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About marcco44

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  1. just finished reading the whole thread -what a lively, funny, and entertaining discussion of hammer horrors- thanx guys! great stuff!
  2. hi socalgal! you know, i don't believe that ginger would mind a bit. both astaire and rogers resisted the idea of becoming a permanent team. they wanted individual careers and did not want to be typecast together by the studios or the public. i think this is a vital point regarding the classic hollywood stars.... they were all typecast in a narrowly defined role that registered with the public--- whether it be hero (john wayne, gable, james stewart), villains (george sanders, basil rathbone), leading ladies (greer garson, norma shearer), or sex symbols like ava. it is interesting to watch these actors trying to expand their roles into 'playing against type', although not every attempt was successful with the public. i really think for these lady sex symbols, their roles must have felt very confining to them. the biographies of so many of them read the same when it comes to frustration with hollywood stereotyping them. even their male counterparts-- tyrone power, errol flynn, and robert taylor-- felt confined by the roles their studios assigned them to. but women like harlow, hayworth, monroe and ava were able to transcend this limitation in a way that really touches an audience... that is what makes them great. a 'sex symbol' who could not touch an audience in their heart, who could only provide a superficial surface sex appeal (like jayne mansfield & raquel welch -my opinion only-) were treated as a joke. i just wound up my month long meditation on ava with ' the snows of kilimanjaro' -my dvd arrived in the mail today. a good film to end on. three powerhouse performances from ava, peck, and susan hayward. ava, as always, beautiful and heartbreaking... a wonderful performance. her long scene with peck at the dinner table--- spectacular!!! how could she possibly doubt her acting abilities after filming that long scene in one take!! and HOW STRANGE that in the following year she's working in africa on 'mogambo' and faced with having a baby! the same dilemma as her character 'cynthia'. ava , rita , and marilyn draw me in with their wondrous beauty and charisma. but the poignancy they bring to their roles that really gets to me, really touches me. then there's harlow. she makes me laugh!
  3. i really enjoyed ava being 'star of the month', and i _really_ enjoyed being able to come to this thread and read all of the feedback, comments, and insights to ava & her films. during our family gathering yesterday, some of us peeled off to the den to watch tv. i put on tcm & 'the night of the iguana' and really enjoyed watching my family members get into it! the two most talked about subjects were tennessee williams and ava. i was able to pipe in and answer all questions. funny everyone was suprised by the ending-- expecting a romantic link-up between burton and kerr. i had to explain williams did not do traditional romantic plays, he almost always has his characters opening a 'pandora's box' of afflictions..... with just the slightest sliver of hope at the end. he deals with the mystery of being human. williams is my favorite american playright. afterwards i watched 'mayerling'. ava was stunning-looking. like in 'night...', ava is the warmest thing in the film. and it really shows her 'star power' that ava blew catherine deneuve (!) off the screen in their scenes together. young catherine, later renowned in her own right for her great beauty, seemed to disappear in ava's radiance......just amazing!! i realize that hollywood would not have made 'mayerling' because of it's rule against 'suicide as plot resolution'. but i missed the tragic sweep that i think an american director would have given that film. interesting subject matter though. and this was driving me crazy.....where did i hear that romantic theme music before? after racking my brain it occurs to me-- that's the music that caligula (malcolm mcdowell) and his sister make out to in that 1980 film 'caligula'!! i remember thinking at the time that the music was too grand for that movie. i hit the hay watching 'ride, vaquero' waiting for ava's screen time (and waiting for howard keel, anthony qiunn, and robert taylor to get out of the way!).
  4. what, no censorship on your thanksgiving poster? that turkey is showing a lot of leg. and it looks smokin' hot! and it looks like every dog in town is after it!!
  5. so cal, of course it is a personal choice. i'll say it this way--- for me, rita hayworth is my favorite dancer...the best. for me there is no other. p.s.--- fred astaire backs me up on this one. hayworth was his favorite dance partner.
  6. i love what director nunnally johnson says about ava--good insight-- from the tcm 'angel wore red' article: " Ava is like Marilyn. She's really frightened. She would cry a lot, she had no confidence in herself, she felt she couldn't act, she had no home, no base, no family, she missed them terribly, she felt she'd missed out in life. It was hard to believe her unhappiness. When you looked at her, even then, she was...the most beautiful human being in the world." it seems to me that all these lady sex symbols- think also novak, bardot , bara, bow, harlow - felt the crushing weight of their mythic star status, and somehow felt in life that they did not live up to it. > {quote:title=MissGoddess wrote:}{quote} > " i'm telling you, if my husband told me he was leaving me for ava gardner...i'd help him pack." good one, HA!!
  7. cinemaven, don't hate me.... but i disagree with your friend. you cannot manufacture a STAR. i was reading 'the star machine' by jeanine basinger earlier this year, and she seems to imply the same thing. yes hollywood (then as now) worked like a factory and put thousands of people thru the process. full makeovers in hairstyles, clothing, makeup. publicity, acting lessons. it was a business to the studios. but it was also a crap shoot for them too. because the public decided who was a star and who they were willing to pay money too see. the studios responded to public demand. as always, it's about the money. in the end each actor/actress had to face that camera alone. either they come across onscreen or they don't....no matter what the buildup, the question is can they deliver. if they come across the screen and can capture and hold the interest of an audience.....THAT is star power. not everyone has it. rita and ava did....and boy were they potent..... we are still talking about them now!
