JackBurley

"By doing what she did, she was basically saying she didn't love him enough and Julie did. How could she admit that?" My interpretation was contrary. I always thought that Amy's allowing Julie to take her place with Preston Dillard was the ultimate act of unselfish love. As I recall Julie made the point that Amy was weak and didn't know the ways of region. Amy had no hope of survival, and hence would be of no help to Pres. So allowing her rival to go instead was for the greater good. This difficult decision proved her love, rather than admitting defeat. "How could the family let Julie ride off like that, yet keep Press' wife, safe at home?" From the very first scene of Jezebel we learn that the family has no say in what Miss Julie wants or does. How could they let her? They couldn't stop her! As to how they could keep Pres' wife; this shows the custom of southern hospitality. Amy was their guest; of course they would be gracious to her. They might hold resentment inside, but the southern smile would veil the emotion. "Finally, the music and the dramatic sight of Davis rolling along on the wagon was a little too reminiscent of Norma Shearer in the cart on her way to the guillotine wasn't it? Was it the same director?" Jezebel was beautifully directed by William Wyler; the epic Marie Antoinette was done over on the MGM lot, with W.S. Van Dyke at the helm. It'd never occurred to me that the two finales were similar until you noted it. Though the french queen is riding to her certain death in ruin and after the loss of her family and fortune; the southern princess rides to uncertain death with altruistic triumph. The latter is goes to prove her will; and the previous, against her will. The sight of the Queen shows how far she has fallen; the sight of the princess shows how high she has risen. "Please don't tell me it was love, because she didn't love Press, she wanted her own little world where she was the controller, and when she couldn't get it, she did her best to ruin the lives of all around her in revenge." You're right, of course. She thought she loved Pres, but in the beginning she really didn't. She didn't realize the love until she'd lost him. Then she exchanged her selfish pride for humility. But she learned alot about herself while he was in the north; and she grew to love his pride over her own.

If you'll let us know which scene it's in, I'll check it out on my DVD when I get home... Is it at the party scene at the beginning, when Julie arrives late and in her riding habit?

Hello Mr. Classics, There are several threads on this television show. Here are just a few: http://forums.tcm.com/jive/tcm/thread.jspa?threadID=92934&start=90#7861061 http://forums.tcm.com/jive/tcm/thread.jspa?messageID=6290628 http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7580193 Enjoy!

Keenan Wynn's son [and Ed Wynn's grandson] posts here on the TCM Forum. Be sure to see his thread of remembrances: http://forums.tcm.com/jive/tcm/thread.jspa?threadID=87014&start=90#7830027 Gloria Swanson's stepson is on the San Francisco Board of Supervisors. I recently discovered that Edward Everett Horton's niece lives in San Francisco too. Cheryl Crane [Lana Turner's daughter] used to live here, but I think she moved to Palm Springs a few years ago... Of course Liza Minelli is around, but Vincent Minnelli's ex-wife, Denise Hale is still an active "socialite" in Baghdad-By-the-Bay.

I wonder which aspect of her life would most interest you. Would the proposed movie be of her entire life? Her first decade in movies with Astaire and Berkeley? The war years and into the 1950's, which could bring in her anti-communist and right wing political philosophies? Or the aging movie queen who finds herself in a foreign world of hippies, Viet Nam and Watergate?

I've seen it in 3-D. San Francisco's (now closed) Electric Theatre showed it as part of a 3D festival many years ago. Hitchcock was not into the gimmick, so it's fairly subtle. There were no paddle boards darting ping-pong balls into the crowd; though Grace Kelly's hands reaching back for the scissors as she's being strangled was very eerie. I remember it was also a pretty bad pair of prints, so scratches and mars were very disorenting in the format.

Perhaps we can devote a thread to films from/about Brazil... Last night I saw a stunningly restored version of Marcel Camus' Orpheu Negro at San Francisco's Castro Theatre. I wish I knew more of the backstory: how did a french director come to make a Brazilian movie that takes place in the midst of Rio's Carnavale? How did a girl (Marpessa Dawn) born in Philadelphia come to star in it? Black Orpheus is the retelling of the Greek myth Orpheus ed Eurydice, now set against the background of carnival in Rio de Janeiro. The inhabitants of Rio and Carnival are some of the stars of the film, as much of the action takes place among the frenetic dancing and music of the exuberant and intoxicating festival. Another "star" is the spectacular colors of Camus' palette. Orpheu's descent into Hades brings haunting images reminiscent of Cocteau's films and DeSica's visual commentary on bureaucracy in a struggling world. It won the 1960 Oscar for Best Foreign Film. Yet another star is the fantastic musical score, which introduced American audiences to the now legendary Ant?nio Carlos Jobim and Vinicius De Moraes; Luiz Bonf? and Ant?nio Maria; and Joao Gilberto. Samba and the Bossa Nova became household terms because of this movie. The tenderness of "Manha De Carnaval" is juxtaposed with the revelry of "O Nosso Amor". The music is infectious and exhilarating. Marpessa Dawn is luminous is Eurydice; and a great balance to the fiery beauty of Lourdes de Oliveira's Mira. Breno Mello is a dashing and ernest Orpheu. I'd love to know where these actors are today and what life brought them. I believe all three are still alive. Sr. Mello was interviewed in 2004 for a french documentary about the impact of this movie. The movie is available on DVD as one of The Criterion Collection and is included as part of the 50 Years Of Janus Films* collection. _________ *I still don't own the Janus Collection, for anyone wondering to send me for my birthday...

