Swithin

Michael Wilding was in The Egyptian with Judith Evelyn.

More movies with settings in Connecticut: Roughly Speaking (1945) The Group (1966)

Thanks for the heads-up, I knew it would be on but didn't know about the Kon Ichikawa connection. My cable box/TIVO was misbehaving, so the company replaced it yesterday. As a result, I lost all a lot of stuff. So now I need to repopulate it. The White Stadium sounds intriguing as well, as does the Stockholm. I'm hoping the London film features the opening ceremony, but I'm not sure it will. And, as a consolation for my loss, there are a couple of Rohmer films as well!

At the 6:18 point, in the group of six men, there's someone who looks more like Ameche than the photo in question (though it could be David Niven). He's just behind C. Aubrey Smith.

What about Clark Gable? He shows up at the very end, but not at a table.

Definitely not Brent, and I don't think it's Ameche. I agree with Speedy that it could be Robert Taylor. But one thing I'm sure of: The music over that segment is from One Way Passage (1932).

On Svengoolie tomorrow, July 17, 2021: I'm not a fan of Hammer remakes of Universal classics. I tend to find them stodgy and unimaginative. However, I haven't seen this film in years, so I'll give it another chance. The Universal original with Boris Karloff, directed by Karl Freund, is one of the great creepy moody horror films of all time. But the Hammer remake, which features Kharis and Ananka, is not so much an attempt to remake the original, but is closer to the first sequels: The Mummy's Hand, (1940), etc. I don't remember if the Hammer version uses tanna leaves.

Murvyn Vye was in Golden Earrings with Dennis Hoey.

A reminder that Chaya is still up.

Another sort of wind: Blazing Saddles (1974) Harold & Kumar Go to White Castle (2004)

"Cooking Breakfast for the One I Love" -- sung by Fanny Brice and Robert Armstrong in Be Yourself (1930) Next: Another song mentioning a meal

Here's a quote from a letter from John Gielgud to his mother, 9 August 1952: "Brando is a funny, intense, egocentric boy of 27, with a flat nose and bullet head, huge arms and shoulders, and yet giving the effect of a lean Greenwich Village college boy. He is very nervous indeed and mutters his lines and rehearses by himself all day long. Very deferential to me, and dragged me off to record two speeches of Antony on his machine, where he listens to his own voice and studies records of Larry, Barrymore, Maurice Evans, etc. to improve his diction. I think his sincerity may bring him to an interesting performance -- his English is not at all bad, and he is obviously very clever and ambitious. He tells me he owns a cattle ranch, and after two more years filming, will be secure financially altogether!! He belongs to a students theatre in New York and is desperately serious about acting, but I think he has very little humour and seems quite unaware of anything except the development of his own evident talents. It will be rather fun to watch him." -- from Sir John Gielgud, A Life in Letters

Curtis, Elizabeth -- Deborah Kerr in King Solomon's Mines (1950)

Connie Gilchrist was in Auntie Mame with Pippa Scott.

"Darktown Strutters Ball" sung by Nicole Maurey and Bing Crosby in Little Boy Lost (1953) -- mentions the two-step Next: Song in a 1930s Bette Davis movie

I Remember Mama (1948) Next: Emptying the trash

My late mother was born in Manhattan on October 22 but lived most of her life in the Bronx.

I'm a Leo Rat.

It was nicely ecological of Steve to turn off the kitchen light after he took the knife out of the drawer!

"I'm Alone" -- sung by Gloria Swanson in Music in the Air (1934) Next: Another song by an actor or actress who had a good voice but was not primarily known as a singer

Yes, I want a monster! I guess we can have a discussion as to when a mere murderer becomes a 'monster." She-Wolf of London had no real monster in it, but there was always the possibility of a werewolf, and lots of talk about a werewolf; and there were monster tropes; and Sara Haden was certainly on the verge of monster-ness. A lot of it becomes a question of the film's mood. Maybe I'd be happier about this if tonight's film were called: I Saw What You Did, You Monster You!

It's not about whether the film is good or not. It just doesn't suit Svengoolie's genre. William Castle directed a lot of films, like The Saracen's Blade, When Strangers Marry, and Texas, Brooklyn, and Heaven. But I wouldn't expect to find them on Svengoolie.

Tom Jones (1963) Next: Combing/brushing hair