  8. miss goddess-- i too am enjoying the conversation here! i have 'one touch of venus' somewhere on videotape, but i plan to get it on dvd soon. i just bought 'snows' on dvd today. 'the killers' is oop and very expensive to buy now. and i would love to get that widescreen print of 'maja'-that tcm just broadcast- on dvd someday. meanwhile, look at this jammin' poster of ava, from 'the little hut' 1957: http://www.moviegoods.com/large_detail.asp?http://www.moviegoods.com//Assets/product_images/1020/428281.1020.A.jpg this girl has IT! in droves! how the director didn't capture ava's raw sensuality in the film is such a mystery.... a crime in fact, on his part!
  9. hi miss goddess! you know, i agree with you in regards to ava as an actress. in those terms, she has had some excellent roles, with her performance the anchor-the heart- of many a film, such as in 'the sun also rises', 'show boat', 'on the beach', 'the night of the iguana', and many others. while i might decry the fact that ava never had a glamorous (enough-for me) star vehicle that fully captured her essense, i think that, of all the "glamour girls", ava got the best, meatiest acting roles. and she worked with some of the best actors and directors of her day.
  10. wow, such good posts since my last visit! for cinemaven: i think that rita and ava are so close in charm and charisma that they could be sisters. for me they are the only two stars that can be called a 'goddess of love'. i think that rita's studio was careful to perpetuate this idea in her every film. ava's studio did not, and the effect is more hit or miss, depending on the film. i think their main difference is that rita was a marvelous dancer.... the most graceful dancer i have ever seen. wonderful movement, that the camera lovingly captured in each film. so already she has more screen time devoted to her through her musical and dance numbers. yes, i think 'pandora' is about the closest we'll ever get to an ava star vehicle. but being an english film, i find it very understated. imagine if the film had a more dream-like quality, and ava was presented more like jennifer jones is in 'portrait of jennie' or kim novak's character madeline in 'vertigo'. this is NOT ava's fault....she was a devastatingly beautiful woman... who could act as well. this beautiful woman is working in the visual medium of film. i believe that ARTISTICALLY speaking, none of her directors took full advantage of this in any of her films. with rita, let's start with 'blood and sand'. rouben mamoulian (who also directed garbo & dietrich) uses her visually to great effect as the temptress dona sol. the matador play with tyrone power. the closeup of the scarlet fingernails playing the guitar. the seduction tango with anthony quinn-- all dynamic, wonderfully staged. harry cohn at columbia must have picked up on this. for all of rita's columbia films during her heyday follow this same template. the camera, the director lingers on rita in her films.... she is always the major focus, regardless of who her leading man is. in every film from 1941 to 1957. the undercurrent i get is the whole aim of the production is to say ' just look at this wonderfully beautiful woman'.
  11. i really enjoyed 'ava night' last night. i was not as familar with these films. this is the first time that i've seen 'the naked maja' in widescreen-- it looked so much better. ava in color is so gorgeous. i love her with long hair. and i love the twist in the 'camille'-type ending... the way she hits the ground like that! i watched maja, 'on the beach', and 'the angel wore red'.... all have the theme of ava bravely sacrificing her love for her man's greater good. there's that sweet vulnerability that ava is now famous for. i also enjoyed her different leading men in these films. and of course there is that spanish backdrop in two of the films that has become so much a part of ava's persona. robert osbourne mentioned that ava had left hollywood and worked exclusively in europe in the 'fifties. i hadn't thought about that before. there is some truth to what cinemaven is saying about gardner not having a signature role. her european films don't have the 'high gloss' hollywood glamour that an actress like, say, kim novak was getting at the time in 'picnic', 'pal joey' or 'vertigo'. i pulled out gardner's autobio as i watched these films.... she said that metro did not package her, did not buy film properties for her, constantly loaned her out. i believe that. there were many *beautiful* women at mgm in the late 'forties/ early 'fifties, but the mgm brass did not seem to know what to do with them. gardner, taylor, kerr, kelly.... all were doing better work when loaned out to other studios. i would have liked to have seen a gardner film where all the concentration, the focus, is on her alone. single name above the title stuff. or at least legendary cinematic sequence like the clift-taylor love scenes from 'a place in the sun'. ava has a potency that shines thru all her films, that us fans still see and are attracted to. yet it seems to me no director made a whole film around her exclusively. she is spread out thru a film, sharing the film with her co-stars. i sit thru many ava films just waiting for ava's scenes ('show boat', 'sun also rises', 'snows').... when she's off the screen, sheer boredom! dietrich, garbo, (early) lamarr, hayworth....all got those wondrous, lingering, extreme STAR closeups where audiences could just drown in their beauty. 3-4 haunting closeup per film. i wanted more of that for ava....i want to be dazzled by her beauty, yet those moments in her films are so fleeting.
  12. hello miss goddess! yes i will-- thanx for the invite!
  13. julie being found out & forced to leave, and the following set-piece of her leaving as joe sings 'old man river', is the most moving part of the film. ava and rita hayworth are among my top favorite stars. both jolt the senses with their innate eroticism, both are devastatingly beautiful, yet both are extremely vulnerable onscreen. i will look forward to the ava festival every thursday this month.
  14. i don't recognize any character on 'the revenge of frankenstein' poster... but geez, how dynamic is that imagery! and the 'curse of frankenstein' poster....holy moses! what an imagination that artist has!!! that scene--just as it is-- would have been great in the picture. i've been following the 'hammer horror' festival all month on tcm, and for the added cherry on the top, coming here to see what kyle has posted. the combination has been highly enjoyable!
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