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About RobertEmmettHarron

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  1. Hey everybody. Thought it might be fun to jaw about this year's SUTS site, which looks fantastic I think. I love the little 'post card's that cleverly incorporate stars' images on different color backdrops; some of them are really incredibly witty and creative, Monty Clift's card today being an excellent case in point. Does anybody have any card (either past or yet to come) they found especially impressive or amusing. I've got to vote for Aug. 4 and the pic of Ronald Coleman in his furry hat, pictured at the tiki-themed, grass-roofed Shangri-La Hotel (owned by 'Bob' no less
  2. Golly, Fred. Do you bother to read what you post? The 132-minute restored print of "Lost Horizon" is original cut that aired in theaters in 1937, and which was nominated for the Academy Award for Best Picture in that format. The text now included at the head of the film makes clear that over the years the film was re-released to theaters and television on sundry occasions, and cuts were made to the original print at that time. These cuts were not in accordance with the wishes of either Frank Capra or Robert Riskin (who directed and wrote the thing), and in the opinion of both men it rui
  3. It's no myth. A recreated bit of the silent "Dracula" is included in "The Road to Dracula," which is an exhaustive look at the film, its origins and legacy, and included on Universal's DVD release of the Tod Browning classc, as well as a complete version of the Spanish-language version, directed by George Melford, which runs something like 25 minutes longer than the better-known version with Lugosi. Unfortunately, the silent clip -- which includes Dwight Frye's arrival at Castle Dracula and Lugosi's magisterial entrance, had to be reproduced from scratch as the original silent prints have long
  4. Yep, I watched. What a way to spend 124 minutes! MOTOE is a first-rate entertainment. Interesting to see Sidney Lumet, better known for harder-edged stuff like "Serpico" and "Network," taking to this brittle period whodunit like a duck to water. Richard Rodney Bennett's score is a marvel, from the beautiful pastiche waltzes (with muted French horns!) to the truly eerie atonal writing that appears each time the film recollects the murder of little Daisy Armstrong. Superb performances, too, especially from Ingrid Bergman (who deserved that Oscar!), Jean-Pierre Cassel, and Rachel Roberts
  5. Hi feets, 1953 "From Here to Eternity" (I kept saying "And?") That gave me the best laugh I've had all day. Thanks, bud. Just wanted to share that with you. Must go now. Have booked passage on the Orient Express. Cordially, REH
  6. Here's a thought, which I'd like to pass along to the TCM programmer. How about a month devoted to the flims of Bert Wheeler and Robert Woolsey, a comedy team that in their heyday were as well regarded as Laurel and Hardy or The Marx Brothers, but who are almost totally forgotten today. The neglect is hard to justify (I think there is only one book today devoted to their comedy) even though their partnership ended with Woolsey's premature death in 1937. Although both performers were oddly astringent in personality (especially Wheeler, who can be a bit much for the unprepared), I think
  7. Well, OK, Joe, since you asked-- When interviewed about her role in "High Society" (1956), a musical remake of "The Philadelphia Story" opposite Bing Crosby and Frank Sinatra, Grace Kelly tried the complimentary route, saying she had prepared for the film by watching TPS several times to study Hepburn's performance. When asked about this, Hepburn said: "She didn't study hard enough." Hope you enjoyed that, Joe. REH
  8. Hi Philip. Thanks for not cheating. Robert Emmett ("Bobby") Harron was born in 1893 in New York City, part of a large Irish brood. He was discovered by Griffith and cast as a juvenile actor in a number of Biograph movie shorts during Griffth's rise in the first decades of the 1900s. Impressed by the actor's sensitivity and talent, Griffith rewarded Bobby with a plum role in BOAN (as Tod Stoneman, one of the two 'chums' who die on the Civil War battlefield in the film's first hour. Tod is the chum from the north, brother of Lillian Gish and Elmer Clifton. If that doesn't help, he's the
  9. Hi, watches, and welcome 'aboards': I cannot let your post go by without comment. One may have reservations about Gene Kelly, but I don't think saying he lacked 'real talent' is quite tenable. The "Moses Supposes" and "Our Love Is Here to Stay" dance duets from "Singin' in the Rain" and "An American in Paris" show-case the breadth of his dancing talent quite nicely. I couldn't do either and I don't know many other dancers who could have either. (Can imagine Astaire doing "Love," but not "Supposes.") As for Astaire in blackface, this comment is not fair. Given the historical context, t
  10. > RobertEmmett - You are a sweet guy and I think you > also have a cool name. Very proper! It's even worthy > of a place in a Minnelli picture, a man of > unsurpassed taste, style, and elegance. > > Hi, Philip, and thanks awfully for this. Actually, it's more worthy of a place in a D.W. Griffith picture. 3 cheers to you if you can discern the meaning of that quip without resorting to the IMDB. Cordially, RobertEH
  11. > Ginger Rogers never should have won for Kitty Foyle > which is a charming movie and performance but nowhere > near what Joan Fontaine, Kate Hepburn or Bette Davis > did that year or Martha Scott for that matter. Hi, Joe: Although I agree with this, more or less. (Martha Scott? Don't think so.), it's probably worth noting that Katherine Hepburn herself expressed satisfaction with Rogers' win. Asked about losing the award to Rogers, Hepburn said, succinctly: "Ginger's enormously talented and she deserves the Oscar." Hepburn wasn't the sort to mince words or put forth
  12. Hi, Philip-- You didn't offend me over AAIP. mate. I'm sorry if I didn't make that clear. It's nice to see another fan of the Hollywood musical, and if AAIP isn't your cup of tea, I'm cool with that. Actually, I've shown that film to both my dad and a friend of mine and both blindsided me with the opinion that the ballet at the end is too long. A lot of people seem to feel this way, and I've always been mystified by this, but what the hay. At least I've got Gene Kelly on my side (he always preferred AAIP to SITR.) I've yet to meet anyone who finds Kelly 'obnoxious' with the lit
  13. Hello, Philip-- I'll go along with #s 2, 3, 5, 7, and 8. I'm an agnostic on #6 'cause I've never seen "A Woman's Face." Will defintely check out Joan's performance next time it's on, though. I'm dissenting on #1 (still prefer May Robson) and #4 (Stewart goes deeper here than is generally acknowledged, and his performance is much more than just 'amusing.') And you flunk film school for dissin' AAIP, buster! The musical beat the pants of "A Place in the Sun" and "Streetcar" because it's the better picture, pure and simple. I say this now that I've finished rolling on the floor la
  14. Hi, Christine-- That's right. Robert Donat won Best Actor in 1939 for "Chips." It was a good call, as Leonard Maltin has rightly called Donat's performance here "an acting masterpiece." Keep on posting. Enjoy chatting with you. RobertEH
  15. You have me working overtime, skimpole--Glad it's Saturday Rebuttals and agreements-- 1. Laughton should have beaten them both. The snubbing of Laughton's Captain Bleigh in "Mutiny on the Bounty" is still to my mind the single most unjust call in Oscar history. 2. Must disagree. Stewart is magnificent in PS. 3. Unquestionably we agree here. 4. Always thought Coleman's work in "A Double Life" was overrated, but also think "Verdoux" overrated, with Chaplin much too fey and mannered. Would have voted for Powell in "Life With Father" myself. 5. Would not vote for either Borgnine or Dea
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