CineSage_jr

You're writing of the Welsh Emlyn Williams, author of The Corn is Green, which starred Davis. A gentleman at last, and my first task is to steal a horse." -- Williams as the Saxon serf Wamba in IVANHOE (1952)

I think she was all right as a big band singer, but I have never cared for any of her movies, with the exception of Julie. Have you ever seen LOVE ME OR LEAVE ME???

STELLA, WHERE ARE YOU? Down, Stanley, down! You're not in New Orleans now!

Alistair Sim.

I want a Charles Brackett-Billy Wilder collection, containing FIVE GRAVES TO CAIRO. Is that too much to ask?

Sorry about the multiple postings of the same message, but I kept receiving an error message when submitting it, and kept trying till I realized that they were getting through, anyway.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now. Mariska's certainly a competent actress, but I'd be lying if I said that there aren't a thousand other competent actresses who'd be just as good in the part.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now. Mariska's certainly a competent actress, but I'd be lying if I said that there aren't a thousand other competent actresses who'd be just as good in the part.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now. Mariska's certainly a competent actress, but I'd be lying if I said that there aren't a thousand other competent actresses who'd be just as good in the part.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now. Mariska's certainly a competent actress, but I'd be lying if I said that there aren't a thousand other competent actresses who'd be just as good in the part.

Daughter Mariska is now on a TV show in the US - I forget the name of it. Hargitay plays an NYPD detective in NBC's Law & Order: Special Victims Unit, and it's been on for several years, now. Mariska's certainly a competent actress, but I'd be lying if I said that there aren't a thousand other competent actresses who'd be just as good in the part.

It's a Paramount film from 1961. Paramount has sold off pieces of its library over the years. But I think this one still belongs to Paramount. Could be wrong. In the mid-1950s, Paramount sold all its pre-1949 sound films to MCA, which eventually became the parent corporation of Universal Studios (with a few exceptions, such as THE MIRACLE OF MORGAN'S CREEK, which Parmaount retained because MCA apparently had doubts that the film's subject matter was suitable for TV showings). Since then, they have never sold away rights to any of their films.

Actually, England's answer to Monroe was Diana Dors. She was, in fact, a significantly better actress than Monroe and, in my opinion, a lot sexier. Her screen persona was, perhaps a bit less vulnerable and suggestive of the real instability inherent in Monroe's makeup, which may be why Dors isn't well remembered these days (of course, she also didn't have a Hollywood studio publicity machine behind her). I think it's about time that Miss Dors's career was rediscovered.

Film is propaganda, even when there's been no need for it to be. Political propaganda, economic propaganda, propaganda to burnish the images, and further the careers of, the people who made the films. It's inevitably propaganda, because it must be, to one degree or another, subjective, it must have a point of view, and the best stories are those that pose a dramatic question that they then answer. PS: Re I have to make a 30 minute presentation, so I thought I'd use clips from various films, along with a discussion about the era and it's history. (Blah blah blah WWII blah blah blah John F. Kennedy) You may be risking a few points off for style from your instructor if you don't get a grasp on the distinction between "its" and "it's." It's the former that's the possessive form, and its the only possessive pronoun form in the Enhlish laguage that doesn't employ an apostrophe to make it possesive.

Well, there aren't any influential 19th century directors...and the 21st is only five years old, so that tends to leave...the 20th century, doesn't it?

I was referring to flubs in the movie, not flubs by you.

FYI, the "C" in "C. Bakaleinkoff" stood for Constantin.

A lack of seating in the subway stataions may have something to do with it. Unlike New York, where every below-ground station has fairly comfortable heavy wooden benches, L.A.'s gone in for "art." Unfortunately, this art (in the Hollywood & Western station, concrete seats that zigzag like a pattern on an Indian blanket, forcing round rear ends into a triangular space) is damnably uncomfortable. L.A. has got to be the worst-run big city in America (well, maybe Number Two, after New Orleans); the people in charge have no concept of the practical considerations needed to make a community livable, but the dumb-as-geese citizens keep re-electing them, year after year, after year.

The mirror scene with Groucho and Harpo in DUCK SOUP, and the stateroom scene in A NIGHT AT THE OPERA.

After the L.A. subway's planned path up Wilshire Boulevard to the Fairfax District was cancelled (it may yet be revived; Congressman Henry Waxman, the subway's most implacable foe, has changed his opinion of a Wilshire Blvd. line, now that the methane-gas issues seem to have been addressed; he also sees the need for a line to serve the wealthier areas on L.A.'s West Side, because traffic problems in this town has become so onerous. Would you believe that L.A. still doesn't have synchronized traffic signals?), the route was changed to run along Sunset Blvd., then up into the Valley. But the recording studios along Sunset complained, claiming that the trains' vibrations would be picked up by their microphones and ruin their business. So, it was changed to Hollywood Blvd. which is less useful and convenient for most people. But, then, that's typically L.A.: build an expensive hole-in-the-ground that runs between places nobody wants to be, and other places nobody wants to go.

I can assure you that Mr Feltenstein would be no less coy than his employers.

FYI, the "C" in "C. Bakaleinikoff" stands for Constantin.

I hadn't heard that the studio had undertaken a restoration. This is, indeed, good news.

OK. Antares, Aldebaron, Riga and... uh... uh... Alpha Centauri? Except that it's Aldebaran and Rigel (Charlton Heston and Hugh Griffith mispronounce 'Rigel" twice. Anglicized, it's "RYE-dgel," though the correct Arabic pronunciation is "RIDJ-l," from "Rijl Jauza al-Yusra," meaning "left foot of the Central One," the constellation in which the star is found. Heston and Griffith apparently thought it came from the Latin, in which a hard "G" would be indicated, and neither director William Wyler, nor screenwriter Christopher Fry caught the error). Oh, well, nobody at MGM ever noticed that Balthasar's opening narration for the Prologue, "In the seventh year of the reign of Augustus Caesar..." should've read, "In the twenty-seventh year of the reign..." either (Octavius Caesar became the Emperor Augustus in 27 BC; the traditional date of Jesus's birth is the demarcation between BC and AD). You all forgot to mention the four horses' mother, Mira, which Sheikh Ilderim couldn't bring on his journey because his people "couldn't bear her absence."