"India Adams, anyone? Joan Crawford in 'Torch Song' - story in whichever volume of 'That's Entertainment.'" You can't get off that easy, Mr. McCrary! India Adams was designated the voice of Cyd Charisse and did some vocals for her in The Band Wagon. So that's who we hear during "New Sun in the Sky" and "That's Entertainment". For those who don't have a copy of That's Entertainment III handy, this clip fest shows Ms. Charisse's number, "Two-Faced Woman", which was dubbed by Adams but was cut from Band Wagon. The clip is shown in tandem with Crawford's version when they reused the vocal track. Soon after, Carol Richards took over for Ms. Adams and sang Ms. Charrisse's vocals for Silk Stockings, It's Always Fair Weather and Brigadoon. ~~~~~~~~~~ "Natalie recorded it, but did Marni get into the actual (usual) soundtrack? I don't believe Ms. Nixon did any vocals for Gypsy. By the way (and this might be apocryphal), but I understand the original idea for Gypsy's casting was to have Judy Garland play Mama Rose to Ann-Margret's Gypsy Rose Lee. Now that I would've liked to have seen... ~~~~~~~~~~ I wonder how many singers dubbed for actors playing the character of the "ghost voice"? For instance, Al Jolson did the singing for Larry Parks, who played the title character in The Jolson Story and Jolson Sings Again. Jane Froman did the singing when Susan Hayward portrayed her in With a Song in My Heart. Any others?

Here's the thread regarding that beautiful piece: http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7863437

Sorry to hear you missed the ending. The schedules of the next three months don't include it, so you might wish to submit it on the "Suggest a Movie" page: http://www.tcm.com/suggestamovie/index/

Shorts are listed in the Shorts Forum: http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7862396 Enjoy!

Filmflub wrote in the "Best Movie Soprano Voice" thread: I think that you have found a new assignment, Mister [burley]. You mentioned the GHOST VOICES....I think you that you now have a responsibility to this community [tongue in cheek] to start a new thread. Particularly since you mentioned the oft-overlooked work of Marilyn Horne "vocalling" for Dorothy Dandridge - and ADMIRABLE job!! Think of it - Marni Nixon, Marilyn Horne, Martha Mears, Nan Wynn, Trudi Erwin....the Lisa Kirk debacle in GYPSY...yes, you've got a lot of material to work with.... " So here goes... I'll start off by mentioning the ironic tale of Debbie Reynolds in Singin' in the Rain, the movie about the birth of vocal dubbing. Jean Hagen's character looks beautiful, but sounds like a harridan. The film's answer? Dub her voice with the dulcet tones of Debbie Reynolds. Except that Debbie's voice in the movie is, in turn, dubbed by Betty Noyes. Now Mr. flub, please tell us about Lisa Kirk. She created the role of Bianca in Cole Porter's Kiss Me Kate on Broadway. What's her connection to the movie version of Gypsy? India Adams, anyone?

"I think Deanna's performances of arias like 'One Fine Day' ['Un Bel Di'] from MADAME BUTTERFLY and the 'Nessun Dorma' aria from TURANDOT are stunning." For the curious, Deanna Durbin sings "Un Bel Di" (in an English translation) in the charming Cinderella retelling, First Love. I had to look up when she sang [the seemingly odd choice of] the tenor's aria* from Turandot, and discovered it was in Frank Borzage's His Butler's Sister. I'd never heard of this one, and am curious to hear more about it. _________ * Lanza also sang this in Serenade from 1956.

The section of Irene that I saw yesterday didn't look like Technicolor, it looked like it was poorly colorized. The backgrounds were in black and white, but the faces were a pasty pallor often seen in colorized movies.

It's an old standard, so it's been used a lot. The first thing I think of though, is when it's used in Singin' in the Rain. Kathy Seldon sings it with the other gals after she jumps out of the cake... Gene Raymond sang it in Sadie McKee...

Does this mean we can look forward to a colorized Jezebel? Saints preserve us!

Or it might have been Irene, after all. I caught just a tiny bit of it, but was appalled to see that TCM was showing a poorly colorized (is there any other kind?) version of the film. It was listed to be b/w (and many of the backgrounds still were), but it was colorized...

The two-disk DVD edition has two versions -- both 16x9, but one is 2.55 and the other is in "Flat" 1.77. I own this, so if there's anything you'd like me to check for you -- fire away.

http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7858856

"...and that operatic ditty she warbles (the name escapes me just now) with only a piano to follow her in Luxury Liner..." The only number I remember Jane Powell singing in Luxury Liner was the french song "Alouette". Is that the one you're remembering? Perhaps there were others... For operatic arias, she neatly sang "Chacun le sait" from Donizetti's La Fille du R?giment in Athena, my favorite Great-Score-Bad-Movie.

You are correct, Mr. Mose. Here's the list: http://forums.tcm.com/jive/tcm/thread.jspa?messageID=7862396

It can be done. That's how I did it. Go here, you'll see how: http://www.tcm.com/nowplaying/index/

Or perhaps the sequel to Mr. Roberts -- Ensign Pulver?

I hope that loveoldmovies22 will tell us what movies were played. Good threads like this often pop up with a motivating question, and we rarely hear how it ends. Ms. 22? How did the night go?

I have several recordings of Eileen Farrell ranging from pop/jazz (I Gotta Right to Sing the Blue) to grand opera (Verdi, with Richard Tucker); and you're right -- she's Queen of Crossover. I wanted to point out though, that her career started with the microphone too, as she was a popular radio singer before she hit the operatic stage. As I recall, there was some hestitation from opera impressarios to hire her. They had her pegged as an "entertainer", a popular singer and she had to work doubly hard to break this image. Her operatic debut didn't come about until a year after singing for the 1955 film Interrupted Melody (as Santuzza in Tampa). The Metropolitan didn't take her until 1960! But we can't mention "ghost voices" without mentioning the Queen of Ghosts Marni Nixon, can we? And Marilyn Horne (the voice for Dorothy Dandrige in Carmen Jones)...