was a revelation. It was also interesting to see a young and not-bad-looking Louis Calhern as her rich suitor. The film’s charm lies in its characterizations, and the natural acting by the cast. Perhaps it was the talent of the players, or perhaps the directing of Lois Weber, or perhaps both. I felt like I was watching real people, not actors, and I really wanted to see how their lives developed. This is a sweet film and I would highly recommend it. In an interesting promotion, the Parker Pen Company sponsored an essay contest tied to the film: The Poli also showed newsreel footage of the arrival, in New York City, of General Armando Vittorio Diaz, Commander-in-Chief of the Italian army. He was given a tour of the Italian districts in the city, and afterwards remarked “it is very significant. It means that these people of my blood have a great affection for their adopted country. Surely, if they regard me so highly, they must have a strong sense of loyalty to America. They live here.”

Sunday, October 24 12:15 a.m. The Monster (1925). Lon Chaney as a mad scientist.

Favorite R&H musicals are Carousel and South Pacific. I just love The Carousel Waltz .. so beautiful. My mom had both of these albums so I listened to them a lot as a kid. I'm sure that's why they're my favorites. This was in the late 50s and I didn't even see the movies until after I knew the songs by heart. They started showing the movies on TV in the mid to late 60s. It was such a treat when they were first shown. Almost as exciting as when the Wizard of Oz was first shown. People take it for granted these days when you can watch any movie any time you want. We had to search through the weekly TV Guide back then to make sure we didn't miss a good movie. To self: OK Boomer.

I keep wanting to recommend The Ghost & Mr. Chicken to the usual Halloween roster of YouTube reactors, but watching it again recently, realized the movie was really only 30% scares, in the middle third, and 70% upgraded Andy Griffith Show comedy. Still, that middle third meant a lot to us young local-station viewers. 😦

As great as Mr. Osborne was, he had no control over the technical presentation of a particular film. TCM, by and large, doesn't either, apart from trying to source the best available version of a film they can get. In looking at this particular film, it seems that there have been two digital transfers done by the studio (Columbia/Sony) at different aspect ratios: one at 1.75:1 and another at 1.66:1 1.75:1 is almost exactly the ratio for 16x9 HDTVs, and it appears it's this aspect ratio that was shown for the film on TCM (it would result in a full HD screen). 1.66:1 matches the ratio documented on IMDb as the "original ratio". As to why TCM used the 1.75:1 version, we won't really know. Maybe it's the only one Sony would release to them?

That's from the intro to What's the Use of Wonderin', and the film just omits that bit altogether. The film cuts out several songs, cuts out the extensive prologues of others that serve to introduce and contextualize the songs, and sanitizes the lyrics of some of what remains. Most notably, Billy's Soliloquy has several words changed or dropped, like damn, hell, bas*****, vir*gin, and God. South Pacific also uses the word bas***** quite often, as the sailors teach it to Bloody Mary, and it becomes a favorite of hers. You'll never hear Juanita Hall say it on the film, though. They substitute stinker instead.

Please excuse the crass title, SweetSue, but I assume you will get the implication:

with John Carradine The Black Cat 1934 House of Frankenstein 1944 House of Dracula 1945

Jenny Next: Landesberg, Martin and Guttenberg (sounds like a law firm!)

Carousel is my favorite, partly because I was in a production when I was in 6th grade, in public school in the Bronx, New York. As you say, a dark and emotional story, which makes it a particularly unusual choice for 10 and 11 year olds. Being in the show fostered in me a lifelong love of theater and musicals. I didn't have a large role, in fact only spoke one line, but I was a sailor and a fisherman and so onstage a lot, and in all of the choruses. I can sing all the songs for you right now! Years later, when I saw my first professional production, I realized that one line was changed in our school show. In one scene, someone says: "Here's Arminy, she'll tell you." Arminy then sings: "The clock just ticks your life away, there's no relief in sight. It's cooking, and scrubbing and sewing all day, and the same thing's every night." The line is actually: "And God knows what all night!"

Excellent question! There's a couple I can think of right off hand. First is the supposed children's movie Willy Wonka and the Chocolate Factory. Kid's movie my tightly clinched ****! They may have marketed this towards kids but it's flat out balls to the wall horror! Gene Wilder's Wonka is a psychopath hell bent on gleefully making the children pay for their indiscretions in the unimaginable insidious ways. He turns a girl into a giant freaking blueberry for the offense of chewing gum?!? And then had his demonic hoard of slaves roll her away to be "juiced"!?! Mother of God! Who would ever think of this? This brightly colored Dante's Inferno terrified me as a young lad and even today the boat ride and Wonka's serial killer-like raving gives me the heebie-jeebies. The other film is one of the best coming-of-age movies ever made, Phillip Kaufman's 1979 the Wanderers. The majority of the movie is typical of the genre, a group of teens growing up in the early '60s while trying to find their place in the world, and very well done. But the scenes involving rival gang, the Ducky Boys, are something totally different. Kaufman uses lighting and sound to turn those scenes into some of the all time greatest horror put on film. I couldn't find any images that truly did the terrifying aspect of the Ducky Boys justice but trust me, those cats weren't human. This and Kaufman's amazing remake of Invasion of the Body Snatchers from the year before make me wish he'd done more horror movies because he's one of the few who really get it

Lee Marvin in The Man Who Shot Liberty Valance (1962) The scariest villain in a non horror film, you cringe every time he comes on screen.

Yellow Submarine (1968) The Blue Meanie. Chitty Chitty Bang Bang's child catcher