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ChelseaRialtoStudios

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Everything posted by ChelseaRialtoStudios

  1. The most misguided idea since Ted Danson went to the Friars in blackface.
  2. Ann Sheridan? Really? Could have fooled me. And didn't look like Ella either but the angle is tough. Great photo! Must have been shot at Universal during the shooting of LOUISA.
  3. Lucky Charles Coburn surrounded by a bevy of stars. Recognize any? Rita Johnson, x, Spring Byington, Charlotte Greenwood, Ann Rutherford Piper Laurie, Yvonne DeCarlo, Mr. C, x, Joan Bennett Jane Wyman, Alexis Smith
  4. Ginger Rogers in THE MAJOR AND THE MINOR. Gee, how come they haven't remade THAT one (again - M&L notwithstanding)!?!?
  5. Egghead. Cliff Nazarro doing Joe Penner. What MORE could you ASK for?!??!
  6. Henry Daniell originated the role of Abbott on Broadway. I would LOVE to have seen that!!!
  7. The Dennis Morgan DESERT SONG has never been televised. Warners did a restoration about 15 years ago. They ran it at the Biograph in New York. Gorgeous print and outstanding Heinz Roemheld adaptation score. Morgan and Manning's voices are wonderful. The story was updated to Nazi era. I wish they'd clear the rights so it could be televised. The MacRae version is in the post-49 library that's mostly buried. Shame shame. The RAILROAD HOUR radio recordings are around - I think the Internet Archive may have them. I have the Capitol LP's and they're swell. Columbia did an album of M
  8. This is "movie junkie" programming. It's as if the entire viewership of TCM is obsessive-compulsive. The tendency to have to "thread" an entire day's programming is fine for die-hards. But for normal, casual viewers it can keep you off the channel for an entire day. I would be very curious to know how the channel's ratings on days such as this compare to those days when the schedule is eclectic. This may be one of the reasons so many films are played to death while others receive little or no exposure. On the other hand, maybe if they have 24 hours of Warner Bros. spooky mansion my
  9. The scene described is from ABBOTT AND COSTELLO IN HOLLYWOOD. It's the routine where Lou tries to fall asleep listening to a slumber record. They also did it on THE ABBOTT AND COSTELLO SHOW (much funnier, of course).
  10. Probably my favorite film appearance of Betty was in this Command Performance two-reeler:
  11. I wonder if Encore Westerns Channel got any flack for recently running ROUND-UP TIME IN TEXAS. A bizarre Autry oater that has Gene and Frog (Smiley Burnette) travelling to Africa. They get kidnapped by cannibals and Frog pretends to be a witch doctor and teaches the kids (actually the very talented vocal group The Cabin Kids) to sing rhythm. Not a single socially redeeming quality or justifiable excuse but very funny. I'm sure the Professionally Sensitive (and even the citizen-sensitive) would shake their heads clear off.
  12. I think the combination of James Dunn and Peggy Ann Garner is one of the most endearing father-daughter pairings of all time. Dunn really caught lightning in a bottle with this performance (thanks, I'm sure, to the insightful nurturing of Elia Kazan).
  13. THE LONG NIGHT was produced by the Hakim brothers and merely distributed in its initial run by RKO. KINO obtained the rights and has released it on DVD. A TCM telecast would be most welcome! *Wonder why Warner Home Video wasn't able to hold on to the rights. I thought they had pretty much all of the RKO films.* They never had the rights to "hold on to". RKO only had rights for initial distribution in 1947. The Hakim Brothers retained ownership. There are a load of films distributed originally by RKO that they never owned or were able to reissue, let alone syndicate or retain for hom
  14. THE LONG NIGHT was produced by the Hakim brothers and merely distributed in its initial run by RKO. KINO obtained the rights and has released it on DVD. A TCM telecast would be most welcome!
  15. I read somewhere that the music for early Hal Roach talkies was meant to cover up the film hiss between dialog. Curious speculation at best. The theater horn systems of the day were such that audio hiss was not a major problem. Silent comedies were always accompanied by music and Roach included music tracks as soon as technology allowed.
  16. I believe the flicker was due to nitrate deterioration. As for a 16mm transfer, the previous "restoration" of the picture, released by Janus, featured the standard 85 minute version in 35mm and inserts from a 16mm - possibly dupe - print. The picture portion of the inserts wasn't too bad but the soundtrack was horribly filtered as to make the dialogue almost unintelligible. Believe me, the new restoration is quite miraculous considering the horrible manner in which this film was treated. Bernard Herrmann recorded concert suites of various portions of his score. But about 40 minutes of
  17. STOP! LOOK! AND LAUGH! in 1960 at the Larchmont Playhouse. The Marquis Chimps scarred me for life!!
  18. I'm afraid Warners was deathly afraid that a movie about a spinster teacher in a Welsh mining village would not draw many war-weary patrons. Back to RKO, pre-1954 reissues were usually promoted by a re-cut of the original release trailer with a reissue card at the conclusion. Beginning in 1954, RKO had National Screen Service prepare new trailers with "safe" text that would not be crowded by 1:85 masking.
  19. Most come from trailers made for television or re-releases after loans to secondary distributors. I'm not exactly sure why. Not quite. Most of the RKO trailers that survive are from theatrical reissues by RKO itself. The reason for this is that the original trailers were not produced by the studio but by National Screen Service. NSS did not preserve these originals (they were all nitrate). NSS also did the RKO reissues and, simply because they date from the late 40's and early 50's and are on safety film, more of these have survived. Also, a number of RKO trailers were printed in 16mm
  20. In addition to Muni, this picture has an outstanding supporting cast and the most wonderful assembly of devious military types to hit the screen! And Schildkraut, when he is released from his cell, is amazing. Also a wonderful Max Steiner score. And, in one respect, very representative of a Steiner scoring trait. The End Cast of the picture was scored with Cezanne's theme. Zola is gone at the end but the optimistic attitude of Cezanne endures. And Steiner punctuates that by using his theme at the end. He did the same thing in, among others, DARK VICTORY. Rather than play Bette Davis
  21. Here's a TCM trailer for a Henry Aldrich movie... :-) http://www.youtube.com/watch?v=oEmXfFBJ7H4 Well, it's a movie with Jimmy Lydon but not an Aldrich picture. Looks like fun though! A buried B from MGM!
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