JackBurley

She plays a nurse... Hope this helps!

Key Largo?

I just watched Take Me Out to the Ballgame today. The song you're referring to is called "The Right Girl For Me". Regarding Sinatra, I'm addicted to songs from his earlier movies, Higher and Higher and Step Lively. "I Couldn't Sleep a Wink Last Night", 'A Lovely Way to Spend an Evening", "As Long as There's Music", "Some Other Time"... These numbers make me understand what those newsreels showing crazed bobbysoxers frothing over Mr. Sinatra were all about.

That's quite a month! My highlighted days are devoted to John Garfield, Jane Powell, Lana Turner, Sidney Poitier, Hedy Lamarr, Ann Sothern, Carole Lombard and Rita Hayworth. I look forward to the early Doris Days; and have been wanting to revisit the following for a while now: Pride of the Marines, Green Dolphin Street, Susan and God and A Child is Waiting. And finally, an opportunity to see Stromboli! I see they're showing Ecstacy on Hedy Lamarr day. Is it possible it will be unexpurgated?!

Well, I saw Poseidon tonight. We opted to see it on the IMAX screen, imagining there would be no complete characterizations and plenty of effects, it seemed the way to go. As for the song, there was nothing memorable about it. It won't be nominated in the Best Song category come Oscar-time...

Well, Hume Cronin adapted Under Capricorn... oh, and Rope. Is that who you mean? It's funny, I thought one was an older woman; like Florence Bates or Patricia Collinge, but I can't quite place it. Am I on the right track?

Oh that's great! Here I was trying to figure out Ann Sothern's partner; after all, she was Panama Hattie! I thought the bored housewife was Beyond the Forest, but could get it to match with Mack Gordon. No wonder! The "Alice" was not Faye, but Wonderland! I love it.

Oh Larry, I believe this is an "actor's chain". In the chains, the subject's last name is the first name of the subject that follows. For instance, here was the answer of a previous chain (clue in bold, the move in italic): Martian envoy - Tommy Kirk (Mars Needs Women) Harpooneer - Kirk Douglas (20,000 Leagues Under the Sea) Murderers' dinner guest - Douglas Dick (Rope) Surviving half of comedy team - Dick Martin (of "Rowen and Martin") FBI agent in drag - Martin Lawrence (Big Momma's House) Gay teacher - Lawrence Harvey So for this one, I had a start that I'm in the process of scratching: "Girl-friend" of condemned killer - Helen Mack (His Girl Friday) Composer of songs for Alice and "Cindy" - Mack Gordon (Rose of Washington Square) Chicago-based love object for a bored small-town wife - Gordan... But you see, I think that's all wrong and I'm heading back to the drawing board. But you get the idea...

Thanks MM; I've never heard the Hangover Square soundtrack and now my appetit is whetted too! I'm going to the "suggest a movie" now...

Who Framed Roger Rabbit??

I'm not sure, but he appears on skates as one of the "hosts" of one of the That's Entertainment features...

Bernard Herrmann was a master who upheld a high artistic standard. When Orson Welles' Magnificent Ambersons was "slaughtered" by the studio, Mr. Herrmann demanded that his screen credit be removed. Very much a 20th century composer, he expanded on traditional arrangements and notation, stretching the use of strings in Psycho and experimenting with electronic effects The Birds and electric instruments (the Theremin The Day the Earth Stood Still and the Moog synthesizer Sisters). He worked 'til the very end of his life. In fact, Brian DePalma had planned on a Herrmann score for Carrie, but Mr. Herrmann died only days after completing Taxi Driver and before he could start on the Sissy Spacek vehicle. Here's my Bernard Herrmann Top Ten: Citizen Kane- an immense and impressive score that included the compostion of "excerpts" from the opera "Salammbo", which was an homage to operas such as Massenet's Thais. Though common wisdom dictates that Marion Davies was the basis of Susan Alexander, William Randolph Hearst actually had an earlier girlfriend, Sibyl Sanderson, the opera singer for whom Thais was written. The Day the Earth Stood Still- The theremin never sounded better than when juxtaposed against Patricia Neal's smoky tones. On Dangerous Ground- Herrmann's thrilling opening is a precursor of things to come in his later Hitchcock scores. The Wrong Man- Latin rhythms and whimsy mask the undercurrent of misinterpreted innocence. The Man Who Knew Too Much- Once again asked to write a concert piece within a movie's score, Herrmann's "Cantata" was the perfect counterpoint to Doris Day's nightmarish efforts to halt an assassination in London's Royal Albert Hall. Vertigo- Dizzying. North By Northwest- The perfect marriage = Saul Bass and Bernard Herrmann. Psycho- The musical effects of this score have become aural icons. Night Digger- Effectively creepy use of the harmonica to evoke the killer, set against a driving, rhythmic string section, and surprising tenderness from the viola d'amore. Taxi Driver- His final score and triumph.

