JackBurley

Thurl Ravenscroft, of course.

Portrait of Jennie, with Jennie portrayed by Jennifer Jones. Joseph Cotten falls in love with her and paints the portrait that debuting Anne Francis will view in the final reel.

The Killers

Krakatoa, East of Java?

Lawrence or Laurence in Boys in the Band. You just put the "****" in "homonym"!

In no particular order, here are my top ten war flicks (as I hit "post message" I'm wondering what I've forgotten): Das Boot Three Kings Jarhead Apocolypse Now All Quiet on the Western Front Casablanca La Grande Illusion Empire of the Sun Bridge on the River Kwai The Killing Fields For films on the "War at Home", I would add: Mrs. Miniver Pride of the Marines Since You Went Away The Best Years of Our Lives

If loving Yolanda and the Thief is perverse, well add me to the list... It's a visual feast. Those colors! And the complexity of the "Coffee Time" number is exhilarating. It's so rarely seen, I envy your laser disk!

Is it Laurence Luckinbill? Isn't he spelled with a "u"? But he was in Boys in the Band (but I don't remember if his character was a teacher) and married Lucie Arnaz...

Thank you for that additional clue. I've almost got the whole thing, but am struggling at the end. May I get started (and maybe someone can help me with the last name)? 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 _________

"I wonder what percentage of black & white usage was to due artistic foresight and how much was mere economics?" That's why I asked the question, "I wonder what the original intention of the director was?". It's one thing if the director wanted color, but the studio wouldn't give him/her the budget. But even then, the director should have a say in the colorization process. You know Minnelli would be very picky about every hue. As I recall, Mr. Hitchcock wanted Psycho to be in black and white. He thought the vision of all that blood in the shower would be too distasteful for audiences.

"In Old Chicago"?

I wonder what the original intention of the director was? I'll admit that I disapprove of colorization. I think it completely changes the mood. If the director wishes that the mood could be changed via color, then there'd be an argument for it. I don't really understand the need though. There are so many beautiful black and white movies -- the Busby Berkeley films of the 1930's, Hitchcock's Notorious, Bogdanovich's Paper Moon and Scoreses's Raging Bull. Why colorize? "Keep Ted Turner and his damn Crayola crayons away from my movie." Orson Welles on Citizen Kane

I have the Gilda soundtrack and it says something like "Anita Ellis for Rita Hayworth"...

Thanks for that! Looks like a great site. A new bookmark for me.

Ah, Mr. Bernstein. Excellent. Thanks! Do you know what the name of the theme song was? Was it written for this series, or did it originate for a movie?

Hollywood has always remade movies; sometimes within five years of the previous version. And while I often deliver harangues against remakes of classics (why remake Psycho or Sabrina?), I don't consider 35-year old The Poseidon Adventure to be sacred. I think it might be a "camp classic"... So I'm reading this thread while sheepishly cowering in the corner. Confession: I'm looking forward to this remake. I saw the trailer for it on the big screen, and guiltily declared that it looked fun. I'll go, so y'all don't have to. I'll let you know...

Ah shoot, I meant Cabin in the Sky. I should have checked imdb for the cyclone's filmography.

"...I didn't know she could sing so well..." I hope this isn't going to ruin it for you, but the reason she could sing so well was because Miss Hayworth was lipsynching to Anita Ellis' voice.

The aptly titled Stormy Weather.

Thanks for reminding me of that television series. I can still hear the theme music in my head (I wonder who wrote the music and if it's available on cd?). I too would be very interested to see them again.

Have you seen the Marlon Brando screen tests that are included in the new DVD of Streetcar Names Desire? I had to watch them a few times the other night. Also the outtakes from Desire. 'Twas great to see the difference in the various takes and matching shots. Part of the screen test was just an interview while the camera picks up the various shooting angles of his face. Interesting to see him when he wasn't "on".

I suppose if "Shakin' the Blues Away" were a fantasy scene we could forgive it; but this was supposed to have been an actual 1912 performance. So you're right -- it's so wrong (and so great). Regarding musicals, I supposed we've been so trained to suspend disbelief (where's that orchestra coming from?), that we don't even notice these anachronisms. Hollywood's aesthetics in period pieces usually didn't seem to match. It's strange to realize that The Bad and the Beautiful is supposed to take place in the 1930's, since the costumes and hairstyles are so evocative of contemporary 1950's. And this never bothered me before, but was pointed out to me a couple of weeks ago. Like you, I assumed it didn't previously bother me because I didn't live in either of those periods ('30's or '50's).

"The Sound of Music"?

Hi Bobbert, Would you mind telling us a little more about Vredens Dag ("Day of Wrath")? It looks as if Mr. Dreyer didn't take director's credit (no one did?). Do you know what the story behind that is? I've seen his ethereal Passion of Joan of Arc (with the San Francisco Symphony accompanying it). Since this was done 15 years previous, I imagine the visual style could be quite different. Do you see a linear tie (visually or thematically) between the two movies?

Could you mean 1950's The Yellow Cab Man, a Red Skelton vehicle (that's a double-entendre) with Gloria DeHaven?