MissGoddess

Here is what the mini-sets of the FORD AT FOX release will look like:

Bette is actually behind several others on my list, but I do admire her tremendously. Greer, too, to be sure.

Aren't they pretty? I'm trying to find some more goodies, but the site I like to use for the best pictures is currently down.

I love Bette Davis, too, Dan and prefer her much more to Kate Hepburn. It's funny because I used to like Kate a lot as a child but not anymore, she can get on my nerves. I like her spunk off-screen, and a few of her later films when she's mellowed out a bit. *The Time of Their Lives* ---that's probably my favorite A&C movie, too funny. I forgot about the Rebecca line, that's hysterical.

Dan---fascinating stuff about Burke and Cloak and Dagger, thanks so much! Theresa---I didnt' get to finish *Finishing School* , but I recorded the remainder so I can watch it tonight. So far, the girls went away for the weekend pretending to be staying with a maiden aunt who in reality was some old actress they hired to put up a front. Hee! I love it.

Hi Theresa---I don't think I've ever seen Maid's Night Out, but it sounds fun. I just watched part of a movie TCM just showed called Finishing School, with a young FRANCES Dee and Ginger Rogers. It was pretty funny and goes to show you that girls away at school have always been naughty. Edited by me because I originally wrote "Sandra" Dee....duh.... Message was edited by: MissGoddess

My pleasure, Ken, glad you enjoyed them.

*Jan Sterling* Jan with Tony Curtis in *Flesh and Fury*

*Lizabeth Scott in The Racket* *Scott with Van Heflin in The Strange Love of Martha Ivers* *Scott with Bogie* *Scott with Burt Lancaster and Kirk Douglas in Desert Fury*

*Lizabeth Scott* (aka, "The Threat")

*Steve Cochran with Virginia Mayo in White Heat*

*David Brian*

*Raymond Burr* Burr in *Desparate* Burr with Lizbeth Scott in *Pitfall* Burr, Scott & Dick Powell in *Pitfall*

*Born to Kill* *Esther Howard & Walter Slezak*

Beware of the Phantom Posts. This has happened many times to me, too. There must be a real Twilight Zone where they disappear, to be enjoyed by who knows who, only to reappear.

More medicine, Frank: Gene and Jose in *Whirlpool*

I also thought a clue to Alice's nature when after one of their cosy "chats", she told Ollie "I'm the new kind of 'other woman'". Right...as if that weren't one of the oldest tricks in the book.

>>>FYI, Fritz Lang is more of a "mise-en-scene" director. He wasn't one for moving the camera that much<<< It seems many of the best directors gradually pared down their cinematic approach as they matured, saving special effects or camera angles and movement for just the right moment.

Just keep any sharp objects or narcotics out of reach if you watch *The Pumpkin Eater* ! I have seldom seen a more somber and depressing film.

Thanks, Dan, for sharing with us the original ending to Cloak and Dagger---it certainly sounds better than the rather abrupt, in my opinion, ending they edited in later. Angie---I'm glad you posted the information about TCM's library and who controls what---I'm always uncertain whether I should even bother to request a movie here if they have no access to it. Where it gets really crazy is when the studios start to double team with dvd releases, as Fox and Warner Bros have done recently. Back to Joan Fontaine---I thought she gave more Oscar worthy performances in *Letter from an Unknown Woman* and *Rebecca* .

I'm sorry Frank, *Citizen Kane* is important because so many like and admire it and I can see why people feel the way they do, but like Dan and the Valley, I'm just not impressed. I've seen every shot in that movie in John Ford's films among others before it and it just seems to me that Welles threw every trick in the book into it...because he had a free hand. I'm sure he had the time of his life making it, having no interference from the front office and getting to play a titanic character himself. For me, after repeated viewings it remains convoluted, trick-ridden and the characters are all unhappy (so of course everyone today loves it). I'm more like the people in the audience back in the day who probably scratched their collective heads and found the characters in HGWMV to be something deeply moving and resonant in comparison to Kane's. And I repeat, I begudge not lest I be begrudged. I rather people call Kane the greatest movie ever made, than Fargo, 2001: A Space Odyssey, Pulp Fiction or some other similar horror---which I'm afraid one day they will do.

The woman in the picture with Gary and 'Papa' may be Hemingway's wife at the time (he had a few and I lose track).