This was a Paramount picture, and I believe it's problematic to get those. Does anyone remember the intricacies of this?

If you were depressed, then it worked! I've seen this movie many times, and I think I enjoyed it most last night at San Francisco's movie palace, the Castro Theatre. A beautiful print. I noticed that Sidney Guilaroff received special billing: his own title card at the start of the film. What a nice tribute! This man did the hairstyles of our favorite stars for over 50 years. It's said that Mr. Guilaroff knew "where all the bodies were buried". He was the confidante of every movie queen as he styled their hair in the wee hours of the morning. Miss Minnelli looked beautiful in this film. I don't understand why she's kept the same hairstyle for 50 years, after we see the many flattering options that this man gave her. Yes, DeNiro's character is an obnoxious, self-centered, insecure man; and he is from the very beginning. Jimmy Doyle is an unbearable genius. The film suddenly slows down 2/3 of the way into it. I picked a few shots that I thought could be excised to keep the flow (I wonder why Mr. Scorsese never asked me?). I loved the many tributes within the film. The hat tips to Michael Powell (Jimmy Doyle gives the name "M. Powell" as his pseudonym whenever he plans to skip the hotel bill; and there's a title card in the big MGM send-up "Happy Endings" number that is a replica of those used in The Red Shoes.) There are so many little details used as mood pieces, like Jimmy Doyle coming upon the pas de deux of the sailor and his girlfriend. He just watches this beautiful dance as they drift off into the darkness. What a joy to see Lionel Stander as Francine's agent. A great voice and presence. This man brought us wonderful screen characters for over 60 years! It's also a great opportunity to see many musical legends. Although Mr. DeNiro learned to play the saxophone for the role, all his music is performed by Georgie Auld and Mr. Auld played the role of Frankie Harte. Cecil Clemons (from Bruce Springsteen's E-Street Band) has a role in the film. And Broadway performer Larry Kert is campy and great in the aforementioned "Happy Endings" blockbuster number. All in all, it was a great experience.

"Good bye, grandpa!" That put him in his place. He imagined they were being flirtatious...

The movie is It's Always Fair Weather and it was released on DVD only last month...

I'd like to see him year 'round...

Ellen Burstyn - Requiem for a Dream Robert De Niro - Raging Bull Judy Garland - A Star is Born Cary Grant - None But the Lonely Heart Katherine Hepburn - Philadelphia Story Shirley MacLaine - The Apartment Liza Minnelli - New York New York Marjorie Main - Dead End Merle Oberon - Wuthering Heights Roslind Russell - Auntie Mame Meryl Streep - Sopie's Choice Barbra Streisand - Funny Girl Meryl Streep - Sopie's Choice Barbra Streisand - Funny Girl James Stewart - Mr. Smith Goes to Washington Elizabeth Taylor - Who's Afraid of Virginia Woolf

"New musicals, like the recent Phantom of the Opera is depressing, violent and dark (sure it was all right but not a good musical), are just not musicals." Though I didn't care for Phantom, I often like the darker musicals. Cabaret and Hedwig and the Angry Inch, for example. In fact, tonight I'm going out to a revival of Scorsese's New York, New York. This is no piece of fluff, but harkens back to classic studio work with backlot and soundstage work, effective use of color and art direction and most importantly: some terrific musical numbers.

Where did you see Napoleon? I've wanted to see this one for years. It's my only regret in life that I missed it when it played San Francisco with the SFSymphony accompanying it...

Hi Susan, I was replying to Nyoka, who said, "There was an interesting clip from this feature on the TCM Davis documentary a few weeks ago ..." I wondered which documentary he was referring to: Stardust or the Volcano...

Here you are Liz. It's an interesting thread that you started: http://forums.turnerclassicmovies.com/jive/tcm/thread.jspa?messageID=7771026

And right you were, feaito!

Eve Arden was the saucy saint of sarcasm in many, many roles. Ranging from 1937's Stage Door ("Say are you going to catch the opening tonight?" Eve: "No, I'm going tomorrow to catch the closing."), to Cover Girl ("What would you do if your youth should walk through this door?" Eve: "I'd put braces on its teeth.") all the way up to 1978's Grease ("I just got my hands on the schedules." Eve: "Oh goody, they'll be nice and smudged.") Wry.

Thanks Mr. Write, but it's hardly natural; it's taken me over a month before I could take a stab at it! Now, let's see if I can turn the tables... Guileless street-walker travels with Paul Gauguin to assist him with his "art". Though she's sorely mistreated by him, a third-party -- call him Ishmael -- leads her to believe that perhaps the abusive Gauguin might actually